Grace Lillian Lee charts a remarkable journey from the Torres Strait to the fashion capital of Paris.
In her hands, long rolls of dyed cotton transform into exquisite, one-of-a-kind garments, crafted using a traditional weaving technique from the Torres Strait Islands, reminiscent of a grasshopper's intricate patterns. This unique weaving method, originally utilizing coconut palm fronds, was introduced to Lee nearly 15 years ago by esteemed Torres Strait artist and mentor Uncle Ken Thaiday Senior.
Her stunning creations, blending wearability with artistic expression, have propelled Lee from the serene surroundings of Cairns and the Torres Strait in Queensland's far north to the vibrant textile scene of Paris, located over 15,000 kilometers away.
"I was pursuing fashion design at RMIT when Uncle Ken became a guiding light, significantly influencing my artistic journey," she shared. "It took time for me to cultivate my own style with this weaving technique, as I wanted to authentically celebrate my identity and heritage."
Initially, Lee gained recognition for her sought-after woven necklaces after a visit to the Torres Strait Islands in 2010. Since then, she has evolved her artistry to encompass large-scale wearable sculptures and couture that resonate on a global platform.
"I believe people are increasingly interested in expressing their identity through their attire and finding joy in that experience," she remarked. "It seems we are entering a transformative period where many seek a respite from everyday life."
From Queensland to Paris
At 37 years old, Lee attributes a pivotal encounter with renowned French designer Jean Paul Gaultier as the catalyst for her burgeoning international career. In 2024, she caught Gaultier's eye thanks to a recommendation from Louise Bezzina, the artistic director of the Brisbane Festival. Impressed by Lee's talent, Gaultier invited her to contribute to his Fashion Freak Show during the Brisbane Festival that same year.
Lee believes this opportunity helped pave the way for her prestigious three-month residency at Cité Internationale des Arts in Paris, a notable program dedicated to artistic development and exchange. During this time, she also showcased her work at Paris Couture Week in July, an event attended by Gaultier himself.
"It was absolutely surreal, a moment where I felt overwhelmed with gratitude," she reflected. "It allowed me to share my narratives and honor my Torres Strait heritage with a broad audience through couture."
"We produced eight looks, alongside four sculptures and a mask, all infused with my cultural storytelling."
This year, Lee became the first artist to exhibit her creations at the newly established Cassandra Bird Gallery, located on the ground floor of Zimmerman's Paris headquarters in the heart of Le Marais.
Leading the Way for Others
Kellie Hush, CEO of Australian Fashion Week, is a vocal admirer of Grace Lillian Lee's artistry. "Individuals like Grace are crucial in paving the way for other Indigenous designers," she stated. "She embodies the exceptional qualities of First Nations designers—crafting pieces that are deeply personal and distinctive, turning them into striking statement items."
Hush emphasized that First Nations designers possess a unique creative vision that stands out globally, and she is enthusiastic about the increasing representation of Indigenous designers at Australian Fashion Week.
Delighted to be among them, Lee is currently preparing for another showcase at the upcoming annual fashion event scheduled for May 2026. Additionally, she is finalizing costume designs for the Australian Ballet and Bangarra Dance Company's anticipated production, Flora 2026.
Despite her busy calendar, Lee remains committed to inspiring and creating opportunities for Indigenous artists through First Nations Fashion and Design (FNFD), an organization she established in 2017.
Elverina Johnson commended FNFD as "one of the pioneering incubator programs for Indigenous fashion in Cairns" and acknowledged the numerous opportunities it has generated.
A painter, fashion designer, and musician, Johnson has collaborated with various fashion brands, including three collections with the national brand Taking Shape and original silk scarves for Mainie Australia, an Aboriginal-owned ethical fashion label. Her work has been featured at prominent events such as Australian Fashion Week, the Brisbane Festival, and the Cairns Indigenous Art Fair (CIAF).
Originating from the small Indigenous community of Yarrabah, situated approximately 52 kilometers southeast of Cairns, Johnson is proud of her Gungganji-Yidinji heritage and views fashion as a powerful medium for sharing her culture.
"My experiences shape my narrative, which I express through painting, subsequently translating to my fashion designs," she explained. "Each piece tells a story, helping to educate others about Indigenous traditions and peoples."
Johnson draws inspiration from her childhood surrounded by the rich natural beauty of Australia—the rainforest, ocean, diverse landscapes, and native flora and fauna. As an independent designer, she acknowledges that meeting demand presents a significant challenge.
"We have fast fashion on one end and slow fashion on the other, which consists of unique pieces that tell stories," Johnson pointed out. "To successfully produce fashion on a national or international scale, it truly requires a supportive network."
Kellie Hush echoed the need for greater support for First Nations designers, advocating for a cultural shift that recognizes them as integral parts of the Australian fashion landscape rather than niche entities.
"It’s vital to refer to these designers simply as Australian fashion designers, as they represent Australian fashion brands," she said.
Johnson concurred, stating that while she takes pride in her identity as a First Nations designer, this label can sometimes feel confining. "I would prefer to be recognized simply as an Australian fashion designer," she expressed.
