Datlarwa Designs is a Larrakia mother daughter collaboration.

“We create Indigenous, fashion forward designs to give our customers beautiful art to wear. Perfect for a special event and for the tropical climate or summer weather anywhere in the world. Bold designs and art work will be sure to make you stand out from the crowd.”

The collection ‘Gun-gwa Gwoyelwa Gulumoerggi’ (This is Larrakia Country), consists of bold artwork on fashion forward styles to for both women and men. It draws on all the elements of Larrakia Country with Bush Morning Glory flowers, dilly bags, mermaid and crocodile dreaming as well as dragonflies, bush tucker and ocean life. 

Chantelle is studying Diploma of Fashion and has gained a lot of experience in both hand drawing and digital drawing of fashion designs. This collaboration with her mother, Larrakia elder and artist, Yvonne Odegaard, will incorporate her artwork throughout the pieces.

Yvonne’s inspiration for the artwork comes from stories past down from her three Larrakia Grandmothers and include the mermaid dreaming, crocodile dreaming as well as the Larrakia landscape and animals.

The fabrics include vintage finds, and natural fibres with cotton and silk, both hand screen and digitally printed. Every garment has been made locally on Larrakia Country.

Image | Joshua Morris wears shirt by Moydra Designs from designer Yvonne Odegard, Country to Couture, Head Stylist – Rhys Ripper, 2021, Photo by James Giles

Injalak Arts has been a centre for art, craft and community since it’s opening in 1989. They are based in Gunbalanya, an Aboriginal community of 1200 in West Arnhem Land at the top of the Northern Territory in Australia. In Kunwinjku, the language of their artists, Injalak means shelter. They pride themselves on creating a safe place for culture, creativity and knowledge to bloom within the community.

With over 300 active members – artists, weavers and craftspeople from Gunbalanya and surrounding homelands, their year-round production of art is inspired by connection to culture, country and people.

This year as a part of Country to Couture, Injalak Arts will work with designer Oliver Lacoon Williamson to design and construct a contemporary collection of men’s and women’s formal workwear in collaboration with Injalak’s artists.

In Kunwinjku culture, the fine detailed painting style is called Rarrk (hatching). Fine rarrk is painted with manyilk, a brush made from the sedge stalk and is shaved down to until only a few fibres remain. The rarrk painted by Yirrdjdja moiety artists is very fine, where Duwa moiety artists can be recognised by their thicker lines.

This collection will take the contrast between city attire and community attire and marry the two silhouettes to create a contemporary collection applying the Kunwinjku raarrk style.

Image | Courtesy of Injalak Arts, one of the artworks inspiring the collection.

The Yarrabah Arts & Cultural Precinct showcases culture, history and identity through textile, woven baskets, painting and hand crafted pottery. In this series, artists convey local traditions of Country and their natural environment by medium of textile. Movement and punchy colours invites you into these works while taking you on a journey through each narrative, which they call “Immerse.”

Textile is another medium the Yarrabah artists have mastered and this skill is nationally recognised. Initially, textile was printed on fabric, but in recent month’s artist have learnt to place artwork on a digital platform to create repetitive patterns on material.

The future holds an exciting path for the artist to showcase to the world!

“Immerse – linking our fashion story from Country to yours. Yarrabah Fashion embodies story telling connected to Country. From nature and our surroundings there can always be a powerful creativity that can be drawn from our luscious Country that surrounds us from sea to rainforest. Every shape, print, colour and accessory leads us back to our main inspiration… our Country.”

– Simone Arnol, Yarrabah Arts & Cultural Precinct, 2023

Image | Yarrabah Arts & Cultural Precinct, Philomena Yeatman Textile, Tahleise Willet Model,  Photo by Bernard Singleton

Designed and handmade on Country, Su states wanting her collection to acknowledge the privilege she feels in being able to showcase her fashion, and to honour her Country and people.

“My study at Eora, Sydney gave me the courage and skills to explore opportunities that showcase my art and fashion. I am very thankful and grateful to Eora and the Darwin Aboriginal Art Foundation for their support. I want my work to honour two things: trees magnificently carved by our old people, and my family and friends. Without their help I couldn’t do the work I do.”

This will be the designer’s second Country to Couture collection.

Image | Model wearing design by DandalooSu by Su Lousick, Country to Couture, 2022, Michael Jalaru Torres

Of place is a celebration of Country and Australian design – visual storytelling drawn from the land and translated through responsible and meaningful production.

Featuring refined natural textiles pointed towards circular features, this collaboration considers the way clothing can act like a thread between stories, land, and lives. With inspiration drawn directly from the Australian landscape; in both print and materiality, this range is both of and for Country with designs (motifs, pieces, colourways) infusing, transforming, and translating the very essence of place (Lucy Simpson’s Yuwaalaraay ngurrambaa / special family lands) into tactile experiences and relationships.

Through this collaboration, Gaawaa Miyay and Jag join together to bring the stories and language Of Place to our collective consciousness through everyday wearable pieces designed to be worn and celebrated in the lands from which they come (the mighty Australian landscape).

“I am honoured to be a part of Country to Couture this year, and to be sharing this journey with my family, community, and JAG.

I am excited to launch the first Gaawaa Miyay X JAG collaborative collection at an event which celebrates and honours tradition and the long history of First Nations textile and fashion design in Australia. To be able to showcase designs, stories, Country, and relationships within a bigger story grounded by / respectful of our cultural values – and led by mob – means everything to me. I am very proud to now be part of that rich and continuing story with an incredible family of makers creators designers and storytellers who continue to craft and weave together so beautifully the ancient practices of our communities in contemporary wearable moments for the everyday.

At the heart of everything is Country.

As a Yuwaalaraay Wirringgaa (woman) I belong to the freshwater floodplain communities of northwestern NSW (my ngurrambaa). My meat is Biiwii (sand goanna dinggaa) and we are Mirriyaabarra (lignum country people). This is our story, this are my connections; my culture makes me strong and is the means by which I connect and relate. These belongings and relationships carry responsibilities for us to care for and sustain. I see design as the tool by which to stay tethered to Country and the stories and lessons embedded within, while also providing the conduit by which to celebrate and share these narratives and important knowledge systems with others…”

– Gaawaa Miyay, Lucy Simpson, 2023

Image | Photos by Jesse Lizotte 

Yarrenyty Arltere Artists is a vital place for the community of Yarrenyty Arltere Town Camp in Mparntwe (Alice Springs).

Working in soft sculpture, textiles, work on paper and film, this vibrant Art Center as part of Tangentyere Council, has given opportunity and voice and income to people that too often find themselves marginalised.

Rich in personality and defiance, Yarrenyty Arltere Artists continues to be shaped by the artists that hold it strongly and proudly as their own. It is a place where people come together to make art, work out problems, look after family and plan for their future.

“Our collection will make you smile, like our artwork does. This collection will speak of our soft sculptures and works on paper. Large graphic images from our works on paper, will be hand painted, screen printed onto beautiful linen garments made by us, to wear with comfort, grace, flare. Each outfit will be accompanied by a soft sculptural wearable piece such as a vest, hat, bag, slippers, jacket. These sculptural pieces will all be hand embroidered in the same way our sculptures are, by us slowly, with care, humour and love. All adorned further with our new etching plate jewellery.”

Image | Soft sculpture by Louise Robertson, Yarrenyty Altere Artists

The collection JinaJina sees Yinjaa-Barni artists Allery Sandy, Maudie Jerrold, Melissa Sandy, Marlene Harold, and Justina Willis collaborate with Arts Manager and designer Patricia Floyd!

Yinjaa-Barni artists have exhibited nationally and internationally and have won multiple awards between them. For the senior artists of the group, art is an important means of expressing and relaying love for their Country, culture and the flora of the region.

They use their art, along with story telling to pass down their knowledge to the younger generations of artists who are also rapidly gaining recognition. Their artists are predominately of the Yinjabarndi language group and reside in Roebourne on Ngarluma Country.

“The Inspiration is in keeping with the fashion of the moment, so we chose a silk and cotton blend for the fabric in this JinaJina range for its soft, flowing finish that will suit The BOHO and 1930’s look. Our range features midi length bias-cut dresses, puff sleeves, belted waists, ruffles, pleats and collars. Artwork was carefully selected to suit the style of each garment.”

Image | Pepe Havea in JinaJina, Yinjaa-Barni Art, Photo by Micaela Mandorff.

Nagula Jarndu (Saltwater Woman) is based on Yawuru Country, in Rubibi, Broome, working in predominantly hand printed textiles that tell important stories about culture, Country and connection.

For this collection, ten Nagula Jarndu artists have come together to create imagery around the theme of ‘Balu Burugun‘, roughly translated as plants from Country in the local Yawuru language.

The collection is based around important plants from each woman’s Country. Plants that provide nourishment, medicine, shelter or spiritual sustenance. The women discussed the theme and each came up with a series of ideas to best capture their understanding and cultural knowledge around these ideas.

The designer, Yawuru woman Zaripha Barnes, worked with the artists and collaborated on the clothing designs to create a collection that best showcases the artwork. She has drawn on an Asian influence that is a part of many Aboriginal people’s heritage in Broome.

Image | Hayley Mulardy in Tartaku (bush coconut) silk hat and fabric, Nagula Jarndu, Photographer Michael Torres.

Numus Design from Larrakia woman Naomy Briston, draws on the printing techniques learnt from her father’s side in the Tiwi Islands, when she was 13 years old.

“I knew when I saw the artists screen printing, that it was something I wanted to do and I have been doing it ever since – that was 30 years ago!”

“This knowledge has been instilled in us from a young age, which has allow us to continue our connection to our land and tell our stories about our country by creating unique textile pieces. Each piece has a unique story, relating back to our ancestor through the way my mother has taught me, which is now being taught to my children and grandchildren.”

Image | Numus Designs, Country to Couture, 2021, photo by Dylan Buckee

Jedess Hudson is a descendant from the Ewamian and Western Yalanji people of North Queensland, an established Aboriginal creative contributing to the art and community sector for many years.

On her creative journey, Jedess has continued to draw deeply from her traditional homelands. The land, seasons, bush tucker, flora and fauna are aspects that are inspired and incorporated into her art practice. Designs featured on clothing are all original artworks by Jedess Hudson, created by hand and transformed into the digital pattern repeats suitable for fabric.

“Bijarril: To Dream. Weaving messages from the land and our ancestors. Our Country incorporates every living creature, element and feature that makes it unique. Our land is laced with stories, history and spirits embedded with a deep sense of home and belonging. 

Bijarril: To Dream represents the way that we keep their spirit alive by sharing knowledge and maintaining our cultural connection to the land and our people. The colour palettes reflect the designs chosen.

Subtle tonal change is a reflection of the deep understanding and awareness of seasonal cycles of in the environment. I have always felt that my artwork provides the ability to change viewpoints when looking at subject matter.

The ability to paint and represent things from different perspectives, at various times, allows for an extensive, almost endless combination of colour palettes. To Dream is the first embodiment of this, weaving messages of our land into the garments.”

– Jedess Hudson, Jedindi, 2023

Image | Jedindi, by Jedess Hudson

Based in Maningrida, Bábbarra Women’s Centre is a place that honours the wisdom, resilience, power, and cultural authority of women. The internationally renowned women’s textile studio returns to Country to Couture this year with their collection, ‘Daluk’, depicting the story of intergenerational mentoring between senior and young women at Bábbarra Women’s Centre.

The Kuninjku word for women, ‘Daluk’ is a celebration of the relationship between older and younger generations of Bábbarra women. It highlights the on-going tradition of intergenerational mentoring from mothers to daughters and grandmothers to granddaughters, a tradition that has kept Bábbarra Women’s Centre alive for nearly 40 years.

The collection has come to life by the creative hands and minds of many women and is a tribute to founding and emerging women of Bábbarra Women’s Centre. ‘Daluk’ features collaborations with Raw Cloth, Jemimah Jemimah, The Social Studio, and women from the Centre’s youth fashion and design workshops, ‘Young Daluk’.

Image | Design Young Daluk & Jemimah Jeminah, Babbarra Women’s Centre, Models (left to right) Cindy Rostron, Kiani Thompson, Cinella Rostron, Photo by Alana Holmberg

Anindilyakwa Arts is a thriving hub of creativity located on the Groote Archipelago in the Gulf of Carpentaria, NT. The Warnumamalya-led creative program proudly supports local employment and encourages traditional and contemporary creative practices. Anindilyakwa Artists explore creative avenues through “old and new ways”, drawing on deep knowledge of traditional practice, and experimenting with concepts in contemporary art disciplines.

Anindilyakwa Arts proudly represents over 100 artists from communities and outstations across the Groote Archipelago.

The Bush Dye Capsule Collection, designed by Anindilyakwa Arts is a collaboration that celebrates the creativity and talent of male and female artists from across the Eylandt. Each artist has contributed their own perspective, storytelling, and traditional techniques to the collection, resulting in a truly collaborative and culturally rich fashion line.

The ready-to-wear collection explores traditional craftmanship and contemporary fashion, intertwining culture, and style. Each garment is carefully hand dyed using a variety of roots, leaves, bark and berries endemic to Eylandt, creating unique textiles that reflect the colours, textures and landscapes of Anindilyakwa Country. Each look is paired with handcrafted wearable art, created from materials sustainably harvested from across the Groote Archipelago.

Image |  Courtesy of Anindilyakwa Arts

Melissa Greenwood is a proud Gumbaynggirr, Dunghutti and Bundjalung Nyami (Woman) living and working on her traditional homelands, Gumbaynggirr Jagun. Together with her Miimi (Mother) Lauren Jarrett, an accomplished traditional craftswoman, she founded Miimi & Jiinda, the Indigenous art and design brand in 2018. With a business that now encompasses artwork, homewares, textiles and clothing, this year has seen the launch of their first designer collection at AAFW 23.

Honouring her deep connection to Country, Creative Director, Melissa Greenwood designs contemporary clothing and textiles to showcase and celebrate Indigenous Art and Culture. Together with the master weaving skills of Lauren Jarrett, Miimi & Jiinda produce collections that are bold, culturally relevant and empowering to wear. The brand’s name, Miimi and Jiinda, means ‘mother’ and ‘sister’ in Gumbaynggirr, reflecting the Indigenous heritage and cultural identity of the founders. The mother-daughter-duo’s designs are inspired by their personal journeys as Aboriginal women. They believe that the land we live on is everything; the earth is one’s greatest teacher, our knowledge holder, and our divine authority. In addition to their fashion and art creations, Melissa and Lauren are passionate advocates for Indigenous rights and environmental sustainability.

Influenced by the Dreaming stories and Hero Ancestors of Gumbaynggirr Country, Burraaba presents a contemporary range with printed natural fabrics and traditional woven elements. Using the Muurrabay Bundani (Tree of Life) as a motif throughout, and referencing the colours of Country, fashion is storytelling. Melissa translates her hand painted artworks using sustainable printing processes, high-quality fabrics here in Australia. Burraaba is proudly created on Gumbaynggirr and Bundjalung Nations.

Encapsulating the concept that everything on earth is interconnected and independent, this collection will be contemporary yet deeply rooted in the spirit of Country.

“Country is everything to us. It represents the essence of who we are and where we come from. Community is our people, our spirit and our sense of belonging. Culture is our passion, our fire and our desire to keep pushing for further change in this world. All of these elements strongly influence our work and are at the core of our identity as First Nations women and creators.”

Image | Miimi & Jiinda, Photo by Tom Paterson

An annual collaboration from artists of Hopevale Arts & Culture Centre, and fashion design students from Queensland University of Technology (QUT).

Image | Model wearing designs by Hopevale Arts And Culture in collaboration with QUT, Country to Couture, 2022, Michael Jalaru Torres.

FLOW! is a captivating collaborative collection by slow fashion brand Ossom and Tiwi Design, one of the oldest Aboriginal art centers in Australia. This collection seamlessly blends the realms of sport and chic, incorporating flowy silks and lightweight cottons with a sportive finish.

Drawing inspiration from the mesmerizing patterns formed by a drop of petrol on water, the collection boasts a sophisticated palette of metallic hues that exude an elevated and contemporary aesthetic. These captivating colors transport wearers into a realm of fluidity and movement.

At the heart of FLOW! lies the artistry of Tiwi Design’s renowned artists. The collection showcases three remarkable prints that encapsulate the spirit of the Tiwi culture.

The first, ‘Moon and Star,’ by Angelo Munkara, depicts the celestial cycle of the moon and stars, symbolizing the passage of time and the interconnectedness of all things. Vivid and captivating, this print captures the imagination.

Next, ‘Pwanga’, by Vivian Kerinauia, showcases the intricate beauty of a spiderweb design. Inspired by nature’s delicate craftsmanship, this print represents resilience, connectivity, and the interweaving of lives and stories.

Finally, ‘Wanarringa Sun’, by Bede Tungutalum, pays homage to the Tiwi skin group of the same name. It radiates warmth and vitality, reflecting the rich cultural heritage and vibrant energy of the Tiwi people.

In addition to these remarkable prints, FLOW! features two exclusive designs created specifically for this collection. ‘Ampitji Rainbow Serpent’ by Alan Kerinauia, and ‘Ampitji Rainbow Serpent’ by Arnold Tipiloura, are breathtaking additions that seamlessly blend traditional symbolism with contemporary flair. These designs, born in 2023, evoke a sense of wonder and awe, embodying the ongoing cultural legacy of the Tiwi community.

FLOW! represents a collaboration where slow fashion meets indigenous art, where craftsmanship meets storytelling. It is a celebration of culture, innovation, and the timeless beauty found at the intersection of fashion and art. Embrace the essence of movement, grace, and elegance with this extraordinary collection that transcends boundaries and redefines style.

Image | Tiwi Designs x Ossom, Courtesy of Ossom Australia 

The name Gwarli came from the Papunya family & means attractive with a beautiful energy & spirit. Joanne’s artwork represents the NT central desert people, their culture, language & Country. Passing on family stories to continue their culture & keep the culture strong.

As a child Joanne Nangala learned to paint from her mothers, Pansy & Eunice Napangardi in Papunya Alice Springs NT.  Her work today continues the story lines from mothers to daughters & into the future. 

“These are the stories of my ancestors and their relationship with the land… Moving my canvas art works across onto textiles and into fashion allows my culture to flow into the community and across people. Community, its women, and strength of the Indigenous culture has been passed down & infused onto canvas.”

Joanne’s début self-titled fashion collection features artwork that depict aspects of her Aboriginal heritage and culture. With a vibrant colour palette and unique design, the textiles are paired with elegant, yet simplistic silhouettes to accentuate the story behind the fashion.

Image | Courtesy of Gwarli Nangala, by Joanne Gwarli Nangala

Juluwarlu Art Group is an Aboriginal owned and operated organisation that works from the ancestral homeland of the artists, Yindjibarndi Country, surrounded by the nearby Millstream Tablelands and Fortescue River area. Juluwarlu was established in 2016 in response to requests from members of the Yindjibarndi community who saw the potential of art as a way of further sharing and protecting Yindjibarndi stories, culture and language. While predominantly working within the practice of acrylic painting on canvas, Juluwarlu artists have become known for their diverse art practices, which also include carved yarranga marni boards and scratchboards, wooden artefacts, fibre works, jewellery, and works on paper.

This collection see’s artist Wendy Hubert collaborate with Naarm/Melbourne based label Nancybird, by Emily Wright. Nancybird’s iconic collections reflect an innate curiosity towards artisanship, art and the natural landscape, an ethos and approach that resonated with Juluwarlu Art Group. 

“We could see in her past collaborations that she is a designer who would understand and respectfully work with Wendy’s unique style of painting and becasue their business values align perfectly with ours. ”

Wendy is a respected Yindjibarndi Elder, Cultural Custodian and Linguist who has lived passionately and supported her Roebourne and Yindjibarndi community for more than 40 years. Wendy’s artworks celebrate the 60,000 year old Yindjibarndi culture and the continuing management and care for their West Pilbara tableland Country. Depicting the landscapes on Yindjibarndi and Guruma Country, Wendy’s paintings formed the inspiration for the capsule collection Golden Hour.

“We were drawn to Wendy’s landscapes and their loose, emotive brushwork – the works transport us to this place, in the dusk or daybreak where the light falls so softly on the landscape and the deep, rich colours radiate from the sky and the earth below”.

The collection features Wendy’s artwork through digitally printed cottons, leathers and hand beading in this range of apparel and bags, and the palette for the collection are drawn from her paintings – the bright ochres, warm pinks, bright blues and soft lilacs find their way into woven checks, jersey stripes, soft corduroy and chunky crochet bags.

The collaboration has been carefully brought to life through the Juluwarlu Art Group, and the licensing agreement has been made using an Arts Law contract, the gold standard for fashion and First Nations collaborations.

Image | Wendy Hubert, Juluwarlu Art Group, with Old Millstream Road, Photo by Claire Martin

This collection is presented by Ardi’ol Arts, 100% owned, managed and operated by Bardi People of the Dampier Peninsula in the Kimberley WA.

The small team of three are supported by their Bardi Elders, establishing an organisation on Bardi Country to continue to grow opportunities for their community.

“Our collection is a celebration of Bardi Culture and Country… We celebrate the colours and life of our Country, and our culture of fishing and travelling on our waters to provide for our communities.”

Featuring artworks by Ardi’ol founders Russell Davey and Ashley Hunter, the collection is proudly made in WA, designed for a family out on the water in Bardi Country.

Ardi’ol Arts specialise in making fishing shirts, shorts, sarongs, towels and hats that all celebrate Bardi identity for both adults and children.

Image | Ardi’ol Arts, ‘Bardi Way’

Ikuntji Artists are proud to share their stories from their home through their designs and fabrics. This collection elevates old design traditions into something that is accessible and contemporary while sharing stories of ceremony, country and culture.

Ikuntji Artists is a not-for-profit Art Centre located in the remote Indigenous community of Haasts Bluff in Central Australia. Ikuntji was the first art centre established for women of the Western Desert art movement. Well known for their vibrant and diverse textile works, artists also work across printmaking, painting, jewellery and photography.

“Witira kanyila work as one, keep it strong.”

The concept of this collection comes from the exploration of wearable art and fostering a deeper connection of Indigenous art. The collection bridges traditional art and contemporary fashion, while interpreting and communicating place from the Western Desert to the national and international fashion world.

“Our collection blends traditional art and contemporary fashion, fostering a deeper appreciation for Indigenous art and empowering individuals to incorporate it into their everyday lives…

The artists draw their inspiration from their personal ngurra (Country) and Tjukurrpa (Dreaming). They interpret the ancestral stories by using traditional symbols, icons and motifs. The bold fabric designs embody these narratives and continue to explore connection to place.“

Image | Bush Trip by Doreen Lane, Ikuntji Artists, garment made by Ossom at AAFW 2023. Photo by Getty Images.

Maddy Hodgetts is a Ngiyampaa/ Wangaaypuwan and Wiradjuri, artist, designer, and dancer, based in Nyngan NSW, Wangaaypuwan Country.

Maddy has been learning and practicing many aspects of her Culture from a young age, and has a long history of painting cultural designs. She is passionate about continuation and reclamation of her Culture, as well as sharing and sustaining Culture within her community. As an emerging designer, she hopes to uphold cultural values while further showcasing the beauty and importance of First Nations Culture through fashion.

Yapa Mali, meaning ‘to create art’ in Ngiyampaa language, is a collection of Maddy’s Cultural adornments, designs and prints as wearable art.

The artwork as prints depict stories of Wangaaypuwan Country with influences of traditional Western NSW styles and practices. As well as reflecting the importance of storytelling through art, Yapa Mali strives to uphold Cultural values and sustainability by working with materials collected from Country, and by choosing sustainable options and methods to create their garments.

“We hope to encourage the presence of Culture in fashion by showcasing our stories, art and Country.”

This will be Yapa Mali’s first ever collection. Wangaaypuwan/Ngiyampaa Country will be introduced through both the artwork as prints, as well as through adornment pieces, materials and methods significant to Maddy’s Country.

“Each garment holds a story through its artwork that depicts my Wangaaypuwan Country, capturing the red and golden dirt and our rivers. The artwork exhibits influences of a traditional mapping style seen in local cave art in the Central Western NSW region, portraying a bird’s eye view of Country. The Cultural adornment pieces within the collection were created using rich source of resources from Country such as emu feathers, quandong seeds and river reed, exhibiting living practices of Culture.”

Image | Yapa Mali by Maddyy Hodgetts, Courtesy of Garuwa.

Iltja Ntjarra (Many Hands) is a not-for-profit Art Centre, proudly Aboriginal owned and directed. It is home of the Namatjira watercolour artists who continue to paint in the tradition of their grandfather and relative, Albert Namatjira, arguably one of Australia’s most famous artists of the 20th century. Albert Namatjira taught his children to follow in his unique style, who have since passed this knowledge on to their children, which has resonated in a legacy of watercolour artists in the Central Desert region. By continuing his legacy, these artists sustain an important piece of living history.

Iltja Ntjarra worked in collaboration with APM employment and Disability services to provide mentorship and employment opportunities for Aboriginal and Torres Strait Islander peoples expressing an interest in textile design.

Senior artist and Artistic director Dellina Inkamala and Vanessa Inkamala, along with emerging artists, Dianne Inkamala, Delray Inkamala, Mandy Malbunka worked in collaboration with APM Employment and Disability services participants, Rhonda Jones, Teresa Wilson, Lucinda Forrest, Amanda Long, David Foster Tyron Sena, Leah Johnson, Donald Kelly to create this innovative collection.

“Watercolour on paper is the foundational practice from which new and experimental practices have evolved. Our current generation of artists are responding to what influences their daily lives, culminating in a fashion collection, marrying the juxtaposition of pop culture and traditional knowledge of their Country.”

“Country to Couture is a platform that allows us to share our creative expression to a wider audience, bringing a deeper sense of pride and accomplishment.”

Mandy Malbunka stated, “I’ve just started learning how to paint animals and landscape. It’s hard, but when I painted my Emus and birds in bright colours on the fabric I thought they turned out really good, so I kept painting more and more. Now I love painting emus and birds. I think my designs are Marra inthurra (very good). I’m going to feel proud when I see them on the runway.”

Image | Left: Nicole Inkamala wears Animal all sorts, by artists: Dellina Inkamala, Dianne Inkamala, Vanessa Inkamala, Delray Inkamala, Mandy Malbunka, Rhona Jones, Teresa Wilson, Lucinda Forrest, David Foster, Donald Kelly, Amanda Long. Right: Christine Woods wears Bird dress by artist Mandy Malbunka. Artistic Director: Dellina Inkamala, Designer: Koren Wheatley (Iltja Ntjarra’s Studio manager). Seamstress: Nghia Pham, Photo by Klint Buzzacott (Iltja Ntjarra’s Art worker).

Lillardia Briggs-Houston is a Wiradjuri, Gangulu, Yorta Yorta multidisciplinary artist and fashion designer based in Narrungdera/Narrandera, Wiradjuri Country. Lillardia produces all of her textile works and garments herself, on Country, adapting traditional Southeast Aboriginal cultural practices like carving, bush dying and weaving. Lillardia practices slow, respectful production to ensure her cultural integrity and sustainable values are upheld and at the forefront of her work.

Lillardia studied fashion at TAFE NSW and has a long history with garment production being taught by her trained Wiradjuri grandmother from a young age. In 2017, she merged her own storytelling through Aboriginal art with her skills in fashion and has continued to create First Nations textiles and garments that merge her love of culture and fashion ever since.

Through each of Lillardia’s culturally and environmentally sustainable textile and garments, she respectfully highlights the strength, pride, and connection that she feels as a First Nations woman with the aim to use fashion as a catalyst for change.

“The Walumarra collection is cultural heritage advocacy through fashion and textiles. We were inspired from our maternal grandmothers’ Country through cultural heritage work and wanted to shift the conversation to a more important cause to help create and contribute to conversations around the protection and preservation of First Nations Cultural heritage, particularly in NSW where we are the only state/territory without standalone First Nations cultural heritage legislation.”

Image | Cassie Puruntatameri wears design by Lillardia Briggs-Houston, Photographer Marley Morgan