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NZ Herald
3 days ago
- Entertainment
- NZ Herald
Aotearoa Music Awards 2025: On The Red Carpet Stars Shone A Spotlight On New Zealand Fashion
Local artists showcased their love and appreciation for fashion at the 60th celebration of the Aotearoa Music Awards at Auckland's Viaduct Events Centre. Is the AMAs the most stylish night of all in Aotearoa? The 2025 red carpet might convince you. Attendees celebrating the 60th year of the awards chose pieces from both well-established designers (think Zambesi, Wynn Hamlyn, Paris Georgia) and upcoming and underground artists (Fringes, Nineteen 99 and Caitlin Snell). Beyond the show of designers, it's also an impeccably dressed crowd – ensembles, whether they're thrifted, custom or pulled from the back of a wardrobe, were a tool of self-expression. This was a talking point on stage, too. Hori Shaw, accepting his award for Breakthrough Artist, pointed to his camouflage and Crocs and said, 'I feel more comfortable like this, instead of wearing suits ...' It's unsurprising that our local artists show an awareness and appreciation for their chosen garments – they're familiar with the way clothing can propel a persona, performance or message. Nowhere was this clearer than garments and T-shirts worn by those waving Toitū Te Tiriti flags during Stan Walker's performance of Māori Ki Te Ao. Below is a snapshot of the best looks of the evening at the Viaduct Events Centre. It was a carpet full of local artists who showcased a deep care for the convergence of creativity and culture in Aotearoa. Amelia Murray began the evening in a custom Oosterom blazer dress and Bronwyn boots. Later, she changed into a glittering Stolen Girlfriends dress and fur-trimmed leather jacket to perform Cherry Pie and accept her second award of the night – for Album Of The Year – to a standing ovation. Stan Walker Stan Walker wore a black and white ensemble with a floor-length coat by Morghan Ariki Bradshaw of Fugawi. The piece features handwritten messages of encouragement. One reads: 'Knowing where we're from gives us direction'. Jujulipps Jujulipps, who has been gravitating to knit and crochet sets as of late, showed up in a grey and silver tassled set. Vera Ellen Among the coolest looks of the night was this ensemble from Vera Ellen. The painted, distressed and screen-printed dress is from slow fashion label Formula 7 and the crochet sleeves and hat are by Vivet. Mokotron Tiopira McDowell, who took home the award for Best Electronic Artist, donned a 'Land Bacc' T-shirt from Sovereign Clothing Aotearoa. Isla Noon, Jason Parker and Maude Pop artist Isla Noon is also dressed by Oosterom, cinching a white button-up with a heavy leather belt. The sheer skirt mixes lace and sequins. Musician Jason Parker dons a fiery Kowtow colourway while producer Maude opts for a mint ensemble. Tusekah Neo-soul artist Tusekah wears a simple and glamorous dress by Paris Georgia. Chaii Chaii twinkled throughout the evening in Claudia Li, walking the red carpet in a blazer that dripped with jewels. On stage, she changed into a similarly glitzy two-piece and added a voluminous tulle stole. Symone Tafuna'i and Janay Harding Reporting for music show Tahi, friend of Viva Symone Tafuna'i also donned a blazer dress – this one is by Nineteen 99. Janay Harding wore a suit by Fugawi. The cropped jacket has 'We Are Planted in The Soil Of Our Ancestors' on the back. Georgia Lines Georgia Lines began the evening in a dress from New York-based designer Lirika Matoshi but changed into a button-adorned Wynn Hamlyn dress for her performance later in the night. She also carried a gleaming silver Georgia Jay bag for both. Aaradhna Singer-songwriter Aaradhna, nominated for Album Of The Year for Sweet Surrender, wears a golden-hued bias-cut dress from Zambesi. Tami Neilson It's a reliably vibrant look from Tami Neilson, who won Best Country Artist. The skirt! The gold boots! The neckchief! Rikii Reid Riiki Reid's almost-monochromatic black ensemble is oh-so slick. The artist is wearing a top from upcoming designer Caitlin Snell's collection 'The Maiden ', which debuted in her first runway show last year. Ashy Ashy Batchelor walked the carpet in these teensy, clacky kitten heels – which were cool and bold among a parade of chunky boots. The fur coat layered over the baby pink dress is equally poised. Dān Dān Singer-songwriter Danielle Hao-Aickin, who is one half of sibling duo Ersha Island 二沙岛 and also produces music solo as dān dān, dons an entirely thrifted ensemble. The underlayer is partially hanfu 汉服 (ancient Chinese clothing) – the swirly vest and boots are both second-hand. Hollie Smith Designer and stylist Natasha Ovely, previously of Starving Artist Fund, styled this textural ensemble worn by singer-songwriter Hollie Smith. The glistening woven top is by Shona Tawhiao, of Tawhiao 7, and the jewellery is by Nick Von K. The safety pins through the tartan skirt are a deliciously punkish touch. Lorde After mentioning to fans at her impromptu YMCA performance that she would attend the awards, Lorde walked the carpet donning a strapless suit set. Expectedly, she wears the slate grey that has quickly become emblematic of her upcoming album Virgin (adding heavy chain-link bracelets and silver ballet flats). Bonus: Best Group Shot So much great fashion taste in the best group shot of the night, featuring the artists of Atomic! There's double denim, romantic sheer, leather, 70s stripes and a tambourine. Could NZ music be any cooler? More on music From red carpets to intimate profiles. The Coolest Red Carpet Looks From The Taite Music Prize 2025. Attendees and award-winners at the Taite Music Prize 2025 dressed to showcase their values and vibrancy on the carpet. What Do New Zealand Musicians Wear To Feel Their Best On Stage? From secure, sturdy footwear to breathable mesh tops and tailored suits, three music acts from Aotearoa explain to Madeleine Crutchley the function of their fashion. NZ Musician Reb Fountain On Touring, Politics, Privilege & Responsibility. Setting out to tour her sixth album, How Love Bends, Reb Fountain tells Tyson Beckett about the freedom, and weight, that comes with being an artist in and of the moment. Teeks On His New Music & Unpacking Toxic Masculinity. 'Being in touch with your emotions is not considered a masculine thing but because I was in the process of making this album I was like, 'Nah man, fuck that.''
Grazia USA
13-05-2025
- Entertainment
- Grazia USA
AFW: At The Frontier, Seven Australian Designers Tease Their Latest Collections
AFW 2025 / Image: Catinella 'The Frontier show was curated collectively to spotlight designers with a global perspective,' Courtney Zheng told GRAZIA ahead of her unique Australian Fashion Week debut. 'Being part of a group format made sense—it reflects the shared energy we're all bringing to the table, and allows that message to be amplified through strength in numbers.' 'For me, it is an opportunity to present a focused edit that communicates the essence of the brand and signals where it's headed, both aesthetically and strategically.' In a quietly commanding moment at AFW, seven Australian and New Zealand designers—Courtney Zheng, Wynn Hamlyn, Paris Georgia, Matin, Esse, Common Hours and Amy Lawrance —unveiled a distilled edit of just eight looks from their upcoming collections. The show took on a collective presentation format in the expansive Carla Zampatti room of Sydney's Carriageworks, with no distinction between the brands other than their distinct respective visions. Ahead, we break down the inspiration and processes that went into the show. Courtney Zheng 'The collection began with the idea of brutalist stealth—something that felt quietly powerful and architectural,' Zheng told us about her collection. 'I was drawn to the rawness of brutalism: exposed structure, material honesty, and a kind of stark elegance.' On the runway, this translated into sculptural silhouettes—strong shoulders, cinched waists, and a playful tension between sturdy and fluid fabrications. Distressed denim, raw-edge wool, leather, and sheer georgette were employed in myriad ways, while a palette of steely greys and blues was punctuated by vibrant red. Pieces were pleasing on the eye, but without compromising on functionality. When it comes to fusing artistry with wearability, the two aren't opposing forces to Zheng. 'I'm interested in pieces that are visually impactful but function in real life,' she says. 'The technical construction is always considered with wearability in mind: how it sits on the body, how the fabric feels, how it moves, how it can be layered or reinterpreted by the wearer.' 'The runway is an opportunity to showcase the depth of our atelier's skill,' she adds. 'There's as much artistry in restraint as there is in drama, and finding that balance makes a garment enduring.' Image: Courtney Zheng Image: Courtney Zheng Image: Courtney Zheng Image: Courtney Zheng at AFW Amy Lawrance Newcomer Amy Lawrance quickly impressed the industry last year when she presented as part of the Next Gen runway last year. This year, she finds herself part of another collective with The Frontier. 'It's a real privilege to show among some of Australia and New Zealand's most innovative fashion designers,' she told GRAZIA in the lead-up to the show. 'I see the group show format as an opportunity to present a carefully selected collection of garments. I really love the challenge of refining a larger body of work into a concise and impactful line-up.' With a distinct aesthetic vision and technical direction, the Melbourne-based designer has already established a strong visual language that sees her pieces stand out. 'Paper-based dressmaking ephemera (such as home dress-making manuals and commercial paper patterns from the first half of the 20th century) were a specific point of reference while designing and making the collection,' she explains. 'I wanted to play with the idea of making garments composed of flattened and folded shapes, that at a glance, look like paper patterns that have been folded up and stored in a box for decades.' For this collection, raw silk tussah was starched to bring a 'papery' quality to the fabric, evoking the delicate paper patterns that inspired the collection. But while inspiration is found in paper and the designer is drawn to shift and A-line silhouettes, Lawrance's garments are cut to work with the body's natural shape, not mask it. 'I am continually trying pieces on throughout the pattern making and toiling process, and considering how seamlessly the garment hangs from and moves with the body,' she tells us. 'Although my pieces aren't designed to be worn every day, function is always at the forefront when I'm designing because I think for a garment to be timeless and worthy of holding onto for a lifetime, it ultimately needs to feel beautiful on the body.' Image: Anna Lawrance Image: Anna Lawrance Image: Anna Lawrance Image: Anna Lawrance at AFW Paris Georgia While they're no strangers to the Australian fashion landscape, Paris Mitchell Temple and Georgia Cherrie are back on the AFW schedule with their label Paris Georgia after years of opting out. 'The starting point for this collection was a nostalgic yet empowering look at the Sex and the City characters of the '90s and early 2000s—a nod to the ultimate incarnation of the career woman in all her forms,' the duo told GRAZIA. 'These women have always served as a source of inspiration for Paris Georgia: bold, dynamic, and unapologetically themselves.' Though the brand has evolved over the years, their mission to deliver us a wardrobe that is as effortless as it is dynamic has served well as their North Star. 'Our muse is a woman who is just as confident in a cocktail dress as she is in double denim,' they explain. 'She doesn't just wear the clothes—she embodies them, radiating power, sensuality, and effortless style in equal measure… never confined to a single definition.' Through the runway, the brand sought to capture the energy of the main character—'She is a muse—not just to us, but to everyone around her.' But while confidence and impact are strong themes, functionality is never compromised. '[We] constantly dissect each garment, considering who it's for, where she'll wear it, and how it will make her feel,' says Mitchell Temple. 'Striking the right harmony between novelty and wearability is at the heart of every design.' Image: Paris Georgia Image: Paris Georgia Image: Paris Georgia Image: Paris Georgia Matin Unveiled as a distilled edit of just eight looks, Michelle Perrett presented Matin Pre-Fall 2025, a collection encapsulating the brand's core philosophy: effortless freedom, rendered in natural fabrics and anchored by timeless silhouettes. 'There's something really special about that collective atmosphere,' Perrett said of the show's format. 'Together, we've created something greater than the sum of its parts.' Pre-Fall 2025 felt like a masterclass in gentle power, where soft tailoring met crisp cotton, and pleat work, raw hems and sculptural folds revealed themselves upon closer inspection. Each piece prioritised wearability and creativity with a modern prowess, proving that longevity and style go hand-in-hand. In a fashion landscape often dominated by noise, Matin offered a welcome moment of stillness and continuity. It was a collection for those who dress with bold intent—not for show, but for the self. Image: Matin Image: Matin Image: Matin at AFW Image: Matin at AFW Wynn Hamlyn With a tightly curated edit that comprised men's and women's ready-to-wear, Wynn Hamlyn offered a cerebral take on resort dressing for 2026. For this collection, New Zealand designer Wynn Crawshaw reworked signature codes through an experimental lens, presenting a collection that balanced intellectual rigour with everyday elegance. 'We took elements from our archive and reimagined them with a sense of craft-driven luxury, specifically focusing on deconstructing and rebuilding our knitwear,' Crawshaw told GRAZIA. 'We wanted to create something that feels effortless yet thought-provoking.' As the brand has become a go-to for pieces that go beyond occasion or aesthetic moulds, practicality and craft are laced together in a striking balance. 'For us, it's about ensuring the artistry serves the wearer. The detail and craft are always at the forefront, but so is functionality,' he explains. 'We want our pieces to feel like an extension of the wearer, not just something they put on. That's why we focus on making each design not only visually compelling but also wearable. For example, the functional buttons in this collection aren't just a design feature—they create a silhouette that feels fresh yet familiar. It's about art that feels like a second skin, beautifully constructed but with comfort at its core.' The decision to join a collective show at Australian Fashion Week—rather than pursue a solo spotlight—felt aligned with the brand's quiet confidence and ongoing cult status. 'It was about creating a space where the clothes could speak for themselves,' Crenshaw noted. And speak they did: asymmetrical tailoring, tactile knitwear, and intricate button appliqués told a story of elevated craft in just a few mixed looks. In this preview, a distinct sense of ease lingered beneath the surface of bolder aesthetics—think slouchy silhouettes sharpened with technical precision, or sculptural detailing softened by touchable textures. Image: Wynn Hamlyn Image: Wynn Hamlyn Image: Wynn Hamlyn Image: Wynn Hamlyn at AFW ESSE Presenting Edition No.13, Charlotte Hick was inspired by impact and attitude over pragmetism fir ESSE's latest offering. 'The seed was the idea of quiet motion—a woman who moves with presence rather than noise,' she told GRAZIA ahead of the show. 'I wanted Edition No. 13 to feel like a wardrobe of modern artefacts: sculptural, intentional pieces that hold space for the wearer. I began by exploring refined dualities—masculine tailoring tempered by drape, lush textures grounded in purpose… this led to eight tightly edited looks where textures collide yet breathe. Each silhouette is sharp yet relaxed—strong and sleek, softened by sensuality.' With outerwear and minimalist silhouettes that will live in our brains long after the runway, ESSE doubles down on its timeless design ethos of restraint. 'It's in the detail and the subtle collision of texture,' Hick explains. 'Every line, surface, and proportion must earn its place. I start with the question: Will she reach for this tomorrow, and five years from now? 'The goal is poetry that can be lived in: pieces that read as art in motion yet slip effortlessly into a real wardrobe.' Image: ESSE Image: ESSE Image: ESSE Image: ESSE Image: ESSE at AFW Common Hours In a departure from its signature art prints, Common Hours presented a collection that put sensuality front and centre. 'This capsule is less heavily art-based than some of our collections have been in the past; it's more of a private musing on subversion and dissent, leaning into provocation and austerity through hidden details,' says its founder, Amber Keating. 'Specifically, I was thinking about the notion of pure evil. Fragility versus subjugation, the sexual tension within the narrative of feminine and masculine: resistance and rebellion acted out in silence, with cocooning wools or aggressive overcoats enveloping something more delicate and vulnerable, like distressed, laddered barely-there dresses… It's a disciplined capsule, with an undertone of antagonism and resistance.' 'Ultimately, this capsule's goal was to add more streamlined, restrained silhouettes to our existing library of art-based pieces, expanding on the concept behind Common Hours,' Keating continues. 'As always, our foremost focus is composition: exceptional fabrications from leading European mills, translated through deceptively simple silhouettes that hide complex, meticulous construction.' As for what compelled the designer to join The Frontier? 'We are all Australian brands dealing with distance, risk, and various impediments and issues in participating in this industry,' she says. 'Yet, we share a compulsion to create and make. I like to think we can support each other and the broader Australian fashion industry.' Image: Common Hours Image: Common Hours Image: Common Hours Image: Common Hours at AFW topics: AFW 2025, Australian Fashion Week, AFW, RESORT 2025, fashion, Fashion news, fashion week, Fashion Shows, Runway, Courtney Zheng, Amy Lawrance, Paris Georgia, Matin, Wynn Hamlyn, ESSE, Common Hours, Trending
