Heading into my second Australian Fashion Week after working as a stylist for two decades, I had learned to expect the unexpected. There was the time hundreds of live rats were sent down the debut Ksubi show in 2001, the international faces alongside little-known models who would go on to be known globally, and runways staged in iconic locations including a drained Icebergs pool. What I was not prepared for was the number of DMs I would receive about the rain-soaked Carla Zampatti runway, or whether the Tamarama local who unknowingly strolled the Commas oceanside runway ahead of his morning dip was a paid actor or not.
Relocation to the MCA
After 13 years of being staged at Carriageworks, the Australian Fashion Council made the strategic decision to relocate to the Museum of Contemporary Art Australia — and what a move this was. This year we saw runways at idyllic beaches and models walking against iconic backdrops of the Sydney Harbour Bridge and Opera House. While Aussie sunshine was never a given, one thing was certain: Australian Fashion Week 2026 delivered — and Perth had a lot to do with it.
Day 1: Carla Zampatti at Park Hyatt Boardwalk
The West Australian takeover was apparent from the moment I strolled down the boardwalk and bumped into a friendly face — Emma Leung, owner of Perth organic matcha brand Maison Maizen, the official backstage drink sponsor of this show. Her husband Ken, a former West Australian Newspaper graphic designer and Curtin University graduate, was the creative director of tonight's show. Dream team. He was no stranger to the fast-paced fashion world, having worked as the global creative director for Uniqlo, LVMH, DKNY and Phillip Lim, and organising NYC parades for Donna Karan. His vision to stage the show at the Park Hyatt Boardwalk reflected his modus operandi: bringing the show to the streets. The juxtaposition of high fashion against the streetscape, with the Sydney Opera House as the backdrop — not to mention the rain — was nothing short of striking.
Unfolding beneath the twinkling harbour lights, the Reflections collection show was elegant and polished with a touch of edginess. I loved seeing the devore silks and velvets, feathers and beading paired with leather gloves. High necks emerged as a trend across day one — from Toni Maticevski to Beare Park — and on the Carla Zampatti runway. As the weather turned mid-show, the crowd smiled quietly in solidarity as branded umbrellas opened with applause. Had it been less cinematic, it might have felt like a production nightmare, yet somehow the rain made perfect sense: an autumn/winter collection experienced within the very elements it was designed for.
Backstage was leading hair stylist Pauline McCabe and her son Naoise with their team, who flew over from Perth. It was the second year McCabe had been creative director for the Carla Zampatti show, and 20 years since her first runway. For the past two decades, you would find Perth's Carol Mackie backstage. This year, though, she was on the road as Guy Sebastian's make-up artist for his national tour. As photographer Franz Bato and I popped backstage to capture some Maison Maizen moments, we were told they had a model free to pose with the drink. It was the opening and closing model for the show, who also happened to be a supermodel and Victoria's Secret veteran — Shanina Shaik. I was a little speechless.
Spotted Day 1
Perth exports and expats were out in force on day one: Sir designers Nikki Campbell and Sophie Coote were spotted at Beare Park. Gemma Ward opened for Maticevski, while model Rebecca Jobson delivered a masterclass in street-style dressing. Bunbury's own Natalie Barr and Vogue Living's Bec Caratti were spotted front row at the Carla Zampatti show.
Day 2: Hansen & Gretel at Foundation Hall
If White Lotus were to film its next season on the shores of Australia, its costume designer would not have to look any further than this runway — it was Australiana-chic at its best. Set against the marble columns reminiscent of seafoam and with shells and fossils frozen into ice sculptures, Hansen & Gretel's Tide collection was a love letter to Australian beach culture. It drew heavily from its creative director Ainsley Hansen's coastal upbringing, with a nod to 90s surf culture and a whimsical, mermaid-esque thread woven beautifully throughout. The show was well edited and took the audience on a journey with tie-dyed fabrics symbolic of sunsets, beaded skirts reflecting light like sun hitting the sand, and sun-kissed make-up paired with shells sewn through beach-sprayed hair.
Slogan tees continued their comeback across collections this week, alongside micro board shorts and printed slip gowns pared back effortlessly with thongs. Feathers were unexpectedly styled back with bathers, creating looks that felt playful yet polished. You could pack this entire collection into a suitcase headed for a balmy tropical holiday and be completely covered. After the show, I chatted with Brooke Finning from Scarborough boutique Harry & Gretel, in Sydney to place an order for Hansen & Gretel pieces arriving in November. It was encouraging to see buyers heading east — a sign of the renewed trade focus that has been central to this year's week. So far, this show was my highlight.
Day 3: Karla Spetic at Saint Barnabas Chapel
Within the light-filled architecture of this chapel, models wearing Karla Spetic's resort collection Compose walked to music from a live pianist filling the space. The label is known for its unique silhouettes, and the show did not disappoint. Many of the garments were transformed through subtle styling gestures: blazers became vests, jacket sleeves detached and corsetry appeared throughout — used both as structure and as a styling detail, layered over lace with bow detailing creating a feminine touch to a masculine range. The colour palette was intentionally pared back with tones of ivory, off-white, nude, soft greys and black, allowing the focus to fall on texture, then colour. While at times the collection felt slightly repetitive, overall it was very wearable. We will see these pieces making a statement off the runway soon.
Day 4: Christian Kimber at MCA
Justice Maximus, the son of fashion designer Pip Edwards, made his debut on this runway — and I do not think it will be the last that we see of him. He is definitely one to watch. Opening day four was the sole menswear label showing this week. It was founded in Melbourne in 2014 by British-born designer Christian Kimber and launched with handcrafted shoes and accessories for men. Now, it has evolved into a refined menswear label, known for blending relaxed Australian ease with European tailoring and craftsmanship. Crafted by artisans in small, family-run manufacturers in Italy and Portugal, the quality was evident on the runway. When it came to the styling, I could not help but feel it was channelling the 1985 film Out Of Africa, which romanticised 1910s and 1920s British safari wear — functional yet elegant. Kimber's designs were elegant, well crafted and in cool tones of khakis, whites and French Riviera blue — very fitting for a resort collection.
L'idee Woman at Hickson Road Pier
L'idee Woman sure knows how to throw a party. With Edwards creatively directing the star-studded event, Sydney's fashion set turned out in force to support Perth expat and L'idee co-founder Breeana Smith on one of the final nights of the week. The guest list read like a who's who of Australian fashion and entertainment, from former Wiggle Emma Watkins to Jackie O Henderson, Channing Tatum's girlfriend and international model Inka Williams, and Jobson, who is now living bicoastal between WA and NSW. International supermodel Taylor Hill was flown in to open the runway, walking alongside Shaik. Perth's Gemma Ward closed the show while Perth-raised beauty Jessica Gomes looked sensational in a body-hugging velvet dress, Kimberley-born Billie-Jean Hamlet dazzled in a sequin number, and WA model on the rise Nabila Leunig showed why she is one to watch in a sheer black look.
The event was produced by Perth-raised Jacqui Brown, who now calls Sydney home. Brown went above and beyond in creating a theatrical runway experience, collaborating with Perth creative Monica Morales, who styled the show. As soon as Ward exited the runway, impeccably dressed waitstaff stormed the catwalk carrying silver trays lined with Don Julio 1942 tequila shots, instantly transforming the venue into a Studio 54-inspired afterparty. Guests were treated to cocktails, food and music DJed by models Montana Cox and Cate Underwood. VIP guests danced, drank and celebrated like it was the final night of Fashion Week, despite runways continuing the following day. Even AFC fashion director Kellie Hush was spotted letting her hair down on the dance floor. More than a runway, it was a reminder that brands no longer just sell collections — they sell a lifestyle and a sense of belonging. The show gave guests a clear picture of who the L'idee woman is: stylish, slightly edgy, glamorous and someone who knows how to have a good time.
Q&A with L'idee Woman co-founder Breeana Smith
When did you launch L'idee, and what was the original vision for the brand? We launched in 2019. The vision was always to explore the art of pleating on the female form. We were clear on that directive from the beginning as we were intrigued by how the pleating process transforms silhouettes.
How has the brand evolved since those early days? Since those early days, L'idee has evolved from a niche Australian fashion label into an internationally stocked brand. The growth has been shaped by a continuous process of learning, adapting and responding to how the L'idee woman expresses herself across different markets. As the brand expanded globally, we refined our collections and identity to resonate with women in diverse regions while still maintaining the distinctive aesthetic and core design philosophy.
This marks another Australian Fashion Week appearance for L'idee Woman. What does showing at AFW mean to you and the brand? For L'idee Woman, showing at Australian Fashion Week is both a meaningful milestone and an opportunity to continue building the brand's presence on a global stage. Returning to AFW reflects how far the brand has come, while also reinforcing its connection to the Australian fashion industry and creative community. It is a chance to showcase the evolution of the collections, connect with international buyers and media, and share the brand's vision with a wider audience. Most importantly, it is an opportunity to celebrate the modern L'idee woman and the confidence, individuality and femininity she represents.
Why do you think Australian Fashion Week remains important for Australian designers right now, particularly independent brands? Australian Fashion Week remains incredibly important for Australian designers, particularly independent brands, because it provides a platform to showcase creative identity on both a national and international stage. For emerging and independent labels, opportunities to connect directly with buyers, media, stylists and new audiences are invaluable. AFW gives brands the visibility and credibility needed to grow internationally while still celebrating the distinct perspective and innovation that Australian designers bring to fashion.
Can you tell us about the collection you are presenting this season — the inspiration, mood or story behind it? The Iconique collection was inspired by the electric allure of the 1970s disco era — a time that was defined by freedom, sensuality and confidence, echoing the glamour of women who commanded the room. The range curation largely came to life in the south of Italy, as most of the collections do, while reminiscing on the Italo disco era.
How many looks will feature in the runway show, and what can audiences expect from the presentation? 32 looks. Pleats, power, sequins, seduction, polarity.
Your signature pleats have become a distinctive signum of the brand; why do you think women continue to connect so strongly with this? It is the way they feel when they wear it. It is hard to translate into words, but a sentiment we see over and over again — they leave you feeling powerful.
How would you describe the modern Australian woman's style, and how does that influence your design approach? I would say she is effortless, subtle and also expressive. I think L'idee Woman is bold and expressive — it draws emotion — and I think this is what Australian women are looking for when dressing for some of the most special occasions and moments within their sphere.
As a Western Australian designer (can we still claim you, since you live in Italy?) showing on the national stage, how important is it to represent WA creativity at AFW? I will always be a Perth girl at heart. After 10 years living overseas, it is always so nice to come full circle and see how much incredible talent there is coming out of WA. On our show there was an entourage of Perth profiles working together, and it was magic, from producer Jacqui Brown to models like Gemma Ward, Jess Gomes, Billie Hamlet and Nabila Leunig and stylist Monica Morales.
What has been your stand-out moment from AFW 2026 so far, either on or off the runway? Seeing it all come to life in the week leading up. It is hard to describe how it feels when the vision, months of work, transpires exactly how you envisioned. It is magical.
What is next for L'idee following Fashion Week? Any exciting plans, collaborations or expansion on the horizon? Italian summer — the perfect slow pace to recover from Fashion Week. Then London is on the cards as we are seeing some exciting opportunity present there.
Q&A with model Nabila Leunig
How many times have you walked Australian Fashion Week? This is my fifth time.
When did you start modelling? I first signed in 2017, when I was 13 and have been full-time modelling for five years now.
How were you scouted, and by who? I was scouted while I was at the Perth Royal Show with my sister by Kiki Minter who is part of the lovely team at IMG Models Australia, and Simone Hellicar, who worked at IMG then and now owns The Scouted. I was approached, given a business card with pictures of Selena Gomez, took it home to my mum and my sister and I begged her to call the agents — the rest is history!
What has been your highlight of AFW 2026 so far? Definitely either the Beare Park show or the Courtney Zheng show. It was a milestone five years for Beare Park, we walked in the Opera House and we had a beautiful sunset over the harbour as our background — very iconic. Equally as iconic was Courtney Zheng's debut show, it was electric chaos and everyone was crying at the end, such a special moment to be a part of.
How does it feel walking for L'idee Woman as the only Western Australian designer showing at Australian Fashion Week this year? It feels so special! I have such a strong connection to my roots in Perth and will forever introduce myself as a Perthonality. L'idee Woman is such a special brand to me personally, too, as I walked their debut show a few years ago (my first year full-time modelling) and had a once-in-a-lifetime trip to the Amalfi coast shooting their campaign the year after. Thank you always L'idee Woman, love you!
As a Perth girl now based in Sydney, what is your favourite thing to do when you come home to WA? Spend time with my family and friends and definitely go for a swim at the beach. WA beaches are truly unbeatable.
What is always on your Perth to-do list when you are back home? All of my comfort food is in Perth. I especially love Palsaik Korean BBQ, David's Master Pot in Victoria Park, and for a fancier treat Condor in Wembley is delicious. Also always down for a sweet treat (or two) at Brown Spoon, Cafe Guilty Pleasure or Cafe Yoka.
What is one thing people in the Eastern States do not realise about the WA fashion industry? How connected we all are! All of us Perthonalities gravitate towards each other and build each other up. Community first always and championing local creatives and talent!
