SECOND HALF
iD International Emerging Designers Awards 2025
Judging Panel
The judging panel has been sponsored by
Judges
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Tanya Carlson
HEAD JUDGE
A celebrated New Zealand designer, Tanya Carlson is renowned for her refined take on both tailored and off-duty dressing. Raised on the Otago Peninsula, and a dedicated surfer, her aesthetic references dramatic brooding landscapes, dynamic movement and clean lines. Carlson has been involved with iD Dunedin Fashion Week since its inception. She has also been a long-time selector and head judge for the iD International Emerging Designer Awards.
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Dan Ahwa
Fashion Director Viva Magazine/NZ Herald and Creative Director New Zealand Fashion Week
Dan Ahwa is a respected New Zealand-based creative director, journalist, and stylist with over 17 years of experience and is the creative and fashion director for award-winning fashion and lifestyle brand Viva as part of The New Zealand Herald where he has been for ten years. He is passionate about mentoring the next generation of industry leaders and is on the advisory board of New Zealand Fashion Week. He has also served as a board trustee for The New Zealand Fashion Museum and Mindful Fashion New Zealand. His written and styling work has featured in a range of publications both locally and internationally including British Vogue, Vogue Australia, Esquire, Fashion Quarterly and Metro.
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Dayne Johnston
Kowtow Head Designer
Dayne Johnston is one of Aotearoa's leading fashion designers and comes with unique atelier experience. Being a menswear specialist, his fresh perspective is inspiring. He started at Kowtow in the role of Head Designer in 2023 and brings his artistic talent and a passion for considered clothing, which he applies to the brand’s chosen single fibre. Dayne's first collection for Kowtow will be released in early 2025.
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Juliette Hogan
Juliette Hogan creates clothing suffused with elegance and ease. Each season brings a fresh, succinct and cohesive offering full of pieces to fall in love with. This is not a collection driven by trends, but more of an ongoing evolution of Juliette’s strong design perspective.
Juliette has retail stores in Auckland, Wellington and Christchurch and is stocked in high end boutiques across the motu. She is dedicated to fostering sustainability within the fashion industry and is a founder and Chair of Mindful Fashion NZ. 2025 marks 21 years in the industry for Juliette, who will show her 2025.ONE + TWO collection on the iD catwalk.
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Margarita Robertson
NOM*d
Margarita Robertson, the Creative Director of NOM*d, is a lauded fashion industry figure, and founder of the PLUME stores in Dunedin and Christchurch. Her personal and unique edit of high-profile New Zealand and international designers sits alongside NOM*d’s own internationally acclaimed brand. In 2018, she was appointed an Officer of the New Zealand Order of Merit for services to the fashion industry.
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Tara Viggo
Paper Theory
Tara Viggo is the founder of Paper Theory Patterns and was a finalist of the inaugural iD International Emerging Designer Awards in 2005. Tara was born in the Cook Islands and grew up in Dunedin. She spent 17 years working in London as a professional pattern cutter, right across the fashion industry, from high street stalwarts to luxury catwalk brands, giving her insight into the darker side of commercial fashion which resulted in her focus in sustainable design.
2025 Prizes
First Prize
$10,000
Second Prize
$5,000
Third Prize
$2,500
Fashion Photography Award
Branding package to the value of $4000 and photography featured in this year’s iD promotional material.
Best NZ Emerging Designer
Editorial package
Entrepreneur in Design Award
$3,500 business advisory package
Most Commercial Collection
$1,000
Sustainability Prize
$1,000
Natural Luxury with Wool
$1,000
People’s Choice Award
$500
Yu Chen Xu
Shih Chien University, Taiwan
Camouflage
This collection, inspired by the psychological and social conflicts in Pride and Prejudice, explores the tension between appearance and authenticity. Themes of self-awareness and identity shape the designs, reflecting the contrast between external facades and inner truths. Featuring innovative knitting techniques like one-piece construction and sustainable materials such as RE PET and light-sensitive yarns, the collection symbolizes the fluidity of identity in changing social contexts. Pastel hues and metallic accents convey emotional depth, while asymmetry and exaggerated forms highlight individuality. Celebrating diversity and self-expression, the collection encourages wearers to embrace their authentic selves.
@adam____1128
@re.__20230422
Yu Tung Hsu
Shih Chien University, Taiwan
The Strawberry Drugs Party Held in February
The Strawberry Drugs Party Held in February explores the sweet and sour sensations brought about by eating strawberries, presenting it from the perspective of a poisoner, expressing the toxicity of strawberries through high saturation and fantasy. Crayon prints and tufting materials enhance the visual effect, giving the viewer a visual adventure of taking strawberry drugs.
@yth_2
Christina Suntovski
Royal Melbourne Institute of Technology, Australia
Dressing Dance: Performing Spaces, Places and Bodies
Dressing Dance: Performing Spaces, Places and Bodies’ investigates the empirical relationship between history, materiality, memory and the human existence within archival dance performance. Deeply rooted in the patina of ethnic realism of European folkloric nostalgia, the collection takes strong inspiration from the visual opulence, domestic hand-crafted customs and ornamental configurations of the Macedonian costume. It centres on the prospect of ‘playing with the past’, addressing the challenge of cultural preservation in a modern context by integrating traditional techniques with contemporary design. Abstracted as surfaces, with fragments and dissections of archival craftsmanship, the collection is emboldened into the transdisciplinary space of costume design for performance, and intimate wear.
@bychristinamae
Zheyi Ruan
Massey University, New Zealand
Laughing Gas
The genesis of the collection arises from extensive research in alternative clothing pattern making. Intrigued by historical Paisley patterns, symbolising longevity, resonance was found with the goal of creating a sustainable future in modern times. The designs embody longevity in creation, reflecting a circular design focused mindset amidst the challenges of today. Upcycled textiles, vintage scarves, Japanese obi belts, and zero waste pattern making techniques aided with 3D design software define my approach. Some pieces feature just three cut lines or interchangeable qualities, blending efficiency and elegance. The unique style champions eco-consciousness while celebrating repurposed materials, ensuring stylish aesthetics and marketability.
Image credit: Photographer: IG @Nikrreii, Model: Designer
@zheyi.ruan
Yi Wen Kuo
Shih Chien University, Taiwan
Eternal Return
This collection explores the concept of "eternal return," reflecting on the cyclical nature of life. Transparent pipes and circular elements intertwine, symbolizing perpetual return, merging with the human body's contours to create a boundless, luminous space. Lustrous materials embody eternity and infinity, inviting deep reflection on the individual and the world. The design seeks to guide individuals back to the essence of life, finding balance and harmony between the inner and outer worlds.
www.behance.net/a494a261/projects @1uliuw
Isabella Dudley-Farnham
Otago Polytechnic, New Zealand
Valley of the Dolls
Valley of the Dolls explores the complex relationship between dress-up dolls and young girls, focusing on how dolls can shape perceptions of beauty and self-worth, with unrealistic ideals often echoed and amplified by the beauty industry. By examining the evolution of beauty standards through a feminist lens, this collection delves into the emotional impact this has on a young girl's psyche. Exploring themes of emotional turmoil, self-perception, and nostalgia versus actual reality. Using classic silhouettes, oversized doll-like closures, and distressing techniques, the collection showcases historical research with contemporary materials and techniques. It serves as a wearable expression of turmoil and depth, offering a modern interpretation of dolls that have been worn out and played with.
Image credit: Photographer: Jack King, Model: Clementine George
portfolio-ywpuwtd.format.com/
@bellafarnham
Shu-Wei
Chang
Shih Chien University, Taiwan
TENET
The Sator Square, Eternal Return, and Block Universe Theory together suggest a hypothesis that life is predetermined and will endlessly and infinitely repeat itself. However, the best conclusion one can draw is to make every choice as if it could be repeated thousands upon thousands of times.
@aonsoui
Laylah Hannaford
Massey University, New Zealand
Sugar
Sugar is a collection that aims to reclaim hyper-femininity, as informed by third wave feminist subculture and camp aesthetics. Laylah wanted to show how wearing girly, revealing clothing can actually give the wearer a sense of confidence and self-empowerment that regular clothes don’t give.
@laylah.designs
Brunela Ramirez
Fashion Institute of Technology, USA
Collection 0
This collection is centered around interpretation, merging art and philosophy to explore individual growth. The designer has crafted this collection with the goal of visually interpreting the observation of how humans are shaped by their experiences, the environments they inhabit, and the individuals in their lives. Inspired by film and photography, Brunela has employed digital design as tools, resulting in garment pieces that serve as visual representations of the ongoing evolution of each individual.
Photo credit: Ph: Sivan Miller Models: Ruby, Nyaguach and Logan Perry Make up: Sophie Hartneh
@bosshi___
Katalia Reid
Otago Polytechnic, New Zealand
Folly
‘Folly’ critiques consumerism and throwaway culture through the lens of jesters, fools, and clowns -social commentators through history who used humour to expose uncomfortable truths. The collection is a reflection on sustainability, conscious consumption, and the need for change within the industry, while also channelling the joy and creativity of fashion and design.
Crafted entirely from second-hand materials, ‘Folly’ features oversized silhouettes, mismatched patterns, and playful textiles to highlight the absurdity of consumer culture, while frayed edges and worn fabrics reflect the environmental and ethical consequences of overconsumption.
Image credit: Models: Laurabelle Voight, Shea Irvine, Hannah Priest
@kataliafaye
Twy
Royal Melbourne institution of Technology, Australia
LACING
"LACING 3.0" focuses on exploring the possibility of fold lace applications on regular garments. Fold Lace is an authentic technique which examines the modern interpretation of traditional craftsmanship with new garment construction methods. A series of functional stitching and folding are developed to create surfaces and sculptural pieces, while remaining as a zero-waste production. In terms of sustainability, minimising the production wastage and premeditating the biodegradability of garments are also the key focuses of the collection. The collection takes a slow fashion approach to celebrate craftsmanship. It is an interpretation of artisanal fashion, sustainability, skills and persistence.
Image credit: Model: Mavis, Photographer: Twy
@twy_laboratory
Helena Fleerackers
Royal Melbourne Institute of Technology, Australia
I Forgot How To Fit Into My Own Shoes
Welcome, to a world of blissful ignorance, laced through the influence of suburbia on the aging youth. “I forgot how to fit into my own shoes,” focuses on creating a place for the unwanted to be admired again, a reflective connection touching on naive nostalgia that comes from unwanted garments. Pinpointing the textile influence of the collection around sustainability.
Through fashion, exploring the emotive visual of trying to wear shoes you admired as a child, the desire of wanting to be connected to the emotions of your youth when time is slipping away, through hybrid curated garments.
@karma.corbett
Ciaran Naylor
Otago Polytechnic, New Zealand
New Patina
‘New Patina’ is a reimagining of early 20th-century working clothes in a modern fashion context, blending ruggedness with elegant contemporary male dress. The collection draws inspiration from photographers Dorothea Lange and August Sander, who documented working class people in the mid-1900s. Particularly influenced by how these photographers apotheosised their seemingly ordinary subjects, the collection seeks to do the same with the clothing these people wore - bringing these archetypes to the forefront with a contemporary perspective to evoke a deeper appreciation for their enduring influence on menswear, and promote a more mindful relationship between people and their clothes.
Image credit: Photographer: Dylan McCutcheon-Peat. Model: Lucas Jones
@dimock.etc
(Taranaki, Ngā Ruahinerangi, Ngāti Mutunga, Whakatōhea)
Massey University, New Zealand
Vince Ropitini
The Art of Passive Resistance
The Art of Passive Resistance investigates the intersection of contemporary Māori art and fashion design, inspiring the regeneration of mātauranga Māori. Central to the collection is the legacy of Parihaka, a community whose resilience and teachings of Te Whiti o Rongomai and Tohu Kākahi continue to shape both Māori art and activism. Ropitini explores the enduring influence of Parihaka on Toi Māori, highlighting themes of resistance and endurance through silhouette and textile manipulation, drawing inspiration from the rich history of Māori political protest.
Image credit: Photography by Renati Waaka, Models: Israel Thomas, Taimana Stone, Raniera Robin
www.obsolescenceclothing.com
@obsxlescence
Gemma Bartholomew
University of Technology Sydney, Australia
Handle with Care
Handle with Care is a three look ready-to-wear collection by Gemdaddyslim that explores the emotional complexities of sisterhood, nostalgia, and the balance between presence and absence. Inspired by the symbolism of objects left behind, such as a cherished handbag, Polaroid photos, and lace ribbon, the collection evokes shared memories through rich textures and textile innovation. Featuring velvet, leather, piping, and pleated fabrics, it combines sensory design with sustainable practices, utilising deadstock materials and natural dyeing methods. The result is a timeless narrative brought to life through thoughtful silhouettes and intricate details, capturing the depth of connection and change.
Image credit: Designer: Gemdaddyslim Photographer: Scott Heldorf Crea*ve Director: Zara McCann Talent: Lucy Reid, Storm Mcinerney, Isabella Jacobs Stylist: Kyra Andrew MUA: Lauren Toth Assists: Brendan Jones, Liam Burnett Blue, Nicola Bartholomew
gemdaddyslim.store
@gemdaddyslim
Luca Stucci
University of Technology Sydney, Australia
DESIRE A FLAME AND BODY THE ASH
Concerned with the balance of appeal & disgust, the embrace of acceptance. Desire a flame... pushes against normative beauty ideals concerning the human. Understanding that change can only come from opposition, materials and silhouettes challenge traditionally constructed notions of elegance. Organic cottons, wools, silks, leathers and hairs stage their often violent, naturalistic & unrefined origin. Through silhouette and adjustable fits does this prove not to be in vain, each material's unique attributes are able to frame and celebrate the body beneath. What might be once repulsive instead becomes enticing, prompting moral questioning regarding the human and how it dresses.
Image credit: @_nicholasmgarcia
www.lucastucci.com
@luca_stucci
Helena Buchegger
Royal Melbourne Institute of Technology, Australia
Rococo Décor
This Rococo Décor-inspired collection reimagines the opulence of Elizabethan-era fashion, merging historical aesthetics with contemporary design techniques. It places a strong emphasis on sustainability by repurposing Rococo-inspired interior textiles such as curtains, lamps, bedsheets, pillows, and decorative fixtures into striking modern pieces.
By utilising recycled materials and pioneering methods to transform discarded interior items, the collection exemplifies circular fashion. It aligns with the Sustainable Development Goals (SDGs), particularly SDG 12: Responsible Consumption and Production, demonstrating a commitment to mindful, innovative, and responsible design practices.
Image credit: Photographer: Kamilla Musland, Model: Molly Shears
@helenabuchegger
Leanne Yansin Choi
Royal Melbourne Institute of Technology, Australia
Copy, Fold, Hold: What is inside the Suitcase?
Copy, Fold, Hold: What is inside the suitcase? is a practice-based Masters’ project navigating the performative relationship between Diaspora and Fashion. Leanne reflects on nostalgic moments from her grandma and mother’s wardrobes in Australia and Hong Kong, defining how everyday materials and lived experiences in domestic spaces reflect our identity. Through the diffusion and appropriation of existing objects, textiles, and garments, it interrogates ideas of transition, memory, language, and customs into garment-merged suitcases. The transformative nature pays response to her mother’s commonly spoken phrases, such as ‘Take an extra top with you, it is cold outside’.
Image credit: Photographer: Mira Pedlar, Hair and Makeup Artist: Kate McWilliam, Talent: Jenny Guo
@leannecys_
Kwok Minh
Yen
LASALLE College of the Arts, Singapore
White Polyps
White Polyps is inspired by coral bleaching phenomenon due to global warming and rising ocean temperatures. When the ocean temperatures increase, corals expel the algae living inside them and gradually turn white, becoming lifeless. The collection's silhouettes and textiles mirror the structure and texture of corals and their stages of decline, with white as the key colour and UV-reactive materials symbolising the bleaching process. Through techniques of hand-knitting, crochet, embroidery and up-cycling, the collection hopes to promote sustainability, emphasising the importance of responsible fashion practices.
Image credit: Huynh Tran
@_byamionn
Ana Krgovic
Faculty of Textile Technology, University of Zagreb, Croatia
THE INVISIBLE PATH
The Invisible Path collection by Ana Krgovic explores intercultural exchanges between Africa and Europe, symbolizing migration’s struggles and resilience through five dynamic outfits. Merging African motifs with Western urban fashion, it incorporates sustainable practices like recycled textiles, zero-waste techniques, and biodegradable inks. Inspired by Maasai Shuka garments and tire shoes of the tribe, the collection highlights how migration shapes and enriches design, celebrating cultural fusion and shared humanity. Reflecting Ana's own experience of losing her home, the collection captures the profound emotions of displacement, while ultimately conveying hope, connection, and the strength found in unity.
@shiftstudio__/
Yu-Hsuan Weng
Shih Chien University, Taiwan
Qingshi Old Dream
In Taipei's urban landscape, while towering skyscrapers dominate, it's the weathered street houses that evoke nostalgia. Their worn brick walls, rusty roofs, and vine-clad fences tell the story of me. Inspired by these old buildings, a clothing collection was created, using classic denim materials that, through washing and brushing, capture the wear and charm of the past. These garments reflect the unique style and essence of Taipei's old city, blending history with contemporary fashion.
Image credit: Instagram:babyspinach2.49
@jeffrey.yxw
Chih-Yao Wu
Shih Chien University, Taiwan
NIRVANA
Buddhism pursues nirvana. Greediness, spitefulness, and witlessness need to be annihilated from human nature, so that access to nirvana can allow achievement of the supreme self.
Image credit: @allanwang.bm
@bee.woo.9
Complete the survey and be in to win.
$200 Gallery De Novo voucher
$200 Repertoire voucher
iD sponsor gift bags
Quartz Reef Finale 2
Credits
Thank you to everyone involved in the 2025 iD Dunedin Fashion Show.
iD BOARD
Dr Margo Barton, Co-Chair
Sally McMillan, Co-Chair
Charlotte Moran
Dr Jane Malthus
Jonty Blakely
Tara Viggo
Tracy Kennedy
Tess Brais-Laflamme
EVENT MANAGER
Victoria Muir
PUBLICIST
Dallas Synnott
SOCIAL MEDIA
Ella Buchanan
Frankie Robertson
CREATIVE, GRAPHIC & AV DESIGN
Luke Johnston, BrandAid
2025 iD IMAGE
Photo Credit: Garments: Gemdaddyslim. Photographer: Scott Heldorf. Creative director: Zara McCann. Stylist: Kyra Andrew. MUA: Lauren Toth. Talent: Isabella Jacobs, Lucy Reid, Storm Mcinerney. Assists: Nicola Bartholomew, Brendan Jones, Liam Burnett Blue
BACKSTAGE
Manager, Barbara Carey
Information Coordinator, Sophie Davis
Dresser & Garment Coordinator, St Claire Marshall
Model Caller, Kat Cory
Dressers, Otago Polytechnic fashion students
HAIR
The team at Aart on St Andrew with help from the Otago Polytechnic Hairdressing School
MAKE UP
Makeup look designed and supported by Jade Brett and Aleph Beauty.
Makeup squad for iD 2025:
Jade Brett, Lead
Kim Tulia
Briar Carrodus
Christal Allpress
Ciara Mare
Shanae Barton
Makeup by Daria
RileybeautyNZ
Courtney Shae
Sarah Kennelly
Yoel George
COMPERES
Matty McLean, The Hits Drive
Callum & P, The Hits Dunedin Breakfast
PRODUCTION
Sound & Visual, Strawberry
Lighting & Staging, Southern Lights
Show Caller, Amanda Milne
Scaffolding, Bramwell Scaffolding
Hire Equipment, HirePool
FRONT OF HOUSE
Hospitality, Vault 21
Beverages, Quartz Reef and Elta Ego
Event Security, SPS Security
Cleaning, WannaClean
Pre-show performance, Otago Dance Association
SET UP & USHERS
Co-ordinator, Teri Higgins
Thank you to our dedicated team of volunteers
SUSTAINABILITY
Sustainability Co-ordinator, Liam Hoffman
Sustainability Adviser, Ross McDonald
AWARDS JUDGING DAY
Otago Polytechnic BDes (Fashion) year 3 and 4 students and staff
DESIGNERS
Akira Manwaring
Addison Grant
Amelia Cresswell
Brittany Nelson-Misa
Charmaine Reveley
Ciaran Naylor
Emily Guylee
Erica Gadsby
Finn Mora-Hill
Georgina Lawson
Hannah Fleming
Holly Hewitt
Isabella Dudley-Farnham
Isabelle Judd
Izaac Foster
Jamie Richards
Jane Sutherland
Jordyn Bowden
Juliette Hogan
Katalia Reid
Katherine Inder
Kyla Ashton
Laurabelle Voight
Lauren Batley
Lauren St Just
Lee Kleiman
Liz Findlay
Lucy Robertson
Mamia van Dongen
Margarita Robertson
May Dyson
Molly Marsh
Natalie Newlands
Rhiannon Savage
Sandra Tupu
Sara Aspinall
Simone Montgomery
Sophia Hallett
Tanya Carlson
Tegan Vickery
Vicki Taylor
Zara Hermens
Zara Keinlangevelsloo
iD AWARDS JUDGES
Tanya Carlson, Head Judge
Dan Ahwa
Dayne Johnston
Juliette Hogan
Margarita Robertson
Tara Viggo
iD AWARDS FINALISTS
Ana Krgovic,
Faculty of Textile Technology, University of Zagreb, Croatia
Brunela Ramirez,
Fashion Institute of Technology, USA
Chih-Yao Wu,
Shih Chien University, Taiwan
Christina Suntovski,
Royal Melbourne Institute of Technology, Australia
Ciaran Naylor,
Otago Polytechnic, New Zealand
Gemma Bartholomew,
University of Technology Sydney, Australia
Helena Buchegger,
Royal Melbourne Institute of Technology, Australia
Helena Fleerackers,
Royal Melbourne Institute of Technology, Australia
Isabella Dudley-Farnham,
Otago Polytechnic, New Zealand
Katalia Reid,
Otago Polytechnic, New Zealand
Kwok Minh Yen,
LASALLE College of the Arts, Singapore
Laylah Hannaford,
Massey University, New Zealand
Leanne Yansin Choi,
Royal Melbourne Institute of Technology, Australia
Luca Stucci,
University of Technology Sydney, Australia
Natalia Federica Cabaña & Natalia Chiro Tarrab, University of Buenos Aires, Argentina
Shu-Wei Chang,
Shih Chien University, Taiwan
Vince Ropitini
(Taranaki, Ngā Ruahinerangi, Ngāti Mutunga, Whakatōhea),
Massey University, New Zealand
Twy,
Royal Melbourne institution of Technology, Australia
Yi Wen Kuo,
Shih Chien University, Taiwan
Yu Chen Xu,
Shih Chien University, Taiwan
Yu Tung Hsu,
Shih Chien University, Taiwan
Yuhei Ueda,
Royal Academy Fine Arts Antwerp, Belgium
Yu-Hsuan Weng,
Shih Chien University, Taiwan
Zheyi Ruan,
Massey University, New Zealand