The Bite Magazine - Spring/Summer 2023 - Issue 33

bitefashion Lucy Higgins Christy Higgs Owen Snaith CHRISTY HIGGS Handmade skills and craft were connected through Christy Higgs’ collection ‘Hand Skills, Connection and Craft’, which em- braced these qualities with much atten- tion to detail. The rich, diverse collection centred on ancient anthropology and its relation to artisan culture and materi- al chronology. His insight derived from early settlers whose handprints in caves and carving images of Venus from stone demonstrated visual stories and designs. Iconic materials such as wood, clay, cotton, brass, steel and leather pay homage to the earth. Christy acknowledged this craftsmanship that initially began with hands before it changed to machinery, making the ren- dered touch redundant. He likened it to the relationship between tradition and tech- nology or Frankenstein and his monster, where he felt a dysfunctional bond with his creations, having given ample time to their existence. Rather than a thing, he perceived it as a person with whom he was pleased one moment and then displeased. OWEN SNAITH Tartan shawl, scarf, kilt and overshirt with everything else in between were coupled with navigation and collaborative craft in Owen Snaith’s ‘Scottish Pride’ collection that spoke of family heritage and personal identity. It consisted of nautical hand-knit- ted ganseys and handcrafted wool fabrics complemented by copper jewellery. Fish- ing nets attached to the back of a rucksack or lying across the body were reminiscent of the young Owen observing his grand- father haul fish from the rural shores on the East Coast of Scotland and weaving diamond mesh on his boat before the next catch. The apparel’s intricate details, layers and warmth rendered an exciting blend of col- ours and fabrics. It promoted a wealth of cosy clothing to keep out the wintry chill in the Highlands. LUCY HIGGINS Being ‘wrapped in cotton wool’ was Lucy Higgins’ interpretation of her menswear collection ‘Cocoon’ exploring the emo- tional fallout of the global pandemic and protection from fear. It sought to capture society’s apprehension of venturing into a familiar yet changed landscape, encasing emotions and shielding the wearer from the unknown through handcrafted tex- tiles. While denim and custom appliqued camouflage masked the body, the raw, multi-layered hand-felted woollen in white and off-white transported the viewer to a cloud-like dystopia. The oversized padded outerwear garments, tamed tops and trou- sers with several pockets or ripped down the leg were accompanied by oversized bags held in hand or across the body.