Australian fashion house Aje unveiled Resort 27, Siren, at Australian Fashion Week, a collection that felt both deeply connected to Australia and undeniably global in its execution. The showcase marked a defining new chapter for the founders, Adrian Norris and Edwina Forset, following their recent momentum in Paris. Their vision and mutual love of the arts creates a sense of raw beauty, tough femininity and effortless cool using untamed volume with structure and signature statement pieces alongside seamless essentials, with a key study into texture, movement and bold monochrome dressing. The show opened with a bold leather look halter top, where modern minimalism meets statement form, paired with a sheer and feminine, embellished wrap skirt, traced with artisanal beading, the light catching and intricately detailed. The contrast between rigid leather and delicate embellishment established the collection’s central tension: strength softened by romance.
This look was highly polarised by the stage, at The Lands by Capella. Soft rose-toned carpeting and seating surrounded the space, creating a romantic atmosphere. The show traced a journey across the Australian landscape, from coastline to outback, where softness met strength and untamed beauty was reimagined through contemporary craftsmanship. Leather became a defining language within the collection. A micro vegan leather black bandeau paired with sleek low-rised tailored leather trousers and the oversized Tate Fringe Scarf captured the essence of tough femininity, clean lines muted through movement and texture as well as grounding the softer draped looks with a sharper edge. This use of leather echoed the sharp sensuality of Saint Laurent through its monochrome tailoring and strong silhouettes. Elsewhere, suede sets in rich, directional hues reinforce the collection’s balance of structure and ease, particularly within the oversized Varleta silhouette that closed the show with understated drama.
SøEdited Team Article: SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe Fine sheer organza appeared in sculptural volumes and cinched forms, contouring the body while creating tension between opacity and transparency. A soft blush silhouette brought a moment of romantic fluidity to the collection, gracing it with its soft blush pink that mesmerised with every moment. The look felt like a clear celebration of femininity, where sculptural elegance met with contrasts of leather straps, a plunging gown defined by drape, folds and voluminous tiered movement. The romantic organza, soft blush tones and fluid femininity remained distinctly Australian. One of the standout elements throughout the collection was the emphasis on tactile surfaces and artisanal detailing. The Radieux pieces, traced with intricate beading that caught the light as models moved through the space, while sequins and tassel fringing introduced rhythm. What made Siren feel especially compelling was the way each garment appeared sculpted directly onto the body. Draped folds, plunging gowns, exaggerated proportions and tailored cuts all worked together to create silhouettes that felt fluid yet intentional. With Resort 27 Siren, Aje reaffirmed its place as one of Australia’s defining fashion houses. Through craftsmanship, contrast and a deep connection to place, Adrian Norris and Edwina Forest delivered a collection that felt both personal and progressive, an ode to Australia that was elemental, elegant and entirely modern. Press: Purple PR
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SøEdited Team Article: Kellie Neilson SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe At dawn's quiet liminal moment, before the city fully awakens, two Japanese design styles merge in a capsule collection. This project feels less like a typical product launch and more like a thoughtful reflection on change. The collaboration between Topologie and Maison MIHARA YASUHIRO depicts “early morning” not just as a time but as a pause: balancing between practicality and imagination, usefulness and whimsy, structure and chaos. A dialogue between function and deconstruction Topologie’s design philosophy has consistently emphasisedprecise utility, with its Wares System™ modular logic becoming a subtle yet integral part of modern carry design. In contrast, Maison MIHARA YASUHIRO often pushes boundaries by distorting familiar shapes through stretching, melting, or altering them, creating designs that appear slightly surreal or humorous in their imperfections. In this capsule, the two worlds don’t just intersect; they merge seamlessly. MMY’s signature motifs, such as the Banana, Soft Serve, and Toothpaste shapes, are reimagined within Topologie’s curated selection of bags, straps, and phone accessories. This creates a surprisingly cohesive look: playful symbols combined with structural precision. The effect is reminiscent of how Issey Miyake transforms pleats into structure, or how Sacai reconfigures hybrid garments into wearable contradictions. Yet where those houses lean toward textile intelligence and layered construction, Topologie x MMY shifts the flow toward modular interaction. This creates objects designed not only to be worn but also to be recomposed, highlighting its innovative approach.
The Wares System™ is an evolving architecture. The most compelling innovation in the collection is its detachable handle system, an expansion of Topologie’s Wares System™. This is not customisation as an aesthetic afterthought, but customisation as a primary language. Handles become expressive variables: swapped, rotated, recontextualised. In this sense, the collection aligns more closely with modern product systems found in labels like, where modularity and performance are central, or even with the experimental streetwear of, which views garments as socio-industrial artefacts. However, Topologie and MMY go even further, exploring the realm of the intimate—focusing less on industrial critique and more on tactile experimentation. The bag is no longer a fixed object; it is a shifting proposition. Early morning surrealism The phrase “early morning inspired” is not just decorative language; it serves as a tonal guide. In this collection, dawn is portrayed not romantically, but with a touch of eeriness, representing the world before it is completely formed. MMY’s distorted objects feel like thoughts still taking shape; Topologie’s structural clarity serves as the scaffolding that holds them in place just long enough to be carried. Together, they capture a peculiar tension: the comfort of routine disrupted by the elasticity of imagination.
A capsule positioned between cultures of design What distinguishes this collaboration is not merely the merging of aesthetics, but the disciplined restraint with which it is executed. Many contemporary collaborations collapse into visual excess. Here, restraint is the hallmark of sophistication, appealing to readers seeking refined design. While luxury streetwear often relies on overt branding or nostalgic references, Topologie x Maison MIHARA YASUHIRO offers a subtler approach: suggesting that design can be a modular dialogue among different systems, rather than a static declaration. In doing so, it aligns with a broader trend in Japanese design, moving away from a sole focus on pure form or maximalist experimentation to highlighting adaptability as a new form of luxury. Release as ritual Launching first at the Topologie Hyundai pop-up in Seoul and then gradually expanding to Hong Kong and online, the rollout mirrors the collection’s conceptual flow. It unfolds gradually, like a ritual, encouraging the audience to feel anticipation and respect for its thoughtful, deliberate release process. Ultimately, Begin Again is less about the object than the condition it evokes: the moment before definition, when everything still has the possibility of becoming something else. MIHARA YASUHIRO Topologie |
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