As we stood in the line for the opening show before being ushered to our seats, it felt surreal to be back in the Viaduct Events Centre for fashion week. In many ways, three years felt like a lifetime, and in others it felt like yesterday. Magic takes place inside these walls whether we recognise it at the time or not; New Zealand’s most revered designers have showcased here, and with so many next-generation-up-and-coming designers on the schedule, we have no doubt that our future’s brightest designers will continue to feature here too.
Although technically day one, our NZFW journey for 2023 began the day before with a pōwhiri at Ngāti Whātua Ōrākei Marae. Located above Ōkahu Bay on the shores of the Waitematā Harbour, the Fashion Quarterly editorial team beared witness to the gifting of the name Kahuria to New Zealand Fashion Week (‘Kahu’ translated means garment or cloak, and ‘Kahuria’ means to adorn) among industry friends before indulging in some kai and heading back our respective desks to resume business as usual.
The positivity in pause
That’s the curious thing about taking a break. It’s easy to focus on the loss rather than what you gain. Evidently, for the new owners, the three-year hiatus became an opportunity to step back and reflect on what’s been and look ahead to where they’re going. And choosing to have a pōwhiri opening ceremony and selecting a Māori designer to open ( more on this later) felt like a really positive and powerful way to set the blueprint for fashion weeks going forward.
Opening Ceremony: Kiri Nathan
As the first Māori designer to officially open NZFW Kahuria, Kiri Nathan’s presentation ’Te Kuneroa’ delivered impactful storytelling on the evolution of Māori clothing over the 1600s, 1700s, 1800s, 1900s, and the future. The sentiment was ‘walking backwards into the future’. And in the context of Māori fashion, there was an innate connection to the natural world seen in the garments and in the visuals. Another detail that relates back to this respect for people could be seen traced down either side of the runway. Instead of the usual A-listers lining the front row seats, Kiri had made a point of reserving these prime positions for the weavers and artisans who helped bring her collection to life in the prime positions. It was an emotional display, and left us coveting community above all else.
Rory Docherty
We’ve admired Rory Docherty’s work for some time now but we suspect this show, which took place in The Studio, may have cemented his brand in the hearts, minds, and soon-to-be wallets of the fashion circuit (if he hadn’t already). Fluid details, textured knitwear of varying scale, and relaxed tailoring floated down the runway to covers of ’80s and ’90s classics by T. REX and David Bowie giving his laidback pieces a futuristic/art rock element. For the most part, the models’ pace was slow and subdued allowing us to absorb details like the aviation-inspired hat (which we desperately want), handmade shoes, dried florals tucked into the back pockets of jeans, and ivory handwoven knits. There were oversized collars, asymmetrical gathered yolks, and blouses that blossomed into full length dresses with a pull of a string. At the end, the tempo picked up and we saw the collection in its entirety to the tune of Bronski Beat’s Small Town Boy.
Everything in between
As shows went back to back, our team divided and conquered, taking up seats at Jacqueline Anne Couture, Slow and Conscious, and calling into the Chaos & Harmony installation. Memorable details from Jacqueline Anne Couture included a potent use of colour, geometrical prints, sky-high platform heels, and feather adornments. Slow and Conscious was a three-part runway which saw models walk for swimwear brand SERNA DIEGO, Towa Clothing, and Charieen. Our key takeaway? Texture curls and an intense sweeping of blush is one multi-tasking beauty look we will be employing this summer.
Campbell Luke
If fashion was a feeling then emotions were overflowing during Campbell Luke’s show. With what seemed like a short film playing in the background of a mother and son in the countryside, it laid the foundation for what was to come with the show culminating with one of the models (reality TV series Casketeers star Kairora Tipene) walking out with her newborn baby. The man of the moment, Dr Campbell Luke, received a standing ovation. Fashion-wise we saw a white and neutral colour palette filled with volumise silhouettes, oversized collars, and curious textures. Like so many shows today, the make-up was clean and simple with a highlight on the cheekbones, and hair a mix of plaits and buns which we believe lends itself to the designer’s PhD in design which centred on how Māori engaged with “colonial objects and pomp to make it their own”. That, and the gift we received as attendees which included a text on Imaging Decolonisation wrapped beautifully alongside some loose tea leaves and Aotea minis. Above the runway and cloaked onto a few models were Noa Blankets, crafted by our forever muse Whakaawa Te Kani and her husband Josh.
Juliette Hogan
Taking the spot for the final ‘on site’ show for Day one was Juliette Hogan. The brand showcased their Collection 2023.FOUR which (fortunately for those of us mentally adding to cart during the show) is now available in stores. Think masculine tailoring with ‘boyfriend pants’ and oversized blazers mixed in with her signature styles of beautiful botanicals – and of course, her pleats. But there were some surprises we adored like the crop top and matching skirt twin set in khaki, as well as in off-white sequins. Relative to runway shows from earlier in the programme, Juliette Hogan’s runway felt minimal and airy; the backdrop being a digital visual of fine white curtains tempering with a gentle summer breeze. There was definitely a sense of optimism for the summer months ahead. Alongside her signature muted and sophisticated palette and a few seasonal brights, the beauty was kept fresh and familiar ensuring our eyes were kept on the clothing.
That’s a wrap on day one
We spilled out of the Viaduct Events Centre post-Juliette Hogan and reflected on our favourite pieces before hauling an uber to our first off-site event: NOM*d. Down a now dark Durham Lane in Auckland’s CBD, a queue for NOM*d’s ‘au courant’ show hugged the wall while people posed for film photos and buzzed with anticipation. We were greeted at the door with earplugs, keyrings, and – true to NOM*d’s southern heritage – cheese rolls. Founded by Margarita Robertson in 1986 in Dunedin, NOM*d is a label that continues to embrace the gothic beguile of this elemental place. And rather than offering a runway, per se, we capped the day with refreshing drinks by Rogue Society Liquor and tapped our toes to a set by supporting act Die! Die! Die! – very NOM*d indeed. And of you were hoping to get a glimpse of their summer collection, we can do you one better: it’s available to shop online now.
