“It’s not just about creating something subjectively beautiful, it has to be objectively beneficial to our environment.”
Inspired by a fashion industry brimming with technological innovations, the Naarm-based brand manifesto of love seeks to explore uncharted textile territory. Dylan Negrine is the designer behind the brand and his journey in the fashion industry is a bit unconventional. Love Manifesto was originally his graffiti pseudonym, born during drunken nights in Venice, Italy.
What started as an alias for art and an outlet for creative expression, has morphed into a label that prioritizes sustainable manufacturing using innovative technology. Although his medium has changed, his mindset remains the same – he seeks to create art that challenges mass production and encourages creative expression.
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Dylan aims to explore textile science and surface innovation by recycling aand fusing his practice with technologies such as laser cutting and 3D printing. Below, Dylan details how he got started, his slow fashion philosophy and what excites him about tech innovation in the industry.
Tell us about you. What is your background in fashion?
I was a rebellious child with little direction, constantly struggling with authority and the law until I realized my passion for art and creativity. So my journey into fashion has been sporadic and somewhat unplanned. My practice began at a young age, vandalizing public property with patterns and images in an attempt to find meaning.
When I returned from Europe in 2016 after graduation, I decided to study architecture in Australia and was fascinated by the complex machinery in the process of creating an art object , so I decided to give up architecture and start studying. fine arts at RMIT.
I was introduced to screen printing at RMIT and it was the perfect way to combine rough graphic designs onto virtually any substrate. I started recycling clothes in store and using them as a canvas to express my practice. From there, I decided to study textile design at RMIT so that I could further explore facets of print and surface design within a fashion context. Then, after two years of that, I am now studying fashion design.
How did the label start? Tell us about the process and the challenges.
Initially, I had no intention of creating a label, it was more of an artistic alias account. In 2019, I decided to turn the page into a clothing archive where I could sell and showcase pieces. I didn’t want it to be a mass produced fashion brand, that’s something I wanted to clarify. It is always in pursuit of creative practice.
My state of mind has remained the same from artist to fashion designer. It was difficult to learn the skills required to make clothes. However, with drive and perseverance, I found it extremely rewarding.
What were you trying to achieve from the project at the time? How has that evolved and what are you trying to communicate through the brand now?
The project was an attempt to distort contemporary fast fashion values through recycling and surface decoration, mostly through screen printing to be honest.
But that evolved considerably because I was really drawn to technological innovations in art and decoration on the surface of textiles. There’s so much technology to come too – there’s going to be a huge boom in the fashion industry which I predict for textile innovation because everything is so unsustainable right now.
Currently I am interested in innovative processes and textiles in order to merge my practice with technologies such as laser cutting and 3D printing to create lasting results based on art. I’m working on a series of clothing informed by these technologies and I’m excited to release it as part of my sophomore year debut.
How would you describe Love Manifesto to someone who has never seen it before?
I would say technical clothing for a utopian society, emphasizing health and well-being.
What did you wish you had known when you started?
The art of making. Specifically for sustainable and efficient production, because I think that’s something that’s rarely addressed in higher education and upcoming designers are the future of the sustainable fashion landscape.
I wish I had known earlier that your actions have a direct impact on the environment. It’s not just about creating something subjectively beautiful, it has to be objectively beneficial to our environment. The waste and by-products of creating something beautiful are really a problem.
What about the Australian fashion industry that needs to change?
To prioritize local manufacturing. Designers need to be better trained in sustainability. There’s a lot of waste in trying to make a product multiple times, so I think that needs to be taught.
Who are your dream Australian collaborators?
Dion Lee – let’s make unique pieces [together].
Is there a future project you are working on that you can discuss?
I am currently working on a textile process that attempts to mimic the fossilization processes found in nature. It involves the laser cutting of intricate molds to form indentations on the surface of a fabric by vacuum forming. I often look to nature for design inspiration by observing natural processes and how they describe certain aesthetics.
How can we buy one of your parts?
So a lot of my pieces right now, while I’m studying, are just prototypes while I’m experimenting. However, I have scales published at @posture_studio in Abbotsford.
To learn more about Love Manifesto, visit here.