ISSUE 05 - SUMMER 2012

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

MANUSCRIPT

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

MANUSCRIPT

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.”

25

MANUSCRIPT

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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MANUSCRIPT

30

PREVIEW

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MANUSCRIPT

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PREVIEW

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MANUSCRIPT

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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.

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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.

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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

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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

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MANUSCRIPT

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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

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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

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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

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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

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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

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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

CA OT VU ERE FE

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

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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

MANUSCRIPT

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

MANUSCRIPT

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

MANUSCRIPT

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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