Eight Australian designers on the future of Australian Fashion Week (2024)

Eight Australian designers on the future of Australian Fashion Week (1)

YESTERDAY, IN THE jewel of Sydney Harbour — the Opera House itself — IMG held their last Australian Fashion Week (AFW) affiliated event with the awarding of the 2024 Australian Fashion Laureate. Designers, media, and friends of the industry gathered together for the joyful celebration of emerging and established talent, design prowess and leadership in local fashion, though the event was a bittersweet moment as it marked the end of a twenty-year-long relationship between IMG and AFW. Poignant though the occasion was, a question remains: what comes next for Australian Fashion Week?

It was the second time this week that leading local designers and key industry members came together at the Opera House: earlier in the week, they gathered there under the leadership of the Australian Fashion Council (AFC), the non-profit organisation which has been the peak body for the Australian fashion and textile industry for over 70 years, long championing the prosperity of our greatest sartorial creatives. Together, they rallied in support of a new path forward for AFW: one that is led by and for the industry. Pitching a new not-for-profit model, they hope to evolve the event into one which achieves the crucial goals of elevating local fashion on a global stage, benefitting designers, and prioritising the needs of the local industry.

“Fashion Week is so much more than runways and high heels — it’s a vital creative platform that shines a global spotlight on Australian fashion, driving our $28 billion economic powerhouse,” Jaana Quintance-James, the AFC CEO, said in a press release. “This industry employs over 500,000 people, predominantly women, and supports an export trade that generates more revenue than wine. Our vision is to create an event that not only celebrates our incredible talent but also positions Australian fashion as a global leader, delivering meaningful economic and social benefits for our industry and beyond.”

“The time has come for Australian fashion to be represented by those who know it best — our own community,” Marianne Perkovic, AFC Chair added.

The prospect of a new not-for-profit AFW model which mirrors those successful counterparts overseas — Milan and Paris Fashion Weeks, for instance, as well as the rapidly growing Copenhagen Fashion Week, which has been dubbed the unofficial fifth major fashion week — is an exciting concept. But the fact remains that significant change, or perhaps a more accurately, a reckoning of the event and its wider purpose, will be necessary to ensure the enduring relevance and success of AFW.

Australian Fashion Week was founded by Simon Lock in 1996. Since its inception, it has gone through a number of evolutions, and served up countless memorable moments in local fashion history. There was supermodel Linda Evangelista walking the Alex Perry runway in 1997, and Tigerlily offering Australia’s own Victoria’s Secret Fashion Show-type moment with model Kristy Hinze walking the runway in a million-dollar diamond-encrusted bikini (and a diamond python, for good measure) in 2001 — the same year in which Ksubi (then Tsubi) caused a stir by sending rats (yes, rats) down the runway alongside its models. In 2016, Bella Hadid opened the Misha Collection runway, and Oscar de la Renta staged a show to close the week. In 2022, AFW made a much-needed step towards embracing inclusivity and diversity with the inaugural staging of adaptive and curve runways, following it up in 2023 with the first-ever standalone runway for a First Nations label.

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But in spite of all the progress (and memories) that have been made in the event’s near-three-decades-long history, recent years have seen an existential crisis of sorts bubble up beneath the glossy façade of AFW.

One major conundrum is that AFW can be almost too successful in launching local designers. Over the past 30 years, the event has boosted Zimmermann, Dion Lee, Christopher Esber and more onto the world stage, with each of those designers subsequently having to step away from the Australian schedule to focus their efforts — and funds — on the greater opportunities that can arise from presenting on-schedule in the likes of Paris and New York.

Another is the issue of funding and sponsorship for AFW itself. Mercedez-Benz was the longest-running principle sponsor before they stepped down in 2019, with Afterpay taking on naming rights in 2020 before they terminated the partnership in early 2024. Pandora jumped aboard to fill the gap for the 2024 season, but the revolving door of sponsors can’t help but instil a sense of instability, particularly for those emerging designers who rely on organisers and sponsors waiving participation fees to make participation itself somewhat more accessible.

Then there’s the deepest of questions: what is the purpose of AFW today, and who is it for? That answer has been muddied for years, particularly the “who” — is it for the general public? For designers themselves? For influencers? For traditional media? — and it is one that must be central to the regrouping that will occur as the AFC takes the reins ahead of the 2025 season.

As the conversation continues and proposals are drawn up for a bright new future, BAZAAR Australia turned to eight Australian designers who have participated in AFW from its inception in 1996 right up until this year. We asked each of them the same question: what do you see as the future of Australian Fashion Week, and how would you propose it could change to better support and platform local designers while staying relevant to consumers?

Below, Akira Isogawa, Nicky Zimmermann, Bianca Spender, Jordan Gogos, Denni Francisco, Katie-Louise and Lilian Nicol-Ford, Liandra Gaykamangu, and Camilla Franks share their vision for the future of Australian Fashion Week.

Related: The future of Australian Fashion Week is in doubt after IMG exits


Akira Isogawa, of Akira

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Akira Isogawa was born in Kyoto, and moved to Sydney in 1986 to study fashion design at the Sydney Institute of Technology (now UTS). In 1996, he presented his namesake label at the inaugural Australian Fashion Week. Since then, he has gone on to showcase his collections at Paris Fashion Week and at esteemed institutions across the world, from Melbourne’s NGV to the V&A Museum in London. In recent years, his collaborations with up-and-coming designer Jordan Gogos have dazzled at Australian Fashion Week.

“When I began showcasing my collection, there was no Australian Fashion Week. However, participating in its inaugural year significantly helped me gain international exposure.

“As a new-generation designer in 1996, I benefited from the event organiser waiving production costs, including the costofmodels, to alleviate financial burdens. It is crucial to continue providing such platforms for young talents.

“Collaboration with the government and commercial sponsors is essential to maximise these opportunities. Smaller, more curated events could also be introduced to ensure rigorous talent selection. Moreover, hosting the event more than once a year would better align with international market demands, as buyers increasingly seek more frequent product drops.”

Nicky Zimmermann, of Zimmermann

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Sydneysider Nicky Zimmermann began her design journey creating garments in her parent’s garage to sell at the Paddington markets. In 1991, she and her sister Simone founded the Zimmermann label, starting with ready-to-wear before adding what would become a commercially-thriving swimwear line. Like Akira, Zimmermann was one of the labels to present at the first-ever Australian Fashion Week in ’96, and last presented at AFW in 2013. Since then, the brand has taken to global shores, presenting at the likes of New York and Paris Fashion Week with immense success.

“We were part of the first Australian Fashion Week in 1996, it was a great international launching pad for Zimmermann and other great Aussie designers.

“The challenges faced by the fashion industry today are entirely different from when we were starting out, and I don’t have a strong opinion on what is right for emerging designers here today. But all designers need a platform and opportunity to showcase their talent and to express their creativity — where that is and what that looks like depends on your objectives.

“I’d just hope that the same opportunities that we were given access to are available to future generations of local designers.”

Camilla Franks, of Camilla

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Camilla Franks founded her namesake label in 2004 in Bondi, and her designs have come to epitomise the vibrant yet laidback nature of colourful Australian resort style. Camilla first showed off-schedule during Australian Fashion Week in 2004 with a memorable, intentionally disruptive “fashion opera”. Each subsequent AFW showcase — the most recent of which occurred in 2018 as the closing runway — has been equally, spectacularly theatrical.

“We need to focus on innovation, amplification and sustainability. We should be shouting from the rooftops about the incredible local creative talent we have! Celebrating what’s unique… showcasing diversity and new ideas. Fashion is wearable art — and art needs a platform. But it needs to be a platform that’s accessible to everyone, in order to show the world all the creative potential that Australia holds.

“Nurturing emerging artists and designers, and fostering innovation within the industry is so important. We can do that through mentorship programs, funding opportunities, and exhibition platforms like AFW. These platforms empower aspiring creatives to unlock their full potential, share their art and their stories. And that not only benefits individual designers, but also contributes to the growth and sustainability of our fashion industry as a whole.”


Liandra Gaykamangu, of Liandra

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Liandra Gaykamanguis a Yolŋu woman from North-East Arnhem Land and former high school teacher who founded her namesake swim and resort wear label in 2018. She showcased her creations as part of Indigenous Fashion Projects and Next Gen runways at Australian Fashion Week before debuting her own solo runway at the event in 2024.

“I think right now it is quite unclear what the immediate future for Australian Fashion Week (AFW) is looking like. I have been so grateful to the IMG team, who have been so supportive and generous to me. Holding my hand and investing in my network, not just here in Australia but also when I attended New York Fashion Week for Research and Development.

“Looking to the future, a decision needs to be made on who AFW is for — is it trying to attract ready-to-buy consumers or wholesale (domestic and international) buyers and media? I personally like that it has a history of bringing in international media and buyers and is recognised as a platform to engage internationally.

“I also think we need to celebrate the richness of Australian fashion, spanning decades, and make it a lucrative enough opportunity for our established and internationally celebrated designers — the likes of Christopher Esber, Zimmermann and Camilla — to come home and help bolster interest with AFW. However, AFW balances that with also being a platform for emerging brands to learn and grow from Australia. Fashion is an expensive road and it takes time to build the depth to tap into international markets, so AFW is a much needed stepping stone for the smaller brands too!”

Katie-Louise and Lilian Nicol-Ford, of Nicol & Ford

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Nicol & Ford is a demi-couture label founded in the creative hub of Newtown, Sydney, by partners in love and business, Lilian and Katie-Louise Nicol-Ford. They first launched in 2013 under the name Gold-Hatted Lovers, focusing on commercial designs, before they relaunched under their shared surnames in 2017 with a focus on narrative-driven garments steeped in queer history. In 2022, they debuted at Australian Fashion Week, and have gone on to present some of the most memorable and moving presentations in recent history at the event since.

“IMG has been incredibly supportiveofdesigners such as ourselves. Our involvement in the event as foundersof was a direct resultofthe subsidisationofdesigner fees and wideningofpreviously restrictive categories, and so gave us the much-needed platform to perform and enact our ideas to national audiences.

“We also see changes to Australian Fashion Week as an opportunity to reframe the country’s fashion industry as a creative art form and significant cultural export. We would love to see Australian Fashion Week evolve to an annual multi-site, city-wide event, supporting designers to embrace Australia’s manufacturing capabilities and cultural history while using Sydney’s spectacular location as a backdrop for a broad rangeofpresentations and ideas. This approach, mimicking the formatsof Paris, New York, Milan, London, Copenhagen, and Seoul fashion weeks, to name a few, would require substantial state and federal funding to support designers to make these kindsofgrand gestures that are necessary to open pathways for young talent to build a vibrant local industry and have a meaningful global footprint.”

Bianca Spender, of Bianca Spender

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Bianca Spender is the daughter of Australian fashion matriarch, the late and great Carla Zampatti. Having grown up contributing to her mother’s label from a young age and learning the art of pattern-making and design in Italy and Paris, she launched her own namesake label in 2009. In 2022, she had the honour of opening Australian Fashion Week with her SS23 collection.

“I see the future of Australian Fashion Week as a true representation of the incredible creative talent that we have in this country. A unique design proposition characterises Australian design and that should be celebrated and shown on both a local and a global stage.

“Australian design always shines in a Resort context, particularly when fashion is surrounded by the backdrop of the beauty of our natural landscape.

“I believe Australian design would benefit from having more readily available re-see spaces to present collections in a more intimate way to media and buyers following on from runway shows. For many creatives in our country, storytelling is an integral part of design and having the opportunity to share this and build relationships further enhances potential opportunities.”

Jordan Gogos, of Iordanes Spyridon Gogos

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Jordan Gogos was an industrial designer and alum of the Parsons School of Design in New York before he burst onto Australian Fashion Week with his debut runway under his Iordanes Spyridon Gogos label in 2019. Infusing his eclectic wearable art designs with his queer identity and Greek-Australian heritage, his subsequent AFW runways have been of epic proportions, featuring exuberant and unconventional characters and dozens of collaborations with established and emerging designers and artists from across Australia.

“[I’m] not trying to step around it, although I think it’s important fashion is treated as a complex thing, that requires constant dialogue and critical thought. If fashion presentations, runways et cetera are not reflecting thefuturethen it’s best they wait. I’m excited to keep asking myself this question and discussing it with others in the coming months.

“There’s something refreshing about jumpingoff the ferris wheel for a moment with the whole industry and having a think how to move forward… for a lotof people involved in the event, the coming weeks will be the first time for many where they’ve had to contribute to workshopping itsfuture.”

Denni Francisco, of Ngali

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Fashion entrepreneur and Wiradjuri woman Denni Francisco made history in 2023 when she became the first Indigenous designer in the history of Australian Fashion Week to hold a standalone show. Having worked in design and directorship roles for fashion labels in Australia and the US for over 25 years, she founded her label Ngali in 2018 to bring the artwork of Aboriginal and Torres Strait Islander peoples to the world through clothing, and has gone on to win designer of the year at the National Indigenous Fashion Awards twice as well as the Australian Fashion Laureate‘s Indigenous Designer of the Year.

“Given Australian fashion is a 1.7-billion-dollar contribution to our economy, it has a brightfuture. What contributes to that brightfutureis the incredible creativity that exists in the industry — creativityofthe whole fashion ecosystem.

“Australian Fashion Week represents us on the world stage, so it is hugely important. Change is not always easy, but great things can happen as a result. I hope we can reinventAFWby firstly identifying all the great things it has achieved so the new iteration has a good starting point to leverage from — not change for change’s sake. I think this is a respectful way to acknowledge the Australian IMG team who have worked hard over the years to deliver it. The change also provides a wide open space for creativity [to] shine.”

Eight Australian designers on the future of Australian Fashion Week (2024)
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