On Thursday morning, the Ian Potter Centre at NGV was abuzz with quiet anticipation as Martin Grant—soft-spoken yet effortlessly commanding—stepped forward to introduce his first-ever major retrospective.
The celebrated Australian designer, renowned for his timeless elegance and Parisian sophistication, unveiled a career-spanning exhibition opening to the public today (28th March) at the National Gallery of Victoria.
Grant is no stranger to adulation. The late André Leon Talley, legendary Vogue editor, once hailed his designs as “precise, sharp, and full of grace”—a couture language spoken by icons. From Cate Blanchett’s red-carpet moments to Queen Rania of Jordan’s refined elegance, his creations have dressed those who define style itself.
His rise was nothing short of meteoric. At just 16, Grant launched his debut collection; by 20, he’d planted his flag in Paris. Then came the coup de grâce: Naomi Campbell opening his first runway show. The rest, as they say, is fashion history.
Speaking to The Indian Sun on the sidelines of the preview, Grant reflects on his early influences. “As a child and young designer, I was drawn to the masters of the 1950s and ’60s,” he admits. “But inspiration evolves—now, I find it in everything from architectural lines to the smallest details. Though I will say,” he adds with a smile, “I’ve never been one for specific themes as such.”
When asked about his creative process after decades in fashion, Grant admits it’s undergone a quiet revolution. Where he once worked “very, very hands-on” in the studio with his team, he now finds himself drawn to the archives—a shift born of necessity during COVID, but one that’s since become intentional.
“I began pulling old patterns and re-editing existing pieces,” he explains. To his surprise, the designs felt strikingly current: a tweak of fabric or colour breathed new life into them. What began as improvisation has evolved into an ethos. “It’s sustainable, ethical—we use deadstock or fabrics I’d already hoarded,” he says. “A very different way of working now.”
The retrospective brings this evolution to life through nearly 100 works from the NGV Collection, augmented by over 40 rare pieces from Grant’s personal archive and private loans.
Spanning his four-decade career from the 1980s to today, the exhibition does more than showcase garments—it unveils Grant’s creative universe. Visitors encounter a tactile timeline: sketches yellowing with age beside runway footage, press clippings whispering of past controversies, and artworks that reveal how his razor-sharp silhouettes dialogue with broader culture.
The showstopper? A breathtaking display of evening gowns in black and white, magically “floating” on invisible mannequins. These pieces highlight Grant’s genius for shape and drape, using luxurious fabrics like silk taffeta, soft wool, and sparkling metallic textiles.
Also featured are his famous coats—tailored jackets, peacoats, and trenches—where sharp cuts meet playful proportions. Don’t miss his legendary Napoleon leather coat (worn by Naomi Campbell) and the fiery red Joan of Arc dress (made for Cate Blanchett), proving how he turns historical inspiration into modern masterpieces.
The exhibition also traces Grant’s journey—from his early days in Melbourne to Parisian fame—with iconic outfits worn by stars like Lady Gaga, Rebel Wilson, and Lee Radziwill. Fashion photos and runway clips show how his designs captivated the world, celebrating his collaborations with top photographers and stylists.
Visitors also get a special look at Grant’s fashion journey—starting with his teenage years in 1980s Melbourne. See his early designs like the sharp-cut linen “slash-back” dress he made at just 16. The show also features his Paris breakthrough in the 1990s, including that famous oversized “Mary Poppins” coat that put him on the map.
NGV Director Tony Ellwood AM notes Grant’s unique trajectory: a self-taught Melbourne talent who conquered global fashion. “With a background in sculpture, he approaches fashion with a sculptor’s eye, creating garments that have a direct formal relationship to the body.”
The designer’s 2024 donation of 200 archive pieces cemented the gallery’s status as home to the world’s most comprehensive Grant collection. “This retrospective shares his artistry with all Victorians,” Ellwood notes.
For Grant, this homecoming exhibition is deeply personal. “To have my design career represented in this exhibition in Melbourne, the city of my birth, is a true privilege and an honour,” he reflects.
Click here for full link to the exhibition
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