Lillardia Briggs-Houston - June 2021 Artist of the Month
Q&A WITH Lillardia Briggs-Houston of NGARRU MIIMI
Our June Artist of the Month is textile artist, printmaker and designer Lillardia Briggs-Houston who runs her ethical and sustainable label Ngarru Miimi out of Narrandera. You can keep up to date with Lillardia on Facebook, on Instagram or check for limited releases on her website. Thank you to Lillardia for fitting in an interview during her busy schedule at Australian Fashion Week!
What is the origin of your label’s name “Ngarru Miimi” ?
Ngarru Miimi roughly translates to ‘honey sister’ and has many different meanings for me. Mainly it reflects my identity, my grandmother, traditional practices to obtain honey and my absolute love for it.
My grandmother and I both had a sweet tooth and each night after dinner we would sit down together and have a cup of sweet milky tea with a slice of bread and honey for dessert — something I continue to this day. In a funny way it is acknowledging and attributing my creative journey to the legacy of my grandmother.
What drew you to fashion and wearable art specifically out of all the artforms?
I grew up sewing with my grandmother. She made all of our families clothing and when I went to live with her from around 10 it was something she passed down. I’ve continued to see and make my own clothing for many years now. I always loved art and printmaking and remember my very first top I screen printed and sewed at around 13. It wasn’t until many years later that I fused Aboriginal art and fashion. It was just a light bulb moment after I had just hand carved an artwork - I immediately printed it onto a beautiful linen and sewed it up into a dress and I’ve never looked back. I finally felt that I had found something that expressed who I was as an Aboriginal woman and my need to show how beautiful our culture is.
And to follow up how did you learn your artform?
Mainly through years of practice. My grandmother taught me a lot in terms of fashion. She formally trained in the 60s and I was lucky enough to watch and learn from her from a young age. Im also currently training to be a fashion designer because I have a strong desire to continue strengthening my design skills. I always feel that you can never stop learning and I only want to improve myself and seeing the evolution of my work is something that really makes me proud.
Within my art practice I was always inspired by the talented artists in my family - particularly my Aunty Lyn Briggs and uncle Wayne Briggs (dec). They both infused so much culture into their work. As a young girl I was so inspired by their beautiful ability to yarn through their artwork and carry on our cultural practices.
It was a way for me to express culture and remember family within my work and the more I did it the more I fell in love with it. It gave me another avenue to explore my own self determination and sovereignty through art also.
SOURCE: VOGUE | Charlee Fraser wears pieces by Ngarru Miimi Photo: Sonny Vandevelde; Make-Up Director: Jennifer Horsley / MECCA; Hair Director: Richard Kavanagh / REDKEN; Creative Director: FNFD
What does ‘ethical fashion’ mean to you?
Ethical fashion is particularly important within Aboriginal art and fashion. It covers a range of issues such as working conditions, exploitation, fair trade, sustainable production, the environment etc.
Personally, this is really important to me within my work practice because I need to maintain my fundamental values of caring for country but also ensure that it’s supporting our own cultural, social and financial growth that aligns with our values and beliefs.
What is the importance of creating on Country to you?
Maintaining cultural integrity and sustainability is so important. Being on country while trying to uphold these values goes hand in hand. It’s also equally important for my own creativity. Being on country provides so much inspiration, memories and connects to my family and old people and it’s invaluable to me.
I know many people don’t have the opportunity to work from country so I consider myself very privileged to be home creating everything I’ve ever dreamed of. I also like to think my ancestors and old people are alongside me while I’m doing this on country.
What are your favourite pieces to create?
I love being able to just sit down and create something that’s been in my mind for a long time - it’s always the textiles and garments that take forever to make.
I also enjoy the artistic approach to my work over the meticulously organised and planned design aspects. Draping and manipulating fabric and not keep record because I don’t ever want to make the same fabric or garment again. I love being able to honour just one item, never to be remade again.
Can you describe the process involved in making one of your pieces?
Firstly I try to put the concept down on my iPad to really get a clear idea of what I’m trying to create - textured, colours, storylines, visit country that has inspired the concept.
I’ll then start with hand carving a wood or Lino block with some artwork that will be later transferred to screens by hand. Once all the fabric has been test printed and sampled I’ll start on the garment elements. I draft or drape all my own patterns so generally I will create a toile before cutting into my hand printed and printed fabric. Once my pattern is perfected, I cut and construct the garment until it’s complete. Generally I also measure and cross reference the pattern to make sure it’s all perfect. It’s a huge amount of work and perfecting just one artwork on fabric and the pattern testing phase can last weeks. But I generally try to wrap it all up in a few days. Once I have all my patterns and designs sorted it’s easier for me.
Echidna Necklace from Ngarru Miimi.
Gadhaang badhu, sacred emu feather women from Ngarru Miimi.
What is your perspective on the Art and Artists in the Western Riverina, or even more broadly, on Wiradjuri Country?
I think we have a thriving arts scene across Wiradjuri country. There are many talented artists and creatives doing deadly things. The past year has been a bit shakey with covid and it’s been a difficult year for the arts so that really has had a knock on affect for many of us.
Some First Nations fashion brands and artists such as Charlotte Allingham and Clothing the Gaps make distinctions between pieces that are “Mob Only” or “Ally Friendly”. Who are the intended audiences and patrons of your work?
I get this question a lot. My work is for both mob and allies. Generally I will put up a notification if it’s for mob only.
The exciting news was recently announced that your label will be part of a First Nations showcase of eight artists at Australian Fashion Week 2021. Can you tell me how that came about?
I was approached by First Nations Fashion and Design to be apart of the showcase and I’m so thrilled that they included me. It’s been a truly valuable experience to be a part of Australian Fashion Week and get hands on experience in industry. To be surrounded by 6 other incredible First Nations designer is also invaluable. I think it’s a memory that will be forever imprinted in my memory. Seeing and being a part of a show that had an entirely Blak crew was phenomenal and the perfect example of why we need more mob leading in their own spaces always.
The Sandhills print.
Yinaagirbang (women’s) print.
You are a relatively new designer who is already kicking big goals. In your opinion, what are some of your career highlights to date?
I think the whole journey has been a highlight. Being able to come home and follow this journey on country is also a big highlight. Also featuring in publications like Vogue Australia, Marie Claire, peppermint magazine are all highlights too. But mainly, just being able to have the freedom to do what I do is pretty special.
What other projects do you have coming up that we should look out for?
I have a fashion show coming up in the next few months which will release my next collection. This one is pretty close to my heart because I will get to showcase it on country in Narrandera. I’m fusing cultural heritage and archaeology with fashion and I’m pretty excited about the work unfolding from it.
What dreams do you have for the future of Ngarru Miimi?
I would love to be able to set up a Fashion and Print house for First Nations mob. Taking textile and garment production back to small regional and rural communities to contribute employment and training within fashion. It’s a big dream but one Im hoping to achieve one day! I really value cultural sustainability and I think there is a massive space for this within fashion and textiles particularly in the First Nations Fashion and textiles space. I’ve always needed a culturally safe work environment that supported my growth and cultural expressions and I’ve found that through the work I do. It’s a really big dream for the future to be able to support that for other First Nations women who love textiles and fashion also.
And lastly what advice can you give school age creatives who might want to follow in your footsteps?
Immerse yourself in art and fashion. Always explore and expand your skills and thoughts within fashion and practice practice practice!
Source: The Guardian | Composite: Stefan Gosatti/Getty Images
Interviewed by Camille Whitehead Tuesday 15th June 2021.
