ARTS & CULTURE | REVIEW | NOSTALGIA Written by Stella Roper (they/she), Sanskruti Banerjee (she/her) & Nabeelah Khan (she/her)
Photography by Lucas van Schaardenburg (they/them) | @schaarsartor | Contributing Photographer
Lights. Camera. Runway.
Debate writers Stella Roper, Sanskruti Banerjee and Nabeelah Khan attend the three different runway nights at Te Wiki Āhua o Aotearoa, investigating the locally-ran fashion week showcase which strived to unveil and celebrate the undercover fashion scene that’s been hiding right under Tāmaki’s nose for too long. It’s about time for local fashion designers to have the spotlight, and Āhua has dutifully done so, in a breathtaking fashion.
NIGHT ONE: Life Cycle of A Butterfly
Written by Stella Roper (they/she) | @stellyvision | Arts & Culture Editor
Āhua started strong with their first runway of the week, Life Cycle of a Butterfly.
In the moments pre-show, the venue, Raynham Park had become packed full of excited attendees. The air's electric feeling was partly influenced by the buzzing 2000s-inspired beats provided by Tāmaki-based DJ; Cupid (@cupidx99). As I become enveloped in the sea of black outfits from the fashion-forward crowd, I shift my gaze upward and find the two walls on each side of the runway displayed with images of featured designers alongside Āhua’s statement butterfly motif.
This was a project that I imagine had taken many moments of transformation to establish. Now, having emerged from its chrysalis, Āhua is ready to take flight.
A countdown ticks to 0, and the room is silent in anticipation. A lone girl walks up the runway, quick to break out into fast-paced contemporary dance. Her body almost jolts in unison with the intense eclectic sounds overwhelming the space. Projections of white-faced ghouls and monsters surround the walls opposing the runway, the found footage-esque visuals curated by videographer JJ Farry (@jj.farry)
Night One featured a glamorous array of designs that blended art and fashion. Intricate knitted garments from KONGCORE looked as if they were flowing in motion, the fluidity and strength of the pieces highlighted as the models sauntered down the runway. Pearls dripped and string webbed around MAXINE’s collection, a skeletal contrast toward the flesh-coloured fabric and ruched texture also incorporated within several featured garments. As the music shifted to atmospheric yet ominous choral music, attendees laid eyes on Wei Wen’s collection. The drapery and meticulous patterns of knit and crochet were beautiful to watch in movement and reminded me of medieval knight chainmail.
Zheyi Ruan provided a drastic change of colour palette compared to the more subdued hues so far, as vibrant reds and greens playfully intermingled across the runway. Showing versatility, Ruan had flowy dresses of a variety of lengths as well as a skintight jumpsuit. The beadwork on this collection was truly something to behold in person, with the attendees gasping as each work came out.
Sleeping Profit’s detailed pleated skirts and corsets were on everyone's mind - an attendee next to me commented “I’d totally buy that.” AeraTheLabel was the final act within the show, featuring their wedding collection, and it absolutely rose to the occasion. Asymmetric knots, a veil and lots of lace. As Āhua, Life Cycle of a Butterfly, had come to a close, I wondered: Who’s wedding did I just attend?
Overall, this show utilized the flexibility of the human body, a fluid canvas, truly showcasing the beauty of their pieces. I would have loved to see more intense makeup and hair on these looks, to truly mirror the eccentric nature of the LCOAB show.
NIGHT TWO: Evils & Parties
Written by Sanskruti Banerjee (she/her) | @san._.banerjee | Contributing Writer
Ahua’s night two Evils & Parties was dedicated to alternative fashion. We’re talking unconventional and bold, a style that fits outside of your typical norms. This night featured creations by; Laurence Sabine, banshee, Evangelixir, Taur, Tokyoelpari and Depth of Scye.
Crowd members rocked leather, big jackets, plaid, boots and channelled the spirit of Evils & Parties through innovative fashion pieces. The wicked vibes were kept afloat by DJ Vitamin Cos who curated beats that added to the suspense and energy of the runway. Within the set, there was a cheeky feature of Lana Del Rey.
Night Two’s array of designs blended creativity with performance, each walk having its own story to tell. While some designs were intricate in their eye to detail, others retained a simple colour or theme concept such as plaid or blacks and whites. With dark colours such as reds, blacks and greys, the atmosphere was one of suspense, anticipation and a somewhat foreboding sinister tone. The pieces and collections featured individualistic and original styles, all with bold show-stopping moments. Whether this was big balloon sleeves, cut-outs, padded shoulders or confident poses at the end of the runway - the audience was left mesmerized by each collection and the unique flavour to alternative fashion it brought.
Evangelixir’s collection served as a personal favourite, garnering cheers from the audience due to the sleek black cut outs, leather and bold walks from the models. This collection also featured veils, black and silver to stay true to the Evil & Parties theme.
NIGHT THREE: Boy’s Cry
Written by Nabeelah Khan (she/her) | @nabeelahkhann | Contributing Writer
Night three of Te Wiki Āhua o Aotearoa delivered an explosive finale to the third and final runway night. Curated by Āhua producer Nina Bailey, Boys Cry reimagined urban fashion, featuring collections from Fringes, Fourteen Labs, Milan Jeon, Maxwell, Club Klepto, and Existence.
The packed crowd, a vibrant sea of mesh, lace, leather, and denim, gathered along the edge of the runway. Each person reflected their unique style, contributing to the eclectic aesthetic. Heads tilted up or leaned in close, straining to catch snippets of excited conversation over the booming hip-hop beats reverberating through the space. DJ Panadoll (@24panadoll) energised the crowd with mixes of Tyler, the Creator and Yeat.
By the third and final night, the audience was well-acquainted with the show’s atmosphere, yet the anticipation remained palpable. Boys Cry wasn’t just filled with youth; among the crowd was an elderly grandmother who stood proudly at the edge of the runway and waited to congratulate her granddaughter, who made her debut on the catwalk.
Raynham Park's walls were transformed into a moody, gritty urban landscape by the captivating visuals designed by Dingfly (@dingfly.art). Inspired by old video games, these visuals featured abandoned, graffiti-covered alleyways, creating an immersive backdrop for the designers' street-inspired collections.
The collection featured a fusion of baggy, functional pieces, intriguing cut-outs, and tarnished denim. The Boys Cry show exuded a predominantly masculine fashion and attitude, contrasting with the previous night’s themes of Life Cycle of A Butterfly and Evils & Parties, which showcased more feminine designs.
Milan Jeon’s opening collection was a standout favourite, which showcased blue denim garments with intricate drapery and bold headpieces. Incorporating up-cycled materials, Jeon's collection added a sustainable edge to the runway.
As the runway show came to a close, the designers were met with an eruption of applause and cheers as they took their turn to walk down the catwalk. They were presented with bouquets by Palestinian families, who had worked with the Āhua team to determine where the fashion week's profits would be donated. The energetic third night of Āhua was filled with aroha.
To get a closer look at the mentioned designers, behind-the-scenes and more, check out the Āhua Instagram, @ahuaaotearoa
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