From helping shape the global trajectory of emerging Australian and New Zealand labels into internationally recognised forces in fashion, to becoming one of the industry’s go-to names for brand strategy and communications, Robyn Catinella has built a career on instinct, taste and a sharp understanding of cultural relevance. After starting out in retail communications before moving into fashion PR, Catinella launched her agency more than a decade ago with a vision to create something that felt less like a traditional PR firm and more like an extension of the brands themselves.
Since then, she’s worked alongside names including Christopher Esber, MATICEVSKI, ESSE Studios and R.M.Williams – building long-term partnerships that blur the line between agency and in-house, and redefining what modern fashion communications can look like in practice.
In conversation with Robyn Catinella
Let’s get up to speed. Tell us a bit about you and your career to date.
I have always been drawn to storytelling, culture and the unique role fashion plays at the intersection of both. My career began in retail communications and brand strategy before naturally evolving into fashion PR, where I discovered a passion for building brands with lasting cultural relevance. After working both in-house and agency-side, I launched my own agency more than a decade ago with an approach designed to mirror an in-house partnership model.
What is your earliest memory of fashion?
One of my earliest memories is watching my mother and the way she used clothing to express confidence and identity. I was fascinated by the idea that fashion could completely shift how someone carried themselves or how they were perceived. I remember being unusually aware of textures, silhouettes and styling from a young age, long before I understood fashion as an industry. Looking back, I think I was drawn less to trends and more to the emotion and individuality clothing could communicate.
How would you describe your personal style, and what influences it most?
My personal style is deeply instinctive and has remained remarkably consistent since my twenties – forever a Rick Owens Melbourne girl at heart. A signature fragrance is an essential part of my identity; people stop me regularly to ask what scent I’m wearing. For work, I’ve always gravitated towards a personal uniform. There was a Phoebe Philo-era Celine dress I loved so much I owned five versions and rotated them for years.
I am naturally drawn to directional silhouettes with strong tailoring, often balanced by softer, architectural elements depending on mood or season. My influences come from travel, architecture and people with an effortless sense of style – those who look considered without appearing overworked. Outside work, my style softens considerably. I live near the beach and gravitate towards silk pieces and understated luxury.
You’ve recently signed cult-favourite New Zealand label Rebe. In such a saturated industry, what actually makes a brand stand out to you today?
Authenticity and community are everything. The brands that cut through have a very clear identity and are not trying to appeal to everyone. Consumers are incredibly discerning now – they can sense when something feels manufactured versus truly considered. With REBE, there is a strong sense of intention behind both the product and the world being built around it. Rebe herself spent years buying for one of New Zealand’s leading luxury retailers, so there is a deep understanding of what resonates commercially alongside creativity. The brands with longevity tend to prioritise consistency over noise. A distinctive point of view will always have more staying power than chasing trends.
Now that Australian Fashion Week has wrapped up, what does the behind-the-scenes preparation for the event usually look like for you?
Preparation begins months in advance. There is an enormous amount of coordination involved across casting, seating plans, media strategy, partnerships, sponsorship, fittings, production schedules and ensuring every brand narrative is translated consistently across all touchpoints. Fashion Week can appear glamorous from the outside, but behind the scenes it is intensely operational. Much of the role is anticipating problems before they arise and protecting the integrity of a brand throughout an incredibly high-pressure environment.
This season felt particularly exciting. We managed MATICEVSKI’s return to the Australian Fashion Week schedule after more than a decade, which felt like a significant cultural moment for Australian fashion. Toni’s work has always represented a level of artistry and sculptural precision deserving of global attention. We also presented ESSE Studios, a brand we first launched internationally in Paris prior to the pandemic and one that continues to evolve with remarkable restraint and confidence. Alongside this, Courtney Zheng debuted her first standalone runway show only two years after launch, while L’IDÉE brought a renewed sense of glamour and occasion back to the schedule. Australian Fashion Week remains incredibly important because it places emerging talent beside established names, creating visibility not only locally but internationally.
What’s something about running a fashion PR agency that people would be surprised to learn?
How relationship-driven it is. Creativity is essential, but a significant part of the role comes down to trust, communication and long-term relationship management. It is also far more strategic than people realise. We are constantly thinking about positioning, timing, cultural relevance and commercial impact – not simply publicity. The strongest agency relationships often span years and evolve alongside a brand’s growth. There is enormous value in institutional knowledge and understanding a founder’s vision over time.
Are there any New Zealand designers you gravitate towards or that more people should know about?
New Zealand has always had a distinctive design perspective. There is often a remarkable balance between wearability, restraint and experimentation, underpinned by genuine craftsmanship. Cushla Whiting is a perfect example. The jewellery brand embodies many of the qualities we look for in New Zealand talent – exceptional artisanal skill, a deeply considered point of view and an ability to create pieces that feel both contemporary and enduring. Their work challenges traditional ideas of fine jewellery through sculptural forms and unconventional precious stones while remaining incredibly refined. There is a quiet confidence to the brand that resonates internationally.
More broadly, labels such as REBE, Harris Tapper and Yu Mei all share an understated sophistication that feels increasingly relevant on a global stage. New Zealand designers often avoid excess and instead focus on longevity, quality and authenticity – values consumers are gravitating towards more than ever. That restraint has become a genuine point of difference internationally.
What’s the best piece of advice you’ve received in your career?
Your taste becomes your signature, and your signature becomes your strategy. Taste alone is personal preference. It becomes strategic when it connects identity, audience psychology, cultural timing and business intent. Creative direction often begins with instinct, but long-term success comes from learning how to translate that instinct into something commercially meaningful. Your taste can become one of your greatest strategic assets.
Quick-fire questions
The next item on my wardrobe wishlist… A burgundy pony-hair skirt paired with a pink silk shirt from Courtney Zheng’s RE27 collection. One of those runway looks that has stayed with me long after the show – chef’s kiss.
If you could only save one item in your wardrobe, what would it be? I can’t pick just one, so many pieces are irreplaceable with emotional ties to the designers behind them
My favourite place to dine… Fratelli Paradiso in Potts Point (always)
My next holiday destination… Cassis or Scopello
My ultimate day off looks like… Ocean swims, friends and a massage
