The Common Thread with Nashville artist Emma Swift
Emma Swift is an Australian-born songwriter, currently residing in Nashville. In August 2020, she released the critically-acclaimed "Blonde on the Tracks," a reimagining of some of her favorite Bob Dylan tunes. The album received Best of 2020 accolades from Rolling Stone, Nashville Scene, and The Guardian. Her new album, "The Resurrection Game," comes out on September 12.
Q: How has secondhand or vintage clothing played a role in shaping your personal style?
A: I grew up in a small country town in regional Australia in the 1990s, and I’ve always loved thrifting. Books, records, clothes, I love it all! We didn’t have much money growing up, so when I was younger, it was more about necessity than anything else. I’ve always liked wearing clothes that have a backstory though. When I was a teenager, there was a 1970s revival going on, and you could find cool denim flares and fun dresses with gigantic bell sleeves for pretty cheap. I am still really into that stuff, though these days I am more interested in finding quality fabrics: silks, linens, wool. And band T-shirts. I’m obsessed with band T-shirts.
Q: Do you have a particular favorite item you’ve ever thrifted?
A: In the UK, they have wonderful little Oxfam shops that only sell books and records. I found a signed first edition book of W.H. Auden poems at the Bloomsbury Oxfam that I cherish. I’ve also got a very ragged vintage Willie Nelson shirt that I found in New York about 12 years ago. That one’s pretty special too.
Q: As someone who travels and performs, how do you incorporate sustainability into your lifestyle on the road?
A: A lot of my stage outfits are second-hand, and I love to go thrifting when I am traveling.
Q: Do you think fashion can be a tool for protest or cultural commentary—and have you used it that way?
A: Sure, especially when I was younger.
Q: Is there a song, lyric, or creative project of yours that connects—directly or indirectly—to themes of justice, slowing down, or conscious living?
A: My entire music life is an exercise in slowing down. I make art at a pace that is healthy for me, which means that I’m not an especially prolific person. I don’t know if this is necessarily good for my career, but it’s the only way I know!
Q: If you could rewrite one fashion norm or myth, what would it be?
A: There’s no shame in clashing prints! And wear whatever you want at any age. Rules are for squares!
Q: What do you hope your fans take away from the way you present yourself—especially when it comes to values like sustainability or authenticity?
A: I loathe the word authenticity—it feels rigid and oppressive. I don’t think it means anything good for a truly creative person. Authentically what? Most of the artists I admire have been shapeshifters: Marianne Faithfull, David Bowie, Bob Dylan.
Q: How do you balance creativity, self-expression, and ethical consumption in an industry that often prioritizes flash and fast trends?
A: I have never been trendy. I just like what I like. It doesn’t matter to me if it’s cool or not.
Q: The conversation around sustainability often ignores workers—especially garment workers. How do you think artists and public figures can help shift that narrative?
A: High-profile musicians and actors not doing ads endorsing brands with a bad reputation would be a good start. It bums me out.
Q: Do you think about fast fashion and its environmental footprint when choosing stage outfits or what to wear in public?
A: I have a pretty small rotation of stage outfits that are selected because they fit into a tiny suitcase. Some are thrifted, some are from labels I admire.
Q: Secondhand September is about rethinking how and why we shop. How do you connect with the idea of slowing down consumption—in fashion or beyond?
A: In fashion, I like to buy items that I know will last a long time. I tend to shop second-hand, thrifted and designer re-sale. In music, I’m a believer in buying albums and supporting the artists, the record labels, and the shops that support them. It’s a far slower and more intentional process than streaming, and encourages active engagement with the music rather than tacit overconsumption.