From Algorithm to Atelier: Finding Monroe the Label

Ugh, I love social media. It’s always throwing something at you—good, bad, constant. In the fashion space, that often looks like endless rotations of clothes and aesthetics. But what I love most is how my algorithm points me toward designers from all over the world—brands I would have never stumbled across otherwise. It’s this kind of digital serendipity that brought me here.

What particularly drew me in was the silhouette of Monroe the Label’s MIKA designs—the dress and the top. They immediately stopped me in my tracks: sharp yet fluid, architectural yet wearable. The asymmetrical front closure, with its diagonal row of small clasps running from neck to hem, recalls the cheongsam/qipao—a traditional Chinese dress—yet reimagines it with a sleek, contemporary edge. A high band collar reinforces this dialogue, adding elegance, discipline, and a refined nod to classic tailoring. Crafted in a dense black weave, the fabric anchors the look in sophistication, offering both strength and fluidity.

Intrigued by this balance of heritage and innovation, I reached out to the designer, Ashley Monroe of Monroe the Label, to talk about origins, inspirations, and the story behind the MIKA design.

How did Monroe the Label begin, and what inspired you to create a brand around your unique design approach?

Monroe the Label kind of felt inevitable. I’ve always been obsessed with sewing and fashion. When my sister and I were little, we used to help our mum make quilts, and I’ve been drawn ever since. Growing up, my dream jobs were either to be a fashion designer or a YouTuber, so starting the brand online felt natural. Of course, there’s been plenty of ups and downs, but I’ve never thought about doing anything else. My design approach has always been at the heart of the brand. I’ve always been fascinated by garment construction, so a lot of my process comes from trying to challenge myself to make pieces that are difficult to put together, things I’d want to wear but couldn’t find elsewhere.

What’s the story you want each Monroe the Label piece to tell when someone wears it?

I want people to feel cool when they wear MTL. One of the coolest things about fashion is that, whether you care about clothes or not, you’re always participating in it, you’re always telling a story about how you want people to see you. With MTL, I want people to step into a version of themselves that feels cool, put-together, and authentic. Ideally, each piece represents the parts of you that you’re proud of and helps you feel more like yourself.

Your designs have such distinctive shapes and constructions - what’s your process from concept to finished garment?

Once I get an idea for a piece, it becomes all-consuming. Sewing is for sure my favourite part of my work, it’s meditative for me, and there’s nothing more rewarding than seeing the final piece come together. I usually have someone in mind while I’m working. Most of the time it’s myself, which makes sense with my form-fitting designs, because I want them to look good on a real body, not just on a dress form. But sometimes it’s for someone else. The Melissa Bag, for instance, started out as a Christmas gift for my older sister. Designing it with her in mind shaped the whole process making it feel even more meaningful.

Materials seem central to your work, how do you choose fabrics, and what role do sustainability or functionality play in your selection?

A lot of my designs start with the fabric itself. Material selection is a huge part of my process; sustainability generally plays the biggest role. Drapers in Fitzroy has the best deadstock fabrics in Melbourne. I’ll usually go in without a plan, see something, and immediately know what I want to make with it. With MTL, every design is initially released in a deadstock fabric, and I keep the runs small to avoid creating any excess. If a design ends up in higher demand than I can supply with deadstock, I’ll move to new fabrics, but only after a lot of consideration, making sure the feel and composition stay as close to the original as possible.

The MIKA dress has such a striking silhouette. What inspired its design, and what do you think makes it resonate with your audience?

I draw a lot of inspiration from heritage. I’m half Chinese-Malay and half American, and I like weaving classic values from both cultures into my work. When I designed the Mika top, I was really just looking for something I could wear to work: black, professional, but still cool. At the time, I was really inspired by asymmetry, which is of course so historically present in Asian design, especially in garments like the Cheongsam. Because of my background, I see those influences as part of my own cultural heritage, not just as aesthetic references. I was also revisiting a lot of research from my honour’s year at RMIT, where I studied unique garment closures and played a lot with raglan sleeves.

I think what makes the MIKA design resonate with people is that it balances structure and ease. It’s sharp and considered, but still wearable in an everyday way. It’s the kind of piece that makes you feel powerful without trying too hard, which is what I always aim for in my designs.

You blend handmade craftsmanship with manufactured production, how do you decide which elements to make by hand and which to produce at scale?

For the first four years, MTL was completely handmade, which initially worked well for me. I had no excess stock or waste but eventually it started to feel limiting. I didn’t have the time to experiment with more intricate ideas, and moving into manufactured production really opened that up for me.

Even now, every design begins handmade. That way I can test whether people actually want the piece before committing to a larger run. I’ll only move something into production once I know it’s popular, and if the construction is beyond what I can realistically do in the studio. It’s a balance of staying true to the craft while making sure the designs can reach more people without creating waste. I’ll always keep an element of handmade work in MTL however, sewing was the reason I started the brand and I would never want that to fully disappear.

What’s next for Monroe the Label - are there any new materials, collaborations, or experimental designs on the horizon?

There’s so much more to come before the end of the year! I’ve been working on a new collection dropping in October that I’m really excited about. I’m expanding the MTL universe with new pieces designed for all bodies – all pieces I’m honestly obsessed with. And let’s just say, you might spot Monroe popping up somewhere around Melbourne very soon ;)