An aspect of my design mentor research involves looking at international fashion designers. This refers to designers outside of Australia who have been established to 5-15 years, who have been part of the industry long enough to establish a presence and develop their brand aesthetic over time.

The first fashion designer I looked at is Louise GoldinGoldin is a knitwear designer that has consistent sports inspired themes. I feel that her use of structure, paneling and line work (example below, left) ties in with my own aesthetic and the futuristic focus of my graduate collection. Goldin has stated with reference to her Spring/Summer 2011 collection (below, centre) “So with this collection I really wanted to get across this idea of a strong woman. It’s edgy and modern and plays with the idea of sportswear as couture.” (Louise Goldin 2010).

Look 7 (Marcio Madeira 2010), Look 5 ( 2010), Look 10 (Marcio Madeira 2009)

Look 8 (Marcio Madeira 2009), Look 3 (Marcio Madeira 2008), Look 12 (Marcio Madeira)


The next designer Hussein Chalayan, has a diverse range of work. The sculpted forms (below middle) from his Spring 2009 collection could act as inspiration for futuristic fashion, giving way to the accentuation and exaggeration of the form. His study into side-view silhouettes is something which has also inspired me. Chalayan’s earlier work appeared to have active wear inspiration (below left) but his work has developed to be very structurally focused (below middle and right).

Look 34 (Shoot Digital fro 2003), Look 34 (Macio Madeira 2009), Look 35 (Macio Madeira 2009)


The next designer I looked at was Christopher Kane. Observing his more recent collections (below) under his own label, it appears that Kane’s work is heavy on embellishment and textiles.

Look 27 (Marcus Tondo 2013), Look 4 Detail (Alessandro Viero 2012), Look 1, Look 19 (Christopher Kane 2010)


A designer I had previously researched for a style report is Catherine Malandrino. Her work is very much a fusion of feminine shape and embellishment with sporty cut and style, below are examples of the latter. This is an aesthetic which carries through half of her work. Malandrino fuses softer and organic fabrication and cut with rigid mechanical shapes. Bare in mind that her work has a whole other side of soft draped work, which I am not investigating within this line of research.

Look 26, Look 24 (Amande de Simone 2012), Look from Spring/Summer 2011 (Official Website)


As suggested to me the final designer I researched within the international designer category is Alexander Wang. I have been careful to avoid using Wang as a mentor because of feedback I had previously received regarding this, however on recommendation it has occurred to me that my own work has progressed since the last time I researched Wang’s work. With clear sport influences in the examples below, Wang’s work plays on casual silhouettes with unconventional fabrication and cut. There are also signs of more fitted silhouettes, which is similar to the stage I am in within my own design work: Exploring beyond working only on the form. Hence as a mentor Wang’s work not only informs my own design style but also exemplifies the direction I can take in the future to further my design work.

Look 6, Look 23 (Monica Feudi 2012), Look 1 (Monica Feudi 2012)



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