Acclaimed First Nations artist and designer Grace Lillian Lee is set to make her Paris Couture Fashion Week debut, becoming the first Indigenous designer to independently showcase a collection.
Taking place during NAIDOC Week on the 7th of July, the exclusive showcase marks a historic milestone for both Australian fashion and First Nations representation on the global stage, with her incredible artistry being catapulted into the heart of the fashion capital.
Presenting her debut couture collection, 'The Guardians', at 229LAB in the Marais district of Paris, the Meriam Mer woman told Style Up that this moment is about celebrating "the power of the individual and the collective strength of our communities".
"It acknowledges the journeys, resilience, and cultural wisdom carried through my family and ancestors, while also challenging the boundaries of where our stories can be told — including on one of the biggest couture stages in the world," she said.
A love letter to those who walked before her, Lee said: "This collection is a testament to self-determination ... allowing me to stand here today."
'The Guardians' expands on Grace's recent solo exhibition, 'The Dream Weaver: Guardians of Grace', which was recently acquired by the Queensland Art Gallery of Modern Art.
The collection features eight ethereal Shields and Armours, inspired by her totem, Koysemer (moth), and pays tribute to her ancestral lineage, spanning across the Torres Strait, China and Europe.
Blending art, fashion, ceremony and ancestral storytelling, the garments feature intricate handwoven techniques, striking laser-cut acrylic beadwork and sculptural silhouettes.
"The techniques and materials I use are deeply connected to the values of patience, skill, and continuity," she said.
"Weaving, in particular, is repetitive and meditative, yet it holds cultural knowledge that grounds the work.
"The laser-cut Perspex shapes and intricate beading speak to my house codes, referencing both traditional and modern technologies, and highlight the innovation that is part of our culture.
"Combining these materials allows the story to feel tangible, contemporary, and proudly Indigenous."
Lee shared how her work is a powerful fusion of tradition and innovation - where art, culture, and fashion seamlessly intertwine to honour her heritage while pushing creative boundaries and allowing her to pay tribute to her mentors and ancestors.
"For me, art, culture, and fashion are not separate — they move together. I translate my artworks into wearable forms, carrying forward the stories, symbols, and motifs embedded within them," she said.
"My weaving practice, for example, is rooted in cultural knowledge passed down by Uncle Ken Thaiday, but sculpted for the body to exist in a fashion context.
"By holding onto these cultural foundations and translating them into contemporary couture, I am able to bring my entire cultural identity forward onto a global stage."
A powerful expression of identity, where culture and craftsmanship are deeply intertwined, Lee draws from her diverse heritage with each piece speaking to the strength of story and the beauty of tradition carried forward through contemporary design.
"My heritage is woven through every part of the collection," she told Style Up.
"From my Torres Strait Islander roots, you see the weaving techniques and the powerful references to ancestors and cultural storytelling.
"The precision and detail of the laser-cutting and hand-beading reflect influences from Chinese and European craft traditions, where meticulous handwork and innovation are highly valued.
"All of these lineages come together to shape who I am and, therefore, how I create."
After joining forces in 2024, renowned French designer Jean Paul Gaultier and Lee brought their creative visions to life in a striking collaboration for Gaultier's Fashion Freak Show at Brisbane Fashion Festival.
Deeply moved by Lee's work, telling the Sydney Morning Herald: "I could see she was very talented, that she has her own couture skill set, and that her work has universal appeal."
"Creativity is all about being spontaneously emotional with your work; we have that in common."
Not only did the 2024 showcase mark a significant moment in integrating Indigenous Australian design into global haute couture, it set the stage for the upcoming 2025 Paris Couture Fashion Week debut.
"The support from Jean Paul Gaultier's team — especially Jelka and the network I connected with through the Fashion Freak Show — has been incredible," Lee said.
"Their encouragement and belief in my vision have helped me navigate this opportunity with confidence.
"It shows how meaningful true allyship and collaboration can be, and how it can open doors for First Nations artists on a global stage."
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Filled with gratitude and pride, Lee reflected that her debut represents something far greater than herself.
"Presenting on a global couture stage feels like taking our stories, our culture, and our people to a place where we have not always been seen — and saying we belong here. It is a deeply humbling moment, and it reaffirms why I do what I do," she said.
"I hope 'The Guardians' challenges the industry to see First Nations creativity not as a trend, but as a powerful and permanent contribution to couture.
"I want this work to shift perceptions and open more opportunities for Indigenous designers to lead, innovate, and thrive on the highest stages."
When asked what advice she has for emerging Indigenous creatives and designers, Lee imparted some valuable words of wisdom.
"Stay close to who you are and where you come from. Your culture is your superpower," she said.
"It may not always be easy, but keep walking your path and surround yourself with people who lift you up.
"Back yourself, even when others doubt you, and remember you belong in these spaces just as much as anyone else."
The historic debut will also mark the beginning of Grace's artist residency at Cité Internationale des Arts in Paris, supported by a Creative Australia scholarship.
She will be accompanied by eight First Nations creatives and family members who will be participating in the storytelling and performance of the exhibition.