‘Attend To It’ runway

Curated by It’s My Roommates

Part of PayPal Melbourne Fashion Festivals Independent Programme

Amelia Carlisle (she/her) @itsmyrommates

Interviewed by Edie Hopgood (she/her) @edie.hopgood.

Melbourne holds its high position on the global fashion mantle for good reason, and if it is to be known for anything within the scene, let it be the burgeoning cohort of independent designers. Taking the slow approach to their practice in a world that seems to, overwhelmingly, prioritise fast paced trend cycles - It is evident that many budding designers are looking to revive essential storytelling and worldbuilding through their garments. With passion bursting from the seams, the ingenuity of these fresh faces continues to stand out from the crowd.

During the recent PayPal Melbourne Fashion Festival I had the pleasure of attending the ‘Attend to It’ runway, as part of the festival's 2025 Independent Programme. Curated by Amelia Carlisle, founder of It’s My Roommates, the evening featured works from some of Melbourne’s most inspired up and coming designers. It was a showcase brimming with fresh talent, considered detailing and heartfelt craftsmanship.

Amelia’s personal background in fashion emerged through her studies, beginning with a Bachelor of Fashion Design at RMIT, then progressing to completing her honours year in 2023. It’s My Roommates was born throughout this period, and gained popularity, through their namesake Instagram account, @itsmyroommates, where Amelia would document the brand's work and process throughout her practice. 

“It was really the hug print that really got the brand started before going back and doing my honours, [which was] a collection focusing on integrating sensory support into ready to wear garments."

From this, Amelia looked for ways that she could develop this concept into smaller collections, as well as into adjacent areas of interest, such as film, photography, and now, runway production. From here, and one successful MFF application later, Amelia was given an opportunity to curate an event that would allow her to work with all of the above.

The concept of the runway is an extension of Amelia’s honours film, titled ‘soothe the bother, you busy body’, in which she integrates texture through the mediums of both sound and visuals, alongside her garments. Amelia shared that the performance was:

“Deeply inspired by a general energy of slowing down on the runway, taking time to look at each garment and taking in the amazing work of local and emerging designers.” 

Personally, a large drawcard to an event of this nature for me is the sense of community that invigorates the space. This connection was only further confirmed when discussing with Amelia her outreach and selection process for the runway. She mentioned that most of the featured designers she had previously met at university or other events in the fashion community - highlighting just how essential it is to attend and participate in local events, and in Amelia’s words, “get chatting to people” in order to be able to collaborate with friends and peers in the industry.

The runway was held at South Melbourne’s Temperance Hall, which is a beautiful 19th century space that’s heritage charm is visible throughout each and every surface. Deemed today as a “vibrant and inclusive hub” for experimental dance, performance, music and art; the location choice felt superbly aligned with the runway it was to host.

Upon entering the french doors, leading into the hall, I was mesmerised by the simple, yet inextricably considered set design - A ruched silk runway preparing the path for the models to come, crafted by the talented set designers, Luke Boyle and Fifi Aitken. An effortless mise en scene upon first glance, if you looked even a little closer, you could quickly spot the craftsmanship and intention behind each drape and each crease. Throughout the night, an ethereal broadcast of each look that followed down the runway was presented, capturing the sheer essence of, and emotion behind, each piece through the light filled, dreamy cinematography.

The performance showcased seven emerging and local designers who “prioritise attention to detail, sustainable consideration and unique wearers experience.” Designers included: 

Hunter Salabanzi (@huntersalabanzi)

It’s My Roommates (@itsmyroommates)

Pocket Money and Sly (@pocket.m0ney + @sly_wombat)

Annienoka (@annienoka_)

Not Sew New (@not.sew.new)

Moira Rodriguez (@_moiraisabel)

Carys Norwood (@caffi_carys)

Heading the charge, Amelia’s designs were the first down the runway. Featuring silky, second skin-like fabrics, draping that mirrors that of the flooring below, and the iconic hug print that It’s My Roommates is known (and loved) for. The incorporation of patterns and high quality materials were the key textural link for me that allowed the understated and classic silhouettes to truly shine in a new light.

Not Sew New’s runway looks played on the concept of “trash and treasure”. Although first appearing as a double edge sword, I saw it as a perfectly clever summary of their practice. As a brand whose conceptual execution revolves around the focus of “surplus, remnant & pre-existing textiles”, the garments served to highlight that neither ‘trash’ nor ‘treasure’ exist in a vacuum. Not Sew New takes discarded materials and turns them into textiles, and as such, gives them a fresh breath of air and a new life. This concept takes a leap forward in an industry that, while expanding in its sustainability sector, still has much work to do to reduce its own footprint.

In much the same vein, Pocket Money and Sly’s collaborative patchwork pieces similarly stood out to me for their reintegration of materials to serve new purposes within their lifespan. A vibrant collage of textiles spread through the duo’s collection. Their pieces felt colourful and nostalgic (in the best of ways) and I couldn’t help but grin in awe at the sheer craftsmanship on display.

Annienoka’s pieces gracing the silk runway were a tale in all things understated and timeless. Tied together with the sexiest of styling, the label added their own twist to silhouettes that we all know, love and trust, and they achieved what I thought could not be possible in making them even better. A stand out piece of the whole runway, for me, was their skirt made out of their namesake garment tags - Bold in a way I wouldn’t have expected, turning the craftsmanship that lies inwards, outwards. This was a statement that integrated the storytelling behind their brand within the garment itself, versus traditionally leaving this narrative to the branding and/or marketing function.

Hunter Salabanzi’s collection stood out amongst the collections with its use of bold type as patterns, loud colours and unique layering. Outrageous silhouettes, including comically large puffer jackets with spiked hoods, were a standout among the previous looks - highlighting an unparalleled level of detail and craftsmanship. The models' demeanors and expressions felt almost secretive, but the clothes definitely did not - They were screaming out to you from all angles.

Models of Moira Rodriguez’s designs strutted down the silkened field shortly after. Sensuality oozing from the expression of each model, down into the clothes they were sporting. Each drape and fold seemed to fall in exactly all of the right places, showing just how expression can effectively be communicated through the smallest of considerations and details.

The closing collection before the final walk, Carys Norwood’s pieces stole the show for me. The perfect blend of delicate and bold colour combinations and just the right amount of draping, tucking, pinning and cinching. The meticulous combination of elements in Carys’ looks scratched the deepest corners of my brain - From the delicately tipped caps and sharp, front facing do’s that seemingly obstructing the models’ eyelines to the mischievous props in each models hands. But, what I was utterly taken aback by was their statement final look - A top made from nothing but a bow and cloth, and blue jeans that were low rise in areas you wouldn’t expect. Both bold pieces in very different ways. The top with its stark contrast, a bow, rooted in hunting and warfare technology, paired with a soft pink floral fabric - the clear antithesis of one another - coupled with a pair of bumster jeans (a revival that I have loved seeing in recent runways such as Diesel and Dsquared). The timing of this piece felt so right, and the whole look felt so perfect.

The forethought behind the set design, the modelling expression and direction, collaborations in both image and word form and the brutalist whirring and clanging of the soundtracking in the background came together to form the basis of a simply beautiful showcase. The incorporation of texture into each facet of the runway to align with the individual themes of each designer, was additionally breathtaking. A unique approach that was a standout, as I could clearly see the intention that was injected into each and every element that was showcased. This to me only further confirmed my belief in the importance of platforming independent creatives within any scene, as no amount of passion will ever compare.

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Mimi Casting