GREATEST: Alexandra 'MiniSwoosh' Hackett

It started off as an Instagram account. I was doing this project where I would pick up material from the street every day, make something new out of it and post it on Instagram. It eventually caught traction. Today, ALCH is my menswear label. It focuses on the process of deconstruction and reconstruction, and working with non-traditional fabrications to explore the connection between design and functionality. 

Years ago, I used to love Ikea bags, but that’s the hype now. I used to make outfits out of Ikea umbrellas. I’d be at Ikea every weekend buying bags. They’re made with polyethylene or polypropylene. Those are probably my favorite materials to work with. 

No. I’ve knitted with pasta. I’ve made bras out of bananas. [Laughs] I think anything can be turned into any fabric. 

My aesthetic exists at the intersection of sport and luxury. I’m interested in how these genres overlap and inspire each other. For me, the best performance gear is highly technical. A huge amount of research and experimentation [went into making it]. You can buy a running short from any brand, but it’s probably not going to offer the same properties as a high end product. Those materials were developed with a purpose, specific production techniques were used, the design lines were considered—everything to make sure it’s the most functional design. That’s a completely different level. I would love to do performance wear, but you need access to technology and a high level of resources. That’s why it’s so great working with Nike. They have access to that. 

We work on a variety of production levels. We recently launched our first official wholesale line, but we also work with smaller production quantities as well as custom items, mostly just for artists. 

I’m really into branding and how a brand’s entire ethos can be instantly recognizable with a graphic. That’s in part what drew me to Nike. Their logo is so iconic. Simultaneously though, I’m really interested in how you can displace a logo through reconstructing it as a new product, which is why I like working with pre-existing logos. I definitely think the industry will move further away from logo-mania. It always comes in waves. People want loads of logos and then they want nothing at all. Right now, I think we’re at a peak with logos. 

Of course! I used to work with a plethora of branded products and materials. The scope of potential is huge. You can repurpose with literally any material in one way or another. 

Yeah, it’s tricky because there are so many different layers to creating something sustainable. A lot of brands focus on one element, whether it’s the material or the production—but there are so many layers, like the paper you’re wasting in your studio, etc. I almost exclusively work with cut-and-sew and try not to use any adhesives. 

I think my pieces question the definition of functionality itself. I’m really interested in practicality and function, and exploring those concepts to make new products that offer a purpose that may not have been the original intention. They may offer some sort of sportswear functionality, but in a different way. 

Yeah, I quite liked that. I always want to see things pushed to the next stage. Like, why don’t we make that entire shoe out of a parachute? Why don’t we do the entire production run out of old army tents, for instance? 

There is definitely a heavy influence of DIY. Everyone can customize their own products or make their own version of something. I also think it’s about accessibility. Everyone has access to these sorts of tools now, so the people who stand out have a specific skillset. I think there’s going to be a progression toward people learning a skill so they can stand out. For me, a lot of what I make is a personal exploration. 

That’s my favorite. But my first pair of Nikes was probably an all-white Pegasus when I was a kid—although my love for the brand developed in my late teens when I was studying. Nike was the cool brand with the hype. You always wanted to have a pair of trainers. Now, I’m obsessed with the latest technology. 

I’m wearing a pair now! 

They’re amazing! I ran religiously in Flyknit Frees for as long as I can remember. I actually bought a pair of Zoom Flys, which don’t have a flyknit upper, and I’ve been running in them for the past six months. I need to go back to the flyknit upper. There’s something about it—the tight fit, the breathability. 

Oh, I do love an Uptempo! It’s the fact that it says “AIR” on the side. I remember seeing them and Googling “Nike shoes that say AIR” because I didn’t know the model name. You couldn’t get them for so long. When they were re-released, I bought four pairs. 

I worked in sneaker stores for six or seven years. The last job I had was at Footpatrol. You gain so much from working retail and being the person behind the till. A lot of people forget about that perspective when they design shoes. That’s why my Vote Forward shoe comes in a colorway based on the end of a receipt roll. I was interested in exploring that retail process and giving a shoe back to the people who sell it to you. 

One of my first shifts was working a Yeezy release. Before the doors opened, I had to fight my way just to get into the store. The industry’s changed so much. I always wanted to queue up and do an all-nighter, but that doesn’t happen anymore. That kind of loyalty—lining up for a shoe you really want, waiting all night, the satisfaction of getting it in the morning—that kind of passion for sneakers is overruled by resellers now.

I question that all the time. That’s why instead of posting some hype shoe, I’d rather tell the story behind it and make sure people understand that I don’t love it because it’s worth something, I just love the shoe. 

It’s pretty incredible. I’m so thankful for every opportunity. A couple years ago, I was working as a retail assistant in a Nike factory outlet. And now, here we are. [Laughs] 

I think about it mostly as just a way to present my work. It’s important not to get too caught up in it all. I’m really interested in personal branding, like creating a brand for yourself and staying true to that. It’s important to me that my posts stay positive and streamlined. 

Personally, in my day-to-day, I always pick a shoe first, then pick the outfit. With ALCH SS19, I was fortunate enough to have been able to showcase some upcoming unreleased Air Max Plus models alongside the range. Seeing as it was our first show, I really wanted to use the TN—not only because it’s my favorite shoe but also because of its deep Australian roots. The Nike London team was super supportive of that and made it happen. Total dream come true. 

There was a huge disparity between the two perhaps a few years ago, but now it’s pretty hard to distinguish. I think they’ve merged. 

I think it’s about authentic brand partnerships and organic collaborations. Rather than force-feeding people stories that lack depth, I’d like to see collaborations with smaller people who really love the brand. Nurture those organic partnerships instead of collaborating with celebrities. So much of the industry is just hype. If you make a brand feel more accessible, you’ll reach consumers in a more natural way. 

Persevere. It’s very easy to give up, especially in creative industries. You’ll have a lot of disappointments and maybe not as many successes, so it’s very hard to keep going. Perseverance is the key to success for any brand.