Ahead of his third runway presentation at Australian Fashion Week next week, Melbourne designer Christian Kimber is reflecting on the evolution of his eponymous label – and what it means to create clothing designed to last.
Since launching in 2014 with a tightly edited footwear and accessories collection, Kimber has built a cult following around a distinctly Australian approach to menswear: relaxed yet refined, practical yet deeply considered.
Produced in small family-run workshops across Italy and Portugal, the brand is grounded in slow fashion principles, with a focus on craftsmanship, longevity and effortless dressing for modern life. This season marks a major milestone for the label, with the debut of its inaugural resort collection on the Australian Fashion Week runway.
We spoke with Christian ahead of the show about resort dressing, authenticity in design, and the garments that stay with us for life.
You’ll be part of Australian Fashion Week this year – what does showing within that framework mean to you at this point in your brand’s evolution?
I’m proud to say this is our third time showing at Australian Fashion Week – it’s always a huge honour to be invited back. This year feels especially significant as we’ll be presenting at the Museum of Contemporary Art, and I believe we’ll be the only menswear label showing on-site.
It also marks a major milestone for us, as this runway will introduce our inaugural resort collection. It’s an important moment in the evolution of the brand—expanding our product offering while making a clear statement about what luxury resort dressing can look like for men, beyond the expected uniform of board shorts and a T-shirt.
You’ll see a full expression of that idea on the runway—from relaxed summer tailoring and occasionwear through to more casual pieces like shorts, all designed with an island lifestyle in mind. The silhouettes are loose and louche, the fabrications ultra-lightweight, and the palette draws from the landscapes of the Aegean—quartz cliffs, sun-bleached shores, sand and scrub—while also reflecting what feels familiar to us in Australia: eucalyptus-lined streets, azure water, and a relaxed, effortless way of moving through the world.
To present that within the framework of Australian Fashion Week, alongside such strong local talent, and in front of an international audience of press and buyers, is something we’re incredibly grateful for.
Your work is grounded in longevity and restraint – do you think that kind of quiet, considered design is resonating more strongly right now?
I’m not sure I’d describe our ready-to-wear as “quiet,” but it is certainly considered. We’ve never been drawn to loud or overt branding—our clients don’t really connect with that. They’re far more interested in quality, provenance, and construction, particularly at a time when so much of the industry is shifting towards lower-cost manufacturing.
For us, it’s about letting the fabric, the fit, and the overall feel speak for themselves. That said, we’re also known for our use of colour, texture, prints, and pattern, so there’s always an expressive element to the work. I think what’s resonating now is authenticity—clothing that feels intentional and well made, rather than something driven by trend alone.
You often speak about clothing as something to live in – how do you define the relationship between a garment and its wearer over time?
For me, that relationship is something that develops gradually. The best garments become part of someone’s life—they soften, adapt, and take on character with wear. That’s where they really come into their own.
We design with longevity in mind, thinking about how a piece will feel not just when it’s new, but years later. Ideally, it becomes something instinctive to wear—something that reflects the person over time. A great garment holds memory; it carries the imprint of experiences and becomes more personal the longer it’s lived in.
With production rooted in small European workshops, what have those relationships taught you about the value of craftsmanship today?
Working with small, specialised workshops across Europe has really reinforced the value of patience and care. Many of these are generational businesses, with techniques and knowledge passed down over decades, and there’s a real sense of pride in what they produce.
It’s taught me that true craftsmanship can’t be rushed or easily replicated at scale. There’s a depth to the process—from fabric selection to construction—that you feel in the finished piece. In a market that often prioritises speed and cost, those relationships are a constant reminder of why quality matters, and why it’s worth preserving.
Australian fashion is so often tied to lifestyle – how do you interpret that idea in a way that still feels refined and globally relevant?
Australian style is often associated with ease and informality, which is something we naturally connect to—but we approach it with a sense of refinement. It’s about balancing that relaxed attitude with intention and detail.
With this resort collection in particular, that idea comes into sharper focus. We’re exploring what it means to dress for leisure and escape, but in a way that still feels elevated. It’s not about over-styling, but about creating pieces that sit effortlessly within someone’s life while maintaining a level of sophistication.
That balance—between ease and refinement—is what allows the work to resonate globally while still feeling grounded in an Australian perspective.
What’s one piece in your wardrobe you’ve owned the longest – and what story does it carry with it?
I have a black and white floral bow tie from Tom Ford that my wife Ren bought for me when we were very young. It’s beautifully made—timeless in both print and construction—and just enough of a statement without ever feeling overdone.
She gave it to me at a time when neither of us could really afford it, just after I’d made the decision to move to Australia. It carries a lot of meaning—not just because of how special the piece is, but because of what it represents. That moment, that gesture, and the sense of belief behind it.
I still pull it out for special occasions, and every time I do, it reminds me of the love and warmth in that decision—and of one of the best choices I’ve ever made, second only to marrying her.
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christiankimber.com
