red magpie

From the very beginning of Fashfest, the emphasis has been on local people, local history and local pride. Every person involved, from makeup to designers to hair to tunes, is connected to Canberra. Co-founders Clint and Andrea Hutchinson might have pulled up the proverbial megaphone to Canberra-naysayers, but the best part about this hugely achieved fashion event is that it’s showing Canberrans how much we have to be proud of.

As a pre-show lead-in, film snippets of iconic Canberra scenes from the 1970s and 80s played on the triple-screen backdrop to the catwalk, taken from the National Film and Sound Archive and put together by By George Studios. Musical duo Shotgun Cubs subtly guided the varying tone of each parade, and I was shocked to realise that vocalist Xavier Dunn was singing live—it was so incredibly effective that I initially assumed the vocals were pre-recorded and already digitalised.

As for the fashion? Let Elly Freer’s excellent photography and my enthusiastic words show you.

BAKU/MONT

The opening show comprised of Australian swimwear label Baku and Canberra-based outdoor wear brand Mont, as styled by Janette Lenk. Despite the cold, the models gave it their all with grins as cheeky as their tutti fruity bikinis. Paired with Mont’s feather-down parkas (which I’m eyeing off for an upcoming trek in New Zealand), it was blinged up 90s coastal meets summer alpine resort, and a couple of Mediterranean prints tossed in for good measure.

HUNTER

Sara Wurcker’s label Hunter saw its models glide in wearing loose-fitting, consciously structured cropped tops with high-waisted pants and bloomer-esque shorts. Beautifully boxy sleeves and décolletage-tickling necklines dominated the structure of the collection. The combination of bed and lounge room-inspired fabrics (yellow checks, pale Oriental satin, floral tapestry) styled with youthful fishtail braids, heavy brows and doll-rose cheeks made me think of 1970s tweens basking in the dwindling rays of Autumn’s warmth.

PERPETUALLY FIVE

One of the many things I love about Mitchell Thompson’s designs is that they give grown men the opportunity to wear dinosaur print pants. His Fashfest collection used not only playtime extravaganza prints but also loads of clear raincoat plastic. Puddles ahoy! Save Perpetually Five’s duck patterns and Crayola shorts for a rainy day, but don’t forget to greet your afterschool partner-in-crime with a jellyfish high-five like the models did.

LISA T

If you follow Lisa Twomey’s track record you’ll see that her defining approach to design is seriously hardcore embellishment. Now take that approach and apply it to as many mythical characters as you can (hint: start on the Goblin King and Little Red Riding Hood). Opening with an ultrafeminine peaches-and-cream strapless gown, the collection followed with outlandish pieces reminiscent of Iceland in one instance and Eastern European folklore in another. Laden with studding, gaudy jewels, floral embroidery, thick faux fur lining and, in one epic instance, a hand-painted mural, Lisa T’s garments are made to be worn on your personalised fantasy adventure.

WND.LND

My notes say “The Gothic Cupcake Bride”, and I’m sticking to that phrase. Zoe Brown’s latest instalment is what she does best – getting the kitsch from different eras, and deftly splatting it together to make for a whole lot of attitude and fun. Pink lace, black tulle veils and mini-skirts, candy-coloured flowers, 90s yellow smiley faces, black sheer shirting, and black shiny plastic floral headwear: it’s like the designer got the girly from her previous collections and dipped it in tar. The tongue-in-cheek “VIRGIN” emblazoned on the back of one top says it all.

ROCKSTARS AND ROYALTY

The uber-wow moment: Anneliese Seubert sashaying down the runway with Helena Bonham Carter-worthy hair wearing a mermaid green tulle-skirted gold-bodiced dress that would probably wouldn’t fit in my lounge room. Rockstars and Royalty reminds me of those extravagant Barbie gowns you could switch-a-roo your doll into. Multi-tiered swathes of tulle in Disney colours, nods to the Great Gatsby with a floor-grazing silver sequin gown, a gracious bow to Tilda Swinton’s White Witch with icy blue jewelled tulle: this is bridal couture of silver screen proportions.

We’re halfway through the event now, and I’ll be posting more coverage up over the next few days. If you’re kicking yourself for missing out, hit up the standing tickets – available at the Fashfest website or at the door – for a very reasonable $35. You might say “Pfft!” at the idea of a standing ticket but honestly, given the plummeting temperature we all love to complain about because it breaks awkward silences, it’s probably preferable to stand than to sit anyway. Besides, it’s worth every cent.

Congratulations to the designers for their gasp-inducing collections and to everyone involved for such a monumental event. I’m getting my Day 3 gear on as I type, and can’t wait to see what else is in store.

Click the link below for (many, MANY) more photos, including the socials. All photos copyright Elly Freer (to whom I am forever in debt).

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