Amusing shapes in outrageous sizes: A closer look at Leah Wilkinson’s graduate collection
PHOTOGRAPHY BY JORDAN DRYSDALE
as told to daisy henry
“I feel like there’s often a pressure to prioritise commercial safety over creativity, but fashion is still a form of art.”
With over a thousand metres of fabric, LCI fashion student Leah Wilkinson’s graduate collection, Domestic Disturbance, is hard to miss. Tulle, as she soon came to learn, can be a notoriously difficult material to work with. “Learning when to stop adding volume or colour was also key to making sure the silhouettes felt intentional, rather than overwhelming,” Leah explains. But looking back, the “blood, sweat and tears” have only further strengthened her skillset.
Taking inspiration from traditional topiary and 1950s housewife aesthetics, the message behind her imposing collection is largely about reclaiming femininity. It takes a symbol of control, like a dress or hour-glass silhouette, and turns it into an exaggerated message about empowerment.
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Featuring three bright, neon-coloured looks, her final collection is in-your-face, in all the best ways. “It’s aggressive but also very playful with a mix of amusing shapes and outrageous sizes.”
Domestic Disturbance is one of many student collections that will be on display at the National Graduate Showcase as part of PayPal Melbourne Fashion Festival on February 24. Held at the Royal Exhibition Building, the runway will feature 12 graduate designers hand-picked from Australia’s leading fashion institutions. It’s always an exciting glimpse into the future of Australian fashion and Fashion Journal is proud to be a long-time media partner of the event.
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Fashion Journal: Tell me about how you first got started in the fashion industry. Did you always want to be a designer?
Leah: I first did fashion design as a school elective and instantly loved it. I was always curious about fashion as a kid, and my interest began by exploring my own personal style. Then, when I started to study design, it gradually turned into a deeper fascination surrounding how fashion can be used to express creativity and tell stories. I love using it as a creative tool to communicate how I feel.
Tell me about the collection you’re showing for the NGS runway. What was your inspiration and what is the message behind it?
The inspiration behind this collection drew on 1950s domestic traditional house wife dresses and aesthetic. This message behind this collection is about reclaiming and redefining femininity. By merging traditional 1950s ‘trad wife’ aesthetics with modern couture, it challenges the patriarchal ideas that once confined women to domestic roles.
The collection exposes how those ideas still play a role in today’s beauty standards, by using fashion as a tool to question who truly holds power over how woman are seen. This collection takes a symbol of control and turns it into one of empowerment.
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What has the process been like? Have there been many setbacks or challenges along the way?
The process of creating my collection was both fun and chaotic. There were definitely some long days and sleepless nights, but I enjoyed the process and all the learning curves I had to face. There were days where I didn’t buy enough fabric, times I thought could everything done in a day, or weeks where I was running off no sleep. A lot of my work could get repetitive at times which sometimes made it difficult to endure. But seeing the end result of each garment made those exhausting days so worth it.
How would you describe your collection to someone who’s never seen it before?
My collection is fearless with colour and very unapologetic in its use of statement silhouettes that radiate so much energy with their movement and boldness. It’s aggressive but also very playful with its mix of amusing shapes and outrageous sizes. These garments could grab anyones attention. With over a thousand metres of tulle, it’s hard not to miss.
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What are you most proud of in your work so far?
I’m most proud of how I was able to transform a very delicate and touchy fabric like tulle into bold, structured silhouettes. Being able to push the fabric beyond its softness allowed me to create volume and strength. I’m proud of being able to have a clear vision and taking risks without letting fear overwhelm me. Every decision was intentional, from the colour to the silhouette. The collection challenges traditional ideas of wearability and restraint.
What do you wish you’d known when you first started your collection?
I wish I’d known how time consuming and unpredictable tulle can be. It required constant experimentation with layering, support and finishing. Learning when to stop adding volume or colour was also key to making sure the silhouettes felt intentional, rather than overwhelming. But I ultimately wished that I’d known that the challenges you face as a designer are part of the identity of the collection. The ‘blood, sweat and tears’ have only strengthened me as a designer.
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Who is exciting you the most in local fashion right now?
I am most exited for the NGV exhibition that is currently showcasing fashion designers Vivienne Westwood and Rei Kawakubo. I can’t wait to see their works in person and read more about their iconic careers.
What about the local fashion industry needs to change?
I think the industry needs to allow more space for designers to take risks and to experiment. I feel like there’s often a pressure to prioritise commercial safety over creativity, but fashion is still a form of art.
I also think the industry needs to slow down overproduction. Rapidly moving trend cycles are creating too much waste and devalues craftsmanship. The industry needs to value the process.
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Who are your dream collaborators?
I would’ve loved to have worked with Vivienne Westwood because of her unapologetic and fearless approach. I also would’ve dreamed of working with Elsa Schiaparelli for similar reasons – her work was so unique and constantly pushed the boundaries.
Keep up with Leah here.
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