Australian menswear has long existed in the shadow of its womenswear counterpart, but for emerging designers like the founder of Joseph & James, this underrepresentation offered creative freedom rather than limitation. Rather than identifying a market gap, the designer was drawn to menswear because it felt like an open field—less crowded, less defined, and full of potential. While Australian fashion remains largely centered on womenswear in terms of attention, investment, and cultural significance, menswear stands as an underexplored canvas, ripe for innovation.
From a First Nations perspective, storytelling and cultural identity are central to the design process. However, in the Australian menswear industry, these narratives are still developing. The country lacks a globally recognised menswear identity, with local consumers frequently aligning their style with European or American aesthetics. This raises the question: what might emerge if Australian menswear turned inward instead of outward?
Australian men’s style is typically understated—quiet, practical, and humble. While these traits reflect broader national values such as modesty and relaxation, they may also suppress opportunities for individual expression. Unlike womenswear, which allows emotional and stylistic freedom, menswear often discourages boldness. Risk-taking in men’s fashion is frequently labelled as eccentric, while similar choices in womenswear are seen as expressive and stylish. This discrepancy underscores a subtle cultural double standard.
The current landscape presents a chance to reshape the narrative. By offering Australian menswear the same cultural enthusiasm and creative investment seen in womenswear, the country could cultivate a new fashion identity—one grounded in wearability but open to interpretation and personal expression. Such a movement could reflect the unique textures and contradictions of Australian life.
The launch of Joseph & James in 2021 exemplifies this ambition. For the brand’s founder, starting a menswear label in Australia felt akin to stepping onto a stage still under construction. Building the label has required not only creative and production efforts but also ongoing attempts to demonstrate the demand for expressive menswear. Although local retailers often respond positively, their caution reflects the broader systemic challenge: visibility is needed to gain retail support, yet retail presence is crucial for building visibility.
This cycle illustrates that interest in Australian menswear does exist, but the support systems remain underdeveloped. A few standout labels—Song for the Mute, PAM, and Commas—demonstrate what’s possible, but menswear still lacks comparable runway exposure, media attention, and cultural capital. Globally, this imbalance is echoed by Business of Fashion, which has pointed out that even at the industry’s highest levels, menswear receives a fraction of the resources and coverage allocated to womenswear.
Australia is home to immense creative talent—designers, stylists, photographers, and garment technicians contributing to menswear in meaningful ways. What remains missing is a cohesive cultural infrastructure to bind these efforts together. The country’s fashion strength lies in its informal sophistication—clothing that is elegant but relaxed, refined without pretension. This vision suits the Australian climate and lifestyle: natural fibres, breathable tailoring, and silhouettes that move with ease. It also invites playful experimentation with colour, print, and texture, without compromising on functionality.
Menswear, the designer argues, can be just as expressive, political, and emotional as womenswear. Australian designers are beginning to embrace this idea. Brands like Strateas Carlucci and Erik Yvon are challenging traditional ideas about masculinity and identity with work that is both conceptual and wearable. Likewise, First Nations-led labels such as House of Darwin are bringing cultural narratives into their designs—not as passing trends, but as integral design frameworks. These shifts suggest the start of a transformation.
Yet to sustain this momentum, the industry needs more than just creativity. It requires systemic support—media coverage that uplifts emerging voices, retail partnerships that take risks, and public and private investment that nurtures long-term growth. Cultural dialogue must be encouraged, and customers must be willing to support brands during their formative years, not only once they’ve become fashionable. Buyers, too, must be open to championing innovative visions, even when they deviate from the norm.
As Joseph & James prepares for its debut solo runway show at Australian Fashion Week, the designer sees it as more than a chance to unveil a new collection. It’s an opportunity to contribute to a larger conversation about the potential of Australian menswear. With the right support and vision, the industry can flourish—not by mimicking established fashion capitals, but by creating something uniquely Australian.
Menswear, ultimately, is worth the attention. It holds the power to reflect identity, provoke thought, and inspire change. And Australia has the talent—and the story—to bring it to the world stage.
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