The Best of Miss Earth Australia 2022 Grand Launch and Fashion Show, In Pictures

The Miss Earth Australia 2022 Grand Launch and Fashion Show has finally come to a close, and here are some of the most memorable moments from the runway, as captured by George Azmy.

Designers Tommy Ge of Leatheron, Faten Lawn, Lily African Wares, Alies Bol, and Armando Crisostomo were among those who showcased their collections last Saturday. It was definitely a sight to behold!

Scroll through the photos below to see highlights from the Miss Earth Australia 2022 Grand Launch and Fashion Show.

Is It Possible For Virtual Fashion To Break The Harmful Cycle Of Impulse Buying?

During the pandemic, the fast rise of e-commerce platforms increased unplanned spending and impulse purchases. As virtual clothing gains popularity through apps and video games, people may now gratify the urge to buy new items without straining their finances and with minimal environmental harm.

Internet spending continued to set new highs despite increased unemployment and economic difficulties during the pandemic. For example, the share of retail transactions conducted online in the United Kingdom increased by 16% in February 2021 in a single month.

This contradictory behavior may be attributed to people seeking relief through retail therapy, as the pandemic has reportedly increased feelings of anxiety and sadness in young adults by 30%.

With a recent study reporting that 50% of respondents are interested in purchasing a digital asset in the coming year, online spending habits may change again due to reduced financial and environmental costs.

Digital wardrobes substitute traditional shopping

However, alongside an increase in online shopping, lockdowns also accelerated the rise of digital fashion as people turned to online worlds for interaction with other humans. Mainstream clothing trends are becoming increasingly prevalent in video games and apps —  including big-name designers like Louis Vuitton or Moschino experimenting with digital collections.

Virtual clothing pieces come at a fraction of the financial and environmental cost of physical items, meaning people may still experience the gratification of shopping with minimized harm.

“The biggest difference between video game styling and real-life clothes shopping is longevity. The fashion industry and brick and mortar fashion stores need to constantly push the cycle of styles, whether it is seasonal or fad-related; it is in their best interest to retire an old collection and push new inventory to the shelves,” said Povilas Katkevičius, game designer at Nordcurrent, an international developer and publisher of mobile games.

“Video game styling does not require this. Of course, we need to create new items because novelty is always exciting and interesting, but we do not need to retire our collections. We have endless shelf space in the virtual world in which old and new styles can mix into our players’ creations,” he continued.

Replicating real-life purchases virtually

Apps and video games that present a high level of character customization and can replicate real-life shopping experiences present new opportunities to satisfy the impulsive want to shop in a consequence-free environment.

Pocket Styler, which allows players to dress their avatar using items from an extensive catalog of designs, can provide players with the satisfaction of purchasing a new item without needing excessive financial means to do so,” P. Katkevičius explained.

“When designing the app, we studied real e-shops to mimic a smooth and recognizable user interface. As such, it contains a wide range of styles, clothing categories, and accessories that can be purchased through the in-game currency. Despite not receiving a physical item from purchases, a lot of the instant gratification for our community comes from the styling itself,” he explained.

About Nordcurrent

Nordcurrent is the biggest Lithuanian video game developer and publisher, known for such games as Cooking Fever,  Murder in the Alps, Airplane Chefs, Sniper Arena. Focusing on freemium and casual games, the company created over 50 games since 2002, attracting more than half-billion players worldwide.

This article was sourced from a media release sent by Lukas Pereckas of

Is There Room for Boutique Fashion Creators In The Metaverse?

Metaverse has as much to offer to small fashion retailers as it does to big brands, as authenticity  not notability  will be one of the defining factors of success.

The concept of the metaverse is still nascent, however, it harbors immense potential for the fashion industry. Moreover, the freedom and flexibility of WEB3 allow fashion vendors of any size to break into the virtual world and take advantage of its vast opportunities, among which — less market entry barriers for up-and-coming creators and a space fueling creative expression.

Room for all

The world’s largest fashion houses have already started dipping their toes into the uncharted waters of the metaverse. Last year, the Italian fashion house Gucci released a digital-only bag, which was sold for a much higher price than its real-life equivalent. Louis Vuitton, the French luxury brand, has taken one step further by launching an NFT-embedded mobile application “Louis the Game”. This year the brand is investing further, having added new NFTs and quests for players to discover.

However, the prospects of new-age fashion are not reserved only for the ‘best and biggest’. Indrė Viltrakytė, the co-founder of the Rebels, an NFT project seeking to bridge IRL and WEB3 fashion, has emphasized authenticity, a natural fit for decentralized values, and transparency as the defining factors of successful meta-based projects.

“In WEB3, people have the power to decide who is worthy of success. We’ve already seen some big brands’ half-baked projects that flopped, as this community can tell the difference between passion-backed initiatives and the ones that are only seeking profit,” she said. “In this space, money or size is not what leads to success — it’s being raw and authentic. That’s why a small fashion boutique has just as big of a chance to make a statement as the industry’s veterans.”

Easier entry for emerging talents

WEB3 also eliminates certain barriers that may have previously limited up-and-coming fashion industry creatives. According to Viltrakytė, an independent designer or a fashion brand has to produce anywhere from 2 to 16 collections a year, which can be financially challenging for someone that is just starting out.

“The Rebels is a continuation of our IRL fashion house, so we know how tough the entire fashion cycle can be, starting from producing samples to participating in trade shows and marketing to consumers,” she said. “Turning your clothes into NFTs and selling them through blockchain-powered fashion marketplaces is much more accessible and affordable, especially if you are a digitally native brand. Also, an authentic origin story could help emerging talents to establish a strong presence without the need for paid ads.”

She also noted that Gen Z’ers, who are one of the main metaverse audiences’, value originality and sustainability above all, and boutique brands can channel these values much better than big conglomerates.

Breaking in as a non-tech business

While the idea of settling into the metaverse may be intimidating, especially for smaller brands, Viltrakyte has reassured that — although certain tech knowledge is a must-have — the attitude with which a business immerses itself into the space is far more important.

“Approaching with an attitude of “how can I give value’, rather than ‘how can this benefit me’ makes a whole lot of difference. Later, it all boils down to ‘learning by doing’, whether it’s selling digital collections, creating a first virtual fashion show, or listing an NFT collection,” said the fashion expert. “Also, I’ve learned that the WEB3 community is very welcoming, and connecting with people in Discord, Twitter, and other hubs can help to better understand the space.”

Decentraland, Roblox, and other metaverses are quickly positioning themselves as a prospective new channel to market brands. As early adopters could make use of the first-mover advantage, Ms Viltrakytė urged to take advantage of this and encouraged fashion SMEs to join the virtual community.

“A lot of digital artists already discovered WEB3 and NFTs as means to make a living out of their art. Now it’s the time for designers, fashion artists, and small brands to discover the opportunities, reinvent themselves, and make the most out of this technology.”


The Rebels is a continuation of the IRL Robert Kalinkin brand, a street couture fashion house that has participated in world-renowned fashion weeks across the globe. The project encompasses 10101 unique characters based on the controversial “Jesus, Maria” ad campaign, which was banned in their home country. It finally found justice in the European Court of Human Rights, which ruled in favor of the brand. The case is now held as a precedent in cases related to freedom of expression in the EU. Led by Indrė Viltrakytė, a fashion industry expert with 10+ years of experience, The Rebels team aims to bridge real life and digital fashion in the WEB3 era. Learn more:

This article was sourced from a media release sent by Lukas Pereckas of

Iordanes Spyridon Gogos & Powerhouse Museum Unveil Iconic Collaboration For Afterpay Australian Fashion Week 2022

SYDNEY, AUSTRALIA – MAY 12: Jenny Kee walks the runway during the Iordanes Spyridon Gogos show during Afterpay Australian Fashion Week 2022 Resort ’23 Collections at the Powerhouse Museum on May 12, 2022 in Sydney, Australia. (Photo by Mark Metcalfe/Getty Images)

On Thursday, 12 May 2022, the Powerhouse staged Iordanes Spyridon Gogos’ (ISG) highly anticipated runway show for Afterpay Australian Fashion Week (AAFW) 2022. The unique collaboration transformed the Powerhouse’s iconic Boiler Hall for the first AAFW runway show in the museum’s 142-year history.

The Powerhouse workshop team collaborated with ISG to realise the vibrant ‘deconstructed castle’ runway. Artistic direction was led by Benn Hamilton, set design by Max Rixon, and spatial design by Tayarch Design Studio, all mainstay ISG collaborators who worked with the Powerhouse team to create more than 15 sculptural works along with painted banners, set pieces, and wearable art objects.

Jenny Kee and Jordan Gogos, Iordanes Spyridon Gogos Afterpay Australian Fashion Week 2022 at Powerhouse. Image: Getty.

More than 1,000 hours of labour over five weeks and 123 litres of fluorescent paint, including much reused from previous exhibition projects, went into the collaboration. The full breadth of the workshop team’s skills and experience was showcased, from entry-level to experienced artisans and tradespeople with 30 years of experience across metal, timber, and scenic work, plus drawing and 3D modelling.

The Powerhouse workshop was amongst 60 Australian and international collaborators from the creative industries engaged to realise 33 singular looks for the runway show. One stand-out was a steel ‘tubular vest’ designed by Benn Hamilton and crafted by the Powerhouse workshop, which housed a floral arrangement by the Colour Blind Florist Benjamin Avery. The workshop also collaborated on NYC-based artist Patrick Church’s sculptural look.

ISG’s collaboration with Australian fashion veteran Jenny Kee AO opened and closed the show. ISG utilised recycled materials from ‘Step Into Paradise’ (Kee and Linda Jackson’s seminal Powerhouse retrospective) for the lining of garments, shoes, set design, and other elements. Kee’s archive of iconic prints and motifs, including her signature ‘Earth First’ scarf, were translated into textile designs by Brittney Wyper and incorporated into new garments. The designer herself made a runway cameo alongside her granddaughter.

SYDNEY, AUSTRALIA – MAY 12: Designer Jordan Gogos thanks the audience with Jenny Kee following the the Iordanes Spyridon Gogos show during Afterpay Australian Fashion Week 2022 Resort ’23 Collections at the Powerhouse Museum on May 12, 2022 in Sydney, Australia. (Photo by Mark Metcalfe/Getty Images)

In his unique graphic style, Apollo Michaelides illustrated textile designs with cartoons featuring references to the Powerhouse’s expansive collection. Victoria Todorov’s textile designs also referenced a variety of collection objects for a garment designed by Shanghai-based Jake Siu. Photo media artist and sculptor Anna Pogossova’s oversized coins, seen on shoes, garments and jewellery, referenced real and counterfeit ancient Greek coins from the Powerhouse collection.

In collaboration with Gallery Sally Dan-Cuthbert, ISG presented a silhouette which captures the fashion label’s relationship with Sally and the Gallery. Clad in jacket and skirt, the model represented Sally as the gallery director, while a ‘shell’ reflected the distinct, considered textures of the gallery architecture, with a headdress symbolising the gallery’s iconic ‘halo’ light entrance.

Winner of the National Indigenous Fashion Awards 2021 Simone Arnol, working in collaboration with masters of Ghostnet woven totemic artworks Pormpuraaw Art Centre and Yarrabah Arts and Culture, presented a series of designs combining recycled fishing nets, textiles, and printed fabrics.

Jordan Gogos and Jenny Kee, backstage at Iordanes Spyridon Gogos AAFW 2022 Runway Show, Powerhouse. Collaborators: Patrick Church, Brittany Wyper, Max Rixon, Julia Baldini. Model: Kyva/Kyle. Image by Jamie Heath.

The show was presented alongside a curated Powerhouse Late program, which included a live stream of the runway show into the Powerhouse Theatre alongside artwork projections, documentary screenings and music curated by FBi Radio.  The runway show will remain available to view on the Powerhouse’s YouTube channel.

“The Powerhouse is thrilled to present our collaboration with ISG for AAFW 2022. Since our collaboration was first announced, Jordan’s epic vision has expanded in new and exciting ways. Galvanising the resources of the Powerhouse workshop team and production teams, this marked a momentous moment for the museum, transforming the iconic Boiler Hall into the world of Jordan Gogos” said Powerhouse Chief Executive Lisa Havilah.

Jordan Gogos and Jenny Kee, backstage at Iordanes Spyridon Gogos AAFW 2022 Runway Show, Powerhouse. Collaborators: Yarrabah Arts and Culture, Pormpuraaw Art, Julia Baldini. Model: Abbey. Image by Jamie Heath.

“Our collaboration with the Powerhouse has enabled us to realise the full scale and magnitude of our creative vision for this year’s Afterpay Australian Fashion Week runway show. Being embedded in the Powerhouse Ultimo Creative Industries Precinct as a Resident has generated thrilling new collaborations. Access to the incredible workshop facilities and production team at Powerhouse Ultimo has elevated the show to new heights in the iconic Boiler Hall,” said ISG founder Jordan Gogos.

Afterpay Australian Fashion Week is an IMG event proudly supported by the New South Wales Government through its tourism and major events agency, Destination NSW.

Jordan Gogos and Jenny Kee, backstage at Iordanes Spyridon Gogos AAFW 2022 Runway Show, Powerhouse. Collaborators: Jenny Kee, Ruby Peddler, Brittany Wyper, Max Rixon, Sacred Honeys, Julia Baldini. Model: Stefania Gertis. Image by Jamie Heath.

Jordan Gogos and Jenny Kee, backstage at Iordanes Spyridon Gogos AAFW 2022 Runway Show, Powerhouse. Collaborators: Max Rixon, Jo Morton, Jenny Kee, Sacred Honeys, Julia Baldini. Model: Elliot. Image by Jamie Heath.

Spotted: TORANNCE At The Afterpay Australia Fashion Week 2022

TORANNCE is an Australian elevated contemporary label dedicated to timelessness, luxury, and wear-ability. Paying homage to vintage trends and muses, TORANNCE plays on eccentricities and eye-catching details while still being completely wearable and something that can take you from day to night.

TORANNCE was established by Julia Torannce Hemingway in 2015. Having studied a Bachelor of Business and working within the fashion industry for almost a decade, Hemingway felt she needed to create her own label so that she could push the design boundaries without limitation.

With a strong emphasis on quality, all TORANNCE garments are designed using premium materials, including natural fabrications, ethically sourced leathers, and beautiful hand-embellished materials.

Check out their collection below at the 2022 Afterpay Australian Fashion Week courtesy of Dave Choo.

Event To Watch Out For: Afterpay Australian Fashion Week

What: Afterpay Australian Fashion Week (AAFW) engages the industry alongside fashion’s most passionate consumers in one dynamic program, marrying physical and digital activations that celebrate Australia’s preeminent designers and fashion’s cultural influence.

Australia’s only international fashion event, AAFW takes place annually in Sydney and is the premier destination for Resort collections.

Where: Carriageworks – 245 Wilson Street Eveleigh NSW 2015

When: 9-13 MAY

Here’s Why Throwaway Fashion Is Out Of Fashion

With the PayPal Melbourne Fashion Festival underway, experts from RMIT are available to comment on some of the biggest trends in the fashion industry, from circular fashion to capsule wardrobes built for comfort.

Circular fashion: Brands need to design for longevity

Dr Rebecca Van Amber, Senior Lecturer, School of Fashion & Textiles, Program Manager, Bachelor of Fashion & Textiles (Sustainable Innovation), RMIT (

“One of the most significant things the fashion industry can do to reduce waste in the industry is to design garments that are durable and long-lasting. Circular fashion is becoming increasingly popular and mainstream, however, we can only repurpose, re-sell, rent and repair fashion if it is made from quality fabrics and designed to last in the first place.

“One of the fascinating things that has happened with the proliferation of the fashion rental market —whereby you can rent special occasion clothing from online and bricks and mortar fashion rental boutiques — is that the brands who supply to this market are redesigning their products to make them more long-lasting. Previously, evening gowns weren’t designed to be worn over and over again. But that’s changed and they now need to be much more durable.

“Similarly, the sophistication of the second-hand fashion market, which has moved well beyond op shops and eBay to curated second-hand fashion boutiques who charge a premium means that well-made, quality garments are becoming increasingly valuable in that resale market, and that can only be a good thing when we are thinking about reducing fashion waste.

“This appetite for circular fashion, whether it be renting, re-selling or re-purposing garments, means there is increasing value in making and investing in good quality garments, which in turn reduces waste.”

How the pandemic prompted the rise of the capsule wardrobe

Dr Kate Sala, Lecturer, Design & Technology, School of Fashion and Textiles, RMIT (

“I definitely think people are more aware now of what they have in their wardrobes than they were before the pandemic.

“You’ll find many people used those long periods of lockdown to clear out and sell superfluous items in their wardrobe and as a result I think people may be more mindful now of what they do and don’t need in their wardrobes.

“People are also more mindful of how they can use what they have available in their wardrobe to style different looks for different occasions. We have become resourceful.

“I think the fact that many of us are only in the office two or three days a week, or even less, means perhaps we’ve come to realise we don’t need as many clothes as we used to.

“And when we do leave the house, I think we are much more considered about what we wear. There is this real sense of occasion to be celebrated when we go out now.

“At the same time, I think we’ve become accustomed to a sense of comfort that extended periods at home have given us. So, while people are loving the opportunity to dress up for social occasions and going into the office, they are combining comfort with occasion, by being more experimental with their fashion and embracing relaxed silhouettes, comfortable footwear, and items that can take them easily from home to working away from home.”

This article was sourced from a media release sent by Medianet

Photo by Artem Beliaikin

Can Digital Fashion Make The Fashion Industry More Sustainable?

Fashion has become one of the latest industries put under the scope of digitalization. As more people opt for buying virtual clothing, the opportunity to minimize carbon emissions, textile waste, and water usage within the sector presents itself. 

With the metaverse, the COVID-19 pandemic, and the increasing concerns related to climate change, fashion designers have turned to digital platforms for releasing their pieces. Louis Vuitton, for example, has designed a set of skins for the MOBA video game League of Legends. As virtual clothing becomes more accessible to the average user, fashion could become a more sustainable industry by allowing people to explore their style without needing to buy physical items.

Digital clothing tackles fashion’s sustainability issues

Despite brands incorporating “green policies” to reduce their harm to the environment in recent years, the fast-paced nature of the fashion industry causes it to be one of the biggest pollution-spreading sectors in 2021. However, rapid digitalization occurred within clothing companies as they failed to meet manufacturing goals as a result of the pandemic, which paved the way for virtual clothing.

Brands turned to mapping out initial drafts virtually, only physically crafting the clothes once a design has been settled on. In turn, as reported by ProSoft VR, the manufacturing process of one simple dress reduced environmental costs by around four times.

“As items go out of fashion and new trends pop up, a cycle of environmental harm is created. Old items end up in landfills, while the creation of new ones emit massive amounts of CO2  and deplete water resources. Games alleviate this burden, as unworn pieces may simply be deleted and replaced by other items with substantively less impact,” notes Victoria Trofimova, CEO of Nordcurrent, the biggest game development company in Lithuania.

While not completely impact-free, digital clothing items save around 3300 liters and produce 97% fewer carbon emissions per item, compared to their physical counterparts. By satisfying the need for engaging with new trends, consumers will likely be more mindful when buying physical pieces, reducing harm in the long-term.

Virtual clothing quickly garnering popularity

“Real-life clothing items increasingly find their way onto digital platforms. With famous designer houses joining the trend, virtual wardrobes are becoming more similar to ones in real-life,” notes Trofimova. “By emulating clothing, users may explore trends, styles, and brands without needing to purchase physical pieces, and therefore reducing the environmental impact of the fashion industry,” she continues.

The trend is significantly supported by video games, as character customization becomes an integral part of an immersive experience. Games such as Pocket Styler allow the player to fully customize their avatar’s look with different clothing and accessories that can be found in real-life stores.

“People may express themselves using Pocket Styler by transferring their particular tastes and preferences to the virtual version of themselves. Players may take their time developing a personal sense of style, which is difficult to achieve in real life as trends change and are phased out of stores rapidly,” explains Trofimova.

With digital fashion only becoming increasingly popular, a new, sustainable route for the industry is coming into view. By playing with style on virtual platforms like video games,  people may still express themselves and be creative using clothing – with minimized detriment to the environment.

About Nordcurrent

Nordcurrent is the biggest Lithuanian video game developer and publisher, known for such games as Cooking Fever,  Murder in the Alps, Airplane Chefs, Sniper Arena. Focusing on freemium and casual games, the company created over 50 games since 2002, attracting more than half-billion players  worldwide.

This article was sourced from a media release sent by Lukas Pereckas of

Zero Footprint Repurposing Presented by Revival Projects Wins Melbourne Design Week Award

Robbie Neville, Founder of Revival Projects, at Zero Footprint Repurposing presented as part of Melbourne Design Week 2022 running 17-27 March 2022.

Photo: Sean Fennessy

With almost half of waste worldwide coming from construction and demolition, Zero Footprint Repurposing by Revival Projects, presented as part of Melbourne Design Week, seeks to make sustainable construction alternatives more accessible to everyone by providing one of the world’s first free repurposing hubs to fill a vital gap in the industry by facilitating the storage and reuse of demolished materials, which would otherwise become landfill.

Founded by Robbie Neville in 2016, Revival Projects has already salvaged hundreds of tonnes in construction and demolition waste across Melbourne channelling it into furniture, interior, and architectural projects including R.M. Williams stores across the country, Industry Beans new Fitzroy flagship, and the 2020 demolition and salvage with Hip V.Hype, who were heading up the development of a Six Degrees Architects-designed block of 22 apartments in South Melbourne.

This first hub, opened in 2020, and in operation for a year, was situated immediately adjacent to the Hip V Hype site, and saw Revival Projects repurpose the 2000 lineal meters of timber beams into several local projects including a whisky bar, a ceramic studio, a burger bar and in sustainable furniture design workshops for women, which were run from the hub. The remaining timber will be used in feature elements of an 8 story Perri Projects development, designed by Tandem Studio, which is now under construction on the site of the South Melbourne hub.

The second iteration of the hub, presented during Melbourne Design Week 2022, is situated in Islington Street, Collingwood in a 100-year-old, 1500 square-metre warehouse, that will be demolished in 2024. True to their cause, Revival Projects, who are utilising the space in the interim, is working with Grimshaw Architects, the architects of the site’s future development, to repurpose the existing materials from the warehouse into the new development.

During Melbourne Design Week 2022, Revival Projects will open the hub to the public, Friday 25 March, with visitors able to discover how designers, builders and clients can work together to revolutionise the industry’s approach to repurposing and sustainable construction, and see a range of materials that have been stored onsite by FJMT, Perri Projects, Beulah International, Edition Office, BAR Studio, Hip V. Hype, Kerstin Thompson Architects, Assemble Communities, Grimshaw Architects, ANPlus Developments and Bayley Ward Architects among others.

A panel event discussing the work and impact of Revival Projects and some of their collaborators will take place on the premises, featuring Robbie along with speakers from Grimshaw, Hip V. Hype and Assemble Communities, the discussion will take place 5:00, Friday 25 March, 111 Islington St, Collingwood. For full details visit: Zero Footprint Repurposing MDW 2022

Tony Ellwood AM, Director, National Gallery of Victoria, said: ‘Zero Footprint Repurposing is a project of ambitious scale with global importance. Offering a unique platform for the design and construction industry to make a sustainable impact, the project is a real catalyst for positive change. Revival Projects draws attention to an important issue, demonstrating that the value of a design is not only in its function or aesthetic, but also in its environmental impact.’

Florian Seidler, Managing Director and CEO, Mercedes-Benz Australia/Pacific, said: ‘Great design creates products and services which help to realise a healthier future and Zero Footprint Repurposing by Revival Projects is doing just that. Through their design week event they are both drawing attention to the issue of sustainable building practice and demonstrating how it can be achieved.’

‘At Mercedes-Benz, we’re also on a journey to a sustainable future, which includes finding ways to drive recycled products and methodologies into our supply chains and our vehicles.’

Robbie Neville, Founder of Revival Projects, said: ‘Our mission here is to revolutionize the way our industry approaches existing materials; we are disrupting centuries of traditions based on reckless consumption of natural resources. We are tremendously excited by the galvanic, inclusive energy of Melbourne Design Week, we have the dream combination of right place, right time, and right people to channel this incredible energy into affecting immediate change.’

Zero Footprint Repurposing is presented as part of Melbourne Design Week, an initiative of the Victorian Government delivered by the National Gallery of Victoria. In 2022 Melbourne Design Week runs from March 17 – 27. For full program please visit Proudly supported by Major Partners Mercedes-Benz and Telstra, and Design Partner RMIT University.

This article was sourced from a media release sent by NGV Media & Public Affairs