ID Dunedin’s newest designers were three graduates from Otago Polytechnic. Jack Yan interviews Keita McGowan, Philippa Bradley and Charmaine Reveley

HAT MAKES Dunedin, New Zealand tick?
   Dunedin is, in many ways, a student town. It probably boasts the greatest number of out-of-town students, whose absence during the holidays is felt in a city that seems to go quiet in the height of summer. There is an open-mindedness towards young people—imagine the near-campus parts of Berkeley, California, expanded over the area of an antipodean city.
   Even that does not capture completely how this city embraces its young. The ID Dunedin Fashion Show, supported by local newspaper The Otago Daily Times, is one testament—how many events are willing to devote a part to emerging talent without expecting any monetary compensation? Or complement what is really a retail-targeted autumn–winter collection with items that showcase student imagination?
   Three graduates, selected by Otago Polytechnic where they trained, had a chance to demonstrate how far they could push the envelope with fashion. Charmaine Reveley, Keita McGowan and Philippa Bradley’s mini-collections on the night were not meant to be practical, production-destined designs, but an insight into their dreams and creativity. ‘We did not have to think about commercial reality,’ according to Bradley in an interview with Lucire the following day.
   Reveley showed a collection celebrating the spirit of New Zealand womanhood, accompanied by ‘The Tender Trap’, in a jazz rendition which they had to settle on to suit all three designers’ works. Floral prints, knitwear and patchwork made for a colourful homage to the homemaking skills of an earlier era. A participant in Dunedin’s highly successful Fashion Incubator programme—from which Christina Perriam has emerged—Reveley complemented her designs with matching handbags, belts and footwear.
   ‘I was trying to include complexity, but how far do you go?’ asked Reveley. ‘I had to stick to detail, seaming without losing that complexity.’
   McGowan’s collection was more complex. Based around the idea of recycling, she sourced fabrics from op shops and her personal collection, so polka dots and 1970s’ floral patterns took the audience back to some less than tasteful prints and wallpaper. It is not to say McGowan’s work was tasteless—in fact, her statement about one’s duty to recycle was one of the clearest of the night. Despite this, McGowan says that she is ‘not on a campaign to save the world.’
   In future collections, she expects to create unique items. While there would be a basic production skeleton, each garment would be decorated in some way with a recycled element, e.g. a cuff.
   Bradley’s trans-seasonal collection was one of the most delightful of the evening. Based around the 1920s, it more than ably captured the charleston–Kit Kat Club scene with plenty of tulle and ruffles; we saw puffed hot pants, a 60-plus-year-old fox stole (sourced specially from an op shop, since fur is rarely displayed) and pearls that brought the ’20s up to date. Bradley has already been recognized at the Hokonui Fashion Awards and had received mentoring from New York-based Rebecca Taylor. ‘I wanted people to think,’ she told Lucire.
   But why the 1920s? ‘I wished I had grown up then,’ said Bradley. ‘I love the style of clothing, jewellery, music, sparkles and the tulle.’
   As could be seen from their collections, the three emerging designers had markedly different personalities.
   I found Reveley the thinker of the trio in the next day’s interview with all three designers, contemplating each question carefully before answering. Bradley proved to be relaxed, certain with her direction and her future plans for her label; McGowan came across as more rebellious, prepared to make a statement—with hindsight, the three personalities could have been predicted from viewing their work the night before. What also could be predicted—even after a day in the city—was that there would be a bond between the three young women. People here gel.
   They tried to answer my opening question about what made Dunedin tick. McGowan explained that it was ‘Smaller and more comfortable,’ something with which the others agreed.
   ‘You are recognized,’ said Bradley—but as McGowan pointed out, it did not mean one was necessarily better behaved.
   One of the boons of studying at Otago, they explained, was the close-knit fashion design community. ‘We are more practical at Otago [Polytechnic],’ said McGowan. There was support from local designer Tanya Carlson—who has made the pages of this magazine regularly—not to mention Zambesi, Marilyn Sainty, Nom D and World, established names in New Zealand and in export markets.
   Despite their very different styles, they shared certain outlooks. Reveley believes in ‘the personal level’ when it comes to selling fashion, a comment with which Bradley agreed: ‘We dislike big-anything, [including] stores.’ They had a definite stance toward corporate social responsibility, and while it was, as McGowan pointed out, impossible to know the behaviours of every company, they believed they would avoid companies that didn’t do good in their communities.
   Their ambitions were clear. None of the trio had plans to embark on their OEs (overseas’ experiences), a Kiwi custom for many graduates who want to see the world. Reveley said she wanted to see more of New Zealand itself, while Bradley stated that she wished to ascertain her career path first. Once settled, they talked of Paris, Roma, New York and even Russia (for McGowan, who admits to a fascination for the country through her coaching gymnastics).
   For now, it’s building up those savings and ensuring a solid, secure base for themselves. They abhor debt. It may be a wise decision—they understand that they might not even know the ingredients of their ideal OE right now. It’s something that two young designers I know in Wellington have done after running their labels for some years.
   This direction can only benefit the New Zealand consumer, who should begin to see the fruits of these designers’ talents shortly. At this rate, Dunedin may hold on to its reputation as a fashion hotbed in New Zealand for some time yet. •

Jack Yan is founding publisher of Lucire. His visit was organized by Tourism Dunedin in association with the Dunedin City Council.