R. R. Pascoe
Your Shit is My Chanel. Origami junk mail pamphlet paper headpiece and rolled bead neckpiece with salvaged Sydney World Youth Day banner dress, Photographic portrait series of the artist, featured in Textiles in Context, Blue Mountains, 2016, Photographs by Emma Rowan Kelly and Andre Matkovic, 2015
You Tell Me. Wearable artwork made from junkmail pamphlet paper.
My Month in Unsolicited Advertising Material. Junkmail pamphlet paper corset.
Sackrilege. Potato sack and salvaged superfine merino and cashmere suiting sample fabrics and muff.
The Insulitive Qualities of Packing Products Have Been Highly Underestimated and Their Potential Fashion Applications Remain Largely Unrealised. Wearable artwork made from salvaged packing materials.
The Insulitive Qualities of Packing Products Have Been Highly Underestimated and Their Potential Fashion Applications Remain Largely Unrealised. Wearable artwork made from salvaged packing materials.
Boyhood Dreams. Assemblage.
Homebrand is a Good Brand. Photographic collage.
Coffee Sack Cloche Hats. • Assorted hand draped salvaged coffee sack cloche hats trimmed with hemp braid and embellished with vintage buttons, Featured in Textiles in Context exhibition, Blue Mountains, 2016, Photograph by R. R. Pascoe, 2016
Ouroboros. Junkmail pamphlet paper headpiece.
Anthropocene. A visual representation of the new geological epoch, the Anthropocene, the period during which human activity has been the dominant influence on climate and the environment.
R. R. Pascoe is an Australian sustainable designer and artist. Largely self taught, she has been creating wearable artworks from found objects and waste materials for close to two decades. Her use of reclaimed materials in traditionally luxury, high end products aims to draw attention to the environmental and social impacts of the fashion industry, and to question ideas of conventional beauty, notions of obsolescence, and explore the commodification of self and identity.
Cutting her teeth in the underground dance party scene of Sydney in the 1990s, she has been shaped by the ethos of DIY culture and the Outsider Art movement. With a background in Community Development Work she sees the role of the arts as integral to the development of healthy individuals and communities and she is a firm believer in a ground-up approach, all of which informs her passion for fashion and the arts as vehicle for powerful and lasting social change.
“We Must Make Do with Scraps” – Michael Leunig