Camp-y. Jordan Dalah Resort 2023

During the Australian Fashion Weeks, I always look forward to Jordan Dalah’s collections. His resort 2023 show was ‘camp’ – not in the Susan Sontag way, but in the literal way. Guests arrived to find comfortable camping chairs instead of the expected benches, while the modern ensembles saw Dalah embrace colour and the beauty of the outdoors. The transparent dress with pegs inside the hems saw an unconventional take on classic Australian backyard imagery, and was a highlight for many. Dalah possesses the distinct ability to combine Australian optimism, raw materials and fearless innovation with European craftsmanship and distinct elevated aesthetic – a skill which can be attributed to his time at Central Saint Martins. The collection saw Dalah expand on his existing vocabulary of voluminous silhouettes, signature hemlines and avant garde expressionism by returning to his Australian roots with designs that are fit for prêt-à-porter release. The collection’s “statement” look came in the form of two ultra-wide, flowing maxi dresses with lengthy trains.  It’s delivering nothing short of high-fashion meets grand couturier meets avant garde editorial realness.

Collage by Edward Kanarecki.

NET-A-PORTER Limited

Scale Up. Jordan Dalah SS22

Jordan Dalah is one of Australia’s most intriguing, emerging fashion talents. When you see Dalah’s cocooning garments that extend and distort the potential of the human silhouette, there’s really no wonder why he opened this season’s Australia Fashion Week in Sydney – his works are stunning. The designer has been toying with gigantic, exaggerated shapes and cloudy silhouettes for quite some time now, and his padding and puffing couldn’t feel more right for now, least of all because his clothes are the kind that make you want to drift into a daytime nap just wearing them. But Jordan’s Elizabethan volumes as well carry a strong sense of theatre and performance. As Dalah explained to the press, for spring-summer 2022 season he spent the months leading up to his runway debut “finding the strongest silhouettes I could make – and then really knocking them out.” His fluted shapes and high, gathered shoulders are positively supersized, cloaking models in quirky stripes, graphic patterns, and soft rose-colored silks. That’s where the surprise element comes in: underneath some of Dalah’s more dramatic shapes are removable tubular bustles that look something like a pool floatie. When the dresses are deflated, so to speak, they lose their gargantuan proportions and reveal expertly done sensual bias draping. Other pieces are cut slim from the start, like a ’40s-ish black button-up midi-dress and an evocative light blue mini with a pierrot collar and bell cuffs. A leather jacket with signature exaggerated sleeves has more mass appeal – ditto the puffed sandals made in collaboration with Actually Existing and the puffed robes made with Common Hours. Dalah has proven he has the mettle to think big and practically.

Collage by Edward Kanarecki.

Like a Bird. Lee Mathews Resort 2021

If you still don’t know Lee Mathews, the Sydney-based designer making some of the most summer-perfect clothes out there, here’s a catch-up on her gorgeous resort 2021 collection. Birdwatching has become the unofficial hobby of lockdown era. Thanks to reduced air traffic, the trees outside of Mathews’s studio have become wildly populated with birds. There are no literal avians in her spring collection though – instead, the creative director followed their path to a sense of freedom, joy, and movement. Mathews’s structured dresses have even fuller skirts and poufier sleeves as a result. Pants have added legroom, too, from a jodhpur-like cargo pant to silky, wide-leg options. The danceability of these clothes was put to the test in a performance choreographed by Eliza Cooper and filmed by Martyn Thompson. Thompson, a photographer based in New York, is a longtime friend of Mathews’s. “The experience reconnected me with people I’ve known for a long time,” said Mathews of isolating in Sydney, “and something new is coming from it.” That willingness to collaborate and try something new is the best possible outcome of a world isolated and apart. “Having to collaborate outside your usual sphere to make things that resonate more is what will propel fashion forward,” Mathews told Vogue over a Zoom call. Brands much larger than hers should take note.

Collage by Edward Kanarecki.

Coo-ee Couture. Romance Was Born SS15

512x768-ROMANCE-WAS-BORN301

A bit Meadham Kirchhoff, a bit Schiaparelli – the Aussie brand, Romance Was Born took us to a wonder-land of diversity and nature. But in their signature, splendour style. That’s why their collection for summer is called “Coo-ee Couture”. Fearless design duo Anna Plunkett and Luke Sales didn’t disappoint. The eye-catchy collection is the result of Romance Was Born’s collaboration with artist, fashion designer and fellow free spirit Linda Jackson, who hand-painted each garment for the show. The intense jewel-toned dresses, mixed prints – including a striking beaded “Waratah “design – bold texture and glossy black plummage were accessorised by bright ceramic jewellery from the Australian label, Dinosaur Designs. If people in Australia are so easy-going with coo-coo fashion, then I love it!

Muse. Ellery Resort’15

20140617-073732 PM-70652480.jpg

The Sydney-based designer, Kym Ellery, does the most simple & sophisticated clothes at once. For her Resort 2015, she managed to make the clothes well fit for casual time and evening events! Ellery deployed her signature bell shapes with restraint, making a trumpet hem on cropped pants or fanning out the sleeves of a slinky boucle dress or cotton poplin shirt. Also, the spaghetti straps and V-cuts brought the collection a poetic attitude and mood. Ellery is for a long time one of my favourite Australian labels and I really enjoy it’s luxurious approach towards the modern evening-wear.

20140617-073752 PM-70672283.jpg

20140617-073752 PM-70672893.jpg