Liz Sunshine – Grounded Exhibition

Last week, we celebrated the launch of Liz Sunshine's Grounded exhibition in our Sydney Showroom.  Presented by Eurail, the celebrates the intersection of slow travel, slow fashion and Scandinavian style. The collection showcases Liz’s slow travel rail journey through Norway, Sweden and Denmark where each photograph explores a down to earth mindset and way of being. Liz is an Australian artist, documentary fashion and portrait photographer based in Melbourne. She is widely regarded as the first and most well-known photographer in Australia to capture street style both at fashion events and organically on the streets. We caught up with her to discuss what slow travel and slow fashion means to her and how her journey shaped and evolved the final collection. 

How did the concept of slow fashion and slow travel influence your work during this journey?

Understanding my relationship with clothes has been an expansive and cathartic journey that originally started with simply wanting to consume less. An influence that has now become a mindset and subsequent driver for incremental change in all areas of my life.  When I embarked on this journey with Eurail I knew it would be an opportunity to explore slow and mindful travel from a practical perspective, travelling by train from one destination to the next. A romantic and new experience as someone who had ever only ever flown within Europe before. 

The exploration of slow fashion was influenced by the people I met along the way and the conversations we had. Conversations that led me to ask, ‘How does slowing down change our experience, even if it’s only for a moment?’, ‘How important is it to be present in the way you live? Why?’ and simply, ‘What is slow fashion?’ - is it just the opposite of fast fashion, a more mindful and ethical approach to how clothes are made, or is it also connected to what you choose to buy, and how often you add new pieces to your wardrobe?

Can you describe a memorable moment from your travels through Scandinavia that significantly impacted your art?

We had lunch at one of the oldest restaurants in Oslo, and then I planned to walk about thirty minutes away to the vintage district. On this walk I saw a woman in a red coat waking towards me, within seconds I had stopped her, explained what I was doing and asked if I could take her picture. She said she was late for a friends birthday, but would stand for a minute. Could you imagine my joy? Not only was this beautiful woman wearing a red coat she had purchased second hand, but she had the most beautiful red hair, and had stopped in front of an orange building. The whole process of meeting and taking her picture would have taken less than four minutes. Unknowingly she become my anchor, and the exhibition would later be defined and built around this moment. 

How did you choose the subjects you photographed during your journey?

As a documentary fashion photographer, I am not just chasing beautiful people who are wearing nice clothes, I’m chasing fleeting moments of clarity and value. 

When I’m on the streets my eyes are open, and I photograph anyone that feels of interest. I’ll collect moments as the days pass by, sometimes there is no moments of intrigue, sometimes one or ten in the space of a few hours. 

Everything happens so fast, and moments don’t always go the way you plan, meaning it’s generally an impulsive and instinctual process more than anything. 

What differences did you observe between Scandinavian and Australian approaches to slow fashion?

Scandinavians place equal importance on form and function, buying beautiful pieces they intend to wear daily and for a long time. In contrast Australians place importance on function and cost. I think culturally we share a down to earth mindset, but Australians are the largest consumer of textiles in the world and the average cost of an item is $13. That says a lot about how much importance and value we place on our clothes.  I’d like to give all women permission to place importance on the visual satisfaction of what we wear not just the cost and how useful it is

How did your conversations with locals shape your perspective on slow fashion?

I am a big believer in osmosis. The idea that what you surround yourself with influences your way of being. This can be true for your inner circle, but also for the wider community around you.  The conversation I had on the streets in Scandinavia were enriching because they validated a way of being I know is more aligned with my values. Something I have been working towards and craving for a long time. Permission to consuming less, slow down and rejecting the pace of consumption expected in Australia. 

Our relationship with clothes can be complicated. People often judge us by what we wear and I have previously felt a sense of pressure and urgency to make sure my clothes tell the right story about me. Now, as I have defined my values, I know they do.

What are the benefits of slow travel and what does slow travel mean to you?

Slow travel is a mindset. It’s about adjusting expectations on your time, and how many things you will see when you travel globally or locally. It’s about giving yourself permission to do less, but better. Spending a day in your hotel bed instead of seeing all the sights, taking time to talk to the person in the coffee shop, or sit in a park. It’s about willingly seeing less. 

Can you elaborate on the significance of photographing people wearing used clothes?

There is currently enough clothes in the world to dress the next five generations.  You can see the clothing dump in the Atacama desert in Chile from space.  And buying new clothes often, does not mean you are cultivating great style. 

Placing importance on people who wear used clothes or limit their consumption feels modern to me. It says you are community-minded and think not only to creating a great outfit, but one that speaks to the values you uphold. Values of community and environment. 

How did the landscapes and culture of Norway, Sweden, and Denmark influence your artistic vision?

Interestingly I had always intended for this to be a fashion series. When I spoke to Eurail I wasn’t given any instruction or requirement to include any kind of travel images - though somehow here we are, with a series of fine art that is half fashion, half travel. I think the form of travel was really influential in my process. Like walking through a city, travelling by train keeps your mind present, watching the world go by.  The resulting images speak to the idea of a journey, without this element I think the series wouldn’t be nearly as strong. 

What questions about consumption and slowing down have stayed with you since this journey?

Each work is paired with a question. The one that repeats in my mind is ‘What are you looking for?’ This question isn’t just relevant to fashion or travel though, it’s a universal idea and often comes to me when I am mindlessly consuming social media. Asking myself what I’m looking for, allows me to take a moment and become present again - realising that I’m often just filling time.

How do you think your art can contribute to the conversation about sustainable fashion and travel?

Asking questions and letting people draw their own conclusions is known to be a powerful driver for change.  I hope to spread awareness around textile waste in this country and encourage people to stop and think about what's important to them.  With time and space, I am confident most of us would choose a slower path. 

Please tell us why you chose Jardan as the space to hold the exhibition.

Ideas and values are the foundation of my work, and finding a space that aligns with those values was incredibly important.  Jardan felt like the perfect match. Not only do our values align, but on return to Australia only six weeks ago I was looking at the current Jardan collection and saw a synergy with the colours in the collection and my new work.  

In what ways did the open brief from Eurail challenge or enhance your creative process?

Knowing there was no specific outcome required apart from a series of images removed all pressure and allowed curiosity to be the driver of creation.  I feel incredibly trusted by them and will forever be grateful for this experience.

What do you hope viewers take away from your photographs and the stories behind them?

I hope they ask - ‘How much value do the things around me hold? And at what cost?’   To value less but better, and take time to slow down.  Mostly, I hope they see that living mindfully doesn’t need to come at the cost of beauty. We can place equal importance on both if we are willing to have less. 

Liz Sunshine’s Grounded Exhibition is now open and available to view at Jardan Sydney, 42 Oxford St, Paddington. The exhibition will run until Sunday 7^th July.

The collection is also available online.