Fashion

Jordan Dalah’s Avant-Garde Resort ‘23 Collection Is Proving His Prowess On The International Stage

From little things, big things grow.

By Ava Gilchrist
Every few years, a designer emerges from obscurity to go on and define a generation, transcending the style and aesthetics of the period to forge their own unique fashion footprint. Jordan Dalah is one of them.
Dalah is part of a new vanguard of Australian designers who will soon be fashion leaders and pioneers on the international stage.
Of course, Australian design isn't as recognised and celebrated on a global scale when compared to our American and European counterparts.
However, Dalah possesses the distinct ability to combine Australian optimism, raw materials and fearless innovation with European craftsmanship and distinct elevated aesthetic —a skill which can be attributed to his time at Central Saint Martins.
For Dalah's Resort '23 collection presentation at AAFW 2022 (created in tandem with Glenfiddich's Grand Series portfolio, Grande Couronne), the show which could have easily been mistaken for the bass-thumping, fast-paced runways at London Fashion Week, similarities can easily be drawn between his approach to design and that of stalwarts like Demna Gvasalia, Simon Porte Jacquemus and Richard Quinn.
The collection saw Dalah expand on his existing vocabulary of voluminous silhouettes, signature hemlines and avant garde expressionism by returning to his Australian roots with designs that are fit for prêt-à-porter release.
Rather than leaning on Carriageworks distinct brutalist surroundings, Dalah transformed a gallery into a blank canvas. Camping chairs lined the front row, some equipped with cooler arm chairs and others with stubby holders, with clothing pegs and eucalyptus tones featured on the runway—it can't get more Australian than that.
Dalah's muse and brother's girlfriend, Georgia Fowler, opened the show, in a stripped back look, wearing a white tank top (the fashion must have at the moment) with an asymmetrical black peplum mini skirt.
Throughout the collection, we saw variations of this protruding mini in 80s gingham prints and metallic colourways. The show's styling, which is courtesy of Charlotte Agnew, certainly provided sartorial inspiration for the cooler months ahead. A Y2K bralette over the top of a puff sleeved shirt Or a pistachio coloured pantihose over pants, don't mind if we do.
The collections magnus opus came in the form of two ultra-wide maxi dresses with trains for days. While these pieces looked hard to navigate in, the aesthetics alone was enough to leave us wanting more.
Despite this being Dalah's second year presenting at AAFW and his studio still certainly in it's infancy, it's delivering nothing short of high-fashion meets grand couturier meets avant garde editorial realness.
While the fierce collection was a feast for the eyes, there were murmurs circulating the style set regarding the wearability and functionality of some of his more extravagant garments. In a post pandemic world, can a designer really rely on a purley editorial play or is there a need for a diffused, ready to wear offering?
In Dalah's case, the former is his bread and butter, however as he has already proven that he's on to a winner with these signature silhouettes. This year alone, he's created two collections, along with being nominated for the 2022 Woolmark Prize. Just as the fashion world is calling Dalah to greatness, we're beckoning for more. For the club kids' sake at least.
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  • undefined: Ava Gilchrist