Ethically made in Australia
It may not be the easiest option, but there is just something in me that feels compelled to keep it local. I do feel a strong sense of connection to the making, knowing it's happening here. It also keeps it much more hands on for me, which allows me to keep my cutting room skills up and spend more time off-screen. I only make in small batch runs, which means no over production.
Finding the right manufacturer
For over 10 years I used a local team in Mullumbimby to make my gear. But when covid and the floods came, these folk had a change in direction. I spent the next couple of years searching for the right fit. It's not worth working with people I don't like, because running my business is my day to day experience. Finding somewhere willing to do lower production numbers is not easy either. I don't wan't to make heaps of stuff as that would mean growing beyond what is comfortable for me to hold. Especially as storyline is essentially part time, as I also do design and production management for Dalee Ella Prints.
Made in Melbourne
Eventually, I found Collier Clothing in Melbourne who now do "cut make trim" for storyline and Dalee Ella Prints. Sam and Jim have been in the biz for over 30 years and know exactly what they're doing. They have the patience to work with me as well, as I'm still learning the way they operate, after spending 10 plus years honing my skills using different makers. There are many boxes to tick when finding the right working relationship, such as, workable production numbers, fair wages, quality of work, timely delivery, pleasant communication and the list goes on... I am very proud and much relieved that I have found a good match with Collier.
Digitally printed fabrics
A couple of years ago I decided I wanted to make my own fabric prints. This meant a complete overhaul in my fabric suppliers. Over years I'd narrowed my suppliers down to only the highest quality producers I could access in Australia, but doing my own prints meant learning the whole new world of digital printing. It is what it sounds like, the fabric goes through a massive printer which is not unlike your home printer. So, I spent a few years trying different factories in Australia and China to find fabric types I liked, fabric types that performed well, colour matching that worked and good colour fastness. This is a significant reason why it took me so long to relaunch my brand, I just can't send poor products out into the world. In this climate, I feel a huge responsibility to only make things which will get used and last.
My suppliers
I've always used ABMT in Australia for the high quality organic cotton knit which Gwyllem pieces were mostly made from. I am still using them for my plain knits & at Dalee Ella Prints. However, as I'm moving more into prints I had to find a new supplier.
Enter Senboo textiles in China. Some of my fabrics have always come from China, but I've always kept it to a minimum. I was very mindful when choosing a new supplier for prints that they had to have the social and environment credentials I look for. Thats why I love Senboo textiles. They ONLY use organic and natural textiles with all the certifications easily available, plus they are a small factory with only 5-10 employees. Doris, who I mainly communicate with is a delight and I look forward to meeting her at the next Global sourcing expo.
I have been testing their fabrics for about three years now and am very happy with the performance.
What fabrics do I use?
It's evolving as I move into digital prints. Here is a list of current types I use:
93% certified organic cotton 7% spandex (This is my favourite fabric to wear. The stretch means you can look put together but move around in total comfort. The spandex isn't great, I'll admit. There is bound to be be a natural elastic solution before long, as we're already seeing this is elastic trims)
100% bamboo made in a closed loop system where all chemicals are reused in perpetuity
Linen and linen viscose blends (I'd like to phase out viscose over time as its a dubious one)
Conventional cotton (there are still some Japanese cottons I'll continue to use. Though they may not be organic they are very high quality and last, which does offset the chemical use to some degree)
100% Certified organic cotton (this is what I make my panels with and future skirts)
It's an ongoing process, finding fabrics which perform in the best possible way with the best environmental credentials.
You can see from the list above it's definitely not perfect. But I do make the best decisions I possibly can as a super small business and am constantly researching how to improve fabric choices.
If there is one thing I have learnt, its that you cannot rush into using all new fabrics without testing, and this is a lengthy process. Slow and steady is the way forward.
The value of clothing
In many ways I'm glad I didn't go offshore because it really meant I had to learn a whole range of skills I simply would not have had to otherwise. I can pattern make, sample sew, production sew, manage production, and many many other skills that I'm probably unaware of. This has given me immense respect for the clothing industry and just how richly skilled it is.
Also a huge understanding of why clothing needs to be valued more highly in our society. It takes a very very long time and many hands, from concept to finished to product. I hope we will return to a world where we care more for our clothing and the people who make it.
As a small business owner wearing all the hats I only get to spend a small amount of time in each world, so while my skills may be varied, they are definitely not as deep and intricate as other craftspeople who spend their entire careers learning the ins and outs of sewing silk dresses, for example.
My designs are quite simple and there's a very good reason for that. Aside from the fact that it's my aesthetic, I simply couldn't manage more as a soloprenuer. I love what I've created, it's rich and varied, constantly interesting, I'm always learning and it's small enough that I can manage it.
Finding the right manufacturer
For over 10 years I used a local team in Mullumbimby to make my gear. But when covid and the floods came, these folk had a change in direction. I spent the next couple of years searching for the right fit. It's not worth working with people I don't like, because running my business is my day to day experience. Finding somewhere willing to do lower production numbers is not easy either. I don't wan't to make heaps of stuff as that would mean growing beyond what is comfortable for me to hold. Especially as storyline is essentially part time, as I also do design and production management for Dalee Ella Prints.
Made in Melbourne
Eventually, I found Collier Clothing in Melbourne who now do "cut make trim" for storyline and Dalee Ella Prints. Sam and Jim have been in the biz for over 30 years and know exactly what they're doing. They have the patience to work with me as well, as I'm still learning the way they operate, after spending 10 plus years honing my skills using different makers. There are many boxes to tick when finding the right working relationship, such as, workable production numbers, fair wages, quality of work, timely delivery, pleasant communication and the list goes on... I am very proud and much relieved that I have found a good match with Collier.
Digitally printed fabrics
A couple of years ago I decided I wanted to make my own fabric prints. This meant a complete overhaul in my fabric suppliers. Over years I'd narrowed my suppliers down to only the highest quality producers I could access in Australia, but doing my own prints meant learning the whole new world of digital printing. It is what it sounds like, the fabric goes through a massive printer which is not unlike your home printer. So, I spent a few years trying different factories in Australia and China to find fabric types I liked, fabric types that performed well, colour matching that worked and good colour fastness. This is a significant reason why it took me so long to relaunch my brand, I just can't send poor products out into the world. In this climate, I feel a huge responsibility to only make things which will get used and last.
My suppliers
I've always used ABMT in Australia for the high quality organic cotton knit which Gwyllem pieces were mostly made from. I am still using them for my plain knits & at Dalee Ella Prints. However, as I'm moving more into prints I had to find a new supplier.
Enter Senboo textiles in China. Some of my fabrics have always come from China, but I've always kept it to a minimum. I was very mindful when choosing a new supplier for prints that they had to have the social and environment credentials I look for. Thats why I love Senboo textiles. They ONLY use organic and natural textiles with all the certifications easily available, plus they are a small factory with only 5-10 employees. Doris, who I mainly communicate with is a delight and I look forward to meeting her at the next Global sourcing expo.
I have been testing their fabrics for about three years now and am very happy with the performance.
What fabrics do I use?
It's evolving as I move into digital prints. Here is a list of current types I use:
93% certified organic cotton 7% spandex (This is my favourite fabric to wear. The stretch means you can look put together but move around in total comfort. The spandex isn't great, I'll admit. There is bound to be be a natural elastic solution before long, as we're already seeing this is elastic trims)
100% bamboo made in a closed loop system where all chemicals are reused in perpetuity
Linen and linen viscose blends (I'd like to phase out viscose over time as its a dubious one)
Conventional cotton (there are still some Japanese cottons I'll continue to use. Though they may not be organic they are very high quality and last, which does offset the chemical use to some degree)
100% Certified organic cotton (this is what I make my panels with and future skirts)
It's an ongoing process, finding fabrics which perform in the best possible way with the best environmental credentials.
You can see from the list above it's definitely not perfect. But I do make the best decisions I possibly can as a super small business and am constantly researching how to improve fabric choices.
If there is one thing I have learnt, its that you cannot rush into using all new fabrics without testing, and this is a lengthy process. Slow and steady is the way forward.
The value of clothing
In many ways I'm glad I didn't go offshore because it really meant I had to learn a whole range of skills I simply would not have had to otherwise. I can pattern make, sample sew, production sew, manage production, and many many other skills that I'm probably unaware of. This has given me immense respect for the clothing industry and just how richly skilled it is.
Also a huge understanding of why clothing needs to be valued more highly in our society. It takes a very very long time and many hands, from concept to finished to product. I hope we will return to a world where we care more for our clothing and the people who make it.
As a small business owner wearing all the hats I only get to spend a small amount of time in each world, so while my skills may be varied, they are definitely not as deep and intricate as other craftspeople who spend their entire careers learning the ins and outs of sewing silk dresses, for example.
My designs are quite simple and there's a very good reason for that. Aside from the fact that it's my aesthetic, I simply couldn't manage more as a soloprenuer. I love what I've created, it's rich and varied, constantly interesting, I'm always learning and it's small enough that I can manage it.
