Sin of Sirens Runway

Interview with Phoebe-Rose Gray (she/her)

Words by Mina Wakefield (she/her)

Naarm

In Greek mythology, the Siren is a half-bird, half-woman creature that lures sailors to their death with their beautiful song. Though there are conflicting narratives connected to this archetype, there's no doubt that many have been twisted with misogyny, painting sirens as vicious and tactile deceivers. Phoebe-Rose Gray was inspired by this narrative distortion and, in hopes of rewriting a misogynistic trope, organised the emerging fashion runway Sin of Sirens. 

This one-night runway event in the heart of Melbourne showcased a collection of inspired, bright-eyed, and incredibly talented designers, each offering their interpretation of the theme Siren. With a 12-piece range of evocative garments, the event was a testament to the uninhibited talent of Melbourne’s fashion scene. Speaking with Phoebe-Rose Gray, the creator of the fashion label Dysnomia and event organiser, I had the pleasure of learning about her journey into fashion design and the feminist intent behind Sin of Sirens.

Phoebe curated the show by writing a detailed brief and a researched article exploring the history of Sirens and their feminist reinterpretation. Her aim was to reclaim the Siren as a symbol of feminine power and autonomy, which had been misunderstood over time, rather than a violent or vengeful figure. “That was never my intention,” she said about slogans like ‘Kill All Men,’ which she discouraged. Instead, she encouraged thoughtful, nuanced interpretations of strength and sensuality. Reflecting this inclusive approach, she made a point of involving men in the event’s production, reinforcing that feminism isn’t about exclusion, but reclamation.

Treading a few paths before diving head-first into fashion design, Phoebe began as a make-up artist, eventually moving to Melbourne to study fashion at Collarts. After a rocky start and a multitude of ups and downs through the pandemic, she finally settled into her course. 

“I feel like I found my voice. I fell in love with the craft of [fashion] and being more patient with it, respecting the art. Understanding that to be good at something, you have to nurture it.”

With this newfound patience, she created Dysnomia, named after the Greek goddess of lawlessness, a label rooted in the idea of embracing chaos. Similarly, the theme of the runway show, Sirens, was chosen for its symbolic connection to feminism.

Phoebe reflects on how women are often vilified for embracing their independence, power, and beauty. “Women are constantly sexualised in society and the media,” she said. “When we lean into that and use it to our strengths, then we’re sluts or evil. It’s like we can’t win.” Sin of Sirens was born from this frustration, a way of rewriting that narrative on her terms.

With the audience cozied into The Wolfhound, the space buzzed with excitement, the kind of joy that comes from being surrounded by like-minded people. Everyone was eager for the show to begin.

Musicians Mike and Dom, dressed in Dysnomia, kicked off the evening with a live set, accompanied by hauntingly sweet vocals from Mayori. Self-crafted and immersive, the music flowed seamlessly alongside each garment, twisting and shifting in tone as each model stepped out. I was struck by how the sound felt intricately tied to the fashion, almost as if each piece had its own soundtrack. It was clear Phoebe prioritised collaboration, creating space for creatives from a range of practices to be involved. That sense of community was palpable and, as Phoebe put it, so was the shared objective:

“Everyone was just passionate about the cause. It was nice having so many like-minded young people with the same mission.”

The show opened with a soft, romantic take on the siren concept, with delicate knits mimicking netting, pearlescent textures, and oceanic embellishments dominating the first wave of garments. Designers Loz Jones, Layla Bengoa, and Jodie Tian offered a dreamy vision of the sea as they layered velvets, shimmering sequins and pearls on models with soft make-up and natural hair, conjuring sirens as ethereal, alluring, and otherworldly beings. 

But as the music shifted, so did the tone of the following pieces. The garments turned darker and more foreboding. Indiana Beck’s look embraced the sinister edge of the siren myth, utilising red and black tones, tangled cords, and asymmetry. This descent continued in Jim Goodfellow’s full-length black gown, whose pearl-trimmed seams and chainmail headdress evoked a sense of power, a siren not of seduction, but of reckoning. This continues with Chloe Oliver's 3-piece set, textured fabrics with ocean blue stitching trailing from the skirt like seaweed from the hull of a ship. 

The third wave of the show turns back to a more innocent, feminine depiction as designers Elyssa Yan and Ellie Ossigner utilise cleaner, tailored pieces with sweet colours and delicate accessories. As the show comes to an end, the pieces ramp up in opulence with designers Mikayla Scott, Anh Hoang and Kristy Rigby showcasing luxurious fabrics like fur, leather and satin, weaving in rich textures, bold patterns and decadent jewellery pieces - a final reminder of the siren’s boldness, beauty, and refusal to be one thing.

The final look was Phoebe’s from Dysnomia. After a long-time love for her work, Phoebe chose to reach out to model and dancer Carol Green to wear her closing design.

“I always thought that if I ever needed a model for something like this, I would go to her, and she has been an absolute joy to work with. She is such an icon within the industry”.

Carol's talent as a dancer was vibrant on the runway. She came in an all-black dysnomia piece: a mid-length lace skirt, a lace bodice with spike embellishments, a choker connected to the centre of the bust, fishnet stockings and elbow-length gloves. 

As she moved through the audience, feathers in hand and hair a flowing ribbon of red silk, she exuded effortless confidence, demanding the room's attention. Phoebe describes how that was her intention “I wanted her to be that powerful being that knew she was the shit and knew that everyone in the room wanted her”. It was an incredible closing look and beautifully presented Dysnomia's piece as a motif of the Siren mythos.

Speaking to the designers after the show, many shared how special it felt to be part of Sin of Sirens, and how they wished more events like it existed in Melbourne. Their reflections made one thing clear: Melbourne is home to a vibrant, untapped community of emerging creatives, all longing for spaces to be seen and celebrated.

Phoebe's goal is to make more opportunities for emerging artists to showcase their work, hoping to hold a runway show like The Sin of Sirens once a year, ideally in bigger venues. For her, it’s about building a space where creativity can thrive while making her name known in Melbourne’s fashion scene.

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