It’s often espoused that leadership should derive from the next generation. Consider then House Of Campbell, Amy Lawrence, Emily Watson and Potirakis, all of which unveiled their debut collections on Day One of Australian Fashion Week, presented by Pandora, as incoming stewards of the Australian fashion industry. Taking up the mantle from former emerging design stalwarts turned household names, Anna Quan, Bec + Bridge and Camilla + Marc, this cohort utilised the platform the Next Gen runway provides by delving deep into the chasm of our nation’s sartorial future. The result? A kaleidoscope of microcosms that transcend our coastal sandy beaches and urban inner-city domains. 

It’s not hyperbolic to say AFW serves as a spotlight that broadcasts the best of down under design on the world stage. For these burgeoning creatives, this co-sign from an industry-leading force is the momentum needed to scale from a locals-only street staple to the wardrobes of the fashion set. Murmurs from the front row certainly discerned the panoply for what it was: a gesture of creativity readily available across our shores. Opening the group runway show was Melbourne-based label House Of Campbell, evoking the joyful girlishness that’s dominated international runways at Simone Rocha, Cecilie Bahnsen and Sandy Liang. A quiet reprieve closely followed with the artisanal-based Amy Lawrance, as Emily Watson’s candy-coated and sleaze-dripped resort wear marched to the beat of its own alt-rock drums. (Courtesy of Morningwood’s “New York Girls” that blasted over her segment). Potirakis closed out the display with an attention-demanding display of hypebeast-approved artistry.

One must not ponder whether these designers are the next big thing. This style sweep has proven it tenfold. The places they’ll go next is a matter determined by the designers themselves—a solo presentation, a larger order placed by SSENSE buyers (as Emily Watson has already received), or something far more imaginative. But for now, explore the runway, and GRAZIA’s conversations with the designers themselves, below.

House of Campbell

Without apprehension for opening the proceedings, South Australian designer Abby Porter outpoured sentimentality with her softly-crafted range under the House of Campbell banner. “As emerging designers, securing a spot on such a prestigious platform can be incredibly challenging due to limited resources and funds,” Potter told GRAZIA ahead of the show. “Thus, the chance to grace the runway and express our ethos and creative vision holds immense significance for us.” Perhaps styled like Picnic at Hanging Rock for the coquette generation, House of Campbell embarked on a romantic procession with Peter Pan baby doll dresses, woollen balaclava, velvet blazers and gingham galore. Polarising contrasts were a delightful addition to the saccharine suite, like the green tartan pleated midi skirt and ruched tulle tank top pioneering First Nations model, Elaine George, sported on the runway. Lace and bows—a hallmark of the Spring/Summer 2024 season—was rendered to suit the Resort ‘25 collections presented during AFW, with ribbon accents and fiery crimons a nod to the opulence of aristocratic figures House Of Campbell was trying to evoke. 

Amy Lawrance

“Contemplative. Hand-crafted. Science-fiction,” was how Amy Lawrance described her eponymously titled label. Like many emerging fashion talents, the Melbourne based designer had been working on the collection in relative solitude since January. This anticipation culminated in a daunted yet excited energy, as she described, for finally putting out the garments into the world for other people to take in and respond to. Riposte, they did, indeed. In otherworldly champagne silk tussah, Lawrance’s extrapolated on the fine details. Diminutive gestures blossomed into grand shapes as the angular textiles brought forth a design language that was both celestial and deeply grounding. Textile manipulation underscored the collection, with fabrics pleated and sliced to Lawrance’s geometric desires. Tulip shaped headpieces, be it in tinfoil hat-esque brocade silver, and lace-up socks that rivalled boxing shoes were the cherry on top of this poetic cake. 

Emily Watson

Zap! In her signature acidic yellow and jolly rancher cobalt blue, Emily Watson obliterated the brutalistic setting of Carriageworks from her collection and teleported us back to the halcyon party days of the noughties. In candy coated hues and the slinkies cuts, Watson cemented herself as one of Australia’s most discerning voices and proved why the likes of Bella Hadid, Madison Beer and Suki Waterhouse are amongst her adherents. Glamour unique to the late 2000s shone through in the styling—nylon mini skirts with a bubble accent styled over navy stockings, ruched bags made from swimwear fabrics, cropped baleros that doubled as tops. But it was her use—or lack thereof—of her trademark ties that demonstrated Watson’s evolution as a designer. The most standout piece came at the end in the form of an ankle-grazing, white long sleeve maxi dress that cautiously hung to the body. A V-neck panel gathered at the front proved Watson’s understanding of both her clientele’s desires and the wider Australian fashion landscape. As we here at GRAZIA remarked as that look paraded down the stark white space, there’s nothing more Australian than pairing a sweeping dress with flip flops.

Potirakis

Potirakis played pretend gangster with their collection of monochromatic streetwear. In all black and a wiped social media presence, the label leant into the minutia of minimalism. Layering played a key role here, with the boxiest shirts layered over wide-cut cargo pants and hoodies pulled up tight over a rave bandana mask and nylon cap. Though the brand operates under an ethos of anonymity, contrast and intimidation, a clear bout of imagination was present throughout, too. This was seen in the windbreak blazers and hypervigilant styling, particularly the duffle bags filled to the brim with fake USD $100 bills and in-ear security plugs. In surveilling the street set, Potirakis offered a militant approach to design, but one that has resonated nonetheless. As the label said themselves, an endorsement from AFW means they must be doing the right things.  

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