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FELL FROM GRACE ⛓️‍💥

@fellfrom.grace

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we hereby conduct this POST-MORTEM.

introducing POST-MORTEM, a continuation of the graduate collection MOURNING SICKNESS that will be presented as part of the Next Gen runway show, shown at Brisbane Fashion Festival. think of it like when an album releases and a few months later, the deluxe album drops with songs that didn’t make the cut or could only be written in retrospect. i’ve spent the past few months reflecting on my graduate work and developing my skills working in costuming and i’ve got more to say, i love to beat a dead horse.

see you soon 🖤 taken in King George Square by @fellfrom.grace

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5 months ago

MOURNING SICKNESS in motion

director: @directedbyskippy
DoP/camera operator: @joshbrowndp
models: @_veil.of.sylvia_ @sophiesibson by @fellfrom.grace

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4 months ago

Brisbane designer Grace Louie of FELL FROM GRACE revisits the codes of Victorian mourning dress in MOURNING SICKNESS, a graduate collection created at Queensland University of Technology. Drawing on the rigid rules of women’s funeral wear, mourning jewelry made from hair, and references to Victorian maternity dress, the project explores grief as both spectacle and social control, questioning whether these rituals were acts of oppression or devotion to performance itself.

Designer: @fellfromgracemadethis
Photographer: @bodiesandheads
Models: @jem_mook, @bee_bwkr, @adhiti_g, bellecalvino
Shoot assistant: @theasteria.au by @fellfrom.grace

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7 months ago

@k1ngverity wearing THE MANTLE for @goremotherbrand’s vampire ball last month 🩸🦇 by @fellfrom.grace

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6 days ago

some BTS of “POST-MORTEM” 🖤

#slowfashion #victoriangoth #brisbanefashion taken in Brisbane, Queensland, Australia by @fellfrom.grace

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13 days ago

LOOK 8: THE MURDER

the closing look of the collection is a cropped fitted denim jacket with feather flared sleeves, made from a coated stretch drill. paired with matching low rise feather flare jeans.

the idea of the design sparked shortly after my graduate collection when rewatching parts of howl’s moving castle. once it was decided i was revisiting victorian mourning, i began to look into the symbolism of ravens and crows during the era and throughout the history of the british monarchy, through “the raven” by edgar allen poe and the tower of london ravens.

this might be my favourite look i’ve ever made :) peep the spiderweb detailing on the pockets. hook and eye closures, of course, but also on the stand collar! i’ve written so many captions explaining every single little detail of my work, everything was very intentional. i know my clothes don’t look victorian but they were never supposed to, i’m not very interested in making anything period accurate. i wanted to display an understanding of this moment in time, take design elements and dressing habits from the era and recontextualise them in comtemporary ways aka however i wantttt. #thanks for the love

designer: @fellfromgracemadethis
model: Ella Allen @ella.allenn
jacket pattern assistant: Jasper Lance Calicdan
jeans production assistant: George Park (@georgeoliverpark.studio) taken in Brisbane Fashion Festival by @fellfrom.grace

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a month ago

LOOK 7: HALF MOURNING

as women began to reintegrate themselves into society during the last stage of mourning, colour began to slowly make a return into a woman’s wardrobe in shades of purple and grey. the seventh look of the collection features a spiral steel boned corset with lacing on the sides, a detail used in victorian maternity corsetry. black crepe, a fabric commonly used in traditional funeral wear, was distressed over the panels of the corset to reveal muted purple taffeta. braided hair is sewn along the sides of the boning channels as well as along the binding, another nod towards braided hair mourning jewelry.

The corset is paired with a lace trimmed skirt with asymmetric layers of purple and black textured fabric, ruched up in sections with black safety pins.

accessorised with a silk organza veil with bows of braided hair, as well as a black enamel hook and eye chainmail rosary style necklace designed by me and made by @goremotherbrand

the reference to victorian maternity wear was a nod to the discourse that i had come across when researching victorian funeral wear, looking at how these rules were formed by women themselves in reaction to seeing queen victoria mourning her husband. many argue that alienating widows from society was a way of ensuring a woman would be without child when she re-enters society, while others argued that women were the ones willingly putting themselves into alienation. mourning was a performance to show the world how deeply devoted a person was to honouring the memory of the deceased. were these customs actually oppressive or were victorian women just devoted to the drama?

designer: @fellfromgracemadethis
jewelry production: @goremotherbrand
model: April Maccheron @april.maccheron
#lairmade #nestmade taken in Brisbane Fashion Festival by @fellfrom.grace

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a month ago

LOOK 6: THE FLATLINE

the sixth look in the collection is a double breasted featherwale corduroy blazer, a remake of a design from my first victorian funeral wear collection made in 2024. this version of the blazer features a torn tulle bustle that bursts and rips open the back of the jacket. styled with a matching corduroy pencil skirt with raw hems.

inspired by victorian bodice construction, the garment is structured using spiral steel boning basted in boning channels along flatlined seam allowances. the lapels are trimmed with the selvedge of the corduroy fabric, hand pleated using a pleating board.

the focus when revisiting this design was to embrace the similarities between victorian bodice internal construction and couture techniques used in modern costuming that allow for easy alterations. i really wanted to approach the garment with the lens of historical costuming rather than traditional tailoring.

designer: @fellfromgracemadethis
model: Awel Mabiei @awelnhial
blazer production assistant: George Park (@georgeoliverparkstudios)
photographer: @rsit_richard
#lairmade taken in Brisbane Fashion Festival by @fellfrom.grace

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a month ago

LOOK 5: FIRST MOURNING

FIRST MOURNING introduced less harsh dark and matte tones of black. mimicking black mourning pins used to pin veils and accessories, the shirt has no seams and all panel were attached using black hook and eye tape. further leaning into the mourning jewelry, the back of the shirt features a topstitched design of an ornate locket frame. the hair of the model can be tucked into the shirt to peek out of the frame, as if the back of the top was a piece of mourning jewelry itself.

the skirt is made of taffeta and dupion, hand pleating using a pleating board. pleating was heavily used in victorian mourning clothing as a way to create visual interest and volume without being too decorative and introducing new textures.

designer: @fellfromgracemadethis
model: Tara Goddard @taragoddard_
photographer: @rsit_richard taken in Brisbane Fashion Festival by @fellfrom.grace

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a month ago

LOOK 4: THE CHATELAINE - the first ever FELL FROM GRACE dress

the second new silhouette of the collection is a purple boatneck gown with black pleated chantilly lace overlay, bustled into a purse frame and hung off the back. lace was draped, pieced and darned together to blend seams into the pattern, making this one of the most labour intensive outfits i’ve ever made.

i wanted to explore victorian womenswear outside of the commonly known high collars and corseted bodices so i studied bertha collars used with off the shoulder styles. my bertha lace was trimmed following the pattern to create the look of tattered fabric, emphasised by the pleated texture of the fabric. i brought in elements of victorian corset covers that i love, decorative wide necklines leading to smooth clean princess seams taking in the waist and flaring at the hips.

all that being said, the main design feature of the dress is shown at the back. i first discovered the chatelaine in 2024 and was immediately fascinated. i love the idea of the victorian woman having all her tools on her in similar ways carabiners are used in the 2020s. i’ve been trying to make a chatelaine in nearly every project since but have been limited by a lack of metalwork knowledge and resources. in this collection, i focused more on the chatelaine purse rather than the chatelaine clip. with this approach, i combined the chatelaine with the bustle, highlighting the purple which i felt lacked a presence in the original collection in HALF MOURNING

the dress was accessorised with a black hook and eye chainmail necklace, featuring two hands in the centre reminiscent of late victorian jewelry and brooches used as reminders of intimate bonds. a very special thanks to @goremotherbrand for working on all the jewelry in the collection, as well as creating the hook for the back of the dress.

designer: @fellfromgracemadethis
model: Therese Moore @theresejmoore
production assistants: George Park (@georgeoliverpark.studio) Ayla Anderson (@alsoknownas.atelier) and Jasper Lance Calicdan (@n11334541)
chatelaine hook metalwork + jewelry production: Nikhita Taylor (@goremotherbrand)
photographer: @rsit_richard @azarimage
#nestmade taken in Brisbane Fashion Festival by @fellfrom.grace

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a month ago

LOOK 3: SECOND MOURNING
@brisbane.fashionfestival

further into mourning, second mourning introduces white accents into the black wardrobe. the aim of the outfit was to create a two piece suit that could fit within design features of victorian era womenswear. the top of the outfit is a reverse blazer. the “back” of the collar is cut on the bias to wrap around the front of the neck, a subversive take to the traditional victorian high collar. the sleeve features a cutout at the upper arm, gathered in a drawstring tied with braided hair to create a mutton sleeve look. the trousers feature many inverse box pleats to create volume like a bifurcated skirt. half of the silhouette is covered in a hand basted pinstripe pattern.

designer: @fellfromgracemadethis
model: Elaine George @theelainegeorge
photographer: @rsit_richard @azarimage

#nestmade taken in Brisbane Fashion Festival by @fellfrom.grace

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2 months ago

LOOK 2: THE MANTLE
@brisbane.fashionfestival

the first of the new looks from the collection, featuring a vest adorned with beaded trims and appliqués. the design is inspired by jet beaded victorian mantle capes worn in the later stages of mourning, when embellishments became more appropriate. going into the design process for these new silhouettes, i wanted to lean into more late mourning periods and allow myself to have a bit more freedom with embellishments and textures. i was also doing a lot more “field research”, aka visiting exhibitions and antique markets and seeing mourning wear up close in person. a mantle i saw at a local antique fair is on slide 8, sold by a lovely woman who used to collect victorian mourning clothes.

hair tracks have been used as fringe along the border of the garment and has been trimmed to be shaped like an epaulette around the shoulders. the garment is secured with braided hair ties on the sides. the mantle is paired with matching moire grosgrain low rise flare trousers with pleated inseams, emulating the drape of a bustle. the trousers are embellished with a heavy corded beaded lace hem.

accessorised with a black enamel hook and eye chainmail bracelet, designed by me and made by @goremotherbrand.

designer: @fellfromgracemadethis
model: Grace Huggins @gracexhuggins
appliqué and trims assistants: Ella McCauley (@ellalucydesigns) and George Park (@georgeoliverpark.studio)
jewelry production: @goremotherbrand
photographer: @rsit_richard @azarimage taken in Brisbane Fashion Festival by @fellfrom.grace

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2 months ago