A century of weaving knowledge to be brought to the runway at Fashion Week

New Zealand Fashion Week 2026 will showcase a groundbreaking fusion of tradition and modernity as six woven garments from the Māori weaving school Te Rito o Rotowhio appear in designer Shona Tāwhiao’s collection, The House of Harakeke. The pieces will be unveiled during the event on Thursday, 20 August, marking a pivotal moment in the integration of indigenous textile practices into contemporary fashion. The collaboration between Tāwhiao and the New Zealand Māori Arts and Crafts Institute (NZMACI) began with a week-long wānanga at the National Weaving School in Rotorua, where Tāwhiao and Kāhui Collective co-founder Kiri Nathan engaged in intensive learning sessions with Te Rito o Rotowhio’s head, Cori Marsters. During these sessions, they explored traditional techniques such as the preparation of harakeke (flax) and its dyeing process. The team harvested harakeke, allowed it to dry to a creamy white, and then dyed it using a commercial dye, completing the process in just five minutes, contrasting sharply with the slower, traditional paru (mud) dyeing method that requires a full day. This approach reflects a balance between heritage and innovation, allowing the traditional art of Māori weaving to adapt to contemporary design sensibilities. The resulting garments are described as both functional and symbolic, embodying the cultural significance of harakeke, which holds deep spiritual and ancestral connections for many Māori communities. Tāwhiao emphasized the importance of the collaboration in inspiring future generations of weavers. She noted that the collection, named The House of Harakeke, draws directly from the materials and methods associated with Te Rito o Rotowhio. “It’s about connecting the past with the present,” she explained. “We’re showing that Māori weaving isn’t just a historical craft, it’s a living, evolving practice.” Marsters expressed his hope that the partnership would open doors for more weavers to enter the fashion industry. He highlighted the long-standing role of whare pora (houses of weaving) in Māori society, noting that while the term may seem unfamiliar today, it originally referred to spaces where textiles were crafted and where fashion itself was born. “We’re just an echo of the past, ensuring that echo continues,” he said. The project also underscores the growing recognition of Māori craftsmanship in global fashion circles. Both Tāwhiao and Nathan are internationally respected designers, and their involvement signals a broader shift toward valuing indigenous aesthetics and techniques in mainstream fashion. This aligns with wider efforts to promote Māori culture and ensure its continued relevance in contemporary contexts. The collaboration began with the careful selection and processing of harakeke, a plant central to Māori identity and artistry. The drying and dyeing processes, though adapted for efficiency, retained core elements of traditional practice. The use of a commercial dye, while unconventional, enabled rapid production, demonstrating how traditional methods can be modified to meet modern demands without compromising authenticity. Looking ahead, Marsters hopes the success of this initiative will lead to more sustained partnerships between Māori artisans and fashion designers. He believes that such collaborations not only elevate the visibility of Māori weaving but also empower younger weavers to pursue careers in the creative industries. “If we can create pathways for the tauira (students) to thrive, that’s a win for everyone,” he said. As the countdown to New Zealand Fashion Week 2026 continues, the debut of The House of Harakeke promises to be a powerful statement on the enduring legacy of Māori weaving and its potential to shape the future of fashion.