The Australian Fashion Designer Premium: A Market in Flux

The recent donation of a substantial collection by Martin Grant to the National Gallery of Victoria has shed light on the rising value of Australian fashion designers, particularly those who have gained international recognition. However, not all designers are created equal when it comes to long-term collectibility.

Designers like Toni Maticevski and Zimmermann are already commanding significant prices at auction, with Zimmerman’s ‘Amalfi Coast’ collection reaching several hundred dollars. In contrast, Collette Dinnigan remains relatively affordable. This disparity raises questions about what sets these designers apart and how we determine which ones will be highly collectable in the future.

Ida Combley, co-ordinator of design at Shapiro Auctioneers, notes that a designer’s presence on Parisian catwalks is crucial. “Designers like Toni Maticevski, who have an artisanal approach and a strong narrative behind their designs, will certainly be highly collectable in the future,” she says. Combley emphasizes that value lies not just in the clothing itself but also in the craftsmanship and story behind each piece.

Patty Huntington, Features & Fashion News Director at Harper’s BAZAAR Australia, cautions that even established designers can take decades to gain significant value on the secondary market. “It takes a few more decades back into this fashion industry before the big bucks kick in,” she says, referencing a late 1980s dress designed by Linda Jackson that sold for $480 plus buyer’s premium at Shapiro Auctioneers.

The phenomenon is not unique to Australian designers; European fashion also requires a longer time period to gain value. However, this raises questions about what collectors and connoisseurs should prioritize: investing in emerging designers or waiting for established ones to gain traction?

Ultimately, the market for Australian fashion designers is complex and multifaceted. Combley advises buyers to focus on acquiring pieces they love rather than banking on a financial return. While this approach may not yield immediate results, it is ultimately more sustainable and satisfying in the long run.

Smaller institutions like The Australian Museum of Clothing and Textiles in Maitland are also playing a vital role in preserving Australia’s fashion history. With over 10,000 items up to the year 2000, including ball gowns and everyday clothing, these museums provide a valuable service to collectors, designers, and anyone interested in understanding the evolution of Australian fashion.

As we look to the future, it will be fascinating to see which designers emerge as leaders in the market. Will it be those with a strong artisanal approach, like Maticevski and Romance was Born? Or perhaps those who push boundaries with innovative materials and techniques, like Song for the Mute?

The Australian fashion designer premium is a market driven by factors such as craftsmanship, narrative, and cultural significance. Collectors and connoisseurs would do well to keep their eyes on emerging designers while also appreciating the established ones who have paved the way.

The value of fashion lies not just in its monetary worth but in its ability to tell a story, evoke emotion, and connect us to something greater than ourselves. Lynette Huckstadt, Collections Manager at The Australian Museum of Clothing and Textiles, notes that “Just look at this one, this red Carla Zampatti jumpsuit from the 1970s. It’s an important part of Australia’s fashion history, as was the designer.”