In conversation with:
Dan Ahwa
When we sat down with Dan Ahwa, the plan was to talk heritage, ethical fashion, and community. We didn’t expect to walk away so struck by his quiet strength, the kind that comes from really knowing who you are. There was something different about Dan. A kind of grounded confidence. It wasn’t loud or performative. It just was.
After a decade in the media world, Dan’s stepped out of the fast-paced newsroom cycle and into something that feels a little freer, a little bolder. There’s a new rhythm to him, less about chasing the next brief and more about backing what matters. It’s raw, it’s fresh, and honestly? Feels unstoppable.
SM: Dan, you’ve been a key figure in Aotearoa’s fashion scene for nearly two decades. Where did it all begin for you?
Dan: I started styling around 2005 while studying media at Auckland Uni. I was hustling three jobs, working with a fashion PR showroom, assisting photographers, and doing visual merchandising for brands like Ralph Lauren and Louis Vuitton. It was always about imagery for me. That love for visual storytelling has shaped everything since.
SM: That intent shows in your work. You’ve always found ways to bring our culture into spaces that haven’t always welcomed it.
Dan: I’ve always made it a point to promote brown excellence, whether that was through fashion, arts, music, or design. We’re inherently creative people, and I wanted that reflected in the spaces I worked in, especially in mainstream media. One of the first shoots I did for the Herald included my grandfather’s i’e toga, wrapped around a Karen Walker suit. To me, that was elegance. That was high fashion. It’s not about tokenism, it’s about dignity. Our Sunday bests, my grandmother’s jewellery, the things we grew up with, they deserve to be seen.
SM: There’s a visible sense of dignity in the way you style our people. It's something we’ve always been drawn to. In Samoa for our campaign shoot, we noticed that same feeling behind the lens. The images weren’t just for show, they carried weight. They felt like connection.
Dan: That’s exactly it. And when I saw your campaign, I felt that. It cut through the noise. It felt like home. And in this industry, that’s powerful. Especially when there’s so much misunderstanding about who we are, or how we should show up. I’ve never been “Samoan enough” or “palagi enough”, but I know who I am. We need to stop performing our culture to prove our place.
SM: We love that, the nuance in our identity deserves room to breathe. How have you personally navigated that tension?
Dan: I used to think I had to wear something visibly “Pacific” to prove I belonged. But I’ve learned I don’t need to wear a lavalava or a lei to be Samoan. Just existing is enough. There are many ways to be Pacific, and we shouldn’t box ourselves in to meet someone else’s idea of authenticity.
SM: For Pacific creatives just starting out, what would you want them to hold on to?
Dan: Know your audience. Know your why. Hold on to where you come from, that’s your superpower. In rooms where you’re the only brown face, that grounding will carry you. And don’t get stuck in the brown vs. white binary. Exist fully. You deserve to be there.
SM: We talk a lot about ethical fashion. You’ve been in those conversations for a long time. What does it mean to you?
Dan: It’s layered. But for us, Pacific creatives, it’s innate. Our ancestors were sustainable. Our practices already value community and longevity. The industry needs to catch up. Right now, we’re battling ultra-fast fashion and greenwashing. Real change? It starts with education. Designers knowing their markets. Consumers understanding their power.
SM: And community?
Dan: Always. That’s the root of it all. Community shows up in how we dress, how we collaborate, how we pass things on. Now that I’m finishing up from Viva, I will still carry that with me. Because whatever room I’m in, I bring my people with me.
SM: Across your career, you’ve championed others, especially emerging creatives. Are there collaborations that stand out as particularly meaningful to you?
Dan: Always the ones where I get to platform others. Working with young photographers or stylists and helping get their work seen, that’s what matters to me. One of the proudest was styling Jacinda Ardern for British Vogue, guest edited by Meghan Markle. It was during the pandemic, shot remotely, and became a time capsule. Another was working with the House of Iman, a queer vogueing and creative collective, and seeing them on a magazine cover, dressed in designer fashion, with the dignity they deserve. That was huge.
SM: You’ve carried so much of this work quietly. But it’s clear how much impact it’s had.
Dan: I’ve never really been about myself. But now, I realise I need to embrace my public self in order to continue serving others. You can only do so much behind the scenes. Sometimes, stepping forward is part of the work too.
This conversation is just a glimpse into the layers of Dan’s creative world. To see more, head to www.danahwa.com
Photography Geoff Matautia