Sauce meets : Aotearoa’s new guard of young designers
The next generation of Aotearoa’s talent is here. Last week Sauce had the chance to chat with Tom Hoare, a recent Massey University graduate, and Danyella Pezic, a graduate from AUT. In this interview, we dissect the details of their design process and inspiration behind their graduate collections. We discuss what local brands the young designers are wearing themselves and what they have planned for the near future.
Tom Hoare
Please tell us about your introduction to the fashion world. What is your earliest fashion-related memory?
I got into fashion super late. I'm not one of those kids who are like "I grew up reading my mum's Vogue magazines". Growing up in Christchurch, no one around me cared much for fashion so I didn’t cross paths with it until my gap year in 2018. I was 17, travelling around Europe, coaching football. I then ended up staying in the UK for a while where my interest in fashion developed. This was mostly through personal style rather than through making clothes. I moved back to New Zealand in 2019 and went to Massey University to study fine arts. In the first year, I picked up a couple of fashion papers and my interests began to shift. I discovered a new passion and decided to take a risk and switch majors. I am very glad I did.
You were intrigued by the idea of dandyism and decadence. What does dandyism look like in today's world? Are there any dandies in your circles? Would you consider yourself a dandy?
Dandyism is a philosophical outlook. It refers to the way of being that is more than just a sense of style, it is an outward sign of an inward philosophical disposition, a complete aestheticization of the everyday. Objects almost become fetishised. I have a few friends whom I consider to be dandies, but I don’t think I am one. My close friend Amile comes to mind. He is a big source of inspiration for me.
Is he in a constant pursuit of aesthetic decadence?
Not necessarily always aesthetic. I think he is just completely dedicated to things that he finds fulfilling and won't stray away from that. He doesn't let things affect the way he wants to live, he never makes sacrifices. Amile always tries to find new ways to express himself which is very admirable. The small details like the jewellery he wears and the slits he cuts in his trousers make his sense of style completely authentic. The contemporary dandy, in my opinion, is someone who wears suit pants but sags them and pairs that with a massive bejewelled belt. [laughs]
Does Joris-Karl Huysman’s Against Nature hold special value to you? What made you base an entire collection on this piece?
His style of writing ties into dandyism because it's so aesthetically driven and everything dissolves into its descriptions. It's not trying to give any sort of message, the message is within how it's described rather than what is being described. This relates to my outlook on design. The beauty of it is in the fact that it can be purely aesthetic and doesn't have to inform or teach you anything. It's an object that holds a place in time and that is enough.
Are you saying you are not particularly concerned with every piece of clothing you wear or make having a story or meaning behind it?
Yes exactly, it's just clothing. It's about creating a certain atmosphere. During my design process, I see the collection as a vague ‘look’ or atmosphere, I'm not trying to achieve any singular thing. Everything melts into one. I see the look and the silhouette before I see the clothes.
Do you sketch out your ideas?
I make drawings but most of my design process is in my head. I'm not very good at translating things. Once I come up with an idea I will do a vague sketch of what I am trying to achieve and work from that. I will let the garment work off itself, changing things as I go, and making decisions during the process rather than having every step pre-planned beforehand. I do a lot of sampling but also let things be as they are. Especially with the fabric manipulations, I had to leave some aspects up to chance.
I am interested in your design process. Could you walk me through it?
I began by researching historical references. I was particularly interested in late 19th-century French fashion. Dandyism in France was a sleeker reinterpretation of the English style of that era. This aesthetic largely influenced my designs. My research process doesn’t involve looking at other designers for inspiration. Of course there are designers I admire but I don’t tend to look at the garments they make. I am much more intrigued by the idea of old, nearly forgotten aesthetics. My moodboards consisted of photos of old tattered, deteriorated clothing from that era. I was inspired by the age and decay of these pieces more so than by the garments themselves. Through sketching I then combined these silhouettes with my contemporary inspirations: music and people. I have many muses among my friends and take a lot of inspiration from the way they dress.
There is a lot of discourse about how the beauty of things is sometimes in the fact that they're worn-in, damaged and look like they have been loved for a long time. Is that what you wanted to achieve with this collection?
Yes, definitely. I think clothes can look pretty vulgar when they're brand new since they do not reflect the wearer. In my thesis, I speak about the tears and creases as inscriptions of memory. I find it interesting that these things add character and aesthetic value but at the same time can decrease market value. However, sometimes signs of wear can get fetishized and people capitalise off that but it’s easy to tell when it's not 'real'.
I know just how much time and experimentation went into manipulating the fabrics. Could you tell us a little more about this process?
I knew from the very beginning that I wanted to achieve some sort of deterioration. I started by burning the fabric and scruffing things up with sandpaper until my lecturer, whom I admire, walked past and went "Ugh that's so fucking boring," and he was right. He told me I should go into Bunnings, buy anything abrasive and see what happens. I did many experiments but there was one in particular that worked well. I bought a disgusting gold polyester velvet, probably the ugliest fabric you've ever seen, covered it in many layers of spray paint and let that dry. I then put a paint stripper on top which would bubble up and almost look like it's boiling. It's quite a disgusting and messy process.
Did the paint stripper burn through the fabric? Or make holes in it?
If I put too much paint stripper on it would. I had to do countless iterations with different "recipes". It was a surprise every time. The desired result was difficult to achieve and I started running into a lot of issues once I was working with a larger amount of fabric. At one point, there was no paint stripper left in Central Wellington so I had to drive to the Hutt to get more. I spent hundreds of dollars on this fabric manipulation alone.
How much fabric would you work on at once?
2 metres for each garment. I would manipulate the fabric before cutting the pieces out. As a broke student, occasionally I wouldn't be able to afford to buy all the materials at once so I would work on one piece of fabric, make the garment with it and then wait until my next paycheck to buy more.
Were there any other fabric manipulations you tested?
The black velvet, which the shirt is made of, was distressed through devoré or chemical burnout. This process is often used to produce a floral, old-lady pattern. I wanted to do it in a more contemporary way. For example, the dress [not pictured] has a design from the curtains in my bedroom on it to play into the idea of a reclusive dandy who spends all day in bed. I used sodium bisulphate which is used to de-alkaline swimming pools. I mixed it with water to create a paste which I then applied to the velvet. I let it dry out and harden before burning it off with an iron. The velvet had a silk base which is a synthetic fibre and rayon on top which is a natural fibre. When you burn off the sodium bisulphate paste the natural fibres are burnt off with it and you are left with a synthetic base.
I know you're just at the beginning of your career, but what has been your proudest moment so far?
Shooting my collection. It was a very cool moment. We were on location and we just knew it was going to be good. I always have some self-doubt but in that moment I could tell that this was going to be something I feel proud of. Who cares about grades as long as I am happy with what I have made? My construction is still rough but the ideas are there. It took a while for my technical skills and execution to catch up to my ideas. I am still not the best at sewing but that will come with practice. I'm excited to keep learning.
Let's talk a bit about your taste. Are there any designers, local or international, who have influenced your work or you simply find inspiring?
I am inspired by young designers and makers who are not afraid to create opportunities for themselves. My friend Elijah Broughton is a fantastic artist. We feed off each other’s ideas often. The aforementioned Amile Boyle is a poet, writer and a huge inspiration to me. Isaac Kettle is someone I also admire. Attending his and his brother's runway show in 2022 was exciting. I have a lot of respect for people who take action instead of simply talking about doing something.
Are there no big names in fashion design whom you look up to?
Not current. I like Dior-era Hedi Slimane's silhouettes, but I am not worried about what he is doing at Celine. I also like Miguel Adrover. He is a designer from the early 2000s based in New York who only made a handful of collections. I admire him because he never sold anything — he didn't design with the intention to sell.
How would you describe your personal style?
I would hate to ever be associated with a trend, but I can't escape the indie thing, just because that's what I grew up on. I've always kind of dressed like that. Pete Doherty is everything to me. He's a huge influence on my style.
Where do you shop? Are there any brands you are loyal to?
I usually get my clothes from my friends or TradeMe. I don’t often buy new. I guess I have a couple of Marithe Francois Girbaud pieces but the rest of my wardrobe would probably be considered ugly. I just happen to have these 2 cool jackets.
You seem to have a big interest in literature. What are your top 5 favourite books?
Obviously, Against Nature by Joris-Karl Huysmans which was the inspiration for my collection. It's an incredible book that I have read 3 times now. His writing is beautifully dense and descriptive. The Idiot by Dostoyevsky is also one of my favourites. Atomised by Michel Houellebecq. He's very important despite his controversies. Nausea by Jean-Paul Sartre is a really good book. Fashion at the Edge by Caroline Evans is the most important, beautiful fashion theory book that anyone vaguely interested in fashion should read. I hope to write something like that one day.
Lastly, what are your plans for the near future?
After my recent move to Auckland, I finally secured a shared studio space. I want to carry on making and put out another collection by the end of this year. I would also like to put on a show. I've got a few cool ideas for it but I don't want to give too much away.
Danyela Pezic
Please tell me about your introduction to the fashion world. What is your first fashion-related memory?
I've been involved with fashion my whole life. I have 2 core memories from when I was little. In primary school, I sketched new uniform designs for hours which I then gave to the principal. I also made my dress for the primary school disco. It was neon green, asymmetrical with bright pink stars which I sewed on.
Is anyone in your family involved with fashion?
My mum is a good sewer. She used to make garments but now she just mends. When I was growing up, while making dinner we would wear an apron she made as a little girl. Her interest in fashion rubbed off on me. I still use the Bernina sewing machine which she bought at15.
Could you tell me a little bit more about your collection and specifically the inspiration behind it?
During my trip to Greece in June last year I became fascinated by marble sculptures. I am often drawn to illusions so it was intriguing to see solid rock manipulated to resemble soft, light drapery with the body of the subject peeking through the ‘fabric’. I remember looking at Aphrodite of Melos, the epitome of beauty, with her limbs eroded. There was a certain beauty within this decay. It inspired me to document time’s relationship with beautiful things.
While researching I came across the idea of deconstruction fashion. It focuses on the conflict of form and function while also questioning the stereotypical feminine silhouette through the use of raw, unfinished motifs. I played around with the idea of beauty and decay by showing the female physique through the moulded leather garments while also leaving the edges untouched as if peeling away from the wearer. The denim pieces erode and unravel towards the bottom, almost resembling ankle-bite.
I'm interested in your design process. Could you walk me through it?
I struggle to go from researching and moodboarding straight to sketching my ideas. I like to have a more three-dimensional approach. For example, while designing my collection I played around with recording people taking off garments and printing out freeze frames to discover how the fabric draped during this process. I don't have many sketches of my final pieces because they changed so much in the process of making them. With wet leather moulding, there wasn't an effective way to prototype so I had to jump straight in. I played around with different shapes, if I didn't like something I could re-submerge the leather and reshape it over and over again.
Although you are just at the beginning of your career, what is something you are very proud of?
I am proud of myself for finishing my degree. It is a huge relief after spending so many late nights sketching, pattern-making, and sewing.
Another moment that comes to mind is when I won the streetwear category of a competition run by the YMCA. I think this win served as evidence of my success to older people in my life who didn't see fashion as a respectable field of study. It was a good feeling and motivated me to keep going.
Are there any designers, local or international, who have influenced your work or you simply admire?
I appreciate a wide range of designers for different reasons. If I had to choose, Maison Margiela and Ann Demeulemeester are my top two. Their designs may not always be interesting through colour but the proportions and layering are always intriguing. In terms of local designers, last year my classmates were a huge source of inspiration to me. Many of them have great taste and personal style. I am certain we will be hearing about many of them soon.
How would you describe your personal style? What brands do you like to wear?
I think my style is quite erratic. I guess the core part of my wardrobe consists of many second-hand 90s and 2000s pieces with a few self-made items. Through my fashion degree, I have been exposed to fashion waste more than an average person so I feel compelled to practise sustainable fashion. I used to think I had no style but I've discovered my love for mixing traditionally feminine and masculine silhouettes.
I recently got a great jacket from Karla Laidlaw. I like how this brand makes pieces that can be worn in different ways. Another brand I like to wear is True Religion. Wherever I am second-hand shopping that's a tag I look out for.
What have you been watching, reading, and listening to lately?
My favourite downtime activity is to watch 90s runway shows. I am quite picky with what I watch. For example, if the video doesn't have the original audio it’s a deal breaker. I think the music is such a critical part of the whole experience. Yesterday I watched the 1996 spring-summer Ann Demeulemeester show – highly recommend it!
Although it is embarrassingly trendy, I recently finished reading Just Kids by Patti Smith.
Lately, I've been listening to a lot of Mazzy Star and The Sundays.
What are your plans for the future?
I still have one more year of studying business and marketing, which will keep me busy. I am excited to get back to sewing for myself rather than for an assignment. Of course, I am hoping to go overseas and see what opportunities arise, but I also understand the importance of creating those opportunities for myself.
Interview & styling: Yana Kulishenko
Images: Finn Bowman
Assisted by Cato Dobbs
Makeup & hair: Sarika Patel
Gold heart necklace: Meadowlark Jewellery
All other jewellery: Natalie Crombie
Red and black striped shirt, black velvet shirt and jacket: Tom Hoare
Men’s loafers: Sebago
Denim and leather pieces: Danyela Pezic
Black heels: COS
