Fashion Journal 194

ISSUE 194 / 2020

F R E E

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CONTENTS

Your Turn

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46

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The Scoop Fashion News Sign of the Times Feature Regeneration with Jenny Kee and Linda Jackson Up Next Feature Mine Truly with Converse Class of 2020 Editorial Seeing Double Editorial Sustainably Sourced Shop Fine Line Hair & Beauty

PUBLISHER Furst Media Pty Ltd. Mycelium Studios Factory 1/10-12 Moreland Road Brunswick East VIC furstmedia.com.au

GEE GEE WEARS TRELISE COOPER SHIRT Full shoot credits on page 44

From the Team Welcome to our first issue for the year. It's one that is particularly important to us, because of the stories it tells and the talent it spotlights. The overarching theme of the issue is New Generation and, within these pages, you’ll see it unfold in a number of ways.

On page 12 we speak with Jenny Kee and Linda Jackson, who have both been personally impacted

by Australia’s recent bushfires. We touch on the intersection of sustainability and fashion, and explore what role our industry has to play in galvanising change. Later in the issue, we profile a series of independent labels operating with responsible design and production at their core (page 46).

MANAGING EDITOR Giulia Brugliera giulia@furstmedia.com.au

From page 16, we highlight five industry figures who are relatively unsung, yet pivotal in shaping the future of fashion in Australia. From holding brands and government to account, to bringing Indigenous fashion design to the fore, these leaders are important forces within the industry.

Finally, from page 30 we look to a new generation of design talent, showcasing looks from the country’s top 12 fashion graduates selected for the National Graduate Showcase later this month, held at the Virgin Australia Melbourne Fashion Festival. As the supporting partner of the showcase, we hope to see you there.

The FJ team xx

DIGITAL EDITOR Cait Emma Burke cait@furstmedia.com.au SALES & CREATIVE CAMPAIGNS Patrick Carne patrick@furstmedia.com.au EDITORIAL ASSISTANTS Maeve Kerr-Crowley, Ruby Staley ADVERTISING Giulia Brugliera giulia@furstmedia.com.au Cait Emma Burke cait@furstmedia.com.au Patrick Carne patrick@furstmedia.com.au DESIGN Olivia Godfrey DISTRIBUTION distribution@furstmedia.com.au EDITORIAL INTERNS

COVER DOMENIC ROYLANCE (UNIVERSITY OF TECHNOLOGY SYDNEY) QUILTED METALLIC COAT, VINTAGE COWBOY HAT $88 AND COWBOY BOOTS $165 FROM GLOBAL VINTAGE

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Indah Dwyer, Mariah Papadopoulos, Jasmine Wallis, Maki Morita, Lydia Crist, Olivia Hart, Ella Bazzani-Hockley

@FASHIONJOURNALMAGAZINE /FASHIONJOURNALMAG

Photographer – Amelia Dowd Model – Lim At Chadwick Models Full shoot credits on page 30

© 2019 FURST MEDIA PTY LTD. No part may be reproduced without the consent of the copyright holder.

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ABANDON TOTE

AW 20 O U T N OW

L AST M O U N TA I N S B AG

T H E S I M P L I F I C AT I O N O F L E AT H E R G O O D S

NEWS

The Scoop

E Nolan Melbourne-based tailor E Nolan is expanding, introducing its first comprehensive ready-to-wear collection. Nolan's vision for the venture is to celebrate the joy of getting dressed by delivering timeless separates, designed to inspire layered looks. It will feature cricket-inspired knits, crisp cotton shirts, sporty pleated minis and oversized bowling shirts, alongside a contemporised line of suit jackets and pants. The collection will make its official debut at the Virgin Australia Melbourne Fashion Festival’s Studio Edit 3 on March 13. Tickets are now on sale.

ENOLAN.COM.AU

VAMFF

Wool4School

Consciously Crafted

It’s back for another year and quite literally bigger than ever. The Virgin Australia Melbourne Fashion Festival kicks off on March 4, with an extended lineup of designers and a bursting arts and culture program. There are over 70 events spanning runways, film screenings, exhibitions, workshops, dance performances, storytelling, walking tours, open factory tours, panels, lectures, launch parties, luncheons, dessert buffets and more. Phew.

National treasure Celeste Barber is also on the bill, which should be incentive enough to book tickets.

If you need more, the full program is now online.

Applications are open for the annual Wool4School competition, where high school students across the country are invited to design between one and four innovative garments using at least 70 per cent Australian wool. There are a number of prizes up for grabs, including a scholarship to the Whitehouse Institute of Design. This year’s theme is flora and fauna, which is apt considering wool is natural, renewable and biodegradable. Online registration closes May 29.

Seven Melbourne labels are coming together this month for a collective pop-up store worth visiting.

Showcasing the very best of their consciously crafted goods will be local labels Argent Silversmith, Kristin Olds, Ochre Ceramics, Simétrie, Alabasta Organik, Dream States, Emma Dillon Hill and Form by T. While we refuse to use the term ‘onestop shop’, these brands do span a pretty extensive selection of items, including clothing, art, ceramics, jewellery, loungewear, organic skincare and leather goods. Consciously Crafted is open now until March 26.

VAMFF.COM.AU

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WOOL4SCHOOL.COM

120 GERTRUDE STREET, FITZROY

FEATURE

Sign of the Times There’s a phenomenon we’ve been witnessing for some time now.

You’ve likely seen it on a micro level, starting back in 2017 when everyone owned the same Gucci loafers.

PHOTOGRAPHER – TED MIN STYLIST – JAM BAYLON WORDS BY GIULIA BRUGLIERA

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FEATURE

MORE RETAILERS HAS MADE FASHION CHEAP

It might be a stretch to call luxury fashion low-cost.

But as the prospect of affording your own home is increasingly untenable, buying into luxury brands is becoming more viable.

Resale platforms like The Real Real and Vestiaire Collective have made luxury shopping newly affordable, offering designer pieces at up to 90 per cent off the original retail price and empowering buyers to on-sell.

Growing competition between luxury fashion retailers has also led to increased buyer incentives.

Once you find an item you like, it’s a matter of searching the web for a retailer with that same item on sale and subscribing to an e-newsletter for a discount code. While studies show the actual RRP of luxury goods has risen in recent years, this growing ‘sales’ culture has ultimately driven down the price of designer goods.

OUR PARENTS DID IT TOO, BUT WE DO IT BIGGER

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In the following years, this phenomenon has since evolved. You’ll see it when a friend plonks a Prada purse on the table at dumplings, slides their Common Projects sneakers under their secondhand mattress, or hangs a Shrimps coat on their Ikea bedpost.

This pattern of spending can be neatly distilled into two simple words: sharehouse luxury. It’s the idea that one would share a house with strangers out of a need to live frugally, while also accepting regular deliveries from Net-A-Porter.

As far as phenomena go, it’s relatively new. millennials are bursting into the luxury market and are soon expected to make up half of its sales, with Gen Z trailing close behind. In less than five years’ time, the bulk of luxury shopping will be done by young people – the same people who are increasingly opting for shared living arrangements.

To those who don't engage in this buying behaviour, purchasing the latest Dior saddle bag only to coordinate morning shower slots with four housemates can seem bizarre.

But this pattern is on the rise and, as fashion has long been a signal of the sociopolitical climate of the day, it’s worth considering what it means.

First, we have to acknowledge that those who engage in these spending behaviours are privileged to have that choice. Second, we note that many choose shared living not for financial reasons, but for fun. Nonetheless, if you’re interested in

Arguably, sharehouse luxury as a concept never applied to our parents. In their day, luxury fashion was reserved for the rich while the masses saved their earnings and bought houses, living squarely within their means.

But while Mum never owned a Chanel handbag, she did wear a Gucci perfume – an example of the spending patterns of the time.

Sure, it’s a big jump between a $57 Saint Laurent mascara and a $5000 Saint Laurent bag.

But if you search for that same bag on The Real Real it’s half the price, with an extra $25 credit if you sign up to their mailing list.

See, we’re still scrimping and saving, just a little differently than our parents.

the anthropology of fashion or simply can’t explain to your baffled parents why you chose buying $500 sneakers over contributing 0.01 per cent of a home deposit to your savings, let’s dive in.

A HOUSE IS TOO HARD, BUY SHOES INSTEAD

While the price of designer goods has increased steadily with inflation, the cost of housing has ballooned. It’s nothing new to say rising housing prices have created a sense of helplessness among young people, many of whom will likely never be able to afford entry into the property market.

There's a historical phenomenon we can look at to explain this behaviour. Called the 'lipstick effect', it’s the theory that when faced with an economic crisis, consumers are more likely to purchase low-cost luxury goods. It started during the Second World War when lipstick sales boomed, as it was a cheap way for women to both keep up appearances and make themselves feel good.

A 2017 Deloitte study into the spending habits of millennials shows a clear parallel, revealing that over any other influencing factor, this cohort is most inclined to purchase a luxury item because it makes them feel good.

In today's context, the lipstick effect is why we opt for an overpriced smashed avocado over an expensive steak dinner, or why we funnel our money towards shoes instead of a house deposit.

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INTERVIEW

PHOTOGRAPHER – SEUNG-ROK / PHOTOGRAPHER’S ASSISTANT – NICK TURNER HAIR AND MAKEUP – TRACY TERASHIMA / FLORIST – SETSUKO YANAGISAWA TALENT – JENNY KEE, LINDA JACKSON / WORDS BY ELIZA SHOLLY

ReGeneration The year 1973 was a milestone for Sydney. The federal voting age was lowered from 21 to 18. Prime Minister Gough Whitlam abolished the White Australia Policy. The Sydney Harbour Bridge ceremoniously opened in the heart of Circular Quay. And all the while, two women were preparing to cut the ribbon on one of Australia’s most culturally significant stores. Its name was Flamingo Park.

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INTERVIEW

Known for its impossibly colourful walls, retro frocks and ’50s-inspired prints, Flamingo Park Frock Salon served as a cultural and fashion zenith. It catapulted founders Jenny Kee and Linda Jackson to icon status, showcasing just how loud, bright and unapologetic our homegrown approach could be.

A global style identity was established, featuring the kinds of knitted jumpers, appliquéd wattle flowers and iridescent opal accents that would make Kath Day Knight feel right at home.

Few have a friendship like Jenny and Linda do, that much is clear from the outset. Watching them converse, it’s a dexterous verbal dance. The only tangible way one could truly capture their sincere and soulful relationship, and its subsequent impact, is through something as large-scale as an exhibition. Thank God someone thought of it.

Titled Step into Paradise, the 150-piece manifesto celebrates both their inspirations and work, and that of their significant collaborators. It transports viewers to the early days, showcasing Flamingo Park in its 1980s peak.

What it also captures is their intrinsic connection to their surrounding environment. The two have long pioneered activism alongside sustainable fashion, from a time when it wasn’t readily considered in the industry. Now, as the world spins on a politically, socially and environmentally turbulent axis, we invite Linda and Jenny to speak with us about their long-standing relationship with Australia’s land.

Do you remember your first impressions of each other?

J: Our first impression was pretty powerful. I was so influenced by the ’40s and ’50s, and meeting Linda, she had the profile of a beautiful, chiselled, period movie star.

L: I had been told about Jenny through friends when I was up in Sydney for an exhibition. I was personally influenced by Asian culture and beauty, so I just remember thinking I’d found my beautiful Chinese princess.

And the reputations were correct?

J: Better. Larger than life. We had a female meeting of creative minds. And while the major friendship came later, the actual meeting of two females with the same passion, the same love, was incredible.

How would you describe each other’s personal styles?

L: Well, often we would arrive somewhere and be wearing the exact same thing. Then other times, it was the complete opposite.

J: She’s very anti-fashion these days. I’ve always been Linda’s muse.

I modelled when I was 16 years old, when they didn’t like Chinese models, so I never got any work. But then I became Linda’s model wandering through the bush, meditating as she took the most exquisite photos wearing her clothes.

No makeup, just a natural, beautiful experience.

Having both worked with vintage fashion overseas, how did you find Australia’s second-hand landscape when you returned?

L: Well I didn’t think it really had one, but it did. Melbourne had everything.

Because of the weather, high quality vintage would end up in second-hand shops all over the laneways of the city. Wealthy women who had the best of everything would buy new things each season, and their old stuff would end up in the stores.

J: Melbourne to me was like London, except it wasn’t. It was fresh, open and sunny, and people definitely dressed smarter.

I know sustainability is important to you. Did you ever feel conflicted that you were contributing to an industry that perhaps wasn’t the most ethical?

J: No, because everything we did was small and bespoke. We made a small imprint. In Asian countries, weaving clothing is a facet of [a person’s] spirituality.

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INTERVIEW

L: Your mother made your clothes to wear, her mother made her children’s clothes. In every country around the world, there was a historical element to what everyone was wearing, and then it turned into giant industrial business.

Before sustainability was even a word, we were doing it. Hand-sewing, handdyeing, hand-knitting, caring where the textiles come from. We knew it was a toxic industry, which meant caring about every single element. We were very small, so we had the luxury of being able to do it like that.

How important has activism been in your career?

L: Every step we take is part of activism, really. With the clothes we have done, the people, the communities we visit, it’s all part of a bigger picture.

J: I was always actively participating. I was arrested for protesting the deforestation all through Coolangubra and Eden. You can’t even think of designing a koala knit and then not using that same passion to save them.

These areas of New South Wales had the oldest-growth trees that had ever been cut down, and this was their home.

That was back then, and look at it now. We are actively fighting for the species not to be extinct. It’s the whole planet, of course, but the whole world is looking at a fire that just swept through half of our country. I keep looking at those images and know that koalas are screaming in the trees as they burn.

It’s not just touching Australians but people all across the world.

I know both of you have been personally impacted by the bushfires, how has it been?

J: I actually saw it coming towards me. I was the only one who could see it because my view is very particular, so I knew that fire was close. I rang the RFS and told them, and that was a powerful experience. I’ve lived in the bush for 43 years, so I’ve experienced a lot of fires. I know what fire is, but this was savage. As far as I know, for the last 200 years on that particular piece of bushland, there has never been a fire like it.

L: Our cottages burnt quite completely. We had to keep our eye on the wind just to make sure nothing disastrous happened. It takes a bit of time to adjust to what has happened, but we are okay. And now we look to rebirth and regeneration.

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What do you want people to get out of going to the exhibition?

L: The exhibition is more relevant now than ever. It’s about looking after Mother Nature, and looking to our country for inspiration. We need to make sure people might want to keep looking after it.

J: Back then, people like us were always referred to as ‘greenies’ – but now, the green revolution has got to become a way of life. In this time, to go see the show now, knowing how the bush is being ravaged, it’s even more special. Linda and I have always sought our inspiration from being in nature.

Our whole creed has always been to preserve this beautiful environment – it’s just more potent now.

Of all the things you’ve done together, what has been your favourite moment?

L: It’s now. This exhibition has made us reflect, together, and learn about what each other has been doing for the last 30-something years.

J: I’m grateful for 40 years of friendship. Back in 1982, Linda and I walked through burnt bush where she took incredible photos of me in some of my favourite outfits. The waratah and grass tree clothes, which I’m wearing in this shoot. You can see the photographs in the exhibition. To see the same bush burning, at the same time our exhibition is on, it’s brought everything full circle. Our love and care for this country has come full circle. Here we are with the same creative passion, fighting and working to help this country. My property got burnt, Linda’s property got burnt. That’s what I find really metaphorical.

Jenny Kee and Linda Jackson: Step Into Paradise is now on at Sydney's Powerhouse Museum until March 22. Exhibition curator Glynis Jones is presenting a talk at the Virgin Australia Melbourne Fashion Fesitval on Friday March 13. Tickets are now available.

MAAS.MUSEUM VAMFF.COM.AU

INTERVIEW

Up Next As the fashion industry undergoes dramatic shifts in both thinking and operation, there are a few key players propelling this change. The future of the industry is being moulded by the hands of these creatives working behind the scenes, invisible to most and largely unsung. Here we spotlight a few.

Jade Sarita Arnott WORDS BY ANNIE CARROLL

If Jade Sarita Arnott is nervous, she doesn’t show it. The Melbournebased designer has done her fair share of interviews since relaunching the Arnsdorf label in May 2017. By her own admission, they are much easier now than they used to be. Still, it’s hard to deny the weight of expectation placed on Jade to be an arbiter of change in an industry that needs huge, tectonic shifts in thinking.

“Fashion wants to empower the wearer, but you can’t do this unless everyone who has a hand in the supply chain is respected.

You’re only truly empowered when you wear something aligned with both your style and your values.”

Indeed, this marriage of style and values is Arnsdorf’s sweet spot. It helps that Jade is a skilled designer, marking herself early as one to watch after graduating from her fashion degree at RMIT and achieving commercial success with the first iteration of Arnsdorf, which launched in 2006. When she announced the label’s closure in 2012, it was met with sadness from fans.

“Even early on, the idea of creating something of lasting value was very important to me. But the traditional fashion system just felt broken. The mark-down and rush to constantly deliver new stock was relentless. My uneasiness with it all just grew bigger and bigger.”

The years that followed were formative in ensuring that Arnsdorf 2.0 would work against those tides. Exploring other

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creative disciplines including industrial design allowed Jade to learn the benefits of rapid prototyping, which, she explains, “forces you to understand where the faults are and rework it accordingly”.

Jade also spent some time working with a tech start-up, pushing the boundaries of what customer service could be and gaining exposure to a group of people driven to disrupt antiquated systems.

When she was ready to return to Arnsdorf, it was under an entirely new model of transparency and purpose.

“We are pushing to innovate circular ways for the system to regenerate itself. The industry can’t keep using virgin resources,” she says. There is complexity in finding the best solution, but in the meantime, Arnsdorf is committed to keeping its customers’ clothing in their wardrobes for as long as possible.

Some might argue that the nature of creating anything new, albeit designed for longevity, goes against the issue at the heart of the sustainable fashion movement. Jade admits it’s something she grapples with still, but she recognises that there are basic requirements of humans, and clothing is one of them.

“Good design improves our day-to-day lives. We can marry those things together to have good outcomes for the planet and people, and still have the joy of good design.”

INTERVIEW

Melinda Tually WORDS BY MARIAH PAPADOPOULOS

Melinda Tually is a modern-day hero and the powerhouse responsible for establishing the Australian arm of the worldwide movement, Fashion Revolution. While sitting at the helm for the past six years, she has tirelessly worked with NGOs, attended international conferences, organised large-scale events and campaigned for greater industry accountability at all levels of the supply chain. And all of this she’s done pro bono.

“Balance isn’t really a word that applies to my life,” she laughs.

Her journey started relatively modestly, shortly after the catastrophic collapse of Rana Plaza, an eight-storey building that housed garment factories in Bangladesh. The collapse killed over 1,000 people and injured 2,500, and remains the deadliest garment factory incident to date.

The tragedy deeply affected Melinda and a few months later at a conference in the UK, she volunteered to run Fashion Revolution, a new global movement, in Australia.

“I did not go to the UK thinking I’d come back with the responsibility to run a movement,” she says. “But if there was a collective that could try to bring a focus on that incident and try to restore dignity to their lives, then I wanted to be part of it.”

At the time, Melinda owned a gift store in Surry Hills. “I realised I couldn’t really do justice to fashion in that type of space,” she says.

She soon started acting as Deputy Chair of the Fair Trade Association and now runs a consultancy firm helping client companies develop ethical supply chains and sustainability strategies – a role that goes hand-in-hand with her Fashion Revolution responsibilities.

Melinda notes that it was difficult to drive out consumer and brand scepticism in the early days. Many in the industry initially perceived Fashion Revolution as an adversary. “[But] we were trying to actually connect all those broken links in the supply chain,” she says.

Over the last few years, Australian brands have dramatically improved. While many overseas markets have had ethical frameworks in place for longer, Melinda believes Australia is making up for lost time.

“There’s been a broader acceptance and understanding of business responsibility and accountability overseas for a lot longer.

Therefore they’re a lot further down the path, and the investment that’s required in this space [for Australian brands] is much more considerable,” she notes.

“But we’re coming out with really bold targets as well, just like our international counterparts.”

Through her work with Fashion Revolution, Melinda continues to engage with all levels of the supply chain, from government through policy, to brands and designers, industry bodies, educators and academics. “All of those stakeholders are keeping brands more and more accountable,” she says.

From supporting legislation on human rights, packaging and waste, to publishing reports on best practice, Fashion Revolution informs brands and consumers, and then holds them accountable.

“Consumers now, their voice is loud and it’s quite a force. If [brands] weren’t listening to those customers before, then they certainly are now,” she says. “At the end of the day Fashion Revolution is a citizen-led movement. We want other people to take that baton and create their own revolution.”

Beth Wilkinson WORDS BY SABINA MCKENNA

Beth Wilkinson is widely known as the founder, editor and creative director of Lindsay, a magazine of worldly essays, interviews, recipes and photography. Where the industry at large continues to witness a decline in print sales, Beth has shown there is still room for thoughtful, considered and in-depth writing, and that people are willing to pay for it.

Lindsay’s subject matter is broad, with a central focus on cultural identity. Although Beth is from Melbourne, the publication is global in its approach, and designed to be accessible beyond geographical lines. It’s not surprising then, that Lindsay has found international success and is now stocked at a selection of premium retailers globally, including Rizzoli and MoMA. Lindsay is proof of our desire to cross cultural lines, and our hunger for something more than what the current magazine market offers.

Beth, tell me about the moments leading up to starting Lindsay. What was missing from the existing publications you were reading?

I’ve always been interested in exploring ‘place’ from the perspective of cultural identity and history, and didn't feel like there was another magazine doing that. It’s not about where to eat or the most beautiful places to visit, it’s about understanding the intricacies of what makes a culture or a place what it is on a very intimate level.

It must have been huge to leave work and launch Lindsay, especially without having started a magazine before. How did you decide where to start?

I read a lot and spoke to a lot of people; I haven’t stopped learning.

I think it’s important to plan and be strategic, but at the same time you also have to be responsive. Being too fixated on a particular vision won’t allow you to see new opportunities; a lot has evolved for Lindsay along the way.

How have you navigated uncertainty in the making of Lindsay?

When you do something that isn't a regular pathway, uncertainty is part of the process. You can’t help but question the decisions you’re making and the risks you're taking. It’s not possible for me to know where Lindsay will go or who will say yes or no to what idea I have, but that’s also part of the beauty in it all. I’ve also had to become resilient to be able to keep going, knowing that uncertainty will always be there.

How do you see Lindsay expanding from here?

Lindsay is an idea, not just a magazine, and that could come to life in so many other ways. I have ideas for printed books or a podcast or video content – so many ideas.

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INTERVIEW

Angel Dixon WORDS BY JASMINE WALLIS

In the 2016 romantic comedy How to be Single, there’s a scene where Dakota Johnson’s character struggles to unzip the back of her dress and has to create a contraption to assist her.

Although the scene is making a point about functional clothing as a single woman, it’s one that activist and model Angel Dixon wants everyone to remember.

“It’s silly that we make clothing purely for the look, and we don’t think about the comfort of its users,” she says.

The point is particularly pertinent for Angel, who has a physical impairment that means she requires support from a cane and wheelchair.

She’s a strong proponent of universal design; a concept by which an item or environment can be accessed, understood and used by all people, regardless of their age, size or disability. “[It’s] about creating things to be usable to all people without the need for specialised adaptation,” she explains. “Fashion in particular, or clothing design, is an area where people are forgotten.”

It was through her own experiences that Angel began to notice an absence of people with disability in the fashion industry. Beyond accessibility of clothing, she realised there were no models anywhere in the world using a cane on mainstream runways.

While a friend of hers was working on a clothing line built on universal design, Angel began submitting photos of herself to modelling agencies. After a few rejections, she finally was cast at Los Angeles Fashion Week to walk for her friend’s brand, cane and all.

“Modelling wasn’t my first choice, but as soon as I realised that people with disability weren’t being represented within these places, I wanted to do something about it,” she says.

Since that first runway show, Angel has gone on to be a twotime international Mercedes-Benz Fashion Week model; the first adult disabled model to be featured in a national television commercial in Australia; and in 2019, was named Queensland’s Young Person of the Year.

Angel’s work in the activism space has also seen her help drive Starting with Julius, a not-for-profit organisation that campaigns for more inclusive casting by big fashion brands and retailers. It works with the likes of Target and Kmart, assisting them to include people with disability in their advertising in a more holistic way.

“It’s not just about throwing people with disabilities in advertisements. It’s about making sure that they are participating equally behind the scenes. Otherwise, it’s not sustainable and other people aren’t going to be included in the future.”

After Angel modelled in a national Target campaign, she explains the retailer was “inundated” with positive messages, emails and social media comments. But for Angel, the most positive aspect to emerge from the campaign was that people with disabilities began applying for jobs at Target.

“I think that’s important to remember,” she says. “If your company or brand represents people with disability, then the expectation is that your company ‘gets’ it. It has a positive flow-on effect.”

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Shonae Hobson WORDS BY BRIDGET CALDWELL

Kaantju woman and curator Shonae Hobson is just 23, yet she’s already made history as the First Nations Curator at Bendigo Art Gallery, the first role of its kind within the institution since its inception in 1887.

Despite its modest location, the gallery is an unsuspecting host to some of the world’s greatest fashion exhibitions, including the Victoria and Albert Museum’s recent Balenciaga retrospective.

Shonae is set to join those ranks year, launching her first major fashion exhibition in the space.

Titled Piinpi: Contemporary Indigenous Fashion, the exhibition will feature fashion and design items from around Australia, showcasing the strength and diversity of the growing Indigenous fashion and textile industry.

She says the idea behind the show is to spotlight the creative work produced within First Nations communities, and to celebrate the continuation of cultural practice through wearable art.

It’s also giving audiences, who might not be familiar with Indigenous art or history, a different way of perceiving contemporary Indigenous art. “I think we’re at a time when we are seeing a shift in how people approach contemporary Indigenous fashion and also how young Indigenous people can be included in that space, whether that be through modelling, makeup [or] fashion design,” she says.

“It's definitely a direction the fashion industry's looking in."

The exhibition comes at a time when the broader Australian fashion industry has increasingly welcomed collaborations with First Nations peoples, but where not all of these have been handled well.

“We have seen a lot of questions around what is ethical collaboration, but what we are seeing here is Indigenous creators taking the lead,” she says. “For me, it’s really important that these stories be told.

So in my role as curator, I hope I can get those stories out there for wider audiences.”

Shonae says the word ‘piinpi’ comes from her great-grandmother's language, and is an expression used to describe seasonal changes and regeneration, or looking after Country.

The idea of caring for Country and land is very much intertwined throughout the exhibition, as well as through the garments themselves. “There’s a cultural knowledge of the land and passing on of traditional weaving practices [evident] throughout the pieces,” she says. “The use of traditional plants and fibre materials [is] really [prominently] showcased.”

Having grown up in Coen, a town on the Cape York Peninsula with a population of only 360 people, Shonae’s connection to culture and traditional practices has remained strong from a young age. Now, she has the opportunity to share these practices with others and shape how wider audiences interact with Indigenous Australian design.

“There is definitely a big responsibility that comes with my role, but that also means I have a certain power to enact change.”

Mine Truly ART DIRECTOR AND STYLIST – CARLOS MANGUBAT / PRODUCER – RUBY STALEY / PHOTOGRAPHER – SAM WONG / PHOTOGRAPHER’S ASSISTANT – NATHAN STOLZ / HAIR AND MAKEUP – LILY SWAN AT DUVAL AGENCY / HAIR AND MAKEUP FOR KAIIT – ROSIE KALINA TALENT – KAIIT, BEL, JASON CLYMO AT WINK MODELS, LAKSHAY DHIMAN, MADDY LYONS, MADDIE LATHAM

When was the last time you liked your own post? In an age when we preach self-care, it’s strange we’ve not yet cleared this hurdle. For its latest campaign, Love Fearlessly, Converse is asking, ‘What if your own like is all you need?’ It’s a scary thing to fully embrace selflove but we asked six people, including three FJ readers, to take the first step.

W

CONVERSE.COM.AU @CONVERSE_ANZ /CONVERSEAUSTRALIA

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OPPOSITE PAGE NOW BASIC CARDIGAN IN BLACK $10, ZARA OVERSIZED DENIM JACKET $69.95, SZN UPCYCLED DENIM RAW WIDE LEG PANTS $340, CONVERSE WOMEN’S CHUCK TAYLOR ALL STAR WITH LOVE ARCHIVAL LIFT $120 TALENT’S OWN CORSET, SOCKS AND ACCESSORIES THIS PAGE COTTON ON BG ESSENTIAL SKATE T-SHIRT $14.95, LEVI’S VINTAGE SHORTALL FREE RIDE DUNGAREES $129.95, TALENT’S OWN DENIM JACKET AND ACCESSORIES CONVERSE CT ALL STAR LOVE FEARLESSLY CANVAS HIGH TOP IN WHITE $100, STYLIST’S OWN JEANS, TALENT’S OWN SOCKS

INTERVIEW

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OPPOSITE PAGE ABRAND LOVE WAVES BONNIE DENIM JACKET $159.95 AND LOVE WAVES HIGH RELAXED DENIM SHORT $99.95, SZN UPCYCLED DENIM BLING BUCKET HAT FROM H/OURS CONCEPT, CONVERSE CREW SOCKS IN WHITE $7 CONVERSE WOMEN’S GREY CT LOVE FEARLESSLY ’70S HIGH TOP $120, TALENT’S OWN JEWELLERY THIS PAGE ABRAND A DROP SKINNY TURN UP JEANS $139.95, NICCE LOGO WHITE T-SHIRT $60, ELWOOD PAXTON NAVY WORK SHIRT $99.99 LEVI’S HOODED TRUCKER CAMPFIRE JACKET $219.95, NORTHSKULL GOLD CHAIN NECKLACE $140, SZN UPCYCLED DENIM BUCKET HAT $135 FROM H/OURS CONCEPT, CONVERSE CHUCK TAYLOR ALL STAR HIGH TOP IN BLACK $110 TALENT’S OWN RINGS

FACTORIE RAINBOW T-SHIRT $19.95, ADINA’S JEWELS ROSE GOLD LINK NECKLACE $119, CONVERSE CT ALL STAR LOVE FEARLESSLY CANVAS HIGH TOP IN WHITE $100, STYLIST’S OWN JEANS, TALENT’S OWN JACKET AND SOCKS

OPPOSITE PAGE TARGET BLACK ORGANIC COTTON TANK $8 AND CREW SOCKS (PART OF SET) $6, CONVERSE WOMEN’S CT ALL STAR WITH LOVE ARCHIVAL LIFT $120, MODEL’S OWN SHIRT, SKIRT AND JEWELLERY THIS PAGE

DESIGNER PROFILES

Spotlight On

By Georgia

Claudia the Label

Australia has beautiful natural landscapes, and among the country's most beloved are our many coastal hideaways. Emerging jewellery designer Georgia Bonsema has used these spots as inspiration for her new endeavour, By Georgia.

The label offers an expanding range of earrings, bracelets and eyewear chains, drawing on quality materials like sterling silver, 22 karat gold and freshwater pearls. Every piece has been meticulously designed, paying consideration to texture, colour, size and weight to ensure longevity and comfort in design.

Georgia is a firm believer in responsible consumption and she encourages buyers to become more conscious about what and how much they buy.

The right underwear can empower and instil confidence in anyone, which is exactly the intention behind Claudia the Label. Designed in Australia, its lingerie is made to inspire the charismatic and passionate individual in all of us. It’s created with comfort, versatility and various body types in mind. Mesh and lace separates offer both softness and stretch across cheeky cuts and high waists, with fully adjustable straps. Panelled bodysuits also feature, offering an adjustable base to stop that ‘cutting in’ feeling. Pieces are comfortable enough for everyday wear but nice enough for special occasions, making this lingerie worth your attention.

BYGEORGIA.COM.AU

CLAUDIATHELABEL.COM

Eden If 2019 was the year that bike shorts made a comeback, then this is the year of the eyewear chain. The accessory is back in vogue for its functionality as much as its form, and right on the pulse is Eden. The Melbourne label has just launched its offering of 18 karat gold-plated eyewear chains in a range of uncomplicated styles, including an option to add your initials via a custom gold-plated tag. Chains are designed to fit any size frame and, more importantly, won’t tarnish. A portion of Eden’s profits is also donated to A21, a charity working to abolish slavery and human trafficking in Australia.

EDENMELB.COM

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DESIGNER PROFILES

Nico Australian label Nico is known for its clean, effortless intimates and basics, all crafted from organic textiles in vibrant, plant-dyed shades. On top of its range of underwear and bras – including both underwire and bralette styles – the brand is set to introduce a loungewear line in late March.

You’ll find brightly coloured staples like skirts and dresses, as well as super soft, artisanal tie-dyed outerwear in the same warm palette as the label’s underwear. There’s even a line for babies called Little Elinor, including organic cotton basics for year-round wear.

NICOUNDERWEAR.COM

Hudstarduds Aprons are a more versatile garment than most would give them credit for, and Melbournebased Hudstarduds delivers them with style front of mind. With over 67 years of experience and a reputation for quality, local manufacturing, Hudstarduds aprons are sought out by a wide range of professions – including baristas, chefs, hairdressers and tattooists. The brand’s designs combine expert craftsmanship with high quality canvas, denim and leather. There’s also an option to link up with the team’s in-house branding experts to design, print and embroider custom aprons for your crew.

HUDSTARDUDS.COM

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DESIGNER SUSTAINABILITY PROFILES

Siaban Adelaide-based label Siaban has found its niche at the rather unexpected intersection of evening wear and streetwear. The brand elevates classic wardrobe staples like bomber jackets and dresses through its use of proportion and textiles, inspired by different areas of art, architecture and music.

Designs are further influenced by both men’s and womenswear, then brought to life using the highest quality fabrics sourced both locally and globally. The latest collection features turtlenecks, midi skirts and a mini dress across a versatile palette of black, white and a muted burgundy.

SIABAN.COM.AU

Toffee Integrating functionality with high-quality fabrics, Toffee is known for its premium laptop cases and bags. The leather used in each product is carefully selected to ensure your bag remains durable and ages beautifully over time. True to form, the new Balmain backpack is crafted with artisanal leatherwork and features a premium cotton lining that has been cleverly designed so you won’t lose all your bits and bobs. The Balmain can accommodate all sizes of laptops so no matter what you’re rolling with, it can work for you.

TOFFEECASES.COM

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2 3 - 2 4 s e p t e m b e r 2 0 2 0 • t h e r o ya l e x h i b i t i o n b u i l d i n g

A Premium Fashion & Retail Trade Event

250+

Exhibiting Brands

f e at u r i n g

Seminars & Workshops

Designer Runway Shows

Exhibitor applications are open for emerging or established brands looking to connect with wholesale buyers. Contact our events team for details.

f r e e to at t e n d - b u y e r s & g u e st s r e g i st e r o n o u r w e b s i t e m e l b o u r n e r e ta i l f e s t i va l .c o m . au • ( 0 3 ) 9 1 0 3 1 4 0 7 • @ m e l b r e ta i l f e s t i va l

PHOTOGRAPHER – AMELIA DOWD / PHOTOGRAPHER’S ASSISTANT – EVA-LILI HALPIN STYLIST – JADE LEUNG / MAKEUP – GEORGIA GAILLARD / MAKEUP ASSISTANT – PENELOPE PON HAIR – YURI YAMAMOTO / MODELS – LIM AT CHADWICK MODELS, COCO AT PRIDE MODELS, BISAHR AND ZALI AT DUVAL AGENCY, TOMMY, JAMIE AND HAYLEY AT AZALEA MODELS

CLASS OF

2020

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Each year we have the joy of supporting the National Graduate Showcase, bringing together the country’s top fashion graduates for the Virgin Australia Melbourne Fashion Festival. Presented by Target, the runway event gives 12 budding designers a platform to showcase their work to industry and consumers. Australia, here’s your best new design talent for 2020.

OPPOSITE PAGE JAKE LIU (RMIT) SHIRT AND PANTS, COWBOY HAT $88 AND BOOTS $165 FROM GLOBAL VINTAGE THIS PAGE LIM WEARS DOMENIC ROYLANCE (UNIVERSITY OF TECHNOLOGY SYDNEY) QUILTED METALLIC COAT, COWBOY HAT $88 AND BOOTS $165 FROM GLOBAL VINTAGE COCO WEARS SYNA CHEN (RMIT) DRESS AND HEADSCARF, VALÉRE CLAUDETTE EARRINGS $180, COWBOY HAT $88 AND BOOTS $165 FROM GLOBAL VINTAGE

COCO WEARS FAIHA RAHMANI (UNIVERSITY OF TECHNOLOGY SYDNEY) BLOUSE AND SKIRT SANCIA BRIGITTE BELT BAG $229 BISAHR WEARS FAIHA RAHMANI (UNIVERSITY OF TECHNOLOGY SYDNEY) DRESS AND TIGHTS RELIQUIA DORADO RING $129 ARMS OF EVE PACHANGA SIGNET RING $95, EROS RING $89 AND ANILLO RING $85, VINTAGE MULTI BUCKLE BELT $98 AND J PLAQUE BELT $88 FROM GLOBAL VINTAGE

KIM CLARK (RMIT) COTTON TRENCH AND TROUSER, TORANNCE SHIRT $219, VINTAGE BOLO TIE IN TURQUOISE $98 AND COWBOY BOOTS $165 FROM GLOBAL VINTAGE

SRINVANTI ROY (RMIT) DENIM JACKET AND JEANS, TORANNCE SHIRT $219, VINTAGE BOLO TIE IN STONE $68, COWBOY BOOTS $165 AND STIRRUP POA FROM GLOBAL VINTAGE

JORDYN SMITH (RMIT) SHEER BLOUSE AND WRAP SKIRT, VINTAGE BOLO TIE $68 AND COWBOY BOOTS $165 FROM GLOBAL VINTAGE, MODEL’S OWN RINGS

BELLA REDMAN-BROWN (RMIT) JACKET AND TROUSER, ZARA BANDANA $12.95, VINTAGE FRINGED NECKLACE $68 E PLAQUE BELT $98 AND COWBOY BOOTS $165 FROM GLOBAL VINTAGE

ICELYNNE YEO (RMIT) FLARE SLEEVE BODYSUIT, STYLIST’S OWN BANDANA

LIM WEARS YUMI WANG (RMIT) GREEN CHECK TOP AND SKIRT GLASSONS TOPS IN PINK AND YELLOW (LAYERED) $16.99 EACH VINTAGE J PLAQUE BELT $88 FROM GLOBAL VINTAGE HAYLEY WEARS YUMI WANG (RMIT) RED CHECK DRESS, ZAVI SILK SHIRT $181, VINTAGE LEATHER BOLO TIE $68 FROM GLOBAL VINTAGE

MEGAN TAYLOR (WHITEHOUSE INSTITUTE OF DESIGN) FRILL JUMPER AND TROUSER, VINTAGE J PLAQUE BELT $88 FROM GLOBAL VINTAGE

RENE NGUYEN (UNIVERSITY OF TECHNOLOGY SYDNEY) CAPE BLOUSE AND SKIRT VINTAGE COWBOY HAT $88 AND BOLO TIE $98 FROM GLOBAL VINTAGE

ART DIRECTOR AND PRODUCER – KATE CHARCHALIS / PHOTOGRAPHER – JESS BROHIER AT DUVAL AGENCY PHOTOGRAPHER’S ASSISTANT – TINA VLAHOS / STYLIST – CECILE HUYNH / HAIR AND MAKEUP – PHOENIX LY AT DUVAL AGENCY / MODELS – CARSON AT VIVIEN’S MODEL MANAGEMENT, LARA AT DUVAL AGENCY

Seeing Double

PANT $165, JOHN FLUEVOG DERBY SWIRL BOOT $499, STYLIST’S OWN BAG THIS PAGE LARA WEARS KATE SYLVESTER GEORGIE JACKET $559

OPPOSITE PAGE LARA WEARS ARNSDORF LYDIA JACKET $590 CARSON WEARS KLOKE THERMAL BAND COLLAR SHIRT $269, HANDSOM RELAXED

LARA WEARS KLOKE REVISION SWEATER $349 AND MAPPING SKIRT $279, KUWAII DARBY PLATFORM SHOES $419, STYLIST’S OWN SOCKS CARSON WEARS HANDSOM MERINO SADDLE NECK SWEATER $239, KLOKE NASCENT PANT $249, JOHN FLUEVOG DERBY SWIRL BOOT $499

CARSON WEARS THREADGATE PLAIN LILAC SHIRT $190, HANDSOM PARACHUTE SHORTS $129, JOHN FLUEVOG DERBY SWIRL BOOT $499, MODEL’S OWN WATCH LARA WEARS THREADGATE PLAIN LILAC SHIRT $190, HANDSOM PARACHUTE SHORTS $129, KUWAII DARBY PLATFORM SHOES $419

SHOP

Sustainably Sourced

Cali Rae

The Fabric Store

There’s a few boxes you should consider ticking when you’re next in the market for swimwear. Beyond size and fit, Melbourne label Cali Rae works harder than most, offering swimwear that is cruelty-free, ethically-made, Australiandesigned, Fair Trade Certified and made with quality recycled materials. The fabric weaves 84 per cent recycled polyester, with thread made from recycled plastic bottles. The label also uses sublimation printing, a process that uses heat to transfer designs from paper onto fabric, as an eco-friendly alternative. For those not yet impressed, Cali Rae’s swimwear also comes scent-infused with essential oils, designed to create an unboxing experience to remember.

The Fabric Store combats fast fashion by giving us the option to craft our own clothes, but it doesn't stop there. Its offering spans quality natural fabrics like silks, linens and cottons, alongside specialty textiles like merino and leather.

A sustainable ethos of reusing as much as possible means the company avoids mass-produced and ethically-questionable fabrics. Instead, it sources stock from high-end designers, taking on unneeded sample lengths, offcuts and fabric ends.

Not only does this bring unique, limited-run fabrics to customers, but it cuts down on industry waste.

THEFABRICSTORE.COM.AU

CALIRAE.CO

Lauren + Angie

Hopeless Lingerie

The saying ‘slow and steady’ has become a core ethos for Geelong-based label Lauren + Angie. Every piece of clothing is handmade in small batches from the founders’ home studio, with a focus on garment longevity.

Designs are intentionally classic and kept minimal so they can be easily integrated into your existing wardrobe, then worn season after season.

The same approach is taken to the label’s choice of colour and natural fabrics, which are carried over with each new release to minimise waste.

Moody and romantic lingerie label, Hopeless, completes every step of the design, production and distribution processes from its Melbourne headquarters. A made-on-demand model allows the brand to significantly reduce waste and make a serious dent in its environmental footprint. Hopeless uses a range of sustainable fabrics like Lenzing certified Modal and an organic cotton and hemp blend. Commercial hemp crops absorb more carbon dioxide per hectare than any forest or commercial crop. A portion of proceeds from the brand’s Basics collection is also donated to The Conservation Ecology Centre in Victoria’s Otways.

LAURENANDANGIE.COM

HOPELESSLINGERIE.COM

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SHOP

Hey Tiger Hey Tiger burst onto the scene in 2018 and for all its resounding success, there is more to the brand than premium chocolate. It’s also a social enterprise, working to support The Hunger Project to positively impact cocoa farming communities in Ghana and change the industry for the better.

Hey Tiger CEO Cyan Ta’eed does not take a salary, and the company donates a portion of each purchase to further The Hunger Project’s work. It also ensures its farmers are treated and paid fairly, and that all its suppliers uphold environmental practices to support the viability of cocoa farming for the long term.

HEYTIGER.COM.AU

Perple Using deadstock fabric is one effective way designers can produce more sustainably. Making garments only in response to customer enquiries is another. Melbourne label Perple works exclusively with both methods, carefully selecting textiles that might otherwise have ended up as waste to create its made-to-order designs. The brand’s style is all about balancing strength and calm, accented with a touch of humour – think inverted tuxedo collars and glove-sleeve hybrids. If your interest is piqued, you can explore Perple at VAMFF’s AFC Curated Store at Emporium Melbourne from March 4 to 9, where the brand will be showcasing limited stock.

PERPLEWOMEN.COM

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SHOP

Remuse Two sustainability-focused labels are coming together for a showcase at the Virgin Australia Melbourne Fashion Festival. Earthy, ethicallydyed Remuse and science-centric Mycelium Made will deliver an immersive runway, showcasing collections from both labels. Titled Mico, it will feature a new textile made from mushrooms being developed by Mycelium Made. You’ll also experience interactive installations from B2B Creative, music acts, dance performances, mushroom-based food and drink, and a runway of 20 models from both Jira Models and Melbourne’s performance art community. The enormous event will be held at Magdalen North Laundry on March 7, in partnership with Nicefilm. co, B2B Creative and Jira Models.

REMUSEDESIGNS.COM

Sista öf Jac The ethos behind Melbourne label Sista öf Jac could be distilled into three words: luxury made local. Established in Melbourne by siblings Selda and Yeshim Ismail, the label combines local, sustainable and internationally-sourced rescued fabrics with forward-thinking patterns that have been cut and sewn in-house. The result is a series of avant-garde collections, tailored by hand.

As well as prioritising sustainable processes to reduce waste, pollution and harmful emissions, Sista öf Jac is committed to transparency. Its small supply chain ensures maximum visibility while the ethical production process is kept in check by Ethical Clothing Australia.

SISTAOFJAC.COM

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SHOP

Simétrie

Lonely Kids Club

Made-to-order accessories label Simétrie recently celebrated its first year in business, having established itself by balancing ethical production with sleek aesthetics. In honour of this milestone, two new colours are arriving in the brand’s bestselling crescent handbags, crafted from locally-sourced, vegetabletanned, wild kangaroo leather. This leather is better for the Earth than its counterparts (no farming is required in its production and the leather is biodegradable) and is hardy enough to withstand heavy use. The label is also taking part in two pop-up events during this year’s Virgin Australia Melbourne Fashion Festival, giving visitors the opportunity to meet Simétrie up-close.

Long known for its graphic apparel, tees and accessories, there’s an element of Lonely Kids Club you might not be as familiar with. All the brand’s cutand-sew goods are handmade in Sydney (despite LKC’s rapid growth), as the brand works actively against industry mass production. Its tees and jumpers are otherwise sourced for their ethical production before being printed by hand. The hands-on touch extends to delivery, as every item includes a drawing and note from the team. Lonely Kids Club is also a vocal advocate for conversations around mental health – jump online to see what we mean.

LONELYKIDSCLUB.COM

SIMETRIE.COM.AU

Argent Silversmith There’s jewellery made from sustainable materials, and then there’s Argent Silversmith. The local label handcrafts all its pieces from recycled gold and silver in a small sustainably-powered studio in the Victorian High Country. Designer and maker Elizabeth Herman ensures all materials used are both ethical and sustainable, working with repurposed pearls, ethically-sourced stones and metals, and manmade gems. She’s inspired by the raw beauty of the materials as much as her breathtaking local surroundings. The result is a series of unique pieces that embrace real, natural beauty.

ARGENTSILVERSMITH.COM

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Have the freedom to hang your coat, suit jacket or handbag anywhere, anytime.

theoriginalcoat.com @theoriginalcoat

SHOP

Active Apostle Active Apostle was founded as a direct response to the current fast fashion landscape. The 100 per cent Australian owned and operated brand crafts its sportswear from Italian fabric made from waste materials – think discarded fishing nets and carpet fibres. Garments are then sewn at an ethical factory in Bali, where workers receive a living wage, before being shipped directly to the brand’s Sydney headquarters. Everyone involved is moving towards greater transparency in the industry. A portion of proceeds from all sales also goes towards fighting human trafficking through the organisation, Dark Bali.

ACTIVEAPOSTLE.COM

Sanserié Sanserié’s approach to sustainability emphasises quality over quantity, with the brand known for its timeless, pared-back styles. Its designs have been carefully considered, intended to become staples that will be worn for years and can be easily paired with your existing wardrobe. The label works primarily with high quality linen sourced from Europe, chosen for its wearability and durability.

All manufacturing is then conducted in West Melbourne. Sanserié opts for recycled threads, natural buttons and biodegradable packaging to complement the high standard of linen used.

SANSERIE.COM

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MELBOURNE / SYDNEY

sunstudiosaustralia.com

Photographer: Cameron Grayson / @camerongrayson_studio Stylist: Anita Fitzgerald / @anitafitzgeraldstylist Hair & Makeup Artist: Danni McDowelll / @dannimcdowell_hmu Talent: Naomi Holt / The Talent Buro @thetalentburo Wearing: @rawbyraw

SHOT AT SUN –

MELB

CRUELTY-FREE

Go Vegan

Vegan Style To round out a conscious wardrobe, you need equally conscious accessories. Vegan Style is a 100 per cent vegan retailer, bringing together both Australian and international brands who share its values. Across shoes, accessories and cosmetics, you’ll find products that are cruelty-free, ethically made and environmentally responsible. This includes the store’s in-house shoe label, Zette Shoes, which makes footwear entirely without the use of animal-derived materials – right down to the choice of glue. Instead, it features innovative textiles like apple leather, mulberry leaf leather, European-made microfibres and plant-based linings. Shop Vegan Style online or on Melbourne’s Brunswick Street, Fitzroy.

VEGANSTYLE.COM.AU

The-V-Spot The-V-Spot is an online retailer with such high ethical standards, it’s unlike anything we’ve seen.

The site stocks only vegan, cruelty-free and ethical brands, covering everything from clothing and accessories to beauty products and homewares. It runs completely on renewable energy and carbon offsets all freight, so its business is kinder to the planet. To round out your feel-good shopping experience, The-V-Spot supports a wide range of philanthropic causes each year, currently donating a portion of all sales to Australian bushfire relief.

THEVSPOT.COM.AU

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Saving the planet never felt so good Ditch disposables for Modibodi reusable leak-proof underwear for periods, bladder leaks & sweat.

15% off* with code 'JOURNAL15' *Exclusions apply

shop at modibodi.com

BEAUTY

Fine Line PHOTOGRAPHER – SEUNG-ROK / HAIR AND MAKEUP – CHRIS ARAI MODEL – GEE GEE AT KULT MODELS / WORDS BY CAIT EMMA BURKE

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BEAUTY

THE EYES HAVE IT

A brief look at how cult TV series Euphoria has redefined the limits of everyday beauty.

Alright, just how Euphoria-esque are these products?

MECCA MAX THE ILLUMINATI METALLIC EYESHADOW $18 Smear this Gold Rush eyeshadow over and around the eye for a messy effect. It's an application technique Rue would approve of.

EUPHORIA RATING = 4/5

MECCA MAX ZOOM SHADOW STICK IN TEAL $18 This vibrant teal shade brings to mind Maddy’s most memorable eye makeup look, a chunky teal wing paired with diamanté gems. Iconic.

EUPHORIA RATING = 3.5/5

MORPHE ROMANCING PREMIUM LASHES $15 Dramatic lashes are the Euphoria gateway drug; soon enough, you’ll be mainlining glitter, neon shadows and bold liners.

EUPHORIA RATING = 2.5/5

URBAN DECAY HEAVY METAL GLITTER EYELINER $33 FROM MECCA.COM.AU

Every decade or so, a TV show comes along that manages to capture the zeitgeist so entirely that it becomes a cultural touchstone for teenagers.

Skins was that show for my generation – a messy, heartbreaking, endearingly funny hodgepodge of mid-2000s indie fashion, side fringes and liquidliner cat eyes. For the teens of today, HBO’s Euphoria has assumed the mantle. The show follows the escapades of Rue, a 17-year-old drug addict who, fresh out of rehab, has no intention of staying clean. The cast of characters that bleed into Rue’s life are riddled with their own insecurities and issues, but one thing they all have in common is a particularly authentic-feeling playfulness with fashion and beauty.

The head makeup artist for the show, Doniella Davy, was responsible for creating each look in collaboration with the actors. Doniella expertly uses makeup to convey elements of each character’s personality, in a way that dialogue and

costuming might not be able to. Her work is also a smallscreen representation of the fluid approach to beauty that Gen Z is increasingly becoming known for.

Speaking to Vulture last year, she explained the impact this generation has had on beauty, saying, "They're using it to challenge beauty and makeup norms, to redefine what makeup is.

They're using it to challenge stereotypical gender identities. It's definitely not just about, like, being pretty or using makeup in a corrective manner.

There's so much cheekiness involved. There's so much irony and playfulness."

To dip your toes into the no-holds-barred world of Euphoria-inspired beauty, see right our ranking of products, based on their ability to create some of the show’s best looks. Euphoria is your oyster.

Nearly every character experiments with the sparkly stuff at some point throughout the series, and this Heavy Metal Glitter is peak Euphoria.

EUPHORIA RATING = 4.5/5

MORPHE 35B COLOUR ARTISTRY PALETTE $36 If there’s one thing every character in this show loves – apart from recreational drugs and glitter – it’s colour. And this palette, probably.

EUPHORIA RATING = 4.5/5

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REVIEWS

Look & Listen BOOK REVIEWS BY FASHION JOURNAL READERS

Very Nice

Dark Emu

MARCY DERMANSKY

BRUCE PASCOE

The House of Islam ED HUSAIN

REVIEW BY

REVIEW BY

REVIEW BY

JORDAN DRUMMOND

ANNA EL SAMAD

HANAN IBRAHIM

While summer may technically be over, the warm weather marches on, which means there’s no shame in reading your trashy novels in public. At first glance, Very Nice might seem like your typical holiday read, but there’s real depth to the themes Dermansky touches on. Marriage, identity and even gun violence make for a theatrical mess of tangled storylines and characters. The narrative centres around college student Rachel and her love interest, a creative writing professor turned novelist. Throw in a mansion in Connecticut, a standard poodle named Princess and snappy sentences, and Very Nice will be fast-tracking you to your happy, somewhat trashy place.

At times, it’s easy to question the plausibility of the plot – the mother/daughter/professor love triangle comes to mind – but stick with it, the ending is a cracker.

The notion that Aboriginal Australians are simply hunter-gatherers is incorrect, but it is rarely contested by mainstream Australia. It seems strange to me that the longest continuous culture in the world can still be seen as inferior to Western society.

Dark Emu provides evidence about what Australia looked like, and how Indigenous Australians lived, before colonisation. It is perhaps one of the most important books I’ve read in a long time. Through the diaries and journals of early settlers, Pascoe uncovers a history that’s never really been told.

But the book isn’t just about Australian history, it’s about present-day Australia. What does wider Australia have to learn from Indigenous Australians and their ways of cultivating the land? How do we move towards reconciliation and start to recognise the importance of First Nations peoples, their culture, and their history as true owners of the land?

The House of Islam should be compulsory reading for young Muslims everywhere. I resonated with this book as soon as I read Husain’s words on the first page: “I am a Westerner and an observant Muslim. Caught between two worlds, I have learnt to dovetail the two facets of my identity.” This book is a reflection of just that. It reaffirmed what I have learnt about Islam, and reminded me of my own religious journey over the past 15 years. I wanted to understand why I was still holding onto an archaic belief system and still practising a religion that I was constantly vilified and rejected for; one that is the opposite of the ever-rising atheistic culture in the West. Was it really worth it? I questioned if I believed because it was a major aspect of my upbringing, or if I truly did accept it as truth. I contemplated every aspect of my creed and decided I am completely content with Islam, my chosen faith.

MUSIC REVIEWS BY ELIZA SHOLLY

Big Conspiracy

Modus Vivendi

J HUS

070 SHAKE

MTV Unplugged (Live in Melbourne) COURTNEY BARNETT

Dubious rap sheet aside, J Hus is one of the most exciting talents to emerge from the UK in recent years. His debut album Common Sense was filled with technically precise, wise-beyond-his-years raps, and Big Conspiracy is no different. This second project defies easy categorisation – it’s part British grime, part afrobeat, part reggae and soul, and part hip-hop, all set to a surprisingly danceable BPM. But what this tracklist does exceptionally well is work to highlight one of the London rapper’s greatest strengths – his ability to switch between tones and styles with effortless finesse, often within a single song.

Although it's repetitive at times, and the features are predictable and tactical (Burna Boy and Koffee are algorithm gold), it’s undeniable that J Hus has far surpassed his contemporaries, creating a subcategory all of his own.

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One of the more transcendent musical moments of 2018 came from Kanye West’s Ye. The project, which ultimately fell flat, found the majority of its depth thanks to the relatively unknown 070 Shake, a New Jersey-bred artist who provided an alarmingly brilliant hook on the sixth track, ‘Ghost Town’. They say you don’t get a second chance to make a good first impression, so the weight of eager anticipation for a full-length album probably rested heavy on her shoulders.

While Modus Vivendi is not revolutionary in its Gen Z subject matter – recreational drug use, yearning, romance – it avoids cliché by weaving introspection with fantastical synth-pop melodies.

Tracks like ‘Daydreamin’ benefit from auto-tune instrumentalism and although turbulent and repetitive at times, overall, Modus Vivendi is an impressively fluid debut.

Recorded live at Brunswick’s Howler bandroom, this particular Courtney Barnett album doesn’t function like her other projects. For those familiar with the MTV Unplugged format, you’ll know that it primarily serves as a career retrospective – a celebration of the artist’s body of work, sans the vocal smokescreen that often comes with mass production or studio eccentricities. In Barnett’s case, stripping her voice back proves that she more than deserves the critical acclaim that’s come her way, but it also showcases an endearing cautiousness – one that suggests she doesn’t quite believe the hype herself. From Lucy Waldron on cello, to Paul Kelly and Marlon Williams lending vocals, the stage is warmed by an array of accompanying greats. If you weren’t already a fan, this eight-track album will do a better job at convincing you of her talents than any review ever could.