Riel
Born from a desire for something different, Riel is a Tāmaki Makaurau-based label that offers a slow and considered approach to design. Founded in 2021 by Joelle Rueckert, the brand reworks vintage clothing and deadstock fabrics into unique, versatile pieces, breathing new life into materials otherwise destined for waste. With experience as a sample machinist for brands such as Paris Georgia and Ruby, Rueckert is no stranger to the fashion industry. However, ethical concerns with the traditional fashion model initially deterred her from starting her own label.
It wasn’t until Rueckert began experimenting with reworking a few shirts she no longer wore that the concept of Riel was born. “It grew very slowly and organically from there,” Rueckert explains. “It’s been an exploration of making a brand work that aligns with my values while still developing a business that actually makes sense.” Her design philosophy balances creating pieces with “fun and abstract” elements while still holding a touch of commercial practicality, ensuring garments can be affordably recreated multiple times.
While most Riel designs begin with sketches, Rueckert credits a lot of her inspiration to “play time” where she experiments by draping and fitting clothing in different and unexpected ways: “I love asymmetry and versatility in clothing, so incorporating details to allow my designs to be worn in wonky and changeable ways is always my go-to.”
2024 was a year of growth for the brand, with highlights including expanding Riel’s stockist list to Australia and being invited to participate in Fashion Revolution Week’s ‘Fabric Forward: Reimagining Textile Waste’ exhibition held at the Strand Arcade in Tāmaki Makaurau. For Rueckert, it’s been a particular thrill to witness how “the conversation around slow fashion gains momentum.” Looking ahead, she is eager to expand Riel’s product offerings with the launch of a new collection in March, while focusing on expanding the brand’s stockist list in New Zealand and overseas. “It will definitely be an exciting year and I can’t wait to see how this little brand continues to grow.”
Aera The Label
A candlelit room centered around a baroque tablescape, a violinist performing amongst artfully draped curtains, and a procession of models clothed in bold, romantic designs: this is the artistry of Aera The Label. For Nana Doan, the creative force behind Aera, fashion is more than just clothing, it’s a form of “expression and storytelling.” Founded seven years ago, the Tāmaki Makaurau-based label has become something of a creative alter ego for Doan. “It’s a world I can step into and leave reality behind to immerse myself in the arts, its stories, and its people,” she says. “It’s a space where my creativity can flow freely.”
Rather than adhering to a fixed aesthetic, Doan embraces an open-ended design ethos, allowing her work to evolve with her. From corseted gowns with intricate detailing, and delicate silhouettes revealed from under bridal veils to daring ruffled gowns reminiscent of red roses, and gothic, asymmetric designs with raw edges, to view an Aera collection is to immerse yourself in a story. “Fashion is my way of channelling the experiences, people, and surroundings that have shaped who I am,” Doan explains. “Each collection I create tells a story, born from moments of deep reflection.”
Doan has established Aera as a label that places community at its heart. “Creating a community that stands together, supports one another, and celebrates each other’s successes has been the most rewarding part of this journey,” she says. 2024 marked a year of immense growth for Doan, highlighted by Aera’s presentation at the Te Wiki Āhua o Aotearoa group showcase in September and the debut of her first solo runway show, ‘The Kismet’, at a Karangahape Road studio space in November. According to Doan, neither of these events would’ve been possible without the many creatives who supported her in bringing her vision to life. Exploring the journey of love in its many forms, ‘The Kismet’ was a collaborative collection featuring the work of a diverse group of artists. With styling by Levi Tan, production and jewellery design by Chloe Giles, and hair and make-up by Jenny Jung and Weiting Zhang, the show was a testament to creative unity. “Without community, this show would not have been possible,” Doan says.
In 2025, Doan is focusing on producing her most ambitious collection yet. “In this chapter I want to push boundaries in terms of creation, collaborations, and overall workload,” she says. “This journey has always been about more than just fashion, for me it’s about connection, growth, and shared creativity. I’m excited to see where this next collection takes us.”
Wei Wen
Grace Wei, founder of slow fashion brand Wei Wen, is proof that some of the best things come from a touch of rebellion. The brand, which specialises in crochet and knitwear, was created in 2024 “mostly as a way to oppose the people around me who were against my decision to leave uni.” Feeling lost as to where to go with her career, the 20-year-old creative picked up an old hobby she learned in high school: crocheting.
It was through this process of reconnecting with her craft that Wei discovered her passion for design, dedicating herself to creating garments she wasn’t able to find in the traditional New Zealand market. “I felt limited by what I could buy, so naturally I veered into the direction of producing both for myself and others so that I could tailor to my exact preferences and abilities,” she recalls. Wei’s designs may begin as sketches on paper (though don’t ask to see her sketchbook: “I’m not gifted at drawing… it will be buried with me”) but it’s her process of switching between a variation of stitches and construction methods that gives each garment the “interesting and refreshing look” that sets her work apart.
Wei Wen first captured the attention of the fashion industry after showing a selection of intricately crafted designs at Te Wiki Āhua o Aotearoa. Featuring everything from a sheer, knotted crochet set, distressed knitted hoods, and a knitted set with faux fur detailing and a matching crochet hat, the show displayed Wei’s unique vision and the versatility of her designs. “It was one of the key moments that made me feel as though had really accomplished something,” she says. “Being able to watch all these beautiful models wearing garments I had designed was really special.”
This debut runway collection also opened the door for Wei’s pieces to be featured in Fashion Quarterly’s Summer 2024 cover shoot. “I was so lucky to have been given these opportunities only months after starting my brand,” she says. “It was an unforgettable year for sure.” In the year ahead, Wei hopes to participate in more fashion events while working towards her goal of producing another successful collection. “I’m currently working on a collection inspired by my culture, with garments referencing China and its history,” Wei says. “I didn’t see a lot of Asian representation in the media while I was growing up, so I hope to share the beauty of my heritage with others.” Here’s to many more years of beautiful, creative rebellion!
Words by: Natalia Didovich
Imagery: Supplied
