Who would have thought a dress could portray STI-related research and data analysis? Certainly, it was a process that my scientific partner, Skye McGregor – an epidemiologist who primarily focuses on the surveillance and prevention of STI’s and blood borne viruses. Skye and I collaborated to produce a piece of work inspired by statistics and numbers, but illuminated by fabric, form and decoration.

Something integral to this project was the growth of HIV research itself- Skye’s culmination of scientific imagery and graphs spoke to me linearly, and took the form of a bar and line graph adorning the bodice. This celebrates new knowledge, understanding and the cultural renaissance of destigmatizing HIV.

Colour-wise, I was particularly drawn to the hues of blood and skin – considering HIV is a blood-borne virus. I settled on red, maroon and dusty pink to represent this as they are essentially the colours of the bloodstream, but are artistically sound when fused together. We tend to associate science with science only, but my piece aims to blur these lines between medicine and art. Despite my garment not intending to depict many complex aspects of HIV, I hope that it presents what is happening in the scientific world- continual growth in the surveillance, research and prevention of HIV.

Incandescent King

The HIV social researcher collaborated with is Tim Broady, his research is primarily about HIV stigma experienced within the community. Stigma has a major impact on health outcomes for people living with a variety of blood borne viruses and sexually transmissible infections and Australia has recognised this for years and been actively working to eliminate the negative impact of stigma, discrimination and promote the links between human rights and people’s health. Tim’s research involves measuring stigma in the community and among people living with HIV.

The main inspiration for this garment is taken from one of Tim’s surveys carried out which asks the question of people living with HIV – have you experienced any stigma or discrimination in relation to your HIV status? The findings are represented in a bar graph where the colour blue indicates never, green rarely, yellow sometimes, orange often and red always.

I used deadstock fabric as the base material of the garment and cut different coloured material according to the colours of the graph into stripes to create fringes. I also cut the fabric into different sized strips and hand stitched this onto the base fabric to create my own textile. The colours used for the fringes under the sleeves signifies the proportions of each colour on the graph. The fringes represent individuals who participated in the survey.

The main part of the garment is made up of the same-coloured strips cut in different sizes, intersecting and layered representing these people coming together and forming a community, united against stigma. I added lights to this garment and used metallic fabric and sequins to represent that people can still shine regardless of race, gender, age, history, or health issues and together we can light up the world and make it a brighter place by eliminating stigma of all forms.

This look explores two major themes within Michael’s work: disease surveillance and understanding transmission networks, with a particular focus on revealing otherwise hidden patterns of HIV and STI transmission within affected communities.

Michael’s work allows for the visualisation of the connections between people and how the spread of STI’s move between people and communities. I was initially inspired by this idea of “surveillance” and “networks”, asking myself questions like, what could this surveillance physically look like? What do these hidden networks look like? And can I use these themes as a design direction in a physical representation.

Through this look I wanted to represent the idea of surveillance, networks and connections in a physical form represented by a network of metal wires extending across the body. The wires in this design are a visual representation of the surveillance and networks Michael’s work highlights. Sections of the jacket reveal the networks of wires beneath, a nod to how Micheal’s work reveals networks of transmission within affected communities. Furthermore this idea of “surveillance” in a physical form led me to explore the shapes of antenna, thus, wires can be seen bursting out the shoulders of the jacket to mimic this idea of an antenna.

Within the HIV community, Professor Amy Mullens is akin to a ‘fairy godmother’. She radiates an energy of positivity, as a compassionate leader dedicated to helping others in both her clinical work as a practicing Clinical and Health Psychologist and community-led research.

It is these admirable qualities and impact that have inspired “Blossoming Synergy”, capturing Amy’s power of giving strength to people so that they may flourish, through a process of sublimation—via channelling her own challenging life experiences into positive outcomes for the communities around her.

Inspired by artist Georgia O’Keefe’s (a social justice forerunner) vivid floral watercolour paintings, including “Pink Sweet Peas II” and Iris series, this gown captures blossoming elements as an ode to femininity and Amy’s ethereal presence. Voluminous structures represent flourishing and the magnitude of Amy’s work, driven by Anaïs Nin’s quote, “the risk to remain tight in a bud was more painful than the risk it took to blossom”.

The sensual burgundy velvets and laces represent strength, love and passion, capturing Amy’s persevering spirit, synchronously nodding to the red ribbon as a global symbol for HIV/AIDS awareness and solidarity. The delicately translucent blush textures convey Amy’s vulnerability throughout this project and her work particularly with gender affirming care and in partnership with trans, gender-diverse and non-binary groups, portraying hope through the perception of floating elements.

The varying elements unite to resemble the tapestry of Amy’s vast contribution to the HIV/AIDS community, trans and gender diverse people, culturally diverse communities and beyond.

Soft glimmers of light dance on the surface of the river: its hues ever-changing, its flow continuing into the darkness, and into the light again. Across the peaks, troughs, valleys and canyons, the river never stops moving forward. Flowing water makes the deepest impact, not because of sheer force, but because of unwavering perseverance.

Professor Jason Ong is among the most respected sexual health researchers, surmounting the challenges of scholarship, and the vicissitudes of life, to become who he is. Like rivers, he bridges communities, acts as a conduit for communications, provides nourishment and lifelines, and helps the lost find a way. Jason breathes life into the lifeless and gives a voice to the voiceless.

Like quiet, clear water carving canyons into rock, Jason’s gentle, transparent and persistent advocacy for those left behind in the HIV/AIDS discourse has washed away much of the taboo. He began his career in the Golden Triangle mountainous region of the Yunnan Province, as an emergency doctor. Horrified by prejudice that sufferers of HIV/AIDS were subjected to, he became determined to serve as their protector. Yunnan had the earliest outbreak of HIV/AIDS. Yunnan is home to many bridges and rivers; the look is an ode to the geographical region that cultivated Jason’s purpose.

Made of pure wool, the suit represents Jason’s journey, Christianity, and cultural background. The multicoloured wrap represents the Lazarus effect. HIV is no longer a death sentence; modern healthcare restores sufferers to a full, healthy life.

Diamond shards, inspired by forest plot graphs, reflect clusters of light, showing the power of science to change clinical practice and policies, shining light into the darkness.

This garment brings together two ways of thinking about hidden systems. Rory often explains his HIV research through the language of knights, armour and strategy, while Katrina’s practice explores how form can emerge through folding and restraint. Both are concerned with what can exist beneath an apparently stable surface.

The design responds to HIV latency, one of the central challenges in cure research. HIV can remain dormant within infected cells for years, largely invisible to the immune system and unaffected by current treatments. Rory’s research considers whether HIV RNA, produced when these cells become active, could be recognised by a future therapy as a specific signal and used to selectively trigger the death of the infected cell.

Rather than illustrating the virus as a separate object, the garment expresses it through structure. Folding creates concealed spaces where material can be held, protected and gradually revealed. The same folded form appears at the front and back: at the front it remains controlled and intact, forming an armour-like shell; at the back it begins to separate, exposing the red interior and what had been hidden within it.

A machine-stitched plaid on silk organza reflects Rory’s classic, detailed personal style while extending Katrina’s process-led approach to making. Red signals HIV RNA and viral activity, while areas of exposed skin acknowledge that protection is never absolute.

Together, the garment explores the challenge at the heart of Rory’s research: making the hidden visible while keeping the human body at the centre of the story.