SYDNEY – Bermuda shorts and denim were among the key trends – both on and off the catwalk – at Australian Fashion Week’s pared-back 2025 collections showcased here earlier this month.
The event was first presented by Danish jeweler Pandora, which hosted a mid-week launch party for its new Essence collection and then closed the week with a sold-out final show that created the longest front row in the event’s history. There were four parallel runways that provided front row seats for all 640 attendees, many of whom had purchased tickets. Pandora’s jewelery was paired with seasonal winter looks from twelve Australian brands, including Esse, Bianca Spender and Michael Lo Sordo.
More from WWD
The schedule included just 25 shows over five days, down from 43 in 2023, reflecting the challenging economic climate that has seen a raft of independent brand closures internationally. On May 2, New Zealand Fashion Week said it was postponing its 2024 showcase and would move to a permanent biennial schedule starting in 2025. Shortly after Australian Fashion Week, Australian star name Dion Lee went into voluntary administration following the withdrawal of funding by his Australian fashion retailer Cue Clothing Co.
Nevertheless, new designers continue to flood into the event. These included the dozens of emerging names who win selection each year for AFW’s group showcases NextGen, Indigenous Fashion Projects and The Innovators, which are financially supported by event organizer IMG, department store chain David Jones and TAFE NSW’s Fashion Design Studio respectively. The latter is one of Australia’s leading fashion schools and this year celebrated 25 years of The Innovators at AFW, with a closing showcase of designs from alumni including Lee and Nicky Zimmermann.
Niche labels Nicol & Ford and Wackie Ju presented exciting theatrical presentations, while New Zealand’s brightest new fashion star Rory William Docherty made his solo debut at the event.
The beautiful weather helped to enhance the atmosphere at the event and the lighter schedule allowed buyers more time to attend the shows, which featured the work of 46 designers in the Carriageworks hub and various locations around the city, including the Overseas Passenger Terminal, the Sea Life Sydney Aquarium and the Grade II listed Vaucluse House.
“The mood was high and everyone was excited to be part of the vibrant fashion community and eager to learn more about Sydney’s emerging talent,” said Kelsey Lyle, ready-to-wear, resortwear and denim buyer at Moda Operandi, for which AFW each year the resort market starts.
“Rory William Docherty was a favorite of the week,” she added. “His strong point of view and craftsmanship were evident in a collection that seamlessly blended artistry and wearability. Using texture, Japanese silk, reworked denim and voluminous shirts, Docherty’s work stood out for its innovation and fresh perspective.
Of other key trends, Lyle noted, “hosiery trends stood out in both runway presentations and street style. Dropped-waist dresses and skirts also maintained their popularity, but with a fresh twist: voluminous, bubble-like skirts that leaned toward eveningwear yet fit well, work as well for everyday wear as they do for evening wear. Versatility was a recurring motif all week. The innovation in denim was particularly notable, with designers exploring new textures, cuts and treatments to take this staple product to the next level.”
Bridget Veals, managing director of womenswear, footwear and accessories at David Jones, mentioned Viktoria & Woods; NextGen designers Amy Lawrance, House of Campbell, Emily Watson and Potirakis, and Carla Zampatti, whose new creative director is Karlie Ungar. In April 2021, founder Carla Zampatti died after a fall at the Sydney Opera.
“The collections were very much in tune with what we’ve been seeing internationally,” said Veals, adding that accessible luxury brands, denim and ballet flats continue to perform strongly at David Jones. “Overall, the shows have been taken to the next level. Carla Zampatti’s return to the catwalk was a highlight. It was a slightly more forgiving schedule this year, allowing designers who showed an opportunity to have their moment in the sun. The NextGen catwalk is a wonderful platform to discover new and emerging talent. In between shows I also enjoy exploring personal style and self-expression.”
She continued: “We saw a lot of metallic garments and accessories, with high-shine fabrics including accents of silver and gold in the Bec & Bridge and Michael Lo Sordo collections. Anna Quan and Carla Zampatti used lace and stockings, but in a classic, distinctive way. And we saw Acler and Blanca’s signature sense of vibrant color and playfulness. There was also a clear sense of less is more, especially with PE Nation, who carefully combined pastels and neutrals in the debut of their new era.
“There were also many beautiful, pure and spineless moments. Designers like Blanca, PE Nation and Anna Quan have adopted the exposed underwear trend we’ve seen internationally, layering trousers and shorts with branded boxers or fishnet stockings, sitting high and with a visible waist,” she said. “Finally, there is one trend that we cannot ignore: the Bermuda shorts, which are both casual and chic in many collections.”
Since 2021, multiple First Nations-focused shows are scheduled each year. They include the Indigenous Fashion Projects x David Jones show, which is part of a joint mentoring initiative called Pathways. This year the show consisted of Gali Swimwear, Ihraa Swim, Joseph & James and Miimi & Jiinda. One Pathways alumnus, Liandra Gaykamangu, made her solo AFW debut this year.
“The David Jones Indigenous Fashion Projects (IFP) Runway is a show that is close to my heart,” said Veals. “We are incredibly proud of the IFP Pathways program and grateful for the cultural exchange. Fashion is such a powerful medium. It is a great way for people to connect with First Nations people and share stories that come from more than 60,000 years of culture.”
At last year’s event, Groupe Bon Marché retail consultant Nathalie Constanty made several discoveries, which led to Le Bon Marché picking up at least four new Australian labels, including Albus Lumen, Joselin, Roame and Clea. Le Bon Marché’s current Australian roster also includes Alémais, Faithfull, Sir, Camilla and Marc, Oroton, Blanca and Zimmermann, who are the focus of a major pop-up installation running until August.
“If we love a brand, we manage to make space,” says Constanty. “I think she [Australian labels] are increasingly noticed. In terms of numbers and the way we buy [them], we are buying more and more in depth. It started with Zimmermann, who was all alone for a while. But we buy three or four new Australian brands every year. We [Australia and France] have a lot in common in terms of femininity and relaxed elegance. Contemporary brands really shine here and I think they are important to us because they are different from the brands we have or that we see in other countries, whether it is Paris, London or even Copenhagen Fashion Week. It’s really different.”
Constanty’s favorite shows included Albus Lumen, Romance Was Born and Amy Lawrance, which presented a collection of twelve hand-sewn dresses and matching caps made from ivory silk organza satin and noil silk with hand-woven silk ahimsa and tussah linings and poofy and pattern pleat details. “I really loved the craftsmanship,” Constanty said. “It reminds me of Simone Rocha at the beginning in London.”
In terms of trends, Constanty loved all types of denim, especially artisan denim, as seen in Beare Park, with a bullet hole treatment. “Definitely denim, especially transparent – transparent is not something completely new, but it is really strong and I think it was in almost all the collections. Also lace and also mid-length shorts or culottes,” Constanty said.
“Last year I wasn’t sure if the buyers would buy anything or not, but like me, they were very charmed by the collections,” she added. “This year I’m back and it was a different fashion week, with new names. So it makes it very interesting for me and for the store. Let’s see what’s on the agenda for next year. It may be far away, but it is really worth traveling to Australia and Sydney to find these great brands.”
The best of WWD