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When I interviewed Jordan Gogos last year in the lead up to his Fashion Week debut, his energy was infectious. He was like a kid in a candy shop to be beginning his fashion career amid the halls of Australia’s premiere fashion event. Resplendent in colourful, collaged pieces of his own creation, he even seemed a little bewildered to be there. Now, a year later, with his label Iordanes Spyridon Gogos, he presented his second show. An artistic electrifying rave-parade in collaboration with Sydney’s Powerhouse Museum.
Aside from Gogos’s endearing humility it was his focus on collaboration that struck me greatly. His method of removing the idea of a single visionary and instead sharing the process, and spotlight, with a flurry of complementary creators was refreshing and exciting. Gogos crafts his seasons alongside many, many design associates. This year they were offered a ‘castle’ theme and from there they worked to create a wild yet cohesive spectacular. It’s a cross-breeding of creativity we see very little of in the industry and, in fact, this art-meets-fashion installation-runway was the Powerhouse’s first ever fashion week show in their 142-year history.
The calibre of the 60-strong list of collaborators included industry legend and bright-colour like-mind, Jenny Kee who walked in her own design as well as Sydney uber-label Albus Lumen and Indigenous centre Pormpuraaw Art.
The show itself, in its psychedelic grandeur, broke the rule book. A presentation slash show slash party, this Gogos x Powerhouse experience drew no pleasure from exclusivity and instead promoted it publicly in the lead up to the event. Perhaps this love-in feeling is part of the reason the label itself feels so jovial and why you want to wish it every success. The other reason is that Gogos’ artistic carte blanch is wholeheartedly liberating. His vision for this rainbow patchwork superstorm, his Amazing Deconstructed Technicolour Dreamcoat, his fantastical castle – tells a relatable story of power and presence. Using a Trojan horse as a metaphor he realised the theme through graffiti-scrawled mega-marbling that ranged everything from scant hanky dresses to cosplay tulip skirts as well as clowny pom-pom shrugs, harlequin hats, patchy waistcoats, metallic cowboy pants and mega-mâché equine accessories.
The synchronicity between The Powerhouse Museum and Gogos is a dream. Having Gogos as their designer in residence not only benefits both parties but offers encouragement for all those designs student out there working to have their sartorial art realised on a global stage. Though Gogos’ collections are, as yet referred to as “wearables” and not as commercial fashion this year’s exceptional reception should prove that when and if he does produce ready-to-wear, so very many of us in his corner. And what a most fabulous, fun corner it is.
