This review does not contain the elegant musings of a prolific New York fashion writer. I am no Carrie Bradshaw, though I wish I was (don’t we all?). I am an Honi Soit editor, and also a broke 21-year-old university student, occasional fashion-Twitter-scroller, and monochrome enjoyer. Nevertheless, I slipped on a black mini, a patterned top with velvet bell sleeves I found at Buzzkill Vintage in Fitzroy, and some sheer textured stockings — which were ripped as a result of pure clumsiness but I hoped would be interpreted as artfully chic. I took myself, and my haphazardly fabricated outfit, down to Australian Fashion Week at Carriageworks on 16th May, to see the New Generation runway show.
The New Generation runway was a assemblage of five emerging Australian labels: Miimi & Jiinda, Permanent Vacation, Haluminous, Buluuy Mirri, and Boteh.
Miimi & Jiinda opened the show with a video to introduce the concept of their collection. Sweeping shots of the ocean set the scene for a moving Indigenous Dreamtime story about the creation of the shoreline and beaches outlining our continent. This immediately immersed the audience in the culture of the designers, Gumbaynggirr mother-daughter duo Lauren Jarrett and Melissa Greenwood. The Bambuuda Garlaawirr collection presented us with an array of Indigenous-inspired pieces; the dot painting pattern on the pieces was especially prominent and reminiscent of nature, coming alive on the models as they floated down the runway. Fitting, since Greenwood herself describes the collection as wearable art. I particularly enjoyed the nature-inspired looks, such as a woven skirt and an enchanting green crochet top reminiscent of moss. Jarrett and Greenwood delivered a unique collection which gifted the audience with a glimpse into their world.
Permanent Vacation then took us in another direction, with a more subdued, hushed energy as neutral-clad models displayed designer Claire Louise Smith’s Aura collection. Smith’s label is hyper-local; everything involved in the production process sits within the Inner West of Sydney. Smith’s designs were simple yet elevated, using soft colours and familiar silhouettes. Aura’s tops were a highlight. All of them were clean and simple but had an element of elevation: a high neck, a cutout, an off-the-shoulder moment, slight layers or textures. Aura was a lovely, chic collection which delivered us just the right amount of elegance and calm in a chaotic world.
My favourite label was Haluminous, which immediately caught my attention with trippy, soft, and reverberating music that echoed through the room during their show. The music began to feel like ripples in water had been transposed into sound, just as the first model emerged: engulfed in intricate beading, long cords of beads suspended across her body and dripping from her silhouette. Designer Hannah Kim’s almost entirely B&W Liminal Space collection felt like I had been transported into an edgier, cooler, gothic-esque yet romantic world. The pieces had strong silhouettes, with pieces boasting avante-garde elements — matching headpieces, sheer elements, waist-length necklaces — whilst maintaining simplicity in its mostly black-and-white colour scheme. Kim created an absolutely gorgeous collection which enthralled me as not just clothing, but interactive artwork. From the thumping sound waves to the free-flowing layers and delicate designs, Liminal Space created an otherworldly atmosphere and enthralling experience.
Buluuy Mirri was the next label, also inspired by Indigenous culture and heritage, from Gomeroi designer Colleen Tighe-Johnson and based in regional Australia. The collection, Women’s Business, boasts a unique blue dot painting print throughout the pieces; it appears in its entirety on pencil dresses and skirts, and peers at us from the lapels of blazers. The show works well as a cohesive vision. I found the juxtaposition between the striking fabric patterns and the structured, corporate silhouettes to be visually jarring and slightly underwhelming, though I appreciated the contrast on a conceptual level.
The final label, Boteh, provided us with a collection of resortwear titled Tide and Terra. A heavy remix of a woman covering Michael Bublé’s ‘Sway’ echoed through the room as models covered in paisleys emerged onto the runway, in sync with the remix’s beat drop. The paisley print is sprinkled liberally throughout, clearly inspired by and sourced from Persian and Indian fabric prints and patterns, and accessorised with the likes of woven satchels, bandanas, and sandals. I enjoyed the blue crochet two-piece set, similar to the green moss-esque crochet from Miimi & Jiinda. Whilst I appreciated the cohesive theme, most of the collection felt too cliché for my tastes; the paisley began to feel overdone and the ‘beach vibe’ tiresome.
Overall, the New Generation runway show was a stunning display of local talent; each designer crafted a laser-focused vision that was clearly executed and fascinating to watch unfold. Spotlighting and supporting Australian talent is vital, and the New Generation show provided the perfect platform for such compelling pieces from these incredibly exciting, up-and-coming labels. These emerging talents are forging a bright, inclusive, subversive path in Australian fashion — one which Honi cannot wait to experience more of.
