As fashion looks back on this pivotal decade, Tasman-based author Sasha Sarago looks at how Australia responded to the waves of design talent, newcomers and a rapidly changing industry.
The In Vogue: 90s series reminds viewers of the glamor and grandeur of a transformative decade in fashion. The series explores the rise of supermodels, designer powerhouses, and fashion’s global influence against the backdrop of New York, London, and Paris. However, Australia’s fashion scene was never mentioned, even though the country was enjoying remarkable international success at the time.
The 1990s ushered in a golden age of fashion. Supermodels such as Linda Evangelista, Naomi Campbell, Cindy Crawford, and Christy Turlington have become style icons. Designers like Tom Ford, Jean-Paul Gaultier, and John Galliano pushed the boundaries of fashion, creating moments that defined eras and influenced everything from pop culture to politics.
Australia may not have had the runway clout of Paris or New York, but the country was making great strides in fashion during the same period. The Australian designer and model’s unique style was impressive and gave the fashion world heavyweights a run for their money.
Australian designer succeeds internationally
In the 1990s, Australian designer houses such as Alana Hill, Colette Dinnigan, Akira Isogawa and Sass & Bede represented Australia’s ‘coming of age’ in fashion, with each designer bringing their own flair and Australian sensibilities to the international market. Ta.
Alana Hill has created a quirky aesthetic with an edgy twist. Her designs have become a cult favorite, worn by celebrities Nicole Kidman, Helena Christensen, and Courtney Love. Business soared, from Melbourne’s Chapel Street Boutique to London’s Selfridges and Browns to Bergdorf Goodman and Henri Bendel’s department stores on Fifth Avenue in New York City.
In 1996, Colette Dinnigan gained international acclaim as the first Australian designer to present a collection at Paris Fashion Week. Dinnigan’s delicate lace dresses and haute couture craftsmanship attracted attention at the Fashion in Motion exhibition at London’s Victoria and Albert Museum. Strike while the iron is hot, and Dinnigan has secured a lingerie collaboration with Marks & Spencer.
Akira Isogawa, known for his fusion of Japanese and Western aesthetics, launched his first collection in 1994. The company then presented biennial collections in Paris, a tradition that has continued since 1998. He was innovative from the jump, turning his early limitations into strengths. When he didn’t have enough money for shoes for his first big show, he sent models down the runway wearing little red socks. This fashion statement ultimately helped them acquire over 50 retail partners.
Models walking the Akira Isogawa runway in Paris in 2000. Photo/Getty Images
Founded in 1999 by friends Sarah Jane Clarke and Heidi Middleton, Sass & Bidet brought youthful urban energy from London’s Portobello Road Market back to Australian shores. Their signature brand quickly became popular and was acquired by Myer in a two-part deal worth A$42.3 million. Australia is no longer an isolated island, but a wildcard in the global fashion ecosystem.
Australian faces and Elaine George’s Vogue cover
The Australian designer wasn’t the only superstar to achieve fashion fame.
By the time the supermodel phenomenon was etched into the fashion zeitgeist, Australian model and businesswoman Elle Macpherson (then known as The Body) was already well known. Australian models Sarah Murdoch, Christy Hinze, Kate Fisher and Alyssa Sutherland will follow.
Magazine cover models in the ’90s displayed a sun-kissed “girl next door” appeal. The exception was Emma Balfour, who was often touted as the Australian androgynous equivalent of Kate Moss’s grunge-bohemian look.
However, in 1993 a turning point occurred in Australia’s beauty paradigm. This was the year Australia’s first Aboriginal fashion model, Elaine George, made fashion history by appearing on the cover of Vogue Australia. Elaine’s presence highlighted the Australian fashion industry’s prioritization of Eurocentric ideals of beauty.
We urgently need to celebrate Indigenous beauty and fashion talent. But Australian Vogue readers had to wait until October 2000 to see Torres Strait Islander singer-songwriter and actress Christine Anu on the cover. This gap demonstrated the stain of underrepresentation and injustice that remained on Australia’s fashion reputation.
2000s when fashion became faster
The 1990s were a time of optimism and growth for Australian fashion, but the momentum didn’t continue into the 2000s. There were several factors contributing to this decline.
One of the most important changes was the rise of fast fashion in the early 2000s. Brands such as ZARA, H&M, and Forever 21 began dominating the global market with affordable and quickly produced clothing.
This change has meant that many independent designers, including those from Australia, have struggled to compete. The slow, meticulous craftsmanship that characterized Australian designers in the ’90s couldn’t keep up with the fast fashion cycle.
Another challenge was the lack of sustained support for the Australian fashion industry. Unlike New York, London and Paris, which had established fashion infrastructures, Australia’s fashion scene was still relatively young. There was no long-term strategy to develop emerging talent or promote Australian fashion on a global scale. Many designers have relocated overseas or found it difficult to maintain the same level of success they achieved in the ’90s.
A new renaissance?
The history of Australian fashion in the 1990s is one of promise but ultimately missed opportunities. Today, Australia has the opportunity to enter a new renaissance driven by digital innovation and its unique culture.
The rise of digital fashion has freed Australian designers from the constraints of the traditional fashion market. With virtual garments (real clothes or simulated for the digital realm), AI-powered design tools and Metaverse Runway, Australian creatives can leverage technology to showcase their work globally. Masu.
Championing indigenous models, designers, and multicultural identities is essential. This inclusivity could position Australia as an innovator in sustainable and ethical fashion, presenting an attractive alternative to fast fashion giants.
Sasha Sarago is the Head of Indigenous Cultural Innovation in Beauty and Technology at Charles Sturt University.
This article is republished from The Conversation under a Creative Commons license. Read the original article.
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