First Nations Fashion Ignites Darwin Catwalk

Country to Couture Celebrates Culture, Connection, and a Decade of Influence

The vibrant pulse of Indigenous Australian culture took center stage in Darwin as the “Country to Couture” fashion showcase marked its tenth anniversary. More than just a display of apparel, the event highlighted deep connections to Country, cross-generational storytelling, and the burgeoning power of First Nations design.

A Powerful Opening Statement

The show commenced with the resonant voice of Witiyana Marika of Yothu Yindi, singing a traditional Yolŋu song. His granddaughter, model Magnolia Maymuru, graced the runway in a striking gown by Taungurung and Dja Dja Wurrung artist Cassie Leatham. Crafted from scrap fabrics using traditional coil weaving, the “Matriarchs Circles of Life” piece symbolized a fusion of heritage and modern sustainability.

As Maymuru walked, the soundtrack shifted to “This Land is Mine” by Kev Carmody and Paul Kelly, a poignant reflection on intertwined settler-colonial and Indigenous perspectives of land ownership and belonging.

A Celebration of Community and Kinship

Held on Larrakia country, the event showcased twenty collections from First Nations designers and artists, presented by Indigenous models and accompanied by an all-First Nations soundtrack. The powerful presence of Malyangapa Barkindji rapper Barkaa, performing alongside her mother and acclaimed jeweler Cleonie Quayle, underscored the deep sense of community and pride.

Maymuru reflected on her journey, tearfully recalling her debut at the first Country to Couture in 2016. “There’s been such a big shift [in the fashion industry] since I started out back in 2016; a huge wave of First Nations fashion and models,” she shared. “To be a part of a generation where we made a huge movement that changed the nation – [and] to be a part of it from the beginning right up until now – it was just an incredible feeling.”

Artistry Meets Apparel

Country to Couture, now a decade strong, has consistently championed collaborations between artists and fashion designers, originating from the Darwin Aboriginal Art Fair (DAAF). This focus ensures that ancient stories are brought to life through impactful and vibrant creations.

Simon Carmichael, DAAF artistic director and a Ngugi man, emphasized the core of the event: “Across all of the different art forms, whether it’s performance or fashion or design … these stories are brought to life in really impactful and vibrant ways that enable people to connect with the stories and learn more.”

Michelle Maynard, manager of Indigenous Fashion Projects, clarified the event’s unique position. “We’re not trying to replicate the mainstream fashion industry,” she stated. “That’s there for people if their aspirations lie in the commercial landscape. But I think the greater percentage of our participants’ aspirations aren’t.”

Maymuru highlighted how the showcase lifts remote communities and reveals personal identities through designs. “You get to see people’s identities; you see who they are in their designs. You hear their stories. Each and every single one of us have our own totems, our own songlines, our own Country. And we tell these stories through art and through fashion – and DAAF allows us to show it to the world. I just think that’s amazing.”

She concluded the opening show in a cape featuring hand-painted designs by artists from Bula’Bula Arts. “That cape actually represented the art centre, the people, the land,” Maymuru explained, recalling a profound moment meeting one of the artists backstage and discovering a kinship connection, “Turns out I call the designer grandad! It was just such a special moment.”

The collaboration between Bula’Bula Arts and Black Cat Couture demonstrated a creative freedom in applying traditional designs to new mediums, with artist Angela Banyawarra noting its power to share ancient stories. For the young women in Ramingining, wearing these designs is empowering, fostering pride.

Eunice Yu of Nagula Jarndu spoke of “mabu liyan,” a Yawuru concept embodying a sense of well-being. The desire to see their art on clothing, she said, stems from wanting to wear something that “makes you feel good.” Nagula Jarndu’s partnership with Rajasthan-based Saheli Women exemplifies a commitment to sustainable fashion practices, aiming to avoid contributing to industry waste.

Social enterprise Magpie Goose, which has generated over $700,000 in royalties for artists, focuses on cultural and economic empowerment. Co-owner Amanda Hayman stated, “Artists and stories are the focus. Fashion is just a platform.” Their latest collaboration with Quandamooka artists, including Elisa Jane Carmichael, highlights the transformative power of art on fabric.

As Hayman noted, while fashion is a challenging business, it creates significant impact and offers artists the profound satisfaction of seeing their stories worn and shared. The event reinforces that First Nations fashion is not merely about clothing, but a vital expression of identity, heritage, and a forward-looking vision.