VERSACE.COM
D I O R . C O M - A U C K L A N D 0 9 37 3 4 8 4 9
AVAIL ABLE AT
3 DAYS, 19 HOURS, 14 MINUTES That is how long it took for Howard Hughes to circumnavigate the world and become the fastest man in the air in 1938. He trusted his Longines astronavigation chronometer to determine the position of his airplane at night or over the ocean.
Howard Hughes
THE PIONEER SPIRIT LIVES ON.
LONGINES SPIRIT COLLECTION
Kia ora. Thinking, it is what our minds do twenty four seven and is something, we as any species cannot escape. The Oxford Dictionary defines “thinking� as the process of considering or reasoning. 2020 has obviously been our most challenging year for the generations here at Black Magazine. We can now understand, the thought and struggle of past generations in times of unease. The Great Depression, The World Wars and even the last influenza pandemic in 1918. The title of this issue resonates with our teams, friends and whanau very strongly. We are all thinking of each other as we all lock down in our own parts of the world, unable to leave or connect in person. Our teams have come together to create this beautiful issue from Paris, Milan, Lisbon, Brisbane, Sydney, Auckland and Christchurch. It injects confidence that we can still survive during a challenging time if we all think of each other. We are forever grateful. nui te aroha, Rachael Churchward and Ethan Butler Editors
32
Publishers & Founders Grant Fell Rachael Churchward
Advertising Director Ethan Butler ethan@blackmagazine.co.nz
Editors Ethan Butler Rachael Churchward
Photographers Paul Empson, David K. Shields, Luke Foley-Martin, Natasha Killen, Karen Inderbitzen-Waller, Delphine Avril Planqueel, Elisabeth Willas, Stephen Tilley, Vanessa Swederus, Waded, Shaun Pettigrew, Charli Burrowes, Olivia Repaci, Natasha Killeen
Creative Director Rachael Churchward Fashion Editor Ethan Butler Beauty Director Rachael Churchward Beauty Editor Annabel Barton EU Editor EU Creative Director Paul Empson Art Director Tom Munday Australasian Editor-at-Large David K Shields Senior Australian Fashion Editor Sarah Birchley Fashion Editors Sydney Chris Lorimer Kelvin Harries New Zealand Hair Editor Greg Murrell at Ryder Salon New Zealand Features Editor David K Shields Australian Features Editors Chris Lorimer Sarah Birchley Digital and Social Management Ethan Butler David K Shields Film Editors Natasha Foster Erin Fairs
ISSN 1177-2603 ŠBLK NZ LTD, 2020
34
Fashion Editors Rachael Churchward, Sarah Birchley, Chris Lorimer, Ethan Butler, Kelvin Harries, Karen Inderbitzen-Waller, Delphine Avril Planqueel, June Nakamoto, Selin Bursalioglu Hair and Makeup Artists Greg Murrell, Benjamin James, Chris Coonrod, Sky CrippsJackson, Noni Smith, Annette McKenzie, Liz Tieu, Brigitte Hyans, Paolo Ferreira, Lauren McCowan, Penny Antuar, Kiekie Stanners, Michael Beel, Tiina Roivanien, Martina Bolis, Alessandro Squarza, Hannah Richards, Jemma Barclay, Gemma Elaine, Sara Allsop, Shannon JJ Williams Writers Chris Lorimer, Ethan Butler, Sarah Birchley, Rachael Churchward, Amie Richardson A Special thanks to: Catriona Knapp, Charles Howels, David K. Shields, Stuart Shepherd, Dan Gosling, Public Library, Soar Print Ltd, Sarah Birchley, Paul Empson, White Studios Black Magazine is published bi-annually by: BLK NZ Ltd 46A Wainui Avenue, Pt Chevalier, Auckland 1050 Ph. +64 277514684 Courier Address Australia: BLK NZ Ltd 290 Glebe Point Road, Glebe NSW 2037 Australia Follow Black Magazine digital: blackmagazine.co.nz facebook.com/Blackmagnz Instagram: @black_ mag Read our issues online: issuu.com/blkonblk Printing by Soar Print Ltd Distribution: NZ and Australia by Ovato International: Eight Point Media The views expressed in Black Magazine are not necessarily those of the publishers and editors. No part of this publication may be reproduced in any way without permission. Please note all editorial and features are commissioned by our teams. We do not accept unsolicited submissions. Thank you.
36
Photography Paul Empson. Fashion June Nakamoto at Shotview Agency. Hair Paolo Ferreira at Calliste Agency Paris. Makeup Tiina Roivanien at Airport Agency. Model Juliane GrĂźner at Women Paris wears Louis Vuitton
Photography Paul Empson. Fashion June Nakamoto at Shotview Agency. Hair Tiina Roivanien at Airport Agency. Makeup Brigitte Hyans. Model Karmen Pedaru at Next Models Paris wears Prada
Photography Paul Empson. Fashion Selin Bursalioglu. Hair Alessandro Squarza at JamesHairFashionClub by Wella Profesional Italia and GreenApple. Makeup Martina Bolis at Unconventionalartists using M. A.C Cosmetics. Model Greta Varlese at Elite Models Milano wears Gucci
Photography and Fashion Karen Inderbitzen-Waller and Delphine Avril Planqueel. Hair Michael Beel. Makeup Kiekie Stanners at M. A.C Cosmetics. Model Emily Baker at Priscillas Model Management wears Bottega Veneta
Balloon bag, 2020
loewe.com
black hearts. Side by side Common People Radio free Europe new season Isabel Marant Lady in Red Nom*d Spring Summer Cosmic dance The Vampires Wife Salasai-ogrophy Summer 2020 Ladies of the Road wear new season Helen Cherry Magnifiquement nonchalant Longines Spirit Hit the South Nom*d Grounded Dance on vaseline Workshop Denim
42 44 47 48 51 52 56 58 60
black list. Roylance Watch out for John Converse All Star And then there’s Jess Converse Shapes Ziggy Ramo
64 74 76 78
black beauty. Behind the Paint Suzy Platt Home Truth
86 92
black fashion. Gucci, tell me you love me LV/Thats Louis Portrait of a lady in blue Prada, my lover, keep on Mood Bored Sheen of gold Bring down the birds Well, I wonder Power Au Go-Go
38
102 114 124 136 146 158 168 178 188
39
TOMFORD.COM
40
rydersalon.com
41
A creative space to make your mark.
SALASAI
www.salasai.com
AN EFFORTLESS ELEGANCE A grand entrance. The warmest welcome. A richness of texture. A lightness of spirit. A sense of style. Hotel Principe di Savoia.
MILAN +39 02 62 301 DORCHESTERCOLLECTION.COM #DCmoments PrincipeDiSavoia PrincipeSavoia PrincipeSavoia
After losing her father in October 2019, and dealing with huge personal loss, Jodie Calder found herself as one of many businesses in a global pandemic. Coping with her personal pain and dealing with survival, she chose to swim, bravely, with confidence. In classic style, the new collection from Wanaka born Common People has a beautiful touch of masculine, edge and a touch of the 1920’s meeting the future. A brave new world. ‘Brakes off’ launches November.
Image courtesy of Common People. Photography Luke Foley-Martin. Fashion Editor Karen Inderbitzen-Waller. Hair Kelly Manu. Makeup Abbie Gardiner. Model Brooklyn at Unique Model Management. commonpeople.co.nz
Described as the everyday clothes she wears herself, planned negligence and collections that look as if they happened by accident, global fashion house Isabel Marant continue to please the everyday girl that seeks sporty bohemian chic with a Parisian attitude. Shop her latest collection from Workshop in-store and online. Photography Luke Foley-Martin. Fashion Rachael Churchward and Ethan Butler. Hair Sara Allsop. Makeup Jemma Barclay. Model Ella at 62 Management. Shot at Public Library Studio, Auckland.
www.superdry.co.nz
AUCKLAND // QUEENSTOWN
@superdry
@superdryausnz
@superdry 53
54
Recognisable and revered. Nom*d’s ICONIC collection is exactly that. As iconic as NOM*d’s founder and designer Margarita Robertson. In 2001 Sam Robertson, Margarita’s son used his creative skills to create prints that are now globally recognised as NOM*d. A hands on approach results in each print from the collection being applied individually, creating a limited quantity each day. Applied to simple shapes of men’s and women’s tees, hoodies and tanks these 100% cotton garments are made in New Zealand. Long live Nom*d! Photography
Luke Foley-Martin. Fashion Rachael Churchward. Hair Sara Allsop. Makeup Jemma Barclay. Model Imogen at 62 Management. Shot at Public Library Studio, Auckland
Taking its name from her husband Nick Cave’s abandoned book project, The Vampire’s Wife is the design vision of Susie Cave, former model and muse to the great British designers Vivienne Westwood, Bella Freud and Philip Treacy. Inspired by her background in fashion The Vampire’s Wife offers luxuriously crafted, elegant and feminine designs in vibrant colours and unique fabrications. Over the last 18 months The Vampire’s Wife have created a collection of clothes that solely through word-of mouth and a rapidly growing Instagram following have been sought out by a range of high profile clients. Shop The Vampire’s Wife exclusive to New Zealand at Workshop. Photography Luke Foley-Martin. Fashion Ethan Butler and Rachael Churchward. Hair Sara Allsop. Makeup Jemma Barclay. Model Ella at 62 Management.Sneakers by Converse. Shot at Public Library Studio
PUBLIC LIBRARY STUDIO. SHOOT, CURATE, CREATE, EXPERIMENT AT THE NEWEST ADDITION TO THE PUBLIC LIBR ARY OFFERING.
IG E W P
PUBLICLIBRARYSHOWROOM INFO@PUBLICLIBRARY.CO.NZ PUBLICLIBRARY.CO.NZ +64 9 3780072
57
n e a n de r ta l .co.u k
58
e a u de p a r f u m
The 1990’s -esque blending of boudoir and retro colour combinations pay homage to Salasai’s retrospective handwriting. Grunge and romance, dominant contrasting colours and offsetting conventional prettiness for flashes of unisex androgyny is the true Autobiography of Salasai Spring Summer 2020. Photography Luke Foley-Martin. Fashion Rachael Churchward. Hair Sara Allsop. Makeup Jemma Barclay. Model Ella at 62 Management. Sneakers by Converse. Shot at Public Library Studio, Auckland
The duality of the modern woman lies at the very heart of Helen Cherry’s Summer 2020 collection. The Kiwi designer long known, for her pretty, feminine silhouettes, reaches into a utilitarian, sexy concept of liberty prints and safari chic. Easy elegance with an injection of cool. New season Helen Cherry is available in store and online at Workshop and select retailers nationwide. Photography: Luke Foley-Martin Fashion Editor: Rachael Churchward and Ethan Butler Make-up: Jemma Barclay using Mecca Cosmetica Hair: Sara Allsop Model: Sabina at 62 Management. Shot at Public Library Studio Auckland.
60
The Swiss masters of time, Longines pay homage to the legendary pioneers who placed their trust in the brand, dating back as early as 1832, when the brand initially launched. Amelia Earhart, Howard Hughes, Elinor Smith and Paul-Emile Victor are among these exceptional men and women who, by a record, an exploit or a display of courage, have left their mark on history. Their latest ‘Spirit’ range, seen here, celebrates the lives of these pioneers, which continue to inspire us today. We are proud to see their spirit live on! Photography Luke Foley-Martin. Direction and stylist Ethan Butler. Model Harry Barclay at 62 Management. Shirt by Nom*d. Shot atPublic Library Studio, Auckland
servicedenim.co.nz | @neuwdenim
65
“Jump into a new decade” [we all know how much we need that at the moment]. Grounded, enveloped and protected. The gentle architecture of cotton contours and the focus on ease of practicality, is the motivation behind Nom*d’s Spring Summer collection. Designs that carry the wearer from morning to evening. Now that’s grounded! Photography Luke Foley-Martin. Fashion Rachael Churchward. Hair Sara Allsop. Makeup Jemma Barclay. Model Imogen at 62 Management. Boots by Dr Martens.
David Byrne from American new wave band Talking Heads, would be completely at ease during his career in Workshop Denim’s latest menswear range. Heaven! Photography Luke Foley-Martin. Fashion Ethan
Butler. Hair Sara Allsop. Makeup Jemma Barclay. Model Harry Barclay at 62 Management. Sneakers by Converse, socks by Bad Things. Shot at Public Library Studio, Auckland.
Photography: Elisabeth Willis Fashion Editor and Interview: Sarah Birchley Makeup: Gemma Elaine using Fenty Beauty Hair: Shannon JJ Williams using Kevin Murphy Models: Mattea at Kult Models, Summer at Que, Madison and Tali at Busy, Joel at Chic Models and Noah at Vivien’s Model Management All clothing by Roylance and shoes stylist’s own 73
74
77
Black fashion editor Sarah Birchley shot the collection with six new faces, and spoke to Domenic about his design journey and plans for the future. How did your relationship with fashion start? Did you grow up in a creative household? My parents definitely encouraged me to be creative. I was allowed to be imaginative and play with things around the house. At one point, and I don’t know why, I really started caring about clothes and as a child I would dress up to create personas. This love for clothes and the worlds they existed in never went away, and as a teenager I would come home from school, look at Style.com images online, and try to recreate looks from the clothing that I had bought at thrift stores. When and where did you start studying fashion? At first I didn’t feel confident enough to study fashion, so I pursued a degree in fine art. This was in Brisbane, and I think I was still finding myself in a way. But my firstyear artworks were all drawings of clothes and accessories, so my arts professor encouraged me to transfer to a fashion degree. I am so thankful that she did because it completely changed my life. As I got more confident, I decided to move to Sydney and finish my studies at UTS, and I have now moved to London for a masters at Central Saint Martins. How has 2020 been for you? Where were you and how did you spend your time during lockdown? 2020 has been a little bit of a rollercoaster, as I am sure many would agree. I had some really exciting prospects at the start of the year — I won the Australian Fashion Foundation scholarship that includes a 6-month internship at a fashion company in New York, and I was also going to show my graduate collection at the Melbourne Fashion Festival. Then the pandemic happened. The Melbourne show got cancelled literally an hour before it was meant to start. I couldn’t travel to New York because of the restrictions. Instead, I had to go
into lockdown at my apartment in Sydney. In a way, it was nice to slow down a little bit after a very busy year making my graduate collection. During lockdown I was basically taking some time off playing my Nintendo Switch and doing some exercise to stay sane. But I also created a small capsule collection from leftover materials. That really helped me to maintain my energy and counteract all the gloominess. What is your process when you are designing? The process is the design. I create through process, through lots of sketching and draping. My designs change all the time and are different to the initial sketches. Toileing! I toile a lot. Can you tell us about the collection you designed during lockdown, the textiles, materials and silhouettes? I made the collection from leftover fabrics from my graduate collection, and some found materials. In a way, the fabrics were stuck like I was, literally in a box, and I wanted to bring them to life and make something joyful. I felt I needed to keep creating for my mental health, and I am thankful that I was able to complete the collection. How do you approach sustainability within fashion? I am still learning about sustainability in fashion. So far, I have developed very small collections and have aimed through aspects of my design and production to minimise material waste. For example, I re-use and repurpose the toiles that I make. As I start to develop larger collections and increase my production footprint, I will need to consider other aspects of sustainability like using responsibly sourced fabrics, using more sustainable fabrics, and minimising transport logistics. I am also interested in the idea of sustainability as the opposite of fast fashion and disposable clothing. My aim is to create quality garments that convey worth and sentimental value, garments that my clients will hold onto for years. What do you love about fashion; what
is exciting about fashion for you? As I mentioned, fashion for me is imagination and a source of joy. I also love the community of people that fashion brings together. The creatives, the artisans, the marketing, the retail employees, the customers. In a way, this is my community. Where do you draw inspiration from? Everywhere. I am a curious and outgoing person so I often find inspiration while travelling or meeting new people. I’ve visited Cyprus a few times these past years, so my last few collections were an exploration of the island’s history, culture and people. I love that the creative process can be a path to learning and vice versa. How is London and Central St Martin’s treating you so far? I was not prepared for how big London is. It just goes on and on forever, but it’s such an engaging city. I’m really glad I’m here. Classes at Central Saint Martins won’t start until November, so I am taking advantage of this little window of free time to explore the city’s culture and markets. Thankfully a lot of the galleries and museums are currently open, so I’ve been busy. What are your career highlights so far? I have been fortunate, and I am very thankful, for the support I have received from the fashion industry in Australia. Winning the Australian Fashion Foundation scholarship last December was amazing, and I look forward to the internship in New York when the time is right. What is your dream job? It’s really hard to dream these days, don’t you think? No one knows what the world will look like after this pandemic. I hope that I will be able to keep creating and doing what I love, in any environment. Who is on the top of your list of people you would love to dress? It would be an honour to dress any woman. Though I’m really in awe of Cate Blanchett’s talent (I just rewatched Manifesto) and would love to dress her. Instagram: @roylance 79
80
We catch up with local Converse All Star, Auckland based John Bulay, one of the most genuine and inspiring young creatives we have had the pleasure to meet. We chat to John about all things Converse, fashion, self-expression, social media and sustainability! Welcome to the Converse whanau and get ready for the time of your life! Photography: Luke Foley-Martin Introduction and interview: Ethan Butler Tell us a little about what you do? An aspiring Fashion Designer studying Fashion at WhiteCliffe in Auckland, New Zealand. I Love to play sports, especially football. Love listening to music especially Rap, Hip-hop and R&B. At what age did you realise you love for fashion and start expressing yourself through clothing and your personal style? Growing up, dressing up and getting ready was a big part of my life and what I enjoyed doing. Waking up every morning using half a tub of gel just to spike my hair up was the go to back in the day. Then slowly started to have my own sense of style during high school, trying out new styles and trying to stay “swag” as possible. When I was about 16 years old I started becoming aware of the fashion culture, the brands and the latest trends. I was then hooked on to this show called PAQ where different styles were portrayed and opened up my eyes to the wonders and beauty of fashion. To be honest, I do not have a personal style, I like to keep my style broad and wear whatever I want to wear and feel like wearing depending on my mood or the occasion. Through my love for fashion, it has allowed me to become confident in who I am as a person and has allowed me to express myself and my emotions through my passion and love for fashion. Tell us a little on how your journey with Converse All Stars began? Did you know any of the other members prior? My journey with the Converse All Stars began through my Instagram, just through expressing myself through photos of my outfits and the different styles I showcased. I was lucky enough to be chosen alongside my brother Luke who also was into fashion which was pretty cool. I didn’t really know of any members apart from Kristian Yummul, a good family friend of mine 82
who is also an aspiring fashion designer. When meeting you, we instantly noticed your love for Converse, particularly with the Converse Golf Le Fleur range. Where does this love for the collaboration come from? Yes, Converse is such a simplistic yet effective and bold brand. It has done a brilliant job in collaborating with the artist, Tyler The Creator creating a brand called Golf Le Fleur. The Golf Le Fleur range is definitely something special and something that captured my attention straight away. The vibrant colours, the style and the uniqueness of this range was something I needed in my wardrobe. Tyler the Creator is an inspiration and definitely a fashion icon in today’s society who expresses himself through his style and uniqueness confidently. How many pairs of Converse Golf le Fleur do you own? They aren’t too easy to buy down under… I’ve had 4 pairs of Converse Golf Le Fleurs, all are very unique and would love to cop a few more pairs if I had the money because getting them for retail is a mission and resell price is just too much. Your Instagram profile is a beautifully curated feed of images. A platform where self-expression is celebrated. In your opinion, what are the positive aspects to social media? Do you see any negative ones? Thank You so much, I try my best to keep my feed as creative but aesthetically pleasing as possible. I am forever grateful to have a platform where I can truly express myself through my passions, dreams and aspirations. And it’s beautiful, having friends, even strangers sending you love and support which allows me to stay motivated in what I love doing. So shoutout to my day ones and all those who support me and what I do! Although there are negative aspects, I just focus on myself and
just keep chasing the dream, because nothing is going to stop me. The All Stars community is full of like-minded, creative and driven individuals. To celebrate the launch of this All Stars, Converse held a private two day digital experience where members around the world were able to communicate and share their creative journey with Converse. How did you find this experience and was there a stand out moment? To be part of The All Stars community is a blessing. To have a platform where young creatives get support from successful designers, creatives and entrepreneurs is crazy. As an aspiring fashion designer to be mentored and given advice from the likes of successful designers such as Virgil Abloh the founder of Off White and Samuel Ross the founder of A Cold Wall is a once in a lifetime opportunity. So I just want to thank Converse for helping young creatives continue their craft and making their dreams become a reality.Is there anything in the fashion industry you would change? Sustainability has become a big part especially with converse and the innovative shoes they are creating which I love and have my full support for. I would love to see sustainable fashion normalised as it should. To help the common good of the environment and care for our people and this earth. Where do you see yourself in 10 years? I’d like to start my own clothing label here in Auckland. Then slowly start getting into accessories and footwear. To have a fashion show and build a community. Then break it worldwide and have show’s overseas. Lastly to have fashion icons and artists I look up to, wearing my brand. That’s the dream! Shot at Public Library Studio. Special thanks to Converse All Stars.
Once again, global footwear giants Converse lead the way by with the announcement of Converse Shapes, a first ever genderless clothing collection for everybody. Fuelled by a simple idea: you define the clothes; the clothes don’t define you, Converse condensed the fourteen men’s and women’s sizes traditionally found in a collection to four intelligent sizes inspired by body shape, not gender. Photography: Stephen Tilley Introduction and interview: Ethan Butler Makeup: Hannah Richards Made from be made from 50 percent recycled cotton and 50 percent virgin cotton, Converse also continue their journey on reducing environmental impact. “When starting design from a non-traditional place, there are endless opportunities to reimagine everything from construction to sizing to materials,” says VP of Global Apparel at Converse Jonathan Tappan. “SHAPES is the perfect example of how to meet the consumer in their element. By bringing functionality, inclusivity and comfort to everyday clothes, we believe we can really change the game.” The inspiration for the collection was the brand’s own Chuck Taylor shoe – a globally recognized unisex shoe. To celebrate the launch of Converse Shapes, we chat to and photograph Auckland based SHAPES ambassador, Converse All Star and art maker, Jess Skellern. We chat, creativity, body positivity, the All Stars community, acceptance of mental health, and that being “big is BEAUTFUL”! Tell us a little about what you do? I am a 22-year-old art maker based in Wainui, New Zealand who works in several disciplines ranging from textile design to paint. In my most recent practice, I have been focusing on the idea of creating a greater understanding and acceptance of one’s mental health and identify as this is something I have always struggled
with. Bright colours and fun textiles are a big focal point to my work as they are an opening to the endless possibilities of positivity. Having completed a Bachelor of Visual Arts at the Auckland University of Technology in 2019, I am now embarking on a new and exciting journey of creativity. My most recent project CLUBFIZZ is an all-inclusive, diverse brand which is focused on expressing yourself through fun and quirky bits n bobs that I have created. Converse are again leading the pack by celebrating body positivity. What are your thoughts around this campaign? We love seeing locals kicking ass with converse, in my opinion, the coolest and most inspiring brand around. When I first heard about this campaign, I was so excited! I have always struggled to find clothing; specially pants, that actually fit my body shape. The measurements between my waist, hips and thighs are on completely different spectrums and it just never seems to work for me. One minute I am a size “14” then next I am considered an “18”. This puts my brain in a confusing spin where I start to question my body completely. It honestly blows my mind how easily these factory sizes can make me question my body and confidence… like they’re legit just numbers?! I think its super rad how converse is basically pulling the middle finger to the normality created over
time through the fashion industry and is here to help redefine the way we present ourselves. “We define the clothes; the clothes don’t define you” - Converse. When it comes to buying new stuff, I look out for the little details, for example when a pattern actually beholds several smaller illustrations – that’s always fun to find! Something really cool about this new launch is one of the logos on the pants I received. There are these symbols that represent different body types including pear, square, hourglass etc. I honestly thought this was such a lovely touch and really helped represent what converse is trying to portray in their new clothing brand. You are also part of converse all star community. This community is full of likeminded, creative and driven individuals. Tell us a little about this experience. Prior to the madness of COVID, Converse had a wicked get together in Auckland for the All Stars community. As a newbie I went into this event a little anxious but extremely excited and egar to find out what Converse was all about. The range of pure talent that was in that building was incredible, there were creatives from all fields of life. We all participated in chats, activities and there was even live music from some of the talent. This day relit the spark within me that was slowly dimming since leaving art school and working full time. Being surrounded by other 85
like minded people again was just what I needed! Since becoming a part of the All Stars community my confidence with not only my art but most importantly my well-being has sky rocketed. I am constantly encouraged by others and their development via social media, it’s all so inspiring. There is this newly built motivation within me to push myself and reach goals that I have always been like “I’ll do it next year” and instead I am living in the now! Having people that I look up to like my fellow All Stars believing in my work and what I have to give to the world is incredible, I will always be grateful for them and converse. You mention above that you use your creativity to create a bigger understanding and acceptance of one’s mental health, a very powerful message that people often shy away from. Can you tell us a little more about this journey? With members of our own team having suffered with mental health or known someone that has, we are so excited to see you express this in your work and create normality. My journey with mental health, like most, has been a complete roller coaster. It wasn’t until last year where I began to have a better understanding of my identify and this was done through the help of my art. I used to believe that my use of bright colours and textiles was a way of masking my 86
emotions and hiding the fact that I truly was not happy. But over time I have come to the realisation that this was my way of reaching out and showing my true colours. When combining the process of art making with a positive focus, there is a beneficial impact on mood and a repair on the aftereffects of negative emotions. Colour promotes positivity which stimulates the mind, body and soul. Which is one of the reasons why my practice is so involved around colour, through my art I aim to compose a sensory experience that is beneficial for not only myself but the viewer. Ideally, I want the viewer to reflect the ambience of my work, to feel happiness, comfortability and self-love. Your Instagram profile is a beautifully curated feed of images of yourself and your creations. Instagram is a platform where selfexpression is celebrated. In your opinion, what are the positive aspects to social media? Do you see any negative ones? Personally I believe that we are the sole creators of our lives, we pick and choose who we associate with in our day to day and this is the same through social media. I have always had issues with body image, and yes this was mostly due to what was being feed to me through social media, but by taking power over what I see and read I have transformed myself. From a young age we are
unknowingly trained by media into thinking that because we have cellulite, think thighs or blemishes that we are not worthy of being loved, but by purposely surrounding myself with other likeminded people I have gained this new and exciting form of self-love as I now know that big is in fact BEAUTIFUL! Lastly, where do you see yourself in five years? I honestly don’t think I have thought that far before, but I guess now’s the chance! I have so many goals I would like to achieve, or even just get started on. I have recently kick started CLUBFIZZ, which is a brand all about community, self-love and expression. I know for a fact that it will take time to grow so over the next couple of years I’d love to put as much energy into that as I can – Ideally I’d like to branch of CLUBFIZZ into creating a line of plus size festival wear within NZ as I feel like there is defiantly a shortage of this. Overall I generally just want to be happy, Live in the moment, be surrounded by people who make me feel and strive to be my best… And potentially have a sausage dog and my own place filled with funky décor and plants. Follow Jess and her creative journey via Instagram @ jessieskell plus view the full gallery of images online. A special thanks to Caroline Brown and Stephen Tilley of Process Studios, Converse and Converse All Stars.
Photography: Vanessa SwedĂŠrus Introduction and Interview: Chris Lorimer Shot on location in Coffs Harbour, Gumbaynggirr Land, New South Wales Ziggy Ramo has been writing and rapping since he was young, but the release of his album this June truly brought him to the fore. Speaking to Chris Lorimer in Sydney in the wake of #BlackLivesMatter, this formidable artist gets candid about depicting his lived experience and trauma through his music. 89
You recently released your first album, but it’s making has been a long journey, can you tell us about how it all came about? “Black Thoughts” the album released in June this year, but the material is five years old. I wrote it aged 21 and hadn’t touched it since then. I felt the time was now; I didn’t over-think it, just put it out. I had released an EP back in 2016 with three tracks, but I was getting different information from industry people about establishing my career and told that the album wouldn’t fit into the “Australian market”, that to lead with this challenging work that didn’t fit the common historical narrative wasn’t the right step to take. I didn’t want it to fall on deaf ears either, so I held on to it. It’s the thing of balancing art and commerce; I wasn’t as established then and didn’t have the knowledge I do now around the recording industry. Now with a stronger sense of confidence and understanding of self, I have to put my art out there. And that’s what I did. Now is the right time, and my words have taken on a new meaning. I made a conscious decision, from age 15, that I wanted to turn this into a job, but I didn’t want to be concerned with how to make money with it. I wanted to be the best that I could be, be prolific. While writing, I got introduced to JCAL (Jack Calneggia) who’d been on his musical journey, getting good at producing. The way that I approach songwriting is that these are all reallife stories, and my thoughts; it’s just about finding the right soundscape. He and I connected on a musical level. And this whole body of work was already sitting in my mind. In the first studio session, we did “Black Thoughts, “Fire” and “White Lies” – the original EP. That was the beginning of a bigger narrative, and I wanted to flesh it out, so he sent me a bunch more beats. At that moment, I was quite unwell and was hospitalised. While in there, I went through it all, matching his music to my words. Once I was out the rest of the album was completed in only two more studio sessions. I’d thought about this story for all of my 21 years and working on being able to execute the craft of it for five. When the opportunity presented itself, it came together
90
very quickly. Was the industry advice you received at the time good advice? Hindsight is 20/20. I can’t change anything now, and I do understand where those comments came from. Hearing all those differing opinions, I realised I didn’t fit into the system, and neither did my art. I needed to build myself up to where I have the ultimate power and independence to say, “In June 2020, this album is supposed to come out now”, so it has. When I wrote it, my mental health was so fragile, and my art was the only space where I felt able to speak my truth. They say “music is therapy” and I say therapy is also therapy. I had to do a lot of work to be content and happy with being here. My art was about escaping to a Utopia where I could be unfiltered. This process was about leaving a message behind because I had made peace with the idea of taking my own life. I just wanted to get these words out. Less therapeutic, and more morbid really [laughs]. I’ve had five years of processing and working on being a human that can talk about that now very safely. Before then, I just wasn’t ready. Why did you take all that time before releasing anything earlier? I just never wanted to be shit! [laughs] One of my key motivating factors was that I couldn’t stomach my work not being good. Then when the album was done, I suddenly had doubts because the industry couldn’t understand what I was talking about, only viewing it with the perspective of “This isn’t going to make any money!” “Where does this fit?” Taking time was necessary, and I always backed myself. I had to get into a position to state that this album and its words are relevant. For any artist, there’s a cycle of creation and selfdoubt. And that self-doubt keeps you self-aware to be continually creating. And, in that time, do you think the notion of the “Australian market” has shifted? In regards to what gets elevated, the art has always been here; now there’s a shift in what gets platformed. The Internet has given artists the tool not to need anyone else’s co-sign. And consumers now go to the primary source. There were a lot of gatekeepers, and to have any tangible career,
you needed radio play and a label, you needed to be let in. Now you can make your own way. Music has been my full-time job since 2018, and my album is getting little to no radio attention, but because of digital streaming platforms, I can still push my music out. Artists now have the agency and the self-determination to run their careers and business as they see fit, which is why there’s now a plethora of Australian artists. As an artist whose mode is words, how do you feel about certain media portraying you as a kind of spokesperson? I get pats on the back for being eloquent, that I can explain my work, and that it’s powerful; and as humbled as I am that people think that of me, it also saddens me that people respect me because I can talk White. Can you not respect all of us? Can you love us? Can you love Black people when they don’t speak eloquently? Because the reality is that a lot of us don’t have access to education. Can you respect Black people when they make decisions you disagree with? Because the way their trauma manifests isn’t through speaking eloquently and making consumable art, it manifests in alcoholism and substance abuse. Shouldn’t we be able to respect Humans full stop? I’m conscious that my privilege is a big part of what gets me respect, and I’m trying to cast that net wider, to talk about unconditional love because I’m in a position to be able to make my art. When people make it in hip-hop, they often say, “I’m not just a rapper”, but fuck that, I am a rapper. I’m good at it, and that intent should be enough. Rap is a beautiful art form. Music is always going to be important to me, it’s a way that I understand self, and it’s inherent. I come from 50,000 years of oral culture and storytelling, of creating and Songlines, and that’s the way I approach my output. You have remained resolutely independent, and are known for deconstructing the industry from within it. Is the recording industry serving you? Not at all, man! [laughs] Everything caters for the top 1% in all industries. Unless you are white, ablebodied cis/hetero presenting, extremely wealthy upper-class man, the system isn’t set up
for you to win all the way. Within music, many the way. Within music, many things are “industry standard” for example, but who set those? It’s not even about artistic integrity; I don’t get on board with exploitation. I remain an independent artist because I’m not concerned with making money for companies that stand on artists forgoing their rights to ownership. There are a lot of great labels and publishers who do care about their artists, but how we make, write, record and distribute music has significantly changed. But the infrastructure and the deals have not, making artists feel grateful for an opportunity and that they need help. What we need is support, and a team to create a vision. I have a team around me, but they are not trying to exploit me, I have gone and found the right people. I can deconstruct those spaces while I operate within them, and I am comfortable doing that because my ability and my livelihood are self-determined. I’m not going get a call from the label on Tuesday morning to say “we’re not putting out your next single, because you just burned a bridge on Monday night”. I wake up on Tuesday morning, I look in the mirror, and my boss says to me “Great job, bro. I’m proud of you.” I can talk openly about the spaces that I’m in, because, at some point, I didn’t even think I’d exist in any spaces. I don’t have the time to fuck around, because I know the reality of what we’re living – and what we’re living makes us want to kill ourselves. So when I’m in those spaces, I feel an obligation to speak my truth. The leading cause of Indigenous youth death is us killing ourselves, that’s crazy! You use the phrase “lived experience” a lot, can you explain to me what that means to you? I’m uncomfortable when White people position me an Activist, because of what I do and what I say. I am an Indigenous person in Australia with a non-Indigenous mother and an Indigenous father. My lived experience is 92
being a walking contradiction. My parents weren’t supposed to care about each other, because my people have been de-humanised, labelled a dying race; that’s how Australia was founded. We should have the ownership of this land that has been passed down to us, but we were removed, suffered genocide and 200 years later this is still where we are. I am the remnant of colonisation, globally, not just here. My father is also a Solomon Islander, and we were blackbirded, brought in as slaves to work on the sugarcane fields. My lived experience is growing up understanding my history and how that fits into the bigger picture of Australian history, and realising that a lot of people don’t know it. I don’t judge anyone for that because it’s no accident; a blind eye has been turned; there is a double standard. I want to share that knowledge. My community is suffering; these systems aren’t serving us. We’re trying to make amendments to a fundamentally broken system. And I’m drawing attention to the deeper root of this. It’s my understanding of it; this is my lived experience, I share that with people, and then they can take it from there. How do you react when your work is deemed political? My platform is Me. I speak about what I’ve lived, what I know to be true. It’s depressing to me that the album that I wrote five years ago feels more relevant now than ever. I’m not shying away from the fact that what I’m talking about is deemed to be political, but being apolitical is a privilege. Saying nothing is saying something. Art is a duality of selfishness and selflessness. I write what I know, and I make what I think is good. Art has a role in creating change. But I don’t congratulate myself for putting out an album when my people are still killed in police custody, and we’re still not graduating from high school, and Indigenous kids from the age of 10 are in prison. I’ll pat myself on the back when there is legislation passed that can create
sustainable change. You’ve spoken about your mental health as being a catalyst in making the album all those years ago, can you tell me more about that aspect of your journey? I’m an open book, man. The beauty of crossgenerational trauma is that it’s carrying the trauma of many. Growing up Indigenous there are a lot of stereotypes: you’ll be alcoholic, you’re dumb, you sniff petrol, and I coped with those by building a perfect exterior because if I wasn’t, I’d be giving people ammunition to tear down my culture. I carried this weight of expectation on my shoulders but wasn’t able to communicate that I was struggling mentally. I had suicidal ideation. As a young person, you can normalise a lot of things that are inside of your head, but you might not have the vocabulary or the capacity to make it known. It’s essential to be talking about the reality of mental health because you don’t beat it, you learn to manage it. It’s up and down. Some days are better than others. I found a sense of peace in that in the fact that only I can control my actions. Every day that I take care of my health, I am beating the cycle of oppression, and then I can extend that same kind of care and love to others as well.Finally, what’s next? What do you see as your ultimate goal as an artist? I’ve always understood my purpose. Indigenous people, we’re caretakers of Country; and I’m to leave the space that I occupy better than I found it. Country takes care of us, and we’re supposed to take care of it. As someone who has travelled and seen the way colonisation has worked elsewhere, my goal is to put Indigeneity on a global platform, to try to build people’s ability to think critically about their role. What I want to see is what I have to be, and then allowing the changes I can make in the spaces I occupy to ripple out. @ziggyramo
Paintings photographed by Shaun Pettigrew Introduction byAmie Richardson Special thanks to David K. Shields From the glamorous runways of Paris and Milan to a city in New Zealand’s deep south, renowned Dunedin-based artist Suzy Platt is transforming the looks from some of the world’s most iconic fashion designers into art.. Showcasing runway looks from Tom Ford to Dries Van Noten, Chanel to Valentino, Platt’s wide-eyed girls have captured the world’s attention, with notable clients including 90’s supermodel Claudia Schiffer, who first purchased Platt’s two portraits of the model herself before commissioning Platt to paint her daughters, and Kim Kardashian. “I am inspired by painting every day and am so grateful to be able to make a living doing what I used to love doing after school as a teenager,” says Platt. “I’m also inspired by the amazing people who have bought my art and their stories of why they chose a particular piece and what it means to them.” Largely self-taught, Platt has been painting and exhibiting in New Zealand for more than 20 years, with numerous successful solo and group shows, and is known predominantly for her unique portraits of young girls. Platt 96
first combined her mutual love of art and fashion in 2017 when she was approached by British fashion photographer Nick Knight (of SHOWStudio in London) to capture the Haute Couture looks from Paris Fashion Week. The same year she contributed a painting of Kate Moss to Knight’s retrospective exhibition covering Moss’s prolific fashion career. “Working with Nick has been an invaluable connection that I am immensely grateful for.” This year, Platt was again asked by Knight to this time cover New York Fashion Week. The works — captured long-distance from her Otago studio — were snapped up by top names in the fashion industry, and as a result Platt’s already growing international reputation has expanded further. Platt, who begins her works in watercolour before continuing in acrylic and finishing in oils, says her fashion
illustrations show a progression of her evolution as an artist. “I’ve always been interested in faces and fashion, particularly the theatricality and lushness of haute couture. As an artist I feel I’m an observer and an interpreter of life. However someone else is going to see something completely different than what I have seen in the subject, so I’m happy and always fascinated to hear what they “get” from a painting of mine. Ultimately I’d like everyone to feel a little joy in viewing my work.” Currently, Platt is working on several commissions for “thankfully patient and gracious clients” and a number of collaborations. “Life as an artist is mostly pretty enjoyable and chilled out, but I do struggle with the solitary nature of the job – although I would never swap it for anything else.” Be sure to follow Suzy and her creative journey via Instagram @suzy_ platt
Opening page: Chanel Haute Couture 2020 This page: Tom Ford Autumn Winter 2020 Opposite page: Gucci Beauty
99
This page: Valentino Haute Couture 2020 Opposite page: Dries van Noten Autumn Winter 2020
100
102
Photography: Luke Foley-Martin Fashion Editor: Rachael Churchward Make-up: Hannah Richards Hair: Greg Murrell and Benjamin James at Ryder Models: Sabina and Becky at 62 Management, Emma Boyd at Super Management, Ella at Unique Models 103
Opening page: Blouse by Helen Cherry under t-shirt by Ganni from Workshop This page: Jacket by Salasai over jacket by Lou Lou Studio from Workshop
104
105
106
T-shirt by Nom*D, shirt by Helen Cherry over top by Ganni from Workshop
107
Dress by Rotate Birger Christensen from Workshop. Shot at White Studios, Auckland
108
109
Photography: Paul Empson Fashion Editor: Selin Bursalioglu Make-up: Martina Bolis at Unconventional Artists using M.A.C Cosmetics Hair: Alessandro Squarza at JamesHair Fashion Club by Wella Profesional Italia and Green Apple Model: Greta Varlese at Elite Models Milano wears all clothing and accessories by Gucci Fall Winter 2020 Shot on location at Hotel Principe Di Savoia Milano
112
tom to split image
114
119
tom to im
Photo assistant: Jalen James
122
o split mage
Photography: Paul Empson Fashion Editor: June Nakamoto at Shotview Agency, Paris Make-up: Tiina Roivanien at Airport Agency Hair: Paolo Ferreira for Leonor Greyl using Serum De Soie at Calliste Agency Paris Model: Juliane GrĂźner at Women Paris wears all clothing and accessories by Louis Vuttion Fall Winter 2020 124
127
129
130
Photo assistant: Jalen James Assistant Stylist: Shana Littley Special thanks to Kate Beard at Louis Vuttion
133
Photography and Fashion: Karen Inderbitzen-Waller and Delphine Avril Planqueel Hair: Michael Beel using Dyson Hair Make-up: Kiekie Stanners at M.A.C Cosmetics Model: Emily Baker at Priscillas Model Management 134
135
136
Opening page: Blouse, bralet, top and skirt by Maggie Marilyn, coat by Mina bloomers and socks worn throughout stylists own This spread: Shirt dress and belt worn in hair by Penny Sage bustier by Maggie Marilyn, boots by Bottega Veneta
137
138
Opposite page: Top by Pleats Please by Issey Miyake from Scotties, skirt and boots by Bally This page: Dress by Dries van noten from Scotties, boots by Aigle
139
Opposite page: Sweater by Wynn Hamlyn, hat, dress and coat by Kowtow This page: Dress by Staud from Muse Boutique, jacket by Dries van noten from Scotties, boots by Bottega Veneta
140
141
142
Opposite page: Dress by Maggie Marilyn over knit dress by Wynn Hamlyn, boots Bottega Veneta This page: Dress by Staud from Muse Boutique, jacket Dries van notĂŠn from Scotties, hat stylists own
143
Opposite page: Dress and boots by Bottega Veneta This page: Dress by Penny Sage Special thanks to Kingsize Studio
144
145
Photography: Paul Empson Fashion Editor: June Nakamoto at Shotview Agency Paris Make-up: Brigitte Hyans at Marie-France Thavonekham Agency Paris using Shseido Hair:Paolo Ferreira for Leonor Greyl using Serum De Soie at Calliste Agency Paris Model: Karmen Pedaru at Next Models Paris wears all clothing
and accessories by Prada Fall Winter 2020
146
149
150
152
Photo assistant: Jalen James Assistant Stylist: Shana Littley Special thanks to Shay Thomas at Prada
155
Photography: Waded Fashion Editor: Kelvin Harries Hair and makeup: Chris Coonrod at Union using EVO Hair and Sisley Paris Model: Jasmin at Priscillas Model Management
157
Opening page: All clothing by Prada This page: Dress and boots by Bottega Veneta Opposite page: Jacket and skirt by Moncler, shoes by Prada
158
This page: Dress and boots by Bottega Veneta Opposite page: Bag by Miu Miu, shoes by Bottega Veneta, vintage gloves
160
This page: All clothing by Dries van Noten Opposite page: Dress by Tibi at outnet.com, shoes by Balenciaga
163
This page: All clothing by Prada Opposite page: All clothing by Burberry, sunglasses by Le Specs
165
This page: Top by Hellessy at outnet.com Opposite page: Dress and shoes by Miu Miu, shoes by Prada Shot on location at The Langham Sydney
166
168
Photography: Charli Burrowes Fashion Editor: Sarah Birchley Hair: Lauren McCowan using Mr. Smith Makeup: Penny Antuar using Fenty Beauty Models: Abeny and Madison at Que Models
169
170
Opening: Madison wears jumpsuit by Bottega Veneta and cuff by Prada, Abeny wears jacket and skirt by Esant and neck scarf by Prada Opposite page: Abeny wears jacket by Bally and shoes by Prada This page: Madison wears top and skirt by Tory Burch, jacket by Michael Lo Sordo and boots by Bottega Veneta
171
This spread: Abeny wears poncho by Bottega Veneta, pants by Halston at Net a Porta and shoes by Prada
172
173
This page: Madison wears vintage Versace dress from Cara Mia Vintage, belt by Prada Opposite: Shirt and necklace by Prada
174
175
176
This spread: All clothing and shoes by Prada Fashion Assist: Max Bell Makeup Assist: Hong Le Hair Assist: Tanaya van den Brink Shot at Newstead Studios
177
Photography: Olivia Repaci Fashion Editor: Chris Lorimer Make-up: Annette McKenzie at Union using Nars at Mecca Cosmetica Hair: Chris Coonrod at Union using EVO Models: Varsha at Chadwick Models and Serena Wardell at IMG
178
179
180
Opening page: Dress by Bottega Teneta this page: Jacket, top and leggings by Miu Miu Opposite page: Top and skirt by Paco Rabbane (SS16) from The Outnet, tights by Ambra, shoes by Valentino
181
182
This page: Scarf, jacket, shorts and boots by JW Anderson x Moncler Opposite page: Top and trousers by Wynn Hamlyn, shoes by Valentino, vintage earrings
183
184
185
This page: Jacket, shirt, tie, top, skirt and shoes by Prada Opposite page: Jumpsuit by Miu Miu
186
This page: Bra and brief by Baserange from Well Made Clothes, coat and shoes by Bally, tights by Ambra, vintage earrings stylist’s own Opposite page: Shirt, tie, jumpsuit and boots by Christian Dior Song title: Herbie Hancock from the Blow Up soundtrack
187
Photography: Natasha Killeen Fashion Editor: Fleur Egan Make-up: Noni Smith using M.A.C Cosmetics Hair: Liz Tieu using R+Co Model: Maisie Dunlop at Priscillas Model Management 188
189
Opening page: Black jumpsuit by Moncler, bodysuit by Swop, blouse by De la Vali at The Outnet, dress by Youkhana This page and opposite: High neck dress Ten Pieces, top and skirt by Steven Khalil, cuffs by Dinosaur Designs, bag by Furla, boots by Armani
190
191
192
Opposite page: Cardigan and coat by Coach, shirt by Gary Bigeni, trousers by Alice McCall, earrings by Miu Miu at Di Nuovo, bag by Furla This page: Jacket, shorts, boots and scarf by JW Anderson x Moncler, cap by Lacoste
193
Opposite page: Credited as opening image This page: Top, trousers, coat by Givenchy, belt by Fleet Ilya at Baby Like to Pony, earrings [left] by Dinosaur Designs [right] by Paco Rabanne
194
195
196
Opposite page: Jacket, shirt, trousers by Armani, top by Christopher Esber, necklace by Dinosaur Designs This page: Suit, t-shirt and shoes by Christian Dior, hat by Jody Just, earrings by House Of Tessarella Fashion Assistant: Olivia Carniato Photography assistant: Matthew Dollin Song title: The Smiths 1985
197
Photography: David K. Shields Fashion Editor: Ethan Butler and David K. Shields Grooming: Sky Cripps-Jackson using Oway Model: Finn at N Model Management 198
199
Opening: Jacket by Low Classic from Workshop, necklace by Checks, singlet by NBA This page: Shorts by Ganni from Workshop, hoodie by Dye, vest by Checks, socks by Zambesi, slides by COS
201
Opposite: Suit and by Zambesi, shoes by Beach Brains x Converse, sunglasses by Karen Walker, necklace worn as bangle by Olivia This page: Coat by Bally, shirt by Uma Wang from The Shelter, shorts by Zambesi, shoes by Converse, top around waist by Paloma Wool
202
203
Top by Bernhard Willhelm from The Shelter over top by Ganni from Workshop, pants by Isabel Marant from Workshop
205
206
This page: Leather jacket by Stolen Girlfriends Club over hoodie by Acne Studios from Workshop, jeans by Stan Ray Opposite page: Jacket by Low Classic and pants by Isabel Marant from Workshop, singlet by NBA, necklace by Checks, sneakers by Zambesi for Vans
207
Opposite page: T-shirt by B-Side, cardigan by Stolen Girlfriends Club, bag by Beach Brains, hat by Acne Studios from Workshop This page above: Shirt by Ksubi, t-shirt by Ganni from Workshop, pants by Uma Wang from The Shelter, skirt by Nom*d, shoes by Vans This page below: Jacket by Stolen Girlfriends Club, shirt by Jimmy D from The Shelter, t-shirt by Isabel Marant Etoile from Workshop, shorts by Salasai, boots by Dr Martens, socks by Zambesi Song title: Suicide 2002
208
209
210