Claudia Li
The show opened with the swell of orchestral music, dramatic and almost ominous, as Claudia Li’s name lit up on the screen. From the very first moment, branding was everywhere – in the bows (hundreds of them, stitched en masse to ballet flats, Adidas Superstars and beyond) to socks in graphic black, white and red. The name Claudia Li was inescapable, and rightly so. Fashion Quarterly’s Designer of the Year has long been hailed as ‘one to watch’, but this show confirmed what many already know: Claudia Li isn’t next, she’s now.
It’s a curious position – to be celebrated as the future while already sitting among fashion’s elite. After all, Li has shown at New York Fashion Week and dressed Michelle Obama, Lady Gaga, and Bella Hadid. Yet here in New Zealand, her star has somehow felt under-recognised. That changed today.
Her first-ever NZ Fashion Week show was a spectacle of scale. Voluminous, sculptural silhouettes swept down the runway, a monochrome palette dominating in bold blacks and crisp whites, punctuated by sudden shocks of red – a sock, a shoe, a sequin shimmer. It was more is more is more in the best way: textured furs, rich velvets, airy sheers, and oversized bows that bordered on the theatrical. The sheer number of models, the number of looks, the obsessive detailing – it all felt elevated, like an international stage transported home.
As the orchestra gave way to bass-heavy hip hop, the mood shifted from grandeur to grit. The final walk felt like a triumph. Claudia Li, take a bow – and then another, and another. After all, no one does bows quite like her.
Adrion Atelier
The show opened with what, at first glance, seemed to be a simple red dress. But in reality, it carried the weight of a story. One of the very first pieces Adrian Williams created, the dress charted his journey from South Africa to New Zealand – the hand-dyed black symbolising hardship, the red representing light and hope. A tribal-inspired necklace framed the neckline, while South African music – a fusion of deep house, jazz and kwaito – underscored the moment, grounding it in his heritage.
From there, the collection unfolded as a narrative – his narrative. We saw pear coloured tucks and ruching, a green dress with a beaded fringe, and designs shaped by nature’s influence: peacock feathers, fur-trimmed coats, even fur-covered shoes. A sheer gown, painstakingly adorned with green feathers cut from a boa and hand-sewn one by one, was a standout in both craft and vision.
Then, as the final looks emerged, the South African soundtrack came roaring back – a powerful full-circle moment. The deep bass swelled through the venue, amplifying the drama of gowns that felt as much like sculpture as clothing. It was as though Adrian had lifted the audience and set them right back at the beginning of his journey, only now with the richness of everything we’d seen in between.
One of the closing pieces – a gold-beaded gown with exaggerated shoulders and sculpted hips – hinted at the future direction of the brand: New Zealand’s answer to haute couture. The designer himself took his time, completing a full lap of the runway, soaking in the energy and the well-deserved applause. The final image was unforgettable: Adrian, radiant basking in a moment that was entirely his.
Kāhui Collective
From the moment the lights dimmed for the Kāhui collective group show, it was clear we were about to experience something special. Founded in 2017 by Kiri Nathan, Kāhui Collective is a creative community that unites over 40 Māori, Pacific, and Indigenous designers from around the globe. Today, we were witnessing six of these designers make their NZFW debut.
The energy in the room was electric as the first model hit the runway. Kaistorst opened the show with a intricately detailed, gold bodice before moving to beautifully crafted shirting pieces with lace detailing at the back. The collection draws on silhouettes and textures that honour the ways wāhine move through the world, with upcycled fabrics grounding the collection in conscious craft.
Mitchell Vincent Collection followed with an opening look on Kaarina Parker that evoked a Grecian goddess. Draped silhouettes and intricate tie detailing set the tone for a collection that embraced fluidity, reimagining identity and inclusivity through timeless design. Next, Temesia.Co presented a sharply refined take on Pacific menswear, merging traditional dress with modern tailoring and bold structure. The result? A moving statement of heritage and power. Classic suiting met streetwear in layered shirting and vests, elevated by statement accessories including leather gloves and ties to woven backpacks.
Next, Katherine Anne unveiled a monochromatic collection of timeless silhouettes, from a crisp white shirtdress with voluminous sleeves to sheer black pieces. The unifying thread was elegant drapery, crafted to honour and flatter every body type. Czarina Wilson followed with a collection that reimagined Monomono Pani, the traditional Tongan textile practice, through a contemporary lens. Vibrant orange and navy prints and a show-stopping quilted skirt held the audience captivated from start to finish. Last, but by no means least, was J’ake, presenting elegant menswear in relaxed silhouettes and a pared-back palette of black, grey, and green. Crafted from linen, cotton, and ramie, each piece carried the texture of time, styled with woven kete and poi for a resonant finish.
I think I speak for everyone in attendance when I say this was a show that will be remembered for years to come — and I feel honoured to have witnessed it. As Kiri Nathan so aptly reminded us, the best way to support these designers and ensure their work endures is simple: buy their pieces and follow their journeys online.
Kathryn Wilson
Kathryn Wilson has always known how to put on a show, but tonight’s sold-out runway reminded us why she remains New Zealand’s queen of statement footwear. Opening with Michael Jackson’s The Way You Make Me Feel, anticipation was electric. Beneath the warehouse lights, a silver catwalk rippled like liquid metal, reflecting every jewel-tone heel, sheer layer, and bronzed stride that passed across it.
What followed was a high-octane celebration of colour, print, and unabashed fun. Barbie pink pumps, zebra knee-highs, butter-yellow mules, and leopard platforms strutted with infectious energy. Swimwear layered with sheer organza cover-ups, black-and-white polka dots, and metallic animal prints reinforced a retro-holiday aesthetic, as if Jane Fonda herself might emerge from backstage. Among the brights and bold were wine-coloured patent pumps and muted tones, grounding the collection in Wilson’s signature wearability. Handbags and travel totes mirrored the footwear’s playful, polished vibe, completing the head-to-toe effect.
Hair and makeup mirrored the mood. Danny Pato styled bouffants lifted high at the crown, Brigitte Bardot volume exaggerated into camp silhouettes that bounced with every step. Skin was luminous, eyes softly defined with sweeping lashes, and lips a natural rose tone. Statement earrings punctuated the look, amplifying the retro-futuristic glamour.
The soundtrack — from Pat Benatar’s Hit Me With Your Best Shot to Bell Biv DeVoe’s Poison — fuelled the mood. Models didn’t just walk; they danced, shimmying to The Cars, Neneh Cherry, and Debbie Harry, feeding off an engaged crowd that clapped, called out, and finally rose in ovation. With children among the guests, it was a reminder of Wilson’s loyal, multi-generational following.
At a week where many runways leaned moody and pared-back, Wilson’s unapologetic spectacle felt refreshing. Nostalgic yet modern, camp yet commercial, it proved she understands her customer as much as the theatre of fashion itself. By the finale, when her full team joined her on stage, the message was clear: this was more than a runway. It was a party — and everyone was invited.
