FEYWISH

The Gargoyle

The Gargoyle (2024) is an erotic and chasmal amalgam of leather fetish and vaulted ceilings.

This collection is informed by a personal mythology which represents emotional landscapes as stoneflesh. It is a story of impassable walls and ever-patient wells, with the gargoyle itself acting as a translator between each – the carved face between interior and exterior worlds.

The Gargoyle is told through leather, metal, and rust, with forms and fixings that indulge heavily in fetish subcultures and industrial sensuality. The collection will be presented as a film, made in collaboration with Ru Elliott, Dwayne Tillman, Rebecca Jordan, and Bailey Wall. Filmed in Naarm, on Wurundjeri land.

Freight Train to Faerie

Within the fairy ring a stranger: Hotshot, bad boy, cocksure-caught But safely clad in iron wrought All says to faerie, ‘danger’... Yet the faeries flutter nearer, nearer, Closer still to peer ‘er...

Freight Train to Faerie (2023) examines the tensions and harmonies between femme and butch, faeries and iron. These things may lay in opposition, but they also lay together.
The collection draws on leatherdyke subculture and metalsmith workwear combined with fairy mythos and magic. This resolves into pieces which are materially grounded yet express a certain flight of fancy. The pieces are playful and light, erotic and heavy – capricious as the fey.

Despite protective leather shielding or guarded high collars, each look incorporates softer suggestions of nature and wonder, localised with gumleaf forms and burning techniques. The dressing process is ritualised through the patient use of nickel bolts as fixings. In doing so, industrial artefacts are recontextualised as conductors of magic. I enjoy these themes and materials a lot. There is more for me to explore with this collection, and development will continue in the future :). This photoshoot took place in Banyule, on Wurundjeri land.
Starring and photographed by Bri Crick and Rebecca Jordan.

This developmental illustration takes its pose from Helmut Newton's Woman Into Man (1979) photograph.

What if we Make Out in the Engine Room?

A sexed up 60’s science fiction environmental set – sky-bright and optimistic, but still grounded in modern-day mess.

What if we Make Out in the Engine Room? (2022) engages with local and global trends, and injects classic science fiction as a curveball influence. It favours crisp geometry, jewel-tones, and tactless reveal, delivering sets that are eye-catching and casually horny.

This collection addresses Naarm’s oddly prevalent demographic of fashionable weird nerds. It is also entirely constructed with secondhand materials and upcycling, in line with the environmentally-conscious spirit of the city.

This photoshoot took place in Banyule, on Wurundjeri land.

Particulate Whole

Particulate Whole (2022) is a fashion material project about the experience of being a moving and modular composite of cells in cycle. Is it the body as abstracted by the microscope, but also as abstracted by self-study. Evolving geometric patterns and delicate layers come together to create a whole that is defined but messy, rigid but fluid. The basic components of organic life are translated into colour, as shifting and context-dependent hues that collaborate to form something that is subtle, nuanced and changeable.

This photoshoot took place in Banyule, on Wurundjeri land.