Meet Genevieve Smart | The Designer Behind In Resonance x Waverley Mills

My creative process has always been shaped by a tension between change and longevity. I'm interested in what feels new, but also what has the ability to last — and that balance is something I keep returning to.
In the past, I was often inspired by narrative — by stories, poetry, films and characters. There was a more external reference point. Over time, that has shifted. I find myself increasingly drawn to proportion above all else — the relationship between the body, the clothing, and the space around it. A new cut of a pant or a jacket can completely shift the way something is perceived. Proportion can be subtle or quite dramatic, and I find that endlessly interesting.
I'm interested in the psychology of dressing. The way the eye responds to proportion, or how a silhouette can change how we feel, is something I think about a lot. It's often those quieter adjustments that create the strongest impact.
Colour plays a similar role. I'm more aware of how the brain responds to colour and combination, and how that creates a sense of energy or emotion. I'm particularly interested in how the eye responds to new colour relationships — when something feels slightly unexpected, but still resolved. New combinations, or even subtle tonal shifts, can feel very energising. There's a moment when something feels right almost instinctively, and that's usually what I follow.
So the process tends to begin quite intuitively, and then becomes more precise over time. It's about allowing space for exploration, while being very clear about when something feels resolved.

When I decided to step back into fashion after a moment of reflection, I knew it needed to be grounded in materiality and craftsmanship. I wanted to feel closer to the process again. I've long admired Waverley Mills for their commitment to both — and to me they represent a very clear idea of Australian luxury.
I was also interested in working within the technical process of the mill itself — understanding how the material behaves, how it's made, and allowing that to inform the design. That felt like a meaningful place to begin. Working closely with the team, I felt their depth of knowledge in the process and how much that influenced the outcome. It becomes a very collaborative exchange, shaped through the process.
More broadly, I'm drawn to collaboration because it allows me to step into a different way of thinking. Each business has its own rhythm and way of operating, and I find it very energising to engage with that through a fresh lens. When it works, the outcome feels genuinely new — not just stylistically, but in how it's been formed. It brings a different level of depth to the work.

It was important that the collection felt like fashion — that it had a clear presence, rather than reading as a lifestyle extension. Designing with an inherently unisex sensibility was central to that, along with exploring the relationship between colour, light, energy and texture.

At the same time, the work needed to feel resolved in how it's worn — that it sits naturally within a wardrobe, feels intuitive, and has a sense of ease. Pieces like the Frame Cape were designed with that in mind — something that can move easily from Pilates, to work, to dinner, depending on how it's styled. That versatility felt important.

The palette was also considered in that way. Colours that sit comfortably against what people already own — navy, olive, chocolate, black — but with moments of contrast. A pale blue scarf against navy, or a red against black, can shift a whole look quite simply, without feeling overworked.

Ultimately, it was about balancing expression with wearability — and ensuring the pieces feel both considered and alive.

I don't think it's ever just one thing, but for me it comes back to balance — particularly of silhouette. I tend to let proportion do the work — cropped against long, structure against flow. Small shifts like that can completely change a look.

I also prefer to keep things slightly undone. A sleeve pushed, a shirt not fully tucked. Nothing should feel overly resolved. That slight sense of imperfection often makes something feel more considered.

It doesn't necessarily mean buying something new. Sometimes it's about adjusting what you already have — adding a brooch to shift a collar shape, or altering the length of a blazer so it feels more current. Those small changes can create a completely new proportion.

It's about allowing those subtle tensions to create something that feels natural, but still intentional.

Genevieve Smart is a Creative Director and designer whose work sits at the intersection of fashion, materiality and the language of dress. With over three decades shaping contemporary fashion, including as co-founder and Creative Director of Ginger & Smart, an internationally recognised Australian fashion label, she has built a body of work defined by a refined, intuitive approach to design, extending beyond fashion into a broader creative practice. 

She now works independently across fashion and design, bringing a strong point of view to collaborations that connect identity, material and form.