Every year, walking past ELAM at the start of first semester gets more and more terrifying. Consistently, the jeans get baggier, the earrings get weirder and the sunglasses get more and more like those the High School Musical cast might have donned on a red carpet. It’s not uncommon to see herds of these students draped in second-hand fabric and trinkets roaming campus, exerting their powerful image and searching for the nearest black coffee.
Consuming with a conscience can be a complicated affair. While, of course, it is not up to the individual to save the eco-precarious future, and true, meaningful action that targets our climate emergency needs to come from legislation and those companies who cause the most harm, it’s difficult to avoid the guilt that a single-use plastic bag can invoke. With more and more mainstream sources detailing the harm that the fashion industry causes, through the use of microplastics, toxic dyes and highly slave labour, the consequences of that ten-dollar top are impossible to ignore. The way that clothing and, of course, its accessories are produced, sold and consumed is actively damaging our environment.
Major fashion houses are turning away followers with their secrecy about working conditions, the use of cheap materials and highly disingenuous ‘murketing’ campaigns. It seems that students at the University are among them, detailing their own anxieties that arise when engaging with the mode of production and consumption.
Major fashion houses are turning away followers with their secrecy about working conditions, the use of cheap materials and highly disingenuous ‘murketing’ campaigns.
One student notes, “I don’t buy fast fashion, not firsthand. I think fast fashion consists of exploitation and is awful for the environment and the workers, but I also acknowledge that often the need to buy fast fashion is tied into class issues and accessibility.” Similarly, another says, “I do not buy from fast fashion stores and strongly disagree with their business model, but I also understand that other alternatives are not as accessible/equitable. I acknowledge that ethical fashion is much more expensive and may not cater to different styles.” Another student discloses an issue of access that the others describe, noting, “I HATE fast fashion. But where’s the slow fashion stores in NZ? My only option is to buy from overseas stores (yuck, carbon emission flights), buy second hand (hard as a plus size girl), or suck it up and buy from the fast labels.” Others also noted a reliance on fast fashion outlets due to budget constraints, with one explaining, “Unfortunately it’s hard to avoid. When you want things like cheap underwear and socks on a student budget, you go to Kmart.”
Of course, in reaction to the dominating damage of fast fashion, other models of consumption are being highlighted. The ‘slow fashion’ movement emphasises a more sustainable approach to consumption, encouraging buyers to reject over-consumption and lengthen the life of their pieces. More broadly, the tag ‘sustainable fashion’ has been gaining some steam. Though the term is often co-opted by large green-washing campaigns (where companies shroud unethical practices behind earthy imagery), and is a little more nebulous in its definition, it encourages a collective reimagining of our relationship to fashion.
In attempting to define the term, one student said, “Fashion that operates in a closed-loop sustainable system, and can be reused or repurposed.” Another echoed the importance of this ‘loop’ approach, stating, “To me, sustainable fashion includes ethical clothing – made sustainably, with fair working conditions and a good life cycle. Ideally, a fully sustainable fashion industry would function in a circular model, where the fabrics can be repurposed and reused to make new items but I doubt this model is as profitable as the status quo.” Others highlighted the importance of changes to the production process, detailing that, “Workers are paid fair wages, locally sourced materials, produced in small batches, low environmental impact (i.e. low wastewater and water usage), and made from low impact materials i.e. bamboo, cotton, flax, hemp etc. NOT plastics like viscose and polyester.” One student took a much more philosophical approach, speaking rather holistically: “[Pieces] made with intent that protects the rights of the people and our planet now and for generations to come.”
UOA students and alumni are not just having these discussions and adjusting their buying habits. They are also positioning themselves within the process of production and distribution, encouraging more sustainable approaches to fashion through mindful, local creation.
They are also positioning themselves within the process of production and distribution, encouraging more sustainable approaches to fashion through mindful, local creation.
Grace Ko, a former student of the University, first launched Baobei in 2019. The jewellery brand carries a wide range of beaded necklaces, with some pretty eye-catching and unique styles. Ko describes what the beginnings of the brand looked like, saying, “My parents have been running the same retail store in Wellington for over 20 years. They sell everything from fabrics to fake flowers. They also sold beads, and the unsustainable thing about retail is the amount of dead stock they had. The beginning of Baobei was pure experimentation and play – all I had was a million deadstock beads and the urge to repurpose them. I didn’t even know how to bead but I had so many fun visions of colour combinations, patterns and inspirations.”
In the creation of her pieces, Ko has made use of those deadstock beads, repurposing them into pieces that she says are inspired by her childhood. Ko has also started to utilise beads sourced in Aotearoa, minimising waste through exchanges of excess materials. With these pieces, she intends to produce some more simple and timeless designs that she might one day be able to pass on to her children. She explains, “I believe that sustainable fashion has had a lot of thought put into it and when you buy products that have been carefully crafted with the process and materials in mind, then you’re paying for something that is valuable and special and hopefully something you will own for a long time.”
Ko also confesses to the positive affirmation she gains during her process of mindful creation, illustrating how rewarding designing can be. She says, “I also love coming up with experimental designs, making them, then sitting in front of the mirror and putting it on myself. It’s a pretty romantic moment.” With Baobei, Ko intends to put the wearer in charge and give them “a creation that makes its wearers feel authentically themselves.”
Ko also confesses to the positive affirmation she gains during her process of mindful creation, illustrating how rewarding designing can be.
Hannah Davis-Gray, another alumnus of the University, heads Dangerous Goods, an increasingly popular jewellery brand based in Tāmakai Makaurau. Her flash designs have a somewhat earthy and organic feel to them, definitely demanding some admiration. She describes her experiences with the launch of the brand, stating, “I’ve always been interested in jewellery making. As a kid, I was really into beading and at high school I made a bunch of garden-like rings and tiaras out of beaded flowers, and sculpted Fimo beads with little faces. I started making jewellery out of precious metals while I was at ELAM in 2016. I did a semester abroad in Melbourne and took a short night class where we made one ring and a pair of earrings – this was my first introduction to casting and working with metal. I kept experimenting in the university workshops, working on small sculptural pieces using precious metals and found materials. I was making more wearable jewellery in my spare time and my friends at ELAM started wearing it, things just kept growing from there.”
Davis-Gray is also intently focused on minimising the ethical and environmental impacts that her pieces might have. She explains, “I often feel conflicted about making things and bringing new things into existence. The great thing about precious metals and gemstones is that they are easily reusable, so the materials in anything I make can be endlessly melted, reused and reworked into new things. This works in reverse too, so most of the metal and gems I use in my pieces are recycled or sourced second-hand or directly from custom clients. I also work with lab-grown gems which are a more environmentally friendly alternative to mined gemstones.
In fact, Davis-Gray’s entire process is driven in opposition to the fast fashion industry. Her design and production are slow and local, with much of it done by her own hand. She says, “I purposefully avoid making moulds and repeating pieces within seasoned collections as I hope each piece is unique to its wearer and is worn by them forever – not just while it’s in fashion. I do understand that many people can’t afford to purchase from many of the sustainable/ethical brands out there, including mine. I try to keep my prices as low as possible focusing on a material and labour based costing algorithm rather than a classic mark-up, and working on custom pieces to any budget.”
Like Ko, Davis-Gray also finds the process of creation immensely rewarding. She remarks, “My favourite thing about making jewellery is the connections it makes between me and the wearer. I’ve made so many great friendships through my jewellery and still get a huge amount of joy every time I spot someone wearing something I’ve made.”
As local talents, Ko and Davis-Gray are certainly having an impact. Recently, kiwi-megastar Stella Rose Bennet, better known as Benee, was captured wearing a Baobei necklace and donned a Dangerous Goods number on the cover of Rolling Stone. Having these local brands with ethical concerns as part of the Aotearoa fashion scene is encouraging; it’s a valuable piece of the extremely large puzzle that could bring us closer to further eco-awareness. The work of Ko and Davis-Gray illustrate that the most valuable aspects of fashion are about ethical and enthusiastic connection, with ourselves, the planet and the people who make and admire the things we wear.
Full Interview with Grace Ko of Baobei
What did the beginnings of Baobei look like?
My parents have been running the same retail store in Wellington for over 20 years. They sell everything from fabrics to fake flowers. They also sold beads, and the unsustainable thing about retail is the amount of dead stock they had.
So, the beginning of Baobei was pure experimentation and play – all I had was a million deadstock beads and the urge to repurpose them. I didn’t even know how to bead but I had so many fun visions of colour combinations, patterns and inspirations.
Where do you draw inspiration for the design process and overall brand?
Baobei has two product lines; one made from repurposed beads and the other from NZ sourced beads.
The line made from repurposed beads is centred around play and inspired by my childhood. I associate my parent’s shop with my childhood – I would play dress ups and spend all day making Scoobies (if you remember what those are!). So the design process is rooted in freedom where I’ll always start with my hands and trust in my creativity.
My second line was born to cater to the other side of my personality. I like simple and sophisticated designs that are timeless. I love the idea of passing down my favourite items to my future children. The design process is very different – I’ll start with mood boards inspired by the four elements of nature, interior design and wherever I find a spark to develop a look that feels right, then I’ll go from there.
The overall brand is inspired by a marriage of both my lines – a sense of play and fun as well as timelessness and simplicity.
What do you enjoy most about the design and development processes?
Learning to trust myself has been harder than I thought but also very rewarding. Maybe it’s because I’m Libra (notoriously known as indecisive people) but I found it very challenging to choose a design and develop a piece. But the more you do it and the more you allow your mind to create, the more fun it gets.
I also love coming up with experimental designs, making them, then sitting in front of the mirror and putting it on myself. It’s a pretty romantic moment.
What does the process of sourcing materials involve? And following, what are your thoughts on sustainability and fashion?
For my repurposed line, I source deadstock beads from my parents which is an easy process. I then stock these at Crushes on Karangahape Road in Auckland and Monty’s in Wellington. I’m really intentional about choosing stockists and both of these stores celebrate preloved goods and local designers. I also trust that these stores attract responsible consumers who buy things that they love and need.
With my second line, I started off sourcing glass and chrome from a local supplier. I have built a good relationship with them and only buy what I need and whenever I have too much of something, I can exchange it so that I always minimise waste. I believe that sustainable fashion has had a lot of thought put into it and when you buy products that have been carefully crafted with the process and materials in mind, then you’re paying for something that is valuable and special and hopefully something you will own for a long time.
What brands do you love and draw influence from?
I love @usadaonline not only because it’s run by one of my best friends but because I see the time and patience she pours into her brand. @usadalone has a unique aesthetic and there is a lot of soul in her content.
I also look up to multiple NZ brands like @_frisson_knits_ for their effortless way of showcasing their creation. It really puts the wearer in charge and that’s what I intended Baobei pieces to be – a creation that makes its wearers feel authentically themselves.
What has been the highlight of your time with Baobei?
Being able to imagine a photoshoot concept and then having full creative control over what it looks like and who you choose to hire as talent has been so liberating. I was able to reach out to brands I loved to add to my styling, I used my beautiful best friend as my model and used POC photographers, videographers and makeup artists to create my vision.
How did your time at UOA affect the development of Baobei?
My time at UOA was all about collaboration and group work and as you know, it can be a bittersweet experience [note: the author and Ko worked on some challenging, late-night projects while at UOA together]. Constant collaboration taught me how to be comfortable and sure with my opinion before I could communicate it effectively. With Baobei, I always make sure that I know exactly what my vision is before I share it with collaborators, that way I never lose sight of the brand’s values and ethos while I bring in new ideas and combine forces.
Check out @baobei_label on Instagram!
Full Interview with Hannah Davis-Gray of Dangerous Goods
What did the beginnings of Dangerous Goods look like?
I’ve always been interested in jewellery making. As a kid, I was really into beading and at high school I made a bunch of garden-like rings and tiaras out of beaded flowers, and sculpted Fimo beads with little faces. I started making jewellery out of precious metals while I was at Elam in 2016. I did a semester abroad in Melbourne and took a short night class where we made one ring and a pair of earrings – this was my first introduction to casting and working with metal. After the night class, I kept experimenting in the university workshops working on small sculptural pieces using precious metals and found materials. I was making more wearable jewellery in my spare time and my friends at Elam started wearing it, things just kept growing from there.
Where do you draw inspiration for the design process and overall brand? What do you enjoy most about the design and development processes?
A lot of my designs start with materials. An interesting stone, a piece of found material, and malleable wax. I sculpt most pieces with this dark brown wax that is soft enough to move around with your hands. Lots of my more organic shaped pieces, like the magma rings, seem to grow naturally out of this wax and around the stones or material I’ve selected to feature in the piece.
My more figurative pieces often draw from popular jewellery symbols – stars, hearts, flowers etc. I’m interested in the weight of meanings these simple symbols have gathered over time and their potential ‘practical’ value of enhancing luck, love, and other wishes.
Recently I’ve been working on lots of custom pieces. These pieces are developed collaboratively, starting with the wearers’ ideas alongside references to previous designs of mine. Often these pieces challenge me to include something I wouldn’t have thought of otherwise which is fun to develop in my own style.
What does the process of sourcing materials involve? And following, what are your thoughts on sustainability and fashion?
I often feel conflicted about making things and bringing new things into existence. For this reason, I have developed certain values around my making process to keep it ethical and as gentle on the environment as possible. The great thing about precious metals and gemstones is that they are easily reusable, so the materials in anything I make can be endlessly melted, reused and reworked into new things. This works in reverse too, so most of the metal and gems I use in my pieces are recycled or sourced second-hand or directly from custom clients. I also work with lab-grown gems which are a more environmentally friendly alternative to mined gemstones. I keep a chemical-free workshop – cleaning solder stain with vinegar and salt, and oxidising with eggs.
Unethical labour standards and pay, fast fashion, and overproduction are obviously huge issues within the fashion industry. My process is slow (sometimes too slow haha), I make each piece individually by hand in wax, have it cast by Regal Castings which is a 15-minute walk from my house, then finish it myself by despruing, setting stones, polishing and adding findings. I purposefully avoid making moulds and repeating pieces within seasoned collections as I hope each piece is unique to its wearer and is worn by them forever – not just while it’s in fashion. I do understand that many people can’t afford to purchase from many of the sustainable/ethical brands out there, including mine, I try to keep my prices as low as possible focusing on a material and labour based costing algorithm rather than a classic mark-up, and working on custom pieces to any budget.
What brands do you love and draw influence from?
There are so many designers and makers in Aotearoa I admire both for what they make and how they make it. Too many favourites but here’s a little list of Jewellers, clothing and furniture makers: Camille Paloma Walton, Jenny Takahashi Palmer, Matan Fadida, Gab Stoddard, Heather Brennan Evans, Courtney Marama Jewellery, Emma Jing, Taylor Groves, Rawiri Brown, Layplan and Havilah.
What has been the highlight of your time with Dangerous Goods?
My favourite thing about making jewellery is the connections it makes between me and the wearer. I’ve made so many great friendships through my jewellery and still get a huge amount of joy every time I spot someone wearing something I’ve made.
Check out @_dangerous_goods_ on Instagram!
