In the Indigenous art world, painting another person's country without permission is considered the ultimate offence and a capital crime.

So when Lisa Gorman was invited to collaborate with artists from Fitzroy Crossing in Western Australia's far north, the fashion designer felt the stakes could not be higher.

"I always felt like I didn't understand the culture well enough or it was too culturally sensitive to work with the artists without the knowledge and support of their community," she said.

Putting aside her nervousness, the founder of the eponymous Melbourne fashion label agreed to go on a journey few in Australian fashion had undertaken.

After more than two years, the Gorman Mangkaja collection, due to launch next month, sets a benchmark in licensing agreements between Indigenous and non-Indigenous groups.

Designs in demand

Fitzroy Crossing artist Ngarralja Tommy May paints his country in Western Australia's Great Sandy Desert with striking pinks and vivid blues.

Fitzroy Crossing artist Tommy May thought carefully before collaborating with Gorman. ( Supplied: Charles Fréger )

The octogenarian had been approached before but Gorman was the first company to offer a partnership that would protect the integrity of his work and offer appropriate compensation.

It's an opportunity he never thought he would get.

"You've got to have rules, you've got to be happy and really strong," he said.

Pointing to his head and his heart, Mr May said it was not a decision he made lightly.

"You've got to think about it in here, and in here, and make a straightforward decision."

Sacred stories

The five artists involved in the project paint only their country, depicting stories and places where sacred cultural knowledge is passed down over thousands of years.

This world, closed to most Australians, is where Ms Gorman was invited to enter.

Ms Shaw (right) will be the face of the Gorman Mangkaja collection. ( ABC Kimberley: Tom Forrest )

The Melbourne-based designer said she had wanted to collaborate with Indigenous artists for eight years but was unsure how to approach it.

"It was a call I'd been waiting to receive for some time."

The invitation

Ms Shaw (right) will model the collection with Daisy Trinder (left). ( Supplied: Gorman )

In 2017, that call came from Mangkaja Arts manager Belinda Cook, who was impressed by previous Gorman collaborations with Australian artists like Mirka Mora.

"It was so respectful of artists and showcased artists in their own right, along with beautiful design, which I think is quite rare," she said.

The centre, which produces some of the most sought-after Aboriginal art in the country, had been approached with offers before.

"It's been more of a 'We just want an image, we're going to go and do our thing and we don't really have an interest in your input'," Ms Cook said.

"At Mangkaja, we want to make sure we have some cultural control at least, if not creative control over what happens with our artists' imagery."

'Representation and respect'

With the help of the Copyright Agency — an independent organisation that supports creators — both parties' expectations were made clear.

A commercial-in-confidence financial agreement was made including fees for each artist's piece.

Design decisions at every level of the process were put to Mangkaja, including the final collection, which was viewed and approved at the board's annual general meeting.

The Gorman Mangkaja collection has been described as a new benchmark in collaboration. ( Supplied: Gorman )

Proceeds from the sale of the collaborative works will be donated back to the arts centre to fund a youth art program.

It's a process that Ms Gorman said took about a year longer than usual but was more than worth the extra time.

"I was nervous about getting it right," she said.

"The clothing, that's what we aim to achieve but that's only part of what is happening here … it's not just about money, it's about representation and respect."

Mr May painted waterholes from his country for the collection. ( ABC Kimberley: Tom Forrest )

New benchmark

A Copyright Agency spokesperson said the agreement set a positive benchmark for future collaborations.

"This has been a true collaboration with the artists and Gorman showing respect for each other's expertise and valuing each other's opinions.

"Fashion can be a fast-moving industry. When working with Indigenous artists it's important that designers understand that decisions may not be made for days or weeks."

Ms Shaw says the Gorman Mangkaja collection is empowering for Fitzroy Crossing. ( Supplied: Gorman )

New opportunities

The community, which struggles with chronic rates of youth suicide, unemployment and intergenerational trauma, has been energised by the new opportunities to showcase its culture to the world.

Model and Fitzroy Crossing resident Shaniqua Shaw will be the face of the 40-piece collection when it launches at the 2019 Darwin Aboriginal Art Fair in August.

She said the chance to wear clothes designed by her people made her feel powerful.

"It will be deadly to see them in the shops, it will make me feel happy and I can share that with lots of people, tell them about the culture," she said.

Ms Shaw and artist Sonia Kurarra, both from Fitzroy Crossing, are involved in the project. ( Supplied: Charles Fréger )

Artist Natalie Davey has been helping internationally-renowned portrait photographer Charles Fréger shoot the campaign on the outskirts of town.

"It's mind-blowing what is happening and a really good thing for everyone around here," she said.

"Having those clothes on catwalks in the city, being exposed to social media, that will inspire young people here to relearn the stories from those designs in a different medium."