MANUSCRIPT Collision : Art meets fashion in a delightful mash-up. Dior Homme : An exclusive preview to launch the label down under. The Exhibition Makers : Joseph Allen Shea Tony Ellwood Nick Mitzevich & Wayne Tunnicliffe
Beyond 2000 : Swimwear goes sci-fi on the streets of Sydney. Also : Orlebar Brown Topman Armani Acne & Mr Porter
AUS/NZ $5.00
CLASS OF 2013 THE NEW LEADING MEN OF AUSTRALIAN FILM & THEATRE Photographed by Georges Antoni
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Issue V Summer 13 08 Editor’s Letter | 10 Contributors
58 You're the Top The local high street has a lot to live up to with the continued unrolling of Topman stores down under. Its CEO explains the brand’s continued success.
14 Grooming Photography Liz Ham Grooming Kimberley Forbes
19 Introducing Joseph Allen Shea, Tony Ellwood, Nick Mitzevich & Wayne Tunnicliffe
Story Mitchell Oakley Smith
59 Thank you, Mister Armani Emporio Armani and the National Art School join forces in a radically evolved form of traditional art patronage.
Photography Guy Coombes, Kylie Coutts, Jo Duck, Liz Ham
28 Oh, Sailor Boy A presentation of Dior Homme’s spring/summer collection in celebration of the arrival of the French house in Australia.
Story Mitchell Oakley Smith
60 Beachobatics The British aren’t known for swimwear, so it’s curious that one of the best new boardshorts brands should come from London.
Photography Troyt Coburn Styling Jolyon Mason
36 The Boys of Summer A portfolio of Australian theatre, film and television’s new leading men.
Story Kate Venman
62 East The east-meets-west trend is a tired one, but its latest incarnation – textural and embellished – feels entirely modern.
Profiles Cameron Bayley & Kate Venman Photography Georges Antoni Styling Jolyon Mason
48 Collision Six contemporary artists reimagine and reconstruct staples by Australian menswear designers.
Photography Kylie Coutts Styling James Dykes
70 The Prince and the Pea It may not be the go-to colour for most men, but pink found its way into the collections of a plethora of menswear designers this season.
Photography Rene Vaile Styling Jolyon Mason
54 Add to Cart With jumbo jets full of Lanvin and Loro Piana continuing to make the pilgrimage south, it seems Australian men have developed a shopping habit to rival their female counterparts.
Photography Liz Ham Styling Jolyon Mason
80 X Inspired by a Tropfest-winning short film from 2000, Manuscript redefines how far you can wear swimwear from the beach.
Story Mitchell Oakley Smith
56 In the Swim What, many asked two decades ago, was a museum doing collecting swimwear? Curator Daina Fletcher reflects on the cultural importance of togs.
Photography Georges Antoni Styling Jolyon Mason
94 Stockists | 95 Final Examination
Story Mitchell Oakley Smith
6
farage.com.au | 02 9212 4509 | spring summer 2012/13
MANUSCRIPT
From the Editor of the country’s leading mid-career male artists: Lionel Bawden, Hugh Ford, Jasper Knight, Anthony Lister, Andrew O’Brien and Michael Zavros. Captured by photographer Rene Vaile, the shoot is a very raw, uninhibited crossover of art and fashion, representative of a collapsing of traditional hierarchies within both worlds. As in every issue, our editorial arm extends far beyond flights of fancy, but we think it’s these special projects that add an additional layer of meaning and interest to menswear, framing it, so to speak, in a new light. Until next time-
I
Mitchell Oakley Smith twitter.com/MrOakleySmith n the year since the first edition
about it. It’s my personal view – and, indeed,
of Manuscript was published, we
the subject of a book I’ve recently authored
at its helm – well, me, given it’s
with art curator Alison Kubler, due for
a relatively modest, independent venture
release in late 2013 – that art and fashion
– have come to see the role of editor more
share much in common. Indeed, their very
as that of a curator. We are bound, as with
public collision over the past decade has
an art show, by a white box (in this case
brought us to a point in contemporary
tabloid-size newsprint, its page numbers
culture where it’s seemingly impossible
the variable), and like an exhibition-maker,
to discuss one without the other. It’s this
we take responsibility for balancing the big
approach we adopt when crafting each
names with the lesser known, the historical
issue of Manuscript.
with the contemporary, and, perhaps most
In just a few issues, we’ve invited
importantly, engaging a viewer that is
some of the country’s leading practicing
overwhelmed by options.
artists to reimagine men’s fashion on our
But just as the curators we profile
pages, imbuing it with their own hand in
in this issue have pushed the bounds of all
the process. It’s these people – paper artist
that an art exhibition can be – from the
Benja Harney, illustrator Tania Mason,
National Gallery of Victoria’s newly-minted
mixed-media artist Lisa Cooper, typographers
director Tony Ellwood, whose work in the
Marty Routledge and Luca Ionescu, and
same role at the Queensland Art Gallery
graphic artist Jonathan Zawada – that,
earned him an acclaimed reputation, to
with our team of photographers and
Joseph Allen Shea, the curator staging
creative director Jolyon Mason, have given
exhibitions in temporary, distinctly non-
Manuscript its unique voice, and this issue,
art locations – we hope that in having
that roll-call continues to grow.
challenged the definition of a traditional
In what was a madcap idea in retrospect,
men’s magazine that we can offer a different
Mr Mason and I decided that rather than
perspective on the subjects we cover.
invite an artist into our studio and world, we’d take the project to them this time. So it is that we present Collision [page 48]:
operandi, and yet as a fashion magazine,
a portfolio of one-off fashion garments
we’ve always tried to avoid being tokenistic
uniquely personalised by the hand of some
8
Photo: Bowen Arico
Art has, since our very first issue, played an important role in the Manuscript modus
MANUSCRIPT
Editor & Publisher Mitchell Oakley Smith Creative Director Jolyon Mason
Art Director Elliott Bryce Foulkes Editorial Assistant Kate Venman
Contributors Georges Antoni, Lionel Bawden, Cameron Bayley, Daren Borthwick,
Troyt Coburn, Guy Coombes, Kylie Coutts, Jo Duck, James Dykes, Kimberley Forbes, Hugh Ford, Diane Gorgievski, Liz Ham, Jenny Kim, Jasper Knight, Anthony Lister, Sasha Nilsson, Andrew O’Brien, Anna Pogossova, Natasha Severino, Claire Thomson, Rene Vaile, Michael Zavros Special Thanks 2c Management, The Agency Models, The Artist Group,
Australian National Maritime Museum, Company1, EMG Models, Network Agency + Management, OneNinetyNine Management, The Rat’s Nest Studio Cover Styling Jolyon Mason | Grooming Natasha Severino Hair Diane Gorgievski | Talent wear Prada clothing & shoes
Manuscript is owned published by Mitchell Oakley Smith (ABN 67 212 902 027), 8/2 Wellington Street, Woollahra NSW 2025, manuscript@mitchelloakleysmith.com. Printed by MPD, Unit E1 46-62 Maddox Street, Alexandria NSW 2015. © 2012 All Rights Reserved. ISSN 2201-0815.
Contributors Kimberley Forbes
In addition to tending to the locks of model Ronan Lock in East [page 62] and thinking pink for Prince and the Pea [page 70], hair and makeup artist Kimberley Forbes was responsible for the first grooming story in an issue of Manuscript [page 14] in which she explores the extremities of wet and dry on model Charlie Alexander.
Guy Coombes
As a recent import from the Land of the Long White Cloud, New Zealand-born photographer Guy Coombes has been finding his feet in Sydney for the past year. “Leaving a successful career to start again in an unknown environment has been both challenging and liberating as well as exactly the right push needed in advancing what I love to do,” says the photographer. For issue V of Manuscript, Mr Coombes was behind the lens for the portrait of the Art Gallery of South Australia’s Nick Mitzevich [page 20].
10
Cameron Bayley
Kate Venman
"I take my hat off to anyone breaking into the super-tough acting scene,” says Sydneybased arts and fashion journalist Cameron Bayley, who profiled five of our cover subjects. “I particularly found Hunter Page-Lochard’s sheer enthusiasm for acting and screenwriting to be infectious and I have a hunch it’ll take him places.” In addition to serving as senior editor of Emporium, Mr Bayley contributes to magazine titles including Men’s Style, Grazia and Foxtel.
As Manuscript’s editorial assistant, Kate Venman keeps the pages of the magazine on track. In this issue, her first as a contributing writer, Ms Venman interviews several of the actors that appear on our cover as well as Adam Brown, the designer behind swimwear label Orlebar Brown, whom she profiles on page page 60. As she explains: “The Orlebar Brown story showed me that clever creativity can be found in the most unexpected of places, and in profiling so many young and talented actors I was offered a snapshot into a fastpaced world where film and stage meet".
Gu i d e to i mpec c a bl e St yl e
Shop iNteRactiVe Film c a l ibRe .c o m. au
social MANUSCRIPT
manuscriptdaily.com facebook.com/manuscriptdaily twitter.com/manuscriptdaily instagram @manuscriptdaily
12
nmi.com.au – t 02 9319 3199
GROOMING
Dry
The Australian sun is unforgiving, and though as a nation we pride ourselves on an image of bronzed, beach-loving human beings, the truth is that no skin is immune to unfiltered UV rays. Dermalogica understands the damage caused by the sun – premature ageing, wrinkles and sunspots – but acknowledges that a man’s grooming routine tends to be more straightforward
than their female counterpart. Here, Mr Alexander has used Dermalogica’s Daily Defense SPF 15 on his skin following his daily shave routine. A multi-tasking daytime lotion, Daily Defense SPF 15 is a non-greasy skin conditioning treatment with no artificial fragrances or colours, enhancing skin’s natural protective barrier with a shine-free finish. Postshower, Mr Alexander combed a
Photography Liz Ham Grooming & Hair Kimberley Forbes
14
Kevin Murphy Staying Alive leave-in conditioner through his hair before spraying on its Heated Defence for shine and heat protection. An American Crew Defining Paste in his hair provides Mr Alexander with medium-strength hold with a shine-free, matte finish, giving his hair a thicker, fuller appearance. Fragrance note: Comme des Garcons 888, available at Mecca Cosmetica.
GROOMING
Wet
Mr Alexander knows the importance of maintaining skin’s youthful glow by removing excess oils and naturally dulling skin cells. Here, he has used Dermalogica’s Daily Clean Scrub to clear the way for a super-close shave. The gentle yet hardworking lather keeps pores clear with micro-fine Silica beads. O&M’s Hydrate & Conquer shampoo and conditioner
infuses dry hair with nutrient-rich Tasmanian sea kelp containing vitamins A, B, C & E and amino acids to strengthen hair and stimulate growth. After showering, when pores are open for optimum shaving, Mr Alexander has used Dermalogica’s Soothing Shave Cream which is formulated with aloe vera, allantoin and comfrey extract that assists sensitive skin recover from damage and the aggravation brought
on by shaving. Afterward, Post-Shave Balm moisturises and prevents ingrown hairs and bumps with the use of licorice root, saw palmetto and horse chestnut whilst controlling oily shine. Clinique’s Maximum Hydrator intensely moisturises the skin, while its AntiFatigue Cooling Eye Gel hydrates and brightens tired-looking eyes, combating puffiness and dark circles.
Charlie Alexander/EMG Models | Photographic Assistance Tim Ashton | Digital Operation Jeremiah Wolf Post Production Cara O’Dowd | Shot at The Rat’s Nest Studio, East Sydney
16
nmi.com.au – t 02 9319 3199
INTRODUCING
The Exhibition Makers Nick Mitzevich Wayne Tunnicliffe Tony Ellwood
&
Joseph Allen Shea 19
MANUSCRIPT
Mr Mitzevich photographed by Guy Coombes on 09 October 2012 at the Rat’s Nest Studio, East Sydney, Australia.
20
INTRODUCING
F
ew people realise that the Art Gallery of South Australia in the state’s capital, Adelaide, boasts the second most expensive
art collection in Australia after the National Gallery of Victoria, with over 40,000 works. It also occupies one of the smallest buildings of a state or national institution of its kind and has, over the course of its more recent history, struggled to gain significant financial support from both corporate benefactors and the state government. When Nick Mitzevich, then director of the University of Queensland Art Museum, stepped into the director’s role in 2010 following the uneasy departure of his predecessor, Christopher Menz, people did, naturally, think he was a little crazy. Despite his youth – Mr Mitzevich is currently 42 – the gallery director was previously shortlisted
Nick Mitzevich
Director, Art Gallery of South Australia
for the top job at the Queensland Art Gallery and Gallery of Modern Art, a job that subsequently went
approach to the presentation of the permanent
to now-director of the National Gallery of Victoria
collection more in line with art festivals than state
Tony Ellwood. At the UQ Art Museum, however, he
institutions. In this way, he’s able to showcase
was widely praised for his work in the three years he
over 2000 years worth of art – 2nd Century Roman
spent as its director, as well as at the Newcastle
sculpture alongside Marc Newson’s LC1 chaise
Regional Gallery, where he served as director for
lounge, for example – in the gallery’s various
six years prior. In those previous two roles, Mr
wings under the guise of broader conceptual
Mitzevich became accustomed to what he describes
ideas: questions of mortality, identity, “those
as modest resources, arming him with a hunger
issues that provide really fertile territory to show
far greater than better-funded galleries.
how artists have been dealing with these ideas
“I see my job, in some ways, as being a chief friend maker,” explains Mr Mitzevich when we met
throughout time.” It’s a complex approach that requires his
on his visit to Sydney for a leader’s conference in
curatorial staff to work collaboratively, which is
early October. “It is important that donors and
unusual for such an institution but one that Mr
benefactors are invited into the gallery, and I’ve
Mitzevich sees as developing dialogue and debate
always thought it to be very important for a gallery
of the merits of the collection. “I think the best way
director to be really engaged as a community member.”
for people to learn about art is through narrative,”
In this way, Mr Mitzevich has, in all three roles as a
he explains. “People come to galleries to have
gallery director, increased philanthropic support,
experiences and, at least these days, don’t
an ability that has allowed him to expand the Art
automatically assume art's traditional repositories.
Gallery of South Australia’s public programs, the
The juxtaposition of past and present helps people
scope of its exhibitions and to renovate and extend
make sense of the work, and it leads people to
the building that it is housed within it.
see components of the [permanent] collection that
Indeed, it’s Mr Mitzevich’s charm, a boyish enthusiasm not only for the museum and its art
they might not ordinarily visit.” The director hopes that those people, in
but its responsibility as a bedrock of the cultural
addition to the gallery’s regular visitors, are Adelaide’s
landscape to inspire and engage its community,
youth. That he piloted and integrated several youth
that no doubt made him such a viable candidate
programs into the gallery’s offering certainly isn’t new
for the Adelaide gallery. As Erica Green, director
for a state institution but is, by contrast, for Adelaide.
of the Anne & Gordon Samstag Museum of Art at
These include The Studio, an interactive centre where
the University of South Australia, commented in
young children can create art, and Departure, a late-
an interview with The Australian, Mr Mitzevich’s
night program targeted at people in their 20s and
appointment will “help South Australia regain its
30s, advertised exclusively online, that “blurs the
place of leadership in the nation’s culture.” Often
line between social pursuits and learning about art.”
compared to the Queensland Art Gallery and Gallery
That program, in its first year, was fully subscribed,
of Modern Art, which certainly increased the profile
selling 550 tickets, and comprises curator and artist
of Brisbane internationally under the direction of Mr
talks, live music, performances and drinks.
Ellwood, the Art Gallery of South Australia has been revived under its new director. Mr Mitzevich’s ultimate vision, he explains,
“This is a city that’s sophisticated and hungry for newness,” says Mr Mitzevich, noting Adelaide Festival and its independent offshoot Adelaide
is to make art, and in particular the rich holdings
Fringe as proponents of a culturally engaged city.
of the gallery, accessible to the general public, a
“I feel there is a great latitude for audiences to take
challenge amplified by the limited space in which
up new things, which allows me and the gallery to
he has to showcase it. In response, he has adopted
be ambitious with our ideas. You can’t ask for more
a thematic rather than geographic or chronological
than that as a director.”
21
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similar to that Mr Mitzevich’s in Adelaide, to tell a nuanced story with the gallery’s permanent collection. “We looked at every sculpture and painting in the collection when we re-hung the Australian galleries earlier this year,” he explains. “We have master works we want to display but also contemporary and Aboriginal art, too.” In doing so, Mr Tunnicliffe believes his department can trace the continuities and diversity of Australian art across an extensive time period. His new role requires more administration, and courting corporate benefactors and private patrons is important in the acquisition of new work. Most recently, Mr Tunnicliffe’s department acquired The New Round Room by Brisbane-based photorealist painter Michael Zavros, the result of a partnership with Italian jewellery company Bulgari.
Wayne Tunnicliffe Head Curator of Australian Art, Art Gallery of New South Wales
T
In this instance, Bulgari provides the gallery with $50,000 to commission a new work by a midcareer Australian artist. “The Bulgari Art Award is a very good example of a relationship with a company that has worked well for us,” he says, noting the obvious synergies between fashion design and visual art. For the gallery, which receives no government funding for acquisitions, such partnerships are vital to the ongoing health of its permanent collection, and in line with its history, which has resulted in one the country’s strongest holdings of 19th century art, Mr Tunnicliffe strives to purchase art directly from artists at the time of inception, which requires
here are changes underfoot at the Art Gallery of New South Wales. “A new director comes with a new vision, and
a critical eye. According to Mr Tunnicliffe, the greatest challenge, however, is of borrowing work for
we’re working towards and refining that vision,”
temporary exhibitions. “There are many more
says Wayne Tunnicliffe, the gallery's Head Curator
museums in the world and many of them strive
of Australian Art. Mr Tunnicliffe is referring to the
to have an active program of self-curated and
June arrival of the gallery’s new director Michael
–initiated shows, so it’s a much more complex
Brand, but he could also be referring to himself,
game now,” he explains, having just returned
having been promoted to his current position
from a trip throughout Europe. To Mr Tunnicliffe’s
a year prior.
strength, the Art Gallery of New South Wales
As with any promotion within a major institution,
has a vast history, having curated many
Mr Tunnicliffe’s attracted considerable attention, not
internationally travelled shows, and, he says,
least because of his age – he was 45 at the time –
there is interest in Australia, “but beyond a
but because his specialist area is Australian art
knowledge of the gallery and our programs, it’s
since 1960. That is, contemporary. He is, also worth
a combination of charm and arm-wrestling.”
noting, around twenty years younger than the two other heads of departments. What’s more is that, upon his appointment, Mr Tunnicliffe told the Sydney Morning Herald that he intended to refresh the collection. Was Mr Tunnicliffe, people wondered, arming to shift the gallery’s focus away from its largely historical collection? The question seemed particularly valid given that the Museum of Contemporary Art was, at the time, renovating and extending its building. “Coming from a contemporary background I do have a different approach,” concedes Mr Tunnicliffe, “but I studied art history at university and really enjoy working with art from a long period of time.” While Mr Tunnicliffe has maintained his specialist area with his promotion, it is his aim,
22
INTRODUCING
Mr Tunnicliffe photographed by Kylie Coutts on 24 October 2012 at the Rat’s Nest Studio, East Sydney, Australia.
23
MANUSCRIPT
Mr Ellwood photographed by Jo Duck on 07 September 2012 at the National Gallery of Victoria, Melbourne.
24
INTRODUCING
Tony Ellwood
Director, National Gallery of Victoria
I
n his role as director of the Queensland
responsibility, it was with thirst for the director’s
Art Gallery and the Gallery of Modern Art
chair that Mr Ellwood ventured north, having
to look around him in the city he has returned
in Brisbane, Tony Ellwood all but erased
served as director of the Bendigo Art Gallery
to. “There is a lot more collaboration with
the perceived low cultural worth of the city with his
prior to this from 1996 to 1999. To have returned
contemporary art,” he says. “More diversity
programming of the gallery that saw it become a
to his hometown and in such a position –
is apparent: performance, music, fashion,
benchmark for Australian state institutions and, in
arguably the highest of its kind in Australia –
there are great synergies with visual art that
2010, outnumber the National Gallery of Victoria,
“is a blessing,” says Mr Ellwood. “I have missed
I didn’t feel were so apparent five years ago.”
the country’s largest and most historic gallery, with
it a lot. It feels like I’m back in a place I know
So too does he notice the continued rise of
visitors. Surely then he is qualified to return to and
very well, with a collection I love and in a city
street art in Melbourne, commenting on its
run the National Gallery of Victoria in Melbourne,
I love.”
gentrification. “There is nothing wrong with
where he previously served as deputy director until he took the top job in Brisbane. When we spoke in early November, Mr Ellwood
Despite his previous role proving a challenge, Mr Ellwood’s new role can be seen as his most ambitious yet, given its prominence. “I don’t
In response, Mr Ellwood has simply had
that,” he says, “it’s simply that it as an art form has been accepted by a broader public.” Mr Ellwood recently commissioned local
had been in the director’s chair exactly 100 days,
think you can ever keep the entire arts community
street artist Miso to reimagine walls in the
but his enthusiasm to have returned to Melbourne
happy, though I’d like to try,” he concedes. “It’s
gallery’s café, “which we probably wouldn’t
and for the gallery was palpable, even via phone.
much bigger down here, which makes it a much
have done a few years ago,” he adds. He is
And while the sunshine state can’t rival the
bigger job. It’s about being even-handed, but
also inviting curators across departments to
NGV in terms of its collection – 15,000, largely
pushing weaknesses – contemporary art in this
have a dialogue, promoting the cross-disciplinary
contemporary items in contrast to 75,000 items,
case – and being comfortable in taking informed
practice he sees in the broader artistic
the bulk of which are historic – his experience is
risks.” Mr Ellwood acknowledges the continued
community today. In the 19th century wing,
amplified by ties to the Asia Pacific region and a
development of the gallery’s historic collections
for example, period shoes sit alongside great
core strength in contemporary programming.
as an outstanding strength and its embrace of
master portraits. “People can read that
As he says: “I’m transposing that learnt experience
family markets as an important development, but
connection and it provides a greater context.
and applying it to this role.”
he wants to offer a broad interpretation of visual
I think it is a fresh way of showing our collection.”
Although his original position at the gallery
art “and not just traditional practices. We have
– overseeing international art, education and
oversimplified that at times, and we need to listen
public programs – came with significant
to the community.”
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Given the culture that surrounds Gallery A.S. – a social scene interconnected with Mr Allen Shea, the artists he presents and the projects he’s directed – it stands to reason that such exhibitions should attract audiences beyond traditional art patrons. A launch night night feels more like a Sydney Festival event that it does an art opening, in line with the rise of independent, offsite art programs that have come to define Sydney’s art culture in recent years. But that said, and despite Mr Allen Shea’s relative youth as an independent curator, there is a particular criticality in the way he curates exhibitions which is so often lacking
Joseph Allen Shea Director, Gallery A.S. & Publisher, Izrock Pressings
T
in the aforementioned public art events. This, too, has something to do with the space acting as an interpreter of sorts between the work and its audience; where the white gallery is intended to
Traditionalists might argue that such commercial
fall away before the viewer, leaving just the artwork,
underpinnings represent the demise of art’s pure
Mr Allen Shea thwarts this contemporary 20
intentions, but in a post-critical art culture, and
century practice in favour of an approach that is
with contemporary artists more often working
in some ways far more classical.
outside of the regular bounds of the studio-to-
th
In his first Gallery A.S. exhibition, Modern
dealer-to-buyer structure, financial support like
Worship, Mr Allen Shea worked collaboratively
that of Adidas represents a new way to realise
with the artist, filmmaker Daniel Askill, in steering
interesting exhibitions. In doing so, it invites new
a body of work towards a unifying concept – worship,
audiences to engage with art in a way that traditional
in this case – and sought an exhibition space in
art museums struggle to do.
which to present it. While he had in mind a church,
Mr Allen Shea reaches an audience broader
the curator was lucky in finding the recently-
still with Izrock Pressings, an independent
shuttered Christian Science Church: an imposing,
publishing venture he established in 2007. This,
seemingly impenetrable building that has since
he explains, was simply a way of contributing to
been turned over to a residential developer.
the subcultural art world with which he is engaged.
That the artist’s single-channel video work – a
“I got a lot of enjoyment from seeing artists’ work
meeting of the two events that form the conceptual
but didn’t think they were being seen. Though the
underpinning of the exhibition: Michael Jackson’s
distribution of a printed form, thousands more
ime, it seems, is a foreign concept to
death and the September 2011 terrorist attacks in
people have the opportunity to engage with it.”
Joseph Allen Shea. In less than a
New York City – was screened in the pitch-black
The project remains ongoing, producing an average
decade, the former graphic designer
darkness of a church, replete with pews, added a
of three to four projects on an annual basis,
mournful reverence to the work.
including small-scale monographs by Jonathan
has established himself as integral to the health of Sydney’s cultural landscape with a rich portfolio
Similarly, the first exhibition held at the former
Zawada, Rene Vaile and Marcus Oakley. Publishing,
of curatorial, commercial and publishing projects
Paramount Pictures Building created a dialogue
Mr Allen Shea concedes, is challenging given the
that challenge the established modes of traditional
between the space and the group works. Here, Mr
economic climate and thirst for digital content.
art institutions.
Allen Shea researched the building’s history – some
“But,” he says, “they’re important documentation.
say actors Bob Hope and Charles Heston have been
Historical artifacts, in some ways.”
“I was getting so used to the small white cube approach to exhibitions that I got to a point where
there – which subsequently informed his curation of
I really wanted to try some more ambitious things,”
the group show: motion pictures-based.
explains Mr Allen Shea, 34, of launching Gallery
And just as he has stepped out of the box, so
That Izrock Pressings has been distributing books globally for close to a decade has established Mr Allen Shea’s name far beyond Australia, which
A.S. following six years spent as gallerist at Monster
to speak, with his approach to curation, so too is
will prove beneficial come September 2013 when
Children. Under the banner of Gallery A.S., the
Mr Allen Shea unafraid to realise exhibitions in
he opens a permanent gallery in Paris, Galerie Allen.
curator presents solo and group exhibitions in
tandem with commercial brands, as he did in late
“The idea,” he says, “is to create a conversation
unusual locations in a sort of rogue rebuttal to
2012 with a three-day show, again at Paramount,
between Paris and Sydney, taking Australian artists
established galleries. Since 2010, Mr Allen Shea
commissioned by Adidas. “It is a world that you
over there and bringing European artists here,”
has presented exhibitions of the work of artists
have to gauge with a lot of diplomacy and ensure
though while the gallery will represent its exhibiting
including Daniel Askill, Lisa Cooper and Anthony
that everyone’s agendas are harmonious,” he
artists commercially, he is keen to ensure it doesn’t
Lister in spaces such as a Christian Science Church
explains, “but in this case, Adidas were open to
become a tokenistic Australian gallery. “Our
in Darlinghurst, the former Paramount Pictures
marketing their brand by associating it with an
Australianness will come through, but we want it
building in Surry Hills, and Cotton Duck, a restaurant
art show.” In response, Mr Allen Shea’s show,
to be more than that.” As such, Mr Allen Shea will
in the same area. “It’s about spaces where you
Synthesis, was made up of female artists whose
maintain an independent curatorial agenda, creating
wouldn’t expect to find contemporary art. Where
work, in some way, connected to Adidas’ business
offsite shows, too. “I feel as though there’s great
there’s a conversation between the architecture
of sportswear: no work was statically hung on walls,
things happening here but, for the most part, people
and the art.” This, he believes, allows the audience
but instead comprised moving images or installations
aren’t looking at Australia, and we’re not well
to respond to the work in a way they might not
or sculptures that required their audience to move
represented enough overseas," he says. "I want
otherwise in a more conventional space.
around it.
to help change that.”
26
INTRODUCING
Mr Allen Shea photographed by Liz Ham on 03 October 2012 at the Rat’s Nest Studio, East Sydney, Australia.
27
MANUSCRIPT
28
PREVIEW
Oh, Sailor Boy! For summer, Dior Homme's artistic director Kris Van Assche pulled apart the blazer in a bid to redefine the masculine uniform, and in doing so took us to sea, boding perfectly with the lifestyle Down Under. Welcome to Australia, Monsieur Dior.
Photography Troyt Coburn | Styling Jolyon Mason Grooming Sasha Nilsson | Hair Daren Borthwick
Mr Groom wears Dior Homme throughout.
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PREVIEW
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PREVIEW
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PREVIEW
Nelson Groom/EMG Models | Photographic Assistance Gary Compton & Anton Zemlyanoy Digital Operation Justin Russell | Shot on location at the Australian National Maritime Museum, Sydney Dior Homme's first Australian store opens in Sydney in the first quarter of 2013. 35
MANUSCRIPT
→ LOUIS HUNTER There were 14 actors on set when this magazine’s cover was shot, which is a lot of confidence and testosterone in one room. While some were playing basketball, others hanging about discussing upcoming auditions, Louis Hunter was reading a novel with an intensity mirrored in his portrait. It makes sense then that his approach to acting is that of someone wise beyond his years. Indeed, it’s not every 20-year old that plays opposite
Mr Hunter is perhaps more
Cate Blanchett, which Mr Hunter did in
widely known for his role on American
2009 in Sydney Theatre Company’s War
supernatural teen drama The Secret
of the Roses.
Circle. “It was a big gig…there are things
Mr Hunter has been acting since
about it I loved and will cherish, and
he was five and enjoys the diversity in
others I’d like to forget. The cast made
the mediums in which he’s been able
it really easy, and I learnt a lot from
to perform, including television series
the directors.”
Out of the Blue. “I think both have their
As for the future, the actor’s
strengths and their weaknesses. With
objectives are ambitious but, it seems,
theatre you get that immediate response
not unattainable. “I’d pick something
from the audience, but for film and
ridiculous, something by Scorsese, or
television you get to reach so many more
Francis Ford Coppola, as a dream role,”
people, and with techniques and tools
he says. “There are so many different things
you’re able to clearly communicate the
I want to explore in storytelling – so
kind of story and message the director or
many things I want to do and discover.”
writer has in mind; that’s really special.”
KV
36
COVER
The Boys of Summer The year ahead holds promise for an explosion of emerging talent. We introduce the actors on the brink of stardom. Profiles Cameron Bayley & Kate Venman Photography Georges Antoni | Styling Jolyon Mason Grooming Natasha Severino | Hair Diane Gorgievski
Prada clothing throughout.
37
MANUSCRIPT
↑ TRAVIS CARDONA
↑ JAMES MACKAY
Growing up hunting and fishing in a big
“The uncertainty of knowing what’s gonna
the role shows how “oh-so-quickly”
family, Travis Cardona’s upbringing was
be the next thing you work on is at times
things can change in the industry. Still,
worlds away from the theatre. However,
exhilarating and at times incredibly…
it takes a bit to rattle the 28-year-old,
after joining Corrugated Iron Youth Arts,
infuriating,” says James Mackay with a
after undergoing three years training
an organisation funded by the Northern
wry laugh. “[But you] just kind of give
at Western Australian Academy of
Territory government, and going on to act
over to it and go ‘All right, this is kind of
Performing Arts. “It’s a bit of a hothouse.
in a professional production as an understudy
an adventure and it’s gonna be exciting
You spend three years studying and
during ninth grade, Mr Cardona realised
for a little while.’”
training and rehearsing and kind of
his passion, putting it down to “the whole
Exciting is the word, considering his
working to a level of intensity and
storytelling aspect, I think. As a kid I was
latest work, the feature film Singularity,
frequency that you’re never going to
a big fan of stories. Acting and plays was
directed by Oscar nominee Roland Joffé
encounter as a professional actor. It
the next step.”
(The Mission) is a truly swashbuckling
sort of removes all fear.”
Having since performed in series such
escapade, where Mr Mackay joins Josh
Since graduating he’s been part of
as All Saints and Dance Academy, as well
Hartnett as Scottish infantrymen in
an independent collective, Cry Havoc,
as Griffin Theatre’s Savage River, when
18th-century colonial India. “We were
performing in its productions Julius
asked if he could choose between theatre
riding horses and fencing, it was just a
Caesar and the aforementioned Chekhov
and television, Mr Cardona remains torn.
real blast,” he says. “It was the kind of
classic; made his first forays into film
“I think with theatre you get that big
job you dream about.” Filming took
with a small part in Don’t Be Afraid
adrenalin rush, but with film you can watch
place in both Queensland and India,
of the Dark, sharing a scene with Katie
it back and create something completely
and with the production besieged by
Holmes (“I had no idea how to approach
surreal or different”.
delays, floods, financing woes, actors
it, but she was very lovely and just a
Mr Cardona is set to play a character
falling ill, the making-of became just as
young mum balancing her work and
that is visually impaired in Belvoir Theatre’s
epic as the film itself, he says. “Whether
her ridiculously gorgeous child”), and
This Heaven come February. Set in country
it was ever going to get finished was
Being Venice; acted in the TV series
New South Whales, the play is based around
under a huge cloud for a long time,
The Straits; as well as trod the boards
a family whose circumstances lead them
[but] Roland has the most incredible
for the Sydney Theatre Company’s
to a tricky balance between love and anger.
tenacity.” The (eventually) finished
production of Les Liaisons Dangereuses
“With the script you put a lot of time into
product should be out in the first half
earlier this year.
the words on the page and what you’re saying.
of 2013.
I talk it out a lot, nutting out exactly what
Mr Mackay admits going from an
But for now, film’s the thing. “It is kind of a newer toy at the moment; I’ve
your character is hearing, and what the
independent theatre production of
got more to learn about what working
other characters are saying”. KV
Three Sisters in Sydney to stepping into
for film is like." CB
38
COVER
↘ SEAN KEENAN OK, let’s join the dots. From teen grommet
can actually walk into a room and meet
in Lockie Leonard, to a testosterone-ruled
the person casting a project, it makes a
wave rider of Puberty Blues, and the
big difference.” He’s put off studying
upcoming surf-history flick Drift… it seems
engineering at university to see where
that if a script needs someone to get on
his acting path leads. “So I’m just here
a board, Sean Keenan can expect a call.
until I stop getting work, 'til I’ve become
“When you have longish blonde hair, that
too poor to live here,” the 19-year-old
seems to be what you get cast as,” he says,
says. “I thought, I can go to uni or I can
laughing. “It’s not something I’m exactly
go with this gift that’s been given to me,
worried about, you know. You could be
this whole career path that’s just happened
typecast as worse things.” And, admittedly,
out of the blue.” He puts fellow actors
the WA-born actor grew up near the beach
like Joel Edgerton and Russell Crowe
and is an avid surfer, so he’s happy to get
in the I-want-their-career category, and
paid to put on a wetsuit.
says that if the universe (or at the very
He scored the lead in teen series
least, casting agents) works in his favour,
Lockie Leonard after attending a cold
a potential move to the US down the track
casting while at primary school. The
would be ideal. “A man can dream.”
reward for his debut performance? A
He’ll be seen in 2013 in Drift, starring
peer-voted Logie nomination for Most
the two hot-right-now “Sams”, Sam
Outstanding New Talent in 2008; not a
Worthington and Xavier Samuel, which
bad way to kick things off. (As for the
revisits '70s surf culture once more.
night itself: “I didn’t get to go to the after
He has also completed a short film with
party. I was too young – I was devastated.
Puberty Blues co-star Charlotte Best,
Hopefully I’ll get there one day.”)
playing a musician, and a guest role in
He appeared in the 2012 acclaimed
the ABC teen series Dance Academy as
TV adaptation of Cloudstreet, and is now
a “grumpy dude” assistant director – two
a familiar face thanks to his turn as the
roles, he notes, where there’s not a wave
thoughtful teen, Gary, in this year’s hit
in sight. CB
Puberty Blues. “It was cool, I loved it. The old-school boards. All the ’70s stuff, the desert boots and flares. [But] the sexism everywhere, the fact that that sort of stuff did actually happen, is pretty bad.” He’s recently crossed the country to live in Sin City, setting up residence by the beach (of course) in Bondi. “In WA, it’s harder to get work when you’re sending tapes interstate, when across here you
39
MANUSCRIPT
40
COVER
← Eamon Farren Growing up on the Gold Coast, 27-yearold Eamon Farren moved to Sydney study at the National Institute of Dramatic Art in 2005, attributing his acting interest to a great high school drama teacher. “After high school I went to do an economics degree at university and realised very quickly that I should just be an actor. I got the courage up to audition and was lucky enough to get in," he explains. After an immediate run of independent Australian films including Blessed and Lucky Country “I realised I also loved film, and the balance of theatre and film is a great one. You get the technique and art from theatre and can apply that to film even though they’re different mediums. I like to straddle both worlds”. In 2010, not only was he a runnerup for the Heath Ledger Scholarship, Australians in Film, but he was thrown in the deep end in Steven Spielberg-Tom Hanks HBO series The Pacific. “It was a dream job for a young male actor. It was one of those experiences that you can’t compare to anything. Boot camp was physically intense and the shooting of it was an after mark of the actual experience.” Mr Farren will perform with the Sydney Theatre Company in 2013 in Mrs. Warren’s Profession [March] and in the role of Mercutio in Romeo and Juliet [opposite Dylan Young, in September] But if he could choose any role, he’d have a crack at that dream role for most actors: Hamlet. “It’s one of those roles you forever want to try again. As far as storytelling, it’s the ultimate”. KV
41
MANUSCRIPT
← JOSH MCCONVILLE Josh McConville has seen both sides of acting, having appeared in Sydney Theatre Company productions including In the Next Room, Loot and Gross und Klein, as well as Australian TV dramas, including Underbelly Razor and Wild Boys. “Theatre gives you more of an adrenalin rush, you have to think on the spot and perform with no cuts or breaks, while in TV and film you get the chance to nail it,” he explains. After studying at Griffith University, Mr McConville was accepted into the National Institute of Dramatic Art where he learnt the ropes. Having developed a strong working relationship with the Sydney Theatre Company, McConville feels comfortable transitioning between the various genres he’s been tasked with. “It’s pretty easy,” he says. “The script does the work and you're part of it for five weeks. It’s what I’m trained to do, but you have the director supporting you as well”. After touring Europe last year alongside Cate Blanchett in Gross und Klein, the actor currently appears in the ACB television series Redfern Now, a Blackfella Films production starring Deborah Mailman and Wayne Blair, which represents the station’s priority to get more Indigenous work in front of prime-time audiences. KV
42
COVER
← TIM POCOCK
↑ TOM HANDLEY
Being cast as Marge Simpson in Bart and
over the top, the movements are bigger
After refining his talent in theatre
the Beanstalk in kindergarten ignited a
and broader, so I was conscious that
productions like A Little Touch of
passion within 27-year-old Tim Pocock
I’d have to tone it down when I knew
Chaos and Crazy for You, scouts from
that manifested itself when Opera
I wanted to do acting,” he explains.
the Australian version of Broadway
Australia approached the then 10-year-old
“I had to work at being able to let go
musical Wicked saw 22-year old
for the role of Kurt in a stage production of
and be vulnerable. It’s easier to act
Novocastrian Tom Handley perform
The Sound of Music. Mr Pocock was asked
upset when the audience is far away,
at the Western Australian Academy
back each year by Opera Australia,
but when a camera is in your face and
of Performing Arts and offered him
performing on stage proving an easy feat
you have the tears coming down, you
the role of Fiyero. The role has since
for the young actor. “The singing wasn’t
have to trust yourself”.
taken him around the country,
something I found difficult, it came
Having attained roles in television
Singapore and, now, New Zealand.
naturally, so I started to really enjoy the
series like Home and Away and Dance
“It has been most fun I’ve ever
acting,” he says. “I wanted to test myself.”
Academy, Mr Pocock makes his return
had, but there have been times where
to the silver screen in the Australian
I’ve hated it, because it’s quite isolating
was adopted and grew up in Ireland,
horror film The Lemon Tree Passage,
being somewhere so far away just to
eventually settling in Australia. “People
based on the supposed sightings of the
work.” With a short break from Wicked,
get caught up about their identity. I think
spirit of a motorcyclist killed in a fatal
Mr Handley sees his future focusing
you exist no matter who your parents are
crash. The independent film, to be
more on film and television. “I feel
or where you come from. I wonder if we
released mid-2013, centres on three
settled in the industry where I’m at
had stayed in Ireland longer, I mightn’t
American backpackers. “It was a very
because I’ve met so many people
have done The Sound of Music, or Opera
different experience, having spent two
starting younger. There’s always the
Australia, or if I hadn’t been adopted by
years doing a clean-cut teen series
danger of getting sick of it because
this particular set of parents, my life might
with no swearing. It was nice to let go
I’ve never done anything else and
have been completely different...everything
and be raw, which is the best way to
I’ve never had a backup plan, but
happens for a reason.”
describe the film.” KV
I’ve always wanted to do this and I’m
Born in South Africa, Mr Pocock
After taking time off to study at the
of the mentality that unless you put
National Institute of Dramatic Art, Mr
everything into it, you won’t get anything
Pocock made the transition from opera
out of it.” KV
to film with a role as Scott Summers, or Cyclops, in the feature film X-Men Origins: Wolverine alongside Hugh Jackman. “Opera is so melodramatic and
43
MANUSCRIPT
↘ HUNTER PAGE-LOCHARD We’ve all heard of performers making their debut at a young age, but Hunter Page-Lochard takes the cake. “I was chucked on stage at six months,” the 19-year-old says. “In my father’s hands.” Well, considering his dad is renowned performer Stephen Page, dance legend and artistic director of the esteemed Bangarra Dance Company, and mum is former New York City Ballet dancer Cynthia Lochard, it really was only a matter of time before Mr Page-Lochard hit the boards (his first actual memory of performing is in Bangarra’s Skin when he was seven years old). “My brain has always been in the arts – I try anything else, it’s just frustrating.” However, while he’s performed in drama and dance productions alongside his dad over the years, he admits he has lately rebelled against his parents – but only to join the world of acting. With small roles in Bran Nue Dae and 2012’s juggernaut The Sapphires under his belt, he’s totally succumbed to the “magic” of the silver screen. Cue his next role, in Around The Block, playing a young student who discovers a love of acting at an inner city Sydney school. “[But] it could be set anywhere,” he explains. “It’s such a diverse story, with such diverse characters, that’s what I fell in love with. To be honest, it’s kind of annoying always being typecast as an ‘indigenous’ character.” Being part of a cast that was headed by Christina Ricci was a tad daunting, he says, but he’s only full of praise for the American star, whom he befriended on set and helped show around town. The mere mention of the name of another co-star, Jack Thompson, reduces the young performer to the state of a true Jedi disciple. “I learnt so much from him. Literally, sitting down with [him] you feel like you’re in Star Wars, the wisdom coming out of his mouth.” Inspired and thrilled, he was. He’s also a rapper, and has been part of hip hop outfit Filthy Creatures for the last four years. Clearly Mr Page-Lochard is a young man for whom the concept of down time is a pretty foreign concept. This year has been spent studying screenwriting at the Australian Film Television and Radio School. “I’ve kinda settled on wanting to be a screenwriteractor – I’m on that boat,” he explains. And he’s more than ready to get a script or twelve up and going. “Let me tell you, there’s gonna be a lot of movies coming out in the next couple of years.” As for the acting career, the Tim Burton devotee is chomping at the bit to show some real on-screen power some day. “A superhero role is my dream,” he says. “I wish, I wish, Spiderman was black.” CB
44
COVER
← CONNOR CRAWFORD When Connor Crawford flew from Brisbane to Sydney for this portrait, he had performed over thirty shows as the lead role of Frankie Valli in the internationally acclaimed musical Jersey Boys after two months of intensive auditions. “I didn’t think I had got it,” he recalls. “I walked out thinking ‘Oh, god, that was a good experience, but I don’t think I’ll get any further’, because the people I auditioned with were great. Then I woke up one morning to a phone call telling me I got the job. I was in complete shock.” “Every actor that’s played Frankie has their own way of interpreting the role, but there are specific guidelines you have to follow. You can’t stray from them too much, but I think it’s important that the actor puts their own spin on it, otherwise it’s not natural,” he says. While young – Mr Crawford is just 20, despite the depth of the role he’s been cast to play – the performer’s talent will see him in the role until the end of 2013. “I don’t think it helped being younger [than the rest of the cast]. People had their reservations because of the whole ‘life experience’ thing, but I think that’s the beauty of acting: if you’re good at it, it doesn’t matter how old you are”. KV
↘ HUGO JOHNSTONE-BURT Hugo Johnstone-Burt is an actor with
Winton’s Cloudstreet. Playing a partially
drive. Literally. “I’m a huge car fan. I’ve
brain-damaged character who lives in his
got a car at the moment that I’m obsessed
own version of reality really threw down
with, it’s a Volkswagen Golf GTI,” he says.
the gauntlet. “It was so challenging. I
“Some people read, some people paint,
lost several nights’ sleep over it. It was
I look up car bits online, that’s my thing.”
so much fun to do, but there was always
He found his other passion, performing,
the question of am I going too far or am
as a teen, thanks to his high school’s habit
I not going far enough.” It’s fair to say
of handing out merit cards to worthy
he was right on target, receiving two
students. “I’d never received one, and
nominations at the 2012 ASTRA Awards
for my first ever drama class in Year 9
for Most Outstanding Performance by
I was given a merit card. I thought, this
an Actor and Best New Talent.
is awesome, if I can show off and get a
He’s currently familiar to Home and
merit card for it, then this is what I want
Away viewers as bad-boy Jamie Sharpe,
to do for the rest of my life!” the 25-year-
a stint he wrapped earlier this year. “I never
old explains.
really pictured myself in the Bay, but I loved
Attending NIDA certainly played a
it, I loved every second of it.” And he will
part in refining his technique, but he says
be seen on the big screen in 2013 in Goddess,
the transformation was bigger than that.
starring alongside Laura Michelle Kelly,
“It wasn’t me just growing up as an actor,
Ronan Keating and Magda Szubanski.
it was me growing up as a person. I know
In the film, which Mr Johnstone-Burt
it sounds stupidly clichéd, but I went in
describes as “a mish-mash of genres”, a
as a 19-year-old boy and came out as a
former star now living a quiet married life
22-year-old man. It makes you throw
in Australia becomes an internet sensation,
yourself headfirst into things.”
quite timely for audiences still recovering
Turns out these very skills would soon come in handy. After making his
from a Gangnam Style onslaught. And after that? “I’m always striving
television debut in Underbelly: The Golden
for the next bigger thing, for the next
Mile (“I was absolutely packing it when
award or the next great performance,”
I walked on the set”) he was cast as Fish
he says. “I don’t think you can ever say
Lamb in the TV adaptation of Tim
you’ve made it.” CB
45
MANUSCRIPT
← CALEB ALLOWAY
↑ DYLAN YOUNG
Coming from a family of 12 children helped
Dylan he has spent the past few years
Caleb Alloway develop a knack for standing
playing roles – both on stage and screen –
out from a very young age. “I remember
that require a high level of maturity, so it
when I was seven or eight I asked if I
seems fitting that come September, he
could learn the piano. Mum saw that I was
will take to the boards of Sydney Theatre
into the arts and I started taking part in
Company opposite Mr Farren and Eryn
the local musical society productions”.
Jean Norvill as the lead in Shakespeare’s
Mr Alloway has often played characters dealing with emotionally
It’s a complex story, a challenge
intense internal struggles, in theatre
amplified by the Shakespearean tongue,
productions like The Paris Letter and
but Mr Young has proven his capability.
Canary. “They’re great roles to play; I
As The Age newspaper noted in a review
love to research and get inside those kinds
of the 2007 musical Spring Awakening:
of characters. It’s all about changing
“Most of the cast excel, but Dylan Young,
someone in the audience so they feel
fresh from winning a best actor gong at
like they can make a difference.”
last year’s Fringe Festival, is especially
In preparing for these roles, Mr
impressive.” That kind of positive
Alloway credits his mentors. “I worked
endorsement served the actor well,
with [actor] Peter Cousens earlier this year ...
having since gained roles in the 2010
working with someone of that calibre is
film Don’t be Afraid of the Dark and
great. We sit around a table and talk
HBO miniseries The Pacific, also
about the characters, but I also draw on
alongside Mr Farren. KV
my own life.” Mr Alloway was also a part of Underbelly Razor as Constable Keith Sullivan, a dramatic departure from his previous on-stage roles. “It was so different and my only TV experience to date. It was quick, huge and a bit of a blur.” In early 2013, Mr Alloway will appear as part of Peach Theatre Company’s highly anticipated comedy The History Boys at the Sydney Opera House. KV
46
Romeo and Juliet.
COVER
↘ ALEXANDER ENGLAND Alexander England admits that while
into their Tony Grieg accent, and I
the use of baby oil was a bit unnerving,
thought, geez, if I can’t get this right
the Manuscript shoot was not only
then I’m going to be crucified because
fun but a great chance to make the
everybody in their lounge rooms will
acquaintance of those he hasn’t seen
be thinking they can do a better Tony
at auditions. “I’m kind of a ‘big guy’,
Grieg than I can.”
so to meet guys who go for other kinds of roles was good,” says the 26-year
However, receiving approval from the man himself waylaid any fears. “I
old actor who’s already carving out
have heard a couple of radio interviews
his own niche.
where he has said that ‘the young England
Television audiences first saw the
chap had done an all right job’, so that’s
graduate of the Victorian College of
as close as I’ll get to a pat on the back
the Arts as Conrad Fischer in the
from him,” he says.
bushranger drama series Wild Boys.
Next up is portraying another well-
“When we were at drama school, we
known face, as a young James Packer in
never learnt to act while on horseback,
Paper Giants: Magazine Wars. “I think
trying to keep your horse in camera and
being big is paying off at the moment!
maintaining a semblance of character,”
[But] I’m playing James when he’s about
he says, dryly. “I did come off a few times
20, so it’s not a James that most people
throughout shooting, so that helped to
are familiar with. He’s just a young man
spice up the acting environment and keep
looking to prove himself in a world that
things more real.” Talk about method.
was moving very fast.” Sounds like
Being cast as Tony Greig in the
someone else we know. CB
mini-series Howzat! Kerry Packer’s War, he knew he’d be scrutinised widely for playing the South African-born cricketer who became synonymous with cricket commentating on Australian TV. “I mentioned to a few people that I got the role and they all launched straight
Photographic Assistance Dave McKelvey & Adrian Price Digital Operation Andrew Fearman | Styling Assistance Alex Rost Hair Assistance Koh
47
MANUSCRIPT
Jasper Knight Bassike vs rags in a bag Assorted artist’s rags from recycled clothing applied with cotton thread to Bassike cotton long-sleeve t-shirt and drawstring shorts. 48
PROJECT
Photography Rene Vaile | Styling Jolyon Mason | Grooming Natasha Severino
There has been so much debate in the past decade about whether fashion is art that, for the most part, it’s not worth discussing one without the other. So what happens if you combine the two? We invited some of the country’s leading artists to imbue ready-made fashion garments with their signature hand, the clothes becoming their canvases, so to speak. The resulting garments further blur the line between the shop floor and art gallery.
Andrew O’Brien You are the man I want Oil and acrylic paint on Calibre cotton suit. 49
MANUSCRIPT
Michael Zavros Windowpane in Blue Fluorescent spray paint on Herringbone linen suit. 50
PROJECT
Hugh Ford James T. Nasyium Springtime Tumblers Uniform, Regional Finals Acrylic paint on Jac+Jack cotton and linen t-shirt and cotton pants. 51
MANUSCRIPT
Anthony Lister The Six Winks of Insomnia Ink and spray paint on Vanishing Elephant cotton suit. 52
PROJECT
Lionel Bawden Jewel Linking (Cell Cluster) Coloured Staedtler pencils, epoxy and incralac on Yuliy Gershinsky paper and cotton bomber jacket and pants. 53
MANUSCRIPT
Add to Cart Online retail in Australia shows no signs of abating, but can a country so small sustain such growth?
N
ick Robertson,
us away.” In response, the company
product [in Australia], and year round
as ASOS social media platforms. “People
the CEO of online
established an Australian office, the first
we sell products relevant to any market,
have underestimated that before.”
retailer ASOS,
of its kind in the world independent to
regardless of climate.” As Mr Robertson
carries with him
its British headquarters, and an
adds: “That’s the difference in our model.
and Ms Burke were in Sydney for the
a heat map of the
Australian-specific website, with local
A [retail] store will have a primetime
launch of the In Your World campaign,
world, the hot spots,
When we spoke, Mr Robertson
currency, sizing and product tailored to
for beachwear, and then push that to
a preview of the brand’s spring/summer
so to speak, indicating sales traffic.
seasons and national days. Free shipping
one side for the rest of their seasons, but
2013 collection exclusively for Australia,
Naturally, given the company is London-
was introduced in January of 2011,
with one big warehouse we can carry it
allowing local customers to shop the
based, the UK appears brightest, but
which, Mr Robertson explains, is when
and every other season and style all
collection and additional capsule
beyond a twinkling throughout Europe
things really began to kick off.
throughout the year.”
collections before the rest of the world.
and in the US, the world remains in
ASOS isn’t the only online retailer
This, the company concludes, is
In promoting this, ASOS held a series of
relative darkness, similar to the maps
to see the benefit of investing down under.
simply a matter of digital accessibility.
events, the first time it has held consumer-
indicating night time on long-haul flights.
As Ian Tansley, managing director of
If a customer sees something online,
focused events in the world, open to the
That is, of course, if you don’t cast your
Mr Porter, the men’s division of leading
they’ll want to buy it, no matter if it’s a
public via registration on its website and
eyes south to Australia, and until a few
luxury womenswear site Net-a-porter,
lambskin-lined coat in the height of
Facebook. In total, according to an ASOS
years ago, what international retailer did?
explains: “Australia is a very significant
summer. Mr Tansley says the key to
spokesperson, over 10,000 people applied
There, beneath the equator and nearly
market for us which continues to see
succeeding in what is now a global market
to attend the Sydney events, with nearly
falling off the map, the country lives up
strong growth year on year.” While ASOS
is to cater to a global audience. “We buy
80% of them registering via Facebook.
too its sunburnt reputation, burning
largely stocks its own in-house brand,
into our designers’ collections with every
The week following the In Your World
brightly in the middle of the ocean.
as well as collaborative capsules, Mr
audience around the world in mind, and
events saw 165,000 Australians ‘like’
Porter prides itself on a stable of over
offer a cross-section of product from
ASOS Facebook page, with its Twitter
Diane Von Furstenberg visited Sydney
170 established luxury and designer
collections year-round. No matter where
base growing 472%. At last count, David
in late October, she said to the Sydney
brands rivaling most of the world’s
you live, it’s about global style today.” But
Jones’ Facebook page had the same
Morning Herald: “What I love about
department stores, many of which aren’t
does the ease of shopping online, and the
number of followers as ASOS gained
Australia, it’s the last frontier, it’s the
available in Australia or are so via small
accessibility of product offered by retailers
in that single week.
frontier of hope.” With the western
wholesale channels.
such as Mr Porter and ASOS, negate the
When Queen of the Wrap Dress
world all but collapsing economically,
Doesn’t this in itself pose a challenge
Not all local businesses are being
need to shop in-store? The effect of online
trumped by the likes of their British
perhaps the big island does represent
for northern hemisphere-based retailers:
retail on traditional bricks-and-mortar
competitors. As this journalist noted
some sort of hope, which seems rather
selling seasonally appropriate goods
is evident in Australia, and with many
in Wish magazine in early 2012, the
odd considering what a small population
to customers throughout the world,
Australian retailers slow to develop
2008-established online retailer The
inhabits the vast continent in contrast
particularly Australia with its distinct
competitive technology – national
Grand Social stocks more than 8000
to, say, Europe. “It’s fair to say that it has
lack of seasons? Annette Burke, ASOS
department store David Jones only
products from nearly 100 Australian
taken us by surprise,” says Mr Robertson
head of PR, explains that Australian
launched a comprehensive online store
apparel and accessory brands, with
of the sheer growth in ASOS’ Australian
consumers aren’t all that different from
in November 2012 – it stands to reason
sales quadrupling to $1.8 million in
sales, the country its second biggest
British. “There’s no difference in the
that local consumers should look abroad.
three years. In late 2011, The Iconic,
market outside of the UK. “We knew
appetite for fashion in the two countries,”
As Ms Burke notes, Australian consumers
which similarly stocks a cross-section
there was opportunity, but it has blown
she explains. “You don’t just want beach
are the most engaged in the world as far
of Australian labels, launched with a
54
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considerable marketing campaign on
local start-ups co-exist? In truth there’s
par with ASOS. The Iconic matches
room for both. “The challenge,” Mr
prices of physical retailers and tailors
Robertson explains, “is how to serve
sales opportunities for Australian
fashion in new, continually evolving
business, such as in 2012 when it live-
formats,” such as the smart phone, which
streamed shows from Australian Fashion
has fast grown to account for 20% of
Week with the products available for
ASOS' digital traffic. “We have to ask
purchase on its website in real-time.
ourselves: how are our customers using
Cheekily, when one types ASOS into
our site. It needs to be faster, easier, more
a Facebook search, The Iconic appears
adaptable than ever before, and with our
before it as a sponsored link.
particular demographic spending more
Can an industry as large as that
Story Mitchell Oakley Smith Artwork Anna Pogossova
and more time on their phones, we can’t
of continually growing online fashion
afford not to.” As Mr Tinsley adds: “it’s
be sustained in a country as small as
about combining content with commerce
Australia, and beyond this, can both
with innovation so as to offer the customer
international giants and independent
amazing service 365 days a year.”
55
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W
hen Daina
Such was the case with that initial
Fletcher
Exposed exhibition, which toured
began
nationally until early 2011. “It was really
collecting
well received,” explains Ms Fletcher.
swimwear
“There was a nostalgic element but also
for the
a high fashion element, so it appealed to
Australian National Maritime Museum’s
a lot of different people.” What people
permanent collection in 1986, five years
witnessed in viewing over a century of
before it opened, more than a few people
swimwear, perhaps unknowingly, was also
raised their eyebrows. Of course, fashion
a timeline of Australian cultural values
didn’t command the same level of respect
through a curated lens. Full-length,
within the traditional museum sphere
heavyweight swimsuits weren’t simply
as it does today – though, to some degree,
representative of the lack of textile and
it’s still regarded as the culturally-poor,
manufacturing capabilities in the 1930s,
commercial cousin to the more ‘pure’
for example, but also the council and
forms of art, such as painting and sculpture
state government rules against men
– but in this case, it had more to do with
(not to mention women) swimming or
context. What, people wondered, was
sunbathing topless. “It’s all printed in
a maritime museum, one not yet even
the old surf club manuals,” explains
opened, doing collecting clothing? But
Ms Fletcher. “There were many rules
when Ms Fletcher presented Exposed:
about what was appropriate, such as men
The Story of Swimwear at the museum
wearing full body suits, and it wasn’t
in 2009, her longstanding intentions
because of skin damage. People went
became clear: swimwear, in the context
topless, of course, but far out of sight of
of maritime-based culture, is a very
other people, and when they did in public
important artifact, representative not
it wasn’t for sunbathing.” In fact, as Ms
only of changing fashions, but what those
Fletcher explains, beach gymnastics
changes reflect about Australian society
permitted people to wear more athletic,
over the past century.
skin-baring outfits to the beach, which
“I’m an art historian,” explains Ms Fletcher, simply. “I look at all art as an artifact: it’s made by someone, used by
allowed you to get sun without being picked up by the authorities. Swimwear, like any industry, evolved,
someone and represents something.”
and given Australia’s particular proclivity
In her role as senior curator, Ms
for the water, the country has been
Fletcher looks after historical themes
responsible for leading the world. “With
including travel, tourism, sport and
a temperate climate and swimming and
leisure. Swimwear though, given it wears
shooting the breakers – or surfing – being
faster than clothing, is not exactly an easy
very popular early on, the water has always
item to source and acquire, and Australia
played an important part in Australian
in particular lacks a prominent secondary
culture so it naturally attracts an industry,”
market for fashion. As Ms Fletcher
says Ms Fletcher. Indeed, it was Australian
concedes: “It’s something that is in
100-yard swimming champion Annette
everyone’s cupboard but wears out quickly,
Kellerman that helped to free women of
which does make it challenging [to
restrictive, Victorian-era bathing suits.
collect]. But now that [the museum]
These long, loose gowns with pantaloon-
has a name for its permanent collection,
style legs required five metres of fabric and
people come to us directly.”
had weights sewn into the hemline of the
It’s a far cry from her first forays
tunic to prevent it from floating it up.
into collecting swimwear two decades
As Ms Kellerman remarked in her 1918
the style of swimsuit in line with fabric
that it became and remains the official
ago, which she did by scouring second-
book How to Swim: “There is no reason
technology advancements. From the full
swimwear sponsor of the Olympics.
hand and antique stores and attending
why you should wear those awful water
body suit came the topper, a zip-off
So, too, did Australia capture the
auctions. “The best ones though are those
overcoats… than there is that you should
costume, followed by one-piece swimsuits
swim-leisure market with the rise of
with provenance, a history of ownership,”
wear lead chains. Heavy bathing suits have
and, more recently, the bikini, a design so
grassroots-level surf brands such as
adds Ms Fletcher. “If you can trace a
caused more deaths by drowning than
explosive Mr Reard named it after the
Rip Curl and Billabong.
garment’s history and use, as well as
cramps.” Having sailed to England to seek
Pacific atoll Bikini where the Americans
Ms Fletcher continues to collect
photos of people wearing it, it becomes
fame, Ms Kellerman created what became
were testing nuclear bombs. Brands like
pieces for the archive, including, most
exponentially more valuable.” That was
front-page news with her full body suit:
Speedo, originally established as a knitting
recently, swimwear by Sydney-based label
the case, for example, with a 1960s topless
the swimmer and diver was directed by
mill in 1914, had and still have a hand in
Anna & Boy. “We want to take a slice of
women’s swimsuit by Rudi Gemreich,
London’s Bath Club to sew tights onto
swimwear development. “They saw the
the best Australian [swimwear] designers,
which Ms Fletcher picked up online from
the men’s bathing suit she typically wore
market changing and adopted elastic
of who is doing really fantastic swimwear
a vintage clothing website. “In terms of
before performing in front of the Duke
fabrics for more movement,” says Ms
that captures the moment. In a few years
reception, people do tend to place esteem
and Duchess of Connaught.
Fletcher. “Speedo championed functional
we’ll do that again, and if Anna & Boy are
As Ms Fletcher notes: “Kellerman
swimwear, and later its racerback was
still on top, then no doubt we’ll collect
original bikini,” explains Ms Fletcher,
took swimming and beach culture to the
adopted by lifesavers and competitive
again, but the vagaries of the swimwear
“but there’s an accessibility to swimwear
world, and our fashions were absorbed as
swimmers.” Indeed, Speedo made such a
industry are just like fashion, so it’s hard
that really makes people interested.”
a result.” What changed, of course, was
splash at the 1956 Melbourne Olympics
to say who will come to define the era."
on well-known designs, like a Louis Reard
56
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↑ Advertising flyer for Jantzen’s men’s swimwear, circa 1930, courtesy the Australian National Maritime Museum.
In the Swim An extensive archival collection of swimwear paints a detailed picture of Australian culture. Story Mitchell Oakley Smith 57
MANUSCRIPT
You're the Top There's but one British retailer that can lay claim to revolutionising the way the contemporary fashion system operates.
A
itself as a creator of trends, rather than a follower of them, endorsing the designer names as an extension of its own. Far beyond a high street retailer, it becomes a platform for emerging creativity. What Topshop offers stems far beyond on-trend, decently made clothing. With its rigorous marketing strategy promoting an unrivalled connection with youth culture, the brand represents a promise to a cooler, better-looking future. If fashion is, as has been considered, art – the act of clothing the body a performance of sorts, offering a chance to transform oneself – then perhaps Topshop is something of an entry token. With its
t the opening night
relatively affordable prices, the retailer
of Topshop in Sydney
offers a democratic approach to fashion,
in October the police
something previously reserved for the
turned up and asked a
wealthy or in-the-know. In this way, it
group of young
provides an accessible platform upon which
women camped
one can imbibe in fashion's flights of fancy,
outside the old Gowings building on the
signalling a collapsing of traditional high
corner of George and Market Streets in the
and low hierarchies within the industry.
CBD to move along. These eager shoppers weren’t hanging about to get a glimpse of
the launch event. Speed, it seems, is what
In its women’s division, Kate Phelan
the variously assorted musicians and
defines the success of the company. “We’re
was recently appointed creative director,
actors that were in attendance. Topshop
as good as last week’s sales, as last week’s
following two decades as the fashion editor
had been promoting special offers for the
trends,” he explained. “When something is
of British Vogue, evidence of the creative
first people through the door at 9am the
slow, we move onto the next trend.” Indeed,
potential inherent in the company. As
following the morning, and these women
Topshop is known for its speed to market,
Mr Shepherd puts it: “Mixing designer
wanted to nab a bargain. Doesn’t Sydney
delivering new products weekly. What
and high street has become cool. A mix-
have enough high street retailers following
this means is that if leopard prints hit the
and-match approach to dressing.”
the city’s retail refurbishment? Better still,
designer runways – fashion’s traditional
if they loved Topshop so much, couldn’t
system is that clothes are shown six
direction of Gordon Richardson, is
they have visited its Melbourne store,
months prior to their arrival in store –
known for its regular collaborations with
opened a year earlier? Such suggestions
Topshop will have leopard print windows
emerging designers, including Kim Jones
would, it seems, be music to these
in just over a month. “It might be black
and Peter Jensen, and support of graduate
shoppers’ ears.
jeans. At the moment it’s Aztec prints.
menswear designers, which it showcases
Next month it’ll be something else.
at London Fashion Week. But interestingly,
That’s our point of difference.”
the collaborations are more effective than
Earlier that day, amidst a frenzy of 20-somethings running around the store’s four floors at a bloggers-only preview
Topman, under the longtime creative
Point of difference? Some might
those that define the luxury market: in
ahead of the media event that night,
say that Topshop’s rise is independent
addition to offering young designers access
I met with Topman’s managing director
designers’ demise. But that said, the
to an exponentially broader market, a
David Shepherd. Despite his day job
retailer has reached such a point of
financial injection at the beginning of
behind a desk, Mr Shepherd seemed
style authority in its own right that the
their careers and the opportunity to work
entirely unperturbed by the chaos of the
traditional boundaries between high
within the framework of an international
store, what with the short few hours until
street and high end have become blurred.
company, Topman can essentially rebrand
58
Story Mitchell Oakley Smith
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A
s this issue notes,
student, as well as the selection of five
art and fashion
artists whose work is exhibited in the
have, it seems, a
brand’s stores around the country. These
lot in common,
artists represent the specialist streams of
and as traditional,
the school, such as painting, sculpture
somewhat elitist
and photography.
hierarchies within the art world
The partnering of a fashion powerhouse and art institution continues a contemporary form of art patronage.
Giorgio Armani has, in the past,
diminish, the two are crossing over
sponsored exhibitions, including those at
in ways grander than ever before. But
the Venice Biennale and Palazzo Reale,
fashion’s interest in art isn’t limited to
Milan, but in this case Emporio Armani,
the commercial collaborations that have
the company’s youth-focused line, bears
come to define the industry over the
the namesake of the sponsorship,
past decade. Since German brand Hugo
assuming it a position of cultural
Boss launched its namesake art prize in
sophistication and Australian-specific
1996 with the Guggenheim Museum,
relevance. Anita Taylor, the school’s
worth $100,000, fashion has assumed a
director, says both the school and Armani
position of cultural patronage to rival that
share the benefits. “Art and fashion are
of Italy’s famed House of Medici.
natural bedfellows,” Ms Taylor explained
Thank you, Mr Armani
What’s interesting about the
following the school’s 2012 postgraduate
plethora of awards – locally, Bulgari
exhibition, co-curated by Katie Dwyer and
teamed with the Art Gallery of NSW for a
John Di Stefano. “From an educational
three-year partnership that awards a mid-
perspective, fine art has traditionally
career Australian artist $80,000 in the
been seen as the most pure form of
form of a commission by the gallery and a
ideas, but that has a natural relationship
residency in Italy, while the Furla Art
with fashion, too – both expressions of
Award adopts a similar approach in Italy
innovation. We’re very design conscious
– is the critical framework with which
in the 21st century and audiences are
they are administered. That is, by the
interested in creative and cultural
partnering gallery of independent curators
experiences, no matter the form. This
as opposed to the brands themselves,
relationship [with Armani] reflects that.”
adding to the awards’ cultural cache. Following Giorgio Armani’s three-
As Ms Taylor explains, the Emporio Armani partnership is the school’s first
year sponsorship of the Sydney Theatre
major sponsorship, helping to underwrite
Company, a partnership that saw its then
its activities and support a new generation
co-artistic director Cate Blanchett appear
of artists by promoting their work to a
as an ambassador of sorts for the brand,
much broader audience and fostering
the Australian office of the Italian
the creation of new work. “It’s critical
company announced a sponsorship of the
in the future success and vibrancy of
National Art School’s postgraduate
the school,” which boasts such luminaries
exhibition. The $53,000 partnership, like
including Margaret Olley, John Olsen
Bulgari, is multilayered: in addition to a
and Tim Storrier.
transactional donation of funds – much needed for the independent school, which is required to seek alternate income streams for nearly half of its funding – is the commission of a piece by a graduating
Story Mitchell Oakley Smith → Georgia Brown, Cube Drawing, acrylic sheeting, dimensions variable, 2012.
59
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Beachobatics
60
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A recently discovered photograph provides British swimwear brand Orlebar Brown a unique entry into the local market.
T
here is so much
Wooster to its line-up earlier this year,
Orlebar Brown spring/summer 2013
attention to detail in
partnering to create a series of
collection. Earthy shades meet pastels in
the way a man might
camouflage swim trunks. “From his days
weather-beaten textures, and relaxed and
dress in the street
[as a buyer] at Bergdorf Goodman, Nick
pared down separates in cotton and Oscar
today, but what he
has always been a fantastic supporter
towelling give way to a sense of discovery.
chooses to wear at
and friend to Orlebar Brown. It is no
The ‘Wicker Print’, inspired by colonial
the beach, pool or anywhere in between
secret that Nick has a passion for all
architecture, is teamed with a Fiorentina
is often overlooked. “Baggy, garishly
things camouflage, and together we loved
geometric print by English decorator
patterned, elastic-waisted boxer shorts
the idea of producing a more ‘liquid’
David Hicks. The collection also includes
and revealing boardies or briefs” is what
interpretation of this traditionally land-
the first Orlebar Brown three-piece suit,
comes to mind for Adam Brown, a notion
based print.” The Nick Wooster for
the result of a collaboration with Mayfair
no doubt amplified by his being British.
Orlebar Brown collaboration magnifies a
tailors Thom Sweeney and Mr Hare.
Let’s face it, those Brits are good at many
passion for the unexpected. “True design
things, but when it comes to swimwear,
collaborations should be something
nostalgic elements is further emphasised
countries like Australia and Argentina are
surprising,” says Mr Brown. “They need
as Orlebar Brown enters the Australian
laps ahead.
that ‘why did I not think of that’ moment.”
market, offering a limited edition swim
While swim shorts have traditionally
short design featuring the work of
photographer, conceived Orlebar Brown:
been a home for boring repeat prints,
Australian photographer George Caddy
a brand with a tailored approach to swim
Mr Brown explains that “for us,
[pictured]. Mr Caddy captured the
shorts. “My background was not in
photography and the life, mood or times
tumbling, flipping, jumping and balancing
fashion,” explains the designer from his
that an image portrays or represents is
‘beachobatics’ of young men and women
London base. Although the original idea
becoming something people associate
on Bondi Beach during the pre-war
came from a holiday, it was essentially
with the brand.”
1930s, the photographs of which are the
In response, Mr Brown, a former
This idea of combining modern and
about spotting a gap in the market and
While certainly unique in design,
going with a gut feeling.” Having come
it’s easy to link Orlebar Brown with the
laid undiscovered for a quarter of a
up with the idea in 2005, Mr Brown spent
idea of ‘dressing made easy’ with its
century after his death in 1983. Mr Brown
the following 18 months researching and
emphasis placed on versatility, however
pays tribute to the late photographer in
developing the brand, after which he
Mr Brown remains wary of descriptions
Orlebar Brown’s ‘Summer-Sault’ shorts
produced 1000 units, selling them online
like ‘practical’. “They can make dressing
printed with his photograph of two young
from his home in London. “At first our
sound a bit dull in a drip-dry slacks-and-
men mid-back flip on the sand framed by
sizing was wrong, our unit costs were shot
anorak sort of way, and I don’t think
the ocean and horizon. “The pictures by
to pieces, we had no margins and there
anything should be ever be average or
George Caddy reflect a time, moment or
was no real business plan,” he explains,
mundane,” he explains. “That said, they
events on or around Bondi that seem
but his determined curiosity as to
should be practical and versatile in the
relevant to Orlebar Brown, and hopefully
whether there was actually market for
way that you could wear them for lunch
Australia, too.”
the Orlebar Brown product fuelled its
in Capri or be a bit more out there on
success. Having grown internationally
Super Paradise beach in Mykonos.”
The Orlebar Brown Summer-Sault
with the addition of resort wear lines
What’s most important to Mr Brown
shorts are available exclusively at
including shirting, jersey, bags and
is the ease with which men can connect
Harrolds Sydney & Melbourne,
accessories, Orlebar Brown has, in
with the product. “I think men really
Australia, and on the brand's website.
doing so, redefined the notion of a
do enjoy clothes but we are creatures
swimwear brand.
of habit. We find a chino we love, a polo
“Orlebar Brown never aimed to be
or t-shirt, a classic pea coat, and tend
a swimwear brand,” says Mr Brown.
to go back to a variation of it season
“We were the first people to actually
after season.”
consider swim shorts in a non-sport way.
Based around a traditional tennis
We took beach shorts off the beach and
short style, there is a clear sense of
out of the pool and put them into a more
nostalgia in Orlebar Brown designs, but
generic, considered environment.” In a
Mr Brown reinforces the significance of
typically female-dominated swimwear
modernity in the design process. “I like
market, Orlebar Brown aims to give
elegant in an understated, masculine way
swimwear, and menswear in particular,
and nostalgic in a timeless sense, but I
the individual attention it deserves. It’s
absolutely want us to be current,” he says.
this sense of individuality that remains
“When we are looking at new products,
a core value to Mr Brown and his label.
fabrics or colours we always ask ‘Is this
Having had already collaborated
relevant now? Could it have been worn
with Monocle magazine, fashion designer
10 years ago? Could we wear it in 10
Bill Amberg and illustrator Alan Aldridge,
years time?’” Carrying on from this clear
Orlebar Brown added style icon Nick
fascination with nostalgic elegance is the
61
only known record of beachobatics and
Story Kate Venman
MANUSCRIPT
Orlebar Brown shirt, Francis Damian Jordan suit, Peter Lang earrings & necklace, Maniamania neckpiece & ring, Prada sandals, stylist’s own socks. 62
F A S HIO N
With the emergence of India as a growing luxury market, it stands to reason that designers should look east for inspiration. The resulting clash of cultures is, we believe, a sartorial success. Photography Kylie Coutts | Creative Direction Jolyon Mason Styling James Dykes | Grooming Claire Thomson | Hair Kimberley Forbes
Bally sweater, Chanel headpiece & nose chain. 63
MANUSCRIPT
Jac+Jack shirt, James Perse sweater, Peter Lang earring, Chanel bag. 64
F A S HIO N
Hugo Boss suit, Herringbone jacket worn over top, Hermes scarf & cuff, Giorgio Armani scarf, Milu shoes, stylist’s own bag. 65
MANUSCRIPT
Gucci shirt, Emporio Armani pants, stylist’s own rope belt. 66
F A S HIO N
Chronicles of Never shirt, jacket & scarf, Kirrily Johnston pants, ASOS eyewear, Henson rings. 67
MANUSCRIPT
Topman suit, Hermes scarf, stylist’s own socks & sandals, Thom Browne eyewear, Chanel necklace. 68
F A S HIO N
Ronan Lock | Photographic Assistance Mitch Fong Ms Forbes used Evo Hair Hydrating Moisture Mask Shot at The Rat’s Nest Studio, East Sydney
ASOS shirt, Ms Fitz face jewellery, Holly Ryan ring. 69
MANUSCRIPT
The Prince and the Pea
.
Blue for boys? How terribly old fashioned. This season’s key palette is distinctly romantic, and you needn’t stop at just one piece. It’s time to think pink. 70
F A S HIO N
Mr Alexander wears Pageant shirt & pants.
Photography Liz Ham | Styling Jolyon Mason Grooming & Hair Kimberley Forbes
71
MANUSCRIPT
72
F A S HIO N
Bassike t-shirt, Jac+Jack shorts, Hugo by Hugo Boss sweater, Ray-Ban sunglasses, Hermes cuff, Converse sneakers. Opposite: Acne sweater.
73
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Cheap Monday sweater. Opposite:
Orlebar Brown swim shorts, Anna Davern earring, available at Alice Euphemia.
74
F A S HIO N
75
MANUSCRIPT
76
F A S HIO N
Louis Vuitton shirt, pants & shoes, Gucci glasses.
77
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Three Over One sweater, Polo by Ralph Lauren shorts, Hermes tie worn as belt, Converse sneakers. Opposite: Boss by Hugo Boss shirt & blazer,
stylist’s own pocket square, Anna Davern earring.
Charlie Alexander/EMG Models | Photographic Assistance Tim Ashton Digital Operation & Post Production Jeremiah Wolf | Ms Forbes used O&M hair products Shot at The Rat’s Nest Studio, East Sydney 78
F A S HIO N
79
X MANUSCRIPT
Swimwear goes sci-fi in a brave new world.
Photography Georges Antoni | Styling Jolyon Mason Hair & Grooming Jenny Kim
Mr Stagoll wears House of Priscilla cropped sleeves, Orlebar Brown swim shorts, Barton Perreira eyewear, A|X Armani Exchange watch, latex legs, stylist’s own, Romain Kremer for Camper sandals. 80
F A S HIO N
81
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Quiksilver wetsuit, worn inside out, Hussein Chalayan for Puma clutch, Nixon watch, Nike gloves. 82
F A S HIO N
Sony personal theatre. 83
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Josh Goot sleeves, Aussiebum swimmers, Teamm8 swimmers worn over top, North Face backpack, Oakley eyewear. 84
F A S HIO N
85
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Custom one-piece swimsuit,
Nike and Hussein Chalayan for Puma backpacks. 86
F A S HIO N
Ellery jacket, Aussiebum swimmers, Sony 3-D glasses. 87
MANUSCRIPT
88
F A S HIO N
Hussein Chalayan for Puma jacket, Speedo swimmers, Thom Browne eyewear, Sony digital watch. 89
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O’Neill wetsuit, Cast eyewear, Burberry clutch, Nixon watch. 90
F A S HIO N
Mr Vanderhart wears Herringbone shirt & suit, Brando shoes. Master Winnie wears Babies R Us onesie.
Mr Vanderhart wears Herringbone shirt & suit, Brando shoes. Master Winnie wears Babies R Us
Speedo swimmers, Burberry pants. 91
onesie.
MANUSCRIPT
Kyle Stagoll/EMG Models | Photographic Assistance Dave McKelvey & Adrian Price Digital Operation Andrew Fearman | Styling Assistance Alex Rost
Josh Goot bomber, Aussiebum swimmers, mesh underwear worn underneath, Zambesi eyewear, Romain Kremer for Camper sandals. 92
F A S HIO N
93
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Stockists
A|X ARMANI EXCHANGE / armaniexchange.com ACNE / acnestudios.com
ALICE EUPHEMIA / aliceeuphemia.com AMERICAN CREW / americancrew.com
ANNA DAVERN / annadavern.com.au ASOS / asos.com
AUSSIEBUM / aussiebum.com BALLY / bally.com
BARTON PERREIRA / bartonperreira.com
BURBERRY / burberry.com
CAMPER / camper.com
CHANEL / chanel.com
BASSIKE / bassike.com
JAMES PERSE / jamesperse.com
CALIBRE / calibre.com.au
JOSH GOOT / joshgoot.com
KEVIN MURPHY / kevinmurphy.com.au
CAST / casteyewear.com
KIRRILY JOHNSTON / kirrilyjohnston.com LOUIS VUITTON / louisvuitton.com.au
CHEAP MONDAY / cheapmonday.com
CHRONICLES OF NEVER / chroniclesofnever.com
COMME DES GARCONS / comme-des-garcons.com
ELLERY / elleryland.com
MILU / milu.com.au
MR PORTER / mrporter.com
CONVERSE / converse.com.au
DERMALOGICA / dermalogica.com
MECCA COSMETICA / meccacosmetica.com.au
CLINIQUE / clinique.com.au
MANIAMANIA / themaniamania.com
DIOR HOMME / dior.com
EMPORIO ARMANI / armani.com GIORGIO ARMANI / armani.com GUCCI / gucci.com
MS FITZ / msfitz.com.au NIKE / nike.com
NIXON / au.nixon.com
NORTH FACE / thenorthface.com.au
O&M / originalmineral.com
OAKLEY / oakley.com
O’NEILL / oneill.com
HARROLDS / harrolds.com.au
ORLEBAR BROWN / orlebarbrown.com
HENSON / thisishenson.com
HERMES / hermes.com
PAGEANT / wearepageant.com
PETER LANG / peterlang.com.au
HERRINGBONE / herringbone.com
HOUSE OF PRISCILLA / houseofpriscilla.com.au
HOLLY RYAN / hollyryan.com.au HUGO BOSS / hugoboss.com
POLO BY RALPH LAUREN / ralphlauren.com PRADA / prada.com PUMA / puma.com
QUIKSILVER / quiksilver.com.au
SONY / sony.com.au
JAC+JACK / jacandjack.com
RAY-BAN / ray-ban.com
SPEEDO / speedo.com.au
TEAMM8 / teamm8.com
THOM BROWNE / thombrowne.com
THREE OVER ONE / threeoverone.com
TOPMAN / topman.com
VANISHING ELEPHANT / vanishingelephant.com
YULIY GERSHINSKY / yuliygershinsky.net
ZAMBESI / zambesi.co.nz
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FIN A L E X A MIN ATIO N
Just in time for the silly season, Swedish label Acne has joined forces with online retailer Mr Porter to present a 14-piece capsule collection of eveningwear. “I like the tuxedo. It’s a feminine uniform for men,” explains Jonny Johansson, co-founder and creative director of Acne, of the choice to explore classic tuxedo shapes in wool, velvet and silk. “Let’s think of a classic little black dress for men. I would use the word elegant to describe the man’s tuxedo.”
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