The Biggest Fashion Moments Of 2022

Luxury’s year of reckoning, supermodel comebacks, nepo babies, Julia Fox and more. It was a year that saw fashion deal with the fallbacks of the past couple of years, whether it was a dystopian, chaotic perspective or a saturated hue that stood defiant in the face of uncertainty (hello, Barbie pink). These were the moments that made us pay attention.

Dame Vienne Westwood dies aged 81

Today as we reflect on the past year in fashion, came the announcement overnight from London that punk pioneer and iconoclastic British fashion designer Dame Vivienne Westwood has died in London aged 81.

In a statement, Westwood’s husband and creative partner, Andreas Kronthaler, said he would continue with their work and the legacy that the Vivienne Westwood brand has left on fashion and culture.

”I will continue with Vivienne in my heart. We have been working until the end and she has given me plenty of things to get on with.Thank you darling.”

From Vivienne’s seminal debut Pirate collection from 1981 to the tongue-in-cheek ‘On Liberty’ collection from autumn/winter 1994-1995, no other fashion designer has been as radical or documented the changing face of Britain quite like Westwood.

READ: British Fashion Designer Vivienne Westwood dies aged 81

Westwood also leaves behind a legacy of philanthropic work and activism, supporting hundreds of causes throughout the years including grassroot charities and campaigns from Amnesty International to War Child and Liberty, as well as launching her own campaigning movement Climate Revolution.

READ: Dame Vivienne Westwood’s Message Remains The Same

Local fashion designers did it their way

The future looks bright if the range of independent runway shows showcased this year is anything to go by.

Thankfully, there’s still a fire burning bright among many of our young, independent designers working collectively to get their ideas out into the world despite the lack of support from funders and government agencies.

In April, designer Natasha Ovely of Starving Artists Fund was finally able to celebrate her Independent Showcase via live digital streaming after a couple of rescheduled dates due to lockdowns, showcasing her latest designs alongside other emerging fashion brands including Kerry Brack, Su Mar the Label, Hams Studio, Rhyana, Nicole Van Vuuren and Jenny Ruan. “It is a challenge to the existing format of runway shows and presents a fresh perspective while making it open to the general public,” explained Ovely. No hierarchy, and no sitting still.”

It’s a sentiment that allowed Viva to learn more about these rising fashion stars and subsequently feature some of their work in the pages of both our weekly and quarterly magazines in 2022.

The event also saw a unique coming together of creatives behind the scenes too, from photographers to hair and makeup artists, all of whom play a vital component in the future of our fashion industry.

In November, designer Lela Jacobs showcased her capsule collection, entitled ‘Washed Up Bread Bag’, along Sentinel Beach in Tāmaki Makaurau, featuring beautiful digitally printed one-off pieces in floating silk de chine as models gathered together and entered the ocean in poetic unity.

Also in November, fashion designer Nicole Van Vuuren presented her latest designs alongside Reparation Studio, Starving Artists Fund and jewellery brand Too Cruel To Be Kind.

The runway event held at Open Cafe on Karangahape Rd exhibited new work by these complementary designers, displaying the power of collective creativity and putting the spotlight on how emerging brands are tackling the concept of sustainable and ethical making for a new generation.

In May, Nora Swann who founded the Pacific Fusion Fashion Show 2022 was able to also put on a show that celebrated a collection of Pacific designers, including highlights Ohn Clothing, The House of Va and emerging talent Alexandra Simpson. Here is a community-based event that deserves time and attention in its aim to platform Pasifika creatives and give them the opportunity to be empowered business owners and designers.

The overall mood from all of these young brands is focusing on collective support and breaking down the hierarchies of a traditional runway. We can’t wait to see more of this energy in 2023, and hope established brands and businesses can do what they can to offer support.

New Zealand models took on the world

New Zealand models have been doing exceptionally well overseas and we’ve had the great fortune of featuring these faces in Viva over the years (Georgia Fowler, Jordan Daniels, Lili Sumner, Manahou Mackay, Isabella Moore, Roxie Mohebbi, Taylah Kereama, Lucy Rosiek). One of those is Holly Rose Emery, represented by local model agency N Model Management.

The Viva cover star returned to the haute couture schedule with a major coup in walking for a highly personal presentation of Valentino creative director Pier Paolo Piccioli’s haute couture collection for fall 2022 in the eternal city of Rome, in July, taking place along the iconic Spanish Steps/Scalinata della Trinita dei Monti. Taking to her Instagram account to acknowledge the special moment, Holly shared how she’s grown both physically and mentally in this full-circle moment.

“I can’t seem to find the words to truly articulate how special last night was. Nine years ago I walked my first Valentino couture show in a much different body than I am now, a body not often shown on a couture runway. It was a far-off dream to once again walk for such a special house where there is so much love and consideration put into every detail. Last night that dream was realised.”

“Speaking with Pier Paolo at one of the first fittings, we discussed the importance of the visibility of bodies outside of the standard and what it means for people to be able to see themselves represented. Fashion sometimes feels trivial but I know if 16-year-old Holly could see herself now she’d see that her worst fears can actually be embraced and celebrated.”

Wearing a turquoise gown with a feather bolero, the show featured more than 100 looks and received a rare standing ovation from Anna Wintour. Holly also found time this year to appear in an editorial for Tatler magazine, walk the fashion week circuits for designers including Peter Do, Cecile Bahnsen, and Harris Reed, and appear in campaigns for Skims and Calvin Klein.

To round the year off, she also revealed a sneak look at her latest magazine cover for Harper’s Bazaar Australia/New Zealand, appearing alongside Australian supermodel Gemma Ward for its January 2023 Body Issue.

NZ model Jordan Daniels, who appeared on the cover of Viva Magazine – Volume Two in 2021, also had a terrific year, from walking for the Fenty Savage Show extravaganza in November to walking for major designers Marc Jacobs, Caroline Herrera and Altuzarra.

Nelson-born Lucy Rosiek was another modelling breakout star, the 18-year old appearing in Viva Magazine – Volume Seven, guest-edited by Lorde, and taking on the editorial and runway circuit working with the likes of Vogue Nippon, Dior (Lucy is a favourite of creative director Maria Grazia Chiuri), Max Mara, Alexandre Vauthier, Loewe and Bottega Veneta.

Prime Minister Jacinda Ardern officially opened Kiri Nathan’s Te Āhuru Mōwai

In November, fashion designer Kiri Nathan (Ngāpuhi, Ngāti Hine, Ngāti Maru, Ngāti Hau) launched Te Āhuru Mōwai in a celebration attended by hundreds, including Prime Minister Jacinda Ardern and the Kīngi Tūheitia.

Located in Kiri’s home area of Glen Innes in East Auckland, Te Āhuru Mōwai (meaning shelter or safe haven) is a place from where she hopes to support Māori designers to realise their aspirations by utilising the sample room, photo suite and office space.

“One of the most exciting things is being able to push out sustainable enterprise initiatives through the local schools and eventually into fashion programmes in tertiary institutes throughout Aotearoa.”

...and she wore the Kiri Nathan to Queen Elizabeth’s funeral

In September, the PM once again represented New Zealand to the fullest extent and showcased her respect at the Queen’s state funeral by wearing designs by some of our leading fashion designers. Wearing a black Juliette Hogan dress, a pillbox hat by Monika Neuhauser Millinery, and holding a purse from Wellington-based brand Yu Mei, she finished the look with a distinctive handwoven kākahu cape by Kiri Nathan. The dignified look showcased her ability to support New Zealand makers while focusing on the task at hand, something she has previously explained to Viva.

...and she helped launch The New Zealand Design Edit presented by David Jones

It was the chance for some of our local businesses to reconnect with the world in July as the PM travelled from the UK to Sydney just in time to help launch The New Zealand Design Edit, presented by David Jones in partnership with the New Zealand Trade and Enterprise.

The store initiative was officially launched at the Sydney Elizabeth St flagship, transforming the eighth floor of the iconic retail location into a little taste of Aotearoa, showcasing New Zealand exports across fashion, lifestyle and home. If there was ever a time when our designers needed a little boost, this year was it, and the connection with our neighbours is a reminder of the value of the Australian market for our businesses.

”The products that we are showcasing today from Aotearoa, New Zealand are rooted and grounded so firmly in our nation - who we are, our culture, our heritage, our values,” Ardern said at the launch. “New Zealand has a rich design culture, and we would like to think that it’s among the best in the world. There is a unique perspective that New Zealanders bring that’s fresh and constantly challenging convention.”

The welcome mix of brands includes long-established names and newcomers getting their first exposure on an international platform. About 30 New Zealand brands were featured, including fashion and apparel brands Deadly Ponies, Icebreaker, Karen Walker, Kate Sylvester, Marle, Meadowlark, Nature Baby, Nisa, Paris Georgia, Rodd & Gunn, Saben, Barkers, Max, Swanndri, Yu Mei and Huski.

Lorde guest-edited Viva Magazine – Volume Seven wearing a parade of exciting New Zealand fashion and makers

This year we welcomed our inaugural guest-editor Lorde for Viva Magazine – Volume Seven, photographed by Hōhua Ropate Kurene. It was a moment that we enjoyed working on and seeing her openness to platforming such a wide and diverse array of New Zealand fashion-wearing designs from the likes of Starving Artists Fund, Karaoke Superstars, Sleeping Profit, Tom Munday, and Jing He, and adornments from contemporary jewellery makers such as Lisa Walker and Ryan Storer. The cover also won Best Cover at the Magazine Media Awards in October.

It was Julia Fox’s year

When it came to the breakout TikTok star of the year, the award goes to Uncut Gems actor, model, muse, designer and all-around It girl Julia Fox and her embracing of chaos, both in terms of her personal style and attitude to life.

A mix of vintage treasures, denim, and experimental, dystopian looks — a duct tape bra, a resin-coated leaf bikini, or a cellophane-like transparent dress by Joanna Prazmo, for example — were just some of the things she’s surprised us with this year, thrown together in that way only true stylish New Yorkers do well.

Her signature bleached brow and Bladerunner-inspired graphic eye looks were also a strong moment for beauty this year, even more relatable in that she does it herself. In a sea of styled celebrities, Julia’s own mix of artsy Downtown cool and an anything-goes approach to dressing resonated with many people in 2022.

It was never a dull moment with Julia — and for that, we salute her for moving to the beat of her own drum.

It was Rosalia’s year

The Spanish singer, songwriter and flamenco expert embarked on a world tour this year to support her third album Motomami, and her tour fits were on the money, combining the album artworks motorcycle themes with thigh-high boots and pleated skirts. The overall look was one of the most memorable fashion tour looks of the year, with Rosalia teaming up with Australian fashion designer Dion Lee on both Rosalia’s looks and also her backup dancers. A mix of subversive basics, cut-outs and plenty of leather, the collab was the perfect fusion of music and fashion that felt relevant for now.

Luxury fashion’s crossroads

If retailers and designers have been keeping the lights on the past two years with a few track pants and casual basics, luxury brands have been even more overt in their quest to connect with their future customers.

Sustainably and ethically minded, socially conscious of the world they live in, luxury brands have fallen head over heels in pursuit of Gen-Z’s attention, and in the process, put forward a glut of products that often have nothing in common with the brand’s design ethos and origins.

Logo-laden sweatshirts, overpriced sneakers and unsustainable entry-level fashion jewellery sat incongruously with luxury’s sustainability measures.

There were also marketing gimmicks aplenty this year, from Kim Kardashian’s Dolce & Gabbana collaboration to Paris Hilton’s pink Barbie bride at Versace.

The cringiest moment came when Balenciaga withdrew its problematic Holiday advertising campaign featuring children holding teddy bears in bondage harnesses and costumes. Its Garde-Robe campaign released around the same time was also problematic, starring Bella Hadid and veteran French actor Isabelle Huppert in an office setting, where desks were strewn with paperwork.

Included among the documents are printed copies of the Supreme Court’s 2008 decision in the US vs Williams examining whether laws banning the “pandering” — promoting — of child pornography curtailed First Amendment freedom of speech rights. The public reaction to the brand’s bad taste saw some customers go as far as burning or destroying their Balenciaga wardrobe items across social media.

Miu Miu’s tapping into preppy Y2K style also had its detractors — skinny belt skirts popularised by Paris Hilton in the early aughts were reinterpreted in an irreverent ode to an era most Millenials would have considered unstylish. The collection went viral, featured in countless editorials and worn by the likes of Nicole Kidman to model Paloma Elsesser, who had to have her Miu Miu look cut in half and extended with a piece of fabric to make it fit.

While the look had to be altered, Paloma stated in an Instagram post her willingness to collaborate in a safe space continues to give a platform for larger-bodied people to look up to. “Although I am growing increasingly tired of my body being the centrepiece of conversation,” she wrote “I feel privileged to share it, for it is my home and the vessel that has allowed for even a select few to see what so often is denied: themselves. our bodies are what we are lucky enough to know best.”

It’s a runway look reimagined as the casting of this particular show collection reignited a problematic focus on skinny bodies, the type popularised in the early 2000s where a monolithic brief dominated the catwalks from the mid to late noughties — skinny, white, mostly, European.

At Gucci, after over two decades with the business and the last eight or so years as the creative director redefining the brand’s aesthetic, Alessandro Michele left in November, citing “different perspectives” as the key reason for his departure.

Sources revealed Michele had failed to meet a request to “initiate a strong design shift,” and that the chairman of Gucci’s parent Kering, Francois-Henri Pinault, was looking for a change of pace. Given the radical transformation Michele had on the brand increasing its revenue and introducing it to an entirely new, younger demographic — a KPI high on any luxury brand’s wishlist — the sudden exit was a surprise to the fashion industry.

Where to next for Michele? Time will tell, but his departure signals a significant tidal shift for luxury in 2023.

Wealth fatigue

... Specifically, the flaunting of. Specifically, the Kardashian-Jenner clan. The “rebranded” Kardashian series on Disney+ launched this year and some of us gaped in awe at Kris Jenner’s pantry, which is the size of a tidy little flat; Kim’s private jet, with a fit out of all-cream cashmere; or Kylie’s walk-in closet featuring a wall lined with Hermes Birkin bags in a multitude of colours.

Surely fashion’s obsession with this family has reached peak fatigue. Amongst the parade of unattainable wealth were storylines including marital problems between Kim and Kanye, Khloe and Tristan Thompson’s relationship woes and Kourtney and Travis’ sponsored content wedding with Dolce & Gabanna.

The circus is neverending, and as the cost of living rises the world over and the gap between the rich and poor becomes wider, will this era of wealth porn and its influence on desperate fashion brands looking to cash in on the cachet by association ever end?

Liam launched recycled paper-patterns

We love an upcycling story, especially one close to home. Liam launched “operation haute off the press”, sourcing waste paper from NZME newspaper reel ends to print its patterns, the same paper used to print Viva’s weekly magazine.

Presenting a great example of local companies working together across industries for waste-minimising solutions. Viva even had a pattern on our back cover, and interviewed Ruby and Liam general manager Emily Miller-Sharma about the initiative for our podcast Viva Talks.

White Lotus costume designer Alex Bovaird nailed it

Speaking of wealth disparity, if there was a TV show this year that provided a satirical commentary on the gap between the rich and poor, White Lotus was it. Season two’s finale ended with Sicilian locals Lucia and Mia winning the jackpot, and you couldn’t help but celebrate how they played the game, transforming from their everyday threads to flashy designer dresses.

And it’s this attention to detail that costume designer Alex Bovaird should be lauded for, holding up a mirror to the world we live in and the personality types that inhabit it.

From Ethan’s silicon tech bro off-duty wardrobe of cardigans and designer T-shirts to Daphne’s unapologetic cheugy-ness, there was something recognisable about how the erratic nature of fashion right now was presented in the series.

Of course, Portia’s wardrobe was contentious on social media — but that was the point. As Bovaird pointed out in a recent interview, “Portia is a bit of a mess. She doesn’t have money, makes some bad choices and spends all her time on TikTok. So we wanted her clothes to reflect that.”

The ‘clean girl’ aesthetic went global

Speaking of trends dictated by an algorithm, a hangover from lockdown was the desire to live in oversized, comfortable clothes, focusing on wellness and mental clarity, a pursuit of an aspirational lifestyle.

As explored by feature writer Jessica Beresford, influencers like Swedish-style social media/entrepreneur Matild Djerf have spearheaded a specific look that has crossed borders and gone global.

“Offline, I saw her doppelgangers walking around the streets of London, then Paris, then Sydney,” notes Jessica. “They all had either freshly washed, bouncy hair or a slick-back fastened with a hair claw, as well as brushed-up eyebrows, blushed cheeks, glossy lips and glowing skin. They clothed themselves in fashion ‘basics’ in neutral colours — boxy suits, oversized shirts, slinky slip skirts, baby tees, baggy, low-slung denim and the occasional going-out top.”

While the trend is certainly of the moment, some detractors see it as a cultural appropriation of a style that women of colour have been doing for years.

Famous faces wore New Zealand designers

This year saw some famous faces wearing designs from New Zealand fashion brands. In September, British model and activist Adwoa Aboah added her unique spin on the Harris Tapper black strapless Eme gown with sneakers to her sister Kesewa’s art exhibition.

At an intimate dinner party in New York in November, muses and models Helena Christensen and Paloma Elsesser wore looks from Paris Georgia. Read more about the event hosted by Vogue’s global contributing fashion editor at large Gabriella Karefa johnson.

Fashion pioneers Issey Miyake and Thierry Mugler died

Mugler died on January 23 of natural causes, aged 73, and was a radical designer whose fashion taste polarised opinion for its overt sexuality. His designs were also popularised in film, where he appeared in the satirical fashion film Prêt-à-Porter (1994) and in George Michael’s Too Funky music video from 1992.

On the other end of the design spectrum, Japanese fashion designer Issey Miyake died aged 84 in August. Issey’s ability to create pioneering sustainable designs include the use of new as well as traditional materials, and he later embraced computer technology in his quest to create clothing that was practical, comfortable, machine-washable, and that did not crease.

Bella Hadid gets a Coperni dress spray-painted on her at Paris Fashion Week

One of the year’s viral moments from Paris was of course the combination of technology and fashion and Coperni, when model Bella Hadid sauntered out with a nude G-string and heels to be spray-painted with a special spray-on fabric invented by Dr Manel Torres, the managing director of Fabrican Ltd, who was on hand to do the honours.

A filmy layer of white latex was sprayed on the 25-year-old model’s body in the shape of a Coperni slip dress, the brand gaining a loyal following for its experimental designs. Designer Arnaud Vaillant told Vogue: “It’s our celebration of women’s silhouettes from centuries past. And we wanted to update our aesthetic in a more grown-up and scientific way, too.”

“We wanted to dedicate this moment to Dr Torres because we respect what he does so much. We felt that it was absolutely necessary that he led the performance to us, that makes the experience even more magical.”

While some fashion nerds were quick to compare the moment to Alexander McQueen’s iconic spring/summer 1999 show, where model Shalom Harlow was seen at the finale standing in a white dress on a rotating platform being sprayed with paint by robots, the Coperni moment was less a comment on fashion and technology and more on creating an artful moment that paid tribute to the origins of Dr Torres’ unique invention.

Out of all the nepo babies unleashed upon the fashion world (there are many), Bella has carved a unique place for herself in the fashion industry, crowned the Model of the Year at the British Fashion Awards earlier this month. Her unique style off-duty and the way she interacts with the public have won her praise this year.

It was a year of the fashion autobiography

Edward Enninful appeared on the cover of Viva this year ahead of the launch of his bestselling autobiography, A Visible Man, exploring his rise from a young boy growing up in Ghana, the cultural adjustment experienced by his family when they moved to London and his subsequent rise to the world of fashion as the editor-in-chief of British Vogue where continues to make his mark (read an excerpt here).

Anna Wintour was the subject of an unofficial (but the closest we’ll get so far to an official) autobiography about her fascinating career as the world’s most famous fashion journalist, from her early days in London to how she ushered in a radical seachange at US Vogue.

Beyonce wore an embellished harness for the cover of Renaissance

While fans have been lamenting the lack of visuals for Beyonce’s 2022 release Renaissance, one defining image of the year was the singer’s cover album artwork featuring Beyonce atop a holographic horse wearing a silver body harness by Nusi Quero. The designer, who uses a diverse range of unconventional materials to fashion intricate body adornment, called out Beyonce’s team — specifically, her stylist Marni Senofonte for an issue with payments, which he took to social media.

However, Bey’s team responded swiftly with a statement in October stating, “It is deeply troubling that designer Nusi Quero has posted damaging statements about Marni Senofonte regarding non-payments for work completed. In fact, he was paid for his work, and there is proof of all payments made.”

The album outfit is further tainted by claims from more than 30 women on Instagram that the LA-based fashion designer subjected them to predatory behaviour and sexual assault.

The album’s style connection also appears throughout in the lyrics including the closing track, Summer Renaissance, where the multi-award-winning singer namechecks some of her favourite fashion labels including Balenciaga, Bottega Veneta, Telfar, Prada, Versace, Givenchy.

“So elegant and raunchy, this haute couture I’m flaunting,” she sings over a sample of Donna Summer’s disco classic I Feel Love.

Elsewhere on the song Heated, she mentions Chanel and Tiffany & Co., the latter releasing some of the only Renaissance-related visuals this year in a series of ad campaigns featuring Beyonce.

Ahead of the album release, it was also interesting to see how the singer rolled out the marketing campaign, marking this new era of Beyonce with a cover shoot for British Vogue’s July edition, styled by Edward Enninful and photographed by Rafael Pavarotti.

Patagonia’s transitions to profits with a purpose

In a truly bold move, Patagonia founder Yvon Chouinard donated the company to a charitable trust, with all profits to be reinvested into fighting climate change. It’s radical for any industry. One hundred per cent of Patagonia profits are now committed to its new non-profit Holdfast Collective, with a spokeswoman saying the move is a clear indication that it’s possible to “do good for people and the planet and still be a successful business”. This new business model is a radical shift we hope more companies will explore to help truly combat some of the environmental impacts of the fashion industry.

Supermodel Linda Evangelista made a comeback

It seems the demand for 90s supermodels was still high in 2022, and after a terrible experience last year with a botched cosmetic CoolSculpting procedure that left her body “brutally disfigured”, Linda Evangelista planted the seeds for a remarkable return to form. In September, the 57-year-old modelled for Fendi to celebrate the 25th anniversary of its beloved Fendi Baguette handbag. A supporting campaign was photographed by long-time collaborator Steven Meisel.

The fashion moments also coincided with the September issue of British Vogue where Evangelista was again photographed by Meisel for the cover shoot wearing an array of floral scarves and hats.

As for the best dressed of the year?

From Lil Nas X in sculptural Harris Reed to everyone who deigned to slip into a shocking Valentino PP hue on the red carpet, this year’s memo was all about fluid self-expression and a jolt of saturated colour. See our pick of the looks in 2022 that caught our attention for all the right reasons.