NEW BABBARRA + PUBLISHER CLOTHING RANGE 2020

‘SALTWATER TO FRESHWATER’ OUT NOW

We are proud to present our new collection ‘Saltwater to Freshwater’ from Babbarra Women’s Centre. This collection of designs depicts the deep ancestral knowledge passed from generation to generation, informing a rich understanding of the topography and inner worlds of the people who inhabit the land of the Maningrida region.  

For the Babbarra artists the natural cycle of seasons are intertwined with storytelling and ceremony, such as the story of mermaid sisters Djómi & Bábbarra (one freshwater and one saltwater), and the Lorrkkon (Funeral Log) design that tells of the infinite cycle of life and death. The artists explain their world to us, illustrating how everything is interconnected – saltwater, freshwater and the stones in between.

The new range features lush, vibrant colours and graphically striking monochromatic prints. These flattering designs have a vintage twist and will suit a broad range of body types from sizes 6 – 16.

The Babbarra + Publisher clothing range uses natural fabrics and is 100% made in Australia.

Every garment has a story. Discover yours…

“Without a doubt this is the most sustainable fashion and fabric creation you could ever imagine”

Edwina McCann
(Australian Fashion Council/ Editor-in-Chief of VOGUE Australia) QUOTED at Babbarra’s ‘Jarracharra – dry season wind’ EXHIBITION at the Australian Embassy in Paris 2019
Babbarra + Publisher Textile 2020 Saltwater to Freshwater Fashion Shoot.

AUDREY TOP

Audrey Bush Apple Top Babbarra + Publisher Textile 2020

Timeless and stylish, just like its namesake Audrey Hepburn. This simple box-cut top features short sleeves, a flattering rounded neck, and a long waistline. This versatile top transitions from the office into the evening, and is perfect paired with a fitted pencil skirt or classic black trousers.

Design: Man-Djarduk (Bush Apples) by Deborah Wurrkidj

In this design she has depicted man-djarduk, red bush apples, a sweet, crisp bush food that is a favourite to collect. 

AUDREY II TOP

Jesseleah Darcy wearing Audrey II Top in Kunkurra in Tencel Line.

Design: Kunkurra (Spiral Wind) by Janet Marawarr

Audrey II is the short-sleeved sister of Audrey, and she’ll also take you from the office to evening with ease.

This design can be interpreted as a depiction of the kinds of mini-cyclones common during the wet season in Arnhem Land, where the artist lives. Kunkurra also relates specifically to a site called Bilwoyinj, near Mankorlod, on the artist’s clan estate.

VANESSA DRESS

Lekaiya Rabbit wears Vanessa Dress in Lorrkkon in Cotton Linen

This versatile dress features a drawstring waist and a relaxed, comfortable fit. Perfect for throwing on and matching with a pair of sandals in summer or layering up with tights and jackets in winter.

Design: Lorrkkon (Hollow Funeral Log) By Susan Marawarr

The Lorrkkon or hollow-log coffin ceremony is the final ceremony in a sequence of mortuary rituals celebrated by the people of Arnhem Land. Many artists depict this ceremony their designs as it has deep spiritual significance in the community as a last step in celebrating, remembering, dreaming – conveying understanding of life cycles and spiritual passage.

Jamielia Milpurr wearing Vanessa Dress in Manwak on Cotton Jersey.

“When I was painting this Manwak story, I was painting in Maningrida. In my head I was dreaming of being on my homeland, eating ripe Manwak berries”

– Deborah Wurrkidj

Design: Manwak (Mumeka Blooms) by Deborah Wurrkidj

 This beautiful large flower blooms during the mandjelk (wet season). It has deep green petals with a central red kernel which swells to the size of a berry. It is known for its long, sweeping petals which seem to dance in the winds.

DORIS DAY DRESS

Jamielia Milpurr wearing Doris Day dress in Kunwadde dja Manyawok. Cotton Jersey.

Our everyday dress has a new name. This 60s-inspired shift dress is an easy-to-wear, comfortable everyday dress. This flattering A-line shape finishes just above the knee and features mid-length sleeves and two scoop side pockets.

Works in Summer with a pair of sneakers and in Winter with a pair of boots. Perfect for everyday all year round.

Design: Kunwadde dja Manyawok (Rocks and Cheeky Yam) by Susan Marawarr

This design depicts the cheeky yam and rocks amongst which it can be found. Manyawok is found on the artist’s country, near the outstation of Mumeka in central Arnhem Land. Yams are an important bush food that are collected during the wet season.

Jesseleah Darcy wearing the Doris Day dress in Manwak. Cotton Jersey.

Design: Manwak (Mumeka Blooms) by Deborah Wurrkidj

This beautiful large flower blooms during the mandjelk (wet season). It has deep green petals with a central red kernel which swells to the size of a berry. It is known for its long, sweeping petals which seem to dance in the winds.

BRIDGETTE SKIRT

Zekahalia Yibarbuk wears the Brigette Skirt in Man-Kurndalh in Tencel Linen.
Zekahalia Yibarbuk wears the Brigette Skirt in Man-Kurndalh in Tencel Linen

Named for the 60s starlet Brigette Bardot, this flirty skirt features box pleats, elastic backing and two generous side pockets.

Design: Man-kurndalh (black plum) by Deborah Wurrkidj

Man-kurndalh (black plum) are a much loved manme (bush food). The edible black berries are good for harvest in the late dry to wet seasons.

“Every wet season time they make black plum. Our family we going out bush and we collecting that bush tucker. Sometimes we collecting and we take home and eat with family, our grand children and grand daughter, family sharing. We eat that fresh one.” –

Deborah Wurrkidj

DAHLIA TOP

Anocha Taylor wears Dahlia Top in Manwak Orange & Cream in cotton linen

This fitted and flattering top features a boat neck and sweet button-down back details. Perfect with a pencil skirt or fitted black jacket for an office look or pair with jeans for a more casual look.

Jesseleah Darcy wearing Dahlia Top in Manwak Green & Black in cotton/linen.

Design: Manwak (Mumeka Blooms) by Deborah Wurrkidj

This beautiful large flower blooms during the mandjelk (wet season). It has deep green petals with a central red kernel which swells to the size of a berry. It is known for its long, sweeping petals which seem to dance in the winds.

Jesseleah Darcy wearing Dahlia Top in Kunkurra in Tencel Linen.

Kunkurra (Spiral Wind) by Janet Marawarr

This design can be interpreted as a depiction of the kinds of mini-cyclones common during the wet season in Arnhem Land, where the artist lives. Kunkurra also relates specifically to a site called Bilwoyinj, near Mankorlod, on the artist’s clan estate.

MARSHA PANTS

Anocha Taylor wears Marsha Pants in Kun-Ngol (Clouds) in Cotton Drill

Design: Kun-Ngol (Clouds) by By Elizabeth Kandabuma

This design depicts certain clouds that signal to people of central Arnhem Land that the end of the wet season is approaching. After months of daily monsoonal rain in Arnhem Land, these clouds are light and fluffy, not like the dark, heavy clouds of the monsoonal sky. At the time of the kun-ngol clouds, people know the country will soon dry up and the cold season (dry season) will arrive. When the kun-ngol clouds appear, all of the billabongs are already filled, the rivers are high and the country is brimming with life and fresh new growth after months of fresh water pouring from the sky.

My designs, they are all alive living up in my head‘ –

Janet Marawarr, artist at Bábbarra

To say 2020 has been a “challenging” year would be an understatement. The Covid19 pandemic has caused much anxiety in our communities and we’ve all had to adapt to a new way of living. To ensure everyone stays safe and healthy many major events in the indigenous community have been cancelled or revised, as was the case with the Darwin Aboriginal Art Fair and the inaugural National Indigenous Fashion Awards. Even with all the disruption, everyone’s resilient spirit shone through and the show went on. The response to Babbarra’s new range has been incredible.

We hope you love it too. Discover more here

National Indigenous Fashion Awards (NIFA) Nomination

We are proud to announce that Babbarra Women’s Centre and Publisher Textiles have been nominated for the Community Collaboration Award as part of the inaugural National Indigenous Fashion Awards (NIFA).  

The Awards are a celebration of the innovation, diversity and ethical work of Aboriginal and Torres Strait Islander artists and fashion designers, and show just how strong and influential Indigenous fashion is becoming in Australia today.  

You can watch a live stream of the ceremony on NITV’s social media channels FACEBOOK

6.00 PM (ACST) 

6.30 PM (AEST) 

4.30 PM (AWST) 

It goes without saying how proud we are of the work Babbarra and Publisher Textiles have achieved together over the last few years, but it is an absolute honor to be nominated alongside so many amazing creators – you can see the full list of nominees here.

The Community Collaboration Award recognises effective and productive relationships between Aboriginal and Torres Strait Islander communities and the textile and fashion industry. 

The Babbarra Women’s Centre is made up of more than 25 incredible artists from 12 language groups who work across different mediums from textiles to pandanus weaving, bark painting & sculptures.  

In this collection artists explored transferring bark painting techniques to textiles, with fine line cross hatching using a long thin sedge grass found in the native surroundings of Maningrida as paint brush.  

Contemporary colourways mix with traditional themes of country, clan, totems and ancestral creation, depicting stories from the coastal saltwater to freshwater clan groups.  

Babbarra and Publisher have been working together for 10 years and have produced hundreds of metres of fabric.  

In 2018 they began collaborating on a 100% Australian-made clothing range, and have since been working to formalise a licensing agreement that enables more income for local artists via royalty fees.  

This unique and innovative relationship has allowed Babbarra to reach new customers through ready-made clothing, sharing the artists’ stories with an ever-expanding audience. 

Introducing the Marsha pants.

We’d like to introduce you to our new Marsha pants. A fun wide leg culotte these feature generous pockets and an elasticated waistband for ultimate comfort! 

The Marsha pants were named after the mega babe Marsha Hunt who is an American actress, novelist, singer and former model. She rose to fame when she appeared in London as Dionne in the rock musical Hair. The controversial hit song Brown Sugar by The Rolling Stones was based on Marsha. 

These pants currently come in four prints; Puli Puli, Women’s Business, Panthera and Miro.

Puli Puli by Keturah Zimarn from Ikuntji Arts:

Keturah is an established Luritja and Pintupi artist, who comes from a long line of acclaimed artists. Her grandmother Narputta Nangala Jugadai was painting from the beginning of the desert painting movement in the 1970s, and was the founding artist of Ikuntji Artists. Her mother – Molly Napaltjarri Jugadai – and grandmother have both passed away, leaving Keturah as the only remaining daughter to be painting their country and stories. In this design Keturah depicts the puli puli (rocks) at two different sites. She paints the landscapes at Haasts Bluff where she grew up.

 

Women’s Business by Mavis Marks from Ikuntji Arts:

Mavis is an accomplished Luritja Pintupi artist; born at Newhaven, 360km North West of Mpwartne (Alice Springs). She has been widely exhibited around Australia and the world. She enjoys traveling to Kintore to visit with her sister Yuyuwa; and to Alice Springs to see her sister Gina. Mavis moved to Haasts Bluff as a teenager with her mother. Mavis likes to paint the women’s Ceremonial Dancing at Mt Liebig and the story given to her by her grandfather of Kalipinpa, the Water Dreaming, which comes from her mother’s side. In this design, Mavis depicts women’s business. She paints the women’s ceremonial dancing at Mt Liebig, close to where she was born and where she has lived most of her life.

Panthera and Miro by Publisher Textiles:

Then we’ve got two prints from us; Panthera which is a playful leopard print names from the 80’s cartoon Thunder Cats and our long standing Miro print Inspired by the Surrealist Spanish Painter Joan Miro which is a playful print featuring a mishmash of both uniform and abstract shapes.

You can shop the new collection here:

Due to Covid-19 production will be done a little differently. These pants will be on pre-order for the next two weeks and will be made once we are back from the Easter holidays on the 21st of April. Because these pants will be made in house production will be a little slower than usual. This will be the case for purchases from both Publisher and Ikuntji. Whether you decide to purchase these pants from the Publisher or Ikuntji website; your purchase will help keep both of us open and running. Thanks for your understanding!

Colour Theory 101

Hello! So in today’s blog we thought we’d go through some basic colour theory and how to mix our inks. If you already have some of our inks you can buy a 4kg empty tub here to mix in (you always want a bigger tub so you avoid spillage!). We recommend sticking to the same ink base; standards with standards and opaques with opaques.

Basic Colour Theory

Lets start down to the very basics. We’ve got primary colours, red, yellow and blue. Then we have secondary colours, which are basic hues achieved by mixing two primary colours. Then we have tertiary colours which is made by mixing primary and secondary colours (red-orange, yellow-orange, yellow-green, blue-green, blue-violet and red-violet). These tertiary colours can vary a lot since you can tweak each to your liking! A blue-green can lean more green than blue for example.

Colour Wheel

Colours can look very different when matched with other colours. So when pairing and mixing hues it’s important to take their placement into account. Is it next to a lighter or darker colour, by itself or next to a complimentary colour? Colours that are opposite one another on the colour wheel are called complementary colours. Orange and blue, red and green etc. here are three examples of combinations from the use of a colour wheel

Analogous – This combines three colours that are next to each other on the colour wheel for example violet, red and orange. 

Split complementary – This one is done by selecting the complementary of a hue but instead of using that you use the colours on either side. So for example if your base colour is blue you the complement would be orange but instead of orange you will use blue, yellow and amber. 

Triadic – This scheme is achieved by choosing hues that are evenly spaced on the colour wheel. 

Colour mixing tips!

Tip 1: So with our inks you can pretty much mix up any hue you desire. The exact proportion of how much of each colour to use is completely dependent on what end result you desire. For e.g. if you are mixing an orange, if you pop a little more yellow than red you will get a yellowish orange and conversely if you mix more red than yellow you’ll achieve a more reddish orange! Remember to write down how much of each ink you put in so you can recreate it later on! 

Tip 2: When mixing colours, it’s important to note that you only need a very small amount of a dark colour to change a lighter colour but you need far more of a light colour to change a dark one. So always add a dark colour to a light colour and not the other way around! E.g. you would add an orange to a white.

Tip 3: Since every colour is considered to be more warm or more cool (oranges and reds are generally more warm whilst blues are cool), you can have tints and shades of each colour that lean warmer or cooler depending on its properties! You could have a warm strawberry red or a cool raspberry red. If you add a warm colour to a warm colour you produce what is called a warm secondary. If you mix a warm colour with a cool colour it’ll produce a more neutral tone.

Tip 4: You can reduce the opacity of our inks with our print base [buy here]. 

Tip 5: Try not to use black to darken your colours. Black can make colours look muddy or murky so try using colours like brown or dark blue to create shades of your colours! 

Tip 6: Mix colours a shade or two lighter than the outcome you want to achieve. Paint dries ever so slightly darker than it looks in the tub so bear that in mind. It’s best to test the mixed colour by doing a swatch on a piece of your fabric!

You can purchase our inks here:

We hope you enjoyed this little 101 on colour theory!

If you have any questions please comment down below and we’ll get back to you as soon as we can!

On our next blog will be a Tales from a Print Room and an in-depth look into our inks, the bases we use and how we mix the our colours!

Stay safe,
From the team at Publisher.

Water-based textile inks 101

It’s been a while since we’ve done a little Tales of Print Room blog post! Today we’re going to be doing the 101 on our water-based textile inks. We have engineered our own formula of water based inks which are completely white spirit and hydrocarbon free meaning they are safe for home, professional and classroom use. We choose not to use plastisol inks as they contain PVC and phthalates, which are harmful to the environment. Our water based inks wash off of screens using water and don’t need any harmful solvents such as turps or thinners which means the inks are safe for the environment, us and of course you! We have perfected the formula of our own range of water based inks so that each time you print the ink disperses evenly, lays down opaquely and lasts. 

How we mix our inks:

First off we pick our base (standard, opaque white, opaque clear; we’ll go more into each of these later on!).

We’ve got our own little formula books of ink colours, measured down to the gram

On a scale we meticulously measure each drop of concentrated [is that what it’s called?] ink (we have a few standard colours; [names of colours of the inks]) into the chosen base

Once all the colours are in it’s mixing time! We use a [name of tool] to hand mix our inks. It’s really quite satisfying to see the colour come to life!

For control purposes we always do a little swatch on a piece of fabric to ensure it matches the intended colour.

With this process we can mix up pretty much any colour you can imagine!

Different bases:

Let’s talk about the different bases we have.

Standard

  • This is the base for all of our standard inks (the ones that are perfect for printing on light coloured fabrics!). It’s a clear type base and morphs into whatever concentrate ink you put in.
  • The base for standard inks contain no solids. So it transforms into whatever ink is put into it.

Opaque white

  • This is one of the bases for our opaque inks (the ones you’d use to print on darker coloured fabrics). Our opaque white base is as its name suggests; opaque and white. Whatever colour we mix into it will blend in with the white. This will change the colour of the ink slightly; it will take on more a pastel colour.
  • The base for opaque white contains the solid titanium.

Opaque clear

  • This is our other base for our opaque inks
  • The base is clear and whatever colour we mix into it will remain unchanged. Perfect for when we want to match say a Pantone chip colour exactly.
  • The base for opaque clear contains clay. This gives it the same opacity as opaque whites without changing the colour of the ink.

Caring for your inks at home:

So you’ve bought some inks from us, how do you take care of them?

How to store it:

  • Store in a cool dry place out of direct sunlight

What if your ink gets a little thick:

  • For most inks you can simply use an electric hand mixer (ones you use when trying to bake a cake) to mix it. This will loosen all the binding properties and return it back to its original state
  • For some opaque inks you may want to add a drop or two of thinner [what is it?] during the remixing process

We hope this answered some of your questions about our inks! If you have any other questions comment below and we’ll get back to you as soon as we can!

During this crazy time we are still able to mix up inks and have them sent out to you and for as long as we are allowed to we will be in the factory so feel free to place your order online or via phone.

Stay safe!
Team at Publisher

Introducing Ikuntji Artists

We’ve got some amazing new fabrics from Ikuntji Artists and wanted to do a little blog post introducing you to them. Ikuntji Artists is a not for profit and completely member-based Aboriginal art centre. Situated in the community of Haasts Bluff (Ikuntji) with a population of around 150 people. Ikuntji has a board of seven Indigenous directors who all live and work locally.

You can find out more about them at www.ikuntji.com.au

We’ve now got a little range of their beautiful fabrics available by the metre online and in store!

PULI PULI BY KETURAH ZIMRAN

This design by Keturah Zimran depicts the natural rock formations (puli) found in and around Haasts Bluff.

 

WOMEN’S BUSINESS BY MAVIS NAMPITJINPA MARKS

This design by Mavis Nampitjinpa Marks shows the ‘Women’s Business Story’.

 

WATIYA TJUTA BY MITJILI NAPURRULA

In this design Mitjili Napurrula depicts her fathers Tjukurrpa, the ceremonial spear straightening in Uwalkari country (Gibson desert region). The Watiya Tjuta (Acacia Trees) are the trees that are used to make these spears. Uwalkari country is abundant with Watiya Tjuta, as well as sand hills and other plants. Mitjili paints the motif of the Watiya Tjuta, carrying on the recurring motif as her mother used to draw in the sand. Her mother passed on this Dreaming to her.

 

KURUYULTU BY EUNICE NAPANANGKA JACK

This design by Eunice Napanangka Jack depicts her father’s Tjukurrpa (Dreaming). It shows the country at Kuruyultu, near Tjukurrla in Western Australia.

 

ROCKHOLES BY ALICE NAMPITJINPA DIXON

This design by Alice Nampitjinpa Dixon depicts Takupalangu west of Kintore. This is Uta Uta Tjangala’s country, which he has painted throughout his career. Nampitjinpa paints her father’s country of rockholes (puli) and sandhills (tali). There is plenty bushtucker – mangilpa, which are little black seeds around. The road to Kiwirrkurra passes Takupalangu on the side.
Alice describes the big swamp of Takupalangu, in her Fathers country. Takupalangu is filled up with bush vegetables called mungilpa. When Alice was a small girl she travelled this country with her family. Her mother used to collect mungilpa and pummel it into dough which she made into damper. It is also a good place for hunting bush meat as the swamp is surrounded by rock hills.

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Javed got his PR + new website!

We are back! We hope everyone had a great New Year and holiday period. We’ve been a little quiet on social media as there has been lot’s of things happening behind the scenes that we can’t wait to share with you all soon!

Having said that, we only have the best news ever…(Insert lots of happy GIFs)

After 8 very long years Javed has finally got his PR Visa approved!!! It’s been a very long and tedious journey to get here but it’s finally happened and we couldn’t be happier. Publisher wouldn’t be Publisher without Javed and this means that everyone’s printing still gets done 🙂

More news; if you’re reading this right now then you’re actually on our BRAND NEW WEBSITE! Our new website has a bunch of functionality that we needed in order to keep growing that our previous platform did not have. If you’ve ever been on our previous website on a mobile you would’ve seen how incompatible it was (pictures all over the place, out of proportion pages and don’t even get us started on that footer!!). Our new website will be much more user friendly and functional.

We’re working on some AMAZ-ing new clothes at the moment so stay tuned but for now that’s all from us!

Enjoy the long weekend all.

 

We’re heading off to Europe!

Exciting news!!Mark and I (Steph) are off on our first overseas holiday together! We are off to Europe for 3 weeks and will be leaving Publisher in the capable hands of our amazing team, Javed, Remi and Nat.While we are away it will be business as usual for the most part but there are a few services that we will not be able to offer while we are away. 2 most important ones are:We will not be offering screen services from 3rd September until 4th OctoberThis includes stripping and exposing.We will

A Design Blog: How We Choose Colourways

Welcome to today’s blog! We will be going through how we choose colourways for our designs from inspiration, choosing ink colours to strike offs; the complete process.So when choosing new colours we always take into consideration the design, how many colours the design has and what the end product will be; wallpaper, t-shirt, dress, cushion etc.With all this in mind we go onto our very favourite; Pinterest! We always start our inspiration here. We search colour palettes, colour schemes, 80s,

‘Rum Corps’ – A New Design | Publisher Textiles

In today’s blog we thought we’d share with you the background and design process of our new design by Mark ‘Rum Corps’. Inspired by sugar cane, rum and its rich Australian history.It all started when we purchased a 60s styled drink cabinet and followed up with a purchase of the Tiki cocktail book by Smuggler’s Cove; Exotic Cocktails, Rum, and the Cult of Tiki (http://www.smugglerscovesf.com/book)Our bar then officially turned into a Tiki rum bar. Rum is made in at least sixty countries all from