Artist-maker-designer Chelsea Farquhar began her creative career as an artist mostly making sculptures in 2017, but transitioned to more wearable art in 2021 after teaching herself to sew.
“I’m 100% a maker! Making patterns and corsets is very sculptural and uses the same parts of my brain, which I really enjoy,” Chelsea explains.
HOW IT STARTED
“In 2022 my gloves were used for styling in Adelaide Fashion Week and from there I’ve just been slowly getting involved in the fashion scene, mostly working with stylists for photoshoots and videos.
“In 2024 I decided to legitimise myself as a ‘brand’/‘designer’ by bringing out a mini collection of knits and applying for runway shows in Naarm. In my art practice I’ve always loved collaboration, performance art, photography and making artworks that engage with audiences and bodies so it feels really natural to move into fashion where all of those elements exist.
“I’m also very inspired by designers like Schiaparelli, Moschino, McQueen, Westwood, and then the artists that inspire my fashion are Do Ho Suh, Erwin Wurm and Sonia Delaunay.
“I decided to just stick with my name because my fashion still feels very much part of a bigger creative practice that includes my art making,” says Chelsea talking about her brand.
Chelsea launched a “mini collection of knits” that she made on her knitting machine over six months, and worked with photographer and stylist Sharmonie Cockayne, alongside stylist-model Ava Viscariello to create a series of images featuring these wearable, tactile soft sculptures for the body.
PLAYING WITH PROPORTIONS
The knit collection features traditional shapes in non-usual fabrications and has a lingerie vibe.
“Conceptually, the work is about playing with the body, proportions, identity etc. The work often feels slightly surreal and I love that feeling of things being slightly off, especially merging design elements from varying points in history,” Chelsea explains.
“I sew, knit and make everything, [and] that feels important to me right now. I want to keep learning techniques and making work that surprises me.
According to Chelsea the current aesthetic of her brand is “in flux”.
“Aesthetically, I can feel on the tip of my tongue what I want the works to look like but I’m not there yet. I follow a lot of historic patterns and have just been playing with combining that with screen printing and beading.
“Truthfully, at the moment I’m intimidated by colours. I’ve been using calico material and neutral beiges and browns; basically just skin tones in order to focus on the silhouettes and construction.
“I imagine when I’m feeling more confident about construction and silhouettes I’ll be ready to introduce colours and textures into the collections.
“I make all the pieces myself in my studio in Adelaide. When I can, I buy second hand and locally. My knitwear is 90% made with second hand yarns,” Chelsea says about how she manages sustainable production.
As for the future, Chelsea just wants to be able to comfortably create her work.
“I want to find a market for myself so that I’m able to continue making and working on varied projects. I love making pieces for performers and working with stylists, so I’m hoping to do more of that.”
Discover more of Chelsea’s art at chelseafarquhar.cargo.site, and follow her at @chelseafarquhar_
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