ISSUE 4 ISSUE 4
THIS IS...
DANDY : a collection of talents, thoughts, ideas, inspirations, aspirations, desires, hopes, trends and traditions based on the gay lesbian bisexual transgender intersex queer community of Sydney. DANDY : a magazine designed to showcase the initiative and talent of our community. It fills an inexcusable gap in the media. DANDY : it's not an oiled, buff, beefcake magazine. It isn't thinlyveiled porn. We are curious, interested, pleasing to the eye.
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Our fourth issue marks a milestone for us: one year of Dandy. It seems longer than a year ago that we started work on our first issue, blindly creating something that we felt passionate about, but had no idea how it would be received, or more who would receive it. Mindlessly emailing people we admired, hoping they would give us their words and time. And a big thanks to those who have! Every issue the possibilities become more vast, more exciting. Putting something into the world is always scary, but seeing people attend our launches, read our issues and interact with us is what drives us to continue to create and produce. It is an opportunity to have our voices heard, to allow other voices also to be heard, and what a privilege that is. Once again thank you for reading, and see you all again in three months. All the love in the world, THE DANDY TEAM
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N0 4 DANDY IS sebastian andreassen cyna strachan RICHARD SAWYER
COVER IMAGE Jake terrey
THANKS TO Andrew Kirk, Bangarra dance company, CAT YENN, chadwick models, Chris Browne, David DOBSON, Dayne Johnston, EAMON FLACK, ellen porteus, elle williams, golightly pr, Gus johnsTon, Henry holland, Huw BennetT, Jake Terrey, JAMES SAUNDERS, Joseph Tenni, justin koonin, leonard mickelo, LUCY TANN, Michelle Retford, Patrick Blue, Priscilla’s Model Management, rebecca Victoria, Valerie Norman
CONTRIBUTORS Adam France, Chris summers, Ellen Porteus, James Saunders, Joel creasey, leonard mickelo, Lucy Tann,Michelle Retford, Pat Bateman, olivia king
CONTENTS
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02-04 Opinion Piece Joel Creasy 05-07 Pride and Politics Dear Mr Abbott
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10-19 Lead up to Blak Bangarra 20-29 Belvoir Theatre Angels in America 30-33 Henry Holland
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Gus Johnston
40- 50 The Thin White Duchess Rebecca Victoria 51- 52 The GLRL
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Jac + Jack Patrick Blue 59-62 Vanishing Elephant Huw Bennett 63-66 Zambesi Dayne Johnston
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By Joel Creasey
I LOVE TOURING. I LOVE BEING ON THE ROAD. I LOVE DOING SHOWS. BASICALLY WHAT I’M SAYING IS I LOVE ATTENTION. AND I’M A BIT OF AN ATTENTION SLUT - I DON’T MIND WHERE IT’S COMING FROM AS LONG AS IT’S DIRECTED AT ME. At the moment I’m on the Melbourne International Comedy Festival Roadshow. It’s an absolute delight. I get to spend the day driving around in a Terago with four brilliant comedians and at night we do a show. We spend a lot of time in regional towns. I love regional towns. I do. Regional towns combine my two favourite things: bakeries and sleeping. “I gave you a call yesterday around 4pm. Why didn’t you answer?” my mum often asks. “Because I was in a coma in my motel room smothered in vanilla slice, mother.” I’m an extremely camp gay man and when I tell people I’m off on tour to somewhere that isn’t a capital city they say things like “Wow. Um. Well, good luck?” or “I hope you have your stab vest”. THANKS DAD! I really don’t understand these snobby jibes though. Last night I performed in Gladstone - a town in Far North Queensland that many consider “rough”. I opened the show with a 10-minute story about my love for Celine Dion. There was nothing remotely “rough” about this crowd. They loved it. In fact they loved the entire show and there wasn’t a single dick joke in sight … which is admittedly unfortunate; there’s always room for one.
More often than not, I host the show. This means it’s my job to warm up the crowd, do my own jokes and stories, tell the audience how the night is going to work, bring the other comics on and make sure everybody is comfortable. Basically I’m the captain of the ship. I do look great in a uniform. Being the MC means I’m the first person on stage. I go on “cold” as they say. I’m their introduction to comedy. For many I’m their first introduction to live comedy. Ever. When people buy tickets to a show I’m probably not the first person that springs to mind when they think “comedy”. But it works. I remember being in a small mining town on the northern tip of WA and backstage a comic told me they were nervous. When I asked why, he said it was because he had an accent and thought, “the bogan audience wouldn’t like it”. This shat me. Don’t judge the audience before it even starts. An audience who have paid sixty dollars a ticket no less. The comic wasn’t on till the second half either which meant they were going to be pretty educated when it came to comedy by this point. As I pointed out to said-comic, I’m sorry but a 22-year-old gay boy in skinny leg jeans and coifed hair is a far bigger threat than a middle-aged man with a European accent. Not to mention my skinny leg jeans and I were the ones going on “cold”.
I’M AN EXTREMELY CAMP GAY MAN AND WHEN I TELL PEOPLE I’M OFF ON TOUR TO SOMEWHERE THAT ISN’T A CAPITAL CITY THEY SAY THINGS LIKE “WOW. UM. WELL, GOOD LUCK?” OR “I HOPE YOU HAVE YOUR STAB VEST”. THANKS DAD! I also hate that people use the word “camp” to sugarcoat the word “weak”. I may be donning a bow tie and a limp wrist but I can stand my ground as firmly as any of my male counterparts. Hecklers? Bring it on. In fact I believe there’s something special about playing a regional town. They’re just looking for a laugh and a good night out. It’s a relief. Melbourne is almost too spoilt for choice when it comes to comedy. Sure, last night I might have performed to a few more Dazzas and Shazzas than usual - but Dazza and Shazza were willing to laugh at themselves - unlike Kai from Fitzroy who is too full of self importance and decaf soy latte to function let alone think about enjoying himself. So to regional towns I say keep it up. I’m “loving you sick bro” (somebody said this to me after the show last night). Now you’ll have to excuse me, there’s vanilla slice to be eaten.
Dear Mr Abbott Tony PRIDE AND POLITICS
WRITTEN BY PAT BATEMAN
Dear Tony, You may have heard there’s an election coming up, and if the opinion polls are anything to go by – and everyone but the odd fringe-dwelling lunatic and Clive Palmer (but I repeat myself) believes they are – you’re well on track to win it. Now I know what an avid reader of Dandy you’ve been ever since we did that piece on combining white business shirts with blue ties for any season, so I thought I’d just leave this letter here for you about an issue dear to my heart marriage equality. Admittedly, you’ve come out pretty strongly on this one but I’m quietly hopeful of a Damascene conversion. For one thing you know the issue isn’t going away: three- quarters of my generation support gay marriage so it’s not leaving the agenda anytime soon. You can also back-flip with impunity because post-election the ALP caucus won’t be anything more than Dick Adams, Kim Carr, and the sandwich they’ll fight over. Finally, your opposition to gay marriage is plainly heart-felt, and while it may seem odd to draw encouragement from that, it’s easier to convince people their beliefs are wrong when they actually have beliefs to begin with. So why should you change your mind? I’ll give you three reasons. Reason One: you’re a Liberal. Is there anything liberal, anything remotely small-government, about telling decent, honest, hardworking men and women they can’t marry the person they love, can’t get the same recognition for the life-long commitment that they want to make, because the Government that takes their taxes doesn’t approve of their choice in partner? Reason Two: you’re a Conservative. If we’re being honest about it, we live in pretty selfish times and marriage is one of the last institutions that encourages us to make a genuinely selfless commitment to another. It’s worth protecting. So when 1 in 3 marriages end in divorce, where is the sense in closing the door to people who want nothing more than to be part of that institution and make that commitment? Where is the sense too for a conservative in preferring a same-sex couple to be unmarried as they raise their children? Reason Three: you’re Australian. Nothing is more Australian than the idea that wherever you’re born, whatever you earn, whomever you pray to, we’re all equal. It is an affront to that idea that the current wording of the Marriage Act should prevent anyone from marrying the person they love simply because they’re gay. The legislation says nothing about rapists, or tax cheats, or drug dealers – its only restriction is that you can’t be a gay couple. Some differences are innate and cannot be ignored, but I’m yet to learn what it is that separates gay from straight couples beyond outdated stereotypes and sex organ variety. There are arguments against gay marriage, it’s true. They are, however, uniformly bad. To believe that children must always grow up with a mother and a father we’d have to ignore the plethora of studies which show that developmental outcomes for children are unaltered by same-sex parenting. And if marriage were incapable of redefinition in the same way that a square can’t be called a circle, if it couldn’t evolve with our changing values, we’d have a Marriage Act that was bigger on racial purity and less worried about the whole age of consent thing. But lo! I hear the floodgates opening and the clamouring now for marriage of polygamists, bestialists, and polygamist bestialists. All 5 of them. Last and certainly least, here come the incestuous and the paedophilic. But in each case our response can be the same: marriage is a loving bond forged freely, on equal terms, not a fig leaf for oppression, intentional or otherwise. And there close the floodgates. Like marriage itself, I hope your views on this issue will evolve. I have no doubt you’ve searched your conscience on this issue and are sincerely trying to do the right thing, but I believe you’re wrong and that it’s time to reconsider. You don’t need to start swinging from the Lodge chandeliers singing Liza but I hope you’ll support a conscience vote to at last make possible an end to this injustice.
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LEADING UP TO
G At the beginning of the year Bangarra Dance Theatre went on a cultural exchange to ancient and beautiful Northeast Arnhem Land. I’m an indigenous person who doesn’t speak his native language or practice traditional culture – these were taken away from my people – so I find being closely connected with the people of Arnhem Land very honouring and fulfilling. When I am up with my adopted family in Arnhem, my spirit feels free and at peace
BY LEONARD MICKELO PHOTOS BY RICHARD SAWYER
In Scar, the work we are developing to include in BLAK, I question my manhood. My soul and spirit need to live off the land and not in an urban western environment. In an urban western world I have certain responsibilities as a male adult. Instead of being involved in the traditional men’s business of hunting for food to feed my family, I work a full time job and have rent and bills to pay. I guess you could say that in this modern world an ideal man is someone who works full time and owns his own car and house. To me, materialism and money are meaningless. I’m a spiritual person. I believe that showing compassion to myself, and others, equals eternal peace, enlightenment and happiness. The choreographic process for Scar is collaborative. It’s not a choreographer creating movement for dancers. Scar is ‘men’s business’, ‘urban men’s business’. The story we are telling is about ourselves, a story about us as indigenous men living in western society. In the studio during the choreographic process I am learning more about myself. There are times when I catch a glimpse of myself in the mirror and I think, “Who is that man in the mirror?” I am becoming the man I wanted to become. Taking life as it comes and making the most of each day brings me that step closer to my goals.
The journey of Scar is very special. It’s a cliché, but things do happen for a reason. I feel I’m supposed to be here; going on this journey with the other men of Bangarra Dance Theatre in this new work. I joined the company around the same time as Scar chorographer Daniel Riley McKinley and dancer Waangenga Blanco and we have grown so close as brothers. As senior male artists of the company, we can raise the bar and really feed off each others’ energies. My foster mum has always seen a strength in me, as a child, and growing up. Without her love, guidance and nurturing I feel I wouldn’t be who I am. She was the one who enrolled me in dance classes, it was there that I found my passion, and now there’s no turning back. As an indigenous man, having not being brought up with much traditional language, dancing, or customs, I must find my own right of passage, I must discover for myself what makes me a man. This year is my eighth year with Bangarra Dance Theatre so I am now considered one of the senior dancers. Coming into a senior role as a dancer gives me a lot more responsibility. It hadn’t occurred to me; none of the shoulders that I had stood on in my early years as a dancer were physically present in the rehearsal room anymore … only in spirit. It’s now time for me to stand on my own two feet and pass on my wisdom to the next generation.
I AM BECO MING THE MAN I WA NTED
I MUST DISC – FOR MYSELF M
OVER WHAT MAKES
Every day is different from the day before and will be different to the next day. The choreographic movement has to marry with the story and sometimes this comes quite naturally but it can also be a little complicated at other times. I feel that in Scar, Daniel and the men have been very honest with regards to the merging of the story and the movement. It’s always good to come into the studio with a clear conscience and an open mind. People say that working hard 100% every day is what you should do. I mean, it’s good to live by but listening to your body is something important as well. Knowing when to give my all and when to pace myself is best for me. I have been working extremely hard and it got to the point where I was actually over-working certain muscles whilst I was partnering another dancer in the company. I kept repeating the step and ignored my body and as a result my lower back seized up. This can lead to a serious injury if I continue to ignore my body so it is really important to work smart, as opposed to just work hard. Being honest and knowing your limits is best for me.
In Scar I have a solo; it’s very personal and comes from a dark place. The story is of a loss over which I had no control. Promises were broken and the connection I thought was strong wasn’t. It wasn’t mutual. I wear my heart on my sleeve, and am honest and open. It’s hard to let go of something you really feel strongly about, but if it’s not mutual then it’s not meant to be. Through that dark period I blamed myself for everything and kept playing the journey in my head looking for the bumps. It never made sense to me. It left me feeling empty and alone. I chose one particular evening to draw on for the solo. I realised my life needed to change. This wasn’t the person I knew. Is this really how I should deal with my life and this turn of events? I feel that in this solo I can really commit to the story. It is beautiful in the end as my spirit gathers strength and my soul journeys forward stronger than ever.
The running order of BLAK is perfect because after exploring the depths of my solo comes the traditional men’s paint up and dancing. Feeling and hearing the sound of the traditional songs and getting involved in the traditional dancing is so therapeutic. It cleanses the mind, the spirit and the soul.
As humans it is inevitable that we experience both good and bad emotions in our lives. Experiencing the bad really does show you how amazing the good is when it occurs, and vice versa. I feel at peace when I dance. No one can hurt me. I am free and my heart and soul grows bigger every time I dance. I’m so proud of where I have come from, who I am now, and who I will become. For the first full run in costume I was so excited and nervous at the same time, but it was such a release. The feeling of the movement was euphoric. There was such a powerful male energy throughout each section. It never feels like anyone is trying to outdance the other but we all come together with respect and integrity. On our last rehearsal day in Sydney I felt that I was in a good place and I was ready to deliver a great performance for the world premiere in Melbourne. Each time we run Scar it gets tighter and stronger. I couldn’t have asked for a better bunch of fellas to dance with! There is such variety of talent in our group. After Opening Night of Blak in Melbourne I felt that a new chapter had started in my dance career. A new energy of spirit had been injected into my blood and my soul. I felt on top of the world during the show. In life there are moments that make you feel so happy and filled with enlightenment. Words can’t really explain those certain moments.
BangarRa’s “BLAK” is running at the Sydney Opera House from Friday the 7th of June to Saturday the 22nd of June. Choreography: Stephen Page and Daniel McKinley Music: David Page and Paul Mac Set Design: Jacob Nash Costume Design: Luke Ede Lighting design: Matt Cox Buy tickets: www.sydneyoperahouse.com
ANGELS IN AMERICA WRITTEN BY CHRIS SUMMERS PHOTOS BY Brett Boardman, Gary Heery & RICHARD SAWYER
Angels in America is a bit like the ridiculously tall kid on the basketball team: super-talented, surprising, kind of hot but ultimately a little bit scary. Written in the early 1990s but rarely performed, it’s no small commitment for a theatre company to stage either Part One: Millennium Approaches or Part Two: Perestroika – this year, at Belvoir, they’re producing both concurrently. Just over a week out from opening, I sat down to chat with director Eamon Flack about how, exactly, his production will fly.
Angels in America is an enormous undertaking; two sprawling three-act plays which traverse genre, time and space, emotion and ideology. What was your initial impulse in wanting to stage it, and how did the team at Belvoir react? It wasn’t my idea – it was Simon Stone’s (former Belvoir Associate Director) idea for me to direct it. But it was an instantly exhilarating idea because it’s a once in a lifetime chance as a director. But more than that, it’s kind of the only great play of our era – and possibly the only great play where the contemporary complexity of life is on full display. We’re in the eight week of rehearsal now and there’s something so simply glorious about seeing two men dance together on a stage at the same time as some of the best dramatic writing I’ve ever read is being played out. The breadth of that vision is magnificent.
One of the most distinctive aspects of Angels in America is its rich dissection of the United States during the 1980s; the libertarian politics of Reagan, the crippling AIDS epidemic, the dominance of big business and capitalism. What do you think audiences might take from that today - particularly given the recent death of Margaret Thatcher? The brilliant thing about the play is that it’s set in this time called ‘1985’ but actually, it’s set at the outset of the era that we’re in the thick of. And all of those weird and strangely final seeming questions that we’re wrestling with now, kicked off during the 1980s at the time this play begins. Far from being a period piece, it’s actually a really interesting simultaneous reflection on the distance travelled in 25 years and the distance not travelled at all. It’s there in the title, and it’s a big part of many of the themes of the play: the history, the people, the domestic / international politics of America. It’s a very interesting choice for Belvoir, which recently seems to have eschewed big international plays in favour of localised adaptations and re-imaginings. How are you finding Australia in Angels in America; what is going to make this production distinct as opposed to one in the States, or anywhere else in the world? We don’t have to find Australia in it, because we’re Australians working on it, so that’s where we’re working from: the natural condition of this production. I think what makes it more distinct more than us being Australian is the particular circumstances of working in this corner stage with no wings or fly tower, doing an epic and quite spectacular piece of writing. If anything, the distinctiveness is about that particular task rather than us not being American. But I also think – especially for many of us in this generation who are working on this production – America is almost second nature. Our sense of what it is to do an American story is reasonably full, but I’m sure Americans might look at it and find it slightly odd. I can’t really answer for that – certainly you do a whole lot of research and soak up as much of the world as you can lay your hands on. It seems neither here nor there that the play is ‘American’.
Race occupies a very specific - and often controversial - place in American culture and politics, particularly during the 1980s, and one way Angels in America explores this is through the fast-talking sass of ex-drag queen Belize. How have you approached him in this production, and what do you think he says about our own relationship to race in Australia? I approached the character by approaching DeObia Oparei to play the role! DeObia has a really strong, deep understanding of the race issues that the play explores. He’s been the primary guide for me working on Belize. In terms of what I think it says for Australia, I guess like anything you end up finding echoes and parallels that are quite personal and particular to your own experience. One thing that has become clear, working with DeObia, is that the conversations about race in the UK and the USA are very different than they are here. Both in as much that they seem to be more thorough, but also that the questions are slightly different. But do I think this play has any special meaning for indigenous Australia? I wouldn’t answer that on behalf of anyone else – any particular significance for anyone of any racial background is going to be largely a personal response.
We don’t have to find Australia in it, because we’re Australians working on it, so that’s where we’re working from: the natural condition of this production.
the play turns t around, sees Am non-normative rather than f around, [that radical and pleasurab
the telescope merica from a e point of view from the other way t’s] something very d something very ble as a gay man
The intermingling of religion, spirituality and magic in Angels in America is something not often seen in Australian theatre. Why do you think that is, and what have been some of the challenges - directorial, design - in realising everything from talking Mormon mannequins to orgasming angels? I don’t know why that hasn’t been picked up more in Australia – there’s certainly a strong cultural heritage of prosaic imagination in a lot of ways, but then you look at what Michael Gow has written across the course of his life, and there’s definitely a sense of what you could call a kind of ‘magic realism’ in his plays. I don’t think you could write a play like Angels in America in Australia, in a funny way. America is so obsessed with massive narratives – grand narratives – in a way that we’re not in Australia. We’re not founded on them. That’s more than anything what the magic in Angels is about they’re a way of the stage responding to the deep American grandeur. In terms of how we’ve achieved that on stage: cunning, patience, ingenuity and hard work – really by paying close attention to what Kushner writes. He talks a lot about the inadequacy of theatre – the gap of what theatre is claiming to represent and what it actually represents – Kushner works in that place a lot and so do I, and so does Belvoir. So it’s not felt that unusual. The subtitle of Angels in America is ‘A Gay Fantasia on National Themes’, and the play is unashamedly camp at moments, then searingly incisive - particularly about AIDS - at others. How have the queer politics of the 1980s and the play changed do you think, and what will resonate with gay audiences in Australia today? I think the biggest thing that hasn’t changed is the idea that homosexuality is kind of a natural presence in our society – it’s still considered a problem or a difficulty, or something to be embraced as a cause. It still hasn’t been fully
naturalised. This play is sort of about becoming a full part of a society in which you already live anyway as a gay man. That process is still happening in the Western world, let alone in the non-Western world. Only this morning Kevin Rudd’s blog announced he’s had a change of heart on who I can or cannot marry: thank you. And the way the play turns the telescope around, sees America from a non-normative point of view rather than from the other way around, there’s something very radical and something very pleasurable as a gay man. You feel very grateful for it doing that, I think. But I do also think the play will mean slightly different things to gay men who did live through the AIDS crisis to young men who inherit the benefits of the battles that the older generation fought. But I think that’s ok, that’s good in fact – it will be wonderfully varied. I hope I get a boyfriend. Tony Kushner is a true playwright; he has a way with language unsuited to almost any other medium, and he plays with our expectations, twisting drama with innovative leaps in form. Despite being over twenty years old, Angels in America still feels fresh: why do you think that is? Because Tony Kushner is a genius! He sort of is, certainly in this play, the greatest playwright in many many decades – there are moments in this he stands shoulder to shoulder with Shakespeare. There is such an enormous temperament in work in what Kushner writes: such enormous variety in thought, feeling and world view, and all of it dealt with so playfully and with such light touch, and such extraordinary language. Really, you treat the text in the same way as Shakespeare; you play the text rather than inhabit the character. This play is not like so much of American theatre; Kushner has the uncanny ability to know the sheer power of speaking a particular idea out loud in the presence of a silent majority in the audience. It’s a gift that you don’t see often in playwrights across all times, let alone our own times.
I think the biggest thing that hasn’t changed is the idea that homosexuality is kind of a natural presence in our society – it’s still considered a problem Political ideas and theatrical ambitions in America is - at its simplest or a difficulty aside, Angels - a collection of compelling personal stories
intersecting, clashing and rebuilding. It’s an actor’s play; how are the cast responding to the immense demands (given their multiple roles, too), and how does performing both parts in repertoire affect their experience? How has that stretched you, as a director? The cast are responding gleefully, really. Actors love to do this hat-switching stuff, I sort of feel there isn’t enough of it! Robyn was rehearsing with her beard – one of her beards – and it was such a ripple of pleasure through the rehearsal room to work in that way, you don’t see that enough any more. That’s what theatre always was: hats and beards, switching from one thing to the next. It’s been great. In terms of the actors in repertoire, we don’t know yet – today is the first day we’ve run both parts together. In terms of how it has stretched me, it’s been fantastic to really go back to my roots in many ways in terms of playing very close attention to the text. It makes me think of working with Nick Enright, Gillian Jones and Peter Kingston in my years at drama school – that sort of move away from a wider exploration, and drilling down to an almost obedient attention to the text. It’s been terrific, and a wonderful reminder in many ways. I’ve also gotten very good at meditating in the morning, because eight weeks is a long time!
UPSTAIRS B E LV O I R T H E AT R E & T hea T R E R O Y A L 28TH MAY-27JULY
FROM BEGINNINGS DESIGNING CHEEKY SLOGAN T-SHIRTS, HENRY HOLLAND HAS BUILT A THRIVING, MULTI-FACETED FASHION BUSINESS WITH AN INSTANTLY RECOGNISABLE AESTHETIC. THIS IS HARDLY SURPRISING, THOUGH, WHEN YOU MEET THE MAN: HOLLAND IS AMBITIOUS AND FOCUSED; HIS CONFIDENCE SEEMS BOUNDLESS. HE INSISTS THAT HE IS INVOLVED IN EVERY ASPECT OF HIS BRAND, BOTH CREATIVE AND STRATEGIC. YET, COULD IT BE THAT UNDERLYING THIS POLKA-DOT PRINCE’S PASSION IS AN UNWAVERING NEED TO PROVE HIMSELF? HOLLAND OPENS UP ABOUT WHAT INSPIRES HIM MOST AND SOME OF THE INSECURITIES THAT DRIVE HIS INCREDIBLE TALENT. WRITTEN BY RICHARD SAWYER PHOTOS BY JAKE TERREY Your clothes are so often described as ‘youthful’ - what is the allure of youth? I don’t think my clothes are exclusively for the young. I mean my mum wears my stuff a lot, and she’s nearly 70. It’s a tag that has been attached to my work since I started and it’s not something that I’m desperate to shake off really. A lot of it comes from other attributes that my work has like a sense of playfulness and an element of fun – I think those attributes are associated with youth. It’s also part of my character. I’m really attracted to that element of fashion. I make fun clothes and then people associate that with youth.
I’d like to grow and evolve with our customers. And I just think as you get older, your taste level evolves and matures and that translates in your work. There are definitely more mature elements as I continue to design from collection to collection. But also it is partly a business decision. For a runway brand to be so focused on a young customer is quite rare and it’s partly what sets us apart from the others. Our core customer is stereotypically five to ten years younger than other labels and that allows us to differentiate ourselves slightly.
Would you say your clothes are irreverent? That originates with where I’m from. I was brought up in the North of England in a small village called Ramsbottom. There’s a very self-effacing humour in Northern England, we’re very cheeky. My connection to where I grew up isn’t visual – I don’t reference coal mines and pie shops – but the humorous tone to what I do is very much about where I’m from. The t-shirts [that first made Holland famous] were quite explicitly humorous because they were comedy rhyming couplets. On some pieces we still do write humorous things but usually it’s much more about the prints or a personality that comes through the clothes. Like the Rave Nana theme for Fall 13 – the drug references for old ladies – it’s not as explicit as if it were written in slogans but it’s definitely infused through the clothes.
Could your irreverence also be a result of you not being formally trained? Has that ever made you feel like an outsider? It has given me a lack of confidence in myself. I sometimes feel uncomfortable producing something too serious because people might think I took myself a bit too seriously as a designer given that I had no formal training. But at the same time I think not having formal training was a blessing as well as a hindrance. I would just do what I thought was right because no one told me what was right or wrong. And then if it went wrong, we just did it a different way next time. That is what has made this so exciting to do for six years. I’m always getting things wrong and always learning and growing from what we’ve done in the season before. It’s not like I started with my most accomplished collection and it’s bolted downhill ever since. It’s much more like a progression in terms of the level of design and in terms of fabrication, cut and fit. It’s very much been an evolution for the better which is much more satisfying. I would never think that I’ve achieved perfection because obviously then you should do something else.
I’VE NEVER HAD A MOMENT OF THINKING “I’M THERE”
I THOUGHT – I’LL SHOW YOU So, despite your successes you haven’t had a moment where you felt like you’d made it? No – I’m still waiting! There are obviously times throughout my career where things have happened and it has been really exciting and thrilling but it never really associates back in my mind that I’ve ‘done it’ or that I’ve achieved all those things I set out to achieve because there’s always more things I want to achieve. That said, the shows every season are a really big milestone and they never get any less thrilling or terrifying. You basically are concentrating on this one idea and this one concept and developing it as far as you can and then showing it to everyone and saying “tell me what you think” – I mean, it’s really scary. So, my first show was definitely a moment when I was in complete disbelief in what I was able to do. But no, I’ve never had a moment of thinking ”I’m there.”
How do critical reviews affect you? You can lie and say that they don’t matter but they do. As long as someone has something constructive to say I definitely take it on board. I never went to college, so I never had someone like a tutor giving me constructive criticism. So my constructive criticisms have always been in the press. But if someone’s just got something mean to say that isn’t constructive then there’s not much I can do with it other than think “Okay then that’s your opinion.” Reviews do affect you, for sure, and I’m very sensitive on that level because this is the last six years of my life and it’s every single part of my life. I don’t think of it as work. It’s not like I finish work and think, “Okay now I’m doing something else,” it’s all the same. Hopefully they make you build on yourself and better yourself. The only reason I did a full collection is because in my first show review somebody said, “the joke’s really funny but he needs to think of something else because the joke will only last 5 minutes.” So the next season I did bags with Mulberry, sunglasses with Linda Farrow, jewelry, denim, swimwear, I thought – I’ll show you. That was constructive criticism and I completely agreed. Most of the time when someone badmouths you, when you look back, you think, “yeah you were right”. At the time you think “how dare you tear into me that much,” and then you look back at it and you think “oh, it was hideous.” It hurts because it’s true.
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PROFILE
GUS
GUS JOHNSTON
JOHNSTON 18 months ago, Gus Johnston was the retired goalie for the Victorian and Essendon Hockey clubs. Then he posted a video to YouTube where he came out, talked openly about depression and homophobia, became a champion of GLBTQI representation, and a role model for both gay and straight kids in sports. Gus answered James SaunderS’s questions about what life is like out in the open
photo by Kris Washusen
Tell us about the first time you thought ‘I am gay’ I think my story is probably echoed millions of times throughout recent history - from a very young age I knew I was different. It probably wasn’t until I was about 19 that I started to come to a realisation that I might be gay, and it took me many years beyond that to truly accept my sexuality. Why did you keep it a secret? I was scared. I didn’t really know anyone who was gay and had no idea how my family, friends or sport would respond. I think facing your true self in every respect is tough. I know many straight people who daily deny who they are, not because they’re closeted homosexuals, but because they really don’t want to be an accountant. And think their family might mock them if they say “I’d actually like to be actor.”
You talk about the juxtaposition between the love you had of hockey, and the intense feelings of depression and even suicide you felt. It must have been very much a love/hate relationship? You’re right, it’s a complex relationship I had with my sport. On one hand it was a site of much of my sadness and loneliness, but on the other hand, it was one of the very few places I felt in control, strong and self assured. I was Gus the Goalkeeper! I wasn’t confused or depressed or lonely on the sporting field. It makes me happy today to be able to say that now, wherever I go, in any aspect of my life I know who am I and am proud of that.
You must have thought about coming out before as a hockey player. What prevented you from doing so, and what made you decide to do so now? The main catalyst for me coming out, other than the intense catharsis, was this simple fact: I’d always considered myself a leader in my sport. Sharing my story in a very public way just seemed natural for me at that stage of my life. When I looked out into my [sporting] community, I couldn’t see my own reflection in the faces of those around me. I hope, even if for only one person, I can be that reflection. Recently the AFL launched a campaign to fight homophobia in their code. This seems a trend these days amongst elite athletes. Do you think hockey needs to do the same? The AFL is unquestionably the most prominent sport in the country, so all eyes focus on the AFL. And the recent work by the AFL Players Association to recognize IDAHO has been great. But the truth is, Hockey Australia and Hockey Victoria through partnership with the Australian Sports Commission and the Victorian Human Rights Commission have been absolute trailblazers in combating homophobia within sport and promoting sexual and gender diversity. Hockey doesn’t get the media exposure of other sports in Australia, but two years ago when Hockey Victoria started a project called Fair Go Sport and started having conversations about how the sport could better provide for their GLBTI members, no other mainstream sporting bodies were. They were brave, and indeed, played a large part in inspiring me to tell my story. The NBA is one of the most high profile sporting codes in the world, and they had their first player come out in the last couple of weeks. How do you think Jason Collins is coping?
I think Jason Collins is great. Everyone should come out in their own time. A dear friend of mine, Jason Ball, chose to use his coming out as an opportunity to petition the AFL. I chose to make a video! The media really does have a very intense fascination with the idea of pro athletes coming out, [but] the very outward and positive response from all corners of his sport have been brilliant and send a pretty powerful message to others who might be in the same situation. Marriage equality is a hot topic at the moment. Is it important to you? Absolutely, for all the work I do in combating homophobia in sport and indeed in my capacity as an ambassador for Headspace (the National Youth Mental Health Foundation), it’s so often disheartening when I see policy makers and politicians legitimising and virtually legalising the very homophobia I fight against. Marriage is an expression of love. Neither politics, nor religion, should have the power nor right to hold a mortgage on the concept of love. I hear you are a writer, director, and filmmaker. What are you currently working on? Do you have any aspirations to create any films about homophobia in sport? I am currently working on a number of film projects, the first of which I hope to release later this year. So what does the future hold for you? Where do you want to see yourself? I will continue to represent amazing organizations like Headspace, as well as champion campaigns like No To Homophobia and Fair Go Sport. I want field hockey, on a global level, to continue to punch above its weight and show what inclusion and respect in sport is really all about.
It makes me happy today to
be able to say
th at no w,
wherever I
go, in a n y
aspect of my life I know who
am I and am
p r ou d of that.
Thin White
Duchess
PHOTOS - JAKE TERREY STYLING - RICHARD SAWYER
opposite page- Strateas Carlucci shirt, Vanishing Elephant trousers, House of Holland Eyewear sunglasses. this PAGE- Jac + Jack shirt, Vanishing Elephant trousers.
MODEL- REBECCA VICTORIA CHADWICK MODELS HAIR AND MAKEUP - BYRON TURNBULL
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Previous page- Manning Cartell jacket and pants, ASOS shoes Left- Strateas Carlucci dress. MIDDLE- Jac + Jack shirt, Vanishing Elephant jacket, Vanishing Elephant trousers. RIGHT- Strateas Carlucci shirt, Vanishing Elephant trousers, House of Holland Eyewear sunglasses. Next page- Jac + Jack shirt, Vanishing Elephant trousers.
Jac + Jack shirt, Vanishing Elephant trousers.
R E B ECC A
V I CTO R I A Rebecca Victoria is a rock’n’roll loving, Doc Martens wearing babe with a ridiculous body and zero attitude. She also digs women. In the “glamorous” world of modelling, she is a rare breath of fresh air: something authentic. I had a chat with the Shirley Manson dead ringer on set about her career, coming out and what she really thinks of Sydney’s lesbian scene.
WRITTEN BY RICHARD SAWYER
So how did you start out modelling? It happened by mistake. I had friends that were models and I met other people in the industry and it kind of just fell into place. Highlights of the job? Worst parts? The best part of modelling is travelling the world and seeing places you probably wouldn’t have seen otherwise. As for the worst parts, my pet hate would be getting to a casting and having to wait and wait for hours sometimes. You were off to see Deftones last week in Sydney – what are some of your all time favourite bands? All time? Well obviously Deftones – and I’m not just saying that either – they are so amazing. Also The Cramps, Salem, Enter Shikari, Interpol, Purity Ring, The Smiths, Glassjaw, Nero. A mixed bag really. Hardly the Dixie Chicks, then. Favourite place to travel? London has my heart. I lived there on and off for two and a half years. Tokyo was one of my favourite experiences, too. How would you describe the lesbian scene in Sydney? Cliquey awkward and a little hard to penetrate (laughs). All innuendo aside, I have found the scene here so different to what I was used to in London. Here it seems to be going against what it’s supposed to represent about gay girls coming together to socialise. I find the groups are so judgemental that you can’t really hang out or meet new friends with ease. All that aside, they have some amazing ideas and the parties seem fun. I think that if you’re a les you don’t have to subject yourself to only frequenting gay bars everytime you want to party. I haven’t changed my friends, dress sense, or local haunts. I’ve found the more worthwhile girls are the ones who stay who they are and don’t have to be reminded that they’re gay by frequenting these places. Stay true to yourself!
C l iC qlui eqyu e y aw k aw kw a r d wa r d a n d aa n d a l i t t l le itt l e d to h a rhda r to pene- penet r a t et r a t e Do you feel connected to the scene? I feel that word “scene” and whole idea of a scene is what is wrong with the young lesbian community. Girls in my age demographic that are coming out and growing into women are faced with these certain type of parties and “scenes” that are so judgemental. It adds complication onto what is already a precarious time. I feel like lesbians should stop limiting themselves to lesbian hangouts and start venturing out to rock and roll bars and places that they are actually into. How was your process of coming out? It had been coming for a long time – I have memories dating back to primary school. Modelling was definitely a great career to be involved in as I had no choice but to become really self aware and sure of myself. I was also lucky enough to live in a house with four really awesome strong minded and beautiful gay girls who treated me like their little sister. Oh and London helped with it too! The whole community of gay/les/trans was so welcoming and really fun. So many babes! Last but definitely not least - how much do you love Dandy Magazine? I love Dandy Magazine so much I want to date it, move in with it, meet its parents and buy it a cat. You can find Rebecca Victoria on Tumblr at rebeccavictoriaxx.tumblr.com and on Instagram as suckmyclock. As in timepiece.
THe Gay and Lesbian Rights Lobby The Gay and Lesbian Rights Lobby (GLRL) has been leading the fight for equality and social justice for lesbians, gay men and their families in NSW since 1988. Celebrating their 25th birthday this year, I spoke to Justin Koon a Co-Convenor (chairperson) to find out exactly what the Gay and Lesbian Rights lobby work towards, their past work, and what they hope to achieve in the near future. Justin Koone has been involved with the GLRL for five years, including the last 18 months as a Co-Convenor.
christina davies
Justin began by recounting some of the history of the GLRL. The organisation began after ‘The Gay Rights Lobby’ disbanded. The Gay Rights Lobby had been working towards ending the criminalisation of homosexual sex and, having made significant progress, disbanded in 1981. In 1988, however, the organisation was reformed and given the name it maintains today. The organisation aimed to tackle attitudes and incidents of discrimination affecting the LGBT community, including a range of outdated laws. Since 1988 the GLRL have been working hard alongside politicians, the media and the local community in order to challenge discrimination towards both the LGBT community and individuals. As an organisation today, the GLRL are based in NSW, have part time staff members and many volunteers, and rely on government grants, fundraising and donations. Ultimately the goal of the organisation is to ‘provide referral and educative resources on gay and lesbian rights to the media, policy makers and community’. Justin explained that the organisation primarily focuses on two areas: legislative process and community outreach. As well as working with media and policy makers, the GLRL also work closely with other LGBT focused charities to reach different parts of the community. These charities include: Acon, Twenty 10 and The Inner City Legal Centre. This year a Human Rights Education grant from the Attorney General’s Department will enable the GLRL to run anti discrimination workshops, working alongside Twenty10. These workshops focus on different aspects of discrimination faced by multiple groups in the community, and what individuals can do to stand up for their rights when faced with discrimination on the grounds of sexuality. Projects like these make it possible for the GLRL to work directly with the community. This is also an important project because the GLRL will be given the opportunity to provide advice on a federal framework for anti discrimination legislation based on these workshops.
WHILST POLICY ISN’T FANCY OR FLASH, IT’S WHAT MAKES REAL CHANGE HAPPEN
Along with community outreach, since 1988, the GLRL’s legislative focus has lead to key reforms including: the introduction of Gay and Lesbian Liaison Officers across NSW police stations, the introduction of homosexual anti-villification legislation, the first recognition of same sex relationships in federal superannuation and legislative reform to ensure adoption equality, just to mention a few. It’s quite safe to say the GLRL have been involved in every major policy development in regards to discrimination against the LGBT community and LGBT rights. One issue that the GLRL are working towards is the legal recognition of same sex marriages. Currently there are not just one but three bills under consideration in Parliament to change the definition of marriage. Whilst the last vote in the House Of Representatives was defeated 98-48, Justin believes that the momentum for marriage equality is unstoppable, and that change is inevitable. The GLRL are working alongside other organisations, including AME, in order to develop policy that helps push politicians in the right direction. Whilst marriage is always a hotly discussed and public issue, Justin points out that there are many other issues that also need to be focused on and discussed. Two examples include the federal anti discrimination laws, on which the GLRL published a submission to the Senate in April 2013, and other discriminatory laws including the “gay panic” defence. Another contentious issue this year has been the actions of police towards the Mardi Gras crowd, after a video of a young man being bashed went viral. This video raised concerns over the excessive use of force and inappropriate conduct by police. The GLRL have been busy working with the Sydney Gay and Lesbian Mardi Gras, ACON, and Inner City Legal Centre, discussing recommendations to improve policies in NSW before preparing a submission to politicians and senior police. Justin comments that “whilst policy isn’t fancy or flash, it’s something that needs to get done, and what makes real change happen”. The strengths of the GLRL are developing and producing research and policy in order to develop real change, working behind the scenes to create and develop laws that will impact the LGBT and greater community positively. At the same time, it is important to the Lobby to maintain a community focus and push ways to gets others involved in the discussion. The Gay and Lesbian Rights Lobby rely on donations. To donate or volunteer please visit: http://glrl.org.au/
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JAC
C+JACK
AN INTERVIEW WITH PATRICK BLUE
INTERVIEW AND PHOTOS BY RICHARD SAWYER
Jac + Jack is a brand intimately connected with the concept of perfecting simplicity. Their unique take on luxurious basics, always made from the best fabrics, share an aesthetic that is at once relaxed and pristine. Speaking with menswear designer Patrick Blue it is clear that this stylishly undone formality reflects a thoughtful intention rather than mere chance. How do you begin to design each collection? Usually I start collecting bits well before it’s time to do the collection – pictures, fabrics and colours. That points in some direction and I follow from there. Though sometimes I have nothing and sit staring at the wall all day. Is simplicity in design easy to achieve? What defines successful simplicity? Yes and no. For me what defines successful simplicity is contentment in the design. Not feeling it needs more or less.
In your past you studied fine arts before moving into the fashion world. What do you see as the connection between art and fashion? I guess both are quite cerebral and need a degree of craftsmanship and both are contradictory. There are a lot of similarities and a lot of differences. You can buy both at K-mart and both in galleries/boutiques. Both include and exclude, have rules but are rule-less. I struggle to define fashion as art; I think fashion can be a medium in art but isn’t art in itself.
In the same vein, what does timelessness in design mean to you?
How clear is your impression of the man for whom you design? Who is the Jac + Jack man?
I don’t think timelessness really exists in design; to me timeless design is something like a spoon or a wheel. Aesthetics are always changing, what people were calling timeless in the 1500s probably has dated.
I don’t have one particular man or vision, for me the key is masculinity in all its varying examples. To me he is quite intelligent and has a mature sensitivity to what he likes.
A man should wear the colou not the other way around.
d our r .
In your collections there is a blend of classic tailoring and sportswear that feels very modern. Do you think that the rules of formality in menswear are changing?
how much of that goes to the workers and farmers? I also feel sorry for the designers whose work gets ripped off and for the designers who do the ripping off.
Sure, in varying levels across the world. People are willing to experiment more and ‘rules’ are being forgotten. It’s become more acceptable for men to be interested in their appearance and in turn fashion.
Can you describe the inspiration for the Spring 13 collection?
What is your attitude towards ‘fast fashion’ – the emergence of large, relatively cheap, trend-based clothing stores in Australia? Instinctively, what they do feels like a direct contrast with your work? I understand that some people can’t afford or don’t want to spend on clothes. What concerns me is people talk about poor working conditions, under priced labour and the social implications of that but don’t seem to make the connection. If a top is $20 and the company has to recoup its costs and make a profit,
Originally we were looking at a lot of rugby jerseys and tennis outfits from the 1980s for print references. We loved the minimalism in the designs and after looking at a lot of images the sportswear stuck with us. I wanted it to be sporty but not cliché or not be adaptable to everyday life. How should a man wear colour? A man should wear the colour not the other way around.
VANISHING ELEPHANT AN INTERVIEW WITH HUW BENNETT
INTERVIEW AND PHOTOS BY RICHARD SAWYER Founded in 2008, Vanishing Elephant is celebrating a huge first five years. The label’s three co-founders, Arran Russell, Felix Chan and Huw Bennett, share a design philosophy that is both enormously popular and, in a way, deeply populist. Their menswear is classic, simple and masculine – rich in the kind of quirky detailing that brings real personality to an item of clothing. I started my chat with Huw Bennett by asking about their first ever show at Mercedes Benz Fashion Week Australia this year. How did you find your first experience of showing at fashion week? What has the response been like? It was all we expected and more! A lot of work goes into an eight minute show, you know. The response has been great; we’ve had so many great reviews, images floating around and nice words from some unexpected areas. It is a cliché that people call fashion a marriage of art and commerce. How do you balance commerciality and artfulness in your design? It’s true that our key balance is quality vs. accessibility, which you could equate to that.
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We love a man bag, and totes to totes
OUR IDEA OF A NICHE IS MAKING A GOOD PRODUCT, AND DOING [IT] WELL. There is something very identifiable about the Vanishing Elephant aesthetic. If menswear is a more conservative market than womenswear, how do you carve out a niche for yourself and say something unique? It’s not about it being conservative, it’s more defined in terms of silhouettes and fits. Guys will wear some crazy stuff! Our idea of a niche is making a good product, and doing what we do well. How does the creative process work for each new collection at Vanishing Elephant? Do you collate inspirations from art, music, architecture etc? We try and work looking back and looking forward, it’s a pretty tight process for the men’s now. It’s like a good recipe that will stay in the family for some time. Inspiration can be so subjective for us, we’ve based a collection off a book and then another off a couple of images found on the web. Do you think working as a design team contributes to your successes? It helps for bouncing ideas, and when it comes to balancing the range it helps to have varied opinions.
Who is the typical Vanishing Elephant man? How clear is he in your heads when you are designing? He’s pretty foggy as he keeps changing, our clear picture is a number of guys or scenarios as to how we’d like the clothes to be worn. Our Melbourne shop is managed by a guy named Jack, he’s a great play on what VE is and how it should be worn. How important are accessories to the stylishness of a man? They can make or break. None of us are huge over accessories kind of guys so we generally go for understated and more practical style pieces. We love a man bag, and totes to totes. Do you think it is important to have a good sense of humour in fashion? Would you say that your designs often embody a sense of irony? We’re fortunate to do what we do, if you take this business too serious it’s easy to lose touch with what you stand for and what you want to achieve. Also we’re Australian so making fun of ourselves is a given.
ZAMBE
WE ARE CONSTANTLY SEEKING THE RELEVANT TRUtH ...
MBESI
AN INTERVIEW WITH DAYNE JOHNSTON interview and PHOTOS BY RICHARD SAWYER
Longevity is not a word often used in fashion. Yet, for New Zealand label Zambesi the concept is a design touchstone; they have been creating cutting-edge, wearable clothes since 1979. The Zambesi look is instantly identifiable: a balance of experimentation in form and clean sharpness. I spoke with menswear designer Dayne Johnston about the past and the present. The menswear market can be a conservative place. Do you agree? If so, how do you push the envelope and follow the rules at the same time? Menswear can be conservative: you are always working with a traditional aspect which has much more discipline and rules than womenswear. Although having said that I like to challenge the customer and present new ideas in a subtle way; it’s about giving the customer something new which, in turn, inspires them. How do you typically find inspiration for your work? In films, through art, architecture, music? All of the above are inspiring for me; lately I have found travel has been influencing my work, I like the shift in energy that travel brings and the ability it has to stimulate new ideas. Given your SS13 collection, would you be happy to be described as a minimalist? The way it was presented on the catwalk was paired back and very clean. Summer is always a challenge as there are fewer layers to consider. The simple pieces are sometimes the most challenging to perfect – detailing and function are always considered carefully.
Zambesi menswear always presents a statement on shape through tailoring. How should men be updating their wardrobes to maintain modernity? Men should feel comfortable in developing their personal style at their own pace – investing in a Zambesi suit which has longevity and every lasting appeal is a good start. How important is quality fabrication in your design process? It is paramount. Elisabeth (Findlay, Zambesi womenswear designer) focuses on fabric – fabric becomes the muse. I have followed this idea with the menswear and we select fabrics together before we begin each season. There is a lot to be considered when choosing the correct fabrics – wearability, function, weight and, of course, quality. We tend to use a lot of natural fabrics at Zambesi: pure wools, cottons and silks. How do you achieve a balance between toughness and softness in menswear? Is one inherently more masculine? Masculinity is born out of strong traditional shapes, sometimes the way fabrics are mixed gives softness. For example we used sheer organza shirts in the styling of the SS13 show – these have the ability to look masculine but bring a softness through at the same time. What is the secret to longevity in an industry obsessed with newness? At Zambesi we create clothes with longevity. We are constantly seeking the relevant truth whilst retaining our long held values of quality and workmanship. How have you seen the Australian (and New Zealand) fashion industries change over the years? What are some of the most obvious shifts for you? The most obvious shift would have to be social media. The world has got a lot smaller through the use of internet, which means for New Zealand we are closer to the rest of the world.
... IT’S ABOUT GIVING THE CUSTOMER SOMETHING NEW, WHICH IN TURN, INSPIRES THEM. Models: Sander and Claes, Priscilla’s Model Management
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