A Unique Collaboration in Far-Western Victoria
Nestled in the rolling hills and gum tree landscapes of far-western Victoria, a remarkable story is unfolding. Amid the quiet countryside of Pigeon Ponds, an unexpected and beautiful collaboration is taking place. What began as a simple act of creativity has now reached the catwalks of one of Australia’s most prestigious fashion festivals.
Two-and-a-half years ago, Sue McClure, a farmer from the area, decided to try her hand at knitting scarves and blankets using indigenous art designs she found online. However, she felt something was off about the process. Determined to do things differently, she reached out to Sherry Johnstone, an indigenous artist based in Warrnambool. Ms Johnstone, a Keerray Woorroong and Yorta Yorta woman, shared a deep connection with the land and a commitment to environmental sustainability.
Their meeting sparked a partnership rooted in mutual respect and a shared vision. “We both had a passion for the land and being mindful of our footprint on the environment,” Ms Johnstone explained. The collaboration began with a few blankets and scarves featuring her artwork, blending traditional Indigenous designs with modern fashion.
Sustainable Practices and Australian Wool
For both women, Australian wool plays a central role in their work. They use fine merino wool sourced from Tasmania, which is then processed in Italy before returning to Australia. This approach aligns with their commitment to sustainability and a circular economy.
Their first major project was creating a blanket that eventually evolved into an outfit submitted to the National Wool Museum Future in Fibres competition. The contest attracted over 150 entries from around the world, offering emerging artists a platform to showcase their work. Ms Johnstone’s entry won second prize, and one of the judges suggested they submit a ‘lookbook’ to the Melbourne Fashion Festival.
Neither woman knew what a ‘lookbook’ was, so they turned to Google for guidance. Inspired by her connection to the land and ancestral stories, Ms Johnstone came up with ideas for 10 outfits. She spent weeks drawing inspiration from natural elements like banksias, flowering gums, and even bark found in a paddock.
The Challenges of Creation
The lookbook was accepted into the festival in November, but the real challenge lay ahead. Ms McClure needed to knit the designs using a machine she had purchased from Japan in 2021. Measuring 4.5 metres long, 1.5 metres wide, and standing around 2 metres tall, the $180,000 knitting machine could produce entire garments or fabric pieces that could be cut and sewn together.
The task proved daunting. Ms Johnstone admitted, “Poor Sue had a bit of pressure on her to actually create the designs for me.” To help bring the designs to life, they enlisted Rod Murray, a Melbourne expert in knitting software. He programmed the machine to transform the artwork into tangible pieces.
Creating samples took a week, and producing the clothing for the festival required another month. But just days before the deadline, a power outage struck the Pigeon Ponds farm, leaving Ms McClure unable to use her sewing machine. In a final act of determination, she completed the stitching by hand on the verandah under the afternoon sun.
A Triumph on the Catwalk
The bespoke garments made their debut at the Melbourne Fashion Festival in February as part of the Beyond Blak Runway. The experience was emotional for both women. “I was overcome with emotion seeing what we both had achieved,” Ms McClure said.
This collaboration has also led to new opportunities. Ms Johnstone has launched her own brand, Flash 1A, designing jumpers, hoodies, ponchos, and dresses that will be produced on Ms McClure’s farm using the knitting machine. The name references a playful term used by mobs, highlighting the cultural significance behind the brand.
While the journey to the catwalk was challenging, both women are proud of what they have accomplished. When asked if they might one day take their designs to Paris or London fashion weeks, Ms McClure laughed and replied, “No, I’m too old for that.” Yet, the impact of their work continues to grow, proving that beauty and innovation can emerge from the most unexpected places.
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