Associate Member, Centre for Contemporary Design Practice
FashTechCert (TAFE), MktCert (Sydney Institute), DipMktMgt (Sydney Institute), BDes (Hons) (UTS), GCHETL (UTS), MDes(hons) (UNSW)
Alana Clifton-Cunningham has worked for many years as a professional designer within the Australian fashion and textile industry before commencing her career in academia in 2000. Her role as lecturer at UTS focuses on couture practices and knitwear design within a contemporary design context.
Alana’s research, which focuses on the social, political, symbolic significance of knitwear design within a traditional and contemporary design context, also examines perceptions of knitting and its’ relationship to the human body as a second skin. For example, through challenging assumptions of knitted clothing structures and combining traditional knitting techniques with new technologies and materials, Alana creates non-traditional edifices that function on the human body and confront viewers.
Alana has guest lectured at UNSW’s College of Fine Arts and has presented conference papers at RMIT Melbourne, Curtin University Western Australia, York University Canada and The Hong Kong Polytechnic University Hong Kong. She has also exhibited extensively nationally and internationally.
In 2009, Alana was also appointed to a legal case through Spruson & Ferguson Patent and Trade Mark Attorneys, which is one of the leading intellectual property (IP) firms in Australia acting as an expert witness interpreting fashion design and representations.
Alana is passionate about collaboration from alternative design disciplines and is interested in new technologies and methodologies.
Clifton-Cunningham, A. & Karaminas, V. 2004, 'Off the Wall: The Florence Broadhurst Collection', Intermesh, RMIT, RMIT, Melbourne, Australia.
Everyday fashion components and elements such as the pocket, the sleeve, or the seam often become overshadowed by the theatrics of the fashion spectacle. Very little time is dedicated to the study of fashion in detail and the intricacies of high fashion become invisible in the catwalk show or fashion photoshoot. Since modern living has encouraged us to buy cheap, low quality, mass produced clothing the exhibition aims to discuss the opportunity to create high quality garments and components with a longer lifespan and that can be repaired, transformed, or be disassembled at the end of their lifecycle.