Unveiling MORROW
Words by Ryan Morrow:
Over the past decade, I’ve had the privilege of working alongside founders I deeply respect—at Jac+Jack, P. Johnson, and Song for the Mute. Those years shaped my understanding of design, and the role it plays in everyday life.
Over time, I began to question the direction of my work—what felt essential, and what no longer did. What remained was a constant need to create. Most Fridays, I would leave the office and go straight into nature. Moving between these two very different environments, I became more aware of what I was wearing—and how it either served me, or didn’t. I started to consider whether something could exist between them. Clothing that carried the function of the outdoors, but held the restraint and refinement of the city. At first it was just a thought. But over time, it gathered weight and clarity.
There is a stillness that comes from making something with your hands. It’s the same feeling I find in nature—calm, grounding, clear. I kept coming back to this rhythm, and how it might translate into my work. I realised the only way to honour it was to begin again. To build something of my own, from the ground up. With years of experience, and just enough naivety, my wife and I stepped into it—right as we were about to become parents for the first time.
Morrow was shaped by the belief that what we wear should bring us closer to the natural world, not pull us further from it. Through a hands-on design process, I make garments that carry this intent—pieces that move between urban and natural settings with ease. For me, this is not just a design philosophy. It’s a way of living—attentive, open, and well.
“The closer we can get to the natural world, the sooner we start to realise we are not separate. And that when we create, we are not just expressing our unique individuality, but our seamless connection to an infinite oneness.” Rubin, R. (2023). The Creative Act: A Way of Being.
From the beginning, it was important that the brand felt rooted in Australia. That meant honouring a deep, ongoing relationship with the land—one that has always been central to Indigenous culture. I was struck by the idea that there was no word for ‘nature,’ because it was never considered separate. That understanding became a quiet guide in shaping the foundation of the brand.
“You’re not in Country — you are Country.” Yunkaporta, T. (2019). Sand Talk: How Indigenous Thinking Can Save the World.
I’ve always admired heritage brands like Driza-Bone and R.M. Williams—built with clarity of purpose and anchored to the landscape. Their presence prompted me to consider how that same spirit might be reimagined for a modern life—one that moves between the city and the outdoors, and values both utility and refinement. A shape formed in my mind: a jacket that could hold that tension. That piece became the Dry Jacket—the first design, and the beginning.
When naming this venture, I didn’t see it as an eponymous brand, but it did feel personal—an extension of how I wanted to live. Just as nature reminds us we are part of it, not separate, this brand represents a commitment to authenticity and connection. Around that time, I reconnected with my father—his love for the outdoors had quietly shaped my own. The name MORROW felt honest. A reminder: to live in alignment, to remain true.
As a family, time outdoors grounds us. Gardening, the ocean, the stillness of a campsite—it’s in these quiet moments that we feel most connected. Morrow is an extension of that rhythm. A brand shaped by the values we live by, and designed to evolve with us.
We start with a transeasonal capsule collection, setting the foundation of MORROW—drawing design cues from time spent outdoors, including subtle references to camping equipment. Designed as menswear, yet inherently adaptable to be unisex. Every seam, proportion, and detail has been carefully refined through hands-on design, patternmaking, and sampling. The collection remains true to the principles of functionality, durability, and utility while maintaining elegance and refinement.
