Art Direction / Ben Murphy
Photography / Rachel Dray
Styling / Savannah Young
MUA / Nikki @ The Beauty Case
Model / Hayley @ Division
Concept / Christie Morgan & Savannah Young.
All accessories provided by Andeòl Textiles and all clothing provided by HAN.
Words by Grace McBrierty
Whilst Emilie Cacace may not yet be a name synonymous with the burgeoning accessories sector of the global fashion industry, Andeol Textiles is a glorious entity of colour-driven textile innovation that is indeed synonymous with only the coolest crowds of eclectics, each one more off-duty chic than the next. (Note: if you haven’t yet joined the dots, Emilie Cacace is the brains behind the beauty of Andeol Textiles. Okay good, everyone understands.)
Andeol’s philosophy of projecting an atmosphere of harmony and balance in the form of beautifully wearable and intricately orchestrated scarves and accessories draws inspiration from Cacace’s surroundings, environmental or anatomical. Wandering through the flora of the Blue Mountains, Cacace’s focus on the evolving quality of nature is inherent to the label’s progression, saying “I always try and focus on a new technique each season so that my design process remains fresh.” And fresh it is. Cacace’s fundamental process begins and ends with the phenomenon that is digital printing, a process ensuring the intricate detailing of each Andeol piece is faultlessly projected as an artwork stemming from the designer’s eye onto Andeol’s trademark silks. Printed in Cacace’s native Sydney also allows the designer to keep a “closer eye” on the goings-on inside the print house of choice that is Think Designer Prints, a relationship formed over six years ago and an all-important limb of the Andeol composition. Another resides in the label’s travel-fuelled colour and pattern inspiration, whereby places visited create a lasting impression on the Andeol label. Guatemala, India and Mexico hold the well-travelled fort of the Cacace globe-trotting inspo board, whilst global cultures and artisan collaborations propel the label from the shores of its southern hemisphere stimulations and has registered it a trademark on fashion mood boards the world over.
It’s this pushing of the national fashion envelope that has us enthralled. A favourite of online and print heavyweight Oyster, Andeol Textiles will continue to propel the accessories market via this oh-so-mighty union, showcasing seasonal lookbooks via the publications humming online presence, the next coming this September. We’re predicting influxes of colour-hungry fash-packers through the doors of Aussie retail mega’s Bloodorange and Poepke, not to mention other fashion hut’s across the country, pushing the retail borders of New Zealand and Japan to satisfy the greedy tendencies of quality, colour-popping design guru’s, “starving for beauty!” in true Mr. Talley fashion.
Q: The original art/graphics on Andeol textiles are incredibly intricate and obviously innovative. What is the inspiration behind this work in order to generate a tangible piece? What process is taken from design/artistic concept to production?
Each Andéol collection of prints is completely unique. This is because each collection is inspired by a new place. ‘Sol’ is inspired by Australia. The flowers and leaves were collected while on walks through the bush trails in the Blue Mountains, where I am now living and where I spend my time when not working in the city. As each collection uses different elements sourced from around the world, I become inspired in a new way every time. This evolving sense of inspiration is very important to me. I can definitely look back at each collection and see my design skills develop which is exciting! I always try and focus on a new technique each season so that my design process remains fresh. My main objective is to make sure each collection is unexpected with an element of surprise. I am now designing Andéol’s fifth collection. Mexico was the backdrop for the ‘Sol’ collection lookbook and Mexico is now what I’m living and breathing while designing the next collection.
Q: Using digital printing is a phenomenon taking the fashion industry by storm. How does this process contribute to Andeol’s designs/what is its effect on the finished product? Does it make the design and manufacturing process easier/different?
There is no other printing technique aside from digital that allows me to achieve the detail and colour in my Andéol designs. I’ve been working at the Think Designer Prints digital print facility for over six years now. This has meant that I can confidently design my Andéol ranges with a digital flavour using as many layers and as much colour as I feel inspired to use (which is generally the maximum amount possible)!
Detail is another important aspect of Andéol and printing digitally onto silk at Think Designer Prints allows me to design using any colour combination, photographic detail and fine line work. The Frida scarf for example from Andéol’s new collection ‘Sol’ is so fine that bleed control is a very important factor. I didn’t think we would be able to achieve a better print quality than that already achieved at Think Positive but with our new upgrade we will be able to print with even finer, clearer detail thereby providing so many endless and exciting opportunities. I am keeping this in mind while sourcing for future collections as I know I can push our digital technology even further. Printing and making locally here in Sydney allows me to keep a close eye on the quality of the silks, the colour control and the detail in my designs on the fabric, which is such a focus for Andéol. It is very important that my design ideas are reproduced exactly in colour and detail I envisaged and I am so happy that this is so easily achieved here in my hometown.
Q: The significance of Indigenous art and culture is inherent to the Andeol objective, as explained in your bio. Can you elaborate on why? Is this where Andeol’s inspiration is drawn from?
Yes, this is what inspires Andéol. Each collection of prints reference a new culture through my eyes, captured from the time I spent in each place. So far, I’ve visited Guatemala, India and Mexico with Andéol. I have a couple more exciting trips planned this year. I’ve always travelled and found visiting new places exciting and inspiring! This is where I find my creative energy and often where I’m able to think of my best ideas. During my travels, I reference the culture of the places I visit through collecting keep sakes and antique textiles for example and through my photography, which is then used for the Andéol lookbooks and as inspiration for designing the print collections. I’m always looking to find communities and local artisans to work with and this is where I see Andéol evolving in the future. Although my print designs are a complete abstract interpretation of each culture I come in contact with, I feel working with different artisan groups on my trips brings a certain authenticity, purpose and special component to Andéol.
As Andéol grows and its message is more widely understood by publications, we are definitely seeing a more collaborative approach to press. Most recently, we have been approached by magazines wanting to work with Andéol on specific issues in conjunction with what Andéol is focusing on with future collections. This collaborative process with media is something we are also very excited about.