THE FABULOUS DESIGNERS OF GLAM UP RUNWAY
26 March 2024 | Words by Grace Biber
The Royal Exhibition Building was awash in red light at the Glam Up Runway, with anticipation high to see the artistry of Australia’s leading bridal and eveningwear brands. The runway began with a piano ballad and a large screen showing a fizzling static box television, as if to show a portal into another time.
PAOLO SEBASTIAN stayed true to their bridal roots with the shapes and patterns of trains and sashes but showed their first pieces in all-black, perhaps paying homage to Melbourne fashion stereotypes. He closed with four white bridal looks that differed in drama, featuring wide puffy sleeves held above a trailing cape and voluminous ivory skirts that were held bunched above the ankles.
MARIAM SEDDIQ explored how fabric interacts with our bodies, showing skintight looks with bolts of fabric falling from the shoulders or hips. Uber-cool evening glam was represented by matte fabrics in all-black, each dress showing slight bits of skin while using cut-outs to add elements of sensuality. Following these were a group of regal white bridal dresses that defied the notion of what a sleeve is. Whether swooping behind the arms or gathering by the sides, the absence of colour was a reminder that it is the quality of the garment that is most important.
ALK BY LE’KAL BY ALIN LE’KAL contrasted dramatic silhouettes and capes with sparkly mini dresses inspired by bridal elements. A skirt of feathers and beaded ivory bodices characterised the minis, while tulle swept across the runway in bright pastels. Melbourne-black was spotted through the collection in mermaid dresses that poured into wide flares with Lady Julia Morris stealing the show in a tulle coat and close-fitting black dress. Outwear featured prominently, the collection closed with a large purple cape that floated across the runway.
ASIYAM used excess fabric belted around the waist or cinched at the shoulders to perform billowing silhouettes. One of Australia’s finest modest fashion labels, the collection comprised mostly of understated neutrals that were reminiscent of nature—even a fluorescent pink that could have been an orchid. Silken fabric rustled amongst the models walks, falling gently away from the body to provide both modesty and glamour. Paying homage to Islamic fashion of abayat and chadors while adding her own spin, Asiyam cemented modesty as a mainstay of Australian fashion.
CAPPELLAZZO COUTURE provided drama in juxtaposing black and whites, showing traditional bridal gowns with fitted bodices and pronounced waists and minidresses incorporating bedazzled fabric with a party-like edge. Each garment was comprised of multiple fabrics, the most noticeable being a structured organza to create sharp, defined shapes within sleeves or skirts. Both small and large bows speckled the collection, either grouped at the waist or tied under the chest.
JASON GRECH ignored Melbourne’s love for black-clad glamour and showed dresses in a cascading spectrum of light purple to burnt orange and an array of soft greens. While the bodies and tops were beautiful, Grech’s prowess as a designer shone through in his skirts. Whether it was a tulle dress swaying in the wind, or a leg extending from a high slit, the diversity of what comprises glamour was well represented. Playing with how different fabrics in a single dress create a visual feast, the collection was marked by its dedication to representing how femininity comes in different forms—with ginormous bows as well, of course.
PAUL MCCANN X JANE HILL BRIDAL defied the notion of a traditional bridal dress. Within the gowns, Indigenous designs appeared on the ruffles and hems, until being absorbed by the whole garment in a regale of ombre black and white. Captivating with sparkles of glitter and dotted sheer fabrics, McCann’s collaboration with Jane Hill bridal explored the delicate line between a wedding and evening gown, choosing both and neither at the same time to forge a new identity.
As memorial and tribute to the late Count Shiva, the runway closed with a collection that paid homage to his famous love for capes and hats. Six dresses embodying elegance and vivacity swept down the runway in a touching showcase to the man who breathed so much life into the Festival.
