Mia Schaumann’s graduate collection is a satisfying medley of textures and shapes; fluorescent tulle and muted puffer jackets meeting oversized suiting and pleated dresses worn over sheer tops. Floral prints add a soft contrast to the range, tied together by the plethora of straps that reoccur through the collection — a motif that adds a sense of coherence and Her Own-ness to the garments. Mia’s most interested in creating clothes which evoke emotion, and which the wearer can interpret in their own way. We sat down with the promising maker to find out more about her ideas and what she plans to do next.
Congratulations on finishing your course, how do you feel?
Very exhausted. During the course it’s all late nights and constant exhaustion but there’s so much adrenaline getting you to the finish line, once you’re there your body is like “Yeah that’s it, that’s enough for a little while.”
Your graduate collection is predominantly womenswear, will that remain your focus?
In the first year of my course I made womenswear, then switched to mens for a few years until this year. I wasn’t bored of menswear, but I wanted to explore something different and look at what it means to design for women again.
Sorry to ask this question, but how would you describe your work?
I have such an issue describing it, but my work plays on tension and contrast. I’ve always referenced utility and workwear but try to contrast that with something soft and delicate. I’d say I aim to create something emotive, rather than getting at a “particular” design aesthetic. I do have overriding conceptual references and key themes, like the idea of time I use in my garments as a means of making it tangible. I always have these overarching themes that are kind of deconstructed through material manipulation.
In that case, what are the hallmarks of your work?
Well, my work has always tended to involve straps or some kind of mechanism that can be changed. I want the garment to be able to be explored and altered by the wearer, so there’s that element of change and exploration. Also, in terms of materiality, I’ve brought in things like the puffer jackets, so while my construction techniques may carry through, it’s never been my intention to make my collections particularly cohesive.
Do you feel that where you live in Australia informs your work?
Not particularly. I don’t feel tied to anything particularly in terms of my practice. I usually reference work wear and historical dress but my references are more often literary. It’ll be something I’m reading or seeing through the lens of an artist I’m looking at. It’s not usually specific to me or what’s around me. I want the garments to speak for themselves and I want the viewer or wearer to explore it themselves.
You were involved in the independent Final Banquet graduate parade with Alex McQuire. How was the experience?
It was really exciting and so interesting and valuable to learn how much work goes into such an event. To work in a group means you need to be flexible, willing to let go of ideas and let the thing develop in its own way. We really put in an effort in terms of communicating our experience and our views on fashion and it was so rewarding seeing it actualised and sharing it with people.
You also spent some time studying at Central Saint Martins, is that correct?
Yeah, but it feels like a world away now. It’s such a melting pot in London and there’s so much support for young designers, you’re really exposed to everything. RMIT is great but so far away from that. In Melbourne there’s not the same level of Government support so designers end up going overseas, which is a shame. Although if designers can bring back new perspectives, that’s a positive thing.
Would you ultimately like to run your own label?
I’m very aware that fashion at university and fashion in the real world are two completely different books. I’ve had some amazing experiences interning for smaller labels but next year I am planning on interning overseas hopefully for bigger labels to understand the scope of the industry and where I want to situate myself in it! I’d love to work for Margiela or Prada, a label like that with a conceptual backbone. There are so many issues around production and waste in fashion that working with a bigger company like this would also more likely also bring the ability to prompt change.
Credits
Photographer Jordan Drysdale
Makeup and hair Bradwyn Jones @ Union Management
Assistant Maria Gullace
Alejandra @ Chadwick & Maddy