Black Magazine Print Issue 31 by Black Magazine

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Woman at her Toilette. Edgar Degas. 1900/05. Branch of the Seine near Giverny (Mist). Claude Monet. 1897. The Art Institute of Chicago

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“Some are famous, many not so, but we have never felt the fame has much to do with inspiration” - Grant Fell 2012 Here we have it, the 31st print edition of Black Magazine entitled “With or Without You”. And what an issue it is. In true Black Magazine style, we proudly print five ROCK and ROLL covers from New Zealand, Australia, Paris and Madrid. The title of this issue resonates with us deeply as the collective Black whanau. When Grant and myself started Black Magazine in 2007 we did so with each other and chose our loyal teams to join us. To be with us, and they are still with us to this day. We have collected a few Black babies along the way but we are still forever inspired and without their wonderful talent we are nothing. We celebrate the late and great Grant Fell’s writing and his vision in this 2012 Issue 18 foreword, which resonates with us in publishing today. “Inspiration. The lifeblood of fecund creativity. The flood that nourishes, regenerates and in turn initiates a desire to be different, to do better work, to think outside the square and kick boring into touch. Inspiration comes in many forms and it is a many-splendored thing, germinating sometimes from small, assuming places to flower in the fullness of time or lighting up the horizon in an instant and dazzling arrival. Whilst we may not look for inspiration on a daily basis, it often finds us; in a book, film, song or in the art of others. Inspiration is the partner of enlightenment, the old maxim that you are never too old to learn has its foundation in an open mind and the humble knowledge that none amongst us, knows it all. We have built Black Magazine on inspiration for there is much in the world to ignite that flame and for us creatively, more than necessity, that is the mother of invention. Above all, though, it is the creative human being that inspires us and not just the great artists, poets or singers. We find everyday people with their own sense of style, flair and vision endlessly fascinating. This issue, the first in our role as tri-annual publishers, celebrates many of these people around the world; musicians, photographers, fashion designers, hat makers, skaters, burlesque performers even creative barmaids at your favourite watering hole have all fueled this issue with their own unique panache. Some are famous, many not so, but we have never felt the fame has much to do with inspiration. The Kardashians, unfortunately, inspire some, but all they inspire in us is the desire to turn the page, change the channel or sit back and question who they actually are”. As with every issue of Black, there is one group of creative people that mean so much to us, our contributors, creative partners and loyal, trusting brand partners. Without you, we are nothing. Arohanui, Rachael Churchward , Ethan Butler and the Black whanau xxx

Publishers + Founders Grant Fell [R.I.P] Rachael Churchward Editors Rachael Churchward Ethan Butler Creative + Fashion Director Rachael Churchward Fashion Editor Ethan Butler Beauty Director Rachael Churchward International Editor-at-Large [Europe and USA] Paul Empson Design Direction Tom Munday Australasian Editor-at-Large David K Shields

Fashion Editors Rachael Churchward, Sarah Birchley, Chris Lorimer, Ethan Butler, Justin Henry, Kelvin Harries, Paul Empson, Belen Antolin, David K. Shields, Jana Bartolo, Fran Marto, Strateaus Carlucci Hair and Makeup Artists Justin Henry, Carolyn Haslett, Greg Murrell, Benjamin James, Kiekie Stanners, Paolo Ferreira, Toppolino, Gato, Leisa Welch, Gemma Elaine, Natalie Jarman, Nicole Thompson, Meiloo,Annabel Barton, Rae Boriboun, Allison Boyle, Shannon Williams, Chris Coonrod Writers Sarah Birchley, Chris Lorimer, Tom Munday, David K. Shields, Rachael Churchward, Ethan Butler, Greg Murrell

Australian Editor Melbourne / Senior Hair + Beauty Editor Justin Henry

Publisher BLK NZ Ltd +64 277514684 www.blackmagazine.co.nz

Australian Fashion Editors Sarah Birchley Chris Lorimer Kelvin Harries

Postal Address New Zealand BLK NZ Ltd 46A Wainui Avenue, Pt Chevalier Auckland 1050

New Zealand Hair Editor Greg Murrell at Ryder Salon

Postal Address Australia BLK NZ Ltd 112 Womerah Avenue, Darlinghurst, NSW 2010 Australia

Features Editors Chris Lorimer Sarah Birchley New York Fashion Editor Heathermary Jackson Film Editors Natasha Foster Erin Fairs Digital Management Ethan Butler David K Shields Advertising Directors Ethan Butler Rachael Churchward ethan@blackmagazine.co.nz rachael@blackmagazine.co.nz

Photographers Paul Empson, Charles Howells, Veronika Sola, David K. Shields, Luke Foley-Martin, Carolyn Haslett, Tintin Hedberg, Jessica Aleece, Natasha Killeen, Jason Henley, Ming Nomchong, Waded

Print Distribution NZ & Australia: Ovato Retail Distribution International: 8 Point Distribution Printing by Soar Print Ltd www.soarprint.co.nz

Disclaimer: The views expressed in Black Magazine are not necessarily those of the publishers and editors. No part of this publication may be reproduced in any way without permission. Thank you. Please note all editorial and features are commissioned by our teams. We do not accept unsolicited submissions. ISSN 1177-2603 ÂŠBLK NZ LTD, 2019

A creative space to make your mark.

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DANIELA KOCIANOVA

photography TINTIN HEDBERG fashion

photography and fashion PAUL EMPSON

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Photography Luke Foley-Martin. Fashion Ethan Butler. Hair Benjamin James at Ryder . Makeup Carolyn Haslett using M.A.C Cosmetics. Model Ayan at N Model Management. Bertrand Hiking Boots by Acne Studios from Workshop. Thanks to White Studios

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Photography Carolyn Haslett. Fashion Rachael Churchward. Hair and Makeup Leisa Welch using M.A.C Cosmetics. Model Mihad at 62 Managment. Sneakers by Ganni from Workshop. Earrings by Zora Bell Boyd. Thanks to White Studios

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Photography Carolyn Haslett. Fashion Rachael Churchward. Hair and Makeup Leisa Welch using M.A.C Cosmetics. Model Lucy at 62 Managment. Thanks to White Studios

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Photography Carolyn Haslett. Fashion Rachael Churchward. Hair and Makeup Leisa Welch using M.A.C. Cosmetics. Model Ayan at N Model Management. Thanks to White Studios

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Photography Luke Foley-Martin. Fashion Ethan Butler . Nails Carolyn Haslett using M.A.C Cosmetics. Model Ayan at N Model Management. Thanks to White Studios.

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Photography Carolyn Haslett. Fashion Rachael Churchward. Hair and Makeup Leisa Welch using M.A.C Cosmetics. Model Ayan at N Model Management. Thanks to White Studios

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PHOTOGRAPHER LUKE FOLEY-MARTIN TAKES US BACKSTAGE FOR KATE SYLVESTER’S ‘LOVE LETTER’ AUTUMN WINTER 2020 COLLECTION. A YEAR AGO, KATE SYLVESTER DISCOVERED A BOX CONTAINING HUNDREDS UPON HUNDREDS OF LOVE LETTERS HER PARENTS WROTE TO EACH OTHER DURING THEIR COURTSHIP IN THE 1950S.THE LETTERS ARE BEAUTIFUL, STRONG AND TRUE. THIS COLLECTION IS KATE’S TRIBUTE TO THEIR LOVE.

Photography Luke Foley-Martin. Director Wayne Conway. Event Coordinator Sophie 48 Donovan. Makeup Kiekie Stanners for M.A.C Cosmetics. Hair Sean Mahoney for Colleen using Evo & Cloud Nine. Veiw the full backstage gallery online

PHOTOGRAPHY JESSICA ALEECE FASHION AND INTERVIEW SARAH BIRCHLEY TALENT JOSH AND AMY DOWDLE OF LASTLINGS HAIR AND MAKEUP GEMMA ELAINE USING ARMANI BEAUTY AND KEVIN MURPHY.

SIBLINGS JOSH AND AMY DOWDLE OF GOLD COAST BASED MUSIC DUO LASTLINGS BURST ONTO THE SCENE FOUR YEARS AGO WITH THEIR FIRST SINGLE AND HAVE BEEN BUILDING MOMENTUM EVER SINCE. THEIR DREAMY, ELECTRONIC SOUND HAS A SOPHISTICATION BEYOND THEIR YEARS AND HAS BEEN MET WITH GREAT ACCLAIM, LEADING TO CONSISTENT BOOKINGS ON THE AUSTRALIAN FESTIVAL CIRCUIT AND TWO USA TOURS WITH THEIR FRIENDS RUFUS DU SOL.

Sarah Birchley speaks with Josh and Amy about their musical journey, working together as siblings and the upcoming debut album. How was music a part of your lives growing up? Josh: Music has had a substantial impact on our lives growing up. I began piano at a young age, but slowly lost interest in lessons and quit which I am very disappointed in myself for. I had one classical guitar lesson in the seventh grade and hated it, then in high school decided to teach myself guitar from listening to different records I liked. Looking back now I wish I hadn’t given up classical music as I have a huge appreciation for it now that I’m older and know how much it would influence our music now. With that said though, if I didn’t move on from classical to rock music and then onto electronic music we probably wouldn’t have the sound we have today in Lastlings. Amy: My earliest memories of music are probably from our mum and dad at karaoke - they LOVE it. I remember sitting in this little room Dad and I put together specifically 54

for Karaoke and singing for hours. My first musical instrument was the classical piano which I started at age 6 and singing I started at age 8. Beginning piano was my mums influence and my dad would share with me all his favourite artists. One of those artists was Regina Spektor. I think that she definitely influenced me to sing and play piano at the same time. I started writing my own songs when I was about 11 years old. When did you first start playing music together; what was the journey that led to you performing as Lastlings? Amy: We first started playing music together around 4 years ago and it was that same year we wrote our first song and released it. Prior to that Josh played in a band with his friends and I would come sit and watch or after his friends had left we’d sit in the garage and play music together. The first single got some nice early attention from people so we started writing more songs and this was when Josh started to get into more of the electronic production side of things.

Can you talk us through your process when you are writing - how does the sound come together and how do you each contribute to the track? Josh: Amy does the writing and the vocals in the project and I do the recording and production of the music. Each song is different in its beginning stages, but more often than not I’ve made a demo instrumental that is quite stripped back and then see if Amy likes the idea and if she does, she starts writing vocals to it. The demo can start from anywhere like guitar or piano chords, a drum beat, vocal melodies or a bass line. We both have an equal say in what we like in the song and what we want to change which naturally means there’ll be a bit of back and forth or butting of heads, but in the end we make sure we are both happy with the end result. What musical influences do you have? We both have a pretty diverse music taste and are influenced by a lot of different genres and artists. Our main influences that inspired our upcoming album are artists like Moderat, Rufus Du Sol, Hans Zimmer

opening page : josh wears hoodie , vest , pants and sneakers by

EMPORIO ARMANI

amy wears blouse and shorts by

EMPORIO ARMANI and

sneakers by

D.C SHOES this page : dress by

FENDI at THE OUTNET

this page : shirt and pants by

LOUIS VUITTON, shoes by

BALLY

opposite page : josh wears hoodie and vest by

EMPORIO ARMANI amy wears blouse by EMPORIO

ARMANI

and Bonobo. Right now we are both really inspired by movie films. Sometimes we like to play a movie while we are creating music, so its almost like we are scoring that film. It really gives us a chance to try and create a world and sonic landscape that maybe we haven’t been able to tap into before.This year you have played both Coachella and Splendour in the Grass for the first time; how were these festival experiences and what have they meant to you? Amazing. They were both incredible in their own rights. Coachella was our first time performing a DJ set overseas and it was an incredible experience playing at such an enormous festival. We were lucky enough to see a lot of artists that we look up to and were dying to see; Childish Gambino, Four Tet, Ariana Grande, Aphex Twin and Stephan Bodzin. It was also amazing to see our friends Rufus Du Sol perform in front of an ocean of people. Our team that we went over with was also such an amazing crew so it made our first Coachella experience something we’ll never forget. Splendour in The Grass was very special for us. It was definitely one of our favourite festival experiences to date. We’ve both gone to the festival many years in a row so

it was incredible to be on the bill amongst so many amazing artists. We weren’t sure what to expect as we were playing so early in the day, but looking out to thousands of people packing out the tent at midday was one of the most amazing feelings. How do you feel about the Australian music community; who do you collaborate with and feel inspired by? The music community in Australia is incredible. It’s very supportive and the fan interaction when we’re at shows and festivals is amazing. Also, the music coming out of Australia is at such a high quality it’s so great seeing our friends create traction in overseas markets as well. We’ve recently signed with “Rose Avenue Records” which is the Australian electronic band Rufus Du Sol’s label. It houses Rufus Du Sol, Cassian and us. Being a part of this family has been such an amazing experience for us and has forced us to become better artists and create music at a high level which is something that we are so thankful for. Cassian and Rufus are a bunch of really inspiring people, who are REALLY good at what they do and are constantly inspiring us. You are both signed agency models, how has your experiences shooting for

fashion advertising and editorial clients influenced how you are now creating imagery and visuals for Lastlings? With us both being involved with the modelling industry from young age we’ve had the opportunity to become comfortable in front of the camera, know what works and what doesn’t work and really hone in on a specific image we have in our minds that we want to create. It’s one thing to have the idea in your mind, but executing it is always such a difficult task. We’ve been really lucky to have worked on different sets with different photographers, make up artists and stylists as it as really helped us figure out how we can best achieve the images and visuals we’re striving for. Through modelling we met one of our really good friends Jessica Mcdonald, who shoots a lot of our images for us and actually shot this BlackMag editorial. What can we expect to see from you in the next twelve months? We have a lot of shows coming up leading into the summer that we are very excited for. The past year and a half we’ve been working on our debut album and it is set to be released later this year and cannot wait for that! A special thanks to Gold Coast Studio’s

PHOTOGRAPHY LUKE FOLEY-MARTIN HAIR AND MAKEUP NATALIE JARMAN USING TOO FACED AND COLOUR POP INTERVIEW CHRIS LORIMER SHOT ON LOCATION AT WAITAKERE RANGES, AUCKLAND

AT BLACK, WE LOVE TO SHINE A LIGHT ON EMERGING ARTISTS IN ALL FORMS AND ONE OF OUR RECENT FINDS IS TONI TITTLETON. WORKING WITH CAST GLASS, SHE IS RISING IN THE RANKS OF THIS VERY SPECIFIC GENRE. FROM HER RURAL AUCKLAND STUDIO SHE SPOKE WITH CHRIS LORIMER ABOUT HER JOURNEY.

Let’s start with you telling us a bit of your background. Where did you grow up? I come from a very hard-working family. My parents never spent their earnings on fancy dinners or travel. They have always invested their money into their home and land and now reside on a 12-acre farm in the Waitakere Ranges. We moved to the farm in 1994 when I was two years old. At the time the whole property was 43 acres and was divided up between other family members including my grandparents who I am very close to. I am an only child, however living it what felt like a small village it gave my cousins and I space to roam and form tight bonds. We all lived in a tiny old cottage along with other family members for several years, until my parents saved enough to build us our own dwelling. Growing up in this environment naturally I had a very tomboyish nature. I could be found riding motorbikes in the paddocks and watching my older cousins work on cars. I even remember early on my granddad showing me how to work with tools, something that has helped me more recently in life with my work in the studio. Having a natural pull to the arts meant I struggled to sit still in a classroom, I was never the smartest when it came to English or Math and I wasn’t overly interested in what careers they could offer me. I just wanted to be working with my hands or doing something creative. I could always be found in some kind of artistic medium at school and I took as many different art classes as possible. I never knew exactly what I wanted to do for a job but I knew it needed to be something different, creative,

out of the box and something that no one else was doing. In my final year of high school, I found myself lost and unsure of what the future held for me. In the last few weeks of school, I came across a tiny advert for Whanganui Glass School, a seemingly unheard of faculty whose passion it was to inspire creativity in people. I rushed home and applied straight away, and after an interview, I was accepted into the programme within the week. I was so excited I didn’t gauge exactly where Whanganui was, but I knew no matter what I would be going. How exciting for you! So you upped sticks and went to Whanganui, how did that go? Moving out of home at 17, I had no idea what this new journey would hold. I didn’t know anyone in Whanganui and although excited and thrilled about getting the opportunity to delve into a creative medium I was so nervous I wouldn’t end up liking glasswork. I started my studies in 2010. The first day was a shock to the system, and we were thrown into the deep end by beginning work immediately in the glass blowing studio. I was unprepared but was exhilarated and it was a great entry point into the world of glass. Things from that first day have stuck with me ever since and still influence my current glasswork process. We then quickly moved through all the types of glasswork methods including kiln-formed glass. Casting in the kiln quickly became my favourite thing to do, the patience and the broad scope of work I could produce meant that every creative thought I could come up with was able to be made. Figuring out all the difficult steps in between was always a

challenge but made the result so much more satisfying. Was it all just focused around study? As casting was now my sole focus, I began to seek out opportunities to work amongst casters who were doing it full time. I was able to help and in turn, learn in every step of the process, and being paid in nice gaffer casting glass (valued at around NZ$20-25 per kg) was also a great trade. Being paid in glass meant I was able to fine-tune my techniques and apply all the skills gathered from my work experience with them. I started entering my work in exhibitions, both indoor and outdoor. I had my work placed in the Hamilton sculpture park and although it was only meant to be a temporary install, the owners of the exhibition fell in love with my piece and paid to have my work stay there permanently. Seeing the success my work had at the Sculpture Park I then had the honour to be commissioned for a similar piece for the Whanganui Glass School. It still resides in the facility. Tell me about the work, you made while there? Graduating in 2012, I finished with a Diploma in Glass Design and Production, specialising in Glass Casting. I produced four large geometric pieces of cast glass for my final entry and was over the moon to be highly graded. My artist statement for that exhibit was “to capture and preserve the movement of molten glass within a geometric form”. It took me the whole year of tireless work to produce these four pieces: from the beginning design stages on paper, right through to the polishing process (not to mention all the help I received in between!). It 61

“ I AM INSPIRED BY THE WAY MOLTEN GLASS MOVES AND FLOWS. USING THE THICK AND THIN AREAS OF THE GLASS, I LIKE TO CONTROL THE LIGHT THAT PASSES THROUGH THE PIECE. IT BRINGS OUT A RANGE OF DIFFERENT SHADES WITHIN THE ONE COLOUR OF GLASS THAT I USE ”

was the hardest and most rewarding work I had done so far. Seeing the flowing molten glass stopped in its movement meant my overall vision had come to fruition and that others were able to live within that vision, that made the a whole year worth it. This full collection was sold to a glass collector on the Kapiti Coast (and who is still one of my biggest clients today). Once you’d graduated, what happened next career-wise? After graduating in 2014 I moved back to Auckland and while there went to work with Ann Robinson (ONZM) as a studio assistant. Her wax process was unlike anything I had come across before, and the sheer size of her work along with her finishing processes influenced my later pieces and extended my ideas of what was possible. Artists Christine Cathie and Layla Walter were also working in the same studio space as Ann during this time and it made for a very powerful female environment. It was amazing to be in a workspace surrounded by so many talented, strong and passionate women who were leaders in a male-dominated industry. Working among them my goal from then on was to follow in their footsteps. Becoming a professional glass caster with my own studio space, equipment and materials to produce my creations that would last a lifetime was my ultimate dream. And then, you went to Wellington? Yes, later on in the year I completed a small business course, and I took a role as an assistant at a glass gallery named Real Aotearoa. This meant making the shift down to Wellington. Real Aotearoa sold a range of New Zealand made glassworks and I was able to sell my work through this gallery also. While based there I made an effort to take on other creative mediums, as glasswork wasn’t an option for me at this time. Keeping my dream in mind I worked hard to save funds to go towards one day having my own space. Over the next couple of years, I worked hard to save any money I made from my assistant work and from selling the rest of the glass pieces made during my time in Whanganui.Do you have anyone you’d credit as a mentor in the glass art world? Carmen Simmons, my casting tutor at Wanganui glass school. Carmen was also one of the people I would work for in her casting studio, while at school 62

and she was one of the people who would pay me with glass. Also being the teaching assistant for Galia Amsel, this was a biggie and she is the reason I met and got the studio assistant job with Ann Robinson. They were both such a huge influence for me. How did the Tittleton Glass Studio finally come about? I returned to Auckland in 2016 to begin acquiring a studio. Having limited funds meant I had to get creative with my vision and a 20-foot shipping container was soon purchased with the idea to transform it into my own perfect space. By early 2017 power was connected, large sliding doors were inserted and with the help of my parents, we got the space up and running. The most expensive item I needed was an electric kiln that had to be hard-wired into the container. It proved to be one of the biggest and most expensive challenges throughout the whole process. Each payday meant spending a little on the tools I needed to complete my set up. One by one my inventory built up enough to start the making process. By 2018 I finally had a fullyfledged studio. A space for just me to create, experiment and work on new ideas. I am so proud looking back at how far I’ve come and all the work I put into staying on my path to make sure my goal was achieved. It’s comforting to know that I have a place where I can come and delve into my craft and allow myself the space to create works. It’s an amazing feeling that people want to pay me for my passion. My glass studio is now based on my family’s land in the Waitakeres. I’m the only member of my family producing glasswork. And although it’s a solo venture, my family have helped every step of the way. This is why my studio is called Tittleton Glass Studio. Not just to signify me but acknowledge my family as well. Tell me about your making process, how do you go about making a piece? The pieces I create can take up to three months to make: from the beginning design stages to full polished completion. I use the lost-wax process, a method that is over 6,000 years old. My pieces are cast, which is when molten glass flows into a mould where it solidifies. Once each piece is cooled (and because of such extreme heat this can take up to a week), it is then put through a long polishing process to reveal what is

inside. Glass can be such a hard material to work with at times, it’s unpredictable. One chip can take numerous hours to fix. I have bad days fighting with it and other days of the glass doing exactly what I need it to. Although it can be my worst enemy, I keep reminding myself that this is why not everyone does this! Somehow at the end of it all, the weeks of hard work, and long hours perfecting it, the raw material transforms into something that is both beautiful and elegant. Behind every piece is an artist who is exhausted with broken nails and rough hands, but it is worth it for the results. People do ask “ Why is it so expensive?” and this is the reason why! How do you describe what inspires you about working with glass? My finished pieces are a reflection of my love of glass and its movement. I am inspired by the way molten glass moves and flows. Using the thick and thin areas of the glass I like to control the light that passes through the piece. It brings out a range of different shades within the one colour of glass that I use. For this issue of Black, you created a special boot sculpture, what can you share about that? The style of work I am recognised for is my large highly polished, geometric forms. Shoes and other pieces of clothing are just something I have made in the past for fun! Anything can be made into glass, you just have to work out the process to achieve it. This shoe is cast glass, and it was made using the lost wax process. Many emerging artists also have a side hustle, do you have one? And if so, what is it? I am also a store manager for Creative and Brave, a New Zealand owned company supporting artists and designers from around the country. I love to support as many local artists as I can. I know the bravery it takes to make a living from works of art. The owners of this company are massive support with my glasswork and it’s such a satisfying career mix. I love that I can sell New Zealand artists’ work while also making and selling my creations. What does the future hold? What are you up to next? In the future, my goals are to exhibit my work internationally and continue to exhibit locally. I have so many ideas I want to work on and am excited to see where they take me next. Keep up with Toni’s creations via her Instragram @tittleton_glass_studio

PHOTOGRAPHY NATASHA KILLEEN INTERVIEW AND SHOOT PRODUCTION CHRIS LORIMER SHOT ON LOCATION AT HYPERREAL, CHIN CHIN SYDNEY

MISSY GILBERT AND DANIEL BOURNE AKA GINGER AND THE GHOST ARE NOT JUST MUSIC MAKERS, THEY ARE SONIC AND VISUAL WORLD CREATORS. SEATED AT THE COMMUNAL TABLE AT ‘THE NEST’, THEIR INNER SYDNEY CREATIVE HUB, GILBERT SPOKE TO CHRIS LORIMER ABOUT NEW MYTHOLOGIES, WORLD MUSIC AND REVERSING THE SUPPRESSION OF THE FEMININE SPIRIT.

Who are you? How do you describe Ginger and the Ghost? We’re essentially a duo, and we name ourselves a multidisciplinary project versus being a band. At times we extend it out beyond the two of us and it spreads further into really big productions. We make ritual theatre with our live shows and audience experiences. We do all the creative direction, including set design, costume, film, in fact, every part of our world is always made by us, hands-on in every aspect. We also do lots of collaborations with other artists, we pull them in the fold [laughs]… and once they’re within our realm, working together we create worlds. Take us back, how did this all begin? Daniel and I began dating and we were both in bands. I was making electronic music and also in an all-girl indie band, and he had a progressive rock band. In about 2005 / 2006 I wanted to do a solo album, and I wasn’t sure if I should ask him to work with me on it or not. I was worried because if it wasn’t good, we’d break up, and I really loved the guy. I finally asked him and he was very excited because turns out he’d been tiptoeing around the idea too! We went up to record in a studio that’s in a big converted water tank in the back of the Gold Coast. The way I’ve always written is very impromptu: I adlib and write in the studio, so we wrote in that way. It was incredible, it was the first time I felt like someone was accompanying my voice versus my voice being the accompaniment for a beat, and it felt like the music was sitting around me. And that’s actually how the Ghost aspect came about. It just happened from

there, we wrote an album’s worth of songs started releasing them and then I dragged him into doing the dress-ups with me! What are Ginger and the Ghost songs typically about? I envisage a world in my head and then I write stories about those places, which become my lyrics. I generally write from my imagination. I love Hans Christian Andersen, old fairytales and stories as well and ceremonial and mythologybased tales and folklore from all over the world. It’s ethereal, otherworldly, a fantasy, we like to call it our modern mythology. That’s in our writing, our visuals, our story, all that we do. And was that also in your performances right from the start? Oh yeah! [laughs] the first show we ever did was in the warehouse that we ran, the first iteration of The Nest, and I wove the ceiling full of shredded silver paper. We performed in a stage set also made of paper. It looked kind of Icelandic and it was complete theatre with props, staging. It was mental from the get-go. I just wanted to go in guns blazing. And now you have begun to incorporate dancers, so there are now some moving parts? I’m very expression session on stage. Witchy. It’s always been natural for me to move organically with our sound. Our new collaborators are both contemporary dancers and conceptual artists in their own right, and we’re developing symbolism and fine-tuning our ritualistic message through movement. I vibe off having more people on stage. Is this full environment the only way to experience what you do? We recently did a month-long residency at the Art Gallery of

New South Wales and it was so stripped back because of the surroundings, being in the middle of the gallery. We had to advise the measurements of our costumes because we had to be positioned so we didn’t hit a work! And so it was a voice and simple movement. But it still felt connected and I felt like everyone could still envisage what wasn’t physically there It’s inherently there because of the musicality; the structure, the sounds that we use, and the stories that I tell in the voice that I have. Often people will come up afterwards and speak about a nostalgia that happened for them or particular emotions. Mostly it’s about emotions. So, it’s always experiential definitely. With such a reputation for creating these immersive worlds, how do you manage to do that when on tour? I don’t know how we’ve managed it travelling, but we seem to be able to create these stage pieces even if it’s a really quick turnaround on a festival main stage as well [laughs]. We‘ll always work as hard as we can to somehow drag as much of that with us as possible. How do the two of you split the work, what roles do you play/? Well, I’m boss bitch [laughs]. Dan’s an incredible musician and can play so many instruments. We co-produce, both create the soundscape, often using samples from nature and sounds that we’ve recorded from our travels around the world. We split it pretty much 50/50 down the line with production. We usually try to get at least five tracks down at a time. We work symbiotically and we have rules about letting each person being able to get their idea out, then yes or no it, but always 67

“ I WANT TO MAKE SOMETHING AUTHENTIC THAT’S DEEPER THAN JUST BEING DECORATIVE, I WANT TO MAKE SOME CHANGE AND AFFECT SOME HEALING THROUGH MY WORK ”

allow it to come to life. It’s challenging to work in such an improvisational way in studio, but for me, it always brings the most authentically beautiful sounds and what we capture is energetic and not contrived. For the visual aspects, I come up with the vision and I make mood boards for the visual references for each body of work. Speaking of travels, how did you take the project out from Sydney to the rest of the world? We are a bit obscure in that regard, always being selfmanaged and completely independent. We have released some music through independent labels, but everything has been our own path. What I consider to be a successful tour is probably not a format that a lot of bands would use. Intuitively we love travelling to beautiful natural landscapes around the world. This year I instinctively felt I wanted to be in the American desert, to connect to the resurgence of a 70’s style avant-garde artist community out there. Get deep into ritual and ceremony in the desert, and reconnect to esoteric spirituality, to work with shamanistic principals. There are lots of the artists I’m into, and have love affairs with on Instagram. I just announce that we’re coming and set up collaborations. I contact galleries and look around for festivals and communities that I want to be a part of. For us, it’s organic and not very “booker” like. It’s based around building great relationships with people that I love and admire. It’s also about relinquishing a bit of control and to connect other worlds to our own. With all this global community, what keeps you based in Australia? Do you identify your work as Australian? We have made a base camp here, The Nest, which is a space of 50 artist studios in central Sydney that we run and it also gives me room to just explode and make. I love the Australiana aspect of my work, I love the nature in Australia, it affects my writing and my aesthetic. I draw a lot from local flora and fauna, and also the ancient history of this 68

continent, going back to my Indigenous heritage as Mununjali woman. We play a lot of World Music festivals in Europe and they are extremely eccentric and eclectic, incredibly rich and diverse. When we’re announced as Australian music, I don’t think anyone knows what to expect [laughs] but it’s been a super positive aspect for us out in the world. On a personal note, you’re also politically involved, with the Women’s March in particular. What drew you to that protest? It made me ask what did I see as the biggest issue challenging women’s rights, and for me, it is the suppression of the feminine spirit not only in women but also in a society that is beginning to embrace a multiplicity of gender definition. This suppression is something that has affected my past work. Coming across as someone fierce or wild or not giving a shit about what people think of her and does what she wants can trigger fear in some quarters. I have a lot of women coming up to me after our shows to talk about feeling empowered. Showing my soft power and the way I exist, as a creative is a platform. I want to talk about issues and bring things to light, opening up conversations in our community. You know that question, “How do people describe you in five words”? I often get “She’s crazy” and I hate that word because there are so many other better ways to describe me: vivacious, wild, driven, focused. Crazy is derogatory, it doesn’t imply planning. Does crazy manage a creative precinct? One of the things I want to create is a contemporary toolkit for people to create change through language. To inform the way they speak about the feminine and female. You’ve also started to begin activating spaces as a solo artist, Offerings, bringing your worlds to the people. Notably with Sydney’s QVB and with both the Chin Chins in Sydney and Melbourne. They’ve led on from my earlier experiential work, making these new immersive dining experiences. They’re concept-driven and multi-sensory, including

culinary design (food and cocktails) art installation, spatial /set design, costume and performance. The Sydney Chin Chin one was HyperReal, a play on the future at the eve of destruction, the world having its last night and in my vision, we were in futuristic downtown Tokyo. It’s an extreme interactive theatrical dinner party with no standard plates, cups, knives or forks. It’s another world I’ve created, absolutely an extension of Ginger and The Ghost in that it’s my shared aesthetic, but it’s adjacent, a hedonistic cyber world where we are visiting. The installation art is the performance and the bodies in the space, with a soundscape orchestrating the flow and the program. What I love about making things like this is that it creates an excuse for people to come up onto my stage, inside my imagination. So many things are spoon-fed to an audience and it’s so nice to invite people to come in and physically experience our world as opposed to watching us play in it. The interactive part of it is really exciting, pushing some innovation.You two are so busy! What’s coming up in the near future? We’ve got a ton of new music to release later this year. The way that we’re going to release this next album of work is going to be via an experience. And then we’ll play at venues and festivals to follow that up; but initially, we want to create an entire package for this body of work, a creative concept, full immersion. And as Offerings, I’m curating an experimental playground of touch/sound/art called SubKulture Vulture. They’re bi-monthly events and happen in our warehouse, our creative space, The Nest. I’ve got a few tricks up my sleeve for those! [laughs]. I want to keep discovering new ways to make our work even more interactive, looking at both tech and also a real human connection through the practice of ritual theatre. I want to make something authentic that’s deeper than just being decorative, I want to make some change and affect some healing through my work.

PHOTOGRAPHY JASON HENLEY AT TALENTLAND AGENCY FASHION JANA BARTOLO MAKEUP NICOLE THOMPSON AT UNION MANAGEMENT USING MAC PRO HAIR RICHI GIRISILIO USING WELLA PROFESSIONAL INTERVIEW CHRIS LORIMER

opening page : dress by LEO & LIN this page : jacket and dress by ARMANI following page : blouse and dress by GAIL

SORRONDA

IN REAL LIFE SHE’S CELIA PAVEY, BUT AS ALTER EGO VERA BLUE SHE THRILLS AUDIENCES WITH HER SIGNATURE FOLK/ELECTRONIC SOUND. ON THE VERGE OF AN IMMINENT SOPHOMORE ALBUM RELEASE, SHE SPOKE FROM THE STUDIO WITH CHRIS LORIMER IN SYDNEY. TALKING ROMANCE, BEING MOVING SCENERY AND THE POWER OF FASHION TO INFLUENCE FEELINGS.

How do you describe your music? With the Vera Blue project, it’s a blend of folk, pop and electronic. I lived in the country since I was tiny and grew up listening to a lot of folk music. Then when I moved to Sydney to study music I began to hear a lot more electronic sound, which I fell in love with. So I think what we make is a blend of the music that I love. A lot of the lyrics are about what I’ve been through and what I’m going through: very emotional, yet playful at times. My first record PERENNIAL was about overcoming heartbreak and figuring out who I am. That is something that I think everyone will go through or have already been through. It’s a relatable topic, and something that people can make their own which what I love so much about making music. So are universal topics quite important to you? Yes, absolutely. Anything that I’m going through or anything that I see happening out in the world as well; what makes music relevant is when people can connect and make the stories their own as well. Let’s talk about your process as you’re in the studio right now. How do you go about crafting a song? How do you start? For a lot of my songs, we start from scratch with an acoustic guitar or a piano, so they do all begin as a kind of folk song. And then we build on what the song is about through production. For example, if the song has started with the acoustic guitar but it has a sense of angst to it, it’s about something more anxious and it needs more fire; we’ll add a darker sound with a synth or a big beat. All

the sounds that we add to the songs have something to do with what the meaning of the song is. If it’s a beautiful love song, we’ll look for sounds that feel very romantic, gentle on the ear, help you to feel like you’re floating, things like that. It’s a really fun process. Sometimes it’s difficult to finish the song all in one day and for some, we might need a few days, even a few months to finish. For some, we’ll only have the verse, so it’s about looping back to find the right lyrics for a chorus. It’s a nice vibe at the moment, I have a co-writer who I work closely with on our lyrics and feel and then my producer will create whatever sounds make sense to the song and we’ll all pitch in with ideas. I love creating music it’s one of the most beautiful things to be able to do. Am I right in describing this as an organic process then? Yes, super organic, which is what this whole project has been about. Its been built on very organic platforms where we’ve all met each other, spent time in the studio and then just let things happen; it’s not forced or rushed, we do what feels right. And that’s what I think makes the songs so unique and real, the fact that I’m able to be myself with these guys, and open up to them. It’s funny when I’m in the studio, I know when something doesn’t feel right but I’m not always sure why. I’m not sure what exactly determines what feels right, but often it’s the other people in the room who are on the same wavelength to say, “Yes, that’s it!” So how big is your creative team for making music? I think of Vera Blue as an “us”, as a group, as a

collective. Besides me, there is my producer, a lyricist that I work closely with and my engineer. So we all work together on creating the beauty in each song and making it feel like its super real. I’ve met a group of people who get me and allow me to be myself. We have a lot of fun. It’s got to be like that, a bit of a family, as we spend a ton of time together. And where did the moniker Vera Blue come from? In a way, she’s a bit of an alter ego. When we do the Vera Blue stuff, and there’s the electronic element in it, I feel different and especially when I perform, it’s a release for me. It’s not that I’m someone else or being in character, I’m definitely still me but it’s a way setting myself free of certain thoughts and emotions and to write down all the things that I’m thinking and then make them into a song to put out into the world. It’s amazing to do live as well, to just dance and feel and have fun. And, what are the differences between Vera Blue and Celia? In a musical sense, it’s mainly just the type of sounds. The stuff that I created first under my real name was straight folk, very inspired by the likes of Joni Mitchell or Simon and Garfunkel. No electronica in there, it was stripped back and more about storytelling. And then with Vera Blue, it’s edgier, darker and it can also have sounds that don’t initially make sense: aggressive sounds blended with beautiful sounds. It allows me to be a different artist, to be able to dance, to move to beats and express myself differently. That’s the beauty of having different projects, there’s a lot of freedom in

“ IT’S NOT THAT I’M SOMEONE ELSE OR BEING IN CHARACTER, I’M DEFINITELY STILL ME BUT IT’S A WAY OF SETTING MYSELF FREE OF CERTAIN THOUGHTS AND EMOTIONS, TO WRITE DOWN ALL THE THINGS THAT I’M THINKING AND THEN MAKE THEM INTO A SONG TO PUT OUT INTO THE WORLD ”

what I can do, and Vera Blue is where my heart is at the moment. When I met my producer and when we started creating the first song we were both experimenting with electronic sounds and something was happening that felt unique and really hit me hard. I got excited about the next chapter and I realized the project, the whole sound, deserved its own name. Now four years on from that first release, what is the evolution of Vera Blue? The sound, the songs and the storyline are always evolving because what I’m going through is constantly changing. The next phase is different topics, different ideas. The first phase was dark; I was coming out of a relationship and trying to deal with a lot of different anxious thoughts. The last record was about overcoming heartbreak and finding myself and I think that’s an ongoing thing, figuring myself out. And, what’s happening next for the project? At the moment I’m creating new music, working on new songs, figuring out what the next storyline is. I’m super excited about what’s to come and I’m looking forward to sharing what I’ve been doing, to keep creating and evolving the sound and storyline of Vera Blue. I feel like I’ve got a really special team, an amazing group of people around me. They help allow it to be the best it could be. I’ve got some really exciting touring coming up too. I love creating the live show, making it a really special thing for audiences to experience. I love choosing what I’m going to wear, how I’m going to create a visual vibe

for each specific song using colour, shape and movement. In terms of creating a live experience, what specific things do you do? It’s in the way that we make the songs sound, a bit different to what you would have heard on the album or using lighting cues that work from the beats that are aggressive or strobes and things that add to the feel of the song. And your wardrobe is the moving scenery? Yeah! At the moment everything I’m wearing is colourful. In the first phase of performing Vera Blue, I wore a lot of black, it certainly wasn’t bright, vibrant or super rainbow vibes. But now we just go for it. And I’ve been lucky to collaborate on custom pieces with some amazing designers including Karen Walker and Zambesi. The point of everything is that you can see me from a distance. So, we could call it a hybrid of costume and fashion? It’s also practical because when I’m on stage I don’t want to fall over, need full use of my arms. It’s always pieces that I can move comfortably in and have a wow factor. I love to go for a big spin around in a couple of songs and the audience always really loves that! If I’m spinning, I want a lot of movement in the garment, so it floats in the air. What suits my music is that within a look I can have something very feminine like a floral or some tulle, and then I’ll wear Doc Martens or sneakers so that I can jump around. I’d never walk on stage in stilettos. Are you a lover of fashion? I love, love fashion! I’m still learning about it, there are so many labels and designers that I’m opening

my eyes to. It’s very exciting to be able to collaborate with a designer to create something that feels like me but also pushes the look as well. I might wake up on any given day and feel a bit flat but if I wear my favourite pink jacket, how can I possibly feel awful in this jacket because it makes me feel so happy! I enjoy super bright colours. I say wear what you like, wear what feels good, even if it’s things that clash. If you’re wearing what makes you feel happy, then you’re killing it! For this issue of Black, you did an exclusive shoot for us with your longterm stylist collaborator Jana, what can you share with us about the concept? It’s all about the colours and the shapes of flowers. Not just with actual flowers but creating a visual through movement or the way I’m holding my arms for example. It was lovely to do a shoot with more of a conceptual vibe. I love flowers. While I was growing up in Forbes a little town about five and a half hours away from Sydney, my dad owned a nursery and our backyard was always filled with beautiful flowers. We spent a lot of time in the nursery and my grandma also had an incredible garden that she used to enter into contests and often win! Flowers have always been a big part of my life. If you soundtracked our shoot with one of your songs, which one would it be? Something very colourful! It’d be the first song I ever released called Hold. It’s about romance. The look of the shoot is quite romantic but also very bold.

PHOTOGRAPHY, FASHION, HAIR, MAKEUP AND INTERVIEW DAVID K. SHIELDS SHOT ON LOCATION AT MAORI BAY, MURIWAI, AUCKLAND

ERANA JAMES HAS LATELY BURST ONTO SCREENS GLOBALLY, PLAYING LAURA CHANT IN ‘THE CHANGEOVER’, CONSIDERED BY MANY A PERFECT GENRE FILM. IN PART A SUPERNATURAL THRILLER - CREEPY YET MOVING AND INSPIRATIONAL, WHILE STILL AN AUTHENTIC TEENAGE STORY, IT WAS ADAPTED FROM AUTHOR MARGARET MAHY’S YA NOVEL OF 35 YEARS AGO SET IN CHRISTCHURCH, AOTEAROA.

With her bold interpretation of the role, highlighted by an otherworldly theatricality yet somehow still simplistic and understated, she has garnered great reviews and the ensuing notice has embedded herself on this nation and the world’s radar as the next shining light in an ever-evolving progression of young Kiwi actors to watch. She excels in the vehicle beyond her young years and limited experience, immediately creating an interest around herself and drawing notice to her abilities from behemoths such as Netflix and Amazon. In this, Miranda Harcourt and Stuart McKenzie’s first directorial foray into full length movie making, she has set herself steadfastly on the path to a surely outstanding career. Now picked up to feature as the lone lead Kiwi actor in The Wilds, an Amazon Prime and ABC Signature TV joint production being shot in NZ for their huge global audience base, the field has been set for her to enter the immense streaming landscape that modern day television viewing has become. With the medium now allowing this new protagonist the chance to display her talents to the greater world in one widely distributed, extended project, she can look forward to immersing herself in the next challenge and show the greater population what those in the know have seen so far – that following her instincts as she has done so well thus far, we are witnessing the beginning of a journey which will ultimately lead to, as we all suspect, a body of work to be very proud of. Erana exudes a confidence and sense of self belief in this, the infancy of her career, that many will never manage to achieve and showing herself already as a fullyfledged exponent of her chosen craft of acting. Imbued with a wealth of personality 78

and what seems like boundless amounts of energy, you’re left in no way wondering what it is that has drawn all to her – she’s that comet on a trajectory that pulls itself to the front of the mind’s eye, and with no doubt, far, far further into the stratosphere. In her own words she brings a bit more of herself to the conversation – one that we will expand on as the credits continue to roll! How do you feel the role relates to you and your life so far? The film is a coming of age story, where a young girl is transforming herself into a young woman. I was going through a very similar transition in my own life. During filming, I was in my last year of high school so was trying to figure myself out and who I wanted to be, while Laura was doing the same. The supernatural/sensitive elements of the film I relate directly to my Māori spirituality and how my strength as a person comes from within – the same is true of Laura. I think this made my job so much easier, by being able to empathise so strongly with her. How did you prepare yourself for the role? I found that the preparation required for the role was more around opening myself up to experience all that was necessary to tell Laura’s story. Connecting with the other actors and building a sense of trust with the people I was working with, in order to feel comfortable enough to allow myself to do this. I wouldn’t say I have really submerged myself entirely into a role yet. So far I have been trying to work to understand the characters experience, and ways in which mine and their life coincide. Being able to have empathy for the character I’ve found to be really beneficial, also working with what feels organic in the relationships that surround

the character and going on instincts when working with other actors and directors. I started acting classes with Miranda Harcourt in 2014 at Rata Studios, and we worked closely together for about a year and a half before I got the opportunity to audition for The Changeover. Before filming the feature we made a 10 minute tone reel in 2015. It was sort of like an extended audition to see if Miranda and Stuart wanted to cast me in the feature, and luckily they did! Did this make it easier and allow the acting process to work more organically for you? I think it definitely aided in creating a more organic approach to the acting. From having worked with Miranda for so long prior to the filming, it meant that the trust had already been established between us and we could work much more freely together. There were no barriers in communication. How was the relationship with other cast members impactful? I formed extremely strong relationships with all of the cast members. Miranda and Stuart organised a series of bonding experiences that I got to do with each actor in order to have a really solid foundation before we began working with each other. There was a 2 week rehearsal period before we started filming which I spent doing all sorts of exercises - this meant that we went into the filming experience with open trust and communication lines. Nicholas Galitzine (who plays Sorenson Carlisle) and I did a tandem bungy jump in Queenstown on one of the first days that we met, so we could go on this crazy emotional journey of adrenaline together. After that exercise we were so close and in sync, which was magic for being able to open up to one another on set.

opening page : top and skirt by ISABEL

MARANT from

WORKSHOP, ring by

ZORA BELL BOYD from CURIO NOIR this page above : dress by KIRI NATHAN, coat by

ARMY BY YVES SALOMON from

WORKSHOP this page below : dress by KIRI

NATHAN

this page : both dresses by ROTATE

BIRGER CHRISTENSEN from

WORKSHOP, necklace by

ZORA BELL BOYD from CURIO NOIR

“ I’M JUST ENJOYING EVERY MOMENT AS IT COMES AT THIS POINT - YOU NEVER KNOW WHICH JOB WILL BE YOUR LAST, SO I AM JUST RIDING ON THE EXCITEMENT OF WHAT I AM ABLE TO ACHIEVE SO FAR! ”

What were the best parts of the experience for you? The process of making The Changeover exceeded my expectations by far. Going into the experience I didn’t know what to expect, and I didn’t fully understand what would be required of me. It was truly an experience like no other, that no one can really prepare you for. The best part of it all was that I was experiencing everything for the first time - everything took me by surprise. Being thrown into such an environment at 17 was especially unique, and has truly been the best thing I have done so far in my life. How has as growing up in NZ impacted your career thus far? Growing up in New Zealand has been both beneficial and difficult I think. Being further away from a large chunk of the industry has meant that it has been harder to be seen in an international light. I feel so lucky to be working on this next project as it will be the first time I will be working on an international (American) project. In saying this, I have loved working in New Zealand because it feels just like I am doing any other job - which is still how I feel. It is normalised and is devoid of the hype that can maybe be found in some other parts of the world as I see it from here. What’s next? I will be playing one of the lead roles in a new Amazon Prime and ABC Signature TV series called The Wilds. The story follows a group of diverse young women who find themselves deserted on an island after a plane crash. I can’t disclose too much about the project but I will begin filming in September this year. Do you feel the expectation is manageable, and how do you put that aside so you can still live your own life, at your own speed? I do have very high

expectations of myself, and of course would never want to let myself or anybody else down. I know that there is only so much of my future and what happens that is within my control and I have had to learn to be ok with whatever happens on the other side of things. Being realistic in what I want from myself, whilst also pushing myself to do things out of my comfort zone and really putting myself out there has been an interesting balance to find - I am definitely still figuring it all out, but I think my biggest lesson has been to take things one step at a time. What else do you believe makes you who you are? –so fresh to this all, but in person seemingly so confident and capable of making your own decisions already. Definitely my family and my upbringing have given me this. I grew up on a farm for my first 9 years before moving to Wellington and I couldn’t imagine being raised a different way. I have a really close family unit and we share a lot with each other, so I entirely owe the way that I am and my approach to this industry to this. I have an amazing support system - both in the industry and in my personal life. Taking advice from those who I trust has been my best form of guidance. My family have reminded me continuously to go with my gut and my heart, which has been the best piece of advice I have had, going into an unknown field that no one can really prepare you for. The most important advice I have received has been to stay true to myself and who I am, and to remember to keep myself mentally safe. Were you prepared for the success? I think having perspective on my own success is a hard thing to grasp. I feel so grateful for every experience and opportunity that I get,

so each time there are new opportunities in my life I feel so lucky. If my career were to end now I would still feel so proud of myself. How have your friends and contemporaries reacted to your success? Everybody is so excited for me and what I am doing in life - and vice versa! I feel as though my achievements in this industry are just as exciting and important as those in other fields of work, and my friends and I aim to lift one another u, and support each other equally, no matter how their jobs may be perceived in the public eye. I think coming from a smaller country and feeling closer to people has meant that I haven’t experienced any jealousy. There is no pedestal that anyone is lifting anyone else up onto, or pushing anyone else down, so it feels easy for everyone to be as excited about everyone else’s success. What are you aiming for, and how will you push yourself to get there? I wouldn’t say I have an end goal which I am learning to be ok with. I’m taking each job as it comes, and putting my all into it is all I expect of myself at this point. I am not putting too much pressure on myself at the same time, but also going hard for the things that I want - I have a lot of passions and a lot of things I want to achieve in my life, and if this pathway doesn’t happen to work out then I can learn to be ok with that. The most important thing to me is my family and friends, and from being at home less over the past year that has become very much more prominent for me. I’m just enjoying every moment as it comes at this point - you never know which job will be your last, so I am just riding on the excitement of what I am able to achieve so far! Thanks to Tim Gordon at The ProActors

PHOTOGRAPHY PAUL EMPSON FASHION EDITOR PAUL EMPSON HAIR PAOLO FERREIRA AT CALLISTE PARIS MAKEUP TOPOLINO AT CALLISTE PARIS MODEL DANIELA AT THE SQUAD LONDON 84

opening page : hat by

KOLOVWRAT this page : shirt by NUNO BALTAZAR opposite 87 page : dress by

CARLOS GILL

this page : dress by

CARLOS GILL opposite page : jacket by CARLOS GILL 90 song title : cunnie williams

PHOTOGRAPHY CHARLES HOWELLS FASHION RACHAEL CHURCHWARD HAIR GREG MURRELL AT RYDER USING O & M PRODUCTS MAKEUP CAROLYN HALSLETT USING M.A.C COSMETICS MODELS BELLA AND ISLA FROM UNIQUE MODEL MANAGEMENT

opening page left : dress by ROTATE BIRGER CHRISTENSEN over top by ACNE STUDIOS, earrings throughout by ISABEL MARANT, all from WORKSHOP opening page left : top by ISABEL MARANT from WORKSHOP, pants by SALASAI AW2020, jacket by NOM*D, bugs throughout by ZORA BELL BOYD this page : dress by GANNI and coat by ISABEL MARANT from WORKSHOP opposite page : top by GANNI over shirt by ISABEL MARANT ETOILE from WORKSHOP thanks to white studios song title : solange

PHOTOGRAPHY TINTIN HEDBERG FASHION EDITOR JUSTIN HENRY HAIR AND MAKEUP JUSTIN HENRY USING ORIBE STYLING PRODUCTS AND M.A.C COSMETICS HAIR EXTENSIONS FROM WEST END HAIR MODEL DUCKIE THOT AT CHADWICK MODELS

opening page : feather shawl from vintage garage this page : dress by TYRONE

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this page : dress by

TYRONE DYLAN SUSMAN, rings by

HEART OF BONE opposite page : crystal veil by PATRICK

CHRISTIE, earring by

HEART OF BONE

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this page : dress by

TYRONE DYLAN SUSMAN X PATRICK CHRISTIE

opposite page : crystal veil by PATRICK

CHRISTIE, earring by

HEART OF BONE

special thanks to emma abrahams song title : K eziah J ones

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PHOTOGRAPHY TINTIN HEDBERG HAIR AND MAKEUP JUSTIN HENRY USING BUMBLE AND BUMBLE HAIR PRODUCTS AND KRYOLAN COSMETICS HAIR EXTENSIONS FROM WEST END HAIR MODEL DUCKIE THOT AT CHADWICK MODELS ALL CLOTHING AND STYLING BY STRATEAUS CARLUCCI

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song title : BJ C hicago K id

T he

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PHOTOGRAPHY PAUL EMPSON FASHION EDITOR FRAN MARTO HAIR PAOLO FERRIERA AT CALLISTE AGENCY PARIS MAKEUP MEYLOO AT B AGENCY PARIS MODEL CATO VAN EE AT VIVA PARIS

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opening page : dress by

ANDREW GN, hat by

TOLENTINO opposite page : dress by

BLUMARINE, shoes by

AQUAZZURA TOLENTINO this page : suit by MAX MARA, bow tie stylists own

this page : vinile trench by

BLUMARINE

following page left : sunglasses by JUAN VIDAL dress by ALAĂ?A following page right : trench coat by DIOR

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this page : suit

DSQUARED2

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PHOTOGRAPHY CHARLES HOWELLS FASHION EDITOR RACHAEL CHURCHWARD HAIR BENJAMIN JAMES AT RYDER MAKEUP KIEKIE STANNERS AT M.A.C COSMETICS MODEL JORDAN DANIELS AT 62 MANAGEMENT

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opening page : top by MM6 MAISON

MARGIELLA

over bodysuit by

RAVEN + ROSE and earring by 08 JEWELLERY all from the shelter this page and opposite : skirt by

ISSEY MIYAKE, bodysuit by

RAVEN + ROSE and128 earring by 08 JEWELLERY all from the shelter

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this page : top by

ISSEY MIYAKE

over bodysuit by RAVEN + ROSE, earrings by ARIELLE DE PINTO all from the shelter . pants jordans own . special thanks to andi at 62

MANAGEMENT songtitle : bauhaus

PHOTOGRAPHY PAUL EMPSON FASHION EDITOR BELEN ANTOLIN HAIR PAOLO FERREIR AT CALLISTE PARIS MAKEUP GATA AT KASTEEL ARTIST MANAGEMENT MADRID MODEL JESSIE BLOEMENDAAL AT WOMEN MANAGEMENT PARIS

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opening page : blazer by

BALMAIN

available at my theresa , socks by FALKE, earrings by

ALESSANDRA RICH and shoes by STUART WEITZMAN this page : dress by SELF PORTRAIT

available at my theresa , socks by CALZEDONIA and shoes by STUART

WEITZMAN

opposite page : dress by

JACQUEMUS

available at my theresa , earrings by

ALESSANDRA RICH

Opening: All denim by ROLLAâ&#x20AC;&#x2122;S and NEUW DENIM This page: Denim ball by ROLLAS and NEUW, bodysuit by RAVEN + ROSE from THE SHELTER

this page : hat by SOMBRERERÍA MEDRANO MADRID, bodysuit by

WOLDFORD, pants by CELINE and earrings by

ALESSANDRA RICH 137

opposite page : suit by

SCALPERS this page : coat by

JACQUEMUS

this page : hat by ES FASCINANTE, earrings by

ALESSANDRA RICH, shirt by CELINE, pants by JORGE VAZQUEZ opposite page : shirt by CELINE and top by ACNE STUDIOS song title : first choice

PHOTOGRAPHY LUKE FOLEY-MARTIN CREATIVE DIRECTION AND FASHION ETHAN BUTLER HAIR BENJAMIN JAMES AT RYDER MAKEUP CAROLYN HASLETT USING M.A.C COSMETICS MODEL AYAN AT N MODEL MANAGEMENT WEARS DENIM BY ROLLAâ&#x20AC;&#x2122;S AND NEUW DENIM

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opening page : all denim by ROLLAâ&#x20AC;&#x2122;S and

NEUW DENIM this page : denim

ball made using ROLLAS and NEUW, bodysuit by RAVEN + ROSE from the shelter

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this page : denim on floor by ROLLAâ&#x20AC;&#x2122;S and

NEUW DENIM, bodysuit by

RAVEN + ROSE from the shelter , shoes by BEAU COOPS opposite page : dress by NEUW DENIM, shoes by BEAU COOPS

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opposite page : jacket by ROLLA’S over top by MM6 MAISON MARGIELA from THE SHELTER, plaited denim and ball above by ROLLA’S and NEUW thanks to white studios and tanya garcia song title : elvis costello

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PHOTOGRAPHY DAVID K. SHIELDS FASHION EDITOR KELVIN HARRIES HAIR RAE BORIBOUN AT SYNC USING ORIGINAL & MINERAL MAKEUP ANNABEL BARTON AT TALENTLAND USING TART COSMETICS MODELS SARIA AT PRISCILLAS MODELS

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opening page : dress by ACLER, sneakers by ADIDAS this page : puffer by H&M, skirt by MARIAM

SEDDIQ,

umbrella from

BUNNINGS

opposite page : dress 152 by

ROMANCE IS BORN

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opposite page : dress by ALCER this page : dress by

ROMANCE IS BORN 155

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this page : pants and top by TONI

MATICEVSKI opposite page : dress by

ZIMMERMANN

157by and puffer

H&M

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this page : dress by ALCER opposite page : dress by

ZIMMERMANN 159 : song title kate bush

PHOTOGRAPHY VERONIKA SOLA FASHION EDITOR RACHAEL CHURCHWARD HAIR AND MAKEUP CAROLYN HASLETT USING M.A.C COSMETICS MODEL ALI AT UNIQUE MODEL MANAGEMENT

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opening page and opposite page : chairs throughout by KARAKTER, dress by KATE boots by ZAMBESI and 1970â&#x20AC;&#x2122; s neck ties throughout stylists own

SYLVESTER

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opposite page : pants and coat by ZAMBESI, sneakers by ISABEL from WORKSHOP, chair by KARAKTER

MARANT

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above : top and boots by GANNI from WORKSHOP, skirt and pants by HELEN CHERRY, magazines from JUNK AND DISORDERLY opposite page : dress by ZAMBESI

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opposite page : skirt by NOM*D, top by KATE SYLVESTER, sneakers by ACNE STUDIOS from WORKSHOP, props from JUNK AND DISORDERLY above : dress and socks by KATE SYLVESTER, props from JUNK AND DISORDERLY song title : jefferson airplane thanks to white S tudios

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PHOTOGRAPHY MING NOMCHONG AT TALENTLAND FASHION EDITOR SARAH BIRCHLEY HAIR SHANNON WILLIAMS USING MR SMITH AND DYSON MAKEUP GEMMA ELAINE USING M.A.C COSMETICS MODELS CLODAGH AT IMG TAYLOR AT CHIC MANAGEMENT NOVA AT BUSY MODELS AND ZYON AND JOEY AT KULT MODELS

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opening page : left to right zyon wears knit by BALLY, jeans by OUTLAND DENIM and boots by BALLY. taylor wears top by REBECCA VALANCE, skirt and boots by PRADA. nova wears knit by PRADA, pants by BASSIKE and boots by COACH. clodagh wears poncho and boots by BALLY, jeans by OUTLAND DENIM. joey wears coat by PRADA, knit ERMENEGILDO ZEGNA, singlet [ underneath ] by BASSIKE, pants and boots by BALLY. opposite page : zyon [ left ] wears turtleneck knit and boots by ERMENEGILDO ZEGNA, jacket and pants by BASSIKE. joey [ right ] wears pants and jacket by ERMENEGILDO ZEGNA, singlet by BASSIKE and boots by BALLY above : nova wears jacket ZIMMERMANN, belt by PRADA and earring by NATASHA

SCHWEITZER

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above : zyon

[ left ] wears turtleneck knit and boots by ERMENEGILDO ZEGNA, jacket and pants by BASSIKE. nova wears pants and jacket by ZIMMERMANN, belt by PRADA, earring by NATASHA SCHWEITZER and boots by COACH. joey [ right ] wears pants and jacket by ERMENEGILDO ZEGNA, singlet by BASSIKE, boots by BALLY and neck tie stylists own . nova wears jacket ZIMMERMANN, belt by PRADA and earring by NATASHA SCHWEITZER, boots by COACH. opposite page : nova [ left ] wears dress by CHRISTOPHER ESBER, cape by GAIL SORRONDA and boots TORY BURCH. taylor wears dress by COACH and boots by ZIMMERMANN. zyon [ right ] wears jacket by ROMANCE WAS BORN and pants PRADA 174

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opposite : credited as opening page . this page : clodagh wears dress EMPORIO ARMANI and jacket GAIL SORRONDA following page right : [ left to right ] joey wears jacket and pants by BALLY and turtleneck knit by ERMENEGILDO ZEGNA. clodagh wears dress by EMPORIO ARMANI, jacket by GAIL SORRONDA, bag and boots by BALLY. nova wears dress by CHRISTOPHER ESBER, cape by GAIL SORRONDA and boots by TORY BURCH. taylor wears dress by COACH and boots by ZIMMERMANN. zyon wears singlet by BASSIKE, jacket by ROMANCE WAS BORN, pants by PRADA and boots by BALLY. following page left : [ left to right ] taylor wears dress by COACH. clodagh wears cape by GAIL SORRONDA, dress by ARMANI. joey wears turtleneck by ERMENEGILDO ZEGNA and jacket by BALLY.

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above : joey wears jacket by ERMENEGILDO ZEGNA, singlet by BASSIKE and neck tie stylists own . opposite page : zyon [ right ] wears jacket by ROMANCE WAS BORN and pants PRADA joey [ left ] wears jacket and pants by BALLY and turtleneck knit by ERMENEGILDO ZEGNA digital operator : anne peeters photo assist : avan podhajsky fashion assist : max bell song title : ron basejam

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PHOTOGRAPHY NATASHA KILLEEN FASHION EDITOR CHRIS LORIMER HAIR AND MAKEUP CHRIS COONROD AT UNION USING SISLEY PARIS AND SACHAJUAN MODEL LIM LEE AT CHADWICK MODELS

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opening page : dress by KAREN WALKER, hair clips by VALET STUDIO opposite page : top by

ROMANCE WAS BORN, one - piece swimsuit by THE UPSIDE, boots by BALLY this page : earrings by VALET STUDIO, dress 185 by

ZIMMERMANN, boots by PRADA

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opposite page : hair clips by

RELIQUIA,

shirt , bustier , belts and skirt by PRADA this page : earrings by

PETITE GRAND, hair clips by

VALET STUDIO,

bra top by SIR, shirt and skirt by

CHRISTOPHER ESBER

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opposite page : necklace by

ZIMMERMANN, top and trousers by KATE

SYLVESTER,

swimsuit bottoms by COS, coat and boots by BALLY this page : earrings by VALET STUDIO, top by 188 LONELY, bustier and trousers by

ALICE MCCALL

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opposite page : boilersuit by

WHITE STORY, one - piece SWIMSUIT by ZIMMERMANN, belt bag by

BALLY this page : earrings by VALET STUDIO, top by CHRISTOPHER KANE [SS18]

from the outnet , one piece swimsuit by COS fashion assistant : tomasz sierakowski 191 song title : lowell george

PHOTOGRAPHY WADED FASHION EDITOR KELVIN HARRIES HAIR AND MAKEUP ALLISON BOYLE AT ARTIST GROUP MODEL LEO FROM FIVE TWENTY MODEL MANAGEMENT

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opening page : all clothing by PRADA, necklace by

HEART OF BONE from

the iconic this page : puffer jacket by

VETEMENTS and shorts by

RICK OWENS

from king of the jungle store , gold necklace by HEART OF BONE and dog tag necklace by

NORTHSKULL both from the iconic opposite page : all clothing by EMPORIO

ARMANI,

necklace and ring by HEART 194 OF BONE from the iconic

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this page : suit by LOWES, puffer vest by UNIQLO necklace by

197OF HEART BONE from the iconic

opposite page : all clothing and bag by COS, trainers by PRADA, necklace by

HEART OF BONE, bracelet

stylists own this page : jacket and shorts by GUCCI from king of the jungle store , eyewear from GEORGE

SKOUFIS,

necklace by

HEART OF BONE from the iconic

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opposite page : hoodie and jacket by IAN NESSICK eyewear from GEORGE

SKOUFIS,

earring stylists own retouching by jaclyn treu song title : the waterboys

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Elegance is an attitude

Conquest Classic

www.longines.com.au

Kate Winslet