For the freaks who love a frill: Meet the emerging designer making cirque-inspired corsets
Photography – Mathew Stott
Styling – Renee Leah
Hair – Jamie Richardson
Makeup – Sara Rakhmetova
Words by Ariana Rigazzi
“Humorous, handmade and whimsical.”
Up-and-coming designer, Chelsea Farquhar, proved herself as one to watch at last month’s Melbourne Fashion Week (M/FW). A highlight of the Emerging Artists Collective runway, she showcased nautical and cirque-inspired corsetry alongside a tulle-twirled, wet-look gown. Safe to say, we were in awe.
Drawing on the exaggerated silhouettes of Victorian caricatures, her designs fuse structured femininity with a sense of humour and whimsy. “My audience are people who are a little bit freaky,” she tells me.
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Driven by intuition rather than medium, Chelsea’s work knows no bounds. Having graduated with honours in visual art, she has explored sculpture, video, screen printing and even stained glass in her multidisciplinary practice.
The Adelaide artist began her pivot into fashion design in 2020, after being left at home during Covid with a sewing machine. In an impressively short period, her lockdown hobby blossomed into an array of knitwear, headmasks and statement gloves. “I just love to make,” she says about her diverse skillset. “When I approach a new collection, there’s usually something new I want to learn or push myself to explore.”
Revelling in the structures of neglected historic clothing, she began working up to sewing 1830s sleeve puffs and Victorian bustles. Eventually, she turned to corsetry, now a pillar of her practice and the focal point of every piece she creates. Since launching her eponymous label in 2024, her designs have been snapped up for fashion editorials and she’s now turning her attention to the ready-to-wear market.
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Fashion Journal: Hi Chelsea! Can you tell us what your transition from contemporary art into fashion has been like?
Chelsea: The transition has been smooth, I still move in both industries. I recently completed a video commission work for the Adelaide Film Festival before making my pieces for Melbourne Fashion Week. I like existing in both worlds but all of my current short-term goals are around fashion. I’m figuring out what type of label I want to be and how commerce might be integrated into my creative practice.
How would you describe your work to someone who’s never seen it before?
My pieces are humorous, handmade and whimsical. Inspired by the playfulness of historic circus-wear, including harlequin diamonds, stripes, frills and ruffs. Ultimately, my audience is people who love to be in their body and know they can express that in their outfits.
You work across a range of materials and styles. What’s your process when approaching a new collection?
When I approach a new collection, there’s usually something new I want to learn or push myself to explore. For my most recent mini collection at at Emerging Artists Collective (EAC) for Melbourne Fashion Week, my goal was to exaggerate hips and breasts and see the different ways I could create looks with those features in focus, while still keeping it in line with my overall brand.
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Who are your biggest inspirations in the industry?
Currently, I’m thinking a lot about Jeremy Scott for Moschino and Simone Rocha for Jean Paul Gaultier. From this year, I’ve been loving DSquared Fall Winter 25/26 – I loved the feeling of all the characters, it was almost like costuming for a play.
What are you most proud of in your work to date?
I’m just proud that I keep putting myself and my work out there when it feels embarrassing. With every collection I see my work becoming more cohesive and refined, it makes me excited for the future.
What advice would you give to someone wanting to enter the industry?
It’s a tough industry that doesn’t always feel good to be a part of, so I think just remembering your own reasons for wanting to be there. For me, I just love to make. I love patterns, I love sewing and sculpting and doing photoshoots with my friends.
Whether the industry is looking or not, I’m still going to keep doing what I love. That ‘why’ keeps you grounded when you get rejections or lost in what other people want you to do.
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Who or what is exciting you in Australian fashion right now?
I feel really excited by people like Kat Stevens, who runs Emerging Artists Collective. She works so hard to platform independent designers. There are some really exciting things happening with independent designers and I love to see them given the chance to show that on a professional platform.
What about the Australian fashion industry needs to change?
I would love to see a fashion union support independent workers. This would allow these workers to know their rights and ensure fair work. A nationally-recognised organisation like NAVA [The National Association for the Visual Arts] would be well equipped to include fashion in their code of practice, alongside visual art.
Alternatively, I’d love to see a board of fashion industry professionals create a document outlining industry standards for all independent workers to use, including suggested fees, work standards and communication standards.
I would also love to see more financial support for designers, whether that’s through local councils and city grants, or even prizes through fashion magazines or organisations.
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Who is in your wardrobe right now?
My friend Macey is an Ebay queen, they always find the most obscure vintage or designer pieces. They recently bought me an Alexander McQueen Puma rugby jumper that I’ve been wearing all winter. Other than that, I mostly make all of the clothes I wear. I don’t really like wearing clothes, so I keep my wardrobe very simple and small.
Where can we see more of your work?
You can follow me on Instagram or check out my website.
Read more about Chelsea, here.
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