Lost Resort

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Lost Resort

For ‘Lost Resort’ 2024, designer Ingrid Verner seeks to decode Australian resort wear through an astute exploration of relaxed and effortless dressing. Here, playful references to the European heritage and luxury connotations of a resort lifestyle are marred by disassembled Australian kitsch.

A contemplative focus on changing weather cycles and the way clothing and the body interact with the Australian climate are also considered. Protective wear is deconstructed and diluted into simple and utilitarian relaxed garments. The fuss and hassle of adornment within the resort context is flattened in prints, while the disconnect and contrast between home and holiday is inspected.

The functionality of resort wear is cultivated with references to vintage swimwear and undergarments. VERNER’s utilisation of easy, lazy dressing is further explored through wrapping and layering—an approach evocative of the way towels are tied at health spas and hotels. The rejection of aspirational dressing and embrace of comfortable bliss comes in the form of breezy and tactile fabrications.

VERNER continues to utilise pattern as a way of dwelling in the space between surface and structure. The romanticisation of holidays is contrasted with an outside gaze, where we become the spectators of the alien and surreal cultural climates of Australia. ‘Lost Resort’ 2024 is a comical and playful magpie- like delve into the archives of what encompasses Australian resort wear, beach culture and the very culture and psychology surrounding it. Tension is harnessed between protective elements, decayed pastiches and the embrace of true luxury within our natural landscape.

Judy

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Judy

A visual exploration of character as narration, forbidden Australian identity and the complex underbelly of our cultural zeitgeist.

‘Judy’ catches elements of Victoria Todorov’s image and media based practice spanning painting, sculpture and video and merges those within the foundations of VERNER’s interest in revising Australian domesticity, politics, trauma and heritage. The artist and designer both delve into pop cultural excavations to explore notorious female iconography, the gangstress, the publishing legend, the radical feminist, the entertainer and the cult leader.

The collection’s seesaw tension reveals and recontextualizes artefacts and motifs of persona within the paradigm of the visual arts and fashion. The magnification of newspapers and print media speak to the nostalgic values of the past and the miscellaneous household and personal objects reference the Australian family unit and home life. Running Motifs within Todorov’s practice are utilised by VERNER in the form of illusory print and construction. The unification of separate elements both being of thematic concern for Designer and Artist has resulted in the friends working to assemble and rework the familiar generating synthesis.

Formal attire is reinterpreted with a deflated approach. Notions of glamour and the stiffness of special occasion wear are diluted as lazy dressing.

Burlap on Basics

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Burlap on Basics

After several successful collaborative seasons, Ingrid Verner returns to solo studio sessions for S/S22 - Burlap on Basics. VERNER goes deep into prints and patterns for this collection, dwelling in the space between surface and structural design - Burlap on Basics is a fusion of references that also delights in referencing itself. 

Drawing on trompe l'oeil techniques and architectural perspectives, the in-house prints are designed to draw the eye to and around the body. Points of interest appear to disappear. Shapes have their edges blurred; the line of the body is marked and pinned before dematerialising into the starry night sky. Mixed proportions and optical illusions push polka dots and stripes to new places while false layers nod to structural influences. 

Effortlessness in Australian dressing is embraced and celebrated. Stretch materials and spacious cuts are our friends now that evening wear ideas are grafted onto sportswear principles. The quintessential 80s sweetheart neckline is repurposed for daywear via the humble soft tee. This season codes are repurposed and remixed.

Certain classic cuts reappear here alongside Verner’s years-long fixations: cleaning products; branding; and suburbia. Burlap on Basics invites you to share a perspective of consideration from a place of comfort. We step out through the sliding door onto the back patio, raising our hands to shield our eyes against the sunlight coming off the sparkling pool. We are working, we are cool. We are stimulated, we are at ease.

Joint Venture

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Joint Venture

Joint Venture is the second collaboration between designer Ingrid Verner and artist Gian Manik. 

The two came together to explore their individual work and friendship. 
An experiment in fusing creative practices to find a new shared visual language. 
A celebration of friendship and creativity. 

Following their previous collaboration focusing on artistic uniforms, this collection heralds over 40 individual paintings by Manik, collated and configured to create original prints.

Beginning from conversations surrounding tokenistic references of romanticised landscapes and filmic iconography, the two explored the danger and mystery of environment. ‘Picnic at Hanging Rock’ became a departure point as an obtuse reference of landscape and portraiture tropes.

A salon hang of imagery was conceived, referencing classical and historical gallery exhibition, utilising screenshots and other disparate imagery for Manik to create an overwhelming bricolage of content. Verner then used this to design an ‘exhibition’ of print.

This capsule collection mounts a Joint Venture in fashion and artistic style.

Journeys W. Lisa Waup

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Journeys W. Lisa Waup

This project presents a collaboration between award-winning Gunditjmara and Torres Strait Islander artist Lisa Waup and Melbourne based fashion designer Ingrid Verner to create a collection of garments and accessories entitled JOURNEYS. This is the second collection for Waup and Verner who first debuted at Melbourne Fashion Week in 2017. At its core this new collection represent JOURNEYS through history, family and friendship and the connection to country, to past, present and future and the connections between us all. Three original works by Waup—Continuity, Tracing History and Eyes of Our Ancestors, were drawn upon to build the series, drawing from a strong tradition and language of symbols and linking the immediacy of their visual narratives to each piece through print but also extending to the shape and interaction of each piece on the body. Designs take inspiration from the instinctual beauty of professional and personal uniforms; practical garments that we wed our identity to, and serve as both tools and points of expression. The resulting pieces are an experiment in fusing creative practices to find a new shared visual language.

Continuity
Circles run through Waup’s work, her intricate woven objects generally are circular, the motifs and symbols of her drawings represent family. Continuity details without stagnation, unlike a circle the square has resting points, a place to ponder and gather strength to reassess the situation and direction you are going and to give time and space to address options at hand. There is a crossroads, yet the central resting place signifies self, processing where to go now, where to search and where to find peace.

Tracing History
A totem is an object or one from nature that is given at birth either direct symbology through family groups passed down through the generations, detailing connections to sacred elements and animals around them. It is a belonging to family, to the tribe/clan. Tracing History was from a series of drawings Waup had created, at a time when she was searching for family information. It is a manifested totem pole, detailing the connections to all that is around her, adapting to negative and positive aspects of Waup’s life. The monochromatic designs become stepping stones researching missing history, whilst embracing the known and the unknown for what it is and what is will be.

Eyes of Our Ancestors
Representing a mask like image which details the forever presence of waup’s ancestors. They guide her in times of doubt. They look over her when at times she is lost for direction. The image is a presence of eyes taking care of waup and her family.

The colour palette of the collection is drawn in combination from Waup’s monochromatic line work and a desire to reference the australian landscape in unexpected ways. Contrasting red stitching is used to represent the threaded connections and bloodlines of connection to self and family. Both Waup and Verner had the opportunity to work with iconic Melbourne printing studio Spacecraft to hand screen the print Continuity as part of this series. Remnants from the fabrication of the collection have been used by waup to create a series of woven neckpieces, translating the softness of the garments and their bold prints into layered works that reflect on linking the body and adornment and issues of sustainability.

Picture Consequences

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Picture Consequences

PICTURE CONSEQUENCES is the first collaboration between Melbourne designer Ingrid Verner and painter Gian Manik. The two came together to explore their individual work and friendship through a collection that challenges the intentions and messaging of fashion. The resulting pieces are an experiment in fusing creative practices to find a new shared visual language. 

Both Verner and Manik’s work celebrate the natural and unpretentious. They pull away from the clutter of mainstream art and fashion dialogues to celebrate the primary elements of their own worlds. 

Across PICTURE CONSEQUENCES, Verner’s designs take inspiration from the instinctual beauty of professional and personal uniforms; practical garments that we wed our identity to, and serve as both tools and points of expression.

The illusion to workwear is mirrored in Manik’s prints. Inspired by graffiti, studio mess and detritus they allude to the graffiti painter, house painter and artist as painter. In his hands familiar items such as a small man’s suit, polyester party dress and floral jacket are reconsidered through the application of paint, texta and aerosol. They emerge from Manik’s studio reformed and reconsidered.

The resulting collections is an intelligent mediation on the lives, relationships and practices behind art, beyond the finished pieces we interact with daily. And a coded, nuanced celebration of friendship and creativity.

Lisa Waup Collaboration

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Lisa Waup Collaboration

This project presents a collaboration between award-winning Gunditjmara and Torres Strait Islander artist Lisa Waup, Melbourne based fashion designer Ingrid Verner and Craft Victoria to create a collection of garments and accessories. 

At its core, this collection represents collaboration, respect and connection. The connection to country, the connection to family and the connections between all of us. Four original works by Waup—Homeward Boundaries, Land Mapping, Family Circles and Protection were drawn upon to build the series, drawing from a strong tradition and language of symbols and linking the immediacy of their visual narratives to each piece through print but also extending to the shape and interaction of each piece on the body. 

‘We are joined through paths that connect and circles that surround and protect. Protective elements detailed in defragmented wooden shields translate to the garments and the body, representing the pinnacle of protection. Protecting the history and story of family from the past to now and to the future to come’—Lisa Waup

The colour palette of the collection is drawn in combination from Waup's monochromatic line work and her desire to reference the reds and greens of the Australian landscape.

Remnants from the fabrication of the collection have used by Waup to create a connected series of woven neckpieces, translating the softness of the garments and their bold prints into layered works that reflect on the linking of the body and adornment and issues of sustainability. 

With the significance of family to this series—Craft invited Lisa's daughter, artist and musician Kaiit Waup to create a series of earrings to compliment the designs. Made from hand shaped silver wire, shells and seeds; the work references Kaiit's connection to her PNG, Torres Strait Islander and Gunditjmara heritage.