This week, Te Wiki Āhua o Aotearoa FW 2025 makes its return to Karangahape Road, once again championing Aotearoa’s boldest emerging designers in an unfiltered, underground fashion experience. Running from March 24–29, the event builds on the raw energy of last year’s smash-hit debut, where the Āhua team says they “left a lot unsaid.”
Continuing its focus on early-career creatives across fashion, art, and performance, Te Wiki Āhua is already again fulfilling the prophecy that it’s more than a runway—it’s a movement. As emerging designers reclaim the spotlight outside the industry’s traditional structures, we’re ready to expect the unexpected. Team FQ will be on the ground all week, bringing you the latest updates direct from the runway. Read on for more…
Night One
Revelations
The week opened with ‘Revelations’, a solo show by Māori designer Niquita Samuel, featuring her brand Niq Atelier, and produced by Sophia Kwon. The show began with another of Āhua producers and model, Aellerie Konia-Storey, setting the scene by searching through the tree-adorned runway with a single candle in a traditional korowai. Niquita’s collection had a clear focus of recycling and reimagining materials, both synthetic and natural, while also honouring her Māori heritage, incorporating traditional designs and patterns throughout. The influence of Papatūānuku (the earth Mother) was evident, through the use of paua shells, feathers, ferns, and braided harakeke [flax] to create dynamic shapes that resembled the rolling hills and waves of Aotearoa. This meshing of earthly and man-made mediums, such as fairy lights, tinsel, and sequins provided a new imagining of what Māori-centric designs can be.
Out of Service
From the mind of producer and co-founder Nina Bailey came ‘Out of Service’, the first group show of the week–a streetwear fashion show that twisted traditional office wear into a state of rebellion, taking a stance against the corporate machine. Audience members were assigned three different class tiers upon arrival, with each group seeing the show in a different way: sipping champagne in the penthouse, amongst the shelves of a 24/7 dairy and from the basement. Featuring pieces from ANTI, 14_0_15, Schaarsartor, Josh Jozsef, and South Street Forever, this exhilarating opening night has us more excited than ever for the future of New Zealand fashion. The designs were bold, the staging innovative and the energy was completely electric. In typical Āhua fashion, the storyline of this immersive show concluded with a dance performance centred around an office desk, choreographed by Gracie Lewis.
Night Two
In Above Our Heads
Āhua day two kicked off with a bang with ’In Above Our Heads’, a collaborative solo show by clothing brand Fringes and jewellery brand Anthurium. The duo’s collection explores the surreal journey of young professionals stepping into adulthood amid an uncertain economy, seamlessly pairing avant-garde jewellery with intricate, tailored garments. After the final walkout, Fringes designer Finn Mora-Hill shared, “I’m colourblind, so I only work in monochrome.” Yet this limited palette is no constraint; instead, he turns it into a strength, expertly blending shades to craft a striking, signature aesthetic. Fringes’ mastery of layering and draping textured fabrics was a testament to refined craftsmanship – the work of a designer with an intuitive command of their medium. Anthurium designer Chloe Giles crafted a collection of diamante masks, head-pieces, and long-line necklaces that perfectly complimented Mora-Hill’s garments perfectly, while simultaneously shining completely on their own. This creative pairing was nothing short of a match made in heaven. From the opening of Gracie Lewis live-cutting a Fringes dress on the runway, to lighting, sound, and visual design, this was as much a fashion show as it was a multi-disciplinary spectacle. Whakamihi, team–this was truly one to remember.
Rot and Reverence
The week’s second group show, ‘Rot and Reverence’, was a story of decay, beauty in brokenness, and the art of upcycling. Āhua continued their trend of showing from unique locations, with Cross Street’s arcade and skywalk to a carpark acting as the runway. Dynamic shapes and fabric stacking were central to telling the story of balancing decay with splendour, with each designer contributing their own distinct voice. From Billy by Billy and Milo Matchitt, we saw furs and leathers, while Foolish and Junes Cry presented iterations of tulle drapery. Abby Santilian allowed the lace to take centre stage, and Zodiac Street’s collection was a dream of cream head adornments and structured canvas. The show felt like an intimate dive into each designer’s creative consciousness, offering a true glimpse into the ideas and philosophies that drive their brands.
