Day One
Carla Zampatti
Australian Fashion Week officially opened on Monday evening with a powerful tribute to one of the country’s most iconic fashion houses: Carla Zampatti. Held in front of the Museum of Contemporary Art with the Sydney Opera House and CBD glittering in the background, the setting was nothing short of cinematic. And after a day of rain, the skies cleared for the outdoor spectacle — a welcome relief to guests and organisers alike.
Marking 60 years of the Carla Zampatti legacy, the show titled “Ubiquity” was a masterclass in timeless glamour. Across 60 looks, the collection moved seamlessly between sharp tailoring and sweeping gowns. There was an elegance to the pieces that felt innately Zampatti — yet there were also fresh touches that nodded to a modern sensibility. Ruffles, polka dots, pussy bows, and peplum details brought a playful sense of drama, while a palette of monochromatic black and white was lifted by flashes of muted yellow, siren red, and warm bronze.
A standout moment was the collaboration with 14 of Australia’s leading designers, including Pip Edwards, Christopher Esber, Romance Was Born, and Akira Isogawa, who each created a one-off piece that reinterpreted Zampatti’s legacy through their own lens. These collaborative designs will be donated to the Powerhouse Museum, adding a layer of cultural permanence to the celebration.
While the runway itself was a showstopper, the front row offered its own fashion moments. Guests arrived resplendent in vintage Zampatti, a stylish nod to the brand’s enduring influence, alongside bold, expressive looks that reminded us why street style during Fashion Week is just as compelling as the collections themselves.
This was also the first Australian Fashion Week presented under the leadership of the Australian Fashion Council. While many attendees may have arrived unsure of what to expect, the opening night offered a reassuring signal: the spirit of Fashion Week was in very capable hands.
Day Two
The Frontier
A curated group of designers from both sides of the Tasman came together for a joint presentation titled ‘The Frontier’. On paper, a line-up this diverse — featuring Courtney Zheng, Amy Lawrence, Paris Georgia, Matin, Wynn Hamlyn, Esse, and Common Hours — might seem disjointed. In reality, it worked.
Models navigated a linen-covered runway that was strewn across the area. The flooring did seem to provide a minor obstacle, and while there were a few stumbles – thankfully no falls! From the designers we saw fringing, buckles, sheers, and structure. Courtney Zheng impressed with her louche box pleats, while Amy Lawrence’s cream-toned dresses, intricate pleating, and signature caps carried a sense of elegance.
Of course, as a Kiwi in the crowd, the signatures of Paris Georgia and Wynn Hamlyn immediately stood out. Paris Georgia’s sculptural lines (and signature heels) were unmistakable, while Wynn Hamlyn delivered one of the morning’s highlights: a woven, almost deconstructed technique.
One critique? For anyone unfamiliar with the brands, it wasn’t always easy to know who was showing what. Still, ‘The Frontier’ gave space to designers to share the spotlight, without losing their individual impact.
Nagnata x Saben
A short film featuring model Jessica Gomes opened the Nagnata show, setting the tone for a collection grounded in mindfulness. The film introduced the brand’s new RTE denim line — made from 100% organic cotton — which became the foundation of the entire runway presentation. As expected, Nagnata’s signature fusion of fashion and activewear was on full display. Muted reds, caramel browns, black and earthy stripes ran through one-pieces, and athleisure staples, elevated by custom-knit textures and natural fibres. The denim and knitwear blended effortlessly into the brand’s athleisure DNA, reinforcing a commitment to conscious luxury.
But what truly caught our eye? The accessories. Models strode confidently with key pieces from Saben’s Spring/Summer 2025 collection. With sustainability embedded in both brands’ DNA, the collaboration felt like the perfect fit.
“As we continue to grow and evolve, it’s partnerships like this that allow us to connect with new audiences in a way that feels aligned with who we are,” says Roanne Jacobson, founder and designer of Saben. “We design for women who move with purpose, and this moment at Fashion Week reflects exactly that — style in motion, with meaning.”
“When I connected with Laura May, the synergy was immediate,” says Jacobson. “Beyond aesthetics, we discovered a shared design ethos grounded in creating pieces inspired by the women who wear them, functional as they are beautiful, and tread lightly on our planet. Both our brands believe luxury should be defined not just by how something looks, but by how thoughtfully it’s made and how long it endures.”
Together, Nagnata and Saben proved that fashion-forward can be thoughtful and functional.
Beare Park
There was an undeniable shift in mood as the Beare Park show began — slower, sultrier, and more cinematic than the typical Fashion Week fare. Models moved deliberately down the runway, the usual upbeat soundtrack replaced by the rich tones of what sounded like Louis Armstrong, casting a sense of occasion over every look. Somehow that soundtrack is still etched in my mind.
Known for its precise tailoring and sophisticated sensuality, Beare Park leaned into its signatures with new intensity. On the catwalk we saw a bold chartreuse colourway appear,as well as rich burgundy’s blacks, chocolate browns and muted mint. There were sheer offerings, of course, and Beare Park’s signature silhouette which trails from the back. Styling details made the collection feel intentionally thought-out: black socks paired with brown heels, and hair pulled into dishevelled ponytails of the lowest variety.
On the skin we saw next to nothing. Models skipped foundation in favour of Emma Lewisham’s newest formulation—Sunceutical SPF 50 Mineral Glow Serum—an intelligent, bronze-tinted serum that provides an immediate illuminating base which comes out later this month. Lead makeup director Isabella Schimid she focused on skin and that natural, healthy glow. “I did a brown smudge contour around the eyes and a plum stained lip, and only lightly concealed areas of the face that needed it. There was no other base besides Emma Lewisham skincare,” she says.
Of the partnership, Lewishman, who sat front row at the show in a charcoal Beare Park suit said it was a natural alignment. “Both our brands share an unwavering dedication to excellence, craftsmanship, and quality. The partnership is not only a reflection of aligned values, but also of the genuine relationship Gabriella [Beare Park’s Creative Director] and I have built through mutual admiration and a shared vision for purposeful beauty and fashion,” says Lewisham.
But back to the fashion — the closing look, a white, wedding-esque gown delivered a high-fashion bride moment that nodded to Chanel’s end-of-show bride tradition, but still felt distinctly Beare Park.
Day Three
Aje
Off-site shows can often offer a much-needed breath of fresh air – and Aje delivered exactly that. Held at the striking Barangaroo Pier Pavilion, the location itself made a statement. Jutting out into Watermans Cove and bathed in soft morning light, the oyster shell terrazzo-clad structure felt both serene and sculptural – the absolute perfect setting for what was to come.
Inside, seating was arranged in a triangular formation, setting the stage for something more considered. In a rare and thoughtful gesture, each guest found their name hand-labelled on their seat, accompanied by a small quartz crystal. According to the show notes, the stones were “selected with intention… a stone of clarity, light and transformation, amplifying energy and tranquility.” It was a gentle, grounding start – and a subtle nod to the deeper energy behind the collection.
When the show began to ethereal music, Aje’s Resort 2026 collection, Impressions, unfolded in true form to the brand’s own design DNA. There were sculptural, three-dimensional ruffles, voluminous silhouettes, and exaggerated shapes. Their signature organic gold buttons punctuated many of the looks – a detail that has become synonymous with Aje.
The offering was uplifting: bright hues, painterly florals, and bubble hems. A standout shape was a structured, hourglass mini dress in a punchy yellow-chartreuse. We also saw a fresh approach to denim, adding a grounded counterpoint to the floatier pieces.
Impressions felt like a celebration not just of design, but of intention – and it felt like we were offered a moment of calm in a somewhat chaotic week.
Alex Higgins
The scent of incense and the sound of waves crashing filled the air as guests entered the Carriageworks venue, immediately setting the tone for a show that would engage far more than just the eyes. Once the lights dimmed and the music began, a spoken word performance layered over the soundtrack created a powerful fusion of poetry and fashion — a bold, sensory opening that signalled we were about to witness something different.
Models emerged in a zigzag formation, walking the length of an Aztec-inspired printed runway that amplified the energy of each look. It was easily one of the most avant-garde presentations of the week — experimental and expressive.
Deconstructed tees and polo shirts were worn backwards, left unpicked at the seams, or layered in unexpected combinations. Printed words like ‘God’, ‘Fairytale Paradise’ and ‘Holy Fool’ appeared on shirts, reinforcing the collection’s poetic tone.
The beauty was equally arresting: some models wore red or white pigment swiped across their eyes like war paint, while others had feather-like headpieces jutting upward, adding to the sense of ceremony. Of the hair, hair director Daniel Jianing Liu for Shark Beauty said: “We wanted to bring that same free-spirited energy into the hair by creating something intentionally dishevelled, with more texture and undone movement.”
All and all, a true visceral experience.
Day Four
Hansen & Gretel
At the Hansen & Gretel show, the lights at Carriageworks dropped to total darkness before slowly returning — revealing the first look: a mint green maxi skirt with fluid lace panelling, a matching tank, and crystals strung delicately around the model’s neck. It was an ethereal opening — and a fitting preview of what was to follow.
The collection embraced a free-spirited elegance, rooted in earthy tones and tactile detail. Distinctly bohemian in tone, the show featured asymmetrical hemlines, paisley and hibiscus prints, and a series of flowing silhouettes that felt effortlessly luxe. Think kaftan-style dresses, soft volume, and sheer layering.
Like many shows this week, the accessories stood out — beaded belts cinched the waists, and crystals around the neck gave a nod to ‘70s boho style. The palette moved between soft mints, rich purples, mossy greens and warm browns — grounding the collection in nature. Keeping in line with the look and feel of the collection, makeup and hair were soft and natural which added to the ethereal experience of the show.
Mariam Seddiq
I’m just going to say it: this was my favourite show of the week. It was the one I’d been anticipating most — and it absolutely delivered. There really is something about a night show that raises expectations. The energy shifts, the lights dim, and the crowd hums with a different kind of excitement. And from the moment the first model stepped onto the runway in a full black gown with the most voluminous sleeves I’ve ever seen, it was clear we were in for something special.
The atmosphere was nothing short of theatrical. The music pulsed with drama, and ultra close-up footage of the models was projected onto a massive screen, heightening every movement, and every fabric ripple. The models moved around the perimeter of the space in a square formation — allowing the garments to truly speak for themselves.
The silhouettes were unapologetically grand — exaggerated sleeves, intricate ruching, and cascading volumes of fabric in rich, regal hues: burgundy, ice blue, and buttercream. As the show progressed, the palette shifted toward a wedding white, building toward a finale of bridal-inspired gowns with almost cathedral-length trains. It was opulent but refined.
The beauty looks pushed boundaries, too. In a week where ‘clean girl’ hair and no-makeup makeup dominated, Seddiq’s models wore sculptural, cone-shaped updos and dark lipstick that matched the drama of the garments. It was avant-garde in the best way.
At the end of the show Mariam emerged, but unlike the other designers, she was not alone. Flanked by her team of designers and collaborators they walked to the front — followed by the full cast of models. You got the sense this wasn’t just her vision, but a collective one. And there was something in that solidarity that made the show feel even grander.
Day one imagery: Launchmetrics/Spotlight.
Day two imagery: Launchmetrics/Spotlight and Katie Begbie.
Day three imagery: Launchmetrics/Spotlight and Katie Begbie.
