How Voyager’s designer found the sweet spot between camp and fashion for Eurovision

Previous Australian entrants have also toed the line between fashion and costume.

Melbourne-based designer Alin Le’Kal worked with Sheldon Riley, Australia’s 2022 Eurovision entrant. Riley’s dramatic tuxedo gown, weighing in at 38 kg, was inspired by previous pieces from Le’Kal’s collections, with the dial turned up for the competition. “Working with an artist like Sheldon who is quite an eccentric character, we really went all out for the design. There really were no limits.”

Steven Khalil, the designer behind Dami Im’s 2016 look and Kate Miller Heidke’s gown from 2019, says he wanted to avoid any literal nods to Australia in the designs. “I tried to make it more about what they needed and what they needed for the performance, rather than making them look more ‘Australian’,” he says. “We didn’t want it to look gimmicky.”

So where does Eurovision fit in when it comes to the fashion world? While Khalil says designing for Eurovision won’t necessarily give you cool points with the fashion elite, it’s a great chance to represent Australia. “I love the message and the unity it brings to everyone. It’s a bit of fun.”

Certainly, Eurovision and high fashion have rubbed shoulders over the years. In 1998, Jean Paul Gaultier created a fitted black dress with a rainbow bolero for Israeli contestant Dana International, who was also the first transgender person to win the competition. Måneskin, an Italian rock band that won the contest in 2021, wore suits designed by Etro, and has since worked with established fashion houses like Gucci.

For Eurovision’s fans, fashion is as much a part of the competition as the music. But it seems the memorable looks aren’t those that are on trend, but those that lean into Eurovision’s campy, over-the-top spirit.

Zach Matthews, a member of The University of Melbourne’s Eurovision Social Club, says fashion plays a huge role in the competition. “Given a large part of the fan base is queer, there’s always a healthy dose of camp and glamour on stage and the turquoise carpet.”

Fellow member Izzy Richards echoes this sentiment. “Visuals are an important part in the voting process, specifically for juries in their considerations. An elevated costume can lift a performance massively.”

She adds, “though certain songs suit classier clothing and certain suit more campy styling, it’s definitely the over-the-top outfits that have people talking, and that have that distinctive ‘Eurovision’ feel to them.”

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