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Emily Gibb reflects everything we like in fashion. In her words, she strives for, “considered, creative magic” while prioritising sustainable, low-impact practices. 

Like most 90’s kids with a proclivity for sartorial style, Emily Gibb figured out who she was within the pages of magazines like Interview, i-D, Harper’s Bazaar and Vogue.  

We love what she has been doing in menswear styling (see young icon, Budjerah), and couldn’t wait to invite her into our Paddington showroom to chat about her heroes, her idea of style, and the future of sustainability in fashion. 

Emily Gibb - Budjerah - Fashion Stylist

BT: What is the starting point when you begin working with a new client? Is it their current style, your vision or something else?

EG: The starting point is ultimately the objective we’re looking to achieve and we go from there! There’s a myriad of options depending on the client, whether it’s a look for an event, creating imagery to highlight a client’s product or a capsule wardrobe for their day-to-day, but in almost every case, we’ll build upon their existing style to communicate what it is that they would like to in sync with me and my guidance.

BT: Who are your top three cultural heroes? In a sentence, why?

EG: This is so hard! I don’t know that I have a forever top three, but […] off the top of my head, I would have to say Andre Leon Talley, Edward Enninful and Miley Cyrus. All three are trailblazers in their own respect, in my opinion.
‘A.L.T.’ for being one of the first in literally changing the culture in his stoic pursuit of highlighting beauty, specifically Black beauty, in fashion – all the while in the face of racism and homophobia.
Edward, similarly, for his work in creating and highlighting the notion that inclusivity and diversity are welcome practices in high fashion, and therefore the greater fashion industry.
I think Miley is grossly under appreciated […] and I believe that one day, her commitment to defiantly expressing her true self in the face of misogyny, homophobia and largely subconcious partiarchal bias of the public eye, which has essentially changed the culture and conversations around the image of real, strong and uncompromising women in music, will be recognised.

BT: You aspire to create ‘considered magic’ using sustainable and low impact practices. This is something important to us and informs every aspect of what we do. Can you tell me what the future looks like for sustainable garments? Are there any fabrics or practices that are currently exciting you on that front?

EG: Gosh, honestly there’s a lot that excites me because there’s a lot that’s happening! I think that, more and more, virgin fabrics as we know them now, will become the ultimate luxury.
Developing a circular economy not just across fashion but a variety of waste-producing industries, is the future. Our parents and grandparents lived in a society where they placed great value in purchasing and investing in pieces for the wardrobe, home and beyond. Repairing or tailoring things, rather than quickly throwing them out, was done without question – my dad recently shared with me that, as one of four kids, my grandmother used to darn holes in their socks! 
We’ve all heard it before but quality over quantity, and I’m really encouraged by people continuing to be conscious of this. Placing greater value on these existing things and then repairing, re-fitting or re-purposing them – whether it’s an unravelled seam, a broken zipper and so on, or tailoring loved pieces which no longer fit as you like – is infinitely better than [throwing something away], which has become commonplace in modern society. 
We’ll also continue to extend the life cycle, and therefore sustainability, of garments through the consignment, second hand and vintage industries. Creatives will continue to create new garments through upcycling exisiting items, whether deadstock fabric, remnants, off-cuts, pre-existing fashion or textile items. 
For pieces and textiles that are beyond wearable viability, recycling them, through current and developing technology that enables distinct fibres to be seperated, to create new fabrics is really exciting to me.
Continuing to highlight micro plastic pollution from our garments is also really important and I look forward to the conversation of the use of natural vs synthetic (aka plastic) fabrics continuing !
Emily Gibb Fashion Stylist

BT: Style is nuanced and tricky to define, but usually we know it when we see it. What does ‘good styling’ mean to you? And, if different, what does being ‘well dressed’ mean to you?

EG: Absolutely, and it’s totally subjective! Good styling to me is when someone is both confident and comfortable in what they’re wearing. It’s about how one feels, regardless of others’ opinions. Confidence radiates through someone’s presence and as soon as someone is uncomfortable in what they’re wearing, they absoutely hold themselves differently and unconvincingly in their appearance.
I would say being well dressed is distinct predominantly via fit and tailoring. If something isn’t fitted properly to one’s body and is therefore unflattering, I personally can’t say they’re well dressed. But again, that’s totally subjective!
Sustainable Fashion

BT: One of my favourite parts of the measurement process with a new client is when they try on an overcoat for the first time. We do it to record the right length on it. I love watching how their demeanour very subtly changes the as they put it on. There’s always a moment that they glance at their face in the mirror as if they’re seeing themselves in a new way. I’ve also been on a lot of shoots where a new look will actually change the mood and energy of the room. It’s powerful. And it speaks to an obvious power in clothing. Can you comment on this? Is it something you’ve noticed before, or strive for in your work?

EG: I’ve definitely experienced my clients being empowered by trying styles or fabrics that are either new to them, or surpass their expectations once on! Fabric has been a big and surprising aspect in clothing where I’ve had animated remarks from clients about how good the fabric feels on their skin – both of which were natural, might I add.
I would say I always strive for my clients experiencing empowerment, and therefore confidence, in what I style them in. However, I don’t hold any expectations over them as I can’t be sure what will provoke this in them, which is where I think the beauty in our roles lie – we’re not mind readers! Between fabric, the perfect fit without any tailoring (I’m proud to say this I’ve acheived many a time with clients) and trying something new to surprising delight – and everything in between – I really enjoy being able to facilitate confidence and joy in clients through clothing, and good styling.
Follow @emilyrgibb
Photo credits in order: 1) Budjerah by Emily Gibb // @emilyrgibb. 2) Lime Cordiale by Emily Gibb // @emilyrgibb. 3) & 4) Director & D.O.P. Jack Shepherd // @jackshepherd___. 5) Vasili Papathanasopoulos // @vasiliapathanasopoulos
Interview by Josh Kempen



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