To Be Magazine
Rick Owens bunny bag.
As we prepare for our annual archive market, the Dilettante Circle, we've created an exclusive editorial for To Be Magazine. Featuring some of Perth's most prominent collectors adorned in their most treasured pieces, this editorial delves into their deep, personal journeys with fashion, revealing the stories and emotions woven into their cherished collections.
Beauty by Ashley Brockman using NARS. Photography by Tülay Dinçel.
Diana Paolucci
Diana wears her A.F. Vandevorst puffer vest and pleated dress.
Can you share the story behind the founding of Dilettante? What inspired you to create a directional luxury retail store, and what were some of the challenges you encountered along the way?
So with fashion and art being my biggest interests, I studied fashion and textile design at TAFE and I dabbled in making jewellery and sold it to a few boutiques around Perth. After graduating, I had a fashion label for a year but quickly realised that it wasn’t for me. After working in a bunch of different retail stores, I knew that retail was where my interest lay. My folks have been intrinsic in my career direction—they always had their own businesses, so that was a common part of discussions around the dinner table. Dad was my mentor and biggest cheerleader; he once put an advertisement in the local paper advertising my services for “any fashion-related work experience!” My mum was the one who helped me price my first jewellery line and is responsible for my addiction to Excel spreadsheets.
In 2006, I spent a month in Paris researching showrooms and trying to secure the brands I wanted for my store. That was the first challenge— trying to convince brands to sell to a 23-year-old girl from tiny Perth. My mum ended up flying over to Paris to help me look and once we had secured Vivienne Westwood, all the others opened up too.
Running a small business has its challenges, but I still find so much joy walking into my store every day. I love building a creative and diverse, but down-to-earth, team. That is very important to me—that everyone is capable of getting their hands dirty and multi-tasking. Dilettante is now in its 18th year and it feels like it’s found its sweet spot. Things are calm and steady and the future looks good!
What inspired you to start collecting vintage and/or archival fashion pieces? And what was your first significant purchase?
I first started exploring fashion when I was in high school. By the time I was studying fashion, I had started buying pieces via eBay. This would have been early 2001/2002, so there wasn’t much available in Perth or online at that time. I remember my first item was an Ann Demeulemeester white tank from SS199; I still have it. I feel that was my first foray into avant-garde fashion designers. Although, to my Year 12 ball, I did wear a Wild and Lethal Trash (Walter Van Beirendonck) dress with big black boots and twisted my hair with black extensions and feathers on the end. Come to think of it, that is very Ann D!
Diana wears her navy satin Maison Margiela strapless dress, leather Tabi gloves and beige Tabi pumps.
Can you describe how your personal style has evolved over the years and the key influences that have shaped it?
Fashion was a way for me to communicate my interests without having to vocalise too much. Strangely, I was always fairly confident about my personal style. I was definitely a risk-taker, pushing the boundaries of what an outfit should be. I was always very crafty, not skilled, but really enjoyed crafting things, like reconstructing old clothes and making jewellery out of old toys or found electrical objects. Starting Dilettante obviously gave me access to luxury fashion. I would order anything that was odd and quite strange but in a beautiful way. My wardrobe was full of Undercover, Ann Demeulemeester, A.F Vandevorst, Yohji Yamamoto, Maison Margiela, and some intensely embellished Peachoo+Krejberg beaded pieces. Over time, I felt like I no longer had to prove anything to anyone. I’ve begun to care less about what others think of me and, along with having two kids in the last seven years (and being extremely time poor), my style is much more understated. I gravitate towards my Uma Wang trousers, Rick Owens or Marc Le Bihan tops and a Song For The Mute jacket with Rick boots or Uma ballerina flats.
How do you see the role of archival and vintage fashion in promoting sustainability within the fashion industry?
It helps people understand what quality construction is and how good design is timeless. I believe it also encourages designers and consumers to continue to pursue their own vision and their own aesthetic and not get enticed by fleeting trends.
Caeley Wesson
Left: Caeley wears her Ann Demeulemeester white gown. Right: Ann Demeulemeester velour drape top and black trousers.
What inspired you to start collecting vintage and/or archival fashion pieces? And what was your first significant purchase?
I’ve been fascinated by the act of dressing as a form of storytelling to convey an emotion or mood for as long as I can remember. I studied theatre, and costume has always been somewhat of a portal into embodying characters or expressing something that cannot be said. I am particularly drawn to clothing with a past life; pieces of intrigue that carry tales of their own, a dress that would sit down and tell me a wild story if I asked where she’d been. For me, the allure of collecting lies in a never-ending quest to find those special pieces that exist in a world of their own. This quest has cost me both time and money.
A purchase I’ll never forget was a pair of silver Vivienne Westwood toe shoes from an early 2000s collection that referenced Bacchus the Roman god and looked like the paws of a mythical creature. I’d spied them in an archival store, atop a great hill whilst walking down to a beach with an old boyfriend on a scorching hot day. Naturally I couldn’t stop thinking about these magical silver hooves and made him walk back up the hill with me so that I could make them mine. I always felt guilty for it! Years later someone stole a pair of 1980s vintage Chanel sandals from my towel on that very same beach. A shoe for a shoe you might say.
Can you describe how your personal style has evolved over the years and the key influences that have shaped it?
My personal style has historically been a bit eclectic and weird. I used to feel myself wearing a green Gaultier catsuit to do the groceries, but these days I optimise for comfort; likely a reflection of also feeling a lot more comfortable in my own skin. As a mother of an almost two-year-old, the amount of washing is unfathomable, so Uma Wang jeans and yesterday’s t-shirt is often it. I preference natural fibres like organic cotton, cashmere and wool. When I’m feeling fancy I love archival Ann Demeulemeester, Rick Owens, Comme or anything from Dilettante, of course.
Caeley wears her Ann Demeulemeester white gown and brown leather Jil Sander jacket.
How do you see the role of archival and vintage fashion in promoting sustainability within the fashion industry?
Vintage and archival pieces are made better, the same quality and craftsmanship just doesn’t exist like it did anymore. Investing in a few iconic designer pieces you’ll cherish forever is much more sustainable than buying something cheap and mass produced. I guess we could all do better when it comes to excess and waste and buying into circular fashion is a start.
Veronika Kretzer
Veronika wears her white Marc Le Bihan tulle dress.
What inspired you to start collecting vintage and/or archival fashion pieces? And what was your first significant purchase?
I lived in Europe (Vienna and Oxford) for most of my thirties and early forties. Here, I had the opportunity to explore the enormous range of vintage fashion that was accessible. Paris, Rome, Vienna and London had an abundance of opportunities to find eclectic archival and vintage fashion pieces. I learned that good-quality pieces that are well designed, beautifully cut and use quality fabrics would hold their appeal over time.
Over the years, with my interest in fashion, there have been a number of designers that I keep gravitating back to. I have a great attraction to Rick Owens’ fluid and graceful but still eclectic style; Ann Demeulemeester, for her elegant designs with a quirky edge; and Jean Paul Gaultier for his unapologetically brazen designs. It has only been recently that I discovered Marc Le Bihan. My most significant (and precious) pieces are two Marc Le Bihan dresses that are white and red with tulle skirts. I feel like I am living my fantasy of being a ballerina (although I do wear them with my Doc Martens platform boots).
Can you describe how your personal style has evolved over the years and the key influences that have shaped it?
My inherent tastes and style have probably remained similar in terms of my love of elegant silhouettes with soft textures and fluid forms contrasted with a bit of grunge. With maturity, I have become more comfortable with my own tastes and more confident in reworking things. I am less worried about what other people think of me and more confident in subtly challenging “norms.” For example, I love mixing elegant, silky dresses with grungy bike jackets and boots.
Another significant change with age is that I don’t save clothes for “special occasions.” Life is short and my daily life is made more joyful and interesting by feeling good in the clothes that I am wearing (which vary according to mood and occasion).
Veronika wears her red Marc Le Bihan tulle dress.
How do you see the role of archival and vintage fashion in promoting sustainability within the fashion industry?
I think vintage and archival fashion are absolutely essential to promoting sustainability within the fashion industry. Firstly, we need to recognise that some of today’s throwaway “fast fashion” is not only detrimental to the environment, but it also enables the continuation of slave labour in developing countries. Secondly, archival fashion encourages the appreciation of quality with items that will stand the test of time and are hence more sustainable. Thirdly, it encourages a move away from mindless acquisition of new and current trends to a more mindful and creative approach to fashion.
I feel joy to think that a vintage piece that I have worn and loved for years can be styled and worn by someone else in a completely different way, for many more years.
Andrea Goh
Andrea wears her Comme des Garçons jacket, skirt and shoes.
What inspired you to start collecting vintage and/or archival fashion pieces? And what was your first significant purchase? When I was first drawn to brands such as Comme des Garçons, Junya Watanabe and Issey Miyake, I didn't have the means to buy them first-hand. Buying pre-loved pieces from these labels was an accessible way of attaining them. That was the start, and I've been collecting pre-loved, vintage and archival pieces ever since. My first significant purchase was a Pleats Please Issey Miyake American Comics dress from the 1990s. I got it on eBay and it was such a steal.Can you describe how your personal style has evolved over the years and the key influences that have shaped it?
I think age and lifestyle have influenced my personal style the most. When I was younger, I used to buy loud statement pieces, but now I prioritise timelessness, comfort and wearability. I've learned what shapes and colours suit me most.
Andrea wears her Maison Martin Margiela leather glove top, Yohji Yamamoto denim skirt, and Miro Miro jewellery.
How do you see the role of archival and vintage fashion in promoting sustainability within the fashion industry?
I believe archival and vintage fashion highlight quality over quantity. Special, timeless styles that are beautifully crafted transcend time and thus have longevity.
Based on your experience as a fashion blogger, why do you think vintage and archival fashion pieces have gained so much popularity?
Vintage and archival fashion pieces are the antithesis of fast fashion. Not only does buying vintage fashion reduce waste, it also allows individuals to create unique looks, which promotes a culture of individualism as opposed to mass consumption.
Younghi Newman
Younghi wears her Maison Martin Margiela silk scarf jacket and vintage denim skirt.
What inspired you to start collecting vintage and/or archival fashion pieces? And what was your first significant purchase?
It could have been the old Italian and French cinemas I used to be hooked on. My very first purchase was a Levi's denim shirt at an Oxfam in 1978, soon after I arrived in the UK from South Korea. (I didn't know it was an Opshop and I didn't know what an Opshop was either.) It was a big deal as denim clothing was only available on the black market at the time and was frowned upon (it was considered not ladylike) in Korea but it was high on my wish list. That denim shirt is still in high rotation in my wardrobe.
Can you describe how your personal style has evolved over the years and the key influences that have shaped it?
I think I've moved a little out of my comfort zone of wearing the same style as everyone else. It might be the confidence coming from maturity? There are some advantages to getting older, after all!
Younghi wears her Rick Owens red velvet dress and vintage Versace belt.
How do you see the role of archival and vintage fashion in promoting sustainability within the fashion industry?
Invaluable! Could someone remind me how many tonnes of clothing go to landfills every year?
Your collection includes pieces from designers like Rick Owens, Vivienne Westwood, Alexander McQueen and Comme des Garçons. What draws you to these designers, and how do they reflect your style?
I believe that uniqueness and timelessness are the essence of these designers (and some others I love), and their designs seem to allow me to be me. They make me feel ‘just right’.
Megan Alice Bouwer
Megan wears her Elena Dawson black silk dress.
What inspired you to start collecting vintage and/or archival fashion pieces? And what was your first significant purchase? I've always been a collector, since childhood. I really enjoy the hunt and the anticipationn of tracking down a piece that I love. It's a similar experience to trawling through antique markets and searching for something niche. When I discovered my love of fashion, it became something I felt compelled to start collecting. One of the first significant purchases I remember making was a pair of 1990s Dirk Bikkembergs boots with metal heels. They were a size too big, so I'd wear two pairs of thick socks out of desperation to wear them.
Can you describe how your personal style has evolved over the years and the key influences that have shaped it?
I think my style has evolved to feel very authentic to me. I don't feel pressure to conform to trends like I used to when I was younger. My sensibilities have changed and deepened.
I've always appreciated the history behind objects, with a strong love of antiques and historical aesthetics. This, I would say, is one of my key influences. I feel like my personal style is an amalgamation of all my interests. Who I surround myself with has also had a big influence on the evolution of my style. Friends and partners that share the excitement for experimenting are so important and provide me with the space to grow.
Megan wears her By Walid Coat, Mutedance dress, Paul Harnden shirt and MA+ bag.
How do you see the role of archival and vintage fashion in promoting sustainability within the fashion industry?
Archival and vintage fashion are so crucial for changing the mindset towards fashion. It promotes the longevity of the design! It's the polar opposite of fast and throwaway fashion. I think it also slows the pulse of the trend cycle, as archival and vintage fashion exist outside of trends. I am so conscious of sustainability in my wardrobe—I find my style leads me to purchase less and of a higher quality making me a more conscious consumer.
In what ways do you see the intersection of art and fashion influencing your collection?
For me, there is a definite symbiotic relationship between art and fashion. I love the emotional capabilities of fashion; how it can quite literally be wrapped up in the storytelling of a garment. You could compare that to how a painting or artwork tells a story and evokes a feeling or mood. That’s something I look for in a garment; I want to feel something. I see harmony as an important artistic principle and that governs my fashion choices.
Our next Dilettante Circle will be held on the 28th and 29th of July 2024.
Photography by Tülay Dinçel.