de jour

of the day



Amethyste, Raven. 2012. “Flamingo Cafe”, Fortitude Valley. Image. Taken March 29, 2012.

Basiliou, Thea. 2012. “Blonde Venus”, Fortitude Valley. Image. Taken March 29, 2012.

Earnst & Young. 2012. “Six Global Trends Shaping the Business World”. Accessed March 26, 2012.

Metamodernism. 2012. “Discussing Metamodernism”. Accessed March 26, 2012.

Nielsenwire. 2009. “Personal recommendations and consumer opinions posted online are the most trusted forms of advertising globally”. Accessed March 27, 2012. 2012. “Metamodernism”. Accessed March 26, 2012. 2011. “Top Trends of 2011: Frictionless Sharing”. Accessed March 27, 2012.

Rothwell, Adam. 2012. “Yard Bird Ale House”, Fortitude Valley. Image. Taken March 29, 2012. 2012. “Flawsome and the new consumer mindset. Acessed March 27, 2012. “Timotheus-vermeulen talks metamodernism”. Accessed March 26, 2012. 2012. “Flawsome: Why brands that behave more humanly, including showing their flaws, will be awesome”. Accessed March, 26, 2012

 Turek, Lisa. 2012. “Fallow”, Fortitude Valley. Image. Taken March 29, 2012. 2012. “Global Trends 2011”. Accessed March 26, 2012. 2012. “Autumn/Winter 2013/14 Macro Trends: Hactivate”. Accessed March 27, 2012. 2012. “Autumn/Winter 2013/14 Macro Trends: 21st Century Romance”. Accessed March 27, 2012.


The explosion of consumer-generated media (CGM) over the last couple of years has resulted in an increased amount of consumers’ relying on word-of-mouth from people they know and online consumers they don’t, for their decision-making processes (Nielsen, 2009). Furthermore, current social and economic trends show that people are progressively becoming disenfranchised by advertising, rarely believing that a product can be perfect and as such, brands that insist on projecting and image of ‘flawlessness’ are increasingly met with cynicism and disbelief (, 2012). Consumers nowadays seem to prefer honesty and openness, more than they do the contrived illusion of perfection.

Enter ‘Flawsome’ – a concept that asserts is bourne from the idea that ‘flaws’ are ‘awesome’. According to their website, human nature dictates that people have a hard time genuinely connecting with, being close to or really trusting other humans who (pretend) to have no weaknesses, flaws or mistakes. Our current disillusionment with corporate facades and our need for transparency means that, as people and as consumers, we’re now seeking out businesses and companies who genuinely try to connect with us (, 2012). Furthermore, as instigators of the social media empire where divulging personal information and frictionless sharing is commonplace, we’ve come to expect that companies and big business will do the same (, 2011).

Adam’s look encompasses the Flawsome ideology beautifully. It’s honest, un-pretentious and doesn’t subscribe to any one particular trend but is at once effective in communicating his sense of self. His glasses were bought online from a favourite boutique, his pants from an op-shop (altered by a friend’s mum) and his hair (though closely resembling the current dapper look) is not the result of an expensive visit to the hairdresser. Thanks for being honest Adam – we love you all the more for it.


Repair to Renew

As concerns about resource scarcity, including energy and water, become more prevalent, companies are facing increased pressure to demonstrate sustainable practice and utilise clean technology or ‘cleantech’ (Ernst & Young, 2012). Nowadays, consumers want businesses to disclose the social and environmental impact of their activities and in response; local and global corporations are developing strategic plans to adapt to this change. In a world of limited resources, renewable energy from cleantech is key.

Stemming from this ideology is the notion of ‘Soft Power’, or, the cultural and social assets of a country (Monocle, 2012). Prior to the sustainability boom, a country’s economic power depended upon its exports, but with fuel-prices sky-rocking and the ‘buy local’ slant gaining momentum, a country’s soft power has become their key asset in driving tourism and investment (Monocle, 2012). In response to this, countries have swapped logistically expensive outsourcing with local, natural resources and home grown, creative talent (WARC, 2011).

The fashion world’s response to this sentiment is ‘hacked’ design. Hacked design (as outlined in WGSN’s macro trends for Winter 2013/14) updates traditional DIY ideas of ‘repair’ through open-source technology, community initiative and a modern look and feel (WGSN, 2012). It’s energetic, earnest, spirited, quick, empowered, optimistic and fun. From a design perspective, it’s about creating something fresh that performs better because it’s tailored to peoples wants and needs (WGSN, 2013). Raven from the Flamingo Café in Fortitude valley exudes this trend in her above look with the clash of floral motif and tie-dye patterns projecting an energetic and spirited attitude that is fun and full of self-expression. Thea’s look also evokes a sense of optimism and empowerment but is in a much subtler way. She’s updated and ‘repaired’ the traditional nautical look with a splash of bright bloc colour to make it fresh and on trend and added to that a statement piece (that is the white over-coat) from a local designer, promoting local talent and resources all at once.




Meta-modernism: A concept used in recent philosophy to describe the period after postmodernism; and an idea about coming to terms with recent changes in aesthetics and culture, with a notion to periodise these changes (, 2012).

The ecosystem is disrupted; the global financial system is uncontrollable; and the geopolitical structure is unstable at best. This ‘Ménage à trois’ of dilemmas has the duel effect of infusing doubt and inspiring reflection within us. On the one hand, we want and need technological advancement to connect, consume and participate; but on the other, we yearn for the simplistic way of life that preceded such technology (Pederson, 2008). Enter Meta-modernism- an oscillation or swinging back and forth between global and local; conceptual and tangible; or postmodern irony and renewed modern enthusiasm (metamodernism, 2012). It’s not (as we might assume) a balance between each opposing alternative, but rather, a swinging between the two – believing in one thing one day, in it’s opposite the next or maybe even both at the same time (tank magazine, 2012). A constant repositioning if you will – not a compromise, not a balance, but a prerogative to think and feel what we want, when we want even if we contradict ourselves.

WGSN (2012) references this movement in their macro trends for Winter 2013/14 coining it ‘21st Century Romance’. It’s about captivating objects with miraculous power that invoke an instant emotional reaction; about the bringing together of seemingly contradictory design elements with a romantic enthusiasm for the future (think hard/soft, light/dark); and about using nature as a visual source to bring imagination and spontaneity into the uncompromising lines of modern minimalism. Lisa Turek’s ensemble from Fallow, Fortitude Valley encapsulates all that is metamodernism. The combination of liquid and solid form within a structured, modernist space; and the fragile elegance of the digital print contrasted against the solid colour bloc really do invoke a sense of swinging between polar opposites. It’s dark yet feminine, strong yet soft and fanciful and serious all at once…and whilst I could swing between loving and hating it, I think it’s just divine.