A fairytale ending to fashion week as Romance Was Born celebrated 20 years of magical thinking. Inspired by the Ballet Russes costumes, nature and nostaglia, Luke Sales and Anna Plunkett transported us into their world:

What was inspiring you when you were designing this collection? What was the catalyst?

The initial spark came from a trip to the National Gallery of Australia to view their Ballets Russes archive one of the largest in the world. We’ve always loved Léon Bakst’s work, but seeing the actual garments and learning more about the Ballets Russes’ collaborative way of working really struck a chord. There was something about their approach to performance and costume that mirrored how Anna and I work. That was the starting point and from there, the collection unfolded into something deeply personal.

What made the leap from the mood board into the collection?

One of the strongest throughlines was that idea of collaboration it’s what the Ballets Russes embodied, and it’s central to how we create. Whether it was working with Laura Jones on hand-painted gowns, or reimagining Mattel’s iconic toys within the Australian bush, the mood board came to life through these layered, creative partnerships.

What emotions and thoughts from you are imbued in these pieces?

There’s a huge sense of nostalgia and fantasy. Growing up in regional Australia, we were surrounded by nature and toys and those memories are so sensory and surreal. The collection really lives in that blur between reality and imagination, where beetles, butterflies and birds aren’t just symbols but emotional motifs. There’s also joy, chaos, and a bit of longing the kind of layered emotion that comes with looking back.

How is the DNA of your brand evolving?

In a way, the Romance Was Born conversation has always been consistent we explore similar themes but with different expressions. This collection, It’s in the Trees, marks our 20th anniversary, and it really feels like a culmination of all those creative chapters. The brand has matured, but we’re still chasing wonder, still telling stories, still playing with scale, texture and emotion.

Recycling, repurposing, renewal. These are all important things in the world of 10. How do these apply to your work?

They’re embedded in our process. We used vintage fabrics again this season we always return to them because they carry stories. The set itself was made from dead avocado trees, rescued from clearance and reimagined as sculptural forest forms. And the snow was created entirely from recycled plastic bottles. For us, renewal is both literal and symbolic, it’s about finding magic in what already exists.

Who would you love to see wearing it? Which look would they be wearing?

We always love seeing our past collaborators in our pieces they’re part of our creative story. Someone like Jenny Kee, who deeply understands the emotional power of colour and pattern, would be incredible in one of the Laura Jones hand-painted gowns. She embodies that fearless, expressive Australian spirit that’s so central to this collection.

Which piece would you hope to be the ultimate collector’s item?

The Laura Jones hand-painted gowns. They’re genuinely one-of-a-kind. They sit in that beautiful space between fashion and fine art, and they carry the weight of collaboration and care.

There are brilliant people to collaborate with in Australia. Who has been part of your journey with this collection?

So many incredible people. Laura Jones, of course working with her has been such a joy. Our set designers Chantel Covey-Lane and Peter Simon Phillips helped us create this magical woodland stage from rescued trees. Carla Zimbler brought the projections to life. Tyoow composed a score that felt like a heartbeat. And the beauty team Jason Fassbender, Dee Parker-Attwood, PINKY were just incredible. Everyone brought something vital.

What’s important to you aside from fashion? How would you like to use your platform?

Art, always. It’s what sustains us and drives us and we want to use our platform to keep celebrating creative voices, not just ours. Collaboration helps keep the world of fashion from feeling repetitive. It’s about building community, making space for others, and showing that fashion can still be emotional, intimate and surprising.

What is the soundtrack to this collection?

Tyoow created an original score that underscored everything. It was cinematic, atmospheric and had this hypnotic pulse. It helped shape the emotional rhythm of the show it wasn’t just background, it was part of the storytelling.

What’s next?

Right now, we’re just trying to take it all in. It’s our 20th anniversary, and emotions are high. Fashion Week is always a whirlwind but we’re really proud of what we’ve created.

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