Yana’s Fashion Week Diary
I think I’ve gotten changed in my car more in the past week than I have in my entire life. Attending both New Zealand Fashion Week Kahuria and Te Wiki Āhua O Aotearoa was an honour and a challenge. I definitely made some mistakes along the way (sacrificing my sanity for a pair of cute heels to complete my outfit being the biggest one), but I also learnt a lot.
I learnt that despite the financial strain on the industry, the people holding it up are as passionate and determined as ever. Every conversation I had filled me with hope and every show I attended left me excited about the future of Aotearoa fashion. This past week has been a celebration and a reminder to support local talent, whether established or emerging.
Read on for where I went, what caught my eye and what struck a nerve.
FRIDAY
Te Wiki Āhua o Aotearoa: Mana Wāhine
My fashion week programme began the Friday before with the non-official—but equally, if not more important—Te Wiki Āhua o Aotearoa. This was their third instalment, and the first time I was lucky enough to be in Tāmaki Makaurau while it was on. On the night, a large crowd of fashion enthusiasts gathered on the corner of Pitt Street and Karangahape Road at Room Ā (previously the AS Colour store) for a brief performance and introduction before being escorted—walking-school-bus style—to the former Congregational Church of Jesus on East Street.
As the show began, the crowd went completely silent, including a baby with cute noise-cancelling headphones on. Even she knew better than to interrupt such a special event. The space was lit by a single spotlight as the models slowly walked across the wooden floors to the sound of a live violin. Charli Nikora presented her crochet pieces in shades of maroon, violet, and juicy green. I was partial to the Whatu Skirt, styled with the red off-the-shoulder Kākahu Tailored Jacket I remembered seeing on the designer’s Instagram. The movement of the feathered hem was mesmerising.
Nikora’s garments were paired with jewellery by Mike De Wet. A stand-out piece was the pair of earrings worn with the final look—two kauri snail shells, tiny readymade artworks. Mike came across the shells in Te Tai Tokerau Northland while walking the Te Araroa trail last summer. After discussing with Charli the purpose of the show in the lead-up to Te Wiki Āhua o Aotearoa, they both decided that the shells had to make an appearance. Mike carefully repaired the cracks with kauri gum and gold to uphold the precious nature of the material. Unfortunately I don’t have a good photo of them, but they can be viewed and purchased by appointment at Room Ā, alongside other designers’ work until the 10th of September.
Mana Wahine show photographed by Felix Jackson
Mana Wahine show photographed by Felix Jackson
SATURDAY
Te Wiki Āhua o Aotearoa: Material Girl
The next day, I strutted down Karangahape Road once more, this time for the Material Girl show by Sleeping Profit, featuring jewellery by Babyhead. Rayham Park was buzzing with energy, something in between nervous excitement and overwhelming joy. The models walked in a five-pointed star–shaped path, the playful movement of mini skirts adding to the choreography.
As I imagined, there was a whole lot of ruching, pleats, ’80s satin (or perhaps shot silk), some lace, and the occasional velvet piece. The hyper-femme silhouettes appeared from behind the curtain to the sound of hard techno—the perfect match, in my opinion. Word has it that the Magdalen dress from the final look is now available for preorder!
Material Girl show photographed by Jono
Material Girl show photographed by Felix Jackson
SUNDAY
Te Wiki Āhua o Aotearoa: Rite
On Sunday, Room Ā filled up once more. Finn Mora-Hill of Fringes Garments (whose designs are now stocked by The Shelter—woop woop!) and Chloe Giles of Anthurium thought well outside the box, foregoing a traditional runway (which seems to be a popular choice this August) in favour of a live sculptural exhibition. As the crowd took their seats, three models walked onto the stage. Enveloped in black fabric with just a few stitches, they moved together as one ominous blob.
Finn, Chloe, and makeup artist Jessica Macrae joined the models and got to work. Using shears and pins, Finn created three unique looks, which Chloe adorned in real time with accessories made from a roll of chain, while Jessica added the finishing touches to the makeup.
The score deserves its own round of applause. Jamie Nash created the perfect atmosphere with the help of a few synths. It was a lengthy performance, yet I felt I could have sat there for hours listening to the slowly growing hum and drum kick.
It was a spectacle, to say the least.
TUESDAY
NZFW Juliette Hogan
At six in the evening, I rolled up to Shed Ten for my first-ever NZFW show. In the past, I’ve volunteered behind the scenes, but attending as a media delegate felt different. As Chloe Hill explained in her recent interview, the amount of time, effort, and—of course—money that goes into putting on a show means that being invited is an honour that comes with a price. I felt a huge sense of responsibility, wondering how my attendance might be valuable to these local designers. I couldn’t shake the thought that my fashion commentary would fall flat compared to what the legacy media giants around me would have to say. These worries, however, subsided as soon as the show began.
The attendees sat to one side of the runway, with a plain curtain serving as a clean slate for the clothes to stand out against. The vibe was light and airy; the models floated past in chiffon dresses and a range of floral prints. Several pieces in a muted orange knit fabric caught my eye—surprisingly slouchy yet grown-up. After the show, everyone I spoke to mentioned the simple but well-constructed evening dresses that fit the models perfectly, especially the final bubble-esque look in black silk. As the models disappeared after the finale, the curtain pulled back to reveal a row of champagne glasses—is this the glamour I’ve heard so much about?
The final look. Photo by Radlab.
Te Wiki Āhua o Aotearoa: Kaitiaki
After the Juliette Hogan show, I rushed to my car for a quick outfit change before heading to the Kaitiaki show by Junescry. I’d seen photos of Hine Mona’s intricate knitted pieces, so I knew this was one I couldn’t miss.
The runway stretched longer than at other Āhua shows, giving the models space to confidently strut in all sorts of sensual ensembles. The looks opened in beige tones with fur and feather trims (hello, high-low hem!). There were woven bodices and several wet-look pieces, such as the Toxin Corset. I admired the wide range of experimental materials and techniques—one bodice was made from silicone and entirely covered in iridescent pieces of pāua shell. Hine told me it was inspired by the Taniwha in the Guardian Maia game, where the pāua represents taniwha and the silicone gives form and a wet, otherworldly sheen.
The show closed with more tactfully dishevelled knitwear in dark tones, paired with moody black eyeshadow that perfectly complemented the looks.
On their Instagram, the designer described this collection as “garments that weave Māori myth with a reimagined dystopian future.” If you’d like to experience this meld of tradition and forward-thinking practice, Junescry is presenting another show in collaboration with Tango Vintage this Thursday at 8 p.m.
WEDNESDAY
NZFW Claudia Li
On Wednesday morning, a large crowd in bold coats and statement dresses gathered at Shed Ten. After nearly a decade of showing at New York Fashion Week and a three-year hiatus, the anticipation for Claudia Li’s New Zealand Fashion Week debut was palpable. I’ve been a huge fan of Claudia’s work for years, so the adrenaline rushing through my limbs pre-show made it especially difficult to sit still.
Her collection, A Different Place and Time, amplified Li’s signature sculptural silhouettes—voluminous sleeves now featured ruching, oversized bows appeared alongside delicate ones scattered across dresses, and familiar shapes were reimagined in bold fabrics. Understandably, the red sequins stole the show, but I was particularly drawn to the fuzzy, heavily textured fabric that appeared across jackets, coats, and a white dress. That one velvet look, sadly undocumented in my camera roll, is living rent-free in my head.
The styling was exceptional, with layered shoelaces as a standout touch. I left feeling inspired, not only by the beauty of the designs but also by the aroha that filled the room.
The red sequins that I’m sure you have seen everywhere. Photo by Radlab.
The textured fabric that caught my eye. Photo by Radlab.
NZFW Adrion Atelier
After a short break in the media room—which I spent frantically searching for a phone charger and attempting to post content from the previous show—I headed back in for Adrion Atelier’s debut. Adrian Williams knows how to do occasion wear. Before the show began, I had the privilege of taking a closer look at the garments backstage and, once again, noticed a myriad of eye-catching materials: sequins, beads, fur, and even peacock feathers.
The show felt like a true celebration. From where I was sitting, it looked like the models had a great time on the runway (special shout-out to Sisi for walking flawlessly in those armadillo boots!). At the end, Adrian walked across the podium himself, soaking in all the well-deserved praise.
NZFW From Fast to Regenerative: Redefining Fashion in Aotearoa in an Age of Speed
The next stop—which I had been looking forward to—was the panel presented by Mindful Fashion NZ: “From Fast to Regenerative: Redefining Fashion in Aotearoa in an Age of Speed.” Peri Drysdale, founder and CEO of Untouched World; Emily Miller-Sharma, GM of RUBY and co-founder of Mindful Fashion NZ; and Rory William Docherty, a fashion designer and owner of his eponymous label, spoke on the challenges and opportunities of sustainable fashion practices with Michele Wilson. It was an intimate and heartwarming panel. While I can’t recall their words verbatim, here are the key takeaways:
I came away reminded that small steps really do matter, but if we want lasting impact, we also need to hold major corporations accountable and push for legislation that forces them to operate sustainably. The panelists encouraged guests to email the Minister for the Environment and advocate for positive change in the fashion industry.
Simply think before you buy. It’s painfully obvious, yet it bears repeating. Buy natural fabrics, buy pieces that will last, buy locally made or locally designed items and—most importantly—consider whether you truly need them in the first place. I can’t recall the exact wording, but Rory William Docherty said something along the lines of: “When you buy a garment, you’re not just buying clothes, you’re investing in your image, so really think about what kind of image you want to curate.”
Bumped into Rosa-Lee O’Reilly who got a very important reminder tattooed on her hand.
Te Wiki Āhua o Aotearoa: Lucky
Full of hope about the future of sustainable fashion in Aotearoa, I rushed over to Lucky, a show by Mima Made It. This was especially fitting, as Mima’s debut collection was created entirely by reimagining second-hand garments.
A huge blue-and-white bow, likely crafted from fabric scraps, hung against a white wall as a backdrop. The show opened with a fairy-like dance performance, setting a mood of ease and whimsy. The models followed suit, walking around the room with amazed expressions.
Because of the nature of the found materials Mima works with, the designs were quite varied, but that didn’t compromise the collection’s cohesion. Shirting appeared repeatedly in unexpected ways, and horizontal stripes and plaid were also prominent. Most of the models wore striking blue eyeshadow looks that Petra Bagust described as a cross between clouds and butterfly wings. As the models walked for the finale, the room erupted in applause.
Petra serving looks post-show
Te Wiki Āhua o Aotearoa: On Behalf Of
Directly after Lucky, I walked over to Rayham Park for the next Āhua show. It brought together the work of four Ōtepoti-based designers: Flax Hubzzy, Existence, WideSkyMine, and Lior Blaq. I was blown away by the production. The models walked across a thin layer of water, at times turning the front row into a splash zone. If you were sitting in just the right spot, you could see a reflection of every look. Four collections—mostly in tones of grey, black, and white—were presented that night. I was particularly drawn to the leather pieces by WideSkyMine.
FRIDAY
Te Wiki Āhua o Aotearoa: Angel of Time
Hearing a song by Nettspend playing at the Pitt Street Methodist Church was not on my bingo card—but that’s exactly what happened. We were ushered to our seats to a tasteful mix of cloud rap and such, before realising the models wearing Vessels of Decay and jewellery by Platform were lined up on the mezzanine floor behind us. The underlighting, combined with the lancet window behind them, created a sacred ambiance. The models walked down one by one toward the altar.
I spotted several corsets and sheer skirts that flowed behind the wearer. The two-tone satin from Material Girl made a comeback, this time in a dark bronze shade. Sequins were present as well, but much larger than before, creating a fish-scale effect on the dress. There was a bridal look complete with a veil. The makeup and hair were outstanding—a bleached-brow look paired with smokey black eyeshadow and wet-look hair that made perfect sense in the context of the collection.
SATURDAY
NZFW The Keep Fashion Parade
In between writing this article and editing Instagram reels, I popped over to Goblin Bar for The Keep’s fashion parade. I went to the 5pm show, and the queue looked quite different to the Shed Ten crowd—the vibe was calm, cool, and collected. Inside, we were handed a glass (or should I say chalice) of wine and somehow managed to squeeze into a seat—it was packed.
Tucked away in the corner stood a thereminist, whose name I unfortunately didn’t catch, but the sonic landscape he crafted was as magical as the rest of the show. Models drifted slowly through the crowd, locking eyes with guests as they passed. Garments by Wilbur Hsu, Lela Jacobs and Julianna Jung of Outerlines were heavily accessorised with jewellery from Grace Norsworthy of Orswo, Shannen Young, and Annabella Schnabel.
At times the looks felt wizardly, at other moments witchy. Shiny adornments in hair, ears and on fingers caught the light and glistened against the garments. The casting was perfect; the styling (by Tom So) was even better. Might have to make myself a pair of duct tape shoes now… iykyk.
Words by Yana Kulishenko
