#awinewith Julia Browne
MEET Julia Browne, Founder of Melbourne Fashion Hub
You can find them here:
Transcript
Danielle Lewis (00:00):
You are listening to Spark TV, where we bring you daily interviews with real women in business at all stages. I'm your host, Danielle Lewis, and I am so grateful to have you here. Amazing.
Julia Browne (00:12):
Julia, welcome to Spark tv. Thank you so much for having me. This is a fantastic opportunity. Thank you.
Danielle Lewis (00:19):
Oh my gosh, of course. I'm very excited to share your story mostly because I have recently read your female founder feature, this Spark website, taken advantage for the fantastic opportunities you offer. No, oh my gosh, thank you for being fabulous. You make my job easy. Oh no, it's so good. Let's start out by telling everyone who you are and what you do.
Julia Browne (00:45):
So my name is Julia Brown and I'm the owner and founder of the Melbourne Fashion Hub. And Melbourne Fashion Hub sort of has two parts. So the overarching services that we provide is fashion business services for emerging designers, local designers, and that can be fashion design students and recent graduates and also early startups, early people in early stages of their business. So I provide business tools and resources. I provide fashion business consultancy and also for my fashion design students, I call 'em mine, my fashion design students and graduates. I also provide a six weeks intensive fashion pre-accelerator program. That's a mouthful, isn't it? And also a popup. So basically the idea behind it is that the pre-accelerator program is the theoretical part of their learning. And then the popup that we have every March is the applied learning part of the program, the practical element where they get to apply everything they've learned through the program to the popup, which sort of acts as not just a popup. The focus for the popup isn't so much as a regular popup where you come in, something's there for maybe a week or a month and clients or consumers come in to buy. It's more than that. The focus of this popup is to act more as also a hybrid, like a trade show recruitment drive, where literally the people who've become and taken part of the program can actually find career opportunities, be that with investors, working with stylists, retailers, et cetera.
Danielle Lewis (02:47):
Wow, this is so cool. Now, so I don't know if you know this, I actually studied fashion design.
Julia Browne (02:55):
Oh, okay.
Danielle Lewis (02:56):
And I just find this so interesting because, so it was a three year university degree I studied in Queensland, and I can tell you at the end of that degree, I had no freaking idea how I was going to get a job in fashion or start a fashion label or what the heck I was supposed to do with that. And it's so interesting. So I mean that was a long time ago now since had a corporate career, started a business and now I'm doing Spark. But I think back and it was kind of like I just had no idea what to do next. And so I kind of leaned into my part-time job, which led me down the sales and marketing path, nothing to do with fashion. But then over the years when I started a business and I acquired all of those skills, there's actually so much you need to know that I don't really think is in the degree or in the course or in the curriculum, the formal study where you need that extra support when you're actually starting a career or a business.
Julia Browne (04:02):
And I think there's a couple of parts to what you've just said. So as you just said, why decide you to start the hub in the first place in a nutshell was to bridge that gap between education and the real world, pure and simple. I love it. And obviously when I first started five years ago, there was less information out there about fashion business acumen to okay, so you've learned how to become a fashion designer, but unlike many jobs say if you are, I dunno, starting to be a lawyer. I think the main thing is it's a given sort of that you'll probably go and work for another firm,
(04:45):
Whereas when you're doing anything in the creative field, it's not that. It's the presumption is that you'll most likely work for yourself given that even in roles in the fashion industry, they'll tend to be, especially now maybe about content creation, assisting someone else working in retail, not actually designing. So that was the disconnect. And obviously since then and since I've started the industry and education have realized that there is this disconnect that a lot of people will want to start their own business but don't have the information within the design courses that they do. So they've started doing their own, what they call fashion enterprise programs, which is fantastic. But again, the thing with those is that it's obviously a lot of money. It can be an extra 14,000 to $50,000 depending on what you do. And I think a lot of the times, because they are quite a lot of money, they're all about getting you to a really high level in the business.
(05:54):
Which again, is that initially achievable. So there's still a place for me for people who go, well firstly I've spent all this money learning how to be a fashion designer. I've got a lot of hex debt and I still am not sure what to do. I can't really afford to do a fashion enterprise course at this stage in my life, but I really do want to start my own business. Where do I go? So mine's like a fast track of going, okay, is this really what you want to do? This is a safe space for you to learn all the key elements to starting a business so you really have an understanding, like you said, of what it takes to run a business and what you don't know and if this is still the direction you want to go. So you've got a nice safe space to work that all out within the fashion hub.
Danielle Lewis (06:42):
I love it. I mean I love it probably because I wish it have existed when I was finishing my fashion degree, but it's just so smart as well, seeing an opportunity in the market and creating a business around it. So how did you get there? How did you actually come up with this, put this into practice? What's the backstory here? Alright,
Julia Browne (07:10):
So sort of the simplest terms of the why, but then my core reason, there's two parts to it. So the why was basically I love design, not just fashion design. I love design from how people design typeface to everyday things. I absolutely love design, but what's closest to my heart is how we show up in the world and express ourselves. And obviously what they think it's utilitarian. I think the terminology is it's something functional, close are functional, we all need them,
Danielle Lewis (07:43):
But
Julia Browne (07:43):
They tell a story about us. And it's the biggest way of expressing and telling somebody about yourself without even speaking. It's such a powerful tool. So that's why it's important to me that it can do so much for your confidence, et cetera, et cetera. And I've always used it as part of my language in my own journey when I was growing up. And I think the thing is for me, because my family's always sort of not worked in fashion, but my mom and my auntie, my mom used to make her own clothes. My auntie was a seamstress, now they call it a sewing technician. She's a sessional lecturer. So she used to tell other people how to make clothes and work with students. So I sort of had an early introduction to fashion design students at an early age. Through her, I think from the age of 11 or 12, I knew there was magical people who made these unique one-off amazing clothes. And so when I came to live in Australia, I took this passion with me and was invited to a lot of student runway shows and I was like, this is gold In the uk it's very rare. You'd have to know someone who knows someone to
(08:54):
Go Central St Martins or something. It doesn't happen. Where here it was so much more accessible to go to these shows where you are seeing the future of fashion, all these incredible ideas. And then I was like, well, where do I buy? It was selfish at first. It was like, well, where do I buy these? I don't want to buy from regular stores, I want this. So it sort of came from that. Could we have something like an Alice eu, which used to be a store in Melbourne? Can we have something like that just for young fashion designers, their completely graduate stuff like raw. And then when I was talking more and more to the students, I actually realized that they didn't have the bisous acumen side. I'd be like, where are you going to show your work? What are you going to do? And they're like, I don't know.
(09:40):
And I was like, wow, okay, so there's a gap here. So initially when I started it, it was like, well, I want to showcase these designers, but I need to have a bit of responsibility here to make sure they've got the business basics before I unleash 'em on the world. My name over the doorway, so some sort of liability. So I'll just design a really quick course to go, let's tick box everything, yeah, make sure you've got an A, b, A and blah, blah, blah. But as I went on the program side of it became more important to a degree than the actual popup itself and learn more about exactly what they needed to know. So it's a very sort of client-centric, participant centric, whatever word you want to call it, program where I'm constantly learning and evaluating what are their needs and wants so that I can incorporate that into the program.
Danielle Lewis (10:39):
I love that. And you know what, it's interesting. So you are the second conversation I've had today around a business evolving to suit the customer client needs. And I just think it's something that we don't talk about a lot. Oftentimes we get these frameworks and programs and build your business like this, but the real power in longevity I think is when you actually listen to the people who you're serving. So I just love hearing that around it was this, it was born from this idea, but as the people started coming in, I realized these were the gaps. And as the program has evolved, it is just that continuous cycle of feedback and where are the gaps? What do they need to know? How's the market changing? I mean that's really interesting as well. How's fashion changed over the last however many decades?
Julia Browne (11:34):
And that's the thing is I was thinking about that, about where our relationship with clothes, fashion, whatever you want to call it, has changed from the bygone era of when poor people literally only had a few outfits that they kept pristine and if they were going to a special event, they'd get out this special outfit. And the notion obviously in the black community of Sunday best the same thing. Fast forward our relationship now because of Ultrafast fashion such as Tmu and Sheen, how's she sheen? However people like to pronounce it, where clothes are considered what they call A-F-M-G-A fast moving consumer good, not something to be treasured. And that speaks about you as a person and how you live your life
(12:27):
And where it's currency. So a lot of people are saying sometimes it's not even about that. It's affordability, it's social currency that people are using it for, social currency on social media. So our relationship with clothing, a lot of people's relationship with clothing has completely changed. And obviously that's brought on also the onset as we know, cost of living crisis. We've seen mosaic brands I think go under that's a lot of the other chains like Katie's and that they've gone under Harold's in Melbourne, has gone under Dion Lee, even really incredible independent businesses have had to close down because the cost of living and the other pressures of online shopping and this engagement with cheap disposable fashion. And I think that's another reason why for me now more than ever, it's really important to support young emerging designers who as I like to say, put people in planet first. They are responsible designers who are ethical practice, who look at supporting. And I say everybody, everybody literally, it's really important to support these voices
Danielle Lewis (13:47):
And it is really interesting. I think fashion is one of those things that whether you like it or not, it impacts your life. And whether you like it or not, what you wear does say something about yourself, whether you put the intention behind it, somebody else when they look at you makes an assumption. So whether you want it to mean something or not, that is just the power of fashion. It is just as you say, it does affect everybody. So it's just such an interesting landscape and it's so interesting to hear that those industry moves around how the economic changes in the world and how yeah, the rise of fast or ultra fast fashion. Now we've moved beyond fast fashion that blows my mind. But how this evolution does really affect every person on the planet, whether you are in fashion or care about fashion, doesn't really matter. It does have a trickle down
Julia Browne (14:53):
Effect a hundred percent. And the thing is, like you're saying, even about not caring, I always remember people saying, if you don't care about fashion, wear a pink tutu to work. And that makes you realize that even if you say, I don't, and it's not so much fashion because fashion and styling and that all very different, but caring about what you wear, I suppose. Because regardless if you go, I don't care, that's a conscious choice about what you wear.
(15:22):
But it might be, even if you say on my down days when I'm home, I'm just very functional, I don't really mind what I wear. I don't put a lot of thought into it, which is style. But when you go to work, you do, you might have a job where you go know what? I need to feel like I need to wear a suit. So you are making a conscious choice that this is seen as the right attire and clothing to wear in this environment. And saying that this is what I say about the power of really well-made clothes is that say for instance you are starting a new job, say you are, let's say a mother who's just going back into the workplace and you want to feel empowered to have something that's really well-made, make you put your shoulders back, hold your head high and feel that you're ready for that day and for that new environment. And that is powerful. That's not flimsy or frivolous. That is powerful.
Danielle Lewis (16:18):
Absolutely. There is something to be said for as we've been having this conversation, I've been thinking about my own fashion choices and I am in a stage of my life now where I have very consciously decided that I want a very minimalist style. So people will see me in these podcasts. I'm always in a black or white t-shirt, black or white pants, black blazer. So that it is easy and simple. But I even think to myself on some days I'm also the world's messiest person. So every white t-shirt I own is also stained. Oh my gosh, I can't, my husband laughs when I eat dinner because I can't get through a meal without being all over me. But I was actually just sitting here and thinking about that. So on the podcast, no one would know if I'm wearing a shirt that has a little stain or whatever on it. But when I put on my clothes in the morning, if it's not feeling fresh, I absolutely feel different about that. Just simply a white t-shirt, if it's not new and shiny, if it's got a red wine stain on it or something, even if nobody else will notice or see it on the video, it does really have an impact on how I feel about myself and showing up professionally.
Julia Browne (17:41):
And the other thing I was going to say, which when you talk about really good well-made clothes, I mean I do avant-garde, really unusual stuff I do, but there's something to be say to the cut when you get someone who knows what they're doing. So like you say for you, you don't have to think about it because your white t-shirt and your trousers or your skirt, whatever you decide to wear, you are not thinking about it actually well-made and they fit you perfectly or pretty good. So can you, like you say, oh it's just a white, it's not, it is totally not the cut of how a t-shirt is cut the neckline, the fabric that's used. You find it's tight around the bust your pants do they have a lovely pleat so that you feel nice and comfortable. You're not getting anything going up your backside. Yes. You know what I mean? This is the thing. That's the thing. You take it for granted when something is really well made you feel comfortable, be able to do what you need to do comfortably. And that's a difference in having something that fits you well, that makes you feel confident and something where you are like, this is too tight round here. I feel it tugging here that it's fraying here. It's too tight around this area, it's tight on my thighs. Then you don't, your performance would be different. A hundred percent.
Danielle Lewis (19:05):
Absolutely. I remember it reminds me, we hosted a panel of female leaders and one of the women, she was a journalist and she said, whenever I'm feeling like I've just, today's not the day I don't have it. She said, she'll put on a really brightly colored blazer and that's her signal to herself, Nope, we're here. We've got this. And it's so small and
Julia Browne (19:30):
Simple but so
Danielle Lewis (19:31):
Powerful.
Julia Browne (19:32):
Exactly. Like I say, getting back to message, that's why it's so important. People don't understand that we do support local designers who have got this staff who want to dress all bodies. Whether you are living with a disability, you have a larger frame, you have a really tiny frame, your tall, sure. Think about where your clothes are coming from. It's important that we support these beautiful young designers. It really is.
Danielle Lewis (20:02):
And I mean we haven't even touched on sustainability far out, we're going to need a long time on this podcast, but you just made me think about it with supporting the local designers. I know in the back of some people's minds they do not want to spend a lot of money on clothes. But I just think there's so much to be said with investing in pieces that will last
Julia Browne (20:28):
That
Danielle Lewis (20:28):
Do make you feel amazing and that do support local sustainable options.
Julia Browne (20:34):
Yeah, a hundred percent. Because at the end of the day, and this is the issue where as I said before, that clothing in a lot of people's minds are now seen as a fast moving consumer. Good. So a coffee or take away burger. And obviously that is going to take a bit of a time to rewire about keeping up with the Joneses and disposability. But for people who do care about it, it is not about, I think it's about rather than saying, this is my analogy, and I always say they used to be called something called Go Sushi, and I think it's got a different name when you get the sushi trains and they come around and you can pick off what you want. I always think that ultra fast fashion is a go sushi and that really well made clothes is a really good restaurant. So when you go to sushi, you think that you're getting value for money and you're picking this because it's only $7 for this thing, it's only $3 for this thing. And then you're eating away. And then at the end of the day, you look at it and it's a massive pile of these tiny plates and you've spent, I don't know, let's say way more than you expected, it's 60, $70 and you're not even full.
(21:51):
And then you go to a lovely restaurant, you get really fantastic service. If there's any issues, they look after you have a really fantastic meal, it's memorable and you've paid the same money. And that's how I equate the experience. It's like you can spend, do a haul, I hate that word haul. You get all these horrible things which might have cockroaches and they're saying toxic chemicals on them and all sorts of nasties. There's no proper returns policy, things fall apart. Like you say, you could wear them and you are not feeling like you're ready for the day. It's like they smell, they don't fit and you've wasted all that money and then you don't send them back. And so they end up in landfill, which is horrendous. Or you could spend the same money and get a great customer experience really. Because the thing is, some people, it's not so much I want to support a brand, but it's like the difference is you're getting that full customer experience, that full journey.
(22:52):
And when you are dealing with somebody who's local, you can talk to them because social media now who've ever thought of it, that you can directly direct message somebody who's making your clothes, this is where we're at. And they can talk to you and they can say, can I have your measurement? It's just mind boggling to me. So that's what you are getting the full experience when you're buying something and the people who make your clothes care about you, care about their process, care about. And if they do have other people making it care about those people
(23:27):
And it's going to be made to last. And something that's beautiful that you want to keep. And like you say, if you're a minimalist dresser and it's not about fads and major trends, you've got those pieces forever. So it's a completely different narrative. Or for somebody who just like, I don't care and it's for this, we are not talking to those people. We're talking to people who have gone over to that side and go know what? I want to get back to having something that's beautiful that makes me feel amazing and that is really supporting this ethical, I like to say responsible rather than sustainable. Anything could be sustainable. So we're talking about responsible practice.
Danielle Lewis (24:11):
I actually love that. I love
Julia Browne (24:12):
That word better. I've not better responsible. I've heard anyone say that before. But it's funny because I did a course and they were saying sustainability is not the right word because LVMH business model apparently can be sustainable or carings or any of these big groups that the ideology is around profit, not about purpose. So responsible encompasses to me the fact that you want to do ethical, sustainable fashion and you're looking after the people who make it as well as the process of making it, that to me embodies it better.
Danielle Lewis (24:47):
Oh my god, I love it so much. I feel like we could talk all day, which I would love to do. However, I had to wrap up the podcast. So one final question for you. Reflecting on your time in business, what would be one last piece of advice that you would give to another woman to help her on her business journey?
Julia Browne (25:10):
Gee, there's not just one. There's so many.
(25:14):
I think that one thing that really help me, and I don't know if this resonates with a lot of the Spark community, but I think if you are starting out is please don't look for perfection. Really and truly, I dunno if I was a perfectionist, but I was getting in my own way of thinking this has to be a hundred percent right and I have to get the logo and I have to get the messaging right. And if you look for it to be right, you will never start. And I remember I was very lucky, I had a beautiful friend, Jane, who has since left us, God love her, who said, just have an MVP. And I was like, what's that is like a minimal viable product. Don't go out with trying to make it all the bells and whistles. Just go out with that and learn from it.
(26:04):
And so that would be my piece of advice. Please don't think you have to have everything right. People said to me, if you think your first logo is your best logo, you've done something wrong. So many people have so many different iterations of their logo. I'm the same. I had a horrible, clunky logo to start with, but it got me out there. And then after time I went, no, that doesn't fit the brand image. And then I was looking at my core values. I had to work on those. Everything's a process. And the thing is, as we were talking about before, it's not sometimes you are putting out what you think people want and once it's out there, you learn from your key audience about what they actually need. And then you put those two things together to create your offering. And everything has to be a living m, it's always developing as time goes on, different iterations to fit environment, market, et cetera. So as I say, don't go for perfection, go for an M-V-M-V-P.
Danielle Lewis (27:11):
Oh, I love it so much. Julia, you are absolutely incredible. Thank you so much for sharing your story and your insights and your wisdom. That was a superb chat. Thank you.
Julia Browne (27:23):
Oh, thank you so much. Thank you.
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