Kirrily Johnston opened Rosemount Australian Fashion Week with her “Modern Nomads” Spring 2009 Collection. A remix of Neneh Cherry’s “Buffalo Stance” blared from the sound system of the Overseas Passenger Terminal looking out on Sydney’s beautiful harbor. The young designer delivered the oxymoronic titled inspiration in true dichotomic fashion, seemingly blending contradicting elements. Ushering out 33 looks, the runway presentation blurred the lines of contemporary and traditional. The show notes hinted at Ms. Johnston’s inspiration, “East and west have merged together. Traditional elements found in national costume from countries such as India, Turkey and Lebanon have been blended with modern western clothing to create a truly universal look.”

Who's looking good today?
Who's looking good in every way?
No style rookie
You better watch, don't mess with me!

No moneyman can win my love
It's sweetness that I'm thinking of!
We always hang in a Buffalo Stance
We do the dive every time we dance
I'll give you love baby, not romance
I'll make a move nothing left to chance
So don't you get fresh with me!

Kirrily Johnston’s Spring 2009 Collection is about the lifestyle of now. The designer’s sartorial interpretation was a direct reflection of today’s global economy. She referred to it as “the new capitalism,” prompting a nomadic revival. “It’s too hard to buy a house, to settle in one city, to commit to one lifestyle—so we all move around and live in multiple cities and our home is our suitcase. We carry our technology with us. Wherever we go, we plug into our lives. We need clothes that travel well, that layer, that can adapt to multi-climates and different economies. Be rich but look poor, be poor but look rich, which is which? We are the modern nomads.”

Blurring the lines between the constantly shifting barriers of commerce, economy, and culture; Ms. Johnston sought to demonstrate how the differences overlap and the world begins to feel smaller. How elements that would have been considered more traditional dressing or costume have been adapted to a modern aesthetic, whether we are fashioning headpieces, cinched waistlines, or draped dressing. And while we don’t always know the foundation or origin, nor do we understand what certain design elements, colors, and embroideries represented centuries ago, fashion remains cyclical and pieces designed with a certain function or status then resonate with us still today in a decorative sense, as designers find a way to make the old new again.

This season, the eponymous line’s key elements included the innovative Nomad Boots, Technomad Heels, and flats, which were essentially banded footwear, wrapping the shoe around a model’s foot. This interpretation was inspired by the traditional Indian Salwar Kameez (traditional dress worn by men and women in South Asia-the Salwar is a pajama-like trouser and the Kameez is a long tunic), taking fabric all the way from the feet to right up under the hemline. We also saw circular dresses, which had been cut directly on mannequins. Once again, this technique challenged where traditional seam lines and armholes would normally go, experimenting with drapery techniques. The designer employed a discrete use of tiny buttons and loops, which were attached to transform the silhouette of dresses instantly.

Even the hairstyling had more of an exotic twist, with the hair being braided and folded under into a regally high chignon. The face was more bronzed than sunkissed, perhaps to further invoke that global traveler who has trekked from the Amazon to the desert and back. The brow remained dramatic this season (which I love since I have thick dark brows myself), framing terracotta eyes, as the mouth was downplayed here with a nude stain.

Fabrics ranged from linen, silk, and tulle to the finest of cottons, creating dimension and texture. The predominantly neutral palette of black, white, cream, and grey was punctuated by smatterings of fuchsia pink, gold, and silver. Metallics have been especially strong in recent seasons, here we saw them highlighted in accessories (jewelry, belts, shoes, walking sticks) and design details (beading, zippers, racer backs.) adding depth to the otherwise simple silhouettes. For their fifth consecutive collaboration, jeweler Sylvie Markovina created statement pieces that helped to complete Ms. Johnston’s vision. Gold plumbing pipe was threaded with thick gold chain to form bangles and necklaces, which gave the clothing a distinctive tribal edge. Ms. Markovina also sourced matte jersey from the collection to cleverly cover bangles that contrast perfectly against the bright gold. Mesh beading was also sewn around the gold pipe to add rich color and dimension. The aim of this collection was to blend culture and lifestyle and to provide their clients with a modern global wardrobe.

I can relate to this theme of overlapping cultures merging into a new aesthetic. The first half of my life was rather nomadic. As an army brat, I was forced to uproot almost annually. And while at times, I felt quite lost and disconnected, what I came to appreciate most was all the fantastic opportunities this nomadic lifestyle afforded me, for example, living and travelling abroad from the time I was four, being multilingual at age six, and best of all an exposure to the world that has manifested into what I hope is a greater sensitivity towards, a deeper understanding of, and an insatiable appetite to explore other cultures. I not only believe in the phrase, “Have passport, will travel,” I am living proof! Every now and again I envy my best friend who has settled down and is married with three beautiful children, but then she teases me about never staying in one place long enough. Admittedly, I do get a bit antsy when I haven’t been on a plane in a couple months. This collection embodies that adventurous spirit; better yet it embraces and celebrates a globalization that has pervaded our everyday life. Think about how we communicate now—text messages, instant messaging, mobile phone, emails—as big as the world is, it begins to feel smaller and smaller each day.

The collection speaks to that inner nomad inside us all, with convertible, reversible, and neutral separates. The silhouette is quite forgiving, with pieces that flow away from the body, even the dresses that criss-cross and wrap around the figure have a contouring effect. The collection’s more free-flowing, loosely constructed pieces convey a sense of freedom; while the swaddling, more enveloped garments emanate a feeling of protection and security—ultimately, the range maintains an individuality and originality.

My favorite nomadic looks included: the Transhumance dress in ivory with Gypsy Race Jacket and grey Nomad boots; a reversed Technomad dress in white with a Technomad accessorized with a double gold belt, pipe, ivory head wrap, and grey Nomad boots; the Technomad maillot in grey with a black Transhumance cardigan styled with Technomad heels in grey, black Arabia sunglasses, and grey Technomad bag; the grey Vagabond t-shirt atop First World shorts in grey shown with a gold purse; a grey Zingara Frill dress with a gold walking stick and bangles; the black Romani zip dress; and the grey Cyberwalker dress cinched by a double gold belt. Even the names anointed to this season’s separates further demonstrate this nomadic moniker such as Technomad, Vagabond, and Zingara; which perhaps is derivative of Donzetti’s opera, La Zingara, or The Bohemian or The Little Gypsy.

According to her biography, Kirrily Johnston launched her namesake label for Spring Summer 2004/2005. The collection named "Meet Me at The Magic Club" received outstanding reviews from some of Australia's most influential fashion editors. The designer, who trained formally at the Melbourne Institute of Textiles, began her career in fashion in 1999. Now based in Sydney, her aim has been to blend elegance with innovation. Focusing on luxurious fabrics and quality craftsmanship, Ms. Johnston’s clothes are detailed and tailored yet maintain a sexy modern edge. Kirrily Johnston is sold in two flagship stores, selected boutiques and department stores in Australia, the USA, the UK, Asia, and New Zealand. Kirrily Johnston opened her first boutique in Sydney, in June 2005. Her flagship store opened in February 2007 in her hometown of Melbourne.

For more information, please visit http://www.kirrilyjohnston.com/

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