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Welcome to our 11th Digital issue, named INBETWEEN by my co-editor Ethan Butler. We as a collective force are still coming to terms and working through 2018 without Grant Fell, my late and beloved husband. He was our business partner, friend, visionary, founder, editor-inchief and captain for 11 years of the GOOD SHIP BLACK. He now resides in our hearts, and we feel that spiritually he is still here with us in all that we do creatively. This issue, INBETWEEN represents many things for us as a team. Naming issue #11 was inspired by Director and film-maker Peter Jackson’s LOVELY BONES. Also we are in between our print publications and our grief from losing Grant too soon. It has taken four years of dedication and belief to maintain and publish on a digital platform that was Grant’s vison and drive. It is with great pride we acknowledge over 100,000 true reads of BLKONBLK thus far. The story does not end here. It began in 1995 when Grant and we as a team from a magazine here in Auckland, called PLANET MAGAZINE, attempted to start a digital publication. Once we realised it took over 15 hours to download an 8 megabyte file, it dawned upon us that we were well ahead of the digital times. This was the seed planted in Grant’s mind. A quiet obsession of his. So we stand here today continuing his legacy, as without him, we may never had recognised the vision. Grant Fell, Zeitgeist, loved and never forgotten. In the eloquent words of writer and former editor of PLANET MAGAZINE, Russell Brown, you can read what time it was digitally back in the days of 1995 in the following quotes.
Rachael and the Black Magazine Whanau.
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“This wasn’t just pre-Facebook and Instagram, it was pre-Xtra, which didn’t launch until 1996. Only one in five households had a computer, let alone an internet connection, and there were no mainstream media websites. Internet cost $10 a megabyte or – no, really – $5 an hour. Your 300 megabit home fibre connection now is nearly as fast as the cable that connected the whole of New Zealand to the rest of the internet in 1995. It’s ten thousand times as fast as the best home connections were back then. Sure, there was content – a few websites, lots of text-only newsgroups – but looking to publish a magazine on the internet in 1995 was a wild, visionary idea.” “But we were always keenly aware of how important the internet was going to be. We only existed because of the power to publish that personal computers had introduced and we could kind of see what was coming. I think it was David Merritt , now a poet, who brought a modem up to Planet in 1993 and it was exciting. We could find things out!” “You almost couldn’t do now what we did with Planet in the early 90s. Most of the retail businesses that we introduced to print advertising – hospitality especially – reach their customer base directly now, via social media. Then there were the global brands: companies like Sony would not only buy pages direct from us, they’d let us conceive and paste up the creative for them. That direct, creative relationship with brands is really hard to achieve now. That’s still part of how BLACK operates – and that’s definitely one of the cool things about BLACK.”
Publishers & Founders Grant Fell Rachael Churchward Editors Rachael Churchward Ethan Butler Creative, Fashion & Beauty Director Rachael Churchward Fashion Editor Ethan Butler Design Director Tom Munday International Editor-at-Large Paul Empson Australian Editor-at-Large David K Shields Australian Fashion Editor-at-Large Sarah Birchley Australian Editor Melbourne / Senior Hair + Beauty Editor Justin Henry Australian Fashion & Features Editor Chris Lorimer New Zealand Hair Editor Greg Murrell at Ryder Salon New York Editor Hollie Van Osenbruggen Sub Editor Sarah Birchley Film Editors Natasha Foster Erin Fairs Online Editors Ethan Butler David K Shields
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Advertising Enquires: Ethan Butler Rachael Churchward ethan@blackmagazine.co.nz rachael@blackmagazine.co.nz Business Development Manager Stuart Shepherd BLKONBLK is published bi-annually by BLK NZ Ltd 1/34 Nordon Place, Remuera, Auckland 1050 +(64) 277514684 Printing by Soar Print Ltd www.soarprint.co.nz Distribution in NZ & Australia by Gordon & Gotch Ltd. International distribution by 8 Point Media The views expressed in Black Magazine are not necessarily those of the publishers and editors. No part of this digital publication may be reproduced in any way without permission. Thank you. We do not accept unsolicited submissions. All our work is commissioned by our teams. Do you love Black Magazine? Readers like you are essential for sustaining a strong independent future for our publication! We recently launched a supporter campaign with PressPatron, a crowdfunding platform for supporting quality independent media. Please visit the link below to make a contribution of your choice. www.presspatron.com/black ISSN 1177-2603 ŠBLK NZ LTD, 2018
BLK HEARTS Nuew Denim Karen Walker Eyewear Isabel Marant - Workshop YSL Beauty Sylvester by Kate Sylvester Helen Cherry Salasai Worskhop Imports MAC Cosmetics Beauty Kate Sylvester Eyewear Karen Walker Jewellery GHD Hair R.M Williams Symetria Concept
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BLK LIST Converse One Star - Madeline Converse One Star - Tak Annie Hamilton Miss Blanks
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BLK FASHION Two goes into One When it’s Time Cherry Blossom Clinic She rides the Wind Let the Funk Ride Art of Denim No Room in Frame She’s in Parties
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A creative space to make your mark.
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ZERO WATER WASTED, ZERO HARMFUL CHEMICALS. Great fashion in 2018 is no longer just a discussion of good design, but design which takes into account sustainability and ethical production methods. For Neuw Denim, ethical production means safe manufacturing environments, no child labor, compliance with all relevant regulatory ordinances and fair trade standards, and a commitment to protect and preserve the environment. Water wastage is the big conversation around the denim industry, and the Neuw Denim ‘Airwash is their answer to environmentally conscious denim production. The ‘AirWash’ cuts down the amount of water being wasted; as the jeans are washed and treated with ozone - an ageing and bleaching agent present in the Earth’s atmosphere. This reduces the amount of water being used throughout the washing process, and as ozone reverts to oxygen after a completed wash cycle, there is no chemical residue and the water is not contaminated so can be used repeatedly. The commitment from Neuw Denim is sustainable choices in denim manufacturing, and great jeans that only get better with age. Photography Luke Foley-Martin Fashion Ethan Butler Hair Sean Patrick Mahoney at Colleen Makeup Abbie Gardiner using M.A.C Cosmetics Model Wednesday at 62 Management Photography by Luke throughout retouched by Resolve Studio. Shop Neuw Denim Now www.neuwdenim.com 39
ROLL ON IN WEARING YOUR NEW MISS LARK FRAMES FROM KAREN WALKER
Photography Charles Howells Fashion Rachael Churchward Makeup Sharlene Cassidy Model Veronika Gulyaeva Top By Kate Sylvester Earrings by Homage Shop Karen Walker Eyewear Now
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LOST IN PARADISE IN ISABEL MARANT FROM WORKSHOP. Photography Carolyn Haslett Fashion Rachael Churchward Hair Sean Patrick-Mahoney at Colleen Makeup Lochie Stonehouse at YSL Beauty Model Jessica at Clyne Models Sweater & skirt by Isabel Marant, shoes by Jill Sander from Workshop, necklace by Homage, earrings by Karen Walker
Original Short Eastcoast city bleachFlare - karen blue
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RE-MASTERED PINK MADAME. Photography Carolyn Haslett Fashion Rachael Churchward Hair Sean Patrick-Mahoney at Colleen Makeup Lochie Stonehouse at YSL Beauty Model: Jessica at Clyne Blazer by Helen Cherry, earrings by Homage
GREEN DAY UP IN KATE SYLVESTER’S, SYLVESTER RANGE. Photography Luke Foley-Martin Fashion Ethan Butler Makeup Abbie Gardiner using M.A.C Cosmetics Hair Sean Patrick-Mahoney at Colleen Model Wednesday at 62 Management Boots by Beau Coops, mesh by Nom*D Shop Sylvester Now!
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A PEAK INTO THE UPCOMING HELEN CHERRY WINTER 2019 COLLECTION. Photography Carolyn Haslett Fashion Rachael Churchward Hair Sean Patrick-Mahoney at Colleen Makeup Lochie Stonehouse at YSL Beauty Model Emily at Vanity Walk Boots by Stolen Girlfriends Club Enquire about Helen Cherry 2019 here
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GOD SAVE THE CHECK Photography Carolyn Haslett Fashion Rachael Churchward Hair Sean Patrick-Mahoney at Colleen Makeup Lochie Stonehouse at YSL Beauty Model Jessica at Clyne wears the Jeepers Creepers Summer range from Nom*D Sandals by Jill Sanders from Workshop 50
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JOIN THE SYNDICATE IN SALASAI SUMMER 2018. Photography Luke Foley-Martin Fashion Ethan Butler Makeup Abbie Gardiner using M.A.C Cosmetics Hair Sean Patrick-Mahoney at Colleen Model Wednesday at 62 Management Lingerie by Raven and Rose from The Shelter Get your Salasai shirt online now!
AKA DR. DRE STILL GOT LOVE FOR THE STREETS, IT’S THE DEAL. Photography Carolyn Haslett Fashion Rachael Churchward Hair Sean Patrick-Mahoney at Colleen Makeup Lochie Stonehouse at YSL Beauty Model Jessica at Clyne Models Shop the sweater by Bella Freud, trackpants by Acne Studios, sneakers by Chloe all from Workshop. Scarf by Besse, cap by Bad Things
R.M WILLIAMS, MEET MARKANTONIA Sprout into Summer with the new Mila Boot by R.M Williams Stunning dried florals by Markantonia markantonia.com
Photography Luke Foley-Martin Fashion Ethan Butler Makeup Abbie Gardiner using M.A.C Cosmetics Hair Sean Patrick-Mahoney at Colleen Model Wednesday at 62 Management The kick-ass new eyewear collection from Kate Sylvester. Shop Now! Shirt by Salasai
THE LOVE LETTER JEWELLERY COLLECTION BY KAREN WALKER Photography Luke Foley-Martin Creative Direction Ethan Butler Shop your initials now at karenwalker.com A very special thanks to Markantonia for the beautiful florals
Photography Luke Foley-Martin Fashion Ethan Butler Makeup Abbie Gardiner using M.A.C Cosmetics Hair Sean Patrick-Mahoney at Colleen Model Wednesday at 62 Management Jacket by Rollas, earrings by Karen Walker, necklace by Homage
The future is here with the all new GHD Platinum + The worlds first smart straightener. Read the full rundown online here Photography Luke Foley-Martin Creative Direction Ethan Butler
Photography and Hair CAROLYN HASLETT Fashion RACHAEL CHURCHWARD Makeup RICHARD SYMONS using M.A.C COSMETICS Model ALIDA at CLYNE MODEL MANAGEMENT Words by SARAH BIRCHLEY
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VICKI TAYLOR IS A STALWART FORCE IN THE NEW ZEALAND FASHION INDUSTRY. AFTER 20 YEARS OF HER BRAND TAYLOR, AND WITH A STRONG RETAIL PRESENCE ACROSS NEW ZEALAND WITH TAYLOR BOUTIQUES AND THE SHELTER CONCEPT STORE, VICKI HAS EMBARKED ON A NEW DESIGN PROJECT, SYMETRIA PART 01. AVAILABLE FROM NOVEMBER 2018, THE TRANS SEASONAL COLLECTION WAS ‘DESIGNED FOR WOMEN WHO ARE DRAWN TO LINEAR FORM; BE IT IN ARCHITECTURE, NATURE, FURNITURE, ART OR TEXT ON A PAGE.’ THE GRAPHIC AND LINEAR REFERENCES CAN BE SEEN IN THE SILHOUETTES OF THE COLLECTION, IN A SOPHISTICATED BALANCE BETWEEN STRONG TAILORING AND FLUID LINES. ONE OF THE KEY DESIGN ELEMENTS FOR VICKI IS CONSCIOUS CREATION, WITH LONGEVITY AND VERSATILITY INTENDED WITH EACH PIECE AND A USE OF NATURAL FIBRES AND ETHICAL FABRICATIONS WHERE POSSIBLE. WITH A RESOUNDINGLY POSITIVE RESPONSE TO THE FIRST SYMETRIA COLLECTION, SHOWN IN PARIS DURING THE SS19 SEASON, THIS BRAND IS ONE TO WATCH. SYMETRIACONCEPT.COM Shoes by Bernhard Willhelm from The Shelter
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Photography CHARLES HOWELLS Fashion RACHAEL CHURCHWARD Hair and Makeup CAROLYN HASLETT using M.A.C COSMETICS
What do you do? What do I do? I live life and at the moment I work as a Software Developer. Although my passion is photography and battling with all the challenges that come with the photographic medium. Working with light, models, products, movement, trying to capture what I see in the moment! Music you love? All Music expect Black metal (still learning to like it). A sub-passion of photography is shooting live music, and I shoot a lot of it. There is not a weekend where I am not at a gig or concert. Either shooting or dancing my heart out! At the moment I’m in love with what New Zealand artists are doing. Music I love is - The Beths, Miss June, October, Daffodils, Wax Chattels, Avantdale Bowling Club, Carb on Carb, Bene, Being, Soaked Oats, I could go on although I might run out of page space. Outside of New Zealand, the list of bands and Genres would be extensive. What was the last book/thing/film you read, saw and enjoyed? I’m currently rereading the Terry Pratchett Discworld series, again! Fantastic books full of great humour that are empowering. The last film to leave a mark on me was the McQueen Documentary. I’m sure this filmed moved everyone who has seen it. What does the world need more of? We need more love and empowerment! There needs to be more equality in general for all of humanity. We all have the right to live, and live life to the fullest, to not be held back by anyone or any of societies expectations. It’s time
to “Eliminate the Stench of Patriarchy” ~ Guerrilla Girls. Come on guys it’s 2018 let’s fix this world! What does the world need less of? Racist, misogynistic, homophobic, transphobic arseholes. What hopes/plans do you have for your future?The typical plans of travel and to shoot the entire time. In the future I’d like to meet as many people as possible and to hear their stories. Ha,ha, and of course to hear more music and go to more concerts and gigs! To spend as much time with my Dad while he’s still here. Madeline wears the Converse One Star Premium Suede Low
Top Sneaker in Black, mesh top by Nom*D
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Photography CHARLES HOWELLS Fashion RACHAEL CHURCHWARD Grooming CAROLYN HASLETT using M.A.C COSMETICS
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What do you do, your passions in life? I was born in Zimbabwe and mainly raised in New Zealand. I am currently an 18 year old working and studying in Auckland. From working in a camera store to studying a bachelor in screen production/film making, I have a strong passion for photography and videography. I also appreciate all sports, but in particular, basketball and skateboarding. I feel like music is one of those things that every human being has no excuse but to love. It literally starts every single one of my days, and it stays lingering in my brain until the next. My love for music extends across different genres, often just depending on how I feel at the time. However, I find myself gravitating more towards Rap and Hip Hop from around the world. New Zealand also has nice a collection of rap and hip hop artists. People who have held it down for the scene. This past week I’ve been rewinding back Neverland, an album by one of my favourite NZ artists Rizvan and also On The Run by Young Thug. What I listen to is always changing, but music is one of those things I couldn’t live without What Does the world need more of? The world is super crazy! I would say the world needs more people doing whatever they choose in a reasonable, follow your dreams kind of way. I feel like the world would be a better place if more people took the risk of chasing
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their dreams and enjoying that process. I think that could be the key in helping earth live longer and people live happier lives. What the world needs less of? The world needs less rubbish, less sickness and disease and less people that don’t show enough love. What hopes and plans do you have for the future? In the future I hope following my passions will help pay the bills. I hope to be able to tell meaningful stories through photographs and videos, that will connect with people as much as some have connected with me. In the future I hope my love for doing what I enjoy grows and never stops. I plan on travelling overseas to New York, Japan and somewhere in Europe one day. I also plan on directing a really great movie someday. Tak wears the Converse One Star Premium Suede Low Top Sneaker in White, hoodie and denim by Stolen Girlfriends Club, bum bag by Supreme
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Photography KURT BANKS Words CHRIS LORIMER
ANNIE HAMILTON IS AN ARTISTIC POLYMATH. CREATING THROUGH THE MEDIUMS OF GRAPHIC DESIGN, ILLUSTRATION, PHOTOGRAPHY, LYRICS, MUSIC AND FASHION, HER MULTIDISCIPLINARY OUTPUT IS IMPRESSIVE TO SAY THE LEAST. BORN AND RAISED IN SYDNEY, AUSTRALIA, ANNIE INITIALLY ROSE TO MUSICAL PROMINENCE AS ONE THIRD OF WELLLOVED LOCAL BAND, LITTLE MAY. THEN LAST YEAR SHE MADE THE GUTSY DECISION TO LEAVE, AND NOW CREATES AND RELEASES HER MUSIC COMPLETELY INDEPENDENTLY. HER SOLO DEBUT IS THE VERY EVOCATIVE SINGLE “FADE” ALONG WITH TOURING A FULL LIVE SET THAT FORMS THE BASIS OF A FUTURE ALBUM AND THERE’S AN IMMINENT SECOND SINGLE IN THE WORKS. WITH ALL THAT GOING ON, SHE ALSO DECIDED TO CREATE A FASHION COLLECTION UNDER HER OWN NAME, DISTINCTIVE FOR THE MAXIMAL NATURE INSPIRED PRINTS SHE CUTS INTO SILKY MINIMAL SHAPES. 75
CHRIS LORIMER WENT TO VISIT HER AT HOME IN SYDNEY TO TALK ALL ABOUT BALANCING ALL HER CREATIVE PURSUITS, SPENDING TIME IN ICELAND, WAITING FOR THE SONG BUS TO COME AND LOVING SINEAD O’CONNOR AT AGED SIX. Annie, you’re a musician, an illustrator, graphic designer and a fashion designer… all at once! How do you balance all these creative pursuits? It’s hard! I don’t really know how I do it. I feel like I’m constantly trying to get on top of my workload. Creatively, I find that the ideas and energy flow easily between the projects if I’m on a roll working on a song; I will be able to switch into design mode smoothly. It’s more the business side and time management that is hard to balance. The only way to keep on top of it is to write shitloads of lists and be as organised as I can. I have a studio in Chippendale from which I run the label, my design work and admin, a dedicated space to focus in. My bedroom is music-land. First, let’s talk music. How do you describe your sound? ‘90s indie rock with hints of shoegaze, psychedelia & grunge. Catchy hooks, soaring melodies and expansive soundscapes paired with lo-fi fuzzy guitars.What are your earliest musical memories? I had a copy of Sinéad O’Connor’s ‘I Do Not Want What I Haven’t Got’ on CD when I was about six years old. I must have stolen it from my dad. I was completely enchanted by her, amazed that a woman could shave her head and yell but then sing with such vulnerability; an intensely feminine power. I guess I didn’t know any women with shaved heads [laughs] and the other women that I listened to were in a completely different world (The Spice Girls, Britney Spears, Aqua). Sinéad was a weird badass goddess and I loved her. I also have childhood memories of my dad napping on the couch with ‘Morning Of The Earth’ on TV in the background, and him explaining to me that the visuals were intended to accompany the music. I guess I’ve always thought of music in a cinematic sense; a song as a soundtrack to a moment, time or place. When I’m making music I think I subconsciously create or imagine situations to soundtrack. What’s your key subject matter when you’re writing? Myself and the world around me. Writing for me is a way of navigating, of processing and of documenting. I never really sit down and think “I’m going to write a song about
‘x’, I sit down and see what comes out. The mood I’m in will dictate it to an extent, but I’ll play something until I come across a sound that grabs me, and then I’ll try to write lyrics that complement that sound. I have a notebook that I always carry with me to write ideas in. Sometimes it’s like a diary entry or I’ll write poems, random verses or lines that I come across. I try to write every day, make it habitual. Even if I don’t feel like it, if I sit down and force myself to write anything, it is always worth it. What’s inspiring to you about music and the processes of making songs? What is your actual process when writing a track? The whole process is absolutely wild. I have always turned to music to express things that I cannot express otherwise. There is nothing else that can conjure such emotion, vision and intention as a piece of music can. And there’s nothing else that can stop you in your tracks that way. The process of writing a song is a complete mystery to me. Sometimes I can write one in ten minutes, other times I’ll sit for days and come up with nothing. I always go back to something I read in an interview with Paul Simon; when you’re writing a song it’s like waiting at a bus stop. You never know if or when the bus is going to come, or where it’s going to go, but you have to be there in case it stops. For me, that’s sitting with my guitar trying to write. If I’m not there trying and waiting, the bus might come but I’ll miss it. I like this metaphor because it reminds me to be patient and disciplined and if I don’t come up with something immediately to not get frustrated or give up. It’s very elusive and at times souldestroying and frustrating but also completely magical. I always make sure I have the chords and melodies down before I add any extra layers or production. Cool production won’t make a good song. Getting started and the writing of the song is the hard part, but the production is the reward. That’s the fun bit. I’ll sit all night adding a billion layers of guitars, synths and backing vocals. Then I have a finished demo that will maybe sit in my phone for a year or two before I actually record it properly.
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What has changed evolved in your music during your career to date from early pieces until now? My music career started in 2012 when my old band, Little May, formed. I left the band in 2017 but the others are still going. A heap has changed since then. We started by singing in Open Mic nights in pubs and spent years honing our sound and working on our live show and recordings. I had a really incredible few years in Little May of touring and recording, and I learnt so much from that experience and gained some incredible lifelong friends; I wouldn’t trade it for anything. Leaving the band was an incredibly difficult decision. I’m now back at the start, but feeling very driven. How important is playing live to you? Extremely! I love playing live. It can be stressful and hard and things always go wrong and it’s never perfect but that’s the beauty of it. I have an awesome live band and we have a lot of fun. Do you have any rituals or habits when on the road? After touring so much I’ve learnt that to stay sane I need to really look after my body: exercise, healthy eating, sleeping, not drinking too much. Other rituals include Vegemite + cheese toasties in the Virgin lounge and napping wherever I can find a relatively flat surface. It’s not very rock n roll [laughs]. And, now to the fashion side. How did your label begin? It actually started as a bit of an accident. I have a background in textile and graphic design but I’d dropped out of uni and was doing music full time. Then in 2016, we had a bit of a break from touring so I designed a range of silk scarves as a side project. I was illustrating the prints for the scarves and decided that while I was at it, I’d print some fabric in repeat and make myself a jumpsuit. Around the same time, I met Christiaan Kidd (The Fashion Production Company) by chance. I asked if he could make me a shirt. His minimums were 10 pieces, so I decided to make 10 shirts, keep one and try to sell the other nine. I put the designs on Instagram and things just escalated from there. All of a sudden I had a range of silk shirts, pants and tees. I officially launched the label in December 2016. What is your fashion ethos? And what differentiates your brand from others? I’m passionate about ethical
and sustainable ‘slow’ fashion and I try my best to encapsulate these values with my brand. As all of the garments are printed and made locally in Redfern, Sydney, I can pop in easily during production, make sure that everything is going to plan and the machinists are working in excellent conditions and being treated fairly. I use natural fibres only and I choose the most sustainable fibres I can when possible. I keep all of my off-cuts and make scrunchies and lavender eye pillows out of them, as an effort to create something beautiful out of what would otherwise be waste. Design-wise my goal is to create timeless, trans-seasonal pieces that are made to last. By keeping the garments fairly minimal, I experiment with different textures and prints to elevate the pieces while keeping them wearable. In a few words: minimalist styles, maximalist prints. You went to Iceland for two months last year. How did you find yourself there? What was that like? Yeah, I spent two months living in the northwest of Iceland last year on an artist residency. I had always wanted to go there, applied online and got accepted! I didn’t really know what to expect but it exceeded all expectations. It was amazing. I was pretty isolated, living in a little apartment in a tiny regional town. It was simple but beautiful, with huge windows, heaps of plants and a grand piano. Five minutes from my apartment door I could be on a hiking trail around the fjords. Next-door was the town’s only café, where I would drink black coffee, eat Icelandic rhubarb cake and write for an hour every afternoon. At night I’d lie out on the roof wrapped up in blankets and watch the Northern Lights. I was there as autumn became winter so it gradually got colder and started snowing. I also spent a lot of time sitting by the window in a big old armchair and just staring at the mountains and the sky. What did you bring back home with you? I’m a serial hoarder so I brought home all sorts of tiny stones and twigs and pressed flowers and other such ephemeral mementos. I collected rubbings of the soil and sand in my notebook so I could record the colours of the earth, and
these informed my designs. I am also a very keen amateur photographer so I took over a few cameras and bought another one in a flea market in Tallinn, a Soviet Fed from 1941. My suitcase was so full of cameras and books and I actually forgot to pack pants! I made a very conscious effort to document everything; I took thousands of photos and constantly wrote and drew in my notebook. What influence did that trip have on your creative output? My time there had an immeasurable impact. Being in a completely different environment, outside of my comfort zone, changed my thinking, made me think more. Isolation made me more observant. Time seemed to move slower there. Somehow I could fit in a mountain hike, hours of playing guitar or piano, hours of drawing, time to slowly drink a coffee while reading my book, time to cook myself proper meals three times a day and more into every day. It was an absolute luxury. The most literal translation of my time in Iceland is in my Equinox collection, it’s very blatantly inspired. I hand-illustrated the two prints, chaotic and intricate illustrations of native wildflowers, grasses, moss and twigs. I wanted to reflect the subtleties in the natural world. The landscape in Iceland is absolutely sublime: huge, expansive, eerie and ethereal. There are towering fjords that turn a rich orangey brown in the autumn before being dusted with patchwork snow. I wanted the collection to capture the intricacies and subtleties of the landscape as the seasons changed: small details like the fringing in the raw seams of shirts and tees are intended to reflect these tiny fragments of the landscape that all blend into a whole. I carefully selected the fabrics based on textures. The hand-fringed detailing on the white silk-wool-blend shirt has just as much importance as the printed pieces. Musically, the biggest thing for me was having the time to experiment, write and just play. Being removed from the reality of everyday Sydney life was liberating. I’m so busy between running my label and freelance work that I rarely find time to just sit and play guitar. I had never been a confident singer, in Little May I only ever sang backing vocals and harmonies, I was very self-conscious of my voice and didn’t think I could ever be a ‘lead singer. The thing that changed that was just singing as much as possible and getting used to my own voice, and having a room where I wasn’t scared of making too much noise or being heard by people, so I could just
experiment. I was writing and recording constantly and not only did my confidence grow but I think my actual vocal ability improved massively from constant practice and experimentation. What do you think the role of an artist is in 2018? To make you stop, and think or feel. I think art should stir something in you. Do you think it’s important to contribute to society as a whole? And if so, how do you do that? I do, and I would like to think that I contribute positively. In the process of running my own business, I have the power to make decisions that align with my personal values: making locally and fairly, using sustainable fabrics. While these may not be the wisest financial decisions, I feel they are integral to my business. It definitely feels like there is a growing community of consumers and brands who care about this stuff, so it’s exciting to be a part of this movement. There’s also really positive change happening in music at the moment. It feels like the tide is starting to change in favour of a more diverse industry, and I hope to contribute to this by having more of a platform to support other artists. What is the best piece of advice you’ve ever received? Start the way you intend to finish. You have a new song releasing soon, what can you tell us about it? Yeah! My next single ‘Leave This’ will be coming out soon. In complete contrast to ‘Fade’, it’s upbeat, rocky and catchy. I wrote and started recording it last year so I’m excited to finally get it out there. I’m in that weird place of trying to ‘finish’ it at the moment but realistically I don’t think songs are ever really finished. I just need to get it to a point where it’s sitting well and call it. I could keep working on it for years so I do feel a sense of urgency in just getting it out there so I can move on to the next one. It’s very fun to play live too. Lastly, what are your dreams for the future? To create things that I love and that I’m proud of. To work hard and keep improving. I want to record an album and play live as much as possible. I want both of my businesses (in fashion and music) to grow sustainably to a point where I can create things and employ good people in the process. @anniehamiltn @equinox.byanniehamilton www.annie-hamilton.com Annie wears Equinox by Annie Hamilton
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Photography SCOTT LOWE Words CHRIS LORIMER Hair and Makeup NAOMI PRINDIVILLE
IT’S HARD TO BELIEVE THAT IT’S ONLY BEEN 18 MONTHS SINCE SIAN VANDERMUELEN, AKA MISS BLANKS, APPEARED ON THE AUSTRALIAN HIPHOP SCENE. SHE HAS RELEASED A DEBUT EP, ‘DIARY OF A THOTAHOLIC’, AND GARNERED AN IMPRESSIVE TOURING RESUME, WITH APPEARANCES AT AUSTRALIA’S TOP NATIONAL FESTIVALS SUCH AS BIG SOUND, LANEWAY FESTIVAL, LISTEN OUT, MEREDITH MUSIC FESTIVAL AND HAS RECENTLY BEEN ANNOUNCED ON THE FOMO BY NIGHT LINEUP FOR 2019 ALONGSIDE NICKI MINAJ. IN ADDITION, HER NATIONAL TOUR IN 2017 INCLUDED HEADLINE SHOWS IN SYDNEY, BRISBANE AND MELBOURNE WHERE HER VIVACIOUS ENERGY AND COMMANDING STAGE PRESENCE HAS MADE HER ONE TO WATCH IN THE AUSTRALIAN MUSIC INDUSTRY. SINCE COMING INTO THE PUBLIC EYE AS MISS BLANKS, SIAN HAS USED HER VOICE TO SPEAK OUT ON A RANGE OF SOCIALLY RELEVANT TOPICS SUCH AS RACISM, TRANSPHOBIA AND MISOGYNY AND HAS BECOME A CRUCIAL PART OF THE DISCUSSION AROUND THESE TOPICS NOT ONLY IN THE MUSIC INDUSTRY, BUT IN WIDER AUSTRALIAN CULTURE. 82
Opening: Jacket, sunglasses and necklace by Miu Miu, bra and dress her own Above: Earrings 84 by Zimmermann, hoodie by PAM Next page: Dress by Jarrad Godman
MISS BLANKS GOT ON THE PHONE WITH CHRIS LORIMER TO TALK ABOUT INTERSECTIONALITY, UNCOMFORTABLE CONVERSATIONS BEING IMPORTANT CONVERSATIONS, WHY CLOSED MOUTHS DON’T GET FED. Hi Sian, firstly, lets talk about you and how you grew up? I was born to a Samoan father and a Dutch mum and raised in Brisbane by Mum. I grew up in white liberal spaces. My Dad wasn’t around, and I saw him as a bit of a gatekeeper to my culture. Not having him around meant not having access, and as a person of colour, it’s important to know your people. I had a great sense of otherness especially being one of the only brown faces in the communities where I grew up. Something I’m really proud of is that everything that’s ever happened in my career, and my life in general, has been organic and based on human transaction, storytelling and community. I’ve had to do a lot of learning on my own, having to carve out my own spaces, creating opportunities for myself because Brisbane at that time wasn’t a place where you got things handed to you on a silver platter, especially as a person of colour and a trans woman. It was hard for people to consume the visceral image of what I represented but also the ideologies and politics that I came with. And then, where did Miss Blanks spring from? I only started to make music in May of 2017. At the end of 2016, I was back in Brisbane after returning from NYC where I’d worked in fashion PR, brand management and events. I felt I’d done what I set out to do there and realised that if I went away it made no difference, the cycle would continue without me. Back home, my friend had started running a club night. We were out at a party, she played a Li’l Kim track and in the instrumental, I just started free styling. Just off the top of my head. So she added me to the bill for the next night, to have me perform. I wasn’t a musician. I had no tracks. She just told me to do it “ It’s only fifteen minutes, you’ll have a great time,” I felt frightened on another level, but I downloaded some beats from You Tube, wrote some raps. I got up there, performed them and the rest is history! How did Miss Blanks get her name? Originally I was there on that bill with my government name. I was like, “Sis how you gonna play me dirty like this?! I didn’t want professionals to look me up online and some phone recording comes up of me attempting to perform.” It’s funny because it’s a double entendre in that we really couldn’t think of anything, coming up blank and it’s also a joking comment on being trans: I’m shooting blanks. It was a joking but kind of beautiful as well as anytime I think about the creation of this name, I think of
the kind of exchanges I have with my sissies and my aunties: kicking back, talking, laughing. And how do you manage the split personality aspect of having a stage name/character as well as the you in real life? Right?! Thank you for seeing me! [laughs]. My original intention with Miss Blanks was to have fun and to get on stage and perform some dope rap tracks. It was very simple. And it was only over time that I found my voice through it, how I could use my smarts in this new arena. A lot has happened in just 17 months, I’m ridiculously grateful for the success so far. Miss Blanks can’t exist without Sian and Sian can’t exist without Miss Blanks. Her existence is an extension of me. We intersect; we don’t run parallel. And as much as I would love to just be about the music sometimes. My activism and how I’ve voiced these wider issues has definitely influenced how people engage with and look at Miss Blanks. The reality is that my ideas are quite radical ideas, especially in hip-hop. People are confronted by this trans woman of colour rapping. And your raps can also be lyrically confrontational too? The music I create can be consumed at a very surface level and that’s fine. If someone says Miss Blanks is just very raw, unapologetic, fierce, in your face, go for it! But I’m more than just that and if you want to, really break my music down. For example, my debut track, Clap Clap, that’s about celebrating women with fat asses, bodies, people of all shapes and sizes, that’s at the core of what that song is. It’s all there; you just have to listen. I have a strong personality, but I’m also really smart. But I don’t think there’s space existing for someone like me to fuck up, to be complex, multifaceted. I’m going to be considered as either the angry black woman or the slutty drunk. I enjoy sex just as much as the next person. But I can also be connected and articulate. It’s not even a reach, just read my lyric sheet. The exciting thing about what I do with Miss Blanks is that I get to reclaim my body, my gender, my spirituality, the duality of being a smart bitch that can enter these spaces and read shit down. But I can also rap about having sex and sucking dick, having relationships and entanglements. The way I do it is not most people’s everyday life, not their experience. It seems radical, as it’s not often normalised. Occasionally though when it is normal for someone, that’s really beautiful because that exchange gets to exist too.
As well as the music, you’re becoming well known, especially in the media, as an activist, tell me more about that? Every time I take a step out the front door, that’s a political move I’m making: a trans woman of colour, existing, being visible in the street. My grandeur and expansiveness confronts the majority of people because they do not often enough experience the reality of people like me, not only to see us but also to hear our voices, to listen to what we have to say (whether through music or not), to see our talents. I’m a pretty vocal activist; I do a lot of consulting, work behind the scenes with festivals and labels. But also I’m a ‘hood, regular-degular bitch from Brisbane who likes to have a drink and likes to fuck. It’s 110% me as a trans woman of colour phenomenal and politicized. There is such strength in my pure existence, and that’s not even me reaching or trying to kiki. No one in the Australian musical landscape occupies the space that I currently do and with such visibility. And because of that, I’ve been able to carve out a space that’s radical. It goes against the status quo and it’s the one percenter, hedge fund white man’s death rattle. They’re scared. It’s an exciting time because I get to make a space that hasn’t been there before, to dictate things and run things on my terms, especially with the activism I’ve injected. And I know there are many, many people out there like me. The kinds of conversations I’ve been able to spark and champion. They have sometimes been met with harshness and contention, but that’s fine because sometimes people need to sit in their own discomfort to share the burden. These are everybody problems, not just problems for me or my immediate community. If you’re not having an uncomfortable conversation you’re not having an important conversation. And what kinds of topics are we talking about here? Who are you calling out? Who am I calling out? I’m calling out everyone. [laughs] I’m talking about inclusion and diversity. My angle is about changing the industry from within but also externally. Creating a more intersectional framework, we’re talking about racism, transphobia, homophobia, and inclusion representation and diversity. We’re talking about ownership and power dynamics, the importance of inclusion and safe spaces. I’m also being selfish, changing this shit for me. I want to benefit from this and have a long sustainable career. White cisgender heterosexual men are not in a position to tell the stories that need to be told. These need to be told by the people that live them, have firsthand experience and know what they need. Allyship can sometimes be flawed, as it can be purely performative. There is a huge difference between standing in solidarity and trying to lead a conversation on behalf of others. This is about redistributing the power and it’s about pushing for discourse that is more encompassing. It’s an exciting time and there’s a lot of work to be done still.
With all this controversy, where is your peaceful place? What kind of support and advice have you received? I’m so tightly connected to a matriarchal community. If it wasn’t for a number beautiful inspiring women that have been part of my life, including my Mum, who’ve not just been there for me, but who really see me and hold me in a particular way in contrast to anyone from the outside’s perceptions I wouldn’t be here. In terms of advice, since day one my grandma always said to me “Closed mouths don’t get fed”. And I’ve held on to that quote through everything in my life so far, I know I need to be vocal. So, what’s next for you? What‘s coming up? I’m about to release a new song: This Bitch. It summarises my experience and my contributions as an activist in music so far. The people that are agents of the things I speak up against: racism, misogyny, transphobia, they are out there to distract someone like me. They still get the work they need to get done, done. They still tour, add new shows, and continue their day as if nothing has happened. Meanwhile, I spend three days consumed and responding to all of it, experiencing poor attempts to diminish my credibility. All of that is distracting. The track highlights those experiences but ultimately says I have pride, hope and spirit, I can check the negativity at the door and keep doing me. It’s also written and performed in a way that is dismissive at the same time. “Aye, I’m busy I’ve got my shit to do”. It’s is my way of capitalising on the situation, of being able to tell my story; for me, by me, for people like me. I also do a lot of songwriting and I’m collaborating with other artists too. I like to think I’m a talented songwriter and exciting to write for other artists, exploring lyrical themes that wouldn’t necessarily sit within the Miss Blanks realm, genre, style. You know, she has a brand. What I’m creating with Miss Blanks is pretty revolutionary, especially in Australia. Show me one transwoman of colour; show me one other artist in Australian music that’s talking about what I’m talking about. It’s exciting to play with that, to do that. But it’s also really exciting to explore and dig deeper and create for others where my words and music get to be showcased and highlighted in other ways. Lastly, let’s talk big dreams. What does the future hold for both Sian and Miss Blanks? Besides Miss Blanks popping off, which we all know is happening. I want to eventually start my own creative collective showcasing and prioritising community: women and non-binary folk, people of colour, queer individuals, making sure that they’re included in the conversation but at the same time get to dictate things. Ultimately I’d love to run my own music label, maybe curate a festival. I’m still young; I’ve got big plans. Who knows maybe I’ll run for Prime Minister one day? www.missblanks.com
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Photography and HAIR CAROLYN HASLETT Fashion RACHAEL CHURCHWARD Makeup RICHARD SYMONS using M.A.C COSMETICS Models ALIDA at CLYNE MODELS, MEIKE at 62 MANAGEMENT
Opening:Top by Chloe from Workshop Above: Top by Marques Almeida from The Shelter, pants by Symetria Concept Opposite: Jumpsuit by Symetria Concept, 92 by Lela Jacobs sleeves
Opposite: Jacket by Marques Almeida from The Shelter, pants by Symetria Concept Fashion Assist: Ethan Butler Thanks to White Studios Song title: Fetus Productions
Photography THIAN FIEULAINE Words SARAH BIRCHLEY Makeup LYNSEY ALEXANDER for M.A.C COSMETICS
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DIRECTED BY LYNSEY ALEXANDER FOR M.A.C COSMETICS, THE BEAUTY LOOK AT ANN DEMEULEMEESTER SPRING SUMMER 2019 WAS INSPIRED BY A ‘BEAUTIFUL WOMAN FROM UNDER THE SEA’. THE SKIN WAS PALE AND LUMINOUS, WITH FACE & BODY FOUNDATION AND STROBE CREAM USED ACROSS BOTH FACE AND LIMBS. WHITE PIGMENTS ON THE HIGH POINTS OF THE FACE CREATED A PALE AND SURREAL FINISH, WHICH WAS THE PERFECT COMPLIMENT TO THE CLOTHING. THE BROWS AND LIPS WERE ALSO MUTED, WITH MIXING MEDIUM BRUSHED THROUGH THE BROWS AND PRO LIP NUDE PALETTE USED TO SHEER DOWN THE NATURAL COLOR OF THE MODELS’ LIPS. THERE WAS A SOFT WASH OF TONAL COLOR ON THE EYELIDS, WITH THE PRO EYE PALETTE IN ‘YOU AND ONLY YOU’ USED TO CREATE MOOD. THE FINISHING TOUCH OF A BLACK TULLE VEIL, ADDED TO SELECTED GIRLS IN THE RUNWAY LINEUP AND FASTENED OVER THE FACE, CREATED A STARTLINGLY BEAUTIFUL CONTRAST AGAINST THE LUMINOUS BEAUTY LOOK.
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Photography NATHAN MARTIN Fashion ALEXANDRA DEANGELIS Hair JAKOB SHERWOOD at THE WALL GROUP using BUMBLE AND BUMBLE Makeup TASHI HONNERY Model KATE DEMIANOVA at SUPREME NEW YORK
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Opening: earrings by MOUNSE, collar by ANNIKA INEZ Above: Earrings and necklace by MOUNSER 112 Opposite: Earring by MOUNSER
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Opposite: Earring by WINDEN X JANE D’ARENSBOURG Above: Earring by ANNIKA INEZ, python necklace by LUZ ORTIZ, choker by WINDEN, collar by LUZ ORTIZ, necklace 115 by ANNIKA INEZ
Above: 116Earrings by ANNIKA INEZ, necklace by MOUNSER
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Photography CHARLES HOWELLS Fashion RACHAEL CHURCHWARD Makeup SHARLENE CASSIDY using M.A.C COSMETICS Hair GREG MURRELL at RYDER SALON using ORIBE Models BECCA and WINTER at CLYNE MODEL MANAGEMENT TABATHA at 62 MANAGEMENT
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Opening: Coat by Stolen Girlfriends Club, tops by Kate Sylvester, skirt by Charmaine Reveley, scarf by Karen Walker, trainers by Adidas, earrings by Homage. Above: Swimsuit and skirt by Gestuz, earrings and necklace by HOMAGE, heels by Acne from Workshop
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Dress by Kiri Nathan, top by 124Ksubi, sneakers by Adidas, pendant by Homage
Above: Dress by Marques Almeida from The Shelter, earrings by Homage Opposite:Sweatshirt by Salasai, dress by Helen Cherry, pants by Camilla & Marc, sneakers by Reebok
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Above: Dress by Kate Sylvester, top by Camilla & Marc, scarves by Bess, trainers by Adidas Opposite: Sweatshirt by Karen Walker, skirt by Kiri Nathan, scarf by Bess, earrings by Homage 128
Coat by Catherine Brody, pants130 by Helen Cherry, sneakers (worn) by Acne from Workshop, trainers by Adidas
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Jacket by Harman GrubiĹĄa
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Above: Coat by Benjamin Alexander, blouse by Helen Cherry, skirt by Karen Walker, trainers by Adidas Opposite: Blouse and skirt worn as top by Camilla & Marc, jeans and shorts by One Teaspoon, Sunglasses by Karen Walker, heels by Acne from Workshop Thanks to White 134 Studios Hair Assistant: Shan Lui Yama Song Title: Kevin Ayers
Photography VERONIKA GULYAEVA Fashion ETHAN BUTLER Hair LAUREN GUNN at COLLEEN Makeup KIEKIE STANNERS at M.A.C COSMETICS Model NATASHA WALSH at 62 MANAGEMENT
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Photography VERONIKA GULYAEVA Fashion ETHAN BUTLER Hair LAUREN GUNN at COLLEEN Makeup KIEKIE STANNERS at M.A.C COSMETICS Model NATASHA at 62 MANAGEMENT
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Opening: Jacket by One Teaspoon, top by Raven and Rose from The Shelter, Jewellery by Homage Above: Jeans by Rollas, top by Stolen Girlfriends Club, skirt by Kiri Nathan, boots by Alexander Wang from Workshop Opposite: Shirt by Sylvester, jeans by MM6 Maison Margiela from The Shelter, boots by Alexander Wang from Workshop, hand wooven feather scrug by Kiri Nathan
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Opposite: Jacket by One Teaspoon, top by Raven and Rose from The Shelter, skirt by Kiri Nathan, boots by Alexander Wang from Workshop Above: Dress by Marques Almeida from The Shelter, skirt by Karen Walker, jacket by Neuw Denim, boots by Alexander 141 Wang from Workshop
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Opposite: Jacket by Alexander Wang from Workshop, collar by Lela Jacobs Above: Jeans by One Teaspoon, shorts by Ksubi, belt by Workshop, top by Benjamin Alexander, hat by Lela Jacobs, 143 boots by Alexander Wang from Workshop
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Top by Sylvester, jeans by MM6 Maison Margiela from The Shelter, hand wooven feather scrug by Kiri Nathan Thanks to White Studios Illustration145 by Tom Munday Song title: Green Day
Photography DAVID K SHIELDS Fashion KELVIN HARRIES at ARTIST GROUP Hair RAE BORIBOUN at SYNC Makeup ANNETTE MCKENZIE at UNION for NARS at MECCA COSMETICA Model BILLIE ADAMS at IMG MODELS Floral Design STELLA OTTOLINA
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Opening: Skirt, t-shirt, jacket and briefs by Dior, hat by Zimmermann, boots by Raben. Opposite: Dress by Matin, jumper by Rag and Bone, hat from Bunnings, scarf stylists own Above: Top and skirt by Zara, shirt and pants by Topman, bag by Deadly Ponies
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Above: Dress and coat by Romance Was Born
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Above: Jacket, skirt, tulle top and bag by Prada, jumper by Double Rainbouu Opposite: Dress and coat by Romance Was Born, boots by Wittner
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Above: Dress by Zimmermann, jumper by Double Rainbouu, hat from Bunnings, gumboots by Raben Opposite: Jacket by Zimmermann, shurt and dress by Rag and Bone, pants by 155 Topman pants, boots by Wittner
Above: Outfit by Miu Miu Opposite: Outfit by Prada Song title: The Move
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Photography CYBELE MALINOWSKI at NETWORK AGENCY Fashion SARAH BIRCHLEY Hair JAYDE TURNER LEWIDGE at DLM using KEVIN. MURPHY Makeup KATIE ANGUS at JAM using MECCA COSMETICA Model MARTHE WIGGERS at IMG
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Opening: Shirt and shoes by Prada, vintage YSL trousers from Cara Mia Vintage Opposite: Knit and jacket by Bally Above: Knit by Sandro, skirt by Prada and boots by Christian Louboutin
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Opposite: T shirt, leather camisole and shoes by Prada, trousers by Bally Above: YSL blouse from Cara Mia Vintage, sunglasses by Prada
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Opposite: Vintage YSL blouse from Cara Mia Vintage, knit (worn over) by Max Mara, skirt by Maje, coat by Bally Above: Sportmax, belt by Bally skirt by Prada
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Turtleneck and shoes by Prada, and pants, jacket, skirt by Max Mara
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Turtleneck by Sportmax, shorts by Maje and vintage YSL coat from Cara Mia Vintage Photo Assist: Aaron Viii Post Production: Justin Malinowski Fashion Assist: Gemma Brookes
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Photography STEPH CAMMARANO Fashion LAUREN DIETZE Hair and Makeup JUSTIN HENRY using M.A.C COSMETICS and BUMBLE AND BUMBLE Model RUBY CAMPBELL at PRISCILLAS
Opening: Suit by PAM, jumper by Sandro, hoodie and earrings by H&M Above: Jacket an pants by PAM, top by De Innocents, bag by Sans Beast, shoes by Claire Myers, jewellery by H&M Opposite: Dress by Tasma Jesperson, jewellery by Justine Clenquet
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Hat by Tasma Jesperson
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Opposite: Dress by Tasma Jesperson, jewellery by Justine Clenquet, bag by Annabel Robinson, shoes by Claire Myers Above: Shirt by PAM, sneakers by Sandro, dress by Claire Myers, socks and chair by Annabelle Robinson. earrings by H&M
Opposite: Jacket an pants by PAM, top by De Innocents, bag by Sans Beast, shoes by Claire Myers, jewellery by H&M Above: Suit by PAM, jumper by Sandro, hoodie and earrings by H&M, socks by Adidas, socks by Claire Myers
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Jumper by Givenchy, pants by PAM, shoes by Claire Myers, shawl by Sando, jewellery by H&M Fashion Assist: Genevievee Rougian Song title: AIM
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Photography BRENDAN WIXTED Fashion HOLLIE VAN OSENBRUGGEN Hair DAVID CRUZ at ART-DEPT Makeup VERONICA VELEZ Model SADIE NEWMAN at W360 MANAGEMENT
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Opening: Jacket and jeans by Adam Selman, jeans on top by CIE jeans, boots by Ganni, strap by Myriam Schaffer, Opposite: Sweatshirt by T by Alexander Wang, shorts by CIE Denim, all belts by Frame, boots by Malone Souliers 185 Above: Dress by Jean Atelier, sweater by Alexander Aang
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Opposite: Top, sweater, skirt and bag by Tory Burch, boots by Ganni Above: Jacket, top and jeans all by Proenza Schoule
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Opposite: Leather jacket by Ganni, jean jacket by R13, jeans by 6397, socks by Falke, earrings by Laura Lombardi, shoes by Malone Souliers Above: Jacket and bra by Jean Atelier, jumpsuit by Ganni Ganni, sandals byTory Burch, socks by Falke Videographer:Jordan Aucella Fashion189 Assist: Margaret Galvin
Photography MEG YOUNG Fashion CHRIS LORIMER Hair and Makeup KRISTIN BRETT at WORK using MARC JACOBS BEAUT Y and DE LORENZON HAIR Model BELA PALACIO at IMG MODELS 190
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Opening: Clothing by Miu Miu, jewellery stylists own Above and Opposite: Dresses and192 bustier by Prada
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Opposite: Bra and briefs by Lonely Lingerie Above: Top by Romance Was Born
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Opposite: Dress by Karen Walker Above: Shirt and dress by Sir the Label, earrings by Reliquia stylist’s own socks
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Opposite: Earrings by Valet Studio, bra and briefs by Lonely Lingerie Above: Earrings by Meadowlark, dress by Sylvester, stylist’s own vintage Miu Miu shoes
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Opposite and above: Top and shorts by Lonely socks by Miu Miu, shoes by Mara and Mine Song title: Death Cab for Cutie Shot on location at The Hughenden, Sydney
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Photography LUKE FOLEY-MARTIN Fashion and Hair LENARD JOHNSTON using JOICO Makeup ABBIE AHMED Model TANYA GARCIA at 62 MANAGEMENT
Opening: Top by Judy Gao Couture Opposite: Hat by Dawei Zhang, jacket by Tango Vintage, pant by Jean Paul Gaultier, boots by Missguided, gloves by Dior, belt by Karen Walker Above: Dress by Cecilia Kang Couture , belt by Versace, hoisery by Dior,ostrich feather hat by Dawei Zhang, pointe shoes by stylists Own
Above: Top and sequin skirt by Tango Vintage, gloves by Dior, hoisery by Columbine pointe shoes by stylists own Opposite: Dess by Cecilia Kang Couture, pointe shoes stylists own
Above: Dress by Cecilia Kang couture, belt by Versace, arm gloves by Missguided Opposite: Dress by Cecilia Kang Couture, faux fur hat by Valentino
Above: Bodysuit and skirt by Judy Gao Couture, head piece by Tango Vintage, belt by Valentino, gloves by Dior, hoisery by Columbine cape by Cecilia Kang Couture Opposite: Bodysuit and skirt by Judy Gao Couture, gloves by Dior, belt by Michael Kors
Above: Dress byCecilia Kang Couture, hat by Dawei Zhang, faux fur collar by Valentino, pointe shoes stylists own Opposite: Dress by Tango Vintage collar top by Monica Corito, beret stylists own Song title: Bauhaus Assistant: Jason Kapurubandara Retouching: Resolve Studio
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IN THEIR LATEST SHORT FILM, BY RESIDENT FILM EDITORS; ERIN FAIRS & NATASHA FOSTER FROM FEMME TV TAKE US ON THE JOURNEY OF A GIRL NAMED LUNA WHO FELL TO EARTH AND CALLS FOR HELP. HER MAYDAY CALL IS RECEIVED BY HER NEW AGED LOVER. INSPIRED BY THE LIGHTING IN THIS LOCATION, ERIN AND NATASHA CREATED A LOVE STORY AMONGST THE GALAXIES.
Creative Directors: Erin Fairs and Natasha Foster Stylist: Erin Fairs Director of Photography/Editor/Colourist: Aleksei Vanamois Camera Operator: Chris Ras Stills: Vlad Da Cuhna Makeup Director: Nicola Burford Makeup Artists: Maree Spagnol and Kirsty English Production Assistant: Lorena Perez Models Jana at Priscillas wears gown by Toni Maticevski, vest and veil by Shroud the Label, necklace by Prada, earrings by Marni and boots by Louboutin. Joseph at 520 Management wears chain and rings by Maison Margiela from Route 66, singlet by Bonds, vintage shirt and pants.