For Ryan Morrow, design begins with feeling. Not in the sentimental sense, but through texture, place, and process – a throughline that’s shaped his journey from the surf-strewn quiet of the Northern Rivers to the refined studios of P.Johnson, Jac+Jack and Song for the Mute.

Now, with the launch of his own label MORROW, the Australian designer distills years of craftsmanship into something more personal: a modular, intentionally worn wardrobe that sits between city and stillness. In his world, garments act like tools – quiet, functional, and long-wearing – each one rooted in a reverence for both design and the outdoors. We spoke to Morrow about the quiet clarity that shaped his eponymous brand, and the surprising creativity of going solo.

Tell us about how you got started – were you always interested in fashion design?

I didn’t grow up with a strong fashion influence. I’m from the Northern Rivers and Newcastle — places more shaped by the ocean than the runway. What pulled me in wasn’t fashion itself, but the act of making. Surf brands were my first window into clothing, and I spent hours on my mother's sewing machine, just curious to see what I could make. I loved making things and that process is what eventually led me to study design.

You’ve had an impressive career designing for brands like P.Johnson, Jac + Jack, and consulting for Song for the Mute and Commas. How have these experiences shaped your approach to launching your own label?

Thank you – when I look back, I feel incredibly fortunate to have worked directly with the founders of every brand I’ve been a part of. I’ve always been inspired by people who built something from the ground up. With Song for the Mute and Commas (around 2011–2014), I was involved in the very early days – late nights in makeshift studios – and it’s inspiring to see how far they’ve come. Jac+Jack was my most formative role. Working closely with Jac Hunt gave me a deep understanding of a refined design process, and a window into how a brand runs — from concept through to retail.

The last few years at P.Johnson were also special. Patrick’s approach to business is pretty remarkable – you walk into one of their showrooms and can’t help but say ‘wow’. And the tailoring is beautiful. Interestingly, I never worked for these brands with the intention of starting my own. But over time, being immersed in someone else’s vision was the catalyst for finding my own. Eventually, it became clear what I wanted to make – and I felt like I had to do it.

What was the moment or inspiration that made you decide to start your own brand?

It was a few things coming together at once – personally and professionally. Most Fridays, I’d leave work and go straight into nature – camping, weekends away. The more I prioritised this, the more I reconnected with a sense of stillness and calm. It reminded me of my childhood, which was built around being outdoors. At the same time, I became more aware of what I was wearing — from the city to the bush. I was drawn to the idea of something that could sit between both spaces.

Clothing that carried the function of the outdoors, but with the restraint and refinement of the city. I’ve always felt a pull in two directions — fashion and the city, nature and stillness — and it felt exciting to finally bring those threads together. The feeling I get in nature is the same I get when I’m making things — a peace. And I know I won’t tire of these themes.

Having worked with established brands, what’s been the most surprising or challenging aspect of launching MORROW?

Starting a fashion brand is just challenging – but I’m not surprised by that. What has surprised me is how different it feels creatively. When you’re working for an established brand, you’re always looking outward – aligning with the vision, thinking about what fits, what’s worked before. With MORROW, the coolest part has been creating, designing, and speaking from within. I take a lot of pride that every seam line, pixel, and word has come from looking inwards rather than at what someone else is doing. It feels honest, and I’ve found there’s so much more to give from that place.

Also – money doesn’t land in your account every month when you’re starting out… which is mildly annoying. But still, this early stage, before it all formalises, has been incredibly rewarding.

The idea of creating a modular collection that is designed to sustainably patina for years to come is interesting. What inspired this idea?

My commitment to the design process – and therefore to the client – is to intentionally design with a hands-on approach, uncovering ideas through making. It’s this notion of creating value. I want to build a relationship with the client through the product – where that value is felt when they pick up and wear MORROW.

That value needs to extend to how the piece lives within someone’s wardrobe. This is the idea of a modular collection – I’m designing garments that can move fluidly across environments and seasons, and integrate into people’s lives in a way that’s natural, not prescriptive. I almost think about it as equipment rather than fashion – pieces you care for, repair, and keep. I don’t want to impose a loud personality or character, but instead offer something grounded in quality and quiet intent. Dieter Rams’ principle pops to mind: "Good design is as little design as possible". It’s a reminder to leave space for the wearer to make it their own.

This is where the idea of sustainable patina comes in – garments that improve with time and wear. The R.M. Williams boot is a great example. I want MORROW pieces to evolve with the wearer, to live with them for an extended period of time.

Your first collection is made up of t-shirts and parkas / jackets that are in neutral tones. What made you want to start with these products for your first collection?

The first garment I had in mind was the Dry Jacket – this was that piece of ‘fashion equipment’ I was thinking about. But I wanted to begin with a full capsule collection that offered a range of transeasonal looks, all within a cohesive and modular framework. The goal was to have something for the different clients I had in mind keeping it as tight as possible. Each fabrication, colour, and detail points back to an experience of being in nature – they all exist with a lot of intention, for example the Fly Anorak is reminiscent of a tent. The way I patterned the construction of this garment was to have no loose pocket bags or internal details, I was thinking about a tent as an object how you look at it form the outside by occupy it on the inside.

Where do you see MORROW in five years?

Immersed with like-minded creatives and clients, united by a shared appreciation for good design and our natural world – no matter where you sit on that spectrum. I’d like MORROW to grow thoughtfully, possibly expanding into other categories or collaborations that feel aligned. But ultimately, remain: “…dedicated to creating clothing and objects that are in unison with both our natural and urban environment. Centred on the rejuvenation available by bringing the natural world into frame, Morrow simplifies connection between everyday and the outdoors.”