BLKonBLK Issue #2 by Black Magazine

Con AMORE

ISSUE #2

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Dana & Sam, August 2014

kia ora!

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a n d a i d b y h i v s . m E d t a c E c f c o a f s m E E t Er h ic w

What is Black on Black? Multiple igneous rock headlands repeating and reclining against each other on our West Coast beaches? The hit on the chest of a Maori All Blackâ&#x20AC;&#x2122;s hands, mid Haka? Zambesi layered over NOM*d layered over Helen Cherry or a little black Kate Sylvester dress? Perhaps it is all of these things and many more yet BLKONBLK to us is quite simply Black Magazine doing Black Magazine online. It is everything we love in fashion, beauty, arts, culture, fashion film, new faces, features, profiles, products, personalities, design, online, good living and better fun. We hope you enjoy this free digital version of Black Magazine and BLKONBLK, the home of Black Magazine online....feel free to share all content and run your cursor over text and credits for loads of links, shop now or pre-order items...

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B L KO N B L K I s s u e # 2

www.blackmagazine.co.nz

Grant, Rachael and the Black Whanau

ON THE

cover

matilda

el odie

Photography: Thom Kerr at Independent Artist Management Fashion Editor: Sarah Birchley Hair & make-up: Justin Henry at Viviens Creative using Chanel Cosmetics and L’Oreal Professional Paris styling products Model: Matilda Dods at IMG Worldwide

Photography: Ribal & Gil at Superteam Fashion Editors: Ribal Swang and Justin Henry Hair & make-up: Justin Henry at Vivien’s Creative Melbourne using Kiehl’s BB Cream in Fair and She Uemura Art of Hair Sheer Lacquer Finishing Spray Model: Elodie Russell at Chadwick Models

B L KO N B L K I s s u e # 2

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B L KO N B L K I S S U E # 1

Publishers, Editors-in-Chief Grant Fell & Rachael Churchward grant@blackmagazine.co.nz rachael@blackmagazine.co.nz

Writers Grant Fell, Thom Kerr, Stefan Knight, Rachael Churchward Photographers Paul Empson, Thom Kerr, Ophelia Wynne, Jessie Sara English, Luke Dickey, Ribal & Gil, Tintin Hedberg, Charles Howells, Russ Flatt, David K.Shields, Marissa Findlay, Damien Nikora, Frances Carter, Lula Cucchiara, Julie Huang, Luca Sorrentino, ITC EFI,

Creative Director/Fashion Director Rachael Churchward Art Director Ian Fraser Ferguson ian@friendsofdesign.com Hair Editor Greg Murrell @ Ryder Salon NZ Beauty Editor Stefan Knight Fashion Editors Thistle Brown Jessica Grubisa

Contributing Fashion Editors Rachael Churchward, Sara Dunn, Sam Ranger, Sarah Birchley, Katrina Shieles, Bex Sheers, Gabriella Langone, Justin Henry, Ribal Swang, Lindsay Rose, Dayne Johnston, Michael Whittaker, Team Zambesi Contributing Beauty/Hair Editors & Artists Greg Murrell, Justin Henry, Stefan Knight, Amber D, Becca Gilmartin, Lauren McCowan, Kuni, Mark Edio, Mikey Lorenzano, Megumi Asai, Miguel Lledo, Taichi Saito, Carolyn Haslett, Sharlene Cassidy, Jason Chong-Li, Matt Benns, KieKie Stanners, Iggy, Caitlin Lomas, Gemma Elaine, Tommy Stayton, Jannine Jones, Fraser Folagi, Lydia Mahon, Lochlain Stonehouse, Josephine

New York Editor Valery Gherman @ Defactoinc.com

Thanks to: Heta Hudson, Catriona Knapp, Zora Bell Boyd, Marcus Ringrose

UK Editor Sara Dunn @ Clicks & Contacts

BLKONBLK is published by:

Australian Editor, Sydney Thom Kerr @ Independent Artist Management

BLK NZ LTD P.O.Box 68-259 Newton, Auckland, New Zealand Ph: + 64 9 817 9601

Australian Editor, Melbourne Justin Henry @justinhenrybeauty.com Editor-at-large Paul Empson

www.blackmagazine.co.nz www.facebook.com/Blackmagnz www.twitter.com/blackmagazine Instagram: @black_mag

Online Editor Grant Fell

Sub Editors Anaru Taura Te Ana Mahupuku

The views expressed in BLKONBLK are not necessarily those of the publishers and editors. No part of this publication may be reproduced in any way without permission. Thank you.

Advertising Grant Fell: +64 21 407 248 E: grant@blackmagazine.co.nz Rachael Churchward +64 21 373 330 E: rachael@blackmagazine.co.nz

We do NOT accept unsolicited submissions.

ÂŠ BLK NZ LTD, 2014

B L KO N B L K I s s u e # 2

photographer: ross brown

kingsize studios studio 4 14:25 june 14th 2014

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BLK MARKET NOM*d / RUE DE SEINE / MOSCOT / WORKSHOP IMPORTS / VANISHING ELEPHANT / KSUBI EYEWEAR / SOL SANA

Fresh goodies (and links) from the Black Market to brighten up your day - in fact more links than Titirangi Golf Club or maybe a Mr T necklace. Get clicking!

B L K M A R K E T

NM*d

NO*sense It may be called NO*Sense but NOM*dâ&#x20AC;&#x2122;s powerful SS 14/15 collection is in fact making quite a lot of sense. Built around a fantastic world where newfound friends Captain Kirk and Jabba The Hutt could both be beamed up by Scotty, the collection punches into a new universe with bold oranges and reds mixing it with neoprene, printed nylon and cotton mesh. So Stay on the Leader and shop the collection here. Photo: Frances Carter Styling: Rachael Churchward Hair: Jason Chong-Li and Tommy Stayton at Stephen Marr using O&M Make-up: Sharlene Cassidy using M.A.C Assist: Lochlain Stonehouse. Model: Kizzie at 62 models. Shot at: White Studios

B L K M A R K E T

SO IN SEINE

If fashion could be applied, then Michele Corty quite simply, makes beauty at Rue de Seine. Her pieces not only make women look beautiful but clearly make them feel beautiful too. Like Stella McCartney she names many of her dresses and gowns after women; Helena, Libby, Grace, Sophia, Chloe, Bella and more, which is surely indicative of the personality and personal nature of the designs, and designer herself. Shop her latest collection, Young Love, here. Photo: Frances Carter Styling: Rachael Churchward Hair: Jason Chong-Li and Tommy Stayton at Stephen Marr using O&M Make-up: Sharlene Cassidy using M.A.C Assist: Lochlain Stonehouse. Model: Lydia Grace at Red 11. Knickers by Bendon Shot at: White Studios

B L K M A R K E T

MOS def.

You donâ&#x20AC;&#x2122;t need to be Johnny Depp to wear the Moscot Lemtosh, in fact we think Moira here is doing just fine. The frame is however a classic; representative of generations of free-thinking and spirited intellectuals from Buddy Holly to Truman Capote, itâ&#x20AC;&#x2122;s the Hep Cat of sunnies and looks finger-clicking good in the Flesh/Green seen here. Shop this pair now using the code: BLACKMAGAZINE at check out to receive 15% off, right here, right now

BRIDAL

Photo: Frances Carter Styling: Rachael Churchward Hair & make-up: Carolyn Haslett using M.A.C Model: Moira at Clyne Sailor stripe tee by Vanishing Elephant Thanks to: Kingsize Studios

WWW.RUEDESEINE.COM

B L K M A R K E T

Whilst a number of luxury and international brands are about to open doors to stores in Auckland, there are also an increasing number of fine international labels being housed in the burgeoning stores of our big local brands. Take Workshop for example; Marc by Marc Jacobs, Alexander Wang, Isabel Marant, T by Alexander Wang, Acne, Helmut Lang and more can now be found in-store. We think that is an Import-Ant development! Photo: Frances Carter Styling: Rachael Churchward Hair: Jason Chong-Li and Tommy Stayton at Stephen Marr using O&M Make-up: Sharlene Cassidy using M.A.C Assist: Lochlain Stonehouse. Model: Georgie at Red 11 wears: Alexander Wang 2-in-1 Reversible coat, Acne Red Leather pant and Metallic Sneaker by Marc by Marc Jacobs all in store now at Workshop Shot at: White Studios

IMPORT

Photo: Frances Carter Styling: Rachael Churchward Hair: Jason Chong-Li and Tommy Stayton at Stephen Marr using O&M Make-up: Sharlene Cassidy using M.A.C Nail art: Ashley Hoyt at Ryder Salon Assist: Lochlain Stonehouse at M.A.C. Model: Hannah at Red 11 wears: Cosmo Night playsuit by Marc by Marc Jacobs and Workshop cap both available in store at Workshop now. Shot at: White Studios

Abrand Jeans

-ANT Workshop & Helen Cherry website

servicedenim.co.nz

B L K M A R K E T

GONE BABY

No need to study this outfit from Vanishing Elephant; the Chunky Varsity knit and tailored short combo so perfectly matching the climatic fluctuations of Spring - whether at Varsity or not. Shop this now using the code: BLACKMAGAZINE at checkout to receive 15% off, right here, right now.

Photo: Frances Carter Styling: Rachael Churchward Hair & make-up: Carolyn Haslett using M.A.C Model: Moira at Clyne Thanks to: Kingsize 42

B L K M A R K E T

EYE SITE You donâ&#x20AC;&#x2122;t necessarily need to be an all-powerful female lion to appreciate these Lyonesse sunnies by Ksubi Eyewear. A quick look at the feline frames suggests you will surely stand out from the pack, or pride as it were. Available at Black Box Boutique very soon. Preorder! Purchase using the code: BLACKMAGAZINE at check out to receive 15% off!

Photo: Frances Carter Styling: Rachael Churchward Hair & make-up: Carolyn Haslett using M.A.C Model: Moira at Clyne wears Lyonesse sunnies by Ksubi and Out of Sight sweater by Vanishing Elephant Thanks to: Kingsize

h a r m a n g ru b i s a .co m

Enquires: + 64 27 443 7937 sales@gosslingerie.com

www.gossclothing.co.nz

B L K M A R K E T B L K M A R K E T

GOT SOL With warmer weather on its way it is time to think about getting some air between your toes and a spring in your step. What better way than with these Sol Sana Tula sandals; sleek, chic and hardwearing as a good sandal should be. Available at Black Box very soon. Preorder! Purchase using the code: BLACKMAGAZINE at check out to receive 15% off!

Photo: Frances Carter Styling: Rachael Churchward Hair & make-up: Carolyn Haslett using M.A.C Model: Moira at Clyne Thanks to: Kingsize Enquires: + 64 27 443 7937 sales@gosslingerie.com 46

www.gossclothing.co.nz

BL K LI S T HARMAN GRUBISA/GLEN PRENTICE/PENNY SAGE/GEORGIA ALICE/EUGENIE/BLUE BLANK/BELBEL/SHERPA/HE KAAKANO AHAU/JULIE ANDERSON/TO ROME WITH LOVE From the Marr Factory Gatecrashers to the city of Rome, this is Blacklist...

T HE NEW

DAW N

Here we are right in the middle of another great season of fashion in Auckland, this last week with the Marr Factory - five of New Zealand’s finest: Karen Walker, Nom D, Zambesi, Workshop & Helen Cherry and Kate Sylvester once again showing, followed by NZ Fashion week, this week! This year saw a new dawn at the Golden Dawn, a new day Saturday, August 23 to be exact - a day when a brood of fresh, young NZ designers showed their wares: Georgia Alice, Eugenie, Glen Prentice, Penny Sage and Harman Grubisa represent a strong edit of local emerging

design talent - curated and overseen by Black fashion editor Thistle Brown. A month ago, we had already interviewed Jessica Grubisa and Madeliene Harman as we had been privy to the development of the new label (disclosure: Jessica is also a fashion editor at Black) and we felt their story was a good story already, with lessons learnt, and lessons for others to learn. Then the Stephen Marr Gatecrashers night was announced and we felt compelled to at least photograph the other ‘crashers and conduct a few simple interviews! So call the cops, here come the Stephen Marr Gatecrashers!

Photography: Russ Flatt Hair: Matt Benns at Stephen Marr using O&M Make-up: Stefan Knight using M.A.C Cosmetics Model: Liv O’Driscoll at Red 11

Pure shirt and Royal pant by Harman Grubisa 50

B L K L I S T

H arma n One day whilst working late at whitecliffe school of design, jessica grubisa and madeleine harman looked at each other and knew; “We should do this together” And so Harman grubisa was born. Grant Fell and rachael Churchward investigate

Space Mesh bomber, Space Mesh bell skirt, Shine skivvy and Afternoon Mule in nude, all by Harman Grubisa

/ gr u bisa Grant Fell: Let’s start at the beginning, where did you two meet? Jessica Grubisa: We met at Whitecliffe. I was at Whitecliffes a year before Madeleine…Madeleine Harman: Yeah that’s right…JG: She was the hot new kid on the block when we met! GF: So you were in different years? JG: No, we were in the same year but I had already done my first year at Whitecliffes and Madi had done a year at Elam Art School. GF: Ah, I see. So you formed a friendship, you were buddies? MH: Pretty swiftly, yeah…JG: I thought, “You look alright!” and she thought, “You look alright!” MH: Our friendship really happened in our fourth year. JG: We were always the ones still there at like 4 o’clock in the morning. GF: Still working? JG: Yeah, suckers for punishment, I think.GF: Did you start collaborating on projects while you were still there? MH: No, we were polar opposites really; Jess was wild and out there and I was all neutral tones…Rachael Churchward: I remember thinking that then. JG: You did make clothes out of paint, though.MH: I made clothes out of paint. Which was crazy…GF: How did you do that? MH: Basically I poured it so it becomes like a film and paint has a lot of elasticity, which became the whole idea – I was looking at the concept of skin and wearing skin. GF: Like tights that you could slip into type of thing? RC: I remember hearing about that and thinking I should get a skirt or something for a shoot but I was worried about tearing or breaking it. MH: I did pants and a shirt you didn’t so much need to slip into them, you could pull them up and put them on like normal. GF: So you were friends but not collaborators, what made you hook up then to do this, to do Harman Grubisa? JG: The way I remember it, is that literally I had been thinking about it for a while, the idea of having a partner because fashion design and everything that surrounds it is actually intense so I always thought that two would be better than one. It is an intense process so you need someone else to balance it – all the greatest hits have two writers! Then one day I literally looked over at Maddy and thought,

“I could do that with her!” MH: Same, it was like an ‘a ha’ moment! JG: Then one night we were working late again, I had my computer at school and we were watching something like Sex & The City or Gossip Girl, it was about 2am and we were like ‘shall we do this together?’ MH: It was like, if we were going to do this then we should do this together. GF: Yeah, Jess I remember you talking about the potential partnership before it happened as well. And then Maddy you went to New York? MH: I went to New York…GF: Why did you go there? MH: I got a scholarship, I won an award which was a scholarship through university here. It wasn’t like a year of study, it consisted of an overseas trip. So I went to the Sates and I was there for over two months so I decided to get a visa - effectively I went from Auckland to New Jersey where the university is. Then I went to Paris and Antwerp and a bunch of places with the fashion group at the university and then moved into New York city and worked in the city until the end of that year. GF: And then you went over there to meet up with Maddy if I recall Jess? JG: I went over for a holiday and to see Maddy and was there for a whirlwind two weeks. She was working at a place called Trend Union. MH: When I was in Paris I met a woman called Lidewij Edelkoort who is a world-renowned trend forecaster and ended up working in the New York office. She is very abstract, not like research or commercial…GF: That sounds like a good place to learn about fashion? MH: Yeah, it was really interesting! She would work with really important people so I was meeting with people like the Macy’s design team, Kenneth Cole, all of the big conglomerates, it really was quite fascinating…JG: Actually, here’s a story for you. I went in to one of the trend forecasting sessions while I was there and they were showing a bunch of images and a Black Magazine photo came up! I think it was the Thom Kerr shoot of Codie Young in the graveyard, that kinda gothic looking shoot. MH: We felt proud, images from

B L K L I S T

half way around the world there in a trend session…GF: Trendsetters! Ha ha…so while the two of you were in New York did the concept of Harman Grubisa grow? JG: We tried to think of a name…HM: We actually talked about the possibility of doing it there, of doing it in New York. JG: Yeah, we talked about that really seriously. But it would have been a big decision to make. GF: So why did you come home Madi? MH: Ummm…I got married… (laughs) GF: That’s a pretty good reason…MH: Yeah, I came home and got married and Jess was going to take a job at…JG: Alice McCall in Bali…RC: Oh, that one…MH: There was total turmoil at that time, between coming home, Jess maybe going to Bali, I was offered a great job in New York and we just talked and thought, we are in our twenties, we are never going to do it unless we do it now and we had even talked about getting funding that we felt sure we could get if we did it right so I just packed up and came home. RC: I think it is probably much better that you are doing it from here. You have family, friends and a huge support network right here whereas if you are doing it in New York you don’t have that at your fingertips. MH: Yeah, and when you start out like this you have to pour everything into it. We have no money, neither of us are taking a wage, literally everything is this for us at the moment and we’ve made a lot of sacrifices. We are at a huge point of risk in terms of debt but at the same time, if we were in New York it would be a lot scarier and probably a lot more difficult. There would be no fall back. RC: There would be no Jess’ Nana to help you with production. JG: And hopefully this doesn’t sound big-headed but there is a groundswell of new, exciting young designers here so if people like us don’t stay here and do it, what is the future of NZ fashion? GF: Exactly, love that viewpoint! JG: It’s really hard, though. Sometimes you just get so stressed out and tired. You just want to go out into the street where there is no one and just scream you know? GF: So where did the brand start, you were both back here, what did you come up with first, the name? MH: We actually did an intense business plan that took us months and months and months, a cash flow and all of the stuff you should do first. JG: Yeah, we started there…MH: And, we got super duper challenged by people, mentors and advisors – on our name, on our marketing, on our retail plan. To get the money to start this business we had to justify every single thing, every detail, everything we are going to make for the next three years. GF: Perfect! JG: We were heavily challenged on our original business model. It was pretty exhausting. GF: So obviously you got your business model into a place that you felt good about it? MH: Yeah, totally. JG: We were pushed into a better idea to be honest. MH: A harder idea. JG: Basically biting off a lot more than we had anticipated. GF: Did that include reappraising your target

market, I think we were quite surprised when you told us about that. RC: Oh no, I was actually really pleased that you are going for an older market than we thought you would. A younger market doesn’t always have the spend and they can move quickly from trend to trend but an older woman is a different story. JG: We would be happy if a mother and daughter came in and both bought pieces, there are pieces a daughter could wear for sure. GF: So you got your business plan finalised and got approval for investment, and congratulations on that, not that many young designers go down that path to start. So your business foundations are laid, what’s next, did you start sketching designs, concepts? MH: We finalised the name, lots of people didn’t like the name. RC: I think the name is brilliant, it sounds like a fashion label. Why did people not like the name? MH: Umm, I think some people just felt is wasn’t very user friendly, like “ I can’t pronounce it, I don’t understand it…GF: And Ann Demeulemeester or Alexandre Herchcovitch are easy? JG: I think fashion followers pride themselves on learning how to pronounce names. Like the first time I pronounced Proenza Schouler I think I said Shoaler or something, I die…but now I am never going to say that wrong again. GF: Exactly, it is actually a small but not insignificant part of fashion, foreign languages, names and pronunciation! MH: When it came down to it, that is who we are, those are our names. Some people felt it was egotistical, like we want our names above the door but it wasn’t like that at all. Like our design process, everything we do is very much a collaboration so it feels like the right name. GF: With the name sorted was it into design? Sketches? MH: Yeah, sketches and moodboards – images, inspiration. JG: We kind of got the general flow of what we wanted. Colouring, palette was really important. We both knew we wanted to do a print. MH: I think because you had been so involved in the industry here from an editorial perspective with Black and I having been in New York we have been constantly surrounded by images, so we had a good idea about the more directional pieces we wanted to do, like a midi length skirt…RC: Yes, which I have had my eye on. I keep staring at it and thinking that I want it, purely form a styling point of view there is so much I could do with it. MH: I think Jess and I both had pieces that we kind of, had to do…GF: Then you went to Hong Kong together…mainly to source fabrics? JG: Yeah, we went to Hong Kong and Guangzhou in mainland China, mainly to source the fabrics for the collection but also to find a handbag manufacturer, and leather supplier. GF: How did you sources these people and places, were you cold calling from NZ? JG: Before we left, anyone who knew anything about this; fabrics, mills, suppliers in Hong Kong or China we had a meeting with, we just asked everybody we knew who might know! We did a lot of research online as well. We went over there, got straight off the plane and went straight to

the Hong Kong convention centre which was huge and then we just gung-hoed it around and tried to create some sort of order and organisation to what we were doing. It was pretty amazing. MH: The only thing we want to manufacture in China or even overseas at the moment is handbags and shoes. I worked for Andrea Moore when I first came home. She put me in charge of her accessories and it was pretty clear that there is really no one left in New Zealand who can manufacture beautiful leather goods and accessories from scratch…and who wants to do fashion rather than say upholstery. We put ourselves in a position where, we pretty much knew we weren’t going to find a manufacturer because the minimums we were looking for were pretty small numbers and they had limits of like 5000 (laughs) so we went there looking for the hardware suppliers, the leather suppliers we knew we could get them put together in New Zealand. We went to Hong Kong and sourced some fabrics there and then went to mainland China to this fabric fair, a massive fabric fair… JG: I think it is the biggest one in Asia. GF: Did you source all of the fabrics for this collection then, in Hong Kong and China? HM: Most of it, the majority. The print we are getting made up in India probably and there are a few different silks from local suppliers but we also want to ensure the print we get done is actually ours and doesn’t start appearing somewhere else, you know? Because it is our first season it is very important to us. GF: A killer print can define a range quite easily…so the next part of the process, pattern-making, cutting, getting samples done? A machinist…was that when it became more real, a fun part? Did you feel that you had enough knowledge to over see that? JG: Yeah, definitely… MH: We were fine with that part of it. We kept it simple and worked with one patternmaker and one machinist. We were pretty comfortable with it all but I think production is a new game! I think with production both Jess and I…well, neither of us really want to put our hand up for production (laughs) it takes a special kind of person but at the same time as designers you need to be very aware of this part of it. RC: I have met quite a few of the production managers, production people who work with Helen Cherry and Workshop, Zambesi, Karen, Kate etc and they are usually really amazing women. They know how to get you there, it’s their job. MH: We will be fine we definitely have enough knowledge of the process and we are starting off quite small. RC: Exactly it is not like you have to produce hundreds and hundreds of pieces straight away. GF: I’m impressed at how organised you have been in terms of imaging the collection; a look book with a quality team, a campaign at the same time, that’s good planning. What about retail, how far down the track are you with that? JG: Originally we thought we were going to be wholesaling to start but it is not the ultimate route we want to take, it is not going to be the biggest

“when you start out like this you have to pour everything into it. We are yet to take any money (personally) away from the business, everything is this for us at the moment and we’ve made a lot of sacrifices”

cheque for us at the end of the day and we want wholesale relationship where there are exclusives – so you could only buy a particular bag at a particular store. Right now online, our own online store and then following on from that our own store, our own retail space. MH: I think it’s also about controlling your own stock so that we can put something into store when we want because it is going into our own store. Plus, Jess and I have decided to go straight to season. Everyone else is on winter right now, and we are just getting to winter, we will go straight into summer. Otherwise, we started in February, but it would be a whole year before we saw any money coming in the door. It just means

we can experiment, see who likes what and what they don’t like, and see income earlier – rather than being limited by an order and then scrambling to make it happen. RC: Yes, that system is based upon having so many stockists that you have to have an order and production system further and further ahead. This way, you can make some samples and stocks and if no one orders a look or whatever, you don’t have to waste money making it up. JG: Going through the business plan process we were challenged a lot about this sort of thing; “Yes, your product is great, you are fabulous, it all looks good but what are you going to change, what are you going to offer that is different?” And we said we could change the experience. We do think our

product is great, we love the clothes we are making but we have thought a lot about the online experience, how we are going to work in retail in future, engaging our audience and I think there is already an experience there from start to finish…GF: For sure, I am aware of a couple of those projects bubbling away in the background! Do you have a brand statement? MH & JG: We decided on ‘beautiful above all else’…GF & RC: Beautiful! Thanks Jess and Madi!!

gle n pre n tice

pe n n y sage

D esigner glen prentice is f ocused on creating re f ined , understated womenswear using classic materials with contemporary details . H is brand ‘ represents the modern woman ’ . G len , tell us about your . . . .

D esigner K ate M egaw ’ s label penny sage is created f or f ans o f structure and f orm and those that appreciate natural f abrics that ‘ f eel good on the body ’ . K ate , tell us about your . . . . S h o e s : leather slides S k i n : spring collective H a i r : S anseuticals D r i n k : old fashioned T u n e : california dreamin ’ mamas & papas D a y o f f : bush walk F r u i t : gooseberry T V : true detective L i p s : spring collective treatment balm W e b s i t e : www. anyonegirl . com B e a c h : any V i t a m i n : S leep S c e n t : van cleef & arpels B ois d ’ iris F i l m : sleepaway camp

S t y l e : tina chow S h o e s : particular S k i n : fresh H a i r : effortless D r i n k : reviver # 2 T u n e : rhythm & blues F r u i t : pommegranate T V : physically defunct L i p s : balm W e b s i t e : researching & reference C a r : 8 0 ’ s e x otics B o o k : nonfiction Vitamin: D S c e n t : standard F i l m : cinematic J e w e l : stone & rock

Penny Sage website

Glen Prentice website

Photography: Russ Flatt Fashion Editor: Rachael Churchward Hair: Jason Chong-li and Tommy Stayton at Stephen Marr using O&M Make-up: Sharlene Cassidy using M.A.C Cosmetics Models: Saveja at Clyne, Lydia Grace and Georgie at Red 11, Kizzie at 62 Models

Saveja wears: Duster in Silk Canvas and Straight Pant in Silk Satin by Glen Prentice, sandals by Alexander Wang from Workshop

Lydia Grace wears: Sleepaway

trench worn over Gamine jumpsuit by Penny Sage, sandals by Birkenstock 57

G e o rgia A lice

E u g é n ie D esigner E li z abeth E ug é nie W ilson combines a re f ined cut with a sharp eye f or detail , impeccable construction and f ine f abrics . the label recently opened a f lagship bouti q ue at 5 1 a M ac K elvie S treet , P onsonby . L i z tell us about your . . . .

D esigner G eorgia alice C urrie ’ s semi - eponymous label georgia alice is dedicated to creating ‘ cool , classic and wearable lu x ury ’ and providing strong silhouettes and ‘ manstyle aesthetic ’ . G eorgia , tell us about your . . . .

S h o e s : maketh the man H a i r : lauren bacall D r i n k : whiskey sour T u n e : beck x philip glass D a y o f f : not likely T V : the metalocalypse L i p s : nars W e b s i t e : eugenie . co . nz C a r : C itro ë n K arin B o o k : pie paper B e a c h : san sebastian S c e n t : 3 4 dipty q ue F i l m : beyond the black rainbow

S t y l e : modern , monochromatic , denim S k i n : origins - V italizing - spf 1 5 energy- boosting moisturizer H a i r : disheveled D r i n k : peppermint tea T u n e : mos d D a y o f f : ocean F r u i t : banana L i p s : nude W e b s i t e : www. georgiaalice . com B o o k : helmut newton - polaroids B e a c h : too many V i t a m i n : zinc + magnesium S c e n t : narcisco rodriguez F i l m : a single man

Eugenie website

Georgia Alice website

Kizzie wears: Dress by Georgia Alice, shoes by Acne from Workshop 58

CONTENTS

COVER

Georgie wears: Merino sweat, tuxedo front shirt and two tone trouser by Eugénie, heels by Isabel Marant from Workshop 59

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you blankin’ me? With a name like Blue Blank and a propensity to work in leather and chain you could be forgiven for thinking that Clara Chon’s Auckland-based label is made largely for the dungeon, or at least the dungeon set. Yet, the accessory label has quickly become a favourite with forward thinking young fashionistas around town and perhaps it is the brand’s underlying sense of humour which appeals as well as the well-constructed pieces. Blue Blank grew out of a series of wearable artworks made during Clara’s time earning a Master of Fine Arts degree at Elam School of Fine Arts. That they were then photographed and appeared shortly thereafter

on The Fashionisto, one of the world’s premier online fashion sites suggests that the pieces were more fashion than wearable art, although that first series of intricate leather body harnesses were the seed for the direction of the brand. Blue Blank has grown quickly into a respected accessories brand with representation at Auckland’s Ciel PR, numerous editorial appearances and a showing at this week’s Underground installation at New Zealand Fashion Week. Blue Blank is available at Children of Vision in St Kevin’s Arcade, Auckland, the Service Depot in Wellington and Company of Strangers in Dunedin.

Photo: Frances Carter Styling: Rachael Churchward Hair: Jason Chong-Li and Tommy Stayton at Stephen Marr using O&M Make-up: Sharlene Cassidy using M.A.C Assist: Lochlain Stonehouse at M.A.C. Model: Hannah at Red 11 Blue Blank website

BE LB EL Photography and story: Thom Kerr Styling: Lindsay Rose Hair: Iggy using Kevin.Murphy Make-up: Becca Gilmartin using M.A.C Cosmetics

On the release of Melbourne-based Belbel’s new single thom kerr interviews the 18 year- old singer about her roots, inspirations and her identity as an artist. Belbel’s natural artistic flair and passionate drive has taken her to L A where she concoted “violets’, a dark yet catchy dramatic pop moment. Thom: Where does the name Belbel come from? From an early age, many people have called me Belbel as a nickname, and it stuck. As I moved into music as a career, it just seemed fitting to use it as it has sentimental value as well as having a nice ring to it – no pun intended! How would you describe your style of music? I like to think that my music bridges the gaps between some of the different worlds in music. I draw inspiration from many different genres ranging from minimal to electronica, indie to pop; therefore it’s hard to put a label on my work. I’ll let the listeners decide. When did you decide to pursue music? My entire life I wanted to pursue music, however I only put this desire into action a few years ago. I have always been a writer, and I spent a lot of my down time writing poetry and prose. Singing came less naturally to me, I was very shy about my voice and only sung in private locked behind my bedroom door. I was extremely scared of people hearing me because truthfully, I didn’t think I could sing. It became apparent around the age of 16 that I could not go on and live a ‘normal’ life that was expected of me. I knew I had to live in a way that fulfilled me creatively. What is the name of the first single and why did you choose it? The song I have chosen to debut with is called ‘Violets’. I chose this particular song because it reflects my current emotional and physical landscape. For me, writing music is like writing in a journal. If it’s truly honest,

it comes out in a matter of minutes like this one did. With the help of Richard Harris, an LA based producer, the sonic landscape I dreamed of was birthed. I want to be real with my listeners from the start about how I feel and think. No game of charades. This song is the most honest depiction of me one could get. What is the concept of the clip? Who worked on it? The sense of separation and difference that I have experienced growing up caused a feeling of dislocation and confusion. The dilemma about where and how do I fit in, and whether I really want too anyway, is at the core of the video. In parallel to my journey, we have what I call the ‘No-name people’. I envisioned lifeless men searching for vitality in a wasteland of emptiness they knew as home. I took this concept to Blake Farber, a New York based director. I worked closely with the producer, Emma Haarburger who creatively and logistically brought my vision to life. Matt Wood, an Australian cinematographer, filmed the clip. Additionally, fashion has always been an integral part of my life. I consider that the way we dress – our personal style – tells a story. Julian Burak or Yan (his cool nickname), the stylist, understood this sensibility and brought it together in an authentic way. What do you think is the main message you wish to convey with your music? I wish to give many messages, but one’s reaction to music is entirely personal. I hope that listeners will find meaning in my

music for themselves. However, if people can feel somewhat comforted in my lyrics, and feel hopeful, then I will have done what I set out to do. Which artists are inspiring your journey? There are so many artists that are absolutely killing it right now. This is such a tough question because many artists from different eras and demographics inspire me. I can’t stop listening to BANKS, James Blake and Lykke Li right now, but then I play some Simon and Garfunkel and I am transported to an alternate world. I then look at someone like Lorde, who is not only releasing exciting music, but she is setting an example for young girls and boys, and that is just as important as the music. What advice would you have to anyone about to embark on a journey in music? Be your own boss. Nothing is more important then trusting yourself, and your own intuition. Where do you see yourself this time next year? Ultimately, I would like to have a lot more music out in the open to be enjoyed by the public. I want to focus on the longevity of my career, and that means constantly developing my craft. I hope that a lot of people will listen and respond to my work. That’s all I could ask for. This page: Belbel wears: Neoprene cape by Phoenix Keating Opposite: “I am Fake’ coat by Sand, Calypso Crop top by Nookie and wideleg pant by T-Luxe

When Sherpa opened the 2012 Auckland L aneway festival thier performance ensured a mountain quickly became a molehill . Grant Fell talks to Sherpaâ&#x20AC;&#x2122;s daniel barrett about vince and his van, brian wilson and todd rundgren, flamingos (greater and Lesser) and becoming more like an animal . Photos: Frances carter 65

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“The album was recorded with a lot of vintage analogue gear which gives it a very warm sound, but the songs are also quite sad, like having the blues”

Grant Fell: How long have you been together, tell us about the genesis of the band, how you met... Daniel Barrett: Sherpa as a band have been together since we were in high school, and we’re all in our early 20’s now, so quite a while. The core of the band has stayed the same with Earl Ho singing and playing guitar and Vince McMillan playing drums. Our other guitarist, Ben Jack, met Earl and Vince through their various bands playing together. I met Earl at a music festival in Wellington and it turned out we were both going on to study Music at the University of Auckland. We spent three years playing music together. When we finished our degrees I got asked to join the band, which was great. Why did you decide on the name Sherpa? The name Sherpa is actually a reference to a van that Vince and the original bass player had a running joke about. The band needed a name to enter Rockquest so they used ‘Sherpa’, and it just stuck. Who plays what in the band? Earl Ho vocals, guitar, sampler. Ben Jack - guitar, vocals. Daniel Barrett - bass, sampler. Vince McMillan - drums, sampler. It’s a common band question but I am fascinated to know, (I’m hearing Nuggets, elements of Flying Nun, Brian Wilson, even Todd Rundgren) - who and what are you influenced by? Sherpa are definitely influenced by Brian Wilson and Todd Rundgren. Many of the local bands we grew up listening to 66

such as The Mint Chicks and Die! Die! Die! are influenced by the Flying Nun scene so that probably comes out in our music quite a lot. We’re influenced from a whole range of stuff from classics like The Beatles, Chic or David Bowie to newer bands like The Strokes or Tame Impala and even electronic acts like Daft Punk. A lot of the themes in our songs or the way we think about our art is influenced by novels and films especially those related to the Surrealist or Dada movements. I suppose the biggest influence on us are our peers. Partys, the nightlife, whatever we can get our hands on. I really like some of your titles, can you explain why you called your latest album “Blues & Oranges?” ‘Blues and Oranges’ is a title with many layers of meaning to us. The album is a concept album about life and death. It follows the story of a protagonist through their final days on Earth from trivial everyday life developing into something bizarre as they drift into insanity and finally a death and rebirth experience. A prominent idea we had for the album cover was to have a picture of an orange covered in blue mould symbolising how even the sweetest things will succumb to rot and decay, and the inevitability of death. At the same time Earl’s girlfriend had painted and gifted him a portrait of a very striking orange and blue face. We liked both images so much that we decided to superimpose a

mouldy orange over the portrait, giving the face an amazing porous texture. The title we were working with at this point was a line from a poem, “buzzing dawn’s blueings”. We decided to simplify it to ‘Blues & Oranges’. Blue and orange are complimentary colours so they’re aesthetically pleasing, it sounds interesting when said aloud, as well as looking good written down. It is also a reference to the ocean (blue) which is a prominent lyrical theme throughout the album, as is sunrise and sunset (orange), which is also an image we saw a lot during the writing and recording process, most of which took place at Ben’s bach. The album was recorded with a lot of vintage analogue gear which gives it a very warm sound, but the songs are also quite sad, like having the blues. What an answer Dan! How about your last album “Lesser Flamingo?” ‘Lesser Flamingo’ was inspired by questioning what we value and ideas of beauty. Flamingos are beautiful and amazing animals but the full name of the pink species we commonly think of is “Lesser Flamingo”, as opposed to another quite plain looking species of flamingo which scientists identify as the “Greater Flamingo”. The plainer species of flamingo is greater in size, hence “Greater Flamingo” but is the Pink Flamingo really “lesser” because it’s smaller? Many prefer it because of its

bright pink feathers. If it was up to an artist to name the species instead of a scientist would they have been named differently? They are also extremely flamboyant which definitely represented the in-your-face maximalist approach of songwriting on that album. There are continuous themes surrounding animals on the album with the songs ‘Lunar Bats’, ‘Turtles’, ‘In Dolphins He Trusts’ and ‘I’m Becoming More Like An Animal’. That’s definitely an interesting one,“I’m Becoming More Like An Animal?” The song ‘I’m Becoming More Like An Animal’ was written by Earl as he was observing a cat which lived at a house he was housesitting. It is self-reflection on how his own hedonistic tendencies were beginning to have more and more control of his behaviour. It’s about a slow erosion of society and cultural norms into animalism, which is commonly seen as a bad thing though it is arguably more honest and therefore pure. How do you go about “Eclipsing The Night Away?” ‘Eclipsing The Night Away’ is less about what you do and

more about what you choose not to do. It’s a call from people who care about you not to indulge yourself in night time’s entertaining yet harmful habits. “Eclipse the night away”, she said. “Leave the colours in the day.” Nice. How would you describe your songwriting process, if there is one?! Earl will typically come to band practice with the skeletons of a song. Either just the chords and lyrics to a section or sometimes something fully structured, usually in the form a demo recording with some basic drums and bass outlined. We’ll all work together to make the song as good as we can. We pay lots of attention to the way the guitars are working with or against each other and how the bass and drums are locking in and carrying the momentum of the song. I love your album artwork, who is responsible for that. The artwork for ‘Lesser Flamingo’ was a collaboration by two high school friends of the band, Ben Metge and Ben Carroll. I believe the picture is a photo of vivid inks on glass with a light shining on it from underneath. The original portrait for ‘Blues &

Oranges’ was by Earl’s girlfriend Dieuwertje Hehewerth who is currently studying art in Amsterdam. Our drummer Vince McMillan superimposed a photo he took of a mouldy orange over the top. Similarly, the video for ‘Love Film’ is great, who directed it? The video for Love Film was directed and shot by Marc Swadel. He is a very talented film maker and was great to work with. What does the next 6 months hold for Sherpa, where are you playing next? Earl is currently in Europe seeing his girlfriend and passing on our music to industry people so we have no gigs lined up for the immediate future. We do however have two new singles and videos we recorded before he left which we’re going to release soon, both of which are so new they didn’t appear on the album. When he gets back it’ll be straight back into touring. Sherpa website

He Kaakano ahau2 ( seeds growing )

He Kaakano Ahau (I am a seed) is an ongoing collaboration of works by husband and wife duo Jason Nathan (Carver-pounamu)(Ngapuhi, Ngati Whatua), Kiri Nathan (weaving,fashion) (Ngapuhi, Tainui) and acclaimed photographer David K Shields. we ran a series of early images from the colab in the first issue of BLKonBLK and will happily do it again, we love this project! Each photographic subject is of Maori descent and each image represents a perfect synergy between designer , carver and photographer . We asked Kiri for her thoughts on the beautiful people in these images by David k Shields...

Ruanui - A quiet determination behind the face of a god!... respectful and humble.. You can see the aroha of his whanau through his inner strength and knowing...

Erin - Subtle, gentle and shy...It was easy to admire her way... she is dreamy and mysterious..internal and beautiful

A stley - Well , what can I say l ol!! this guy ha!! My golden child!!

Devon - Fire wrapped in cl ouds of warmth, laughter and life, her strength and focus is equaled by her stunning natural beauty... must be from her Toi genes (yup shes my whanaungatanga) Maia - Quiet and graceful , I could tell she was a dancer just by watching her move...how she held herself....she possesses a special kind of beauty, internal and external ...timeless...

Kiri Nathan website Jason Nathan David K Shields

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C OLLEC T IV E FORCE in a whirlwind six months, 17-year- old Julie Anderson went from her restrictive home life as a central florida teen to the cover of cosmopolitan. In the ensuing years she would go on to a further 30- odd covers, become the incumbent L a perla girl , shoot with some of the greats, have children and travel the globe with said children. then she met black mag editorat-large and photographer paul empson, and the rest is history. julie talks to grant fell and rachael churchward about models, moms, feminine collective, our rach and tyra

Photography: Paul Empson Fashion Editor: Sam Ranger Hair: Kuni at See Management NY Make-up: Mark Edio at See Management NY Model: Julie Anderson at LA Models 74

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Grant Fell: Let’s start at the beginning Julie, when and where did your modelling career start? Julie Anderson: It started in Central Florida in 1987, and it’s actually a miracle that it started at all. I was raised as a Jehovah’s Witness. I don’t know if you are familiar with that religion, but it’s pretty restrictive. Anything that involved the outside world, relationships with non members of the church, listening to certain music, going on a date without the intention of marriage, or being involved in after school activities were frowned upon by the elders of the church—not a normal childhood filled with relatively harmless experiences. Right? GF: For sure…When I entered high school, in 9th grade, I crawled into a shell. I had two or three good friends. One of my friends would always bring in fashion magazines. One day she brought in Cosmopolitan magazine with Paulina on the cover …Paulina Porizkova? Exactly. I remember looking at her and thinking, my eyes are kind of like hers, and my neck is kind of like hers. I always felt awkward, ugly, and didn’t fit in anywhere. Then, I heard on the radio about an Elite Modeling competition happening in Orlando. My parents took me to that competition—a bold move. The universe stepped in, and my destiny was changed forever. I was courted by agencies around the world, but I had never been away from home before. I decided to go to Chicago first. It seemed less daunting than New York or Europe. I was only seventeen. When I arrived in Chicago, I was lucky enough to work straight away with the great Victor Skrebneski. He launched Cindy Crawford’s career. His photographs are iconic, old school—fabulous. Shortly thereafter I secured my first major booking with American Vogue. I went from small town America to Vogue magazine. Wayne Maser was the photographer for that shoot. Kara Young, a supermodel in my eyes was my buddy on the shoot. I remember walking in and seeing Polly Mellen, do you know who Polly Mellen is? Rachael Churchward: Absolutely! She was the stylist on that shoot. RC: Wow, my hero! …She took one look at my arms and said “Her arms are too hairy!” I was immediately shuttled off to get my arms waxed. It was hysterical. I was this

doe-eyed kid. I remember Wayne Maser suggesting that Kara and I act like lesbians, and I actually had no idea what a lesbian was! GF & RC: Ha ha ha…Shortly after my career took off in NYC, I met a man who rocked my world. However, the indoctrination of my youth was still ingrained in my head, and being in a serious relationship without the seal of a marriage certificate bothered me. I ended up getting married at a very early age, already pregnant with my first child. The industry frowned upon both my union and the impending birth of my child. They said it would ruin my career …GF: It obviously didn’t …No. But I was always very stubborn and headstrong, I did what I wanted to do, which definitely made it harder, but I had an epic adventure. Even though my marriage didn’t last, I was blessed with an incredible son who travelled all over the world with me. GF: It seems the fashion industry views things a bit differently now. Karl Lagerfeld made a feature of NZ model Ashleigh Good’s pregnancy in the latest Chanel show …When I was pregnant, Tyen photographed me before and after for British Vogue. I am pretty sure I was one of the first people ever to be published in a major magazine completely nude and pregnant. I just covered my nipples. After that, Demi Moore famous Vanity Fair cover hit the stands. GF: I was going to ask if that was pre the famous Demi Moore cover…Oh, she probably got the idea from us …(laughs) … so anyway, yes, that’s how I started. GF: We have been through a bit of a list of photographers you have worked with and the list is outrageous; Patrick Demarchelier, Irving Penn, Avedon, Gilles Bensimon, Helmut Newton, Arthur Elgort, Bert Stern, Albert Watson, Tyen … legendary names … any anecdotes? I have one that just popped into my mind with Albert Watson. His photographic eye is exquisite, and his studio was something else. At the entrance to his studie, a 20 foot high angel floated in his courtyard. It had been brought in with a crane. That Angel always had our backs. Albert was very kind … intense. I remember him showing me images as they came out of the darkroom—those were the days when you actually had a dark room! Everything has changed so much … I loved that about Albert, he was inclusive. GF: What about Avedon? Avedon shot Estelle Lefevre

and me on the same day for a Vogue cover try. That was so intimidating. Being in the same room as Estelle was surreal, she was one of my idols. Me, a kid from nowhere who found herself in this creative genius atmosphere—Avedon’s world—was too much to bear! I remember feeling like I was under a microscope. Frankly, I did not feel like I belonged. Avedon struck me as someone who was very mathematical in his approach to capturing an image. Clinical almost. He was focused. GF: Was Irving Penn similar? That was intense. He was such an unassuming man, very gentle. Someone told me once that he didn’t sleep more than four hours in a night. He was insanely creative with a great team around him who supported and protected him. You could certainly never question anything he asked you to do. If he wanted you to put dog poo on your face for a photo you had to do it (laughs). Inevitably, the photo was always a masterpiece. GF: On your personal website you have around 30 covers, do you have a favourite cover or one that stands out for you? I think the Cosmopolitan cover, my first cover. Me, the geek that was never invited anywhere, leaves town without farewell and turns up six months later on the cover of Cosmopolitan - that was pretty special. Things moved pretty quickly once that cover came out. There were a lot of invitations to the high school prom after that! GF & RC: Ha ha, we bet there was! You worked with legendary make-up artist Kevyn Aucoin as well, right? Yes. After Kevyn Aucoin did my make-up, I would keep it on for as long as possible. I once did a shoot with him in NYC and I said, make sure it sticks because I am going to a party tonight, in Los Angeles! When I got off that airplane in Los Angeles, some 6 hours later, my face was still on! RC: Ha ha that’s brilliant…Looking back though, at that Cosmopolitan cover, I was way too thin, But now, the girls in the industry, look at them … can you believe the girls on the runway now? RC: One of the problems is that half of them are about 12-years-old…GF: And shipped, en masse, from Russia …RC: … and physically underdeveloped … and, unfortunately, in those fashion capitals there is an element of being encouraged to be far too thin … It’s ridiculous. When Paul and I were in New York, last fashion week, I was gobsmacked…

“The geek that was never invited anywhere leaves town and six months later is on the cover of Cosmopolitan, that was pretty special . Things changed pretty quickly when that cover came out, there were lots of invitations to the prom!” Opening page: Jumper by Margaret Howell This page: Jumper by Cacherel, trousers by Maison Martin Margiela, slippers by Robert Clergerie 77

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“I arrived for the go see with my young son, a nanny and a menagerie of animals. I stepped out of the cab, looked up and locked eyes with Paul . We both swear that cupid shot his arrow that day. L ove at first sight”

RC: We are quite lucky here in New Zealand, where body shape, in general, is a little more healthy. We have a healthy lifestyle here: the food and exercise is part of life and, generally speaking, we prefer healthier looking girls. Sometimes girls come through here, en route to Australia or even to do a stint in New Zealand, and they have just done fashion week up there and they are quite often just skin and bones …The pressure is insane, these girls are swallowing cotton balls. RC: I think it is mainly built around runway, the girls that get to your level have to be healthier, they can’t be super skinny. The girls we have on our covers, for example, they can be lean, but they have to be healthier than the runway girls you are talking about … those are the jobbing models, the ones that are neither here nor there. They book shows sometimes but are not really getting much attention …Yes, that’s the curse of the industry. Even somebody like myself that has enjoyed quite a few highs in my career, I still suffered extreme self-worth issues. I never really felt that good about myself right up until I would say about two years ago. Even with the campaigns and everything, I still had huge doubts. My confidence was very low. You are right when you say that it takes a little more to be successful nowadays in fashion. There are a lot of models at the top right now who look great but who do not live healthy lifestyles. They have a team of people telling them they look phenomenal, but in the long run they are not really interested in their actual health and well being. Models are a commodity. I find it remarkably sad and really heart-wrenching. RC: I do feel lucky being here in NZ. It is a small place and Grant and I and our Black teams, we really, really nurture the models. They are the kids we never had, and we see it as really important that they feel safe and secure…There is stress on the models throughout the high fashion capitals, but the worst place, in my opinion, in terms of stress placed on models, is Japan. The Japanese aesthetic for beauty is extreme. I agree with you about New Zealand. A phenomenal country where its citizens are loving, family-oriented and truly human—embracing life and all its glory. In all my travels, it’s just so rare. GF: One of the highlights of your modeling career must have been your role as the global face and body of La Perla, for five years. What an incredible brand with a rich history

… five years in a row. They kept coming back to you …They were the best. I was working with a man named Nadir and his wife Alexandra and for some reason they just loved me. I was constantly booked for La Perla. We did shoots in Lake Como, Milano and Paris. It was off-the-charts fabulous. I mean that’s an investment you want to make! Every woman should buy herself some La Perla underwear (laughs). With my career skyrocketing, I think, at that point, I turned into a bit of a diva. I began requesting to be flown to Paris via the Concorde, and they obliged. They were dream clients. GF: Wow, the Concorde, what a plane! It was insane! The Concorde, first of all, was a majestic bird wasn’t it? Being able to cross the Atlantic in 3-and-a-half hours was a dream! GF: In the nineties, at one point you were officially designated as a supermodel …Apparently, I was. I don’t really like that term; I think it’s kind of cheesy. The real supermodels are obviously Kate Moss, Naomi Campbell, Christy Turlington, Cindy Crawford, Linda Evangelista—we know who they are. I find it embarrassing when I am called a supermodel. The title does not belong to me. GF: You had this huge modelling career, which tapered off a little around the millennium, that was when you came to Australia. In 2001, we gave America the big flick because of political reasons and our addiction to travel, next stop, Australia. In the early 2000s, I was raising three kids, living in Sydney. I really just didn’t worry about my career anymore. I was focused on being a mom. After having my youngest child Jalen, I realized that I missed the fashion business. I missed meeting people from different walks of life, and traveling to exotic locations. I LOVE it! RC: I do too …GF: Same …And that spiritual connection thing, you meet someone and think “my God, we must have been separated at birth, you must be a distant relative.” GF: What about your husband Paul, who is the photographer in this story. Tell us about the time when you met Paul …Okay. Well, as you know, you are only as good as your last tear sheet in this business. It’s brutal. When Kate Moss came on the scene—all of a sudden people had to lose a thousand pounds, cut their hair and embrace grunge. I jumped on that bandwagon as well. Cut my hair off

and dyed it various colors. Doing anything it took to look grunge. I needed new photos for my portfolio, and fast! Fortunately, I ran into my friend Alexander Becker, a make up artist. He showed me his portfolio and some of his pictures blew my mind. I asked him who shot those images and he said Paul Empson. So I said, (adopts diva voice) “Tell Paul I would like him to take my picture.” (laughs). It turns out Paul knew who I was. … Apparently, he had seen me at parties and thought I was a diva. He told Alexander that he was not interested in shooting me. As luck would have it, shortly thereafter, he had a shoot where the lead model was based on John Travolta in Saturday Night Fever. At the last minute, the model that was booked for the shoot pulled out. Paul remembered that I wanted to work with him. He thought my face structure would fit the androgyny look that the shoot required. He took a chance and arranged a meeting with me. I arrived for the go see with my young son, a nanny and a menagerie of animals. I stepped out of the cab, looked up and locked eyes with Paul. We both swear that cupid shot his arrow that day. Love at first sight …G&R: Awwww … GF: Let’s talk about where you are at now and Feminine Collective, your website. We really like the site …Really? You are not just saying that? RC: No. Really, we like it a lot …good messages! Just yesterday, I was talking to a successful Australian model and she said to me, “Julie, I’m 36 years old, and it’s hard to work. I don’t understand, we’re not old!” Personally speaking, we are just now feeling better about ourselves, but the industry tells us we are not sexy anymore. Like you mentioned earlier Rachel, most media for women over 35 is boring as hell. Resigning ourselves to a matronly persona, at this point, is really all that is available to us, in my opinion. That’s just not where I am at. Forget it! RC: It’s not over. Just because you hit 30, 40 or 50, there are a whole bunch of new things to be excited about! In Australia I started working again, I did a few commercials, a few spreads and campaigns there. I had fun, but mainly I was still just a mom. I think in the Southern Hemisphere being a mother is very important. It’s valued and respected. You don’t feel like a loser.

Shirt by Turnbull and Asser, jumper by Berthold 78

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In America, motherhood is not deemed as important as having a high profile career. The bar is set incredibly high. As I emerged from being just a mom, I started searching for my passion. I thought about going back to school but then it dawned on me that by the time I would have finished and paid off the student loans, I would have been 75, you know?! (laughs). So, when we returned to the Northern Hemisphere, I reconnected with all of the people I had lost contact with. All of a sudden, after all of these years, I had this network, this incredible network, of insanely fabulous women and men. There where a handful who helped bring me back to my former courageous self, helped me conquer my inner demons if you will. They said “Julie, c’mon, you feel like that? Look at you, you look amazing!” And then I thought to myself, “Jeez, if I feel like this, there must be other women out there who feel just like I do.” GF: Was that the genesis for Feminine Collective? Yeah. I started thinking that it would be great to tap into this amazing group of women that I know, from the fashion, music, and entertainment industries. People with their experiences, their backgrounds, who have something positive to give back, whether it be a little make-up tip here or there. People who could be brutally honest about beauty, about life, about experiences and tell their stories. For example, being honest about always having a belly issue until they realized, “Wait a minute, I have been sucking in my belly all my life, right up until I was 50. I’m letting it go man, I’m in my bathing suit and I feel hot!” People need to hear real stories, like the unsung hero, a little Chinese lady who lives up the road and is always passing food out to the homeless – maybe it would be nice to know about her … all we know about, it seems … are the Kardashians (pauses) RC: Oh God…I mean, c’mon, it makes me wonder what is wrong with society and why the world is going to hell in a handbag. So, I reached out to perhaps my closest, and perhaps first friend in the industry, Marla Carlton. She was an early model buddy in Chicago. When I told her about the Feminine Collective idea, she jumped onboard immediately. She is an award-winning graphic designer and art director. My partner in crime, we are both

fulfilling our dreams, writing and curating for Feminine Collective. We launched at the end of January, since then it’s been a wild ride, meeting incredible people along the way. Like Michelle Rigby, a brilliant mind, and the author of our first column, Inspired Intel is ex-CIA, working undercover for 10 years in the Middle East. She was like me, raised with a religious, conservative background. In the CIA she literally had to go up against terrorists. As an agent in the middle east, she was a woman in a man’s world, one of the CIA’s secret weapons. She has just finished her book, and will be a published novelist soon. Her takeaway after a decade in the CIA, is with her knowledge she can help to empower both women and girls. She writes bi-monthly, in her exclusive column for Feminine Collective about self-defense, career skills and relevant news. The CIA reviews and approves all of her articles before they are published on Feminine Collective. I think that that is so cool! GF: I like the way you write on the site Julie, you write with a concise, open voice. It is easy to follow and understand what you are saying and thinking. Thank you! I love what you guys are doing too. Black is not your average fashion mag is it?! With Feminine Collective, we have had some remarkable moments already that have just blown our minds. We have jumped on this massive wave of female empowerment, not so much feminist, but rather empowerment that comes from embracing all of our gifts, feminine notwithstanding. GF: Ok, now the near future. Can you tell us about the TV show you are going to be doing with New Zealand’s sweetheart, Rachel Hunter? You know, I had not seen her in over twenty something years! My new agent in LA suggested I might want to consider doing a reality TV show—namely one that was casting at that very moment. Being the new kid on the block in Los Angeles, I am always up for a new adventure, and by now, my skin is pretty thick! I soon found myself at Lions Gate, which is, of course, a huge entertainment corporation. The guy I met there for this casting was the creator of wildly successful reality shows like Jersey Shore. He’s a great guy and at 31 years old, he is hot shit in this town. Last year, he sold something like 30 television shows. Anyway, this particular

show is still under construction. I can’t say too much about it … other than it involves modeling and motherhood. And that is how I was able to rekindle my relationship with Rachel. She too was tapped to be in the cast. Whatever happens happens, meaning, if could be wildly popular and run forever, once launched, or not at all. I can say that going into that meeting and finding my old friend again, the one and only Rachel Hunter was a gift from the gods! Rachel and I have all kinds of ideas about other potential projects and daydreams of what life should be like. She is a celebrity, a true celebrity that is for sure! The last time I saw her we met at the Chateau Marmont, had a bite to eat and called it a night. Leaving the Chateau heading to my car, she whispers “Run!” All of a sudden Paparazzi appear scuttling around her. I had my handbag. I didn’t know if I was supposed to protect her, but I am swinging it around (much laughing) to cover her face, or to wave it like a weapon in the paps face … it was really odd. I don’t know how I would deal with that celebrity stuff. RC: Oh, I think you would have fun … GF: With your positive attitude to life, I am sure you will … Before we go, I loved the Tyra Banks cover on the last issue of Black, can I tell you a Tyra story? RC: Please do! …I remember Tyra when she first started. We did the Chanel show together, Tyra was 15 years-old. Her mother was there. She was the prettiest girl in the room. The sweetest, well-mannered model around. I remember how the divine Miss Naomi Campbell, was not happy about Tyra being there. In fact, she was very unpleasant to Tyra. How Tyra handled herself during what was an uncomfortable exchange was remarkable. She was incredible. Look at her now! What a role model. What a remarkable success story. Girl does know how to smize doesn’t she?

“I started thinking that it would be great to tap into this ama zing group of women that I know, from the fashion, music, and entertainment industries. People with their experiences, their backgrounds, who have something positive to give back

Feminine Collective website The Julie Anderson.com

Coat by Umit Benan 80

Jumper by Lou Dalton, trousers by Maison Martin Margiela, shoes by Max Mara 82

Top row left-right: UK Elle 1990 cover, Spanish Harpers Bazaar cover by Paul Empson, Harpers & Queen cover by Mario Testino This row left-right: Images from Paul and Julieâ&#x20AC;&#x2122;s first shoot together for Italian Harpers Bazaar 83

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ro me with l ov e B lack Magazine editors Grant Fell and R achael Churchward travelled to the eternal cit y of Rome to at tend Alt aroma and witness the ITC Ethical Fashion Iniative’s work in three part harmony. Marching to the B eat of Africa were four designers: Stella Jean, duaba ser wa, Mina Evans and Lisa Folawiyo. Room Ser vice housed Anit a Quansah L ondon, Christie B rown and MO SAÏQUE. Meet Stella Jean the Initiative’s designer success stor y, a further five like -minded African designers and Alaria Venturini Fendi, founder of Carmina Campus a prominent champion of the cause...

Stella Jean SS15 at Beat of Africa Photo: Luca Sorrentino 84

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stella v isi o n Haitian-It alian designer Stella Jean is the future of fashion according to Giorgio Armani. With her expansive vision, vivacious search for new fabrics, classic European t ailoring and artisanal production spread across several of the ITC Ethical Fashion Initiative’s hubs, he may well be right . Grant Fell and R achael Churchward meet her for an espresso near the Complesso Monument ale, Santo Spirito in Sassia, Rome. Images by ITC EFI, unless other wise credited Grant Fell: Kia ora Stella, tell us a little bit about yourself. You were born here in Rome? Stella Jean: Yes, I was born here in Rome. My mother is from Haiti, my father is Italian he is from Turin, the city of Fiat. Growing up in Italy in the 80s wasn’t that easy for me, it is a wonderful country but back then it wasn’t really that ready for a multi-racial family. It is much more ready for that now but as you can imagine in the 80s it wasn’t. So, through my childhood and then my teenage years, I have been through some…I would say…struggles because I had a huge problem with my identity…GF: In what sense? For instance, my school, which is now my son’s school, I wasn’t the only black girl in the school but at the same time I was Italian like all of the others weren’t. I didn’t have the opportunity to go into a community or group like say Haitian, because I am not just Haitian, I am Haitian-Italian. So at 16 I started pretending that I was just Haitian but the Haitian kids didn’t really accept me because I was also Italian! So I started looking for an opportunity to create something, I started looking to see if I had the skills to paint or write, and then I discovered I had the capacity to work with fabrics, I liked clothes and found it was my

way to communicate so that is what I started to do. It wasn’t about aesthetic at all, I didn’t start for an aesthetic reason. It wasn’t a link to the fashion mainstream, trends, it wasn’t about that at all. It was just to show that I can put in the same styling, the same outfits, Italian structures that I would see – which is typical of my collections because it represents my father’s side, 99% of Italian men wear these shirts and most of the time they are striped! GF: Were either of your parents in fashion Stella? No, no. They use fashion in their lives but in a very easy way, they do not follow trends, it is not about that, I used to go with my father to the tailor who hand-made all of the men’s clothes and my mother, in fact my grandmother, too, liked all of the French designers of the time but with a Caribbean twist. Chic with something a little extra…GF: More colour? Yes…so I started making clothes using the wax fabric, which looks African but is not, it is in fact from Java… GF: In Indonesia? Yes but now most of the wax fabrics are produced in Holland. So that was the first lesson for me that you don’t need to trust appearances so easily. The first thing people say when they see my clothes is: “Ah that is so African,” but, maybe it can be so

Holland! (laughs). Really the only truly African fabrics we have are the ones from Burkina Faso. For example in this latest collection there is the Bogolan, a fabric and print created using a mud technique, it is all hand-made. If we can put Haiti, Italy, Mali, Burkina Faso, Japan into an outfit it can all work so easily and I see that mix of fabrics as like real life, the same kind of communication between people can work in real life if we just begin to be less scared. I think people here at least get scared of different textiles, prints and colours. We have always had a lot of African influences in European fashion, in the 60s and 70s there were designers like Yves Saint Laurent, particularly in spring/ summer collections so it is nothing new. It is the approach and the point of view that has to change now. It can be a caricature and a parody and has been for a long time to almost look at African culture and say, “Oh, nice, oh cute…” but we don’t have the right to do that or say that but if you just take a few minutes to understand those techniques like Bogolan are very sophisticated. It is not easy at all or simple, these are sophisticated techniques, just like the Italian ones, like lace or embroidery that we respect a lot. We

Opposite: Stella in Haiti This page: Clockwise from top left: Stella’s Bogolan print for SS15 (photo: Luca Sorrentino), Stella Jean SS14 look book, working in Burkina Faso, warping of yarn for SS14 fabric, Stella & Simonetta Gianfeleci working in Burkina Faso should also start to respect these African fabrics, because in the fabrics you find the culture of a country. So, I think it is the approach and point of view that needs to change. Rachael Churchward: Absolutely, these artisans are good! GF: Yes, it is just a perception really… Yes. It’s not just the aesthetic. The world is full of beautiful things, beautiful clothes. There are all those high street stores producing a beautiful collection each week! But it can’t be just that anymore, just beautiful clothes, we need something more, something different. RC: There is definitely a story in your clothing Stella. Your show yesterday was a complete styling story. I loved it. The way you mixed your textures and patterns, the girls wearing brogues with that, you were telling a story all the way through it. I loved that fabric, the one made with mud? Yes, the Bogolan…it’s incredible you can find out more about a country than you can if you go on Wikipedia if you just take time to understand their fabrics and the culture behind them. That print is a like a giraffe

skin, each single line is made by hand…RC: By painting? No, not painting. They use a kind of sand, which is the white lines and then fill it in between with a layer of mud, just mud. GF: And it just soaks in? Yes. And with that outfit, the fabric was produced in Burkina Faso so it is African but the bag with that outfit was produced in Kenya, with Simone and the ITC Ethical Fashion Initiative. I think, though, it doesn’t help to try and look ethnic anymore. Some labels use this concept a lot. Ethnic - the idea that because it is African, you are helping people by buying this, even if you don’t really like it! No, you have to buy it because you like it. Fashion works like that, it can’t be a charity purchase. There is no point in buying fashion for your conscience. RC: I can think of many people back in New Zealand who would love your clothes and buy them because they are great, not because they represent Africa or anything. Grant, I am thinking of Jessica for a start. GF: Absolutely. And Thistle…Africa is a lot more advanced than people think,

they are not kids - they are a centre of culture. I am always impressed with how sophisticated they are, the people we work with and meet. People have the impression that everything happens in villages and yes the techniques come from century-old knowledge but it is not mud huts, there are big buildings and factories and cities. RC: I think for us as New Zealanders, this resonates with us too as there is a strong Polynesian culture there. We are Maori and Pacific Island, there is a strong Asian culture – it is very multi-cultural so there are fabrics which are part of the wider society, like Tapa cloth from the islands…What is it called? GF: Tapa, it is made from bark, a type of cloth and it is used traditionally in most of the islands: Samoa, Tonga, Fiji, Cook Islands, Niue…Tapa? RC: Yes, T-A-P-A…I am always looking for new things like this, I will have to research it! GF: There are many things I think you would find interesting in our Polynesian cultures; weaving, weaving is an art form used by almost all Polynesian cultures, there are many different types of dyes and techniques used, 87

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This page: Stella Jean SS15 and SS14 (both photos: Luca Sorrentino) Opposite page: Left-right: duaba serwa, Mina Evans and Lisa Folawiyo aAl photos: Luca Sorrentino

different textiles…RC: I think there are a lot of New Zealanders who would love Stella Jean, your style is quite suited to us! GF: So how did your connection with Simone and ITC Ethical Fashion Initiative happen? Simonetta Gianfelici, I think you met her, yes? She is the talent scout for Altaroma (Rome Fashion Week). Twice I entered into ‘Who Is On Next’, which is the new designer contest and twice I was rejected (laughs) and the third time I got in and won! Afterward I developed a special relationship with Simonetta and she introduced me to Simone. Before we met she said, “You have to meet this man because he is just about what you do. I was always doing research about other cultures, which is why I am now interested in Tapa, and then I met Simone and it was love at first sight. It was incredible, he started talking about Burkina and then he showed me some fabrics from Burkina. If someone else had shown me those fabrics I would never have imagined that it was from Africa. From that moment on we started this journey and together we have been through Burkina Faso, Mali and the last one was to Haiti so I was able to come back to my own roots (because ITC Ethical Fashion Initiative have a hub there). Yesterday was just a little sample of the whole collection we will be showing at Milan Fashion Week in September. In that collection you will see another point of view of Haiti, which is an island that many people know just for the earthquake or being a really poor island. But, it has its own artistic wave, a style of painting called Naïve. In the show yesterday you would have seen some of those paintings in the last dress. GF: Yes! That 88

was a beautiful dress…and it absolutely reminded me of the Caribbean. We also made those bracelets there in Haiti, the metal ones and there were other Naïve elements, like the market and then also the Papier-mâché…you see people will talk about Haiti but never talk about this, like the Naïve paintings and yet it is all typical of Haiti. We think about everything in the design and styling, it is so linked to so many cultural aspects. GF: When you show in Milan in September is that the first time you have shown on schedule? No, it is the third time. The first time was with Armani, when Giorgio Armani invited me to show…RC: That’s a big honour, to have been invited by him. Of course, and being invited into his temple, the Teatro Armani! GF: Where do you retail Stella, is it worldwide? Yes…RC: Except in New Zealand as far as I know. How about Australia? Yes, in Australia we definitely do , in fact we have had a lot of requests from Australian magazines for samples just in the last month, Vogue Australia, Elle Australia…GF: Great, hopefully we will see you in New Zealand soon! So the ITC Ethical Fashion Initiative is it more of a mentoring, guidance thing or are they more like a partner, a business partner? I hope…that they consider me as a business partner because it is not a…trend, for me. It is part of the DNA of the collection, together we are always looking for new surprises, new culture. We are on a constant search together. We can’t stop! It is really interesting working with Simone, you wonder what will be the next country for us to work with, you never know. Maybe New Zealand! (laughs) GF: Hell yeah! At this point the ITC Ethical Fashion

Initiative’s Chloe Mukai joins the conversation and summarises the partnership. Chloe Mukai: I think Stella Jean perfectly encapsulates what the ITC Ethical Fashion Initiative is trying to do. When we met her she was already doing this, she was doing this anyway. It was not like we approached another brand and said, “Do you want to produce a collection in Africa,” she was already designing with that level of aesthetic. In so many ways, she is the perfect match for us. Stella Jean: I think this is something that could happen in New Zealand. Why can’t you take a designer from New Zealand and mix them with a Russian designer or fabric, or Greece? I think the world will change in that direction, we are travelling so much and so easily now, races are melding together much more. I am Haitian-Italian but in a few years there will be many, many more racial mixes, much more than mine…but it doesn’t have to be patchwork as I like to say. I don’t mix my own cultures; Italian, Haitian or even African as a patchwork, one over the other, they have to communicate in an equal way. Like my fabrics, I treat all of my fabrics in an equal way. That is the change…GF: Fantastic, the fashion world can do with this sort of change… RC: Thanks Stella, see you next time! Stella Jean Australian stockists: Brisbane Carmargue Melbourne - Christine Barro Stella Jean website

a f rica n beat Altaroma is in its 25th year. The venerable event is more than a fashion week, it fuses high quality artists (this year US street artist DAIN headed up a substantial list), fashion (from Italian couture houses to African designers), launches new talent (Who Is On Next and A View On Talents - both in partnership with Vogue Italia) and pairs artists with designers (A.I - Artisanal Intelligence) among many more events, exhibitions and shows. Beat of Africa was the ITC Ethical Fashion Initiative’s opportunity to showcase not only the increasingly fabulous work of Stella Jean but three of Africa’s rising stars in Nelly Hagan Aboagye (duaba serwa) of Ghana, Nigeria’s Lisa Folawiyo and Mina Evans, also of Ghana. A shared vision between all of the designers at Beat of Africa emerged; a colour palette of earthy, yet vivid hues; fantastic prints that often verged on pictorial; and an absolute sense of the infusion of culture into garments, accessorising and even styling. Nelly Hagan Aboagye has designed from an early age when she began resizing her mother’s clothes to fit herself and despite studing in the medical field at the University of Ghana in Legon she returned to her first passion, fashion, in 2007 when she launched a jewellery line. She named it duaba serwa (Serwa, the daughter of a tree) and by 2011 had expanded into making dresses and

that year won the British Council’s Young Creative Entrepreneur Award. This year’s Altaroma marked her 6th international fashion week. Mina Evans graduated from the London Centre for Fashion Studies at Johannesburg Design School in South Africa before working under the premier fashion designer in Ghana, Mr Kofi Ansah to learn her craft. Mina Evans-Ansform describes her style as a love of “fusing luxurious fabrics with Ankara to produce feminine, stylish pieces that are wearable time after time.” Ankara is often called African print, was originally a Dutch wax print but now very clearly gives the impression of African culture. Mina Evans also has a range of menswear dress shirts which she says are “carefree and cool with a hint of afrocentricity.” In addition to Altaroma, Mina has just shown at Glitz Africa Fashion Week held in Accra, Ghana. Lisa Folawiyo launched her first label, Jewel By Lisa in 2005. Like Mina Evans she had always had a love of Ankara but felt it had been worn and used for ever. She decided to create something new by embellishing the fabric with Swarovski crystals, sequins and beads and Jewel By Lisa was born. More recently the label became the eponymous Lisa Folawiyo and has enjoyed considerable success, not just in Nigeria but further afield. Shows at Lagos Fashion & Design Week have

been joined by Johannesburg, London, Paris, Milan (Vogue talent) and New York Fashion Week (twice). She retails online through Moda Operandi, has collaborated with Blackberry and L’Oreal and has even sold her line in a pop-up store inside Selfridges. All three designers already have solid local and international followings and like Stella Jean are making their mark in many places. The Beat of Africa show itself was fantastic. Held in the Sala Lancisi, a hall inside the magnificent Complesso Monumentale, Santo Spirito in Sassia, a stones throw from the Vatican, attendees included Suzy Menkes - Vogue’s International Fashion Editor, Altaroma’s Simonetta Gianfeleci and movie star Rosario Dawson who is co-designer with Abrima Erwiah of Studio One Eighty Nine. It is pertinent that seven of the ten fastest growing economies in the world are in Africa, these designers are well poised to grow their businesses. The exciting thing is that, with supporters like the ITC Ethical Fashion Initiative, they are also growing the chance to incorporate and spread their cultures to the world. duaba serwa website Mina Evans website Lisa Foliwayo website

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roo m t o m ove Ghana was also well represented at the third event associated with the ITC Ethical Fashion Initiative, Room Service. Christie Brown, MO SAÏQUE and Anita Quansah London, are all of Ghanian descent, although London is now a base for two of them. The event was held on the Sunday night we arrived in Roma and as we had been travelling for 35 hours or so our visit was shortish but the quality of design, fashion, footwear and accessories on show set the tone for the rest of the week. Christie Brown is based in Ghana but aims to satisfy the urge of modern women anywhere who “seeks a true taste of Africa.” Founded in 2008 in Accra by creative director Aisha Obuobi she named the label after her grandmother Christie Brown, a seamstress that created “rich and vibrant garments.” Like all of the designers we saw in Roma, Aisha infuses large amounts of her own culture into her collections and offers a broad range from a full bespoke gown to statement pieces and innovative accessories. In 2009 she won the Emerging Designer of 90

the Year award at the inaugural Arise Africa Fashion Week in Johannesburg, has shown at Paris Fashion Week and has been a panelist at the Africa Economic Forum to discuss “African Fashion Going Global.” A banker with a love of footwear, MO SAÏQUE’s Afua Dabanka left the financial industry to study at the London College of Fashion and go on to launch this footwear brand in 2011. Known to friends as ‘Mo’ Afua is of Ghanaian and German heritage, the former being present in the rich, bold selection of colours and the latter in the clean Germanic silhouettes in her designs. At London Fashion Week in February this year, former head designer at Michiko Koshino, Jasper Garvida paired Afua’s heels with his AW 14 show and MO SAÏQUE has become popular with celebs and musos, from the Noisettes’ Shingai Shoniwa to Angela Simmons. UK-based jewellery and accessories brand Anita Quansah London grew up in Nigeria where her art-loving family were quick to encourage her to make her own creations and experiment with different

techniques. The result is a label rich with fabulous, expressive, one-of-a-kind handmade pieces. Of all the designers we saw Anita’s design perhaps felt the most African due to the handicraft, intricate beading, mix of materials and traditional, almost aristocratic way in which her pieces should be worn. Several of the pieces we were shown were in fact inspired by her grandfather, a chief. Room Service offered a glimpse into the vast potential African designers can tap into quite readily - their own culture - much of which is contemporaneously existing and very much alive. Top left: Christie Brown at Room Service Bottom left: MO SAÏQUE designer Afua Dabanka at Room Service Both images: Gianni Catani, Ariel Gabriel La Rosa, Luca Sorrentino Above: Anita Quansah London Photo: Asiko Fine Art Photography Christie Brown website MO SAÏQUE website Anita Quansah London website

chant of lif e Fendi. All fashion followers know the name, an Italian luxury dynasty started by Edoardo and Adele Fendi in 1925 as a fur and leather shop in Via del Plebiscito in Rome. The ‘baguette,” sale to LVMH and of course a creative director called Karl Lagerfeld are fashion legend. It is a global yet oh-sovery-Italian brand perhaps best illustrated by Fendi’s 2 million euro invesment into upgrading that most famous of Roman places, the Trevi Fountain. “It’s about tying us with a city that makes millions of people dream,” says CEO Pietro Beccari. Yes, the Fendi’s are more Roman than just about anyone. So, when the chance came to visit Ilaria Venturini Fendi, youngest daughter of Anna Fendi at her farm on ancient Etruscan land outside of Rome we jumped at the chance. It is there Ilaria and her dedicated crew have based her own upcycled and evironmentally smart label, Carmina Campus. Almost a decade ago Ilaria turned her back on fashion and her role as a designer at Fendi, leaving much of that to her sister Sylvia and purchased the magical

farm I Casali Del Pino with the aim of living a slower, more organic life. Ilaria has always been resourceful and a hater of waste so after several years working on the farm, she began playing around with the concept of upcycling and began creating bags and accessories out of end-of-line scraps from Fendi and elsewhere. Thus was born Carmina Campus, which is a Latin citation meaning “Chants of the Fields.” The company makes bags, accessories and even furniture - all with Fendi style, culture and heritage applied - but which uses and reuses materials that others pass over or discard. This is not “ecofashion” more beautifully-made products finished in a Fendi way. I Casali Del Pino is a vast farm that includes many different sources of food, including bees. As an apiarist, the University of Rome asked her in 2007 to share some of her knowledge with beekeepers from Cameroon in Africa. They gifted her a hat which she promptly turned over to create a bag and her fashion flame and consequently, fashion journey was reignited. She set up her

initial Carmina Campus team and travelled to Cameroon to investigate potential production of the bags, a trip which in turn led to a meeting with Simone Cipriani and the ITC Ethical Fashion Initiative. It is a relationship that has blossomed as handsomely as the flowers on show at the annual Floracult festival held on the farm with Carmina Campus now emploing 70 Kenyans full time. Clearly Ilaria’s vision and willingness to work with the ITC Ethical Fashion Initiative has opened the door for the collaborations to follow: Vivienne Westwood, Stella McCartney, Sass & Bide, Karen Walker and Corso Como among them. Like Stella Jean and all of the designers we met in Rome, Ilaria has a strong vision for the future of fashion. A place where fashion can initiate change, provide work and enrich and empower culture and people. Not charity, just work! Carmina Campus website

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LORDE X M.A.C COSMETICS/A GIRL CALLED JOHNNY/THE GREAT SINGERS OF SELVES/THE LUCKY ONE IS ME/AND THEN SHE IS DARKNESS

BLK B EA U T Y Beauty, it is in the eye of the beholder, and then you smize’ - Tyra Banks

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l o r de KNOW S

Stefan Knight catches up with Ella Marija Lani Yelich-O’Connor about her makeup journey from black eyes to pure heroine. her friend and makeup artist Amber D recreates the lorde look

Photography: Charles Howells Fashion Editor: Rachael Churchward Make-up: Amber D for M.A.C Cosmetics using Pure Heroine range Hair: Stefan Knight using O&M Model: Jessica Thompson at Red 11

Stefan Knight: Hi Ella, how are you? Ella Yelich-O’Connor: I’m great thanks, how are you! Excellent thank you. It’s great to get the chance to chat in amongst your busy schedule. I know, it’s been crazy busy. First up, I wanted to ask you about your earliest beauty memories. I don’t know if you can call it beauty, because I don’t think it looked very good. I was quite young when I started wearing eyeliner to school and I would buy $2 shop eyeliners, I used pencils for a long time and then my friend said have you tried liquid eyeliner and I thought it had to go in your eye so I went into my eye and then shut the lid…Under the lash?!! Yeah, I opened my eye and I could see with this eye that the other one was completely black…The whole eye?! All over the white and everything! Wow, quite cool. But it was burning. Wow, not cool. It was cool for one second, so I had to rinse it out pretty fast. Ouch, crazy experimentation! Yeah, but I did do a pretty heavy black eyeliner for a long time, so I guess that’s my first beauty memory. Nice. Where did you get the idea to do that black liner from, was there a picture you saw or someone whose style you were inspired by? I don’t know. I was thinking about that the other day, because at the time everyone was into lipgloss and like very little eye make-up and I just kind of went straight for a crazy eye. I mean I had my friend’s sisters and stuff that were quite cool, I guess we were influenced by them, but I don’t know, I’ve kind of always gone straight 95

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for stuff like that. For the extreme? Yeah. How about your first makeup purchases, so it started with the $2 shop purchases but has it progressed from there? I still totally rate $2 shop make-up, you get a little burn sometimes but nothing that bad, ha ha ha... I used to get a lot of great lipsticks from there, like zinc lipsticks in crazy colours, you can get greens and blues and stuff. Would you wear those colours? Yeah, yeah all the time. The blue, I still have my blue zinc. Fab, are they the type of zinc that you wear on your nose to protect you from the sun? Well I think so, but these ones really just look like lipsticks, you can get glow-in-the-dark ones, you can get all different sorts. They sound cool. I remember when I was a kid they used to have this fluoro zinc in a stick that you’d wear as a sun protector on the beach…Yeah I think this is like that but a bit weirder…Right, I used to wear mine as a lipstick and tell my parents that I had to wear it to stop getting burnt, but really it was an early form of getting away with wearing makeup as a boy, ha ha….That’s awesome ha ha…Do you have any advice for girls who are getting started with experimenting with make-up? Just do what makes you feel pretty and feel cool. I don’t think there are any rules or any limits, just try stuff out. People will tell you if it looks weird and you can try something else. I used to do all sorts, like glitter and little cell phone gems that I used to stick to my eyes and to my face and stuff. It was super weird and probably didn’t look that good, but…They’re all just different forms of ornamentation though aren’t they…Yeah, and it was about experimenting and just figuring it out. So just try it, you know, Just Do It #NIKE…I really love that picture that you did with KieKie where you stuck all of those $2 shop fake tattoos to your hands, that was a great example of experimentation going really well. Yeah, that was so cool. I wish we’d used that for something but it didn’t end up happening…You should totally do that for something sometime, it was a really cool look. Thank you. Yeah I loved that. Is there anyone you admire as a beauty icon, from modern time or even ancient history? Right now someone who I’m really inspired by is FKA Twigs, she’s just got what I think is a really distinct look that no one is doing right now, she looks beautiful. I love her! That picture of her with the LOVE kiss-curl on her forehead….Amazing! Another person that I’m inspired by, for a different reason at the moment is Brooke Candy…Oh my GOD that ‘Opulence’ video…Oh man, she’s just amazing and everyday is just a completely new look, new hair new makeup, completely new styling, she’s just so versatile. I love her! She’s just about putting the whole thing on, there’s no rule of taking one thing off before you leave the house, she puts 10 more on, it’s more, more, more. she’s totally about everything!! Yeah, it’s hard to pull off, but I think that to me is true style and true beauty, just being so many different

characters like she is. She’s very cool. She’s started working closely with Nicola Formichetti who had previously been creative director for Gaga. It feels as though he took it to a certain level with Gaga and now he has this new more extreme girl who is willing to go so much further… Totally, she’s part futuristic, part 20s glamour… Part cyborg robotic beauty queen, when I first saw that ‘Opulence’ video I almost completely lost my shit. I just remember thinking this has just changed everything. She’s great. I read somewhere that when you were creating the Pure Heroine lipstick you spent a lot of time trialing and testing the formulation as much as the colour. You said the kids who would end up buying and wearing it wouldn’t have a make-up artist on hand to help them so you wanted it to be really wearable and versatile. What tips do you have for using these products? The good thing about these products is that you can basically use them even if you aren’t that good. It was important to me that it was this way and that’s why they have the finish that they have. I find that if a lipstick is too matte, or too dry, it can be hard to pull across your skin because theres not that much friction and if you make a mistake with those lipsticks then it’s hard to fix. But because this is quite moveable it’s easy to put on and if you screw up then it’s easy to fix it with your hand or a tissue. The other thing that was important to me about this, because a lot of the lipsticks I wear in my time off are stains, I wanted to make it so that you can dab it on for a light colour and keep it wearable and youthful. I wanted there to be the option of being able to wear it as a stain or being able to do the full lip. Amazing! It makes a big difference having such a strong pigment to use as a stain because you still get such a good strength of colour without having to layer it up too much. Exactly. So I wanted ask you about how creating these products physically happens. I mean are you in a laboratory? Are there scientists in white coats? Paint the picture for us. Ha ha… No, so I basically sent a really long, really specific email about the colour that I wanted and about the finish that I wanted and I referenced other MAC lipsticks for both colour and texture. Then MAC made up a bunch of samples which I would try on my nights off, on my days off, applying by myself, so I could figure out if they were the right finish, if they were the right colour. So no white coats I’m sorry. Ohhh… I was imagining some kind of Willy Wonka lab fun. No, just the delivery of lip-bullets. Ha ha… How long did the process take, from beginning to end? I would say it was a couple of months, it was a while ago now. I kind of knew that one stood out from the rest, the colour was perfect and once we got the finish sorted it was all good. So would you like to do other shades of lipstick for MAC? I would like to make more, but I definitely like it how this is my shade. So this MAC collab is such a great fit for you, I mean

with Amber D being your personal artist and beauty sidekick. Are there other things that you would like to create product-wise though, is there more you want to say as far as beauty products go? While I was doing this I tried to think of other products that I’d want to do but, because a) I wanted them to be products that people could apply really easily, you know the felt tip eyeliner is so straight-forward and I wanted them to be about highlighting features that you like, rather than covering up things that you don’t like. I mean I don’t have the best skin and it’s been a struggle for me for a long time, so it wouldn’t be right if I was selling young girls things to make them perfect. Find the features that you love and accentuate them, so I guess that’s why I kept it simple, but it would be cool to do more, I want to do nail polishes, I love crazy nail polishes. Sounds cool, you should totally do that. So you have had the chance to work with some pretty stellar makeup artists, including the fabulous Amber D who we all love here at BLACK. What have you learned from having such amazing people do your face, has this changed the way you use makeup and apply it? I definitely have, though I am on the amatuer end of the scale in terms of applying make-up, with me it’s better to keep it simple than to try something crazy because I probably wouldn’t do a great job. Also when I’m not working I like to wear as little make-up as possible to let my skin breathe. I think a big thing, though, is before I started working with make-up artists regularly I would approach make-up by thinking powder, powder, keep it as matte as possible, because I didn’t want to look oily. But now I’ve learned that it’s about balance and looking moisturised as opposed to just looking super-dry. Do you mean choosing the right products to use in the right areas and layering things in a sheer way to get the best effects? Rather than going straight for the full coverage mask look. Yes and I’ve found a great tinted moisturiser that I love that’s light enough to make it work. It’s all about finding what works for you personally really isn’t it. It is yes. So finally, I wanted to ask you about clothes and style, you’ve been wearing some pretty killer European designer clothes lately while you’ve been travelling. Thanks. Has this trip home given you the chance to re-stock on NZ labels? I definitely need to do that. But I’ve been wearing this amazing Karen Walker green long coat everyday when I’ve been away, which is great. But I want to get some more Miss Crabb dresses while I’m home. The other thing I always wear is Lonely Hearts Lingerie, Lonely Hearts is my favourite NZ brand, I think they are going to conquer the world. I haven’t seen stuff as beautiful anywhere else, I might need to re-stock with them. Cool, thanks so much my darling, it’s been great chatting with you and best of luck with the tour! Thank YOU, it’s been cool. The M.A.C Official site

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A girl calle d johnny Photography: Julie Huang Fashion Editor: Rachael Churchward Hair: Jason Chong-Li at Stephen Marr using O&M Make-up: Stefan Knight using M.A.C Cosmetics Model: Jessica Thompson at Red 11

Shirt (worn underneath) by Workshop Denim, top by NOM*d

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Shirt (worn underneath) by Kate Sylvester, top by Thistle Brown 102

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T he great singers o f selves Photography: Frances Carter Fashion Editor: Rachael Churchward Hair & Make-up: Stefan Knight using O&M & M.A.C Cosmetics Model: Raina Masters at Clyne

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Opening page: Jacket (left) by Neuw, jacket (right) by Rolla’s, bleached jeans (worn as turban) by Wrangler This page: Vintage distressed Levi’s jacket, stylist’s own Opposite page: Jacket by Neuw, denim eye mask created by Stefan Knight

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Opposite page: T-shirt by Lab This page: Vintage denim jacket by Wrangler, stylistâ&#x20AC;&#x2122;s own. Eye patch made by stylist from bleached Wrangler jeans

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the LU C KY o ne is me Photography: Tintin Hedberg at Hell Studios Fashion Editor: Justin Henry at Vivien’s Creative Grooming: Justin Henry at Vivien’s Creative using American Crew & Nivea Model: Jonathan Woodward at Scene Models

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Opposite page: Sunglasses by Versace, Swarovski crystal baseball cap by 59Fifty, Weezy print singlet from ASOS This page: T-shirt by Acne, beads by Brass Heishi 111

Opposite page: Cotton brief by Emporio Armani, singlet from Asos This page: Cap by 59Fifty, sunglasses by Celine, quilted jacket by Jaupon

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Opposite page: Cashmere cardigan by Unconditional Knit This page: Distressed cotton t-shirt by Bleeker, street belt by Diesel, Strangler Potion Blue jeans by Wrangler, diamond ring by Zora Bell Boyd

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Opposite page: Pants by Helmut Lang, wool scarf from Zara This page: Cap by KTAGclothingnyc, sunglasses by ByWP, sweater by Criminal Damage at Love Victory, jeans by Helmut Lang, belt by Loop Leather Co. Photo Assist: Angus Gibbs

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a n d then, she is dark n ess Photography: Charles Howells Fashion Editor: Rachael Churchward Hair: Greg Murrell and team Ryder Salon; Stylists: Janine Jones, Fraser Folagi Assistants: Lydia Mahon, Josephine Models: Courtney at Unique Model Management, Natarsha and Ashleigh at Red 11, Mariah at Clyne

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Opening page: Courtney wears: Top by Goss This page: Natarsha wears: Corset by Goss Opposite page: Mariah wears: Top by Goss

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This page: Courtney wears: Top by Goss Opposite page: Ashleigh wears: Dress by Kate Sylvester, corset (worn over top) by Goss Thanks to: White Studios

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SAVE ME FROM WHAT I WANT/WHERE DO I BEGIN/OUT ON THE WEEKEND/INHERIT THE WIND/IF I RULED THE WORLD/ICE DRUMMER/SHAKESHIFTER/VICARIOUS BLISS/DO YOU FEEL LIKE WE DO/EVERYBODY’S WEIRD EXCEPT ME

BLK FA S H ION “The only real elegance is in the mind; if you’ve got that, the rest really comes from it” Diana Vreeland . Click live links to shop now!

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Photography: Ribal & Gil at Superteam Studios Fashion Editor: Ribal Swang & Justin Henry Hair & Make-up: Justin Henry Beauty at Vivien’s Creative using Kiehl’s & She Uemera Art of Hair Model: Elodie Russell at Chadwick Models 126

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Opening page, Left & Right: Suit by Jean Paul Gaultier, bag by Dolce & Gabbana This page and opposite: Top by Comme Des Garcons, skirt by Junya Watanabe, ring by Julia DeVille 128

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This page: Shirt by Issey Miyake, pants by Christina Exie, eyepiece by RiRi Tokyo Opposite page: Necklace by Chanel

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This page & Opposite: Bra top by Azzedine Alaia, skirt by Christina Exie

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This page & Opposite: Coat by Strateas Carlucci

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BBl laacckk MMaaggaazzi ni nee I Issssuuee XX 19

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Necklace by Julia DeVille, neck brace by Christina Exie Photo Assist: Elliott Lauren Special thanks to: Archive Melbourne

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where d o i begi n ? Photography: Thom Kerr at Independent Artist Management Fashion Editor: Sarah Birchley H&M: Justin Henry at Vivienâ&#x20AC;&#x2122;s Creative using Chanel & Lâ&#x20AC;&#x2122;Oreal Professional Model: Matilda Dods at IMG Worldwide

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Opening page left: Dress by Prada, bag and belt by Louis Vuitton, rings by Paula Walden, heels by Maison Martin Margiela from Maryonâ&#x20AC;&#x2122;s Shoes Opening page right: Trenchcoat by Burberry Prorsum, rings by Holly Ryan Opposite page: Dress by Jacquemus from Blonde Venus, cuffs by Louis Vuitton, earrings by Holly Ryan, heels by Nicholas Kirkwood from Maryonâ&#x20AC;&#x2122;s Shoes This page: Dress by Gail Sorronda, scarf by Karen Walker, earrings by Holly Ryan

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Opposite page: Dress by Soot, bracelets by Holly Ryan, bag by Louis Vuitton, boots by Robert Clergerie from Maryon’s Shoes This page: Coat by Miu Miu, belt by Louis Vuitton, tights, stylist’s own, boots by Prada 142

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Leather jacket by The Sway

Opposite page: Jumpsuit by Foxton Danger, cuff by Paula Walden, heels by Celine from Maryonâ&#x20AC;&#x2122;s Shoes This page: Jumper by Jacquemus at Blonde Venus, neckpiece by Sabrina Dehoff, skirt by Miu Miu Hair Assist: Keelan McGill Fashion Assist: Brigitte Hill Photo Assist: Brooke James Shot at: GC Studios 144

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out on the weekend Photography: Ophelia Wynne Fashion Editor: Sara Dunn Hair: Mikey Lorenzano Make-up: Megumi Asai Models: Lili Sumner and Chrystal Copland at Fusion Models NYC

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This page: Lili wears: Vintage leather jacket from Stella Dallas Brooklyn, jeans by Levi’s, sunglasses by Karen Walker Eyewear Opposite page: Chrystal wears: Shirt by Levi’s, skirt by American Apparel, sunglasses by Karen Walker Eyewear

Opening page: Lili wears: Dungarees by American Apparel, hat by Stetson, cuff (right arm) by Anndra Neen, feather cuff (left arm) by CC Skye Chrystal wears: Fringe t-shirt dress by Raquel Allegra, shirt Levi’s, skirt by American Apparel

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Lili wears: Bathers by American Apparel, jeans by Levi’s, sunglasses by Karen Walker Eyewear, earring and ring (right hand, worn throughout) by A Peace Treaty, bangle and ring (left hand, worn throughout), model’s own Opposite page: Lili wears: Bandeau by American Apparel, leather trousers by Sonia Rykiel, hat by Stetson, cuff by Anndra Neen Chrystal wears: Poloneck by Pepe Jeans, shorts by Levi’s, sunglasses by Karen Walker Eyewear, belt by Stetson, ring by A Peace Treaty 150

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This page: Lili wears: Bomber jacket by Leviâ&#x20AC;&#x2122;s, bikini bottom by Red Carter, vintage top and bandanna from Stella Dallas, Brooklyn Chrystal wears: Vintage jumper from Beyond Retro, leather skirt by American Apparel, boots by Dr Martens, ring by A Peace Treaty Opposite page: Lili wears: Bandeau by American Apparel, leather trousers by Sonia Rykiel, hat by Stetson, cuff by Anndra Neen 152

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Opposite page: Chrystal wears: Jumper by Sonia by Sonia Rykiel, skirt by Gianfranco Ferre from Stella Dallas, Brooklyn, belt from Beyond Retro and ring by CC Skye This page: Lili wears: Denim jacket by Leviâ&#x20AC;&#x2122;s, silk print trousers by Sonia by Sonia Rykiel 154

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Opposite page: Lili wears: White bikini top by Leg Avenue, denim shorts by True Religion, fringe gilet and boots, stylistâ&#x20AC;&#x2122;s own, socks by American Apparel, bracelets by Iwona Ludyga This page: Chrystal wears: Dress by Just Cavalli, hat by Stetson, boots by Dr Martens, braclet (right arm) by Iwona Ludyga, diamond finger bracelet (left arm) by Jacquie Alche 156

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Photography: Lula Cucchiara Fashion Editor: Rachael Churchward Hair: Greg Murrell at Ryder Salon for KMS California Grooming: Caitlin Lomas for M.A.C Cosmetics Body Art: India Wray Murane Models: Nick, Charlie, Will, Ross, Dane, Ngaru, Jessie and David all at Red 11 Models 158

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Opening page Left: Ross wears: Sweatshirt by adidas, overalls by Rolla’s Opening page right: Nick wears: Leather jacket by Death Suite, pendant by Zora Bell Boyd. This page: Charlie wears: Overalls by Rolla’s, tank by Lab Opposite page: Will wears: Jacket by Strateas Carlucci, pants by Zambesi, all jewellery by Zora Bell Boyd

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This page: David wears: Sweatshirt by Stolen Girlfriends Club, cap by Workshop Denim, track pants by adidas Opposite page: Jessie wears: Shirt & waistcoat by Zambesi, shorts by Workshop Denim

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This page: Dane wears: Shorts and sweater (around waist) by Workshop Denim, chains and nose piece by Zora Bell Boyd Opposite page: Ngaru wears: Tracksuit by Jeremy Scott for adidas, pendants by Zora Bell Boyd

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inherit the win d Photography: Jessie Sara English Fashion Editor: Bex Sheers H&M: Lauren McCowan using Cloud Nine and Evo Model: Maria Senko at Wilhelmina NY

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Opening page: Knit dress by Yigal Azrouel, ring by Repossi This page: Turtleneck, knit dress and trousers by Edun, rings and ear cuff by Repossi, shoes by A.F Vandervorst Opposite page: Pony fur coat by Theory, skirt by Ports 1961, socks by Falke, shoes by Stan Smith for adidas for Edun, ring by Repossi

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Jacket by Dries Van Noten, dress by 10 Crosby Derek Lam, pants by Philosophy, sneakers by Stan Smith for adidas for Edun, rings by Repossi

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Opposite page: Dress by Helmut Lang, turtleneck by A.F Vandervorst, ring by Repossi This page: Dress by Victoria Beckham, ear cuff by Repossi 173

Opposite page: Dress by Theory, coat by Lacoste, shoes by A.F Vandervorst This page: Dress by Charles Warren, ear cuff by Repossi, sneakers by Stan Smith for adidas for Edun

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Opposite page: Coat by A.F Vandervorst, trousers by Dries Van Noten, ear cuff by Repossi. This page: Jacket by Dries Van Noten, dress by 10 Crosby Derek Lam, pants by Philosophy, sneakers by Stan Smith for adidas for Edun, rings by Repossi Shot at: Brookyln Studio 176

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Photography: Marissa Findlay Fashion Editors: Dayne Johnston, Michael Whittaker and Team Zambesi Hair: Jason Chong-Li at Stephen Marr using O&M Make-up: KieKie Stanners for M.A.C Cosmetics Models: Michael Whittaker and Marie Everth at Clyne Models

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Opening page - Stylist: Sam at Zambesi tyler st: Jacket by Maison Martin Margiela, jeans by Acne, high tops by Rick Owens This page - Stylists: Terzann & Baden at Zambesi melbourne: Dress and shoes by Rick Owens, clutch by Maison Martin Margiela and socks by Zambesi Opposite page - Stylist: Vivien at Zambesi tyler st: Dress and shoes by Rick Owens, clutch by Maison Martin Margiela and socks by Zambesi 180

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This page - Stylists: Nicola & Luke at Zambesi wellington: Top by Maison Martin Margiela, jeans by Acne, heels by Helmut Lang Opposite page - Stylist: Vivien at Zambesi tyler st: Dress by Bernhard Willhelm, clutch, boots and jewellery by Maison Martin Margiela

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This page - Stylists: Terzann & Baden at Zambesi melbourne: Jacket by Rick Owens, vest, skirt and boots by Maison Martin Margiela Opposite page - Stylists: Dayne & Michael available at Zambesi stores: Jacket, vest, belt and cravat by Zambesi, jeans by Acne, boots by Dr Martens

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This page - Stylists: Julia & Jo at Zambesi ponsonby: Jacket, trousers and belt by Zambesi, heels by Helmut Lang Opposite page Stylists: Dayne & Michael available at Zambesi tyler st: Jumper by Acne, shirt by Zambesi, laptop case by Raf Simons 186

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This page - Stylists: Dayne & Michael available at Zambesi stores: Vest by Maison Martin Margiela, shirt and shoes by Raf Simons, track pants and socks by Zambesi Opposite page Stylists: Julia & Jo at Zambesi ponsonby: Jacket and trainers by Rick Owens, jeans by Acne, top and collar by Zambesi

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This page - Stylists: Laurel & Sean at Zambesi newmarket: Jumpsuit by Gareth Pugh Opposite page - Stylist: Vivien at Zambesi tyler st: Shirt and jacket by Bernhard Willhelm, cap by Rick Owens

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This page - Stylists: Dayne & Michael available at Zambesi stores: Jacket and cap by Zambesi, jeans by Acne, boots by Rick Owens Opposite page - Stylists: Terzann & Baden at Zambesi melbourne: Dress and shoes by Rick Owens, clutch by Maison Martin Margiela and socks by Zambesi

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This page - Stylist: Sam at Zambesi tyler st: Top, shorts and boots by Rick Owens Photo Assist: Andrea Bednarak Special thanks to the other model in the shoot: Angus

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Photography: Thom Kerr at Independent Artist Management Fashion Editor: Sarah Birchley Hair Sculptures: Iggy using Kevin.Murphy Make-up: Gemma Elaine using M.A.C Cosmetics Model: Talisa Quirk at IMG Australia

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Opening page: Handbeaded dress by Tung Vu, earrings by Chelsea de Luca, vintage rings, stylistâ&#x20AC;&#x2122;s own This page: Dress by Toni Maticevski, jacket and skirt by Gail Sorronda, neckpiece by Chelsea de Luca Opposite page: Handbeaded gown by Tung Vu, earrings by Holly Ryan 198

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Hand-beaded gown by Darb Couture, ring by Chelsea de Luca, vintage crystal brooch (worn as headpiece), stylistâ&#x20AC;&#x2122;s own

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This page: Tulle gown by Darb Couture, top by Phoenix Keating, earrings by Holly Ryan Opposite page: Beaded silk top by Gail Sorronda, skirt by Phoenix Keating, tulle and lace overlay (worn as cape) by Grace Loves Lace, earrings by Holly Ryan

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This page: Lace dress by Grace Loves Lace, sequin skirt and top by Gail Sorronda, broaches (worn as headband) by Chelsea de Luca, earrings by Holly Ryan Opposite page: Tulle gown by Darb Couture, top by Phoenix Keating, earrings by Holly Ryan 204

Beauty notes: All products by M.A.C Cosmetics: Face & Body Foundation, Cream Colour Base in ‘Pearl’ to highlight, ‘Groundwork’ Paint Pot to contour and shape eye sockets and cheekbones, Pigment in ‘Pure White’ for powdery accents Fashion Assist: Paige Lee Photo Assist: Cieran Murphy 205

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Photography: Luke Dickey Fashion Editor: Gabriella Langone Hair: Taichi Saito Make-up: Miguel Lledo using M.A.C Cosmetics Model: Anastasia Lagune at MC2 206

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Opening page left: Top by Linie NYC, dress by Clover Canyon, bracelets by Maiyet This page: Bathing suit by Tomas Maier, top by Isabel Marant, trousers by Saint Laurent, shoes by Dr. Martens, bracelet by Pilar Olaverri, belt by Roger Vivier Opposite page: Dress by Tomas Maier, boots by Maison Martin Mangiela, bracelet by Pamela Love

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This page: Jacket by Linie NYC, top by Alexander Wang, trousers by Balmain, heels by Christian Dior, bracelet by Pamela Love, vintage belt by YSL Opposite page: Bomber jacket by Rick Owens, mesh top by Alexander Wang, pants by Harare 210

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This page: Jumpsuit by Stella McCartney, biker jacket by Balenciaga, rings: Maiyet and Pilar Olaverri Opposite page: Knit and jacket by Dusen Dusen, high socks by Missoni, boots by Acne

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ice d rummer Photography: Tintin Hedberg at Hell Studios Fashion Editor: Katrina Shieles at 2C Hair & Make-up: Justin Henry at Vivienâ&#x20AC;&#x2122;s Creative using Make Up For Ever and RenĂŠ Furterer Model: Reuben Ramacher at The Agency Models

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Opening page: Shirt by Prada, hood by Daniela Stephanie This page: Jacket by Emma Mulholland Opposite page: Shirt by Gucci, scarf by Acne 216

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This page: Shirt and trousers by Prada, necklace by 2 By Lynn & Tony Opposite page: Suit by Sand, shoes by Dolce & Gabbana 218

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This page: Jacket, top and trousers by Louis Vuitton Opposite page: Jacket by Emma Mulholland 220

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This page: Vintage shirt, stylistâ&#x20AC;&#x2122;s own, trousers by Zambesi Man Photo Assist: Nick Parkinson Production: Hell Studios 222

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d o yo u f eel like we do? Photography: Damien Nikora Fashion Editor: Rachael Churchward Hair &Make-up: Carolyn Haslett using Kevin.Murphy and M.A.C Cosmetics Model: Zach at Clyne Models, Siannon, Thom and Ngaru at Red 11, Helena at 62 Models

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Opening page and this page: Zach wears: Circle logo tee and Tradie shirt by Rolla’s, Ray Tapered-Studio Pasadena jeans by Neuw Denim Ngaru wears: Trade Overall in Beaten Stone by Rolla’s Opposite page: Siannon wears: Rosario top by Neuw Denim, Scorpian jean by Rolla’s, heels by Topshop, Celine Marais bracelet from Love & Object

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Siannon wears: Hutchence jacket by Rolla’s and Salty short by Abrand, Celine ‘Triomphe’ bracelet from Love & Object Opposite page: Thom wears: Enkel Tee by Neuw Denim, pendant and ring by Zora Bell Boyd, wristband, model’s own

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Ngaru wears: Trade Overall - Beaten Stone by Rollaâ&#x20AC;&#x2122;s, rings by Zora Bell Boyd Opposite page: Helena wears: Denim jacket in True Blue by Neuw Denim, A.Boyfriend jean in White Out by Abrand, heels by Pedro Garcia

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Helena wears: Rosebowl shirt in Bleach by Neuw Denim, Eastcoast flare in Thrift Bleach by Rolla’s Opposite page: Thom wears: Coaster in Beaten Stone jeans by Rolla’s, rings and pendant by Zora Bell Boyd

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this page: Siannon wears: Rosario top by Neuw Denim, Scorpian jean by Rolla’s, heels by Topshop, Couture Christian Lacroix

“Inimitable” Necklace and Celine ‘Marais’ bracelet both from Love & Object Opposite page: Siannon wears: Customs Crown tank by Neuw Denim and Salty short by Abrand, Celine ‘Marais’ bracelet from Love & Object Zach wears: Surf ’s Up t-shirt by Rolla’s and Ray Tapered jeans by Neuw Denim

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This page: Zach wears: Ray Tapered jeans in Punk Black by Neuw Denim Thom wears: Ray Tapered jeans in Black Bleach by Neuw Denim Opposite page: Siannon wears: Tamara t-shirt and Dusters jeans by Rollaâ&#x20AC;&#x2122;s

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Siannon wears: Customs Crown tank by Neuw Denim and Salty short by Abrand, Celine ‘Marais’ and ‘Triomphe’ bracelets from Love & Object Helena wears: Classic Rib tee by Rolla’s and A.Short La Blues by Abrand Opposite page: Helena wears: Classic Rib tee by Rolla’s and A.Short La Blues by Abrand

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Assistants: Nazareth & Opal Nikora Mustang wranglers: James & Annaliese Special thanks to: Gene & Becky, Orewa Sea Scouts, D’s neighbours

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