How emerging designer Wilson Jedd Adams finds inspiration in “a filthy, grimy and gritty world”
PHOTOGRAPHY BY Jordan Drysdale
AS TOLD TO DAISY HENRY
“It’s a lot of commitment to create something from nothing. You just have to keep going.”
Although RMIT fashion student Wilson Jedd Adams has had his work featured in various runways, photoshoots and exhibitions before, he tells me he’s anxious about the upcoming National Graduate Showcase x Emporium Melbourne runway as part of PayPal Melbourne Fashion Festival. “[It’s important to] protect and keep your work sacred until it’s ready to be experienced and seen,” he says.
Rather than second-guessing his designs, Wilson’s nerves are more about releasing something he’s spent so much time working on out into the world. “I was so scared to start – I had so many iterations across this collection and things changed multiple times,” he tells me. “Some garments got cut up and made into new garments.”
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Although his collection is ready for its debut, Wilson is hesitant to reveal too much else before the runway. He uses descriptions like “grimy” and “gritty”, explaining that the final collection is made largely from fabric scraps, tape and chalk. “It’s about using fashion as a canvas,” he says.
Inspired by the monochrome style of his aunty, the patterns and prints in Wilson’s Honours collection are almost entirely in black and white. His use of chalk means each design is ephemeral, in a sense. Inevitably, the chalk will rub off and need to be reapplied.
Wilson’s collection is one of many student works that will be on display at the National Graduate Showcase x Emporium Melbourne as part of PayPal Melbourne Fashion Festival on March 4. Held at the Royal Exhibition Building, the runway will feature 13 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: Hi Wilson! Tell us a bit about how you got started in fashion. Did you always want to be a designer?
Wilson: I didn’t always intend to become a fashion designer. I wanted to become an artist. I found the link between art and fashion when developing my art school upcycled collection that was made from repurposed pieces. I then went on to pursue a career in fashion.
I also worked in charity shops, retail and volunteered at fashion events. It was really in fashion school that I got my chance. It was at Whitehouse Institute of Design that I learnt everything, from garment construction to tech packs.
Tell me about the collection you’re showing for the National Graduate Showcase. What was your inspiration?
I’m currently completing my honours in fashion at RMIT. I developed this collection, which utilises actual chalk as a medium for expressing prints, patterns and maximalist expression across the looks. With the ephemeral nature of using chalk, I developed this notion of “Deteriorating Maximalism.” It’s prints and patterns, that can rub off, be reapplied and layered again. It’s about using fashion as a canvas, fashion that can be drawn on with chalk.
There is also the monochrome style of my aunty Mary, who is immortalised through this collection. I was thinking about her in the back of my head when I was making each design. It also explores the notion of being young, dressing up and playing around in the closet. When you’re a child, you often play with what you can find at hand, whether that’s cardboard, tape or chalk.
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What has the process of creating your collection been like?
I have created multiple looks for this collection and there many sides to it. It took a lot out of me – it was very a rigorous and strenuous process. There were some very long and late nights and some days I was chained to one machine, pumping them out.
There are so many layers. It was cutting the pattern pieces, sewing on the collaged layer of fabric scraps and then painting the piece with chalkboard paint and then waiting for it to dry. After that, each pattern piece or semi-assembled garment was drawn on with chalk. Either mimicking a classical pattern or inventing my own. It’s a lot of commitment to create something from nothing. You just have to keep going.
How would you describe your collection to someone who’s never seen it before?
This collection returns to the notion that fashion is romantic and creates a spectacle. It goes against the grain of needing to rely on a gimmick. It’s about the detail and passion in the pieces. This collection is made of fabric scraps, cardboard, tape and chalk. It invites you into a filthy, grimy and gritty world.
What are you most proud of in your work so far?
I’m very proud I got there in the end. It was a journey. There were a lot of challenges and hurdles and I often questioned myself while creating this body of work.
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What do you wish you knew when you started on your collection?
Probably to trust my gut more and get started ASAP. I was so scared to start – I had so many iterations across this collection and things changed multiple times. Some garments got cut up and made into new garments.
Who is exciting you the most in local fashion right now?
There is a massive, melting pot of emerging and local fashion designers here, doing some very exciting things and changing the industry. In particular, I’m excited to see the launch of Baaqiy. She has some very exciting and interesting projects coming up.
What about the local fashion industry needs to change?
I’ve learnt a lot in the last two years of being in this industry. It’s very tough. Fashion design requires you to transform yourself, adapt, change or break the mould. It’s very image-focused – you either play into it or go against the grain. It’s important to say no to certain opportunities. Do not be a doormat and know your worth. Do not say yes to everything or spread yourself too far or too thin. Protect and keep your work sacred until it’s ready to be experienced and seen.
It’s also important we focus on local designers, local production and local manufacturing. We must strive for more jobs, more cultural events and opportunities for emerging designers in this industry. Otherwise, we will resort to working overseas. There are so many designers, who deserve their flowers and their opportunity to shine.
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Where do you hope to be in the next five years?
I hope I’m still making. I have always focused on growth, change and doing something different. I am hoping I’m still working in fashion, maybe progressing to art direction or marketing. Fashion does take a lot out of you, hence why I hope I am not overworking myself too hard. I hope life becomes at last, easy.
How can we see more of your work?
You can find me at Melbourne Fashion Festival, on my Instagram or via my website.
Get your tickets to the NGS Showcase at PayPal Melbourne Fashion Festival here.
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