The scrunchie dropped out of popularity throughout the 2000s. Now, NZ fashion designers are championing its return with flourishing hair ties.
For years, the scrunchie endured costume connotations, saved in the backs of drawers and wardrobes for throwback-themed 90s parties scored by Lauryn Hill, Paula Abdul and Gomez.
But now,
Anjali Burnett, co-founder of Twenty-seven names, says a hint of nostalgia played a role in the beginnings of its scrunchie offerings.
“What can I say – once a child of the 90s...”
The scrunchie was invented a little earlier than its 90s ubiquity would suggest. As reported by the New York Times, it was first patented by Rommy Hunt Revson in 1986, who was seeking a gentler alternative to a plastic hair tie. After buying a secondhand sewing machine and teaching herself to use it, she combined fabric with elastic. At the time, Rommy called her utilitarian prototype a scunci (pronounced skoon-chee).
Before the end of the 80s, the new accessory made it to the red carpet. In the archives, a 23-year-old Sarah Jessica Parker dons a black scrunchie in a half-up-half-down style at a 1988 Young Artists Unite event (part of a campaign encouraging people in the US to register to vote). They were also seen on the big screen, fixed to the heads of the doomed Heathers.
The resurgence of the scrunchie in the stocks of New Zealand fashion labels does have a more contemporary feel. The hair tie is updated through a more extravagant approach to scale and a looser structure. It’s a more dramatic embellishment than its late 80s and 90s predecessors that presents a little more intentionally: less function more form. With fashion’s playful and political embrace of excessively feminine aesthetics throughout the past few years (think Sandy Liang pinks, Maison Margiela’s harsh corsets and all of those bows), the popularity of the accessory is unsurprising.
Penny Sage designer Kate Megaw says the introduction of its scrunchies in 2018 progressed from a fundraising initiative for Women’s Refuge (this was echoed earlier this month with Kristine Crabb’s scrunchie fundraiser for the Palestine Red Crescent Society). The response from Penny Sage customers encouraged Kate to adopt the accessories as a permanent piece in its collections.
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Advertise with NZME.“They’re also a nice option to have something affordable in a fabric you love or a matching accessory to a garment. We love having them in our shop – they’re such a playful addition.”
For upcoming designers, the accessory is also an opportunity to disperse pieces from their label more broadly. They certainly assisted in the rise of independent NZ designer Emma Jing, whose hugely oversized colourful scrunchies and freeform designs found fans in creatives and artists including Erny Belle and Benee. The cloud-like hair ties crowned her models with a final flourish that drew keen attention to her one-of-a-kind pieces, which often played with contrasting intersections of soft volume and strong lines.
Earlier this year, the designer worked in collaboration with Ruby, to produce a sunny “Holiday” collection (released in June during the depths of winter).
Ruby designer Deanna Didovich and Jing released a different version of her sought-after scrunchies. The hair accessories were a more structured adaptation, forgoing the fluff of Jing’s original pieces to create greater consistency for a wider release.
The scrunchies, complete with trailing ribbons that seem to emulate Jing’s affinity for loose ties and bows, are cut in the same textiles as the other garments – including blue and red ginghams, buttery yellow and white lace. As the designers outlined at the time, the making of the scrunchies assisted in reducing textile waste in the making of the collection.
“As we were able to produce these accessories in New Zealand, we were able to control our production wastage, be creative with our pattern engineering, and support the local industry,” Didovich told Viva.
Ruby also provides aspiring makers with instructions to revitalise fabric waste from home, with a free-to-print Liam pattern that outlines the process for making three differently sized scrunchies.
This usage’s utilitarianism is echoed by other designers too.
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Advertise with NZME.Burnett of Twenty-seven names says: “It’s a cool way to hero beautiful prints and fabrics while also making good use of fabric remnants.”
Megaw of Penny Sage agrees: “In our workroom, we are always trying out creative ways to use up our fabric ends and offcuts [and] the scrunchies are a fun and simple solution.”
It’s a similar story for Crushes, the Karangahape Rd-based shop that stocks a range of vintage fashion and homeware, NZ-made accessories and garments, and other crafts.
A recent release has seen in-house maker Jessica Lee spinning scrap fabrics into bouffant hair ties, with names that evoke their origins such as “I Was A Silk Robe” and “I Was Fabric Scrap”.
Crushes co-founder Rose Hope says the idea for these revitalising pieces came about on a vintage sourcing trip.
“I found a beautiful embroidered silk robe that had been worn too much and was close to being landfill. Like everything we do at Crushes, we wondered how we might be able to give something a new life, so we went for large dramatic scrunchies.”
It’s in line with the thrifty, eco-minded ethos at Crushes, which also features screenprinting and embroidery atop deadstock vintage tees and jewellery packaged on “seed paper”, which can be planted by the buyer once it has served its purpose in-store.
Hope is optimistic about a resurgence of scrunchies in what they mean for local fashion and the approach to waste reduction.
“If that is the case, I think it is lovely to know that scrunchies are being made as an answer to waste. It shows makers everywhere are being mindful and resourceful.”
Shop the look
Made from fabric offcuts and thrifted materials.
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