È Tijen is the emerging Melbourne label inspired by the Mediterranean
PHOTOGRAPHY BY Ramsay Hosn
WORDS BY FASHION JOURNAL
“Think deep plum hues, terracotta red and the kind of black nylon that looks wet before you’ve even been in the ocean.”
From seven years old, Tijen Bozdemir had “unwavering faith” in her future as a fashion designer. After getting knocked back from her fashion design course the first time, Tijen found her way into the classroom for six years of post-graduate study. This culminated in first-class honours recognition and the beginnings of her fashion label, which she called È Tijen.
You may have seen È Tijen on social media, where the brand’s swimwear continues to sell out. The inspiration behind Tijen’s feminine, form-fitting designs comes from an unlikely place – her experience growing up in a Turkish household.
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“In the early developmental stages of my first collection, I sourced inspiration from family archival photos on the beaches of Turkey,” she says. “Seeing my nene (grandmother) in swimwear far less modest than I had imagined allowed me to feel freedom in exploring swimwear.”
Tell us about you. What’s your fashion background?
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My name is Tijen and I grew up in a Turkish household, lovingly guided by two women whom I cherish deeply – my mum and my sister. When I was seven years old, my mum went to a Turkish coffee cup reader and laid down a photo of me.
The woman pointed to the photo and said, “She will be a famous fashion designer. When she walks down the street, her ears will fill with whispers of recognition and awe of her work”. When the story was relayed, my eyes lit up and to be completely honest, they still do when I’m reminded of that moment.
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I’ve been lucky to always have unwavering faith in my path in fashion. When asked about my career goals back in school, I confidently said, “I’m going to be a famous fashion designer in New York”. Although the reality of moving to New York and becoming famous is no longer my priority, the foundation of my teenage dreams has always stayed the same.
I decided studying fashion at university would be the most beneficial way to develop my craft, so I applied for the Bachelor of Fashion Design (Honours) at RMIT University. I was initially rejected from the course. After navigating my way into that mannequin-filled classroom and what eventuated in six years of post-graduate studies, I finished with first-class honours and the foundations of what is now known as È Tijen.
How did the label get started? Talk us through the process and the challenges.
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Completing Australia’s most well-recognised and industry-connected fashion degree has given me a strong network of suppliers and mentors. I’d almost go as far as saying that the HECS debt is worth the connections I made (emphasis on almost). All jokes aside, I do credit my studies for the confidence I cultivated to get started.
Finding makers I connect with and can rely on is the most challenging aspect. I vividly remember leaving one particular meeting in tears. If I didn’t already feel out of my depth, this person must’ve forgotten that they were speaking to a girl in her early twenties who at the time, knew very little about manufacturing and timelines. Once I got to understand that piece of the puzzle, my brand started taking form and I’ve been filling in the blanks ever since.
What were you trying to achieve from the project at the time? How has this evolved and what are you trying to communicate through the brand now?
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This question has allowed me to connect to the version of myself that felt safe in exploring ideas for my brand before it gained attention, and it is something I haven’t shared openly since launching. But my project actually began as an exploration of my contemporary Islamic practice.
During that time, I deeply explored the intersection of two archetypes – the burka and the bikini. Growing up in a Muslim household allowed me to witness the diminishment of religious beliefs across generations. My nene (grandmother) was more religious than my mother, who was more religious than me.
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In the early developmental stages of my first collection, I sourced inspiration from family archival photos on the beaches of Turkey. Seeing my nene in swimwear far less modest than I had imagined allowed me to feel freedom in exploring swimwear, and the outcomes of that exploration are the pieces you see at È Tijen today.
How would you describe your label to someone who’s never seen it before?
Imagine a curly-haired, Mediterranean princess stranded on a deserted island who had to make her own bikinis. Her only materials are her grandmother’s floral printed skirts, some black cord and brass fishing hooks. Think deep plum hues, terracotta red and the kind of black nylon that looks wet before you’ve even been in the ocean.
Who do you think is most exciting in Australian and New Zealand fashion right now?
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I’m fortunate to say it’s a mix of the emerging designers I was lucky enough to study alongside, plus a few others I’ve met along the way: Quiet Ander, Mode Mischief Studios, Olivia Rowan, Xanthe Ficarra, Katie Gray, And Chelle and Cultira Swim.
What are you most proud of in your work on your label?
I’m incredibly proud of the community I’ve built in a short time. Despite being just over a year old, I’ve organically attracted thousands of people who are interested in my creations enough to follow along the journey. I’m in my DMs connecting with them daily, constantly impressed by how they style the pieces. I’m always grateful for their loyalty and support; community is by far the most rewarding part of the job.
What do you wish you knew when you started?
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The solidarity that comes with being self-employed. It definitely has its perks, however, it can be isolating. I’d remind my past self not to be afraid of actively seeking friendships with creatives and leaning on that circle because ‘a problem shared is a problem halved’. We inherently want to help each other so [we] don’t overlook the importance of collaboration, community and mentorship.
What about the Australian and New Zealand fashion industry needs to change?
Ever since my mentor and patternmaker, Glen Rollason, brought it up, I’ve been thinking about the issue of not giving enough credit to the integral contributors responsible for a successful garment. Typically, designers take the spotlight once the runway show ends, leaving behind the people who helped to bring the collection to fruition.
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These highly skilled people include patternmakers, fabric cutters, sample machinists, fit models and garment technicians. I aspire for an industry that openly recognises and appreciates the numerous hands collaborating on creating a garment.
Go-to dinner party playlist?
Tasego and Brent Faiyaz introduce the dinner phase with some sax and vocals. Once ‘Nasty Girl’ by The Notorious B.I.G starts playing, we can consider the party started.
Who is in your wardrobe right now?
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This is news to him, but at the moment, I’m wearing a bunch of hand-me-downs my stepdad left behind in Australia: straight-leg, low-rise trackies, jerseys repping teams I don’t know and Adidas jorts. Shoutout to Scott for the style assistance.
How can we buy one of your pieces?
Exclusively online at etijen.com
Anything else to add?
Dressing well is a form of good manners.
You can browse the È Tijen collection here.
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