PRIDE’s roots are in architecture, not fashion. Architecture is always searching for perfect junctions between materials—materials chosen to last. Every detail is perfected, then revealed to the eye.
If architecture’s edict is “perfect and reveal”, the fashion world’s might be “accept and conceal”. Fashion designers accept weak sewing, weak fabric and weak bodies within. They see their job as one of obscuring it all with new patterns, flurries, boning and foam. It just has to look good in the change room. Never mind how it looks wet!
True to the architectural mindset, PRIDE’s garments emphasise the beauty of the fabric and how it has been carefully sewn. The body beneath isn’t pushed into false shapes but is subtly supported and sheathed.
PRIDE’s design ethos promotes body acceptance and health. It also breaks the cycle of this-season's patterns becoming landfill when they get old. With nothing to divert viewers’ eyes from seams, darts and stitching, such functional elements become the garments’ visual features and the skills of machinists are prized.
Modernism is an unfinished project
At its deepest level, PRIDE’s design ethos derives from a pre-WW2 conception of the body, as an exquisite machine. As ideas go, we know it is fraught and can lead to wrongheaded conclusions. However, on balance we see it as the way forward for city dwellers, to make use of our bodies, however we can. We ought to all try to walk or cycle for transport, not use elevators when there are stairs, and see the world, not some screen, as our playground. And should there be water to swim in, may we all be good examples to Australia's youth and dive in.