Alix Higgins Resort 2027 - An Opening Voluntary

Words by JOELLA MARCUS

In the China Heights Chapel, we donned our uniforms to uphold the lore of Alix Higgins.

As the plastic pews filled with distinguished laity an opening voluntary*, in the form of disconcerted strings and soft piano, allowed guests to familiarise themselves with the congregation before the ceremonial affair commenced.

“How long have you known Alix?" My seat neighbour asked, as if the two of us were mutual friends, finding our love for him between us. He was familiar, a friend, a devotee and not unlike the others who began to fill the chairs around us. As mismatched drum beats scored the incidental runway of guests, I caught glimpses of Alix everywhere; in a bare shoulder naked against the evening air, in a pink polo shirt draped across the waist and through the prose that sat emboldened against the bodies filing into the room.

Known for his tender approach and ability to weave poetic storytelling into wearable art, Alix Higgins has carved out his distinctive voice to cultivate a local cult following. Alix is more than a contemporary fashion designer, he is embedded in the Eora/Sydney cultural scene in a way that is to be understood only through participation.

Returning for his fifth solo runway show at AFW since launching his eponymous label in 2021, ‘An Opening Voluntary’ Resort 2027, was a homecoming. A collection scored, as previously, by long time confidant Joan Banoit, their piece ‘Silkhorn’ opened the show and was controlled imperfection; a layering of voices, strings and an undulating beat. The composition spoke to the beauty of Alix Higgins, which lies in his talent in visualising the sensitivities and intricacies that colour his inner world.

The collection, as introduced by Britney Spears, was an offering and a declaration of love-ing. The show opened with printed french porcelain shirts, frills, flower rosettes and silk chiffon skirts, complimented with wispy Edwardian hair and 1930s cloche hats. It was ladylike yet unbound by the constraints of being a “lady”, as the bare foot models played dress-up with Alixs’ romantic reimagings of historical feminine ideals. The decorative lace joyfully styled in an almost childlike manner altering its age and essence of fragility. The textural evocativeness of a fur coat stripped of its nostalgic quality as a digitised print. Velvet fabric fashioned into split shorts layered under shirts and mellowed in its grandeur. It felt almost Baroque, in theatricality and dramatic emotion.The softened silhouettes, drapery and whimsical trimmings reinvigorated by raw fabric hems and Alixs’ signature upcycled polo shirt. Time periods sampled to become a reference in a modern archive and thus, rendered as timeless.

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As the 30-piece show progressed, ‘Silkhorn’ became ‘Ironclaw’ and classical became pop punk.

A Blink 182-inspired anthem set the scene and teen cool was back in. Disneyland motifs walked behind surf print speedos as ‘xtreme gaming’ and ‘funny games’ labelled the askew shirts.The styling was ‘off-beat’ but served as a reintroduction to the non-linear narratives of his previous collections. Red camo print paired with video game rendered floral prints, a sample of exactly where Alixs’ confidence lies; in upcycled synthetics and manipulated prints made for the modern world.

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In a haze of high-energy a line of prose flashed before us, sitting bold atop a neon yellow skin taut top. ‘This is my show’ it read, perfectly encapsulating a collection that purposefully left a gap between entertainer and observer…a domain which only Alix knows.

I thought of the line that headed Alix’s opening address “There are only two types of people in the world… - Circus, Britney Spears”. I asked myself, If we are all characters in someone else's show, how do we make sense of who we are without looking at those we surround ourselves with? Are we not just a sum of parts, and those parts being the things and people that we love? I could not make sense of it for my own identity but whilst observing the perfectly imperfect collection I had a feeling that Alix was making himself accessible in such a way.

Described as a “frenetic collage” by Alix himself, his hallmark printed prose, vivid hues and french trims were harmonised by the collection’s throughline – the emotional heartbeat.

I love fashion, I love music, I love my friends and I love the internet…and we love Alix.

Descending into the night and down the damp and low lit hills of Surry Hills, I found myself rejuvenated by a collection so instinctive. What a privilege it felt to be allowed access to what seemed to be the fabric threshold between us and Alix. How endearing it is to see someone’s heart on their sleeve! Here is what I love and it’s cool, chic, fun and it may not be for you but these are my favourite things.

@alixhiggins . alixhiggins.com . image credits: courtesy of Alix Higgins

*a piece of organ music played at the start of a church service.