{"id":38665,"date":"2014-10-13T12:25:10","date_gmt":"2014-10-13T11:25:10","guid":{"rendered":"http:\/\/www.wonderlandmagazine.com\/?p=38665"},"modified":"2015-01-17T19:26:23","modified_gmt":"2015-01-17T18:26:23","slug":"ones-watch-yevu","status":"publish","type":"post","link":"https:\/\/www.wonderlandmagazine.com\/2014\/10\/13\/ones-watch-yevu\/","title":{"rendered":"Ones to Watch: Yevu"},"content":{"rendered":"

Wonderland takes a trip to West Africa with Yevu’s Anna Robertson, an Australian designer with a socially sustainable vision<\/p>\n

\n

\"Yevu\"<\/a><\/p>\n

Move over China. West Africa is taking back the textile industry and\u00a0their garments are\u00a0made to last.\u00a0No one knows this better than\u00a0Yevu\u2019s\u00a0Anna Robertson. On a year\u00a0long trip to Ghana, the\u00a0label\u00a0founder\u00a0fell head over\u00a0sandals\u00a0for the prints\u00a0of\u00a0the people. Against a backdrop of arid, sandy landscape, the\u00a0vibrancy of bright hues and eye-popping prints, not\u00a0surprisingly,\u00a0wooed\u00a0the\u00a0Australian-native.\u00a0So\u00a0in December 2012, Yevu, the socially sustainable brand was born. Championing local industry,\u00a0a small workshop of Ghanaian seamstresses work with Anna,\u00a0to\u00a0create\u00a0the\u00a0ethical range of\u00a0printed bombers, co\u2013ord sets and patterned shirts\u00a0synonymous with\u00a0her\u00a0label. From Sydney to Ghana and now London, the\u00a0girl with the\u00a0kaleidoscope\u00a0eyes\u00a0has\u00a0garnered quite a following.<\/p>\n<\/div>\n

\n

\u00a0We spoke to\u00a0Yevu\u00a0designer,\u00a0Anna Robertson,\u00a0as she launched her newest collection at her Shoreditch pop-up store.<\/p>\n<\/div>\n

\n

\u00a0With no\u00a0formal training you\u00a0started\u00a0a fashion label.\u00a0Describe\u00a0your process when creating your debut\u00a02012\u00a0collection.\u00a0<\/strong><\/p>\n

For the first collection,\u00a0I\u00a0found a group of seamstresses\u00a0whose\u00a0quality was really high so I\u00a0decided to do a men\u00a0and women\u2019s range of about\u00a0300 or 400\u00a0pieces. I\u00a0thought I\u00a0might\u00a0as well do\u00a0it properly if I\u2018m going to do it at all.\u00a0We did\u00a0a small photo-shoot in\u00a0the city of Accra and that was in\u00a0August 2013.\u00a0It sold out in two days and\u00a0two\u00a0weeks later\u00a0I was back in Ghana. I did another range and then set up my online store.<\/p>\n<\/div>\n

\n

\u00a0Your earlier collections champion the\u00a0African\u00a0wax\u00a0prints. What are some of the fabrics you\u2019ve used in the third\u00a0and most recent?\u00a0<\/strong><\/p>\n<\/div>\n

\n

We used a lot of different fabrics including\u00a0silk and\u00a0Kente.\u00a0Kente\u00a0is a\u00a0traditional Ghanaian cloth that takes the men days and days to weave. It\u2019s\u00a0usually worn by chefs and royalty at weddings and important events.<\/p>\n<\/div>\n

\n

\u00a0Describe the\u00a0aesthetic of the brand?\u00a0<\/strong><\/p>\n<\/div>\n

\n

It\u2019s the Australian lifestyle with the vibrancy of West Africa. It\u2019s always been a unisex brand with an urban edge.\u00a0Though in this\u00a0range\u00a0there are heavier fabrics and trans-seasonal pieces.<\/p>\n

\"Yevu\"<\/a><\/p>\n<\/div>\n

\n

\u00a0Tell us about the prints used in the third collection\u00a0<\/strong><\/p>\n<\/div>\n

\n

There is one jacket that has a large motif of someone drowning next to a giraffe\u00a0that\u00a0is also drowning. Then there\u2019s one of a mouth that reads: \u201cI\u2019m smiling at you here but in my heart I hate you\u201d.\u00a0They\u2019re hilarious. Africans are God-fearing people. They\u00a0all\u00a0serve as warnings of trust.<\/p>\n<\/div>\n

\n

\u00a0How has the label grown since 2012?\u00a0<\/strong><\/p>\n<\/div>\n

\n

For the third collection, which was launched October\u00a0\u201814, I had my best-friend, who is also a\u00a0designer, join me on\u00a0my last\u00a0trip to Ghana. We did a lot of pre-production\u00a0before,\u00a0which is impossible in Ghana.<\/p>\n<\/div>\n

\n

\u00a0Why is that?\u00a0<\/strong><\/p>\n<\/div>\n

\n

African seamstresses are\u00a0amazing at what they do but they\u2019re not trained like most designers so there\u00a0are\u00a0inconsistencies with pattern-making. Everything is manually done: they cut one fabric at a time with a pair of scissors. It\u2019s a much slower process.<\/p>\n

\"Yevu\"<\/a><\/p>\n<\/div>\n

\n

\u00a0How did you overcome that?\u00a0<\/strong><\/p>\n<\/div>\n

\n

The last time we went we\u00a0took electric cutters to help\u00a0speed it up!\u00a0Also\u00a0Anna taught them new sewing techniques to make the quality better and the process faster.\u00a0That was the third collection and because I had more resources and money to bring people on board it was a\u00a0lot\u00a0smoother.\u00a0This time we knew exactly what we were producing whereas before it was just trial and error,\u00a0which is confusing for everyone.<\/p>\n<\/div>\n

\n

\u00a0Finally, what’s been the most positive outcome of Yevu?\u00a0<\/strong><\/p>\n<\/div>\n

\n

To be honest, the product was a positive outcome. The motivation, given my background in development,\u00a0was working with small businesses in Ghana. Being there and seeing\u00a0the\u00a0potential that country has has\u00a0been incredible. There are so many\u00a0highly skilled people and not a lot of ways for them to make\u00a0an\u00a0income.\u00a0With Yevu,\u00a0I\u2019m able to employ 15 people at a time and provide a stable income three\u00a0times\u00a0a year,\u00a0and create good relationships.\u00a0It\u2019s not hard to produce things in a socially\u00a0responsible\u00a0way but still come out with a quality product.\u00a0I\u00a0want\u00a0Yevu\u00a0to be\u00a0a label\u00a0with substance.<\/p>\n<\/div>\n

\n

 <\/p>\n

www.yevuclothing.com<\/a><\/p>\n

 <\/p>\n<\/div>\n

\n

Words<\/strong>: Jasmine Phull<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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