Stalwarts of the fashion industry in Aotearoa, including Margi Robertson of Nom*D, Juliette Hogan, Jeanine Clarkin and stylist Sammy Salsa, nominate the names they’re most excited about right now.
Categorisation is difficult in the tight-knit fashion industry of Aotearoa.
Could you call Rory William Docherty, who is set
What about John Tanuvasa, the designer who showcased a solo show at Te Wiki Āhua O Aotearoa this year, will debut at New Zealand Fashion Week: Kahuria and recently won an award for his contribution to Pacific fashion?
Or Rhys Muru-King, who makes up one half of Nvvr.World, lectures at Whitecliffe School of Fashion and Design and is also showcasing jewellery and clothing on the official fashion week schedule?
They are all names highlighted by those in the industry as emerging, as ones to watch, as names to remember.
According to designer and New Zealand Fashion Museum director Doris de Pont, there is a powerful energy in local fashion right now.
“I am particularly impressed with the many young people making fashion at the moment, not just for what and how they are making but most especially how they are working together to showcase each other’s talents.”
She points to Te Wiki Āhua O Aotearoa, the enduring spirit of fashion on Karangahape Rd and ongoing pop-ups where designers share retail space.
“I see that there is a societal move away from a ‘fashion industry’ to a model where value is attributed to the materials and the creative hands of fashion making.”
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Advertise with NZME.With this spirit in mind, established names in the local industry spotlight designers, creatives and collaborators they are most excited about right now.
Des Rusk
Nominated by Chris Cherry of Workshop and designer Juliette Hogan
Fanfare surrounded the launch of Longform earlier this year. The Tāmaki Makaurau label, founded by Des Rusk, features a line of sturdy, simple merino garments. What is so captivating about a merino wool label in this country, the land of the many white sheep?
For Chris Cherry, the founder of Workshop, Des’ focus on high-quality fabric and mindful merino sourcing sets his approach apart. He says the line is “well considered, beautifully crafted” with “great functional design [and] immaculate attention to detail”.
“[Helen and I] first met Des in the 90s when he was a fashion design graduate and part-time model. We got to know him well when he went to work for Roger Wall at Wall fabrics around 2012. Helen, in particular, worked closely with him, sourcing fabrics for the Helen Cherry collection.
“Des has always had a great eye for design and a strong aesthetic, he is extremely personable and this comes across in his collection, which is incredibly appealing in a very simple, relaxed and not trying too hard way.”
Juliette Hogan also champions Des’ work, recalling their early collaborations for her namesake label – Des was one of the key fabric suppliers for Juliette Hogan.
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Advertise with NZME.“What excites me about Longform is its emphasis on enduring style and environmental responsibility. The use of ZQ-certified merino wool, traceable to farms in New Zealand, ensures not only superior quality but also ethical sourcing practices. Moreover, the natural properties of merino mean these garments require less frequent washing, thereby reducing energy consumption over their life-cycle.
“My husband has become a devoted fan of the label, and I, too, am eager to see how Longform evolves in future collections. It’s heartening to see such a thoughtful approach to fashion, where quality, sustainability and design converge seamlessly.”
Finn Mora-Hill
Nominated by Vicki Taylor, of Taylor and The Shelter, and stylist Sarah Stuart
Designer Finn Mora-Hill (Ngāi Tahu) creates grungy and transformational garments for Fringes. The designer, who is a Massey fashion graduate and Āhua producer, has caught the eye of many industry figures.
Vicki Taylor spied Finn’s work on Āhua and iD Dunedin Fashion Week runways and the two later met backstage.
“Finn has a unique approach, based on his studies of workwear and functionality that means he merges his edgy style into practical garments.
“It’s one thing to have an idea and create a garment, but another to learn how they fit the body, and make something that people want and love to wear. For a young designer, Finn’s patterning and shapes work incredibly well on actual figures.”
Vicki applauds Finn’s quiet confidence and believes it is owed to a comprehensive understanding of pattern making and construction. This was made evident when Vicki invited the designer to showcase his work to the team at The Shelter (where Fringes is now stocked).
“It can be incredibly daunting coming into a space with a group of knowledgeable, black-clad fashion lovers and he did a great presentation, quickly winning the respect of my wider team.”
Stylist Sarah Stuart also noted Fringes as a standout among local and international designs at iD Dunedin. After this first encounter, Finn’s work came to mind when she looked to style Jesse Mulligan for the 2025 Aotearoa Music Awards.
“Finn is wildly talented, creative, efficient and technically brilliant. He nailed the brief and over-delivered. But what really set him apart was how calm, kind and collaborative he was throughout the process. He is one of those people you instantly want to work with again.”
Beyond their collaborative relationship, Sarah has also been impressed by Finn’s eager disposition, pointing to his showing at nine shows across the country, production work with Kate Sylvester and role at Āhua.
“His work feels like storytelling. For Jesse’s suit, he screen printed his own fabric using photographs of Auckland’s urban landscape. Every detail is considered – his work has depth, intention and originality.”
Jing Hé
Nominated by designer Kristine Crabb
Based in Tāmaki Makaurau, independent designer Jing Hé creates garments inspired by their upbringing, contemporary Asian art and pop culture and a sense of rebelliousness.
After studying at Massey University – interrogating ideals of femininity and marriage – Jing Hé launched a namesake, direct-to-consumer label of ready-to-wear and made-to-order clothing. In the time since, the designer has been in workrooms for Kate Sylvester, Stolen Girlfriends Club and Michael Parekōwhai.
Kristine Crabb came across Jing Hé’s work during a showing at The Keep.
“I really admire their work and style. I bought a perfect white leather studded belt which reminded me of Dolly Parton and now I’m obsessed.
“They are so strong and fresh and very meticulous in construction, visual style [and] style of business. You can feel the love and tenacity in what they are doing. The pieces are surprising and eclectic and so sophisticated and elevated.
“I actually can’t put my finger on [what makes it so distinct.] It has a sense of mystique, which I find is rare these days. It has a confidence too, which is so nice to see and feel.”
Pieces by Jing Hé were also featured in several Viva fashion shoots, including this particularly notable one with Lorde at Te Uru gallery.
Caitlin Snell
Nominated by Anjali Burnett of Twenty-seven Names
Nelson-based designer Caitlin Snell is best known for darling hair bows but her talent goes beyond this familiar accessory.
Last year, Caitlin marked a formative moment for her eponymous label with The Maiden show at Studio One Toi Tū. On the runway, the designer showcased sweet, sexy ensembles with neat cuts and long ties. It functioned as an announcement for her shift toward one-off, handcrafted clothing.
Anjali Burnett of Twenty-seven Names was introduced to Caitlin’s work while in attendance at NZFW: Kahuria 2023. In the time since, Caitlin has crafted pieces for the label, making use of fabric remnants from their local production lines – the latest drop features hair bows in red and black polka dots, as well as a cherry red handbag emblazoned with a bow.
“Caitlin’s craftsmanship and straight-up whimsy is so appealing to me. I’m sold on the ‘It’s always sexy to support locally made, sustainably considered and ethically produced small businesses’ vibe.”
Ah Tua
Nominated by stylist Sammy Salsa
In selecting garments for a Viva cover that meets the brief before a refreshed NZFW: Kahuria, stylist Sammy Salsa called on the couture of designers and sisters Matilda and Aialaisa Ah Chong. Their label, Ah Tua, has an array of made-to-order and one-off pieces – think a belted jacket with a rainbow pāua glint, a co-ordinated set that draws on siapo and a denim jacket with square flower cut-outs.
Ah Tua will show at NZFW: Kahuria for the first time as a part of the Pacific Fusion Fashion Show. Sammy says their approach to design and storytelling represents a larger theme of representation.
“They are the bridge between our traditional-inspired and where our young Pacific creatives want to take their creativity and their entire Pacific-ness.”
Matilda and Aialaisa have said their Samoan culture is at the core of Ah Tua and the designs are an avenue for new expression. Sammy is excited about the way traditional patterns are woven into new silhouettes and shapes. He points to a corset, emblazoned with the print of tapa cloth.
“They have taken something from a different era and not particularly Polynesian and have put their spin on it and made it fun for their followers to enjoy.”
Makaira Lee
Nominated by Deanna Didovich of Ruby
Once a Rubette, always a Rubette. Ruby’s creative director Deanna Didovich is watching keenly to see the launch of a vintage platform from former art director Makaira Lee. By Kai will involve Makaira retailing vintage and one-of-one pieces online (her first customer? Jess B on tour).
“[She] has an incredible eye for design and vintage,” Deanna says. “Her taste feels intentional, which is what makes her transition into this space so exciting. It’s been very rewarding to watch her develop her own creative path, and By Kai feels like a natural next step.”
Makaira, who’s also currently working as the art director for You Know, has a background in graphic design and photography, which led her to discover an interest in styling and art direction. Her style blends contemporary streetwear, saucy vintage and sleek occasion wear. A sneak peek of Makaira’s By Kai will also be on display at NZFW: Kahuria, where she’s slated to style the Auckland FC Kit Couture show.
“She has a very unique lens and the ability to see ideas that might not be obvious, but when she executes them, it just works,” Deanna says. “What sets her apart is that she’s not following a formula – she’s carving out her whole lane. Her background as our former Ruby stylist often saw her weaving vintage pieces into contemporary styling. That kind of eye is rare.”
JPalm
Nominated by Margi Robertson of Nom*D
Julia Palm’s introduction to fashion came in her early years, immersed in the world of retail and style at her mother Jane Palm’s Nelson-based Palm Boutique. After studying fashion in Ōtepoti, Julia honed her craft working for luxury labels in New York, including Eckhaus Latta and Opening Ceremony. She launched JPalm in 2018, creating a distinct design aesthetic and considered production practice. Her textural, gender-fluid garments are crafted in small batches by a small team of local makers – a slow fashion project that aims to sustain local manufacturers.
Nom*D founder Margi Robertson stocks JPalm in Plume, the storefront that presents a curation of international labels (think COMME des GARÇONS and Dries Van Noten) and local designers (Rory William Docherty, Jimmy D and Company of Strangers). Beyond Julia’s consistent professionalism as a collaborator, Margi is interested in her distinctive point of view.
“JPalm is a brand that covers upmarket street but still appeals to the discerning client; the price points are affordable, fabrics are unique but solid and there is a utilitarian undertone to Julia’s work that we find interesting.“
Margi also points to the broad demographic of JPalm customers, which encompasses young and experienced dressers, who also align with Nom*D’s clientele.
Beyond the JPalm label, Julia has launched Slug Pop Up in Pōneke, retailing and exhibiting pieces from local designers. Over the years, Slug has platformed Papa Clothing, Laurence Sabrine, Itchy Knits and many more creatives, as a highlight in the capital’s fashion calendar. The event will return in November, showcasing more of Julia’s desire for excellence and drive for genuine connection in fashion communities.
Giulia Zigliani
Nominated by designer Jeanine Clarkin
Natural dyeing, biodegradable materials and repurposed textiles – Giulia Zigliani’s approach to design is ecologically considered. The storytelling, however, is deeply personal. Her collections reference religion, spirituality and self-acceptance, through theatrical embellishments and contrasting looks.
Giulia often explores clothing’s capacity to restrict and emphasise movement. The stiff bodice of a purple dress has ties that bind the hands to the hips, while a flowing white silk set is secured with a single clasp, torso in the wind.
Designer Jeanine Clarkin first spotted Giulia’s work at Whitecliffe’s 2024 graduation show, where she exhibited pieces created for her degree in sustainable fashion design (she would also later join the Āhua collective).
“I like all the drama in her clothing as well as the tailoring and cuts.”
Jeanine is excited about the distinct shapes of the garments, but is especially taken with the core philosophies underpinning her approach to design.
“Her works are created for social and environmental regeneration [and] made with love and a little bit of anger… I love that she has anger as a motivator.”
Te Wiki Āhua o Aotearoa
Nominated by Andreas Mikellis, AUT lecturer and founder of Skrimshand
First launched in September 2024, Te Wiki Āhua o Aotearoa has led to a group of energetic young artists and designers spearheading a much-anticipated event for the fashion calendar in Tāmaki Makaurau.
The second iteration of Āhua in February, which featured runways and events across inventive venues on Karangahape Rd (think hallways, corner dairy and carparks), presented a more comprehensive thesis.
The third, which is set to return in the same slot as New Zealand Fashion Week: Kahuria, will showcase an expanded talent pool of 38 designers across nine days and 17 shows (led by a refreshed leadership team). The themes are spiky: mentions of blurred lines between opportunity and exploitation, control and mentorship.
Head of communications Paris Lloyd-Beere says: “Our thematic focus this year explores the illusion of creative belonging in an industry built on appearances. The story follows a young creative as she navigates moments of recognition, erasure and realisation, and her all-too-familiar journey of moving from awe to disillusionment.”
Fashion students are common among the crowd. Eagle-eyed attendees might draw parallels between Āhua runways and show-and-tell graduate shows. This academic overlap has allowed designer and AUT lecturer Andreas Mikellis to keep a close eye on the happenings.
“I’m a huge supporter of Te Wiki Āhua o Aotearoa, the underground fashion collective that provides a genuinely authentic and vital space for our community of disruptive, innovative and experimental designers.
“Every show has been inclusive, immersive and thought-provoking; it’s the fresh air that NZ fashion needs to urgently breathe.”
Madeleine Crutchley is a journalist for Viva and lifestyle and entertainment at The New Zealand Herald. She covers stories relating to fashion, culture and food and drink, from her hometown of Tāmaki Makaurau Auckland. Recently, she’s written about dressing during the climate emergency, alternative fashion futures and contemporary sculpture artworks.
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