With 16 designers, Kāhui Collective delivered its biggest Indigenous runway at New Zealand Fashion yet.
“The theme for the entire runway was Te Taiao, and our connection as Indigenous peoples to Te Taiao, and how we sort of tell those stories and narratives and stories and connections through fashion,” says show producer and renowned designer Kiri Nathan.
Making its NZFW debut in 2025, the second Kāhui show has grown significantly since last year, when just six designers took part.
This saw eight Māori and Pasifika brands, alongside eight international Indigenous fashion brands, each bringing their own stories of te taiao to the runway.
Designers and labels featured included Arctic Luxe, Āhuru Knitwear, AZA, Czarina Wilson, Daïna Hugh, J’AKE, Jessica Johnson & Natalie Robb / Katherine Anne & Mitchell Vincent Collection, Kohi Woodman, Lavinia ‘Ilolahia, Nungala Creative, Obsolescence, Shona Tāwhiao, Te Orihau Karaitiana, Temesia Tuicaumia, and Vince Ropitini.
The night also included special waiata by Majic Paora and Stan Walker, performing to a sold-out audience at Shed 10.
“This is the opposite of fast fashion - this is my ideal idea of what fashion would be,” Nathan says.
Kua tipu te hiahia ki ngā pūkenga taketake
Jacob Coutie, whose label J’AKE Studios opened the show, says the growth reflects the increasing demand for Indigenous fashion.
“Last year we only had six designers, and this year, 16 different iwi taketake.”
Among the international designers was Indian designer Ashish Dhaka, known by his label Beyniboi, who has previously visited Aotearoa as part of World of WearableArt.
“I think it’s just the most wonderful feeling to be able to showcase with voices from all over the world who are talking about Indigenous fashion and what it should be,” he says.
Dhaka is known for exploring India’s rich textile heritage through contemporary design, and says Indigenous fashion is a spectrum.
“Indigenous fashion to me is not traditional, because society keeps moving, so I think something that’s contemporary is what Indigenous fashion is.”
Dhaka says the time and skill involved in creating fashion is often undervalued globally.
“Design globally is really undervalued that way,” he adds.
“As a consumer, they should accept that, as designers, when we’re putting in the effort, we should be able to get rewarded for that effort.”
He huarahi motuhake mā ngā kaihoahoa iwi taketake
For Kiri Nathan, who founded Kāhui Collective, the growth is part of a wider movement to create space for Indigenous designers.
“People usually go to the big five: New York, Milan, London, Paris, and slowly Shanghai,” she explains.
“But those places, they’re set in a framework and system that doesn’t necessarily work for Indigenous designers that feel a sense of responsibility to te taiao and their people and their culture.”
Kāhui Collective’s NZFW show was part of a much bigger week for Māori, Pasifika and Indigenous fashion.
The rōpū also hosted the first Indigenous Fashion Symposium, alongside a retail and cultural activation bringing together more than 40 Indigenous creatives.
He kounga ngā kākahu, he nui hoki te utu
Nathan says building this kind of platform comes at a significant cost.
“I had to get so many sponsors and so many people to support the actual Indigenous designers to be here and to be able to be at The Cloud, to be at Shed 10.”
In 2023, her opening show for NZFW cost more than $100,000.
“It’s a huge cost, and those are one of the barriers that we have as small Indigenous brands, so I feel happy that we’re actually able to bring it to fruition.”
She says the traditional fashion capitals don’t always work for Indigenous designers and small pakihi.
“It’s really, really tough in the NZ fashion industry and global fashion industry. Retail is horrific,” Nathan adds.
“I think we all need to start looking outside the box and start doing things differently. And, of course, when you see so many of us all together, who wouldn’t want to come?”
Kia kawea tonutia ngā ahurea taketake
For Coutie, balancing kaupapa Māori with the commercial fashion industry is an ongoing challenge.
“It is a very fine line we walk between kaupapa Māori and an industry, so we’re always finding space to continue to be authentic and ourselves.”
He says supporting Indigenous fashion means showing up - both at events and as consumers.
“Keep showing up for us - whether it be kaupapa like this or at the checkout,” he says.
“These fashion shows are kind of a testament to me that we’re here and we have the ability and the skill to put something like this together.”
For international designers like Dhaka, the value of bringing Indigenous creatives together goes beyond fashion.
“There are a lot of similarities; a lot of beliefs and values are similar, appreciating all the forces of nature, connecting to your roots.”
Coutie says, “Me whakanui tātou i ā tātou tikanga, ā tātou tikanga Māori, ā-whanaungatanga hoki.”
