The Gargoyle (2024)
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 is presented as a film, made in collaboration with Ru Elliott, Dwayne Tillman, Rebecca Jordan, and Bailey Wall.
Filmed in Naarm, on Wurundjeri land.
For a more comprehensive look at the design process of this collection (and a few extras from the others on this page), feel free to check out my Portfolio PDF.
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 is presented as a film, made in collaboration with Ru Elliott, Dwayne Tillman, Rebecca Jordan, and Bailey Wall.
Filmed in Naarm, on Wurundjeri land.
For a more comprehensive look at the design process of this collection (and a few extras from the others on this page), feel free to check out my Portfolio PDF.
Look 1: The Reach Bodysuit
This look features strange extrusions of muscle, inviting and supple twin-teardrop hollows, a lush and ghastly streak of iron, and a single length of chain that passes through the piece. She is adorned through adjustable bolted straps at the side, and adjustable slide-buckle straps at the neck.
Look 2: Maw and Scraps
The Maw Top features a cavernous, split-open bust adorned with noisemaker chains, and exaggerated scapulas across the back. The Scrap Skirt utilises irregular hide off-cuts in a pillaresque silhouette with cathedral archway. She may be worn with or without a hoop.
Look 3: Gargoyle, Crawler, and Codpussy
Animal, fetishistic and cute, the Gargoyle Mask crowns the collection. It has a projected face, rusted eyes and horns, and sweet wing-like ear-flaps upon the hood. The Crawler Jacket features an iron-painted organ structure and sexy contrast lining. The Codpussy features a bolt-adjustable waistband, chain leg-loops, and an indulgent lateral hole.
This look features strange extrusions of muscle, inviting and supple twin-teardrop hollows, a lush and ghastly streak of iron, and a single length of chain that passes through the piece. She is adorned through adjustable bolted straps at the side, and adjustable slide-buckle straps at the neck.
Look 2: Maw and Scraps
The Maw Top features a cavernous, split-open bust adorned with noisemaker chains, and exaggerated scapulas across the back. The Scrap Skirt utilises irregular hide off-cuts in a pillaresque silhouette with cathedral archway. She may be worn with or without a hoop.
Look 3: Gargoyle, Crawler, and Codpussy
Animal, fetishistic and cute, the Gargoyle Mask crowns the collection. It has a projected face, rusted eyes and horns, and sweet wing-like ear-flaps upon the hood. The Crawler Jacket features an iron-painted organ structure and sexy contrast lining. The Codpussy features a bolt-adjustable waistband, chain leg-loops, and an indulgent lateral hole.
Freight Train to Faerie (2023)
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.
This photoshoot took place in Banyule, on Wurundjeri land.
Starring and photographed by Bri Crick and Rebecca Jordan.
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.
This photoshoot took place in Banyule, on Wurundjeri land.
Starring and photographed by Bri Crick and Rebecca Jordan.
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 the modern day.
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.sky-bright and optimistic, but still grounded in the modern day.
Both pieces of the Anomaly set were made from specially developed patterns and utilize secondhand materials.
The Anomaly crop top features mesh windows to the chest and back, with a close turtleneck collar and topstitched organic cut-outs. The Anomaly chaps are crotchless and assless, with a stretch of mesh across the way and a sexy flat-felled seam down the front of each leg. Paired with a sci-horror velvet streak.
What if we Make Out in the Engine Room? was designed under an artist name, Feywish.
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 nebulous, 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.
This photoshoot took place in Banyule, on Wurundjeri land.
