This month Australia's top end stole the fashion spotlight.

First Nations designers, models and creatives flocked to the Territory for Darwin Aboriginal Art Fair's (DAAF) renowned Country to Couture runway.

Indigenous fashion and textiles came together in a colourful showcase of both wearable art and textile design. With a ground-breaking 22 designers' spanning across two runways, Country to Couture also drew international media, press and buyers.

While show one's theme, 'Underfire: Hear Our Voice', encouraged activism and expression, prompting designers to 'keep the fire burning' through First Nations fashion, show two, 'Boundless: Always Was, Always Will Be', celebrated cultural stories, unearthing the power of traditional materials; taking the audience on a journey from streetwear to couture.

DAAF Foundation community ambassador and Wakaman and KuKu Yalanji woman, Jessica Mauboy said the runway shows were "nothing short of spectacular" and "an incredible way to see first-hand how First Nations creatives are using fashion to share their culture and create truly beautiful pieces".

Country to Couture is supported by the Northern Territory government through Northern Territory Major Events Company, Country Road, and Indigenous Fashion Projects (IFP).

While Aboriginal Women's Art Centre Nagula Jarndu impressed with their new iteration of modern-day wedding and bridal wear, streetwear label Gammin Threads stunned with their recent collaboration with Melbourne-based artist Jarra Karalinar Steel, which saw models walk the runway wearing bright and bold sporty chic athleisure-wear, paired which eye-catching accessories – including a notable fishnet shoulder bag filled with a basketball.

Proud Yorta Yorta and Taungurung woman, Gammin Threads designer Tahnee Edwards, said: "I love that I get to share parts of our culture that aren't necessarily represented in the mainstream, it makes it accessible for people, it makes mob feel proud and seen. It's good that allies can represent our culture be part of it… and be proud."

The 2024 catwalk profiled a variety of emerging and established designers and brands – including Ikuntji Artists, Buluuy Mirrii and MumRed – and saw an increase in the number of collaborations, with more and more designers opting to collaborate with either an Aboriginal arts centre, or an established Australian label or artist.

Show two's Boundless runway saw Gapuwiyak Culture and Arts collaborate with Australian-born Helen Kaminski, for a collection –'Djäma Rrambaŋi' – which showcased a shared love of natural materials, and profiled the talented Yolŋgu artists who made the garments.

Gapuwiyak Culture and Arts, Art Centre manager Trevor van Weeren, told Style Up the Yolngu people in Arnhemland are "very generous and love sharing their culture".

"They want to have the same economic opportunities as all Australians. We are hoping this interest in collaborating keeps growing, especially if it's done respectfully and in a culturally safe way. I think the name for the Kaminski collection 'Djäma Rrambaŋi' Working together, implies these things and sums it up really," he said.

Gapuwiyak Culture and Arts also collaborated with award-winning contemporary fibre and eco-artist from Northern Australia, Aly de Groot. Featuring sculptural silhouettes, accessories that blended raffia and pandanus together as well as bush-dyed and upcycled garments, this collection was a celebration of resourcefulness, tradition, and creativity.

"Aly de Groot has a lot of experience working remotely and has a great rapport with artists. Putting creative people together, creating a safe and inspirational environment is all everyone needed. Collaborating is great, Yolngu love to share and people all like to meet new people and be inspired," Weeren said.

Darwin Aboriginal Art Fair Foundations' executive director Claire Summers said the event is working to ensure creatives are not excluded because of the tyranny of distance.

"The Darwin Aboriginal Art Fair (DAAF) Foundation commits almost $140,000 of our operational funding to support the travel of Art Centres to the Fair each year. Whilst it means less resources (at least 1.5 FTE) to contribute to our small and hardworking team, our travel subsidy grant is critical. But when you divide this between 80 participating Art Centres, it feels like butter scraped over too much bread," she said.

"Supporting travel and freight costs is the single biggest fundraising focus for our Foundation moving into 2025 and beyond. To attend our three major Darwin-based events (Darwin Aboriginal Art Fair, Country to Couture and National Indigenous Fashion Awards) Art Centres and designers can spend up to $30,000 before they've even made their first sale. In 2023, Art Centres spent an average of $12,500 in travel costs alone.

"The DAAF Foundation exists to combat the tyranny of distance, and provide artists and designers with access to market, via our events and digital platforms. We do have wonderful corporate partners who are working with us to help address travel costs.

"On a brighter note, there are budding conversations that we are having with potential corporate partners that we hope may bring some relief to our amazing Art Centres and designers in the near future. We feel very privileged to showcase such incredible talent - the world needs to have the opportunity to genuinely meet and learn from our prolific First Nations artists and designers. We don't need yet another hurdle in our way to achieving this."

In 2024 the Country to Couture runway reinforced its standing as a platform of opportunity, growth and respect for Indigenous designers and creatives. Fusing craft and community with a passion for fashion, Country to Couture has once again been a roaring success.