EFWA2026 - Wool Si ' Thirsting Earth - Collection Statement

THIRSTING EARTH

All words & images provided by Alla Salem // Wool Si

Thirsting Earth is inspired by the Australian landscape during prolonged drought — cracked, fractured and changed by heat and the absence of rain.

Using Australian wool, silk and textile remnants, I create hand-felted garments that translate the textures of parched earth into cloth. Charcoal, stone, clay, ochre and dust reflect a landscape under stress, while blue coloured, softened surfaces suggest the moment rain finally returns and the dry earth begins to change.

The collection explores drought and renewal, fragility and endurance, damage and regeneration.

For my brand WoolSi, sustainability is not simply a theme. It is embedded in the way I work — using natural fibres, reusing textile remnants and creating slowly by hand. I allow the character and behaviour of the materials to shape each piece, rather than forcing them into uniformity. This way of working stands in contrast to the speed and uniformity of mass-produced fashion. Every garment is made by hand, through a process that cannot be completely repeated. Small variations, irregularities and traces of the making remain visible — much like the landscape itself.

Each garment is therefore a one-of-a-kind response to the landscape: made slowly, with respect for the material, and with an awareness of the fragile environment that continues to inspire me.

Thirsting Earth is a tactile reflection on the environment: a thisty earth waiting for rain, a landscape carrying the marks of change, and a reminder that renewal begins with our willingness to care for what remains.

EFWA 2026 Interview with Felt Girl // Lee Nelson (WA)

The theme for EFWA26 places a massive emphasis on slow, handcrafted production and environmental stewardship. How does your collection interpret “Handmade for the Earth” through your choice of techniques and materials?

For me, “Handmade for the Earth” is about looking at what already exists and seeing its potential rather than its limitations.

Felt Girl is built around the transformation of discarded, pre-loved and unconventional textiles into something unexpected. I work with felt, op-shop fabrics, denim and other reclaimed materials, allowing their existing textures, colours and imperfections to become part of the design.

I don't want to erase the history of a material. I want to give it another chapter.

The collection is a celebration of slow fashion, individuality and the beauty that can emerge when we stop treating clothing as disposable.

Handcrafted garments carry a human element often lost in mass production. What specific artisanal process defines this collection?

Free-motion stitching, textile manipulation and upcycling are central to my process.

A lot of my work begins with experimentation rather than a traditional pattern. I layer fabrics, manipulate textures and stitch directly into the materials, allowing the garment to evolve as I work.

There is something very personal about that process. You can see the movement of the hand in the stitching and the decisions made along the way.

That is what I love about handmade fashion — there is personality in it. No two pieces are ever completely identical, because they are shaped by both the material and the maker.

EFWA26 bridges ancient textile traditions with modern design. How does your work incorporate or preserve cultural craftsmanship without losing a contemporary edge?

My work is rooted in the belief that textile craftsmanship deserves to remain relevant in contemporary fashion.

Rather than reproducing traditional garments or techniques, I take the principles of hands-on textile making — stitching, layering, construction and manipulation — and explore them through a modern wearable-art lens.

I want my work to challenge the idea of what sustainable fashion is supposed to look like. It can be experimental, sculptural, bold and unconventional while still being deeply connected to the craft of making.

If your collection involves artisan collaboration or traditional techniques, how did working with these techniques shape your process as a designer?

Working with handmade techniques has taught me to listen to the materials.

When you're working with reclaimed textiles, you can't always control what you're going to find. A piece of denim may have a particular wear pattern. A vintage fabric may have imperfections. Felt can behave differently depending on how it has been created or manipulated.

Instead of seeing those characteristics as problems, I use them to influence the design.

That creates a much more intuitive process. I experiment, adapt and problem-solve as I go — and often the unexpected moments become the most exciting part of the garment.

Every eco-designer tackles sustainability from a unique angle. What was the most challenging sustainable constraint you navigated while building this runway collection?

The challenge is creating something visually powerful without having unlimited access to new fabrics and materials.

In conventional fashion, you can decide on a colour, fabric or quantity and simply order it. My process is different. I begin with what already exists.

That limitation forces me to think differently. It pushes me to experiment with proportion, texture, layering and construction rather than relying on a beautiful new fabric to carry the design.

For me, that's where creativity really begins.

How do you ensure your garments remain truly low-impact across their entire life cycle, from source fibre to end-of-use?

I start by questioning whether I need to use something new at all.

Where possible, I work with existing materials — pre-loved textiles, op-shop finds, denim, felt and unconventional materials that might otherwise be overlooked or discarded.

I also design with individuality and longevity in mind. I want my garments to be pieces people connect with, keep and continue to wear rather than something that has a short life before being replaced.

Repair, alteration and creative reuse are also important parts of my practice. A garment doesn't necessarily have one final form. It can evolve.

To me, true sustainability is not simply about the material a garment is made from. It's about changing our relationship with clothing.

Showing at the Midland Junction Arts Centre for the Perth segment of EFWA26 brings your work to a dedicated local and international community. What message or feeling do you hope the Western Australian audience takes away from viewing your pieces on the runway?

I want people to feel joy, and to be curious - I want them to look at a garment and wonder what it was before it became a Felt Girl piece.

If someone walks away thinking, “I never would have imagined that it was made from recycled or pre-loved materials,” then I've achieved something.

My work is Textural. Bold. Sustainable. I want sustainability to feel exciting and fashion-forward — not like a compromise.

I also want audiences to see the person behind the work and understand that creativity doesn't have one mould. My journey as a designer and a person living with disability is part of my story, but it doesn't define the limits of what I can create.

Fast fashion continues to dominate consumer markets. What do you believe events like EFWA can do to shift mindset toward valuing slow, handmade textiles?

We need to change the question from “How much does this cost?” to “What went into making this?”

When you see a handmade garment on a runway, you can begin to understand the hours, experimentation, craftsmanship and story behind it. That creates a completely different relationship with clothing.

Events like EFWA give sustainable designers a platform to challenge the idea that fashion must be mass-produced, constantly replaced and disposable.

They show audiences that recycled and handmade materials can become fashion with impact — pieces that are artistic, desirable and worthy of being treasured.

For me, slow fashion is about reconnecting people with the value of making. It's about buying with intention, wearing with pride and understanding that the most interesting garment in the room doesn't necessarily have to be the newest one.

EFWA 2026 Interview with Ekzotica

The theme for EFWA26 places a massive emphasis on slow, handcrafted production and environmental stewardship. How does your collection interpret "Handmade for the Earth" through your choice of techniques and materials?

My collection, Botanica, is inspired by nature and the shifting seasons. I wanted to translate elements of nature into a wearable work of art through distinct colours, textures, and silhouettes. For me, “Handmade for the Earth” is about appreciating the time, effort and creativity that goes into making art hand. I am involved in the construction of my garments, from choosing fabrics and working with patterns to draping, to stitching and finalising the details.

I am also learning to be more mindful and make use of the materials I have already stored and finding creative ways to repurpose so that they do not go to waste.

Handcrafted garments carry a human element often lost in mass production. What specific artisanal process (e.g., natural dyeing, hand-spinning, zero-waste weaving, upcycling) defines this collection?

My main processes include handcrafting and up-cycling. I enjoy taking something that already exists and imagining the possibilities of what i can transform it into. Some of the materials I am working with are fabrics I have collected during my time as a fashion student, and I’ve also experimenting with an existing garment and reconstructing it into something completely different. I am what I love about designing is sometimes you start with one idea, but as you work with the fabric, it shifts to another direction. I like allowing that creative process to happen rather than trying to control and force it.

EFWA26 bridges ancient textile traditions with modern design. How does your work incorporate or preserve cultural craftsmanship without losing a contemporary edge?
I appreciate the creativity and craftsmanship found in different traditions, especially the attention to detail, I especially like stories when stories are expressed and preserved through clothing.As a designer, I’m in the process of exploring the ways I want to bring those influences into my creation. With Botanica, my main inspiration is nature, but I also enjoy experimenting with modest designs and flowing fabrics to create a dramatic effect.

I want to create pieces that feel artistic and expressive while merging into them some modernity and giving them their own identity.

If your collection involves artisan collaboration or traditional techniques, how did working with these techniques shape your process as a designer?

This collection has been very hands on, which has taught me a lot about patience, problem-solving and trusting my creativity and the process rather than expecting absolute perfection. I am learning that the designing process is not always straightforward. Somethings may not work the way I imagined, and I must rethink it, redirect it, or find a different solution. This project has helped me to appreciate craftsmanship even more because it’s one thing to imagine a design but bringing it to life with your own hands is a completely unique experience.

Every eco-designer tackles sustainability from a unique angle—whether it's circularity, natural dyes, or zero-waste pattern making. What was the most challenging sustainable constraint you navigated while building this runway collection?

One of my biggest challenges has been working with the materials I already have while trying to bring my creative vision to life. Sometimes you imagine a particular look, but the fabric you have might not behave the way you expected. Instead of buying something new, I have been challenging myself to work with what is available to me and find creative solutions. It has taught me to be more resourceful and flexible as a designer. I have realised that limitations can sometimes push you to discover your creative potential.

How do you ensure your garments remain truly low-impact across their entire life cycle, from source fiber to end-of-use?

I am still learning about sustainability while working towards it as a designer so I would not say I have perfected it just yet; however, I’m becoming more conscious of the choices I make and how it may impact the earth.

I am trying to make better use of the fabrics and materials I already own to reduce unnecessary waste, give garments a new life and can be altered or transformed in the future.

Sustainability is also about working with what is available and changing the way we value clothing. Instead of seeing a garment as a disposable thing, I want to see it as something worth keeping, repairing, and repurposing.

Showing at the Midland Junction Arts Centre for the Perth segment of EFWA26 brings your work to a dedicated local and international community. What message or feeling do you hope the Western Australian audience takes away from viewing your pieces on the runway?

I want people to feel a connection to nature when they see my collection Botanica on the runway. Each design stands for a different season or an aspect of nature and I wanted to capture the beauty of it and translate it into garment through displaying movement and personality.

I hope I can inspire people to see the creativity and possibilities behind handmade garments and that they do not always need something brand new to create something valuable. Nature is already an incredible work of art, and as an artist and designer, Botanica is my way of expressing art through fashion.

EFWA 2026 Interview with LJR Design (WA) / Linda Russell

How does your collection interpret “Handmade for the Earth” through your choice of techniques and materials?

For me, “Handmade for the Earth” is about slowing down and being more conscious of what we create, how we create it and what happens to it afterwards.

My collection reflects this philosophy with thoughtful, sustainable materials and hands-on techniques. I enjoy working directly with the fabric, experimenting with painting, surface design, cutting and sewing to transform materials into something unique.

Rather than following a mass-production approach, each piece is individually considered and made. This allows me to minimise waste, reuse materials where possible and give fabrics a new life.

The handmade process is also important because it creates a connection between the designer, the garment and the person who eventually wears it. Every piece carries evidence of the human hand, making it individual rather than disposable.

What specific artisanal process defines this collection?

Some of the defining elements of my collection is the combination of sewing and hand-painted surface design.

Painting has been part of my creative life from an early age, through my father's passion for painting and my own studies in Graphic Design. Sewing came from watching my mother create garments when I was young.

Bringing these two influences together allows me to treat the fabric almost like a canvas. I can paint, manipulate and construct the textile before turning it into a finished garment.

I love that this process is unpredictable. Each painted surface is slightly different, so no two pieces are ever the same. It gives the collection a very personal, handmade quality while allowing me to explore environmental ideas through the designs.

How does your work incorporate or preserve cultural craftsmanship without losing a contemporary edge?

I believe traditional craftsmanship has an important place in contemporary fashion because many of the techniques developed over generations are based on making, repairing and valuing garments rather than treating them as disposable.

My approach is influenced by these principles of craftsmanship, particularly the patience and skill involved in creating something by hand.

At the same time, I want LJR Designs to have a distinctly contemporary identity. I combine traditional sewing skills with modern silhouettes, graphic influences, hand-painted textiles and environmental concepts.

For me, it is not about reproducing the past. It is about taking the values of craftsmanship—care, skill, individuality and longevity—and interpreting them in a way that feels relevant to today's world.

If your collection involves traditional techniques, how did working with these techniques shape your process as a designer?

Working by hand has taught me to slow down and allow the design to develop rather than trying to control every stage from the beginning.

When I sew, paint and manipulate fabric myself, I can respond to the material as I work. Sometimes a particular texture, mark or piece of fabric will suggest the direction of the next part of the design.

This makes the process much more intuitive and personal.

My mother introduced me to sewing by allowing me to watch and learn from her, while my father inspired my appreciation of painting. These early influences have stayed with me and have become an important part of how I design today.

I think this is one of the reasons handmade fashions is so meaningful to me—it connects my creative journey from childhood with the designer I am today.

What was the most challenging sustainable constraint you navigated while building this runway collection?

One of the biggest challenges is trying to create something visually strong and exciting for the runway while remaining conscious of waste and environmental impact.

There is always a temptation in fashion to keep adding more—more fabric, more embellishment, more new materials. I have tried to approach the collection differently by asking myself whether something is necessary and how I can make the most of the materials I already have.

Working sustainably can take more time because you cannot always simply order exactly what you want. You must be resourceful, experiment and sometimes redesign around the materials available to you.

But I see that limitation as part of the creative process. It forces me to think differently and can lead to more interesting and unexpected designs.

How do you ensure your garments remain truly low-impact across their entire life cycle, from source fibre to end-of-use?

I try to consider the life of a garment beyond simply creating the finished piece.

For me, sustainability begins with being thoughtful about the materials I select and avoiding unnecessary consumption. I also focus on making garments that are distinctive and well-constructed, so they are designed to be valued and worn for longer.

I believe longevity is one of the most important aspects of sustainable fashion. If someone loves a garment and continues to wear it for many years, that garment has a very different environmental impact from something designed to be worn a few times and discarded.

I also believe garments should hav the potential for repair, alteration, reuse or transformation rather than automatically becoming waste.

Ultimately, I would like LJR Designs to encourage people to see clothing as something to care for, keep and connect with and not something disposable.

What message or feeling do you hope the Western Australian audience takes away from viewing your pieces on the runway?

I hope the audience feels curious, inspired and perhaps a little challenged by what they see.

I would like the collection to demonstrate that sustainable fashion does not have to mean compromising creativity, individuality or beauty.

My work explores the relationship between fashion, people and our changing planet. The Anthropocene has influenced the way I think about this relationship and has encouraged me to question the impact that our choices have on the world around us.

I would love the audience to look closely at the garments and recognise the human work behind them—the painting, sewing, experimentation and thought that has gone into each piece.

Most importantly, I hope they leave thinking differently about their own clothing, be inspired and recognising the value of handmade, considered fashion.

What do you believe events like EFWA can do to shift the mindset toward valuing slow, handmade textiles?

I think events like EFWA are incredibly important because they allow people to experience sustainable fashion rather than simply hearing about it.

When an audience sees a handmade garment on the runway, they can begin to appreciate the time, skill, creativity and thought behind it. It becomes much harder to view that garment as simply another piece of clothing.

Fashion has become so fast that we can sometimes forget the human hands behind what we wear.

EFWA creates an opportunity to slow that conversation down and celebrate designers, makers and artisans who are creating with intention.

I believe the future of fashion needs to be more thoughtful. It is not necessarily about stopping fashion—it is about changing our relationship with it. We can still celebrate creativity and self-expression while making choices that are kinder to our planet.

For me, “Handmade for the Earth” is ultimately about reconnecting people with the value of making, wearing, keeping and caring for what we own.

EFWA 2026 Interview with Amelie & Hannah from Bishop Druitt College

How does your collection interpret “Handmade for the Earth” through your choice of techniques and materials?

Amelie: My costume is made from silk and features botanical prints created with Australian eucalyptus leaves. I wanted the materials and the process to feel connected to nature. The pleating, handmade piping and beaded flowers took time, but that’s what makes the piece special to me. You can see the work that has gone into it.

Hannah: I used linen, wool and silk, and botanically printed all three garments with Australian leaves. The colours and textures were inspired by autumn and the natural world. ‘Handmade for the Earth’ describes both what the costume is made from and the care that went into making it.

What specific artisanal process defines this collection?

Amelie: Botanical printing is at the heart of my project. Every print develops differently, so the fabric has a quality I couldn’t have achieved by repeating a manufactured print. I then built on that with pleating, embroidery and handmade floral embellishments.

Hannah: Botanical printing defines my costume, alongside the hand techniques I used to add texture and detail. I couched banana silk yarn to suggest tree bark and hand embroidered a fox. Those details helped me tell the story behind the garment.

How does your work incorporate or preserve cultural craftsmanship while keeping a contemporary edge?

Amelie: I drew on the romance of Pre-Raphaelite art and traditional corset construction, then interpreted those influences as a costume for a contemporary photoshoot. Combining those references with botanical printing and textured embellishment helped me create something that feels both historical and my own.

Hannah: My costume uses traditional garment construction and hand embroidery, but its character and styling were inspired by Fantastic Mr Fox and contemporary fashion. I liked bringing those different influences together in a piece that still shows the value of making things by hand.

How did working with traditional techniques shape your process as a designer?

Amelie: Hand techniques made me slow down and respond to the fabric as I worked. The botanical prints were never completely predictable, so I had to consider how the pleating, piping and flowers would work with the marks already on the silk.

Hannah: The handwork encouraged me to think about texture as much as shape. Building up the bark-like couching and embroidered details took patience, but those are the parts that give the costume its personality.

What was the most challenging sustainable constraint you navigated?

Amelie: Botanical printing meant accepting that I couldn’t control every mark or colour exactly. I had to work with the results that the leaves and fabric gave me. That became one of my favourite parts of the project because each piece of fabric is unique.

Hannah: Using botanical prints across linen, wool and silk was a challenge because each fabric responded differently. I needed the garments to feel like one costume while allowing each material to keep its own texture and character.

How do you ensure your garments remain low impact across their life cycle, from source fibre to end-of-use?

Joint response: We chose natural fibres and used botanical printing with Australian leaves rather than relying on a conventional printed design. We also put a lot of time into constructing and finishing our garments carefully, because we want our designs to be kept and appreciated well beyond one runway show. As student designers, we are still learning about the full impact of every material and process, and that’s something we want to keep exploring.

Showing at the Midland Junction Arts Centre for the Perth segment of EFWA26 brings your work to a dedicated local and international community. What message or feeling do you hope the Western Australian audience takes away from viewing your pieces on the runway?

Amelie: I’m excited to see how my costume looks in motion on the runway. I hope people notice the prints made with eucalyptus leaves and then spot more of the details as it comes closer, the pleating, piping and flowers. There is a lot in it that I made by hand, and I would love people to see that.

Hannah: I hope people enjoy discovering the details in my costume, especially the embroidered fox and the textures inspired by tree bark. It started with my love of Fantastic Mr Foxand autumn, so I would love the audience to get a sense of that story when they see it.

EFWA 2026 Interview with Leah Kelly (NSW)

The theme for EFWA26 places a massive emphasis on slow, handcrafted production and environmental stewardship. How does your collection interpret "Handmade for the Earth" through your choice of techniques and materials?  

I have been designing and creating for over 40 years now. I have ALWAYS had an emphasis on slow fashion, hand made. My entire collection through time has always represented "Handmade for the Earth". I have only ever used natural fibers and traditional fabrics in my couture pieces of art. Mostly Hemp, due to the high potential of durability.

Handcrafted garments carry a human element often lost in mass production. What specific artisanal process (e.g., natural dyeing, hand-spinning, zero-waste weaving, upcycling) defines this collection?

I live completely off grid in the middle of the Rainforest. I learnt to sew using both a crank and treadle sewing machine. My entire collection has been constructed by myself using either a 1902 treadle or 1936 crank singer sewing machine. Furthest manufacturing skills away from "mass" production one could possibly get. The embroidery and beading on each particular piece,  I have done by hand.

EFWA26 bridges ancient textile traditions with modern design. How does your work incorporate or preserve cultural craftsmanship without losing a contemporary edge?

My designs are based on traditional craftsmanship incorporating the "Dapper" look of cultural time gone by along with the textiles I use, which, I believe, gives my work a "contemporary" edge.

Photography: Simon Lau. Ellenbrook Art Gallery, 2024.

How do you ensure your garments remain truly low-impact across their entire life cycle, from source fiber to end-of-use?

The majority of my designs have always been incorporated using Hemp, due to the high level of embroidery my work usually entails, ensuring durability, withstanding the test of time.

Showing at the Midland Junction Arts Centre for the Perth segment of EFWA26 brings your work to a dedicated local and international community. What message or feeling do you hope the Western Australian audience takes away from viewing your pieces on the runway?

I hope that the Western Australian audience are re-educated in the consumerism process of not just the downfall  "mass production" has on a global scale, but, what supporting "Handmade for the Earth" has on a community level. Not just for designers such as myself, but for all artisans who struggle daily trying to be noticed for our input on what this global issue has.

Photography: Simon Lau. Ellenbrook Art Gallery, 2024.

Fast fashion continues to dominate consumer markets. What do you believe events like EFWA can do to shift mindset toward valuing slow, handmade textiles?

Events like EFWA are our only solution really. Unfortunately, consumers are still  clinging to the concept that a new dress is essential for every outing. That if it's cheap, it will work, bit like putting a bandaid over a wound that requires stitches, it doesn't work! Showcasing traditional textile techniques and designs, having the notion placed in front of consumers' faces is only the beginning. People need to want to adapt, and that is exactly where it becomes tricky, most people do not want to adapt, they still require bandaids. We need to continue placing value on slow handmade textiles with every event.

EFWA 2026 Interview with Regis Australia

How does your collection interpret "Handmade for the Earth"?

Our collection celebrates creativity, community and reuse. Designed with resident design teams across our homes, each piece incorporates repurposed textiles and handcrafted details, demonstrating how sustainable fashion can be both meaningful and beautiful.

What artisanal process defines this collection?

Collaborative upcycling is at the heart of the collection. Residents transformed pre-loved materials through hand stitching, embellishment and textile techniques, giving new life to existing fabrics while making every garment unique.

Photography: Simon Lau. Midland Junction Arts Centre, 2024.

How does your work incorporate cultural craftsmanship while remaining contemporary?

Our residents bring diverse cultural backgrounds and creative experiences, which inspired many of the techniques and details within the collection. These influences are combined with contemporary silhouettes to create pieces that feel both modern and timeless.

How did working with traditional techniques shape your design process?

The process became more collaborative and story-driven. Designing alongside residents encouraged us to slow down, embrace individuality and value the human connection behind each garment.

Photography: Simon Lau. Midland Junction Arts Centre, 2024.

What was the most challenging sustainable constraint?

Working with reclaimed materials meant designing around what was available rather than ordering new fabrics. While challenging, it sparked creativity and resulted in truly one of a kind pieces.

How do you ensure garments remain low-impact throughout their life cycle?

We prioritise reused materials, durable construction and designs that encourage repair and reuse. Our goal is to keep textiles in use for as long as possible and promote a circular approach to fashion.

Photography: Simon Lau. Midland Junction Arts Centre, 2024.

What do you hope the WA audience takes away from the runway?

We hope audiences feel inspired by the creativity and contributions of older people. The collection celebrates sustainability, inclusion and the idea that great design can come from every stage of life.

How can events like EFWA shift mindsets away from fast fashion?

EFWA helps people connect with the stories behind garments. By showcasing the time, skill and care involved in handmade fashion, it encourages greater appreciation for craftsmanship, sustainability and conscious consumption.

EFWA 2026 Interview with Elif Dermirag (Türkiye)

The theme for EFWA26 places a massive emphasis on slow, handcrafted production and environmental stewardship. How does your collection interpret "Handmade for the Earth" through your choice of techniques and materials?

In my collection, I aimed to limit the use of raw materials as much as possible, repurpose existing textile materials and highlight handcraft. In three of the six looks, I used natural, handmade felt. In the other three looks, I used unused fabrics, knitwear and fabric pieces taken from old garments that are no longer worn. I brought these materials back into the design process by combining them through patchwork and fabric manipulation techniques. Through this approach, I gave a new function to textile materials that were no longer in use and I adopted a slower and more considered approach to production by placing handcraft at the centre of the collection’s production process.

Handcrafted garments carry a human element often lost in mass production. What specific artisanal process (e.g. natural dyeing, hand-spinning, zero-waste weaving, upcycling) defines this collection?

The main handcraft process that defines my collection was bringing discarded textile materials together again through patchwork and fabric manipulation. I cut, transformed, and created different surfaces from unused fabrics, knitwear and pieces taken from old garments, turning them into new garment forms. Because this process developed largely by hand and according to the existing characteristics of each material, the resulting pieces move away from the standardised and repeatable structure of mass production. I probably could not make them exactly the same way again myself. But that makes them more special. In the other part of the collection, I used felt that was handmade using traditional methods. Rather than directly repeating traditional forms, I reinterpreted the felt according to my own design approach and incorporated it into the collection.

EFWA26 bridges ancient textile traditions with modern design. How does your work incorporate or preserve cultural craftsmanship without losing a contemporary edge?

For me, how freely I can work with the material is very important in the design process. For this reason, when working with traditional textile practices such as felt and patchwork, I wanted to reinterpret them through my own design approach rather than directly repeating their traditional forms and processes. I do not think preserving cultural craft simply means applying traditional methods exactly as they are. I feel that I also need to express my own design and production story through the relationship I build with these crafts.

If your collection involves artisan collaboration or traditional techniques, how did working with these techniques shape your process as a designer?

No matter how much I plan and sketch my designs before I start sewing, sometimes the nature of the material inevitably takes the design in a different direction and suddenly the material becomes the boss. But I find that fun. Felt, in particular, challenged me incredibly because it is a very delicate material and if you do not really understand its language, things can suddenly change. The relationship you build with the material is very valuable and for me, no matter how well you know a material, every design process is a different experience. I learn so much every time.

Every eco-designer tackles sustainability from a unique angle—whether it's circularity, natural dyes, or zero-waste pattern making. What was the most challenging sustainable constraint you navigated while building this runway collection?

I tried to create as much as possible with the materials I already had. Because I worked with discarded garments and fabric scraps instead of fabric yardage, the amount of material available was limited. I had to adapt the patterns spontaneously according to the dimensions the material allowed. Because different fabric pieces were used, the form and behaviour of each fabric could differ from another, which could make achieving a balance between construction and form technically challenging. But I think this difference gives the designs a distinct character.

How do you ensure your garments remain truly low-impact across their entire life cycle, from source fibre to end-of-use?

I try to make choices in my design and production process that reduce environmental impact. Rather than consuming more resources through the production of new fibres, I repurpose unused fabrics and garments in part of the collection. For the felt, I choose materials made entirely from natural and renewable fibres. Felt made from natural fibres, as long as it contains no synthetic additives, has the potential to biodegrade at the end of its life. In the production process, instead of relying on industrial methods with high energy consumption, I focus on handcraft-based techniques such as hand cutting, patchwork, and fabric manipulation.

Showing at the Midland Junction Arts Centre for the Perth segment of EFWA26 brings your work to a dedicated local and international community. What message or feeling do you hope the Western Australian audience takes away from viewing your pieces on the runway?

We often see traditional fabrics such as felt within a classical, cultural, or authentic context. However, I think that because of its form and structure, felt is a material that is very suitable for avant garde design. I feel that placing it only within a traditional category actually limits the potential of the material. With this collection, I want the audience to look at felt from an unfamiliar perspective and see that a traditional material can be transformed into a completely different design language. On the other hand, I want to show that discarded fabrics and old clothes can be transformed into modern and wearable designs through the right craftsmanship. We are very inclined to consume. We constantly want new clothes, while the things we no longer wear often simply remain in our wardrobes. I want people to think about the fact that when a material or garment loses its existing function, it does not mean that its story has ended. Not everything has to be transformed in its entirety. Sometimes even a small piece can be enough to create something new.

Fast fashion continues to dominate consumer markets. What do you believe events like EFWA can do to shift mindset toward valuing slow, handmade textiles?

Today, the fashion industry operates within a system built around overproduction and unconscious consumption. However, the world does not need more new clothes or petroleum based polyester fabrics. Fast fashion is not a necessity. It is an unsustainable system that constantly pushes people towards consumption and disregards craftsmanship and fair human labour in mass production. I do not believe in the ethical illusions created by many luxury brands or in pessimistic narratives such as “the world can no longer be saved.” Instead of constant growth, I advocate slowing down, preserving the resources we already have and degrowth. I believe that sustainable fashion is possible by reducing production, valuing handcraft and transforming what already exists. I think events like EFWA are important because, rather than discussing sustainability only in theory, they can show how different designers put it into practice through real designs and different production methods. I think events like these can teach people not to look at a garment simply as a product to be consumed or something that looks beautiful but help them see it again as an object with labour, materials, culture, and a production story behind it.