Latest news with #LeeMathews
Telegraph
18-05-2025
- Entertainment
- Telegraph
Catwalk-worthy fashion at Me+Em prices? These under-the-radar brands are the next big things
To my knowledge no other fashion week opens with a welcoming Smoking Ceremony. This is an ancient First Nations ritual that saw fashion journalists, influencers and buyers coming together around a fire pit to waft eucalyptus-infused smoke around themselves in a communal body and soul cleansing moment. This is simply unimaginable in Paris, London or New York – the outfits wouldn't allow for such spontaneous movement. This is the friendliest, least pretentious fashion week I've been to. Which isn't to say there aren't preeners, socialites and one celebrity. I spotted Nigella Lawson at Lee Mathews, wearing a monochrome floral dress by the designer. But if anyone else noticed her, they didn't let on. 'Most of our big celebrities don't live in Australia,' one journalist pointed out. She didn't seem overly concerned. No celebrities means no unseemly scrums. Australia Fashion Week nearly didn't happen this time. For years, it was run by IMG, the global sports, fashion and events corporation, which turned it, as another typically blunt Aussie editor told me, 'into a tack fest'. Australian designers, working to different seasons, have traditionally been at a disadvantage when it comes to selling to the northern hemisphere. Factor in tariffs (long before Trump) and they were often uncompetitive once exported, although one business here told me import duties to the UK from Australia were never that high. 'It's just that some designers saw they could get away with charging pounds for Aussie dollars so they did.' As a result few European or American journalists and buyers troubled Australia's showrooms and the country's biggest fashion names, Zimmermann and Camilla and Marc, fled to Paris in order to become international businesses. When IMG finally pulled out of Oz Fashion Week at the end of 2024, it looked as though it was game over. At the 11th hour, the New South Wales government, realising fashion can deliver some cultural collateral, stepped in with some money – and here we are, at that fire pit. You can see why Australia's Fashion Council were keen not to let their fashion week die. The country has plenty of design talent (a show called New Frontiers at the start of the week featured half a dozen promising young talents). Australia excels at resort and beachwear – the kind of breezy, easy, pretty, floaty clothes that have become an increasingly important part of European luxury brands' output. Also, with tariffs now such a live issue for any country trading with the US, Australian brands may come to seem increasingly reasonable. One salient lesson here for London Fashion Week (also struggling for airspace on the international stage) is that not everything has to cost £2000 to be catwalk-worthy. Aje is a hugely popular label in Oz, with a cult following on the UK's rental sites, where its ruffled or floral dresses (think affordable Zimmermann) are a big hit with wedding guests and maids of honour. It has a comprehensive business ranging from denim jeans and jackets and its diffusion label, Aje Studio to ball gowns. Knits start at the equivalent of £200 in Australia – Me+Em prices – and dresses go up to around £1000. Its early morning show by Sydney Harbour was a highlight. With prices from £300, Ngali, founded by Denni Francisco, one of Australia's leading indigenous designers, is another business making thoughtful, original design accessible. Francisco worked with First Nation artists on this collection to produce striking printed co-ords, loose dresses and lightweight coats that look uniquely Aussie, but also have international appeal. One can imagine Ngali and Iordanes Spyridon Gogos' artisanal aesthetic finding a loyal following at Liberty in London, whose buying and merchandise director, Lydia King, was also out here, on the hunt, as she puts it, for 'businesses that have critical mass in Australia, but aren't necessarily known in the UK'. Gogos, who is 30 and Greek-Australian, draws on both countries' indigenous textiles. Some of it was deliriously bonkers, but the patchwork coats have a 'collectible', Dries Van Noten feel to them. Lee Mathews, the designer Nigella turned out for, is known to British fans for her clean, flowing silhouettes, and high-quality natural fabrics. But since imploded last year, she's been hard to get hold of in the UK. After I posted some pictures of her dusty pastel maxi-dresses and spare, monochrome separates on Instagram, several colleagues messaged to say they missed not being able to buy her. Perhaps Liberty can solve this. I especially loved the delicate way she handled sheer, along with Hansen & Gretel and Bianca Spender, who all made it look subtle and grown up. Sydneysiders love a healthy lifestyle. Five AM beach runs and swims are not seen as a form of insanity and studios all over the city incubate new forms of exercise which often go global. Nagnata, an activewear label with add-ons, such as brushed alpaca boyfriend cardigans, knitted shorts, retro running jackets in organic cotton and wool leggings, is one of their homegrown secrets. But for how long? Activewear meets lifestyle is where the major growth is right now. Alo, the US activewear brand founded less than 20 years ago, is valued at $10 billion US. Vuori (US, worth $5.5 billion) and Lululemon (Canadian, $37.9 billion) show what's possible. To my mind, Nagnata, with its spicy colours and attitude, is the most stylish. If I were a buyer looking for a fresh point of view with commercial potential at a compelling price (as Harvey Nichols is) I'd be parsing the Australian resort collections, both men's, such as Joseph & James and women's – and hoping that London Fashion Week takes note. While Australia's designers are profoundly aware of the debt they owe to their First Nation elders, they also want to celebrate their country as it is now. Compare with London Fashion Week, which in recent seasons, has sponsored some young designers more intent on making statements about Gaza and the UK government than anything anyone might want to wear. Why not learn from Australia and platform designers who want to dress us rather than excoriate us? At prices we can actually afford.
7NEWS
16-05-2025
- Entertainment
- 7NEWS
These are the four hair and beauty products that stole the show at Australian Fashion Week 2025
As Australian Fashion Week comes to an end, we're busy recapping our favourite beauty looks spotted on the runway. From trending side parts to subtle flushed cheeks, it's surprisingly easy to try your hand at some of the most popular beauty trends, thanks to a few key products and tools. Shark Beauty's infamous FlexStyle Air Styling & Drying System is responsible for the gorgeous, sleek strands spotted on multiple runways, while RATIONALE's spf-infused products played a key part in the radiant, dewy complexions of the models at Lee Mathews. Here are the four hero products and tools behind the runway looks that will no doubt be influencing the season ahead. With surprisingly affordable price tags, you'll want to add them to your at-home routine immediately. 1. Shark FlexStyle Air Styling & Drying System, $399.99 at Myer Carla Zampatti opened the her 60th anniversary show with flowing silhouettes, polka dots and plenty of feather details. Models were sent down the runway with hair in a deep side part, subtle bend at the ends and worn over naturally textured strands. Hair Director Pauline McCabe delivered what she called a 'very luxe, polished look with a bit of edge.' Her secret weapon? The Shark FlexStyle Air Styling & Drying System, an all-in-one tool for delivering shape, shine and structure, without a salon appointment. 2. RATIONALE Beautiful Cheeks in Hera, $82 at RATIONALE Lee Mathews marked 25 years with models walking down the runway with gorgeous dewy complexions created using SPF-infused products from RATIONALE. The cheeks glowed with Beautiful Cheeks in Hera, an spf-infused cream blush that adds a subtle 'I just came back from holiday' look. And the lips were finished with Beautiful Lips in Vera, a sheer colour with a skincare-first finish that's as practical as it is pretty. 3. OPI Infinite Shine in Dulce de Leche, $17.46 at Adore Beauty Shoppers favourite Aussie label AJE celebrated their resort collection with a show-stopping performance at Barangaroo. To match the pops of pastel on the runway, nail brand OPI added creamy shades to match for a classic, yet modern touch. Infinite Shine in Dulce de Leche, is soft, elegant and the perfect shade for daily wear. Pick up a bottle for your own at-home mani from Adore Beauty. 4. MAC Cosmetics Eye Kohl in Smolder, $41 at MAC Alix Higgins showcased the Resort 2026 collection 'The Needle' and all the beauty looks on the runway were inspired by raw texture and creative play. The makeup, by Sean Brady for MAC Cosmetics, leaned into celestial details with under-eye liner and delicate star motifs for a romantic and moody look. To recreate a smoky under-eye at home, you'll need to get your hands on MAC Cosmetics Eye Kohl in the shade Smolder.
The Australian
15-05-2025
- Entertainment
- The Australian
Australian Fashion Week 2025: Day 2 highlights and key trends
You can now listen to The Australian's articles. Give us your feedback. You can now listen to The Australian's articles. Lee Mathews likes to do her own thing. As a brand that has withstood the challenges of the fashion industry for 25 years, this is advice worth noting. For Australian Fashion Week, Mathews says it was important to acknowledge all of the people who have contributed to growing her label from one that started in her kitchen to having the kind of following that roars with appreciation at the end of a fashion show. Those on the front row included celebrity chef Nigella Lawson, food icon Maggie Beer and actor Isabel Lucas, testament to the brand's appeal among creatives, busy people and those who simply like lovely clothes. A model walks the runway during the Joseph & James show Picture: Getty Images Itwas the Melbourne's label first appearance at Australian Fashion Week Picture: Getty Images 'This season feels like a nod to everyone who's been part of the journey; the artists, the makers, the mills,' says Mathews. The collection included plenty of breezy, gauzy dresses in fabrics such as cotton, linen and checked gingham and that which make one immediately want to frolic in a field or at least have a picnic. Special details abounded, included applique florals, hooped skirts, peter pan collars, lace trimmed sleeves and apron back pinafore dresses. They were pared back with the more utilitarian pieces such as loose trousers with ropes through the belt loops and light jackets. A colour palette of mostly whites and neutrals was occasionally spliced with jolts of red and sheer pink maxi-dresses. 'In many ways, it's a celebration but also a moment of reflection,' says Mathews of what the show meant to her. 'It's been quite a journey.' Meanwhile, Beare Park offered a slinky take on dressing up with dresses and spaghetti strap tops featuring twists and trails of silk, some with alluring bows at the back - pared back with sophisticated suiting in colours such as slate grey and taupe. The effect was a languorous glamour for after hours (and presumably having already crushed the 9-5). A model walks the runway during the highly anticipated Beare Park show at Australian Fashion Week 2025. Picture:The Beare Park runway featured slinky and sophisticated looks. Picture:Designer and director of Beare Park Gabriella Pereira was crowned 'Emerging Designer Of The Year' at the 2024 Australian Fashion Laureate Awards in November last year. Picture:Another highlight was the group Frontier show, which included the likes of Kiwi brands Wynn Hamlyn and Paris Georgia, as well as Amber Keating's Common Hours, newcomer Amy Lawrance, Courtney Zheng, Matin and Esse. For Charlotte Hicks, whose collection included luxurious leather separates, sharp coats and a sequined dress with a slinky cowl back, the decision to show a 'see now, buy now' collection was about seeking an immediate and 'emotional' connection with her woman. 'When something resonates deeply, we want to respond in the moment. This format lets our woman step into the world of Edition No. 13 right away – no delay, no disconnect,' she says, adding this season she was thinking about ideas of quiet strength. The sequined dress at Esse. Good coats at Esse. Certainly it was a mood to be found in her plays on masculine and feminine tropes and wearable and appealing pieces. The group show, adds Amber Keating of Common Hours – who this year pared back her deeply embellished, and extremely personal pieces to be more streamlined with beautifully textured dresses and coats with hot pink lining – created, she says, a feeling of 'comradery and support for each other and the Australian fashion industry'. Byron Bay label Nagnata expanded its offering as part of its debut AFW show with new denim styles that included a pair of jeans, Bermuda shorts and a mini skirt. The muted colour palette, including off-white, rust and bronze, worked just as well across its collection of knitwear, swim and knitted activewear, too. Key trends so far this week have included draped tailoring, scarf coats, sequins, sheer maxi-dresses and soft leather separates. Menswear was on the agenda with the AFW debut of Melbourne label Joseph & James, which showed chunky cable knits, quilted vests and an elegant approach to relaxed separates. Farage closed out the day, in its first runway show at AFW since the brand started 30 years ago. AFW continues until Friday with Gary Bigeni, Mariam Seddiq, Aje and Romance Was Born to show
The Guardian
15-05-2025
- Entertainment
- The Guardian
‘It's about life and dance and colour': inclusivity still in fashion on Australian runways
Having been in business since 1999, fashion designer Lee Mathews is always searching for something out of the ordinary. 'At 25 years it feels like you've seen everything and worked with everyone,' she says. For her anniversary runway at this year's Australian fashion week (AFW) in Sydney, she decided to add friends to her usual cast of professional models. 'Casting was more about how people wear the clothes,' she says. 'Not how tall they are or how polished they look. 'Asking someone who's not a model to try on clothes and walk a runway takes a kind of vulnerability. I think that subtle awkwardness and lack of polish brings a different energy to a show. There's honesty in it, and it reflects the collection in a more human way,' she says. The runway is a full circle moment for Mathews. She has been producing clothes that she and her friends would want to wear since the brand's inception at her kitchen table. Now her clientele reads like a roll call of Australia's female creative class: producers, artists, chefs and writers, including Saskia Havekes, the director of Potts Point florist Grandiflora, who took to the runway this week. Sign up for the fun stuff with our rundown of must-reads, pop culture and tips for the weekend, every Saturday morning 'I'm very fortunate to have her as a friend. She's given me so many beautiful things over the years. I'd look like a bag lady if it wasn't for Lee,' says Havekes. When asked to model, 'I said 'absolutely!' straight away.' 'I can return the gesture by putting in my best effort next Tuesday,' she says. 'No matter what's going on, I will be there.' To prepare for the show and calm her nerves, Havekes felt she had to practise her walk. So she spent her evenings walking home from work through Rushcutters Bay park. 'I was thinking, knowing Lee, she'll want it to be as natural as possible,' she says. 'I better not swing my arms.' In her work as a florist, Havekes is used to being the creator driving the arrangement. She found her experience of being a model, in the hands of a team of stylists, hair and makeup artists, an interesting role reversal. 'I felt like I was the vase, and they were putting the flowers together – being the clothes,' she says. 'They were like, 'we've got to have her hair parted in the middle and combed down.' They were making me into something else, which I enjoyed.' While Havekes walked the runway, another of Mathews' high-profile friends, Nigella Lawson, sat in the front row. Mathews joins a long list of designers at Australian fashion week who platform their communities by casting their friends, clients and collaborators in shows – including Alix Higgins, Nicol & Ford, Jordan Gogos, Gary Bigeni and Romance Was Born – the last of which is celebrating 20 years in business. This practice seems to come from two places: creating better vibes on the runway and backstage, and wanting to showcase clothes on bodies that reflect their customers. Drawing from their community allows Katie-Louise and Lilian Nicol-Ford – the married couple behind Nicol & Ford – to build a sense of intimacy and energy that's impossible to replicate with a casting call. 'When you see someone on a dancefloor in the early hours of the morning, you often see their purest and most liberated form,' they say. The duo try to capture that confidence and presence by putting it on the runway. Casting friends again and again has also engendered trust between model and designer. 'Each model is allowing us to create a highly visible statement with their body, [so] careful consideration and conversation is essential for our process,' they say. The ability to do this is invaluable for a brand that embraces gender fluidity and body positivity. In an industry often characterised as aloof and self-serious, fostering a warm and welcoming atmosphere on and off the runway feels forward-looking – a necessary departure from a tradition of closed doors and exclusivity that has long been critiqued as superficial and unattainable. 'I love the support backstage,' says designer Jordan Gogos, who presented his fifth AFW runway this week. Although he is primarily an artist, Gogos has developed a reputation for high-intensity, performance runways which star his friends, muses and even his sister Yasmin. 'There's beauty working with someone you love. That IYKYK [if you know, you know] in each other's eyes. They know what's running through my head and I know what's running through theirs,' he says. 'More often than not [after the show] we refer to the garment by the name of the person who wore it.' Sign up to Saved for Later Catch up on the fun stuff with Guardian Australia's culture and lifestyle rundown of pop culture, trends and tips after newsletter promotion While runways in Australia are embracing the joys of friendship and inclusivity, international fashion weeks continue to send thin, unsmiling, youthful models down the runway – an apparent retreat from a brief foray into body positivity. According to the Vogue Business Autumn/Winter 2025 Size Inclusivity Report, at the last four major fashion weeks in New York, London, Milan and Paris, just 2% of the models featured were mid-sized and 0.3% were plus-sized. This was down from the season before, where 4.3% of models were mid-sized and 0.8% were plus-sized. Industry insiders blame the body diversity backslide on two forces: the rise of conservative ideals that emphasise control and female subservience; and the popularity of weight-loss drugs like Ozempic. Designer Gary Bigeni casts sizes 8 to 20 (the equivalent of US size 4 to 16) in his runway shows. Bigeni says the return to ultra-thin models 'makes me sad'. 'It's a completely unrealistic representation of real women, and more importantly a completely unrealistic representation of how your clothes are going to look on them.' Pointing to data that shows the average Australian woman wears a size 16 (US 12) and only 9.1% of women are between sizes 4 and 8, he says: 'I would much rather show that my collection works on – and for – a range of sizes and ages.' According to its Code of Conduct, AFW (which is being run by the Australian Fashion Council after IMG's departure last year) encourages participants to promote body image positivity and body kindness, along with ethnicity, gender, ability and body types that are 'representative of the diversity of Australia'. For designers, casting friends is about business as much as ethics. In an industry that is rapidly changing under ever-evolving digital pressures, ultra-fast imports and tensions in global trade, the runway is a rare opportunity to show off the communities who love to wear their clothes. In a sense, it is a flex that comes from the heart of their business – their customers – and challenges what the fashion industry is, and who it is for. Bigeni wants his casting to tell a story that people can connect with. This year, one of his most famous mates, Dessert Masters judge Melissa Leong, made her first ever modelling appearance in his show. 'It isn't just about fashion and runways – it's about life and dance and colour,' he says. 'My last show ended with a big group hug.' The group hug is becoming something of a tradition for Bigeni – his show on Thursday concluded the same way.
Grazia USA
14-05-2025
- Entertainment
- Grazia USA
AFW DAY 2: Lee Mathews, Joseph & James, Beare Park Make Their Mark
SYDNEY, AUSTRALIA – MAY 13: Models walk the runway during the Lee Mathews show at Australian Fashion Week (AFW) 2025 at Carriageworks on May 13, 2025 in Sydney, Australia. (Photo by) Day two of Australian Fashion Week 2025 was packed with homegrown fashion talent in their element. Leading the schedule was Lee Mathews, who celebrated 25 years in business with an intimate show at Sydney's Carriageworks, while other favourites, including Beare Park and NAGNATA, presented new collections in grand and moody settings. Elsewhere, menswear label Joseph & James effectively stole the show with its solo debut, with an exceptionally refined approach to casualwear and a joyous colour palette we haven't stopped thinking about. For the full collection dispatches from on the ground at AFW, read on. Lee Mathews At AFW, Lee Mathews marked 25 years with a Resort '26 collection that was inspired by the art of ballet: intimate, disciplined, and softly powerful. 'There's a tension I love,' said Mathews, referencing the contrast of strength and softness in Pina Bausch's choreography—her point of inspiration. 'That contrast of strength and softness.' That tension underpinned the show, where diaphonous fabrics met solid and structured tailoring, corsetry lines met relaxed silhouettes, and every layer moved with an enchanting restraint. Set against draped calico—a raw canvas evoking the brand's enduring love for natural fibres—in Carriagework's mezzanine, the runway felt deeply grounded, with models gliding to a René Aubry score, composed for dance and theatre. After two decades, Mathews' philosophy remains: 'make good things,' and here, good meant garments that live with you—ageless, beautiful and always useful. The tonal palette—stone, skin, water, light—allowed form and fabrication to shine. Subtle stitchwork, custom fabrics, and Nina Walton's rhythmic prints brought a natural serenity to pieces. Behind the scenes, collaborations with artisans and heritage mills were matched by a fresh partnership with Delta Global, underscoring Mathews' enduring commitment to sustainability. Community took centre stage at the show as friends like Saskia Havekes and Alexia Spalding walked the runway, while Nigella Lawson, Maggie Beer and Miranda Otto watched from the front row. The natural, sun-kissed skin look—courtesy of RATIONALE and Linda Jefferyes—mirrored the garments' bucolic lightness, as did the tousled hair by Kevin Murphy. Resort '26 is a love letter to where Lee Mathews has been and where it's going: an evolving practice in thoughtful design and artistic integrity. At its heart is the radical commitment to design that is at once simple and significant—an art that lives on long after the show. Beare Park In a darkened room pierced by a dramatic light on the runway, Beare Park's AFW '25 show unfolded with cinematic drama. The presentation, soundtracked by a haunting original score by Gary Sinclair of Tactile Music, marked a confident evolution for the Sydney-based label, known for its cerebral approach to modern femininity. 'A continuing theme with Beare Park collections from day one has been the duality of structured tailoring and fluid silk pieces—high-quality fabric is always at the centre of each collection,' founder Gabriella Pereira tells GRAZIA. 'This collection was no exception in that sourcing fabrics was my starting point, and the consideration of the intersection of intimacy and power through fabric.' This season, this consideration became bolder, with silhouettes and cuts that laid bare the material, enabling garments to shine. From precision-cut double-breasted coats and sculptural culottes to sheer slip dresses and dupion silk track shorts, there was a clarity to each look that emphasised the craft behind it. The collection's palette—a moody blend of burgundy, mottled charcoal, deep chocolate and chartreuse—reflected this duality of fluidity meeting solid forces. Pereira's partnership with Chopard added luminous punctuation: stacks of Ice Cube bracelets in ethical gold and L'Heure du Diamant watches worn as jewellery gave the collection a subtle flash of heritage glamour. 'Their craftsmanship and respect for form mirrors our ethos,' Pereira noted. The set may have been pared back—black walls, no distractions—but there was a weight to the simplicity, a clarity of intent that echoed throughout the 30-look show. Styled by Nichhia Wippell, with beauty by Emma Lewisham led by Isabella Schimid, the mood was confident, sensual, and sharply modern. 'I think of myself as a customer before a designer,' continued Pereira. 'The purpose of a Beare Park garment is to be comfortable, functional and give the wearer a newfound sense of power.' JOSEPH & JAMES At this year's AFW, a new chapter in Australian menswear was written as JOSEPH & JAMES, helmed by Juanita Page—a proud Gooreng Gooreng and South Sea Islander woman—made a grand solo debut. With her inaugural show, Gathering, the designer made a powerful entry into the schedule, with a collection rooted in emotion, memory and connection. 'This collection is a celebration of togetherness—of what it means to gather, to connect, to be present,' said Page. From the moment a soundtrack of laughter, conversation and music filled the space, along with a warm, custom fragrance by Scent Australia Home, the show promised sincerity and soul—and delivered in spades. Relaxed tailoring met intricate knitwear; refined suiting in brushed herringbone and lightweight linen flowed alongside joyful bursts of colour—bright green, cabernet red, pastel purple—each hue coming together in a highly satisfying array of combinations that spoke to Page's deep understanding of balance. The 20-look, 58-piece collection was walked by a cast and styling direction powered by Mob in Fashion, the First Nations-led initiative by model Nathan McGuire. 'Mob in Fashion is about creating real, tangible opportunities for the next generation of Indigenous creatives,' said McGuire. From the streetwise elegance of Reebok footwear to the undone ease of ELEVEN Australia's textured hair and Clarins skin, the styling echoed the collection's guiding sentiment: ease, authenticity, and care. 'Every piece is designed with that spirit in mind, drawing on moments around the table with belly full and heart happy,' said Page. '[It's] places where stories are shared and memories are made.' topics: AFW 2025, Australian Fashion Week, AFW, fashion, Fashion news, fashion week, Fashion Shows, BEARE PARK, lee mathews, Joseph & James, australian designers, Resort 26, Trending
