The future of Australian fashion is circular, the proof was at Australian Fashion Week
IN PARTNERSHIP WITH EBAY
PHOTOGRAPHY BY JASON HENLEY
WORDS BY MICHELLE BAÑARES
“When people DM me about something I designed years ago and say they’re looking for it now, I know I have done my job and it’s still relevant to people’s lives.”
“This is only in its infancy,” Fashion Journal’s Managing Editor Giulia Brugliera says to me. We’re both exhausted, with clothes slightly crumpled, red-rimmed eyes and that oily but dry skin that comes from a day of adrenalin-fuelled rampaging and not enough water.
I can feel my sweat (now dried) in the slight crunch of the fabric under my armpits and the stiffness of my hair. We both feel revolting, we agree, but from an outsider’s perspective, we’re probably nothing short of fabulous. I know this because everyone around us looks fabulous and no doubt feels the exact same way.
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It’s the tail end of Australian Fashion Week (AFW) for 2024, and we’re debriefing on the long, exhausting, brilliant week that was. There’s a lot to discuss.
We witnessed a total brand reset from one of the country’s biggest leisurewear labels at P.E Nation, were floored by the raw brilliance and originality at Nicol & Ford, marvelled at a groundswell of emerging talent at the Next Gen and The Innovators runways, and quite ran around Carriageworks – the home of AFW – to interview, network and debrief with friends and colleagues across the industry.
But no matter how many times we circle around, discussing in detail every influence, aesthetic and trend we’ve spotted at Carriageworks to date, we keep coming back to one theme: the unshakeable presence of pre-loved fashion. “We think it’s big now, but it’s only going to grow,” Giulia says. “Designers just need to work out how to embrace it.”
It’s been a hot talking point this week after a noteworthy number of designers sent archival fashion down the runway. Alix Higgins and Albus Lumen both repurposed pieces from past seasons, breathing new life into technically ‘old’ pieces through upcycling in design. Madre Natura made headlines after showcasing a past collection in its entirety, vowing not to release any new designs until its last season sells out. ANNA QUAN injected a series of pre-loved pieces onto the runway, integrating them to appear as new season styles. They were from the Sydney designer’s past collections, no longer on sale, except through those buyers savvy (and quick) enough to snap them up on eBay after the show.
Anna opted to work with the resale platform this year, joining what was quite a bold statement from the wider industry. “Do this, or fall behind” it seemed to say. All this integration of past-season fashion has sparked a lot of in-depth conversation since. The obvious starting point is that it’s great for the environment, but is it bad for business? There’s a much greater financial incentive to push consumers to buy new season products rather than old stock – particularly when that stock is sold through a third party.
But Anna Hoang, the designer behind the eponymous label, is much too shrewd to take that at face value. Like a growing collective of her peers, she understands that consumer engagement (in any form but particularly around archival products) breeds loyalty. “With this show, I wanted to communicate that you can create things that are timeless, beautiful and unique without being basic. Evergreen and signature silhouettes have always been part of my design philosophy.
“This year, instead of reimagining these in new fabrications, we took a more direct approach and picked directly from the archives. We’ve chosen to embrace circular fashion because, apart from the environmental implications, we’ve always been about serving our customers,” she tells me.
She wants her customers to love their ANNA QUAN pieces and once they’re ready to rotate their wardrobes, she wants them to be lovingly re-homed so these pieces can feel new again. “It’s such a compliment when people come up to me and tell me they wear something to death and have gotten a lot of use out of a garment. Or when people DM me about something I designed years ago and they’re looking for it now. I know, then, I have done my job and it’s still relevant to people’s lives,” she shares.
It goes without saying that now’s a great time to list any ANNA QUAN pieces in your wardrobe. The buzz is real, with industry and consumers wanting to dive deeper into Anna’s back catalogue.
Fashion writer Maggie Zhou has already started browsing eBay for her own ANNA QUAN piece. A long-time advocate for a slower, circular fashion industry, she views AFW and eBay’s initiatives as important steps forward for Australian fashion. “Rather than shirk away from the changing way we purchase clothes, I think it’s admirable that institutions like Australian Fashion Week are adapting. We have so many garments already in circulation, why not make the most of them?”
Aside from ANNA QUAN’s show, pre-loved fashion had a presence on the Liandra runway, also supported by eBay. Each look was paired with pre-loved accessories and shoes, a nod to the way many of us are dressing now; a thoughtful mixture of high and low, new and pre-loved.
Liandra’s Designer and Founder Liandra Gaykamangu found that working with eBay on selecting these pieces was a highlight of AFW, and something that took her label’s runway to the next level.