Australian Fashion Week is at a turning point, it seems. In 2024, IMG, the longtime sponsor of the event, pulled out of the Sydney fashion market entirely, leaving the future of the country’s independent and emerging designers in a bit of a lurch. After much uncertainty about the future of Australian fashion, the week returned in 2025 with official backing from the NSW Government, thanks to the efforts of the Australian Fashion Council. Now, on the week’s 30th anniversary, the resort 2027 collections have settled into a new routine, finding a new home and a slightly newer look.

Many of this season’s shows were anchored in and around the city’s Museum of Contemporary Art, which boasts a newly minted runway space on the ground floor (Think: Spring Studios without the terrible elevator wait). Its central location elicited plenty of remarks from industry attendees who were excited that, during my first time in Sydney, no one had to trek out to the former show space at Carriageworks. With such uncertainty in recent years, operations, I surmised, had a smoother flow this year.

Another common remark during the week was regarding an overall aesthetic shift in the collections. Gone are the days when Australia’s resort collections felt like “true” resort (silky caftans, swimwear, the beachy works). Established designers were overwhelmingly polished and minimalist—often explained to me in context as the “Totemes/The Rows/Khaites of Sydney.” Established Australian talent is itching to jump the geographic divide and reach a more global consumer base, and tapping into fashion’s most popular aesthetic is an understandable strategy. Meanwhile, the past two years have seen a growing platform for emerging talent.

This year’s schedule hosted three group shows: The Frontier, FDS Tafe NSW (The Innovators), and the New Generation Showcase. Compared to their solo-showing counterparts, there was a more significant focus on texture and print. Many were reminiscent of what New Yorkers might recognize as the “Ssense aesthetic”: an eccentric but edgy downtown style that bubbled up a few years back, shaped by brands like Vaquera, Ottolinger, and Knwls.

The most unifying trend on the runway actually came from a noticeable pattern in the casting. Almost every runway (established and emerging) had a refreshing dash of mature casting. Australia’s own Muse model Rachel Waller was a season regular, walking a total of six shows. “Whilst I was the oldest model walking at 67, we saw a great variety of age representation on the runway this year, both from our supermodels of the 90s who made a return to the runway to many shows that cast models in their 50s and above,” she told Vogue. “It was wonderful to see!” Other frequent fliers included Kate Bell, 57, who walked the most shows she’s ever done during Australian Fashion Week at seven runways. Seasoned Australian favorites also made their returns, such as Shanina Shaik and Gemma Ward, the latter of whom opened for Maticevski’s first runway in a decade.

Check out the next gen of Australia’s independent designers, below.

The Frontier

This Australian Fashion Week, The Frontier returned for its second on-schedule group showing. Past participants included Courtney Zheng, who also made her solo debut during the week. In comparison to last year’s show, which mixed in designs from established brands, this season’s line-up presented six emerging brands: Haluminous (by Hannah Teresa), Ouse (by Samantha Diorio), Paris Jade Burrows, madre natura (by Jackie Galleghan), Rose Guiffre and Suzaan Stander. A particular highlight was UTS graduate Rose Guiffre’s use of 3D-printing, her designs’ rubbery pegs vibrating under the stage lights gave a strangely alien-like effect.

Nicol & Ford

For resort 2027, designers Lilian and Katie-Louise Nicol-Ford drew inspiration from the painter Adrian Feint, whom they channelled in the opening looks’ delicate hand-painted florals, and the wacky glamour of the 1958 film Auntie Mame. Though with such motifs they sought to dispel last season’s moodier undertones, the pair’s signature funk still shone through. “The world’s hot enough at the moment, and maybe the last two collections have both been quite serious,” the pair said after the show. “This was an opportunity.” Amid this season’s drapery and sculptural forms was an eye-catching silicone halter top made in collaboration with Melbourne-based prosthetic artist Julian Dimase. The result was a slithering interlude to the rest of the collection’s perverse old school elegance.

Courtney Zheng

Amid all the firsts at Australian Fashion Week this season, Courtney Zheng debuted her solo runway show inside the new Museum of Contemporary Art show space. The collection felt distinctly edgier than some of the week’s minimalist counterparts—highlighting lace-up frocks and plenty of naked dressing—and the Frontier alumna’s show was pleasantly polished.

FDS Tafe NSW - The Innovators

This year’s Tafe show presented the work of four young designers: Luke Rutherford-Durney of Luke Rubén, Oliver Parry, Tate Boswarva or Attè, and Zoe Markopoulos of Marko. (Alumni of the incubator include Dion Lee, Zimmermann, and Christopher Esber—all names who have gone on to achieve global reach.) Marko’s use of copper in both a bag and dresses complemented her strongest looks, like a studded leather co-ord set and a fringed leather dress, while providing balance to her oversized jackets and draped pants. Elsewhere, Attè’s use of negative space demonstrated fresh precision.