Maddie Clark

Category: Accessories

Competitions: Fashion Competition 2026

My look's purpose is to reveal and invite scepticism into human nature, specifically by manipulating material choices and relationships to explore the principle of balance. As human beings, we have an intrinsic desire to assign purpose to our life (Camus 1955). My design follows a philosophical theory, that it is in human nature to find and formulate problems, in hopes that the search and realisation of a solution will provide a feeling of purpose and control. This concept physically manifests as materials of contrasting mass, which are thoughtfully constructed and arranged so that the balance of their weight on the body and tension against gravity is the force which holds the garment together. My production process asks, “How can the weight of a garment be exactly what keeps it together?,” in the same way I ponder, “How is it that universal balance - good vs bad, struggle vs accomplishment, chaos vs control - is exactly what provides a human life with purpose?” My work proposes that the desire for a life of comfort is futile, and that the search for discomfort, challenge, tension is just as important in the construction of a complete self. Material and fabrication decisions are highly influenced by the Australian Bush, where granite stones from the Earth and locally sourced Jarrah wood play a large role in exploring the relationship between heavyweight form and lightweight fabric. Using 100% natural cotton and regenerated cupro fabric, my looks’ textural and tonal qualities are paralleled with that of the flowing water, rich coloured soil and saturated eucalyptus of the environment. In alignment with principles of organic architecture, my design process adheres to and maintains a series of principles, including the priority that my garment can exist harmoniously in the space from which it came. My bodice garment uses granite stone, sourced locally from my hometown, Perth. The weight of these stones is thoughtfully considered so that, when connected to string and threaded through the tubing of the bodice, they create tension on the shoulders and secure the clothing in place. This look is complete with a laser etched, Jarrah wood belt buckle that holds the skirt's pleats in place on the hips. This fashion object doubles as a hair accessory, holding hair between the pin and the disc's circular opening. Finally, at the centre of this look is the Equal, Opposite Bag. Constructed using Jarrah Wood and 100% cotton, this fashion artefact represents the values of durability, intentional textile sourcing and handcraft, which span across my design practice. Constructed using band saw and disc sanding machinery, along with hands-on lap-joint techniques, the repeating circle form of this bag makes obvious reference to the underlying concept of this look: balance.

Category: Accessories

Competitions: Fashion Competition 2025

My collection, The Body is a House, comprises dark, luxurious, Australian Jarrah accessories that explore the boundaries between product and fashion design, showing functional and aesthetic influence from African historical design, and furniture design from the mid-century modern era. I believe I was encouraged in these directions because of my parents. My father, born and raised in Zimbabwe, shares trinkets and art from his home country with my mother who, passionate about furniture design, finds ways to decorate our home with this African craft. My designs are multipurpose, existing on the body and beyond, belonging in a household environment and serving a functional purpose. Hence, I am taking an interdisciplinary approach, integrating theory and methods from both furniture and object design. My methodology and handling of materials involve using computer-based programs and modern software, such as laser etching. Generative AI assisted in creating shapes and patterns, like the boarder of my shoe etching design. Adobe Photoshop and Illustrator helped me translate two- dimensional silhouettes informed by visual signifiers of mid-century modern furniture to three-dimensional design outcomes. In the contemporary context, technological advances are often used without intention, to create mass-produced, generic design for evolving trends. By thoughtfully using technology to reinterpret traditional techniques and motifs with new design elements, I can help authentic African heritage be appreciated by a larger global audience and connected to a rapidly evolving contemporary context. I contribute to the adaptability of traditions, ensuring that the storytelling value and quality of past African craftsmanship can exist and be maintained within fast-paced contemporary design.