The ten-year Strategy is the result of almost a year of industry consultation led by the AFC and R.M.Williams, including 14 national consultations with manufacturers, brands, educators and policymakers across the country. More than 300 stakeholders contributed to the process, generating over 1,000 proposed initiatives and nearly 900 votes on strategic priorities to shape the sector’s long-term manufacturing future.

The Strategy was unveiled at a breakfast symposium and AFC member showcase in Mural Hall attended by over 90 industry and parliamentary guests, including members of the Parliamentary Friends of Australian Fashion & Textiles, and its Co-Chairs, Matt Burnell MP, Dai Le MP and Zoe McKenzie MP.

The Strategy comes at a critical time for the industry. With 97 per cent of Australia’s clothing and textile products manufactured offshore, the sector remains vulnerable to ongoing global supply disruptions and trade volatility. Rather than compete against high-volume offshore manufacturing markets, the Strategy is focussed on closing structural gaps and accelerating advanced manufacturing to scale the sector’s comparative advantage, aiming to position Australia to compete globally in premium, technology-enabled and traceable production, built on the country’s natural fibre strengths.

Table 1: Strategy Outcomes & Australia’s Comparative Advantage

The Strategy outlines three strategic pillars underpinned by industry and government coordination as the levers required to deliver these outcomes by 2036.

Table 2: Strategy Pillars & Coordination

AN ECONOMIC CASE FOR ACTION

Independent modelling by RMIT University and RPS projects that full implementation of the Strategy's coordinated policy platform will grow TCF manufacturing value added from $2.6 billion to $2.9 billion by 2030/31, delivering a cumulative $1.4 billion economic dividend over five years. The Strategy is also projected to create more than 1,000 new skilled jobs and $864 million in additional wages, with approximately half of those jobs are projected to be filled by women.

At present, TCF manufacturing already employs more than 27,000 Australians - 58 per cent women (compared to 28 per cent in other manufacturing industries) and 41 per cent from culturally and linguistically diverse communities - and pays over $1.4 billion in wages annually. Strengthening this base will increase the competitiveness of Australia’s $28 billion fashion and textile industry, which employs nearly 500,000 Australians across the broader value chain.

SPOKESPERSON QUOTES

“This Strategy sets out a clear roadmap for rebuilding a globally competitive Australian fashion and textile manufacturing sector. Australia already has exceptional design talent, advanced manufacturing capability and globally recognised brands. With the right coordination across industry, skills and procurement policy, we have a real opportunity to strengthen sovereign capability, create skilled jobs and position Australia as a leader in premium manufacturing.”
Marianne Perkovic, Executive Chair, Australian Fashion Council

"Australia is the world's largest exporter of greasy wool and a globally significant cotton producer. Yet we export raw fibre and import finished goods at multiples of the original value. Re-establishing fibre processing and spinning capability restores the missing link in our value chain. Building the next generation of capability to capture this value - capability that is advanced, technology-enabled and circular - will also require stronger demand signals. Strategic public procurement can help anchor that demand and support the growth of Australia’s domestic manufacturing capability.”
Samantha Delgos, General Manager, Australian Fashion Council

"R.M.Williams has manufactured in Adelaide for more than 90 years. We employ skilled craftspeople, invest in apprentices and continue to modernise production while competing globally. What's needed now is to activate a flywheel: demand enables investment in skills, skills enable advanced manufacturing, and technology allows Australian manufacturers to scale while maintaining quality."
Tara Moses, Chief Operating Officer, R.M.Williams

"This Strategy is a serious economic blueprint for communities, supporting skilled jobs, strengthening regional manufacturing, and creating clearer pathways for women into trades and long-term manufacturing careers. It presents a coordinated, cross-portfolio agenda that connects procurement, skills and industry capability. As Co-Chair of the Parliamentary Friends group, I'm committed to supporting the sector to turn this plan into long-term coordinated action."
Matt Burnell MP, Co-Chair, Parliamentary Friends of Australian Fashion & Textiles

The Strategy’s launch at Parliament House marked an important moment for Australia’s fashion and textile industry. To showcase the capability already operating in Australia, AFC members from across the manufacturing sector presented a cross-section of domestic production. The showcase featured R.M.Williams, Bianca Spender, Bond-Eye Australia, Clothing the Gaps, ABMT, Sylvia P, Waverley Mills, Silver Fleece and Stewart Heaton & Clothing. 

The AFC and R.M.Williams also produced a short film titled ‘Made Here, Worn Everywhere’ profiling AFC members including Australian Defence Apparel, The Social Outfit, Maara Collective, Citizen Wolf, Waverley Mills and Silver Fleece highlighting the diversity of manufacturing already taking place across Australia.

WHAT’S NEXT: FOUNDATION TO 2029

The Strategy will be led by the Australian Fashion Council as the peak body for the sector. Progress will be measured through a two-stage assessment framework.

1. Implementation review (to 2029): This phase will assess progress in establishing the core architecture underpinning the Strategy, including procurement reform, national capability mapping, skills recognition pilots, shared manufacturing infrastructure and governance arrangements to coordinate delivery.
2. Strategic outcomes review (to 2036): This phase will assess progress against the Strategy’s long-term ambition - a competitive, technology-enabled and domestically anchored manufacturing sector with a sustainable workforce pipeline and globally recognised market position.

The National Manufacturing Strategy for Australian Fashion & Textiles is supported by the Parliamentary Friends of Australian Fashion & Textiles group, co-chaired by Matt Burnell MP, Dai Le MP and Zoe McKenzie MP, with more than 60 bipartisan members across Parliament. 

The Strategy can be viewed on the AFC website.

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For further information or imagery, please contact:

Elizabeth Anderson  |  Head of Policy & Communications, Australian Fashion Council

E: eanderson@ausfashioncouncil.com  |  M: +61 424 991 231

The post AFC & R.M.WILLIAMS DELIVER FIRST-EVER INDUSTRY-BACKED PLAN TO SCALE AUSTRALIA’S FASHION & TEXTILE MANUFACTURING SECTOR appeared first on AFC.

Read on to learn about the journey that brought her here.

1. What was your first start in the industry and can you share your career journey? Was there a pivotal moment in your career that led you or pushed you to where you are today?

 I started in this industry as a sustainable fashion activist, and my environmental passion has shaped my career in the industry. My early professional life was in marketing and branding in the US and Australia, but I quickly felt I needed change and started looking for greater purpose. For nearly two decades, I have been driven to work towards climate action, and it is that internal driving force that has led me to use my unique skills, relationships and opportunities to aid in the sustainable transition of the Australian fashion industry.

Thinking of key moments, 2009 was a big year for me – I had my environmental “awakening” thanks to the film An Inconvenient Truth, completed a master’s degree where I studied – among other things - culture and environmental behaviour change, and started to work for the Green Building Council of Australia (GBCA). While working at GBCA I wrote my book Sustainability with Style (2012), an eco-memoir documenting my lifestyle changes including fashion, beauty, food choices and more. Thanks to the book, I connected with incredible sustainable fashion pioneers in Australia and around the world, and together with three of them (Carlie Ballard, Kelly Elkin, and Yatu Widders Hunt) founded Clean Cut, producing the first sustainable fashion show on the Australian Fashion Week program in 2014. Putting on the show was a huge labour of love – we all had full time jobs, and called in all the favours imaginable, including with our amazing PR partner at New Future, Elena Silverwood. The show featured eight sustainable fashion labels from around the world (including my current colleague Rachael Cassar and New Zealand brand Kowtow). It was incredibly challenging, incredibly fulfilling, and well received by industry and media.

Just as the fashion show was coming together, I also embarked on my PhD, which allowed me to focus deeply on transitioning the Australian fashion industry toward sustainability. Following completion of my PhD, I had a few years of contract sustainability work and had a couple babies, and then started my role in late 2021 with the Centre of Excellence – it has been an ideal opportunity to support industry transformation as it brings educational expertise and research excellence into collaboration with industry. Looking back, my path in the industry has not been linear, but it’s always been values- and purpose-driven, which feels like a true privilege.

2. Are there any mentors or influential figures who played a key role in your leadership style?

I’ve been fortunate to have many mentors - academically, professionally, and personally. As I reflect on them now, I can see they all share traits I deeply value: integrity, intelligence, compassion, and a commitment to leading with values over ego. I try to bring these qualities into my own leadership, which is certainly still evolving.

My time at GBCA was especially formative and I had the privilege of working directly with then-CEO Romilly Madew AO, a natural leader who demonstrates values-based leadership. I witnessed how she could hold her own in an historically masculine industry, command a room of thousands when she spoke, and also nurture a growing team, supporting a culture that made space for employees to thrive. Romilly supported my working part-time while writing my book because she wanted to create a workplace where women could achieve all their dreams, and my role was the first in the organisation to become a job-share, which I shared with a working mum. Rom’s unique blend of extreme talent, work ethic and compassion has greatly influenced my leadership style – and I also think of her every time I’m in the office early and turn on classical music, as I heard her do countless times over the years in those early hours, enjoying the calm before the chaos of the day.

Academically, I’ve been shaped by my PhD supervisor, Professor Natalya Lusty. She is wickedly clever, precise, curious, warm, and direct. She saw potential in my academic work when nearly no one else in our field did, and bolstered me when others challenged the importance of addressing sustainability in fashion. I often reflect on Natalya’s enthusiasm and optimism about the work we all do, and am pleased to also call her my friend. Last but certainly not least, my colleague Associate Professor Timo Rissanen inspires me daily through his compassion, brilliance, wit, and unwavering commitment to meaningful work. It’s a real pleasure when your colleagues are also your mentors.

3. What has been the biggest challenge you have faced on your pathway, and how did you overcome it?
My biggest challenge is that I don’t always fit in - whether that’s being one of few women in male-dominated leadership spaces, talking about fashion when others were talking about the built environment, entering fashion as an activist, or navigating a hybrid academic-industry role. At times this has meant not being taken seriously, missing opportunities because I framed ideas differently, or facing delays or relationship setbacks because I was challenging established norms. (And let’s be honest, when you’re actively challenging standard business practices to prioritise the planet and people rather than solely profit, sometimes your phone calls just go unanswered).

For me, the key to overcoming this challenge has been to turn it into my superpower. I know that my varied background helps me see problems from different angles. I also ask a lot of questions, put in the time to understand the issues, and treat challenges as an opportunity to approach the work from a new perspective. Due to my time in different industries, I also have a large network of colleagues I can call upon for advice or collaboration – relationships are so important to making a meaningful impact and I deeply value the connections I’ve made along the way. On a practical level, I’ve also taken leadership training to identify my unique strengths, understand different personality types and how to best work together, support a high-performing team, and gained strategic tools that provide structure to challenging, impactful work. Leaning into difference – rather than trying to erase it – has been uncomfortable at times but has been key to navigating many challenges.

4. Our industry is 77% female, however this is not the case at executive level. Do you believe the Australian fashion industry has evolved over the years, particularly in its support for women leaders? What can we all do to help change this statistic?
The statistics on women’s leadership are disheartening, but unfortunately not unique to our industry. Women remain underrepresented in leadership positions across all sectors despite high education and workforce participation rates. I can’t speak to how it has evolved in the fashion industry, but I do see clear opportunities for progress.

First, structured mentorship and leadership training tailored to women – not designed to make us like businessmen – is critical. Next we need more realistic expectations around work hours and travel, especially since women still take most caregiving responsibilities for children and aging parents.  Childcare support and paid parental leave for all genders matter, as does continued cultural change, but in this moment in time, so do honest conversations with aspiring female leaders about how leadership roles can work around real lives. By the time a woman has enough experience to enter a leadership position, she is often also considering a family or already has one, and we should not ignore this complexity.

Without becoming too binary or stereotypical in our definitions of gender, we should also be welcoming traditional ‘feminine’ traits  - like empathy, creativity, and multi-tasking – and learning how to use them to the benefit of our organisations. In addition, success should not be measured by speed or burnout, both too common in our industry. Collectively we can change expectations of what success looks by slowing down, reshaping timelines, and genuinely prioritising staff wellbeing as a marker of organisational success. Finally, businesses can work to ensure representation on their boards and leadership teams reflect the gender and diversity make-up of the industry – yes, that means more women than men on boards and leadership teams. But if fashion can’t lead on representation, which industry can?

5. What's one piece of advice you’d share with someone aiming to follow in your footsteps?

Listen to your internal voice and don’t back away from doing the hard work. Creating change – especially in complex areas like climate action, social inequality, or shifting long-standing industry systems – is difficult and unpredictable. Your career won’t follow the path you expect, no one ever does. But if you are true to yourself, act with integrity, and take the time to do things properly, you’ll create a positive impact in ways you may not even foresee.

Find more about Centre of Excellence in Sustainable Fashion + Textiles

Thank you to Katie-Louise, Lilian, Ebony and Lisa for sharing their stories with us this International Women's Day. Their vision, courage and commitment to building a better industry is exactly what balancing the scales looks like in practice.

The post International Women's Day Edition of Future Makers: Lisa Lake, Director of the Centre of Excellence in Sustainable Fashion + Textiles appeared first on AFC.

1. What was your first start in the industry and can you share your career journey? Was there a pivotal moment in your career that led you or pushed you to where you are today?

My first major role in the fashion industry was at Diane von Furstenberg in New York, where I was exposed to every facet of a global fashion business. Prior to that, I worked at BCG advising large consumer companies, which gave me a strong commercial foundation and an understanding of how brands are built with clarity and scale. At DVF, I was drawn to the vision of building a brand for women through the perspective of a woman.

The pivotal moment came when my sister, now my co-founder, Ashlee, and I returned to Australia after living in the US and Europe and recognised a clear gap in the market: a brand that approached women’s tailoring with the same seriousness, beauty and rigour long afforded to European luxury menswear. That became Eupheme.

2. Are there any mentors or influential figures who played a key role in your leadership style?

Definitely Diane and Paolo Riva, who was the CEO of DVF at the time, both in very different ways. Diane built a brand with a strong sense of purpose around women, while Paolo taught me how to think about brand and product as distinct disciplines that must still work together in harmony.

I have also been influenced by the European luxury tradition, particularly businesses where craft is protected, product is respected, and growth is approached patiently. I tend to lead with high standards, a strong sense of responsibility and stewardship, and a long-term view.

Becoming both a founder and a mother has also shaped me. It has made me more decisive, more empathetic, and more aware that leadership is not about performance, but about steadiness and consistency.

3. What has been the biggest challenge you have faced on your pathway, and how did you overcome it?

One of the biggest challenges has been building a business at a very high product level without the capital structure many brands rely on. When you are working with exceptional fabrics and makers, the commercial pressure is real, and you are constantly balancing ambition with sustainability.

Another challenge has been the tension between scale and integrity. There is often pressure to grow quickly, but I have always wanted to build something with depth and longevity.

I have overcome that by leaning into my working partnership with Ashlee. The tension between creativity and financial discipline exists in our business every day, and I think that has helped protect the brand. Constraint has been useful. It has forced me to edit, to focus, and to become very clear about where energy goes. I have learnt that building something enduring often requires saying no more often than saying yes.

4. Our industry is 77% female, however this is not the case at executive level. Do you believe the Australian fashion industry has evolved over the years, particularly in its support for women leaders? What can we all do to help change this statistic?

There has been progress, but not enough. Fashion depends heavily on female labour, taste and spending power, yet leadership and capital still do not flow back to women proportionately. That is certainly visible in Australia.

If we want to change the statistic, we need to address the conditions underneath it: better access to capital, more pathways into senior commercial and operational roles, greater flexibility around caregiving, and more intentional sponsorship of women. We also need to value a broader range of leadership styles, rather than rewarding only traditional models of power.

5. What’s one piece of advice you’d share with someone aiming to follow in your footsteps?

Start by becoming very good at one thing, or developing one clear point of view, then keep going. Protect your standards and do not rush.

It is very easy in fashion to become reactive and to confuse movement with progress. But the people who build lasting work usually know what they stand for. Your taste, judgement and consistency matter more than trying to please everyone at once.

And finally, do not wait for someone else to legitimise your ambition. If you have a clear vision, begin.

Find out more about Eupheme here.

Finally, we sit down with Lisa Lake, Director of the Centre of Excellence in Sustainable Fashion & Textiles, on nearly two decades of driving sustainable change in Australian fashion.

The post International Women's Day Edition of Future Makers: Ebony Booth, Co-founder of Eupheme appeared first on AFC.

First up are Katie Louise and Lilian Nicol-Ford, the creative duo behind Nicol & Ford, a design practice built on storytelling, cultural authenticity and craft. Read on to hear about their journey and what drives them to create with purpose.

1. What was your first start in the industry and can you share your career journey? Was there a pivotal moment that led you to where you are today?

Katie‑Louise
I studied across both fashion and costume, and for a long time I felt like I didn’t quite fit neatly into either world. Fashion felt too commercially driven, and costume felt too contained. I was always sitting somewhere in between, trying to work out where I belonged.

The turning point was realising that being in between was actually the point. The mix of conceptual thinking from costume and the technical and industry knowledge from fashion gave me a really unique skill set. Once I stopped trying to choose one path and instead started applying both, it opened up an entirely new way of working and ultimately led to Nicol & Ford.

Lilian Nicol‑Ford
My background is very much rooted in research, I studied art history and theory at University and have a strong interest in social history. I’ve always been fascinated by how people tell stories about themselves through objects, images and dress.

That research mindset really shapes everything we do at Nicol & Ford. Fashion, for me, isn’t about trends. It’s about narrative, memory and identity. My pathway into the industry was less traditional, but it’s exactly what allowed us to build a practice that’s deeply story‑led and culturally grounded.

2. Are there any mentors or influential figures who played a key role in your leadership style?

Katie‑Louise
Honestly, one of my biggest influences is my wife, Lilian. Building a business together means constantly learning how to communicate, trust and grow alongside someone else. Creatively, I’ve always looked to Jenny Kee and Linda Jackson, true trailblazers of Australian design who carved out space by being unapologetically themselves. More recently, Luke Sales and Anna Plunkett of Romance Was Born have been huge inspirations. Their ability to tell stories and both celebrate and challenge notions of Australian identity through couture‑level technique is unmatched in Australia, and they’ve shown that you can lead with creativity and depth without compromise.

Lilian Nicol‑Ford
I was fortunate to work for Gallerist, Collector and Philanthropist Dr Gene Sherman AM for six years. For me, Gene modelled what an uncompromising vision really took, and taught me to trust in myself even when others can’t see the vision.

Beyond that, my parents have run a small business together for over 20 years. Watching them build something side‑by‑side — through challenges, change and shared purpose — deeply shaped how I think about leadership, partnership and longevity. It also gave me a blueprint for working with your life partner toward a common goal.

3.What has been the biggest challenge you’ve faced on your pathway, and how did you overcome it?

Katie‑Louise
One of the biggest pressures we’ve faced is the push to commercialise too quickly and the fear of losing creative integrity in the process. In 2022, when we first showed at Australian Fashion Week, we made a really conscious decision to step back and reassess. Instead of chasing immediate commercial outcomes, we refocused on conceptual and technical design - on the stories we actually wanted to tell. That period was about laying strong foundations, knowing that commercialisation can come later, but integrity has to come first.

Lilian Nicol‑Ford
As one of the very few visible trans women in Australia’s fashion industry, I am incredibly proud that our work through Nicol & Ford has given me the space to embrace that path openly.

Fashion has been a powerful tool for me to step into my authentic self. Carving out space for our community, clothing my own and others diverse bodies, and personally physically changing before our audiences’ eyes has reinforced why representation and storytelling matter so much.

4. Our industry is 77% female, yet this isn’t reflected at executive level. Do you think the Australian fashion industry has evolved in its support of women leaders?

Katie‑Louise
There’s no denying the executive level is still heavily skewed towards male CEOs. That said, I think it’s also important to acknowledge the women who came before us — Carla Zampatti AC, Linda Jackson AO, Jenny Kee AO, Vivienne Chan‑Shaw and so many others. They didn’t just lead businesses, they built identities grounded in authenticity, style and cultural confidence. Their leadership created space for designers like us to exist today, and that legacy shouldn’t be overlooked when we talk about progress.

Lilian Nicol‑Ford
While we absolutely need more women in executive leadership, I think we also need to broaden the conversation. True equity means inviting diverse perspectives across race, gender identity, lived experience and specialisation. At this pivotal moment of change in our industry, empowerment shouldn’t be about replacing one narrow leadership group with another. It should be about creating room for many voices and ensuring that uplifting women doesn’t come at the exclusion of others.

5. What’s one piece of advice you’d share with someone aiming to follow in your footsteps?

Katie‑Louise
Study. Study. Study. Education is powerful, and it compounds over time. It took me about 15 years before I was recognised in any meaningful way within the industry, and that’s okay. Be patient, keep learning, and trust that the work will catch up to you.

Lilian Nicol‑Ford
Find incredible people who share your passion and want to come along for the ride. Trust that others will often know more than you in certain areas and don’t shut out different perspectives. And most importantly, don’t do it alone. Find someone to build with.

Find out more about Nicol & Ford here.

Next, we hear from Ashlee Booth, co-founder of Eupheme, on building a womenswear brand rooted in purpose and a distinctly Australian vision.

The post International Women's Day Edition of Future Makers: Katie Louise & Lilian-Nicol, Fashion Designers of Nicol & Ford appeared first on AFC.

Taking place 11–15 May 2026, AFW will return as a city-wide platform anchored at the MCA and supported by satellite activations across Sydney designed to elevate Australian fashion globally while strengthening its cultural and commercial impact.

The MCA will host a purpose-built runway and presentation environment, industry talks and cultural programming, media and buyer facilities, and curated brand activations — positioning AFW at the intersection of fashion, art and contemporary culture.

AFC Executive Chair Marianne Perkovic said the move signals a defining evolution for Australian Fashion Week.

“Bringing Australian Fashion Week to the Museum of Contemporary Art marks an exciting new chapter for the event and for Australian fashion more broadly. The MCA provides an iconic Sydney backdrop that reflects the creativity, cultural relevance and global outlook of our designers, while enabling a more open, connected and internationally compelling format.”

“AFW 2026 is designed not just as a runway schedule, but as a national industry platform and a cultural moment for the city.”

MCA Director, Suzanne Cotter, said: “Contemporary art and fashion go hand in hand. There is a long history of artists and designers working together to create memorable works of fashion and art. The MCA’s iconic location and spaces, along with its Collection dedicated to the work of living Australian artists, make it a perfect canvas for designers to show their collections for Australian Fashion Week.”

MCA Chair, Lorraine Tarabay says: “The MCA could not be more delighted with this new partnership with Australian Fashion Week to showcase the best of Australian talent against the backdrop of contemporary art and the city itself.”

AFW 2026 will feature runway shows from established, emerging and First Nations designers, alongside a dedicated graduate runway celebrating the next generation of Australian design talent. Beyond the runways, AFC will host designer talks, experiences and other special events. Together, these elements strengthen AFW’s role as a national industry platform and a vibrant cultural event for all Australians.

AFW provides critical commercial opportunities to drive business growth for designers and brands and offers an invaluable platform for designers to showcase their collections to leading international media and buyers.

Building on the success of the 2025 event, AFW 2026 will be delivered under the AFC’s dedicated subsidiary, AFC Fashion Events (AFC FE), established to provide a strengthened governance, leadership and delivery model that reflects the scale, ambition and national importance of Australia’s fashion industry.

AFW is overseen by an experienced Executive Board comprising Marianne Perkovic, Executive Chair of the Australian Fashion Council and AFC Fashion Events; Professor Robyn Healy, Associate Deputy Vice Chancellor, Learning, Teaching and Quality, DSC at RMIT University; Alex Schuman, CEO of Carla Zampatti; Renuka Kimber, Co-founder of Christian Kimber; Bridget Veals, Executive General Manager, Womenswear, Footwear and Accessories at David Jones; and Adrian Norris, Co-founder and Co-CEO of Aje.

In addition to the Board, the AFC is pleased to confirm the return of Kellie Hush as Fashion Director for AFW, overseeing designer and industry relations.

AFW is supported by the NSW Government through its tourism and major events agency Destination NSW.

Minister for Jobs and Tourism Steve Kamper said: “As the nation’s fashion capital this is exactly the kind of bold, iconic experience we want to see in Sydney – there is no better example of our city’s unique combination of natural wonder and cultural vibrancy than Fashion Week on the harbour, at one of our most recognisable cultural institutions. The NSW Government is proud to partner with the Australian Fashion Council to deliver Australian Fashion Week 2026 at the MCA and across the city, showcasing Sydney as a world-leading destination for fashion, creativity and cultural experiences.”

In addition to Destination NSW, AFW is made possible through the support of Partners Create NSW, City of Sydney, Afterpay, Canon, DHL, eBay, Hisense and Nivea.

Visit australianfashionweek.org and follow @afcaustralianfashionweek for more.

Please see imagery here.

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ABOUT THE AUSTRALIAN FASHION COUNCIL:
The Australian Fashion Council (AFC) is a not-for-profit and the peak body for the Australian fashion and textile industry, representing the sector for over 70 years. AFC members are Australian founded or majority owned businesses involved in producing fabric, clothing, footwear or accessories, including individuals that contribute creatively and economically to the Australian fashion and textile industry. The AFC champion and advocate for a prosperous and creative Australian fashion and textiles industry, with the purpose of building a vibrant, inclusive ecosystem for our member community through education, collaboration and innovation.

ABOUT AUSTRALIAN FASHION WEEK:
Australian Fashion Week (AFW) in Sydney is the country’s premier platform for showcasing Australian fashion to global audiences and, since 1996, has played a critical role in launching and sustaining some of Australia’s most recognisable fashion brands. The event presents leading Australian designers to domestic and international buyers, facilitating trade and export opportunities while fostering meaningful connections across designers, retailers, media and industry leaders. Focused on delivering tangible outcomes for the Australian fashion and textile ecosystem, AFW elevates local talent, drives dialogue on the future of fashion, and positions Australia as a global leader in fashion, creativity and innovation. Since 2025, AFW has been part of AFC Fashion Events, a subsidiary of the Australian Fashion Council.

For further information contact:
Nikki Andrews
NAC Media Group
nikki@nacmedia-group.com  +61 412 647 980

Mitchell Harcourt
NAC Media Group
mitchell@nacmedia-group.com +61 421 197 114

The post Media Release: AFC Announces The Museum of Contemporary Art as the New Home of Australian Fashion Week 2026 appeared first on AFC.

1. What was your first start in the industry and can you share your career journey?
I started my career journey when I was 12 years old and went to a "Women in Science and Engineering" Event at the University. I remember clearly listening to the woman explaining her job as an Industrial Engineer. I loved that she was helping to make factories better for the workers through ergonomics and efficiency. I was hooked from then on with manufacturing!

2. Was there a pivotal moment in your career that led you or pushed you to where you are today?
There are so many pivotal moments and they generally solidify in job changes within an organisation and moving from one company to another. I have been driven by making things better, by capitalising on the potential in any space.

3. Are there any mentors or influential figures who played a key role in your leadership style?
One influential mentor for me was a Chief Marketing Officer, Mary. I was able to observe her in many executive meetings and ask her questions on her mindset and approach. One particular thing resonates with me today. I noticed she was always engaged in the topics regardless if marketing was impacted or involved.

She asked curious questions and was genuinely interested. I told her this observation in one of our sessions and she said "Tara, I hold a "C-Level" position and that is my job to know, learn and engage in all aspects of the business and I feel everyday that I'm doing that". It was and is a good example of a great leader.

4. What has been the biggest challenge you have faced on your pathway, and how did you overcome it?
I am grateful that I've had over 25 years of experience to know that my biggest challenges and barriers have come from my own internal limitations and expectations of myself and others. I have at times not seen my gifts and stayed small, I have not communicated clearly and created tensions for myself and others.

5. Our industry is 77% female, however this is not the case at executive level. Do you believe the Australian fashion industry has evolved over the years, particularly in its support for women leaders? What can we all do to help change this statistic?
At R.M.Williams,  67% of the executive leadership is female and I'm so honoured to be a part of this diverse group. I have seen and experienced outside of R.M. amazing female leaders and executives. Australia is not lacking in fantastic female leaders! We all need to support, encourage, seek out, and promote female leaders. In a fashion industry where most employees are female and most customers are also female the more women that are at the table, the better.

6. What's one piece of advice you’d share with someone aiming to follow in your footsteps?
My advice, the thing I whisper to my younger self, is to build strength. The strength needed to be out in front where the wind hits hard, the strength to make the tough decisions, the strength to realise you might be causing the problem, the strength to have the hard conversations, the strength to speak up, the strength to think BIG, and the strength to carry forward no matter what. 

Find more about R.M.Williams here

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The Trade Diversification Network forms part of Austrade’s Accessing New Markets Initiative (ANMI), a $50 million surge program jointly delivered by Austrade and industry to help Australian exporters diversify into new and emerging markets, and capitalise on global growth opportunities. Through the TDN, national peak industry bodies will partner with Austrade to design and deliver sector-specific export initiatives that support long-term trade resilience.

As Australia’s peak industry body for fashion and textiles, the AFC represents a $28 billion industry that employs almost 500,000 Australians - 77 per cent of whom are women - and generates $7.2 billion in exports annually, exceeding the combined value of Australia’s wine and beer exports.

As a member of the TDN, the AFC will work alongside Austrade to advance new and priority international markets for the sector, building on existing export momentum through its Global Gateways program and driving diversification through tailored, sector-specific initiatives that reflect the depth, capability and ambition of the Australian fashion and textile industry.

Marianne Perkovic, Executive Chair of the Australian Fashion Council, said the AFC’s participation in the TDN further strengthens its ability to support members navigating an increasingly complex global trade environment, while reinforcing the industry’s position as a globally competitive export sector. 

“Joining Austrade’s Trade Diversification Network is a significant step forward for the Australian fashion and textile industry. It strengthens our ability to support members in navigating global complexity, while positioning fashion as a serious, competitive and resilient export sector for Australia. This partnership builds on the success of AFC’s Global Gateways initiative and strengthens AFC Australian Fashion Week’s role as a platform for international trade, not just visibility.” Ms Perkovic said.

Commenting on the Trade Diversification Network, Senator the Hon. Don Farrell, Minister for Trade and Tourism, said: “Australia is a trading nation and we want to see more Australian exporters doing more trade with new and emerging partners across the globe in places like the Middle East and Southeast Asia. The Trade Diversification Network is a great example of government and industry working together to achieve a common goal: seeing Australian businesses diversify, grow, and build resilience. With one in four Australian jobs connected to trade, by helping our exporters we are securing jobs, building communities, and benefiting the Australian economy.”

The AFC’s membership of the TDN builds on the demonstrated success of its Global Gateways program, with the September 2025 Hong Kong pilot connecting seven Australian designers with international buyers and media through a high-impact, targeted in-market engagement. Through the TDN, the AFC will scale Global Gateways into new markets, working with Austrade to deliver export opportunities aligned to the commercial and creative dynamics of the fashion and textile sector.

Alongside the TDN, the AFC reaffirmed the role of Australian Fashion Week as Australia’s national platform for international trade and export engagement, providing a critical opportunity to showcase Australian design and creative excellence to global buyers, partners and media.

Over the coming weeks, the AFC will work closely with Austrade to progress trade diversification priorities under the Trade Diversification Network, including advancing and refining international opportunities and pathways for Australian fashion and textile businesses. This work will directly inform the next phase of the AFC’s 2026-27 Global Gateways program, which will support more members in building export capability, deepening international connections, and capitalising on global growth opportunities across priority markets.

ENDS

For further information, please contact:

Elizabeth Anderson

Head of Policy and Communications, AFC

eanderson@ausfashioncouncil.com | +61 424 991 231

_

ABOUT THE AUSTRALIAN FASHION COUNCIL:

The Australian Fashion Council (AFC) is a not-for-profit and the peak body for the Australian fashion and textile industry, representing the sector for over 70 years. AFC members are Australian founded or majority owned businesses involved in producing fabric, clothing, footwear or accessories, including individuals that contribute creatively and economically to the Australian fashion and textile industry. The AFC champion and advocate for a prosperous and creative Australian fashion and textiles industry, with the purpose of building a vibrant, inclusive ecosystem for our member community through education, collaboration and innovation.

The post Australian Fashion Council (AFC) Joins Austrade’s Trade Diversification Network (TDN) appeared first on AFC.

With the current landscape with AI & technology & shifting audience expectations. We wanted to hear her perspective on how brands can stay intentional, relevant, and effective in the year ahead.

Mia Hardman, Co-Founder, Gum

I am honoured that AFC invited me to share my perspective on what I think will shape the industry next year. It is hard to ignore just how much the landscape has changed for both brand and agency alike. Between advancements in AI and technology, ever mounting environmental and political pressures, and an algorithm that has completely flattened culture, we are all now operating in a far more condensed environment. 

As I began writing this piece, what really stood out to me was a unifying theme for 2026: intention and course correction. The brands that will win next year won’t be the ones that are doing more, they will be the ones with a bulletproof strategy that they execute with extreme precision. 

So with that, my top 5 predictions…

1. Integration will be key
Traditionally, marketing and PR have operated separately - different teams, goals, objectives and campaigns. Now thanks to shrinking media pools, competitive social landscape and tighter budgets the lines have started to blur and we are witnessing a shift to paid, earned and owned operating within the same ecosystem.

This excites me, as I believe this level of integration is vital to modern brand building. Customers are no longer experiencing your brand in just one place - every touch point for the brand from the physical product or service, to socials, EDMs, influencers or brand partners you work with, the media you show up in, and your ads all influence a customer's decision to shop with you (or not). 

But for any type of integration to work, you first need to have a clear strategy. You have to know and set the direction you are going, and equally understand the roles that each function plays in getting you to this destination.

Strategy doesn’t need to be complex, you just need to have the answers to these questions:

• What are we trying to achieve?
• Who are we trying to talk to? 
• How do we reach them?

Brand, comms & marketing may be intertwined, but they each play a different part in the overall strategy. Brand should set the what & why, comms leads the right customers through awareness, credibility and desire, and marketing turns that attention into action. 

Without a strategy, you run the risk of wasted money and underperforming campaigns not because the tactics were wrong but because the direction was unclear. 

The most successful campaigns in 2026 will be the ones that are deeply integrated and with a clear strategy, getting the very best from both marketing and communications to ensure resonance with their audience. 

2. Visibility will no longer be enough

In the race of excess reach, clicks, engagement, brands have been under pressure to constantly churn out new content, new talent, new products, new news. The amount of content that consumers are faced with has meant that it is all blurring together and leaving a complete sense of overwhelm. A friend of mine once likened scrolling her social media feeds like watching TV where only the ads play. 

And because of that, audiences have learned how to tune out.

In Deloitte's recent Media & Entertainment Consumer Insights Report, overall media consumption trended downwards for the third year in a row. It is now sitting at 42 hours per week (compared to 44 hours in 2024, and 48 hours in 2023) with social media in particular taking a massive hit, declining by -17%. This is telling us that audiences are becoming more intentional and curated when it comes to what content they are engaging with, and that quality matters. 

My prediction for next year is a forced shift towards restraint. To go beyond just visibility and vanity reach, and a return to aligned storytelling with purpose. Less noise, fewer campaigns but a far higher quality output and better results for brands. 

3. You won’t find inspiration in the algorithm

I recently read about someone's take on the ‘Canva-fication’ of design - something I have been thinking about a lot, but now I have a name for it. Tools like Canva, Pinterest, Chat GPT and the growing suite of AI programs out there have completely democratised creation. 

Don’t get me wrong I think this level of innovation can be amazing, but the issue lies when it is used as a substitute for individual creativity instead of enhancing it. What’s more, it has birthed a new challenge: living in a sea of sameness. 

I touched on it above, how audiences are automatically checking-out of content they see, the antidote for this is originality, or at the very least a point of view. Part of this is making sure you are sourcing inspiration from places that others may not be, so you do not fall victim to the algorithm who is probably serving you and a million other people the same ideas. Second hand book stores, old print magazines, art, film, even switching up your normal commute can offer up inspiration for new ideas. 

Furthermore, I predict that we will see authentic creatives, designers, artists and writers… even strategists who are not afraid to create and challenge ideas to reclaim space. AI can mimic, but it will never be able to replicate the physical and very real emotions, relationships and experiences that make us human. 

4. Social anonymity becomes cool 

As audiences continue to battle the feelings of being overwhelmed with content and the digital world, I have been observing a quiet rejection of being ‘known’. 

There is something incredibly mysterious and compelling when you meet someone who doesn’t have social media. Even the New Yorker noted this shift in a recent piece ‘It’s Cool To Have No Followers Now’ pointing to a certain status that comes with opting out of the usual markers of success online.

For brands, this idea does create some tension. Typically, a brand's ability to build a community on social media is tied closely to profitability and success. What I find most interesting about this is that I don’t think it means disappearing entirely, obviously social media is a huge revenue driver for many brands (more on that in the point below) but what brands can take from this is an opportunity to show up in more considered and deliberate ways. 

Think of this as an invitation to grow communities the old-fashion way: in person. You could take it one step further and encourage each guest to stay present by making it a phone-free event that will exist as memories purely for those in that room. Or it could be a renewed focus on the craft; working with individuals that have deep relevance with their communities as opposed to 6 figure followings, impeccable long-form writing in the form of newsletters, embracing a little friction in discovering. 

This is an exciting time for brands at any stage, as it means relevance is increasingly earned in rooms, not solely on our feeds. 

5. The new rules for ads 

Your ads aren’t ‘not’ working. It is your awareness and probably your content. 

I kicked this article off by talking about how brand, comms and marketing have converged, so it felt important to have ads firmly a part of this conversation. 

Many of the e-comm giants we know today scaled up in the era where ads worked regardless of whether the creative was good, the website was optimised or the product branding was good. That era is now over. 

Ads work. They absolutely do. But they don’t do the heavy lifting on their own. Their role is to amplify, not to compensate or be treated as the sole driver for sales. 

If you don’t have strategy, taste, community or any type of relevance, your ads are going to expose you. Ads are there to scale demand, not create it. 

2026 will be the year of thoughtful and intentional ads creative, and treating ads with the same level of respect that you would a campaign. 

AFC MEMBER OFFER
As an exclusive benefit for AFC members, Gum is offering a Discovery Call with Mia Hardman - a 30 minute call designed to help AFC members assess where their brand or business currently sits from a communications and relevance perspective. 

The aim of the call is to understand the current business problem or challenge and what has been done to date. 

Following the call, members will receive a relevance audit that will give brand founders and marketing/comms teams clarity around any current misalignments, and outline what would be a priority from a communications standpoint.

To access your member offer, click the link here. Available for a limited time.

The post Looking Ahead: Key Insights for PR and Marketing in 2026 with Gum Agency, Co-Founder Mia Hardman appeared first on AFC.

The road to sustainability is a massive challenge for the fashion and textile industry with less than 1% of the global fibre market sourced from pre- and post-consumer recycled textiles. Global fibre production reached 124 million tonnes in 2023 and is projected to rise to 160 million tonnes by 2030 (Textile Exchange Materials Market Report 2024).

Polyester and cotton remain the most widely produced fibres, accounting for 77% of global fibre production. When blended these fabrics become harder to recycle and reuse as they must first go through a separation process.

BlockTexx uses its S.O.F.T.™ (separation of fibre technology) process to extract high value raw materials from post-consumer unwanted blended textiles and clothing to create PolyTexx® and CellTexx® for remanufacture into new products including fibre, fabric and trims.

Mr V. Ravishankar - CEO of Asia Pacific Fibers said the partnership with BlockTexx further reflects the company’s belief in the promise of a sustainable future.

“Our flagship product Re-petitive, made from PolyTexx® rPET exemplifies our commitment to sustainability, offering our value chain partners a truly circular solution that minimises water usage, chemical pollution, and landfill waste.” Mr. V. Ravishankar said.

“By closing the loop on end of life textiles, we empower our customers and brands to meet their environmental goals while maintaining uncompromising standards in design and performance.”

Through its end-to-end ecosystem for unwanted textiles and clothing, BlockTexx is actively driving a global movement towards a more circular economy for its partners and customers.

Graham Ross, Co-founder of BlockTexx said, “BlockTexx’s mission has been to develop low emissions technology to deliver commercial scale recycled products that are price comparative to virgin products.”

“We value the technical development expertise of the team at Asia Pacific Fibers and we appreciate their commitment to being an industry driver of Textile-to-Textile products. We are delighted to showcase these fabrics in Europe in October.”

Re-petitive yarns are available in raw white, dope dyed and with inherent functional features such as stretch, moisture management, anti-UV, anti-microbial, anti-dust mite and biodegradability. Made from 100% recycled polymers, the yarns can be curated to include 10% to 50% textile-waste content, depending on customer requirements. They are certified under OEKO-TEX, GRS and RCS standards as part of sustainability compliance.

Blocktexx and Asia Pacific Fibers will work together to develop a variety of commercially ready filament yarns and co-market these products to the global fashion and textile industry.

Blocktexx is actively working with global fashion and textile brands but excited to make Textile 2 Textile product available to Australian fashion and retail brands. Contact di@blocktexx.com for an introduction to Re-petitive yarns.

The post BlockTexx And Asia Pacific Fibers Collaborate To Bring A Circular Future For The Global Textile Industry Closer To Reality appeared first on AFC.