Here’s our kinda honest review from day three at Australian Fashion Week

It’s day three of Australian Fashion Week, and it’s safe to say that everyone’s starting to feel a bit musty, crusty and dusty. If you haven’t already read our review of day two, head over here. Who would have thought caking on multiple layers of foundation, wearing heels that more closely resemble stilts, and listening to music that would only otherwise be acceptable at the Ivy on a Thursday night would start to take it out of people? 

Alas, it’s a hard job – but someone has to do it, and this is where I come in. 

Despite the air of sheer exhaustion this Wednesday morning, we all rallied once again to participate in the Carriageworks contest of who can look the coolest whilst wearing sunglasses indoors. 

First stop was Third Form, debuting ‘re-FORM Resort 25’ – their first solo show ever. Thumping bass tones signalled the return of daring cutouts, floral jacquards and dazzling sequins that felt both rebellious and sexy. Picture intimate loungewear pieces transformed into a collection of wearable, everyday items – and make no mistake, all of this was done with complete intention by Founder and Director, Merryn Kelly.

In all honesty, it was good – dare I say great – work by Kelly, who has recently moved back to a slower fashion model over the notorious ‘see now, buy now’ trend. We saw odes to the 70s and 80s with plenty of tassels and frayed denim in sight, alongside more intricate pleating and crushed satin. Texture was definitely a key takeaway, only reaffirming the trend we’ve been spotting in more than one show this fashion week. 

To top it off, Third Form’s first release of handbags marks an exciting turn for the brand. They often paired matchy-matchy with the collection (I can’t help but love) – but admittedly, the oversized clutches admittedly felt more ham-bag than handbag at times. Not wrong, just different I guess. Overall, the show gave ‘effortless cool girl that actually takes a lot of effort’ vibes and I’m not mad about it. Let’s see whether the others come out this unscathed, shall we?

After smashing a few mortadella paninis at the AMEX Lounge (obvs), I headed to our second show of the day, Karla Spetic’s ‘Ikigai – A Reason for Being’ show. This one definitely had me going back for a second take, with Spectic rather cleverly subverting traditional undergarments and intimatewear as everyday wearable clothing. It was playful, ironic and yet bizarrely still kind of sexy – which we can imagine is kind of hard to do.

According to Spetic, the entire collection was inspired by cult arthouse Japanese cinema, examining the feelings of accomplishment, freedom and achievement experienced when one follows their own path. I can just see Spetic singing ‘The Flower of Carnage’ from Kill Bill Volume 1 in her head while designing the whole thing, and whilst it’s random, it’s also kind of cool. 

I won’t lie – on top of the printed undergarment pieces, there were also a lot of bows and those stupid puffy crocks thongs that somehow are still in fashion? Whilst they weren’t actively offensive, we’ve all seen them before and they felt a bit gimmicky to me (something to draw the influencers in I think??) Either way, it was a decently strong show – not all the garments were my style, but I could definitely appreciate the craftsmanship and consideration that had gone into the collection.

By this point in the day my feet were far from feeling any real circulatory movement, but it didn’t matter. The gem of Fashion Week’s crown, Romance Was Born, was about to perform – and I had one very important fourth row ticket.

Partnering with Indigenous artist Zaachariaha Fielding for their Spring/Summer 25 collection ‘The Nothing’, the show could only be described as an intergalactic and futuristic fashion adventure. It’s been a week since attending, and admittedly I’m still processing the sensory overload that was the show. 

Inducting the 7pm show was no other than the likes of Thelma Plum, Montana Cox and the Pip Edwards’ of the world. I wasn’t sure if it was that, or perhaps the overwhelmingly spectacular moonscape set design, that set the tone for the evening. Inspired by Fielding’s radically joyful and storied paintings, the show was described as one that was “neo-future beyond meta-modernism” – whatever that means? 

But in all seriousness, it was a stand out. Overblown fragile tulles, wispy chiffons and satins were all clashed with outrageously chunky beading and embroidery. It somehow felt camp but also legitimately broody, and I have no idea how that can even happen. I felt like I was on the set of Blade Runner but also in some sexy alien spaceship all at once. For sure met gala vibes. I’d recommend watching the whole show if you truly want to exeprience it.

And after 10 hours of reporting back to you lot, I could safely say that Fashion Week day three came to an official close. Get me an aperol stat and see you tomorrow.