Aquatic grottos have enjoyed the ‘main character’ treatment by fashion over recent years—Versace’s Atlantis-inspired Spring/Summer 2021 collection, the sartorial sirens that emerged following the release of Disney’s live-action The Little Mermaid and even closer to home, Romance Was Born’s gilded reef couture Resort ‘23 collection in collaboration with Sydney artist Ken Done.

Now, a new addition enters the canon of fathoms below fashion. On the evening of Day 4 of Australian Fashion Week, emerging designer Alvi Chung descended on the Sea Life Sydney Aquarium to present the Resort ‘25 collection of her emerging label ‘Speed’. Literally taking guests beneath the sea’s surface, attendees (all with Bombay Sapphire gin and tonics in hand) made the maritime pilgrimage past the jellyfish garden and penguin shelters into the hollow of Darling Harbour: Shark Valley.

It was there, underneath the arched tanks and amongst the grey nurse sharks and smooth rays swimming above, that Speed’s latest offering, titled “Electric Suns”, debuted to eager audiences. (The wristbands entry and lines wrapping the block were proof of the appetite of Chung’s creations). Like the name of the label, the show was a fast affair in order to accommodate everyone and stage repeat shows. The collection itself featured both literal and surreal interpretations of the source material. The most overt was an Ariel-inspired model (complete with auburn wet locks) that presented a strapless ivory bandeau dress covered in haphazard aqua tulle and toted a netted bag.

Elsewhere, metallic fabrics and unconventional fabrics mingled to create something otherworldly. Not quite a sunken paradise, but an off-planet world where wool grey vests and distressed suede are the inhabitant’s uniform. Given the popularity of Denis Villeneuve’s Dune adaptations, we could easily see Chung lifting ideas from Paul Atredies’ (Timothée Chalamet) journey from his aquatic homeland of Caladan to the barren wasteland of Arrakis. (Though some illuminated skin and chrome eyeshadows did give the models an intensely Harkonnen quality).

“The apocalypse triggers a cosmic shift, leading to a complete transformation of the planet,” Chung noted to GRAZIA about the universe she’s created with this collection. This collection is more or less a narrative of Chung’s creative journey. She explained after the show how the collection embodied the revitalised love for her craft after a bout of disillusionment with the industry, especially as a nascent artist in the field. The young American designer Elena Valez, who staged her most recent collection in a mud pit and has been described by The Washington Post as “fashion’s problematic fav”, once described the act of “perineum sunning” as “alpha behaviour”. But here Chung is saluting the celestial centre of our solar system in her own way. “The sun emerges as both a symbol of destruction and renewal.” With upcycled fabrics and intentionally weathered pieces, it’s not difficult to come along with Chung for the ride—especially given the adventure to get her show!

MFW: Rococo Reimagined At Max Mara Spring/Summer 2026

Everything We Know About Selena Gomez & Benny Blanco’s California Wedding

Horoscopes September 29-October 5: Allow Yourself Time To Process Changes

MFW: With Delightful Contradictions, Prada Finds Liberation In Uniforms

MFW: The Lightness of Being At Fendi Spring/Summer 2026

MFW: Demna’s Gucci Takes Shape With ‘La Famiglia’