ISSUE 03 - WINTER 2012

MANUSCRIPT Man in the Mirror : Michael Zavros’ art practice. British Invasion : Burberry provides a global platform for local talent.

Play Ball : Denim goes designer care of Ksubi's new direction.

Also : Fergus Linehan Christopher Esber Dick Tracy Harrolds New Wave Design Talent

Stephen Pavlovic Photographed by Jordan Graham AUS/NZ $5.00 | UK £5.00 | EU €7.00 | USA $5.00

MANUSCRIPT

Issue III Winter 12 06 Editor’s Letter|08 Contributors|10 The Quarterly

13 Introducing Michael Zavros, Fergus Linehan & Christopher Esber.

Photography Jordan Graham, Paul Scala & Kylie Coutts

20 Basketball Diaries Signifying a distinct shift in its approach to business, Ksubi’s latest collection sits comfortably amongst the fashion greats.

Photography Bowen Arico | Styling Jolyon Mason

28 The Music Maker Australia’s most successful music producer Stephen Pavlovic speaks with Manuscript about the uncertain future of his world.

Story Mitchell Oakley Smith | Photography Jordan Graham

32 The Young Ones The country’s Best Menswear Design Graduates are profiled in our portfolio of new generation talent.

Photography Georges Antoni | Styling Jolyon Mason

42 Cut from a Different Cloth Converting from merely a retailer to a brand in its own right, we introduce the custom suiting line of men’s department store Harrolds.

Photography Sam Hendel | Styling Jolyon Mason

46 The Brand with the Band There’s little that Burberry’s Christopher Bailey can’t do, music production included. With Burberry live, Mr Bailey has revolutionised the way British music operates.

Story Mitchell Oakley Smith

52 Call Brad For Help Peter Edward Richardson evokes Dick Tracy in our homage to the great pop artist Roy Lichtenstein.

Photography Jordan Graham | Styling James Dykes

4

MANUSCRIPT

From the Editor

That’s certainly been the case for Stephen Pavlovic – or, as you

April saw the opening of the Burberry store in Taipei’s new 101 Mall, the brand’s largest in the Asia Pacific region. The store itself is epic – more on

probably know him, Pav – who covers our issue. Mr Pavlovic has, like

that further in the issue – but what I found truly spectacular was the cultural

Mr Bailey with his project in the UK, helped revolutionise the Australian

exchange that occurred via music. The brand’s music arm Burberry Acoustic,

music industry. He’s had ups and downs, as he reveals in our profile

an initiative of chief creative officer Christopher Bailey, has revolutionised

[page 28] but, in the end, he’s launched some of the country’s biggest names –

the British music industry by providing a platform for emerging artists to

The Avalanches, one of his personal favourites, included – and welcomed

showcase their music via both its digital and live communities. Mr Bailey is

to our shores many more which, in turn, has certainly helped to elevate our

passionate about all things British – fitting, given his role at what is the

cultural landscape. Last year Mr Pavlovic curated Vivid Live, the music

country’s largest, and most historic, fashion label – and is sharing his

festival of the Sydney Opera House, then in its third year, and was

passions with the world.

responsible for creating a program that, at one end, featured The Cure and at the other, Bat For Lashes, demonstrating just how vast his musical

The musician in question, Tom Odell, is as yet little known, but the 23-

interests and knowledge extends.

year old, who performs classically based piano and vocals, all of them self-

Fergus Linehan, previously the artistic director of Sydney Festival,

composed, is about to experience the full machine that is Burberry Acoustic.

Mr Odell worked with a film composer to create an arrangement of his pieces

will pick up those reins this May, the first time the event has appointed a

that were performed with a local orchestra of Taiwanese college students at

permanent director following the curatorship of Brian Eno, Laurie Anderson

the event, having been flown in by Burberry. The hundreds of local

& Lou Reed, and, of course, Mr Pavlovic. Mr Linehan reveals some of the

D-Generation (you’d be forgiven for not knowing them – but they’re one of

changes he’s implementing, and how, as a festival, they have had a hand in the

Asia’s largest pop groups) fans camped outside the event venue in the rain

actual creation of music, with the project between Efterklang and the Sydney

may not have known who the blonde before them on the red carpet was, but

Symphony, perhaps one of the first times an event of its kind has done so.

Of course, like any issue of Manuscript, this one’s filled with plenty

they certainly applauded nonetheless. And during Australian Fashion Week in early May, the day this issue was printing, Burberry brought Life In Film to

of other content, from an intimate portrait and profile of Brisbane-based

Sydney to play at an industry event in its grand Sydney store. Not only was

photorealist painter Michael Zavros, the winner of the inaugural Bulgari Art

the event promoting sunglasses – the brand’s new Aviator, to be specific –

Award, to an exclusive showcase of Ksubi’s summer collection, showcased

but also it introduced a vast audience to the band in a live, intimate way.

at Australian Fashion Week. And funnily, despite the international nature of everyone we’ve spoken with, and everything we’ve photographed, there’s a

The reason I discuss this is because alternate, and sometimes radical, platforms of music production and exposure have been called into play in

distinct Australian connection to and take on all of it, which is just what we

these trying times for the music world. The industry, faced with record sales

set out to do.

slumps and online access, must invent new ways to create and promote music if it is to stay viable, and Burberry, through philanthropy and the personal interests of Mr Bailey, is helping to pave the way for new acts that, without With all this in mind, we’ve taken a good look at music for our winter issue, and for good reason – it’s something that so strongly pervades our lives on a daily, hourly basis, affecting our mood, judgement and, in some

Mitchell Oakley Smith

ways, character.

twitter.com/MrOakleySmith

6

Photography Bowen Arico

their help, face an uphill battle. Or a place on Britain’s Got Talent.

MANUSCRIPT

Editor & Publisher Mitchell Oakley Smith Creative Director Jolyon Mason

Art Director Elliott Bryce Foulkes Fashion Editor James Dykes

Contributors Georges Antoni, Bowen Arico, Christina Carey, Kylie Coutts, Jordan Graham,

Anni Hall, Sam Hendel, Max May, Sophie Roberts, Marty Routledge Special Thanks 2C Management, The Agency Models, The Artist Group,

Australians In New York Fashion Foundation, Company1, Emg Models, Names Agency, Rat’s Nest Collective & Viviens Models manuscriptdaily.com facebook.com/manuscriptdaily twitter.com/manuscriptdaily Manuscript is owned and published by Mitchell Oakley Smith (ABN 67 212 902 027), 11-13 Burnell Place, East Sydney NSW 2010, manuscript@mitchelloakleysmith.com. Printed By MPD, Unit E1 46-62 Maddox Street, Alexandria NSW 2015. © 2012 All Rights Reserved.

GA

the upper echelons of Australian photography has

Graham on several shoots this issue, including its

now spends her days working on fashion editorials

brought attention to his polished, innovative

cover, but really takes to the spotlight in Call Brad

and music videos as well as writing for Russh, The

aesthetic. Having shot for just about every top-tier

For Help (page 52), in which he recreates a

Australian, Vogue Australia and Mecca Cosmetics.

magazine and brand, and with an endless list of

Lichtenstein aesthetic with model Peter Edward

For this issue of Manuscript, Ms Hall worked with

celebrities, Mr Georges makes his Manuscript

Richardson as his canvas. Mr May enjoys the

long-time collaborator Bowen Arico on Basketball

debut with The Young Ones, a portfolio of the

challenge of working on a different job every day,

Diaries, ensuring the Stenmark twins appear at

country’s best new menswear design talent.

and as such he’s found himself tending to celebri-

their finest.

EORGES ANTONI Photographer Georges Antoni needs no introduction. His rapidly rising profile in

MM AH AX MAY

NNI HALL

ax May

Hair and make-up

worked with

artist Anni Hall wears

photographer

many hats. Having

Jordan

studied art history, she

ties Erin Wasson, Sarah Murdoch and Abbie Cornish as frequently as he works on titles such as Vogue Australia, Harper’s Bazaar and Grazia.

BA

watch. His effortless style and use of natural lighting,

SH

which has seen him collaborate with designers

in the industry for many years, Mr Hendel is now

Song For The Mute and Dion Lee, contrasts the

behind the lens, carving a niche with his clearly

overuse of digital technology in photography,

defined aesthetic, which owes much to his clever

distinguishing him from his contemporaries.

use of lighting.

OWEN ARICO

AM HENDEL

Sydney-based

In this issue we welcome

photographer Bowen

photographer Sam

Arico is, in the opinion

Hendel, who provides a

of Manuscript, one to

gothic-inspired take on

Harrolds’ new custom suiting line. Having worked

8

nmi.com.au – t 02 9319 3199

MANUSCRIPT

The Quarterly Song For The Mute creates, Zimma Tailors customises, ASOS introduces, Alfie’s Store welcomes

environment that appeals to men, rather than frightens them, have risen to the top. With industrial fittings and vintage furniture, the environment of Alfie’s Store mirrors the designers it stocks, including Paul Smith, Whyred, Three Over One and Jac + Jack. What really defines the store, however, is its vast offering: beyond apparel. The store has gained a reputation for its broad selection of sneakers, from New Balance to Nike, as well as skincare label Aesop and a range of books and magazines, and it’s all about to go digital with

S

the launch of alfiesstore.com.au. peaking of the internet, online fashion retailer ASOS has collaborated with emerging British designer Samuel Membery on a 12-piece capsule collection. A graduate of

London’s Royal College of Art, the collection demonstrates

ASOS continued commitment to new talent, following two collections by London College of Fashion graduate Domingo Rodriguez. Mr Membery, a consultant to menswear label Neil Barrett, presents a sports-inspired range in a muted colour palette of grey, black and olive green, a dip-dyed black denim jacket a highlight.

D

Song for the Mute photographed by Kylie Coutts, Styling James Dykes, Grooming Jenny Kim, Model Hugh Vidler.

espite the minimal amount of menswear presented at this year’s Australian Fashion Week, what was on show is worth writing home about for its innovation. On page 22 of this issue we present a showcase of our favourite pieces from

Ksubi’s summer show, a highlight of the week, and the label’s first time showing since 2010. But beyond the industry stalwart, two rather new menswear labels emerged that deserve similarly loud applause. Christopher Esber, previously a womenswear designer and the recent winter of the LMFF Designer Award, strayed into men’s territory, and we speak with the designer on page 18. The year prior to Mr Esber’s win of the LMFF Designer Award, Sydney label Song For The Mute took home the trophy.

Having recently shown as part of Paris Fashion Week, the label, designed by Melvin Tanaya and Lyna Ty, was keen to show how far it has come in a year.

“Everything about this season is different,” explains Mr Tanaya. “The fabric choices altered the way we approached design and how we created shapes within the collection.” This ultimately led the designers to explore new silhouettes and styles for spring/summer, taking their cue from tech-wear.

“Utility is key this season,” he says. Song For The Mute was previously known for an androgynous aesthetic care its softly draped garments, but that

A

too changed this season. Unlike previous collections, the designers developed a fabric that “doesn’t drape at all”, giving structure and control to their garments. The fabric, a lightweight Japanese cotton/wool blend, is coated in paper, which means it needn’t be pressed and can be crushed and formed to any shape desired. “It’s something we would have avoided in the past,” says Mr Tanaya. “Our signature look is still evident, but with a twist. It’s

technology, its always refreshing to see a designer paying heed to history, as is the case with Roger Shamoun. Establishing Zimma Tailors, a custom and ready-to-wear suiting

outfitter, at the end of 2011 in The Ivy retail precinct, Mr Shamoun is one of

a big risk but we want to push the envelope as opposed to redeveloping what

O

s the fashion system continues to speed up with advent of

few tailors in Sydney’s CBD. “The facility allows us to adjust sizes and fabrics

we’ve already done.”

according to the client,” explains Mr Shamoun of the outfitting process, with

riginally inspired by the 1966 film Alfie, in which Michael

made-to-measure suits beginning at $1500 and taking up to six weeks. The

Caine plays the charming lothario in swinging sixties London,

tailor is adept at creating fully bespoke suits – whereby the pattern is cut by

Alfie’s Store, situated in the heart of Balmain in Sydney’s

hand and fitted exactly to the client’s specifications – but the time and cost

inner west, encapsulates the spirit of it's namesake. Charac-

associated with it see more men opt for made-to-measure. Zimma Tailors’

terised by traditional menswear with a mix of time-honoured and contempo-

suits feature hand-finished buttonholes, horn or mother-of-pearl buttons,

rary classics, Alfie’s Store stocks a unique mix of emerging independent

and natural lining, ensuring the jackets don’t retain too much heat. “The

designers with quality at their core. Menswear retail has lagged behind its

modifications we make are not just aesthetic but also functional. The

female counterpart in Australia for decades, and stores that create an

foundation must be strong for the style to look great.”

10

NICK HARVEY WHAT IS YOUR PROFESSION? Stockbroker DO YOU AGREE THAT CLOTHES MAKE THE MAN? I think it has an effect on what people think of you when you first meet them – first impressions last.

HOW WOULD YOU DESCRIBE THE MADE TO MEASURE EXPERIENCE AT HERRINGBONE? At Herringbone the whole process was very easy.

Choosing the suit and personalising the details was straight forward….and the measurements taken were very thorough. The Suit was completed quickly, and the tailoring is fantastic.

SUCCESS IS IN THE DETAIL

nmi.com.au – t +61 2 9319 3199

introducing

Michael Zavros Fergus Linehan

&

Christopher Esber

13

MANUSCRIPT

“I often feel like I’m working against the grain of contemporary practice,” the artist told me of his labour intensive practice some two years ago, when we collaborated on a project for Australian GQ. Amidst a landscape of mixed media work, Mr Zavros spends his days in a studio with charcoal, pencil and paint on canvas. “But,” he says, “I really love it. It’s something I’ve loved since I was a little kid. I love getting lost in drawing and painting, and also getting it right, getting it perfect.” In a way, working with traditional media is in itself a statement today. “You don’t expect to see charcoal drawings or

Visual Artist

a bronze sculpture in a [contemporary gallery], and I like that. I’ve embraced traditional media and it’s become an important part of

As has been well publicised in recent weeks, Brisbane-based

my practice.”

photorealist painter Michael Zavros was named the recipient

Mr Zavros’ art is concerned with the notion of perceived beauty,

of the inaugural Bulgari Art Award. The award, in association

and he creates work that is “unashamedly beautiful to look at”.

with the Art Gallery of New South Wales, comprises a $50,000

Drawings of models with their features erased, with only a charcoal

acquisition of a new artwork for the gallery’s permanent

shadow remaining — those that propelled him to fame [Debaser

Australian art collection and a $30,000 residency in Italy.

series, 2006] — distort and subvert our perception of surface beauty.

Mr Zavros, in his acceptance speech at a black tie dinner at

His use of male models, luxury clothing and French Neoclassical

the Guillaume restaurant at Bennelong, was so charming

architecture is a response to inspiration from images collected

and unassuming that he won a place in attendees’ hearts

from books, magazines and catalogues, which are then progressively

as much as he did wall space at the gallery.

cropped and reconstructed. “The images are just a starting point,

In 1994, half way through his first year at Queensland College

and whether I manipulate them or change the scale or crop them,

of Art, Mr Zavros and his now wife and mother of his three children,

often the finished work bears little resemblance to the original source

art curator and writer Alison Kubler, decided to spend a week in

material.” Interestingly, Mr Zavros has only ever concentrated on

Sydney together before Ms Kubler travelled to London to complete

men in his work. “I think female fashion, and in particular the

her Masters degree. “I’d never been to Sydney before, and it was so

fetishisation of the female form, is ubiquitous in contemporary

exciting to be there, to taste this great city and to be in love,” revealed

culture,” he explains. “There isn't much more that I want to add to

Mr Zavros at the dinner. “It felt like the whole world was opening

that canon. I’m more interested in the abstraction of the male form,

up and it was completely techicolour.” Staying with his sister in

the dandy and the fiction of the contemporary male. I’m not so

Sutherland, in Sydney’s south, the couple learned that parking was

interested in fashion per se, but rather in what fashion imagery

readily available outside the Art Gallery of New South Wales, where

offers, which is usually a flight of fancy.”

one could, near two decades ago, park all day free of charge. When

Some commentators noted the obvious parallels between the

not exploring the city, Mr Zavros spent time admiring his artistic

Bulgari brand and Mr Zavros’ work — concerned, as it is, with notions

heroes in the 20th Century wing of the gallery. It was here that his

of luxury, beauty and commercialisation — but, as Julie Anne Morrison,

hunger to be an important figure in the art world, to make something

Bulgari Australia’s managing director, noted, the award recipient was

of himself, was born, one of his longest-held dreams having now

selected by and only by the gallery’s Australian art curatorial team,

come true with thanks to the award. “For me this happened many

headed by Wayne Tunnicliffe. “We trust in their curatorial expertise,”

years ago,” he said. “I can’t explain how thrilled I am to be making

Ms Morrison explained. “We were delighted that Michael won the

this work for the gallery’s collection. To have a major work of mine

award but the decision was up to the gallery, and they choose museum

selected for acquisition is such a wonderful professional endorsement.

quality art.” The work, which Mr Zavros is preparing at the moment, is

”It may be so, but it’s certainly a deserving one, for Mr Zavros

to be revealed at the gallery in July this year, and though little had been

is undoubtedly one of the country’s — if not the world’s — greatest

revealed, Mr Zavros explained that it is “a very detailed, luscious work

mid-career painters, and one of unparalleled technical proficiency.

that has me chained to the easel right up until the unveiling.”

14

i n t r o d u c i ng

Mr Zavros wears Louis Vuitton tuxedo shirt and bow tie and is photographed by Jordan Graham on 13 April 2012 at the Rat’s Nest Studio in East Sydney, Australia.

Photographic Assistance Jeremiah Wolf.

15

MANUSCRIPT

Mr Linehan photographed by Paul Scala on 14 April 2012 at his home in London, United Kingdom.

Photographic Assistance Dimitri Ramazankhani.

16

introducing

Artistic Director Vivid Live In a very short time, Vivid Live has become an important event on Sydney’s annual event calendar as a result of its unique nature. Unlike the majority of international music festivals, Vivid operates more as a creative platform than it does a roundup of musicians promoting new material. This, the event’s fourth year, continues to follow and evolve the formula, but its taken a

.His artistic direction of Vivid then is really an extension of his

step forward in appointing a festival director, replacing its

work with the house but in a more focused manner. Indeed, what

rotating roster of guest curators and placing the Sydney Opera

defines the event is its location. Few other music festivals can lay

House’s head of contemporary music, Fergus Linehan, at the

claim to a venue as historically-steeped, impressive and musically-

helm. Not that there was any issues taken with previous

hallowed as the Sydney Opera House. It’s a challenge in itself —“We’re

directors’ programming — including Brian Eno and Modular

never going to be able to squeeze 50,000 people in or around the

People's Stephen Pavlovic — but, as a whole, it lacked a sense

House,” says Mr Linehan — but one that, in its own right, plays an

of continuity from year to year, as curators weren’t able to

important role in the event. “I’d like it to have a big international

forward-plan acts for years to come, effectively limiting the

reputation, that people get on planes and trains and make the

event from reaching its full potential.

pilgrimage for because it’s a hub of incredibly interesting events.”

Mr Linehan, needless to say, is thrilled to be overseeing the

Mr Linehan’s aim, essentially, is for musicians from around the world

18-day event, which incorporates music, light and, rather interestingly,

to identify Vivid as a platform upon which to present a special project,

ideas. “It’s a really interesting platform for the house,” he says,

which goes some way into explaining the small presence of local acts

“because through the course of the year we rarely get acts on

in comparison to international. “Every act is meant to be really, really

consecutive dates, so with [Vivid] we have a platform to do things that

special, and so if a band is playing at The Metro in the same week as

are different to what people are used to.” Mr Linehan notes that the

their performance at Vivid, it loses that buzz,” he says.

strength of numbers that a festival provides, the sense of community

Mr Linehan points to the demise of record sales as one reason

created, creates an environment where the public is more open to new

for the growing popularity of live performance, and he’s keen to

experiences.” When else, he asks, would you find people out enjoying

capitalise on this through collaboration, the ‘ideas’ component of the

light projections on the Opera House sails on a Tuesday night?

festival. He’s commissioned Niche and Modular People to guest

The director brings with him an impressive background. He’s

curate evenings in a way “that’s meaningful to them”, brought

most recognised in Australia for helming Sydney Festival from 2006

together Bryce Dessner, Nico Muhly and Sufjan Stevens to perform

to 2009, as part of its three-year directorship, but his reach extends

together in a rare series of concerts, and has secured the world

internationally. Spending half his year in London where, since 2010,

premiere of Efterklang’s new album, which they’ll perform with the

he has helped strengthen the Sydney Opera House’s international

Sydney Symphony. “In this way,” says Mr Linehan, “we are directly

relationships, he is also an Artistic Associate at the Edinburgh

engaged with the way people make music.”

International Festival and prior to Sydney Festival, was Artistic Director

A few years ago, one couldn’t have imagined the scope of such

of Dublin Theatre Festival. They’re broad, challenging roles, but Mr

acts — Karen O, Florence & The Machine, The Temper Trap and

Linehan’s affable nature and encycleopeadic knowledge of the arts

Imogen Heap — performing at what was a classically-focused venue.

has seen him bring to Australia such acts as Brian Wilson, Bjork,

“The House simply couldn’t have programmed these kinds of acts

Grace Jones and Elvis Costello.

then, and Vivid helps strengthen relationships for year-round

s u g r e F n a h e n i L

programming. As a result, the venue’s audience has been enormously broadened, with half of Vivid’s audience never having been in the

Opera House before. “If you’re one of the country’s most important arts centres and there’s a huge wave of audience you’re not reaching then you’ve got a problem,” he says. But the broadening is more than just attracting a younger audience, with online accessibility refining and broadening the public’s musical palette. “Interests are shifting, and it’s amazing to look around at an event and see everyone from 20 to 70 years old up out of their seats engaging in the same music. The public are pushing for expansion and diversity, and it’s a really exciting place to be in.”

17

MANUSCRIPT

That this year’s Australian Fashion Week schedule was rocked by the last-minute withdrawal of Mr Goot and Mr Lee was perhaps a blessing in that others, such as womenswear designer Magdalena Velevska and Mr Esber, had the opportunity to step into the spotlight.

Of course, with this comes no small amount of pressure, but Mr Esber proved himself, perhaps not to the shock of audiences — he won the LMFF Designer Award just two months before, after all — but certainly to their relief. “Christopher Esber saves Fashion Week,” was the statement made by many a fashion editor and, while full of hyperbole,

Fashion Designer

it’s not far from the truth after four days of lacklustre showings prior to Mr Esber’s on the Thursday evening.

“The fabrications and shapes I use in womenswear are really

In late 2011, Mr Esber was selected, alongside Kym Ellery,

inspired by menswear, so the crossover was a natural one,” says

Michael Lo Sordo, Ms Velevska and Fernando Frisoni, to present his

Sydney designer Christopher Esber of his first foray into

work at a dedicated Australian fashion presentation in New York City.

menswear, which was presented this April as part of his

Initiated by the Australians in New York Fashion Foundation, whose

collection at Australian Fashion Week. “I thought it was time that

founder, Malcolm Carfrae was profiled in the previous issue of

I did something new, that I added another component to the

Manuscript, and Woolmark Company, the event, tied in with G’Day

brand,” explained the designer. “It’s given me freedom to

USA, was established to provide a hand to emerging designers

explore these harder, more masculine ideas.”

seeking to enter the American Market.

Mr Esber, 25, was born and raised in Auburn, in Sydney’s inner

The designer made his name with a conceptual approach to

west, and emerged as one-to-watch when he presented his graduate

ready-to-wear clothing, and where in other cases such a description

collection as part of the TAFE Design Institute’s annual ‘Innovators’

conjures a comic or unwearable aesthetic, Mr Esber’s is quite the

show in 2008. At the selection of teacher Nicholas Huxley, Mr Esber’s

opposite. A fusion of textures, often employing leather, mesh and silk,

collection was here shown alongside that of fellow designers Dion

Mr Esber’s work is razor-sharp in its clean cuts: pencil skirts, crisp,

Lee, who similarly continued his namesake label upon graduation, and

collared shirting, knife-pleated blazers. And while the masculinity

Guy Hastie, who, for the past three years, has held the position of

inherent in such garments may seem an easy transition into

designer at local denim label Ksubi. Despite its boast-worthy alumni

menswear, many underestimate the challenges inherent in men’s

of Akira Isogawa and Nicky Zimmermann, to say that 2008 was a top

tailoring: they’re not only technical, but there are far greater

year for the college is an understatement.

boundaries and established rules than in womenswear.

But unlike Mr Lee, who has gone from strength to strength in

Yet despite his background, his offering was a seamless

showing his collections annually at Australian Fashion Week and,

extension of the women’s looks he presented: both components felt

more recently, a small presentation at London Fashion Week, Mr

accomplished in their own right, but there was a coherency between

Esber has flown coolly under the radar, perhaps to his advantage. In

the two that many designers fail to achieve, particularly when shown

2009, his presentation was cancelled merely days before it was

alongside one another. Mr Esber sought to experiment with

scheduled due to a family loss, and although the following two years

sportswear shapes in his shirt-making, cutting garments from crisp

were consistent in demonstrating the development of the designer, a

cotton in t-shirt-like patterns. “I want to get shirting down pat before I

full schedule and high-profile names, such as Josh Goot, seemed to

really explore blazers and suiting,” he explains of the pieces, which

draw attention away from Mr Esber's shows.

are created in Australia from cotton, leather and linen.

18

introducing

Mr Esber photographed by Kylie Coutts

on 08 May 2012 at The Rat’s Nest Studio in East Sydney, Australia.

Photographic Assistance Mitch Fong.

19

MANUSCRIPT

Basketball Diaries After a well publicised financial struggle, Australia’s favourite denim label is finding new ground.

A lot has changed at Ksubi in the 12 years since it was born from a

fabrication and silhouettes have been elevated,” says Mr Hastie.

garage on Sydney’s northern beaches, the brainchild of mates and

“We’re pushing it further and further each season, keeping the old

surfers George Gorrow, Dan Single, Paul Wilson, Gareth Moody and

Ksubi feeling but modernizing the collections.”

Oska Wright. Little needs to be said about those early days, simply

That new direction began to take shape in the brand’s Autumn/

because it’s all been said before: notorious stage antics, a name change

Winter 2012 collection W.A.R., and is crystallised in Bad Sports

from Tsubi to Ksubi as a result of a US trademark infringement,

(pictured on these pages), Ksubi’s spring 2012 collection shown at

late-night parties and, in 2010, voluntary administration threatening

this year’s Australian Fashion Week, as the new factories that came

to end the denim label that had, in merely a decade, grown to a point

with the buyout have now adjusted to and are familiar with Ksubi’s

of turning over near $20 million annually.

aesthetic and approach. But the shift is evident beyond the garments’

Bleach — the company that owns Insight and Natalie Wood’s

production. “It’s quite sporty and a bit street,” explains Hastie,

Something Else — purchased the label, retaining its team and creative

referring to a hooded jacket in a paper-finish cotton. “There are classic

vision but allowing it to develop with the financial support and

street silhouettes created from denim, mixed with high-performance

infrastructure a company that size commands. Michael Nolan,

fabrics like mesh, nylon and fleece.

Ksubi’s long-time creative director, says things are starting to settle.

Ksubi last showed its wares on the runway in 2010, the first

“It’s no secret that from 2008 things were not great for us and it takes

show since the Bleach acquisition, but this year’s event is far less of a

a while to get back up-and-running from that,” explains Mr Nolan at

production. “We only did shows when we felt like we had something

Bleach’s industrial warehouse headquarters in Sydney’s inner-west.

to say,” explains Gorrow. “This year we didn’t want to do a traditional

“With the team we’ve got, I think we’re in the best rhythm we ever

runway show, but we also didn’t want the epic AC/DC concert [as in

have been.” Mr Gorrow, having seen the company weather more

2010] where we had massive light rigs and thousands of people in an

than a few storms, adds: “it’s falling in to place.”

arena.” In many ways, this year’s presentation is a backlash against that

One of the changes that followed the brand’s buyout was

large-scale, hell-for-leather mentality, focusing more strongly on the

structure. While Mr Gorrow and Mr Nolan assumed the title of

clothes, in this case because the clothes are, indeed, worth showing.

creative director (Mr Gorrow across denim, marketing and eyewear

This renewed confidence in the product they’re selling has

and Mr Nolan across fashion), a designer, then 23-year old, Guy

led to discussion of an international show — yet to be confirmed —

Hastie was hired to help shape a more fashion-forward offering. A

later this year. “It’s early days yet,” says Mr Nolan, “but we [the

denim designer and the consultation of Harper’s Bazaar’s Christine

creative team] feel really in sync and are really happy with what

Centenera now aid Mr Hastie. It’s still a collective, a melting pot of

we’re doing.” Mr Gorrow, too, is pleased with the new era, a far cry

ideas, but it’s more cohesive than the previous "op-shop approach", as

from those early days of slashing denim with garden tools the evening

Mr Gorrow coins it. The aim, essentially, is to elevate the label from

before (and morning of ) the label’s first fashion show. “The collection

purveyor of denim jeans to luxury fashion label, but the team is intent

is really refined, in contrast to it being quite raw, and I think that

on doing so by utilising denim in a designer context. “Our quality,

direction is really cool,” he says.

Story Mitchell Oakley Smith | Photography Bowen Arico Styling Jolyon Mason | Grooming Anni Hall

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Messrs Jordan & Zac Stenmark wear KSUBI clothing and eyewear throughout; OAKLEY boots Jordan & Zac Stenmark/Viviens Model Management Digital Operation Mitchell Wright Styling Assistance Courtney White

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S T E P H E N pa v l o v i c

PAV , THE MUSIC MAN There’s no denying that Australian producer and promoter Stephen Pavlovic has made an indelible mark on the global music industry, but as records fade into near oblivion, what’s next for the smooth operator?

Story Mitchell Oakley Smith

Mr Pavlovic wears Givenchy blazer, available at Harrolds,

and his own T-shirt, and is photographed by Jordan Graham

on 19 April 2012 at the Rat’s Nest Studio in East Sydney, Australia.

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Sitting in his sparse office in Sydney’s

were based somewhere else, but I love the

Has that been a hard transition?

Eastern suburbs, the demeanour of music

lifestyle of [Sydney] and being able to live in

Well a lot of bands and management companies

producer Stephen Pavlovic, 45, is not

this country is pretty awesome. And we travel a

I know now see the recording side of [music]

one of a man who’s weathered nearly a

bunch, anyway. We’d like to replicate what we

purely as a marketing tool for their business.

quarter-century in the business. He’s quiet,

do here overseas, and while the people we have

They don’t look to generate any real income out

considered, and is more interested in talking

working overseas are predominantly on the

of it but invest heavily in the recording, the

about the detoxifying cleanse in Mexico that

record side of the business, it’d be nice to put on

videos, the marketing, because they, as a

he has just returned from than he is in wild

some events and do a bit more of the branding

business, make their income in other areas like

parties. Not that he hasn’t seen a few in his

and marketing that we do [in Sydney].

live shows, merchandise and commercial

time. Pav, as he’s widely known, began in

What was it like starting out for you?

partnerships. So the industry’s mindset has

the industry by escaping suburban Canberra

I was predominantly a fan and I just wanted to

changed completely. We have become more

with then band The Plunders, who he wound

put on shows that I wanted to go and see. It was

active and circular in what we do now: we book

up managing for a time in Sydney before

really D-I-Y, and it seemed like there was this

a lot of our artists’ shows; we promote shows

working the city’s pub music circuit. Then

secret community of people doing similar things,

and tours; we do some merchandising things;

came acts like Nirvana and the Beastie Boys

so you really felt like you were part of something,

we have a marketing division for other brands.

and, over two decades later, he’s still as

and once you started connecting with a few

I find all of that stuff really exciting, but 20

passionate about making and promoting

particular artists, they dialed you into this global

years ago, for an artist or music company to be

music as he ever was.

network of people doing shows, touring,

working with Louis Vuitton or Nikon or an

promoting. I was working with Mudhoney, and

alcohol brand was viewed as a total corporate

he counts himself lucky to have wound up

the guys were friends with Nirvana and told me I

sellout. There was a real stigma attached to

where he is today. That is, at the helm of an

should tour them. It was just word of mouth that

working with other brands [outside of music] as

international music business, Modular

it came about, and all very lo-fi, because I called

a way of making money, whereas now it’s just

People, that counts such acts as Jonathan

up Kurt [Cobain] and asked if he wanted to come

par for the course. People are into lifestyle and

Boulet, The Avalanches, Architecture in

to Australia and tour. It was all new, and I was

culture, so music and, say, fashion are not

Helsinki and Cut Copy in its catalogue.

probably pretty naïve about the whole thing in

mutually exclusive. I enjoy music, art, fashion,

Lucky? Clever is a better description.

just phoning people up, but back then bands

food, all those things, so to be able to

Although the music industry may be in

didn’t have management like they do today. It

incorporate it into what we do and be involved

tough times, Mr Pavlovic is shrewd enough

was very underground.

is really cool.

not to have put all his musical eggs into

When did that change?

Well like an artist working with

the one basket.

There was no definitive moment, but the kind of

a fashion brand, it’s just another

As he explains in this candid interview,

music I was interested in suddenly became part MITCHELL OAKLEY SMITH I have to start by noting the rise

of popular culture, and that brought with it

medium through which to communicate.

And at the end of the day, if

more structure and organisation, and some of

everyone is making money…

the contact we had with artists in the early days

We’re always looking at new ways to get our

now has a wall of people in the middle. That’s a

music out there, to create awareness, and

necessity and something that we deal with, and

whether that’s working with Nikon or BMW, it

STEPHEN PAVLOVIC

it actually makes a lot of the procedures run a

doesn’t matter. It opens you up to a really

In Sydney we have 12. We’ve got two or three in

lot smoother, but at times I do feel a bit

interesting process, which often leads to

New York, and a guy in Paris. The guy in Paris

removed from it all as a result.

interesting results.

has worked for me for years, and I think we’re

It seems like the things you were

Where do you see it all converging

going to move that office to London because

working on just got bigger and bigger

in the future? What’s the point of

there’s a lot going on there for us. The time feels

without you even realising it.

resolution for the music industry?

right for it. But the exact number of us kind of

Well, yeah, and I lost a whole bunch of money

Honestly, I don’t know, but it seems to me that

shifts and grows as we [as a business] grow.

on a festival [Summersault] and, at that point,

some people think the recording industry has

It’s amazing that you even have

felt really disconnected from the artists and the

bottomed out and that it can only move forward

these offices overseas, given you’re

music side of everything, which is why I started

if we monetise digital downloads. I do feel that

headquartered in Sydney.

doing this in the first place. It was as though I

music, at least the recorded version of it, has

I find it really difficult. It’s a struggle trying to

was working in admin, just stamping papers and

been devalued as a commercial product, and

communicate with people. You do all your work

organising stuff.

there’s generations of kids coming through that

in the day and then you go home and then it’s,

And that’s when you started

will never buy a record, have never had to, and

like, ‘Fuck, I’ve got to speak with these people

Modular People…

maybe they don’t care to. And I don’t know how

in Europe really late or really early’.

Exactly. I found it way more interesting and

you turn that around. Music is alive and well,

Why not just move overseas?

engaging, because I was working with people from

there’s no doubt about that. There are tonnes of

I lived in New York for a few years [2000-

a very embryonic stage and across all the creative

music out there, and tonnes of really good

2003], which was really fun, but it’s a lot more

aspects, like making the music videos and doing

music, but maybe people need to look at things

competitive and there’s a lot more things going

the photo shoots and creating the artwork. The

differently in terms of the business model. But

on there. Now it would be easier, I think,

label side is really fulfilling. But that said, the

that’s what I find really exciting about where we

because we’ve built up a catalogue of artists and

nature of the record industry has changed so

are. There’s a massive change going on, and no

projects that have a point of difference and have

much over the past few years. Sometimes I go to

one knows which way it’s going to go, and that

a greater international reputation. Sometimes I

give people a CD and think ‘Fuck, who would

uncertainty is really, really interesting. There’s

think our business could be a lot bigger if we

want this?’ Most just ask me to email it to them.

lots of potential to do things in different ways

and rise of Modular People. It’s truly a global business these days.

How many staff do you have?

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STEPHEN pavlovic

that wouldn’t have been available ten, 15, 20

sound. Of course, sometimes acts aren’t

Oh, there’s a huge amount of egos. It’s

years ago, and while I don’t know what the

available when others are, and that does, in

ridiculous. It’s interesting to watch people

way forward is, we’re working with people that

the end, define some of the programming. But

from when they start out, they’re humble

are making really good music, and it’s really

with the artwork on the house, I think you could

about people being interested in them and

stimulating to be doing that. I think it’s up to

follow that thread through the various acts.

liking their music, and then they get certain

us, right now, to choose how to rebuild and

Did one act stand out to you?

elements of success and they become a little

move forward.

Well, I love The Cure — they were a big part of

fuller of themselves and they start believing

And of course you haven’t been solely

my teenage years and played a backdrop to a big

some of the hype about themselves, and you

corralled in the confines of your own

part of my life — and while I thought it would be

watch them change and go through that

business. What was it like directing

cool for them to perform, I really didn’t think it

process as a few albums unfold. At times

Vivid last year?

would be as great as it was. To see them in that

you just want to slap people, but at the same

I loved it. It’s pretty awesome for someone to say

intimate space [the Sydney Opera House’s

time you understand them. It can be such

‘Here’s the Opera House for ten days, do

Concert Hall] was mind blowing. It exceeded

a big change.

whatever you want and we’ll support you to do it.’

my expectations by a long shot.

Well even you have received some fame

Was that the brief?

What about generally — is there

in doing what you do. Do you find it

Pretty much, yeah. They asked me if I wanted to

an artist you’ve worked with that

hard to deal with being in the public

curate it, and why wouldn’t you? It’s such an

stands out the most?

eye more than the average person?

iconic building with a really great team of

There’s probably a top few. I can’t go past The

Most people don’t know what goes on behind

people working there to produce the event.

Avalanches: I started my label with them, and

the scenes and don’t really care. The thing I find

Typically, everything I do is something that I

while they haven’t made a record in twelve

hard is that if I go to shows people in bands and

generate, and so there’s a feeling attached to the

years, I think that one record was one of the best

from the music community want to talk about

outcome of it. If it doesn’t sell any tickets, I’m

to come out of this country. Touring-wise,

[business], and usually I just want to sit there and

really bummed out, if it sells heaps of tickets

there’s anything from Nirvana to The Beastie

enjoy the show. But really, that’s a minor thing.

and we make money, it’s great. But I didn’t have

Boys to Daft Punk, but then I love Cut Copy,

As I said, I’m really happy with what I get to do

any of those concerns or thoughts [with Vivid]

Tame Impala, The Presets. I love their records.

every day.

as it’s not so much a commercial event.

This is like asking a parent to choose their

Is there anything you would have done

So it’s more about creating an

favourite child.

differently if you had your time over?

energy in Sydney.

How do you know when someone’s going

I’ve had good times and not so good times. I’ve

Exactly. So you had this freedom. I think there

to be big? What do you look for?

learnt things from the shit times, and that’s what

are a lot of festivals globally becoming very

Well, that’s the thing: you don’t know. There’s

it is. You can only learn from it, and I think I’ve

similar, very vanilla, because they’ve become

absolutely no method too it. The things I’ve

learnt a fair few things. It can’t be rosy all the

about touring cycles. If Daft Punk puts out a new

always gone for are those that I really like and

time. Some of the shit makes the good stuff so

album suddenly Daft Punk are at Coachella,

can’t stop playing and want to share with people,

much better and keeps you in check.

Glastonbury, Big Day Out… they do the circuit,

and they might be in a very early stage, but

What are you looking forward too

and you see the same bands playing the same

there’s something about it that I really love. And

that’s coming up?

events, because everyone needs a headliner and

I feel like I’m a pretty average person, so if I like

This year I’m excited about a lot of stuff. Tame

they’ll go after the biggest names in the touring

it then other people might too. There have been

Impala’s new record has some great stuff on it.

cycle at that point. So programming from

times when I’ve done things, put out records or

I think The Presets’ new album is very different

headliner to smaller acts is not always that

put on concerts, because I thought it made sense

from their last records, and is personally my

interesting and is more a reflection of what is

from a business point of view and would be

favourite record they’ve done. It’s very

happening commercially, even in the hipster

popular, but it’s never worked out. I just go for

Australian sounding, too. They didn’t want to

underground festivals. Whereas curating Vivid

what I love and success is often a by-product of

sound like some electronic band that could be

felt like I could program it the other way, and you

doing something you like.

from anywhere in the world. They wanted some

could go whatever direction you wanted. I found

You must be proud of the success

point of difference and to embrace where

a certain freedom in doing that. I could do it

of some of these guys.

they’re from, and I think they’ve done that.

every day of my life.

Definitely. I’ve had some incredible feelings of

And then The Avalanches, twelve years later,

Fergus [Linehan, Vivid’s new

being so proud, like with that Avalanches album,

are very close to their new record. Jonathan

director, profiled on page 16] noted

which was received so well globally, both

Boulet and Van She, too. I genuinely love the

that the event can’t grow in size,

critically and commercially. I felt really, really

upcoming releases and this is some of the

given the limitations of the Opera

lucky to be doing what I do.

strongest work we’ve done.

House, so it’s more about making

Maybe it’s easier to single out

it something truly special than

a least favourite.

it is about selling tickets.

Yeah, other times it’s a bitch, like being in a shit

And that’s hard in a way, because when I took it

relationship that goes on and on. But in a

on I had no idea where to start. I could have put

relationship when things don’t go well you just

on a reggae festival. I could have a put on a jazz

split up, whereas we have contracts with people

festival. Instead we came up with a theme —

that prohibit that. It’s not always a beautiful

synesthesia — that was a starting point in

ride, but you’ve got to work through it and learn

booking the acts, and most of those that

to deal with it.

performed have a very strong visual

Because there must be some

performance element to their music and their

big egos in the industry.

Grooming Max May | Cover Text Artwork Marty Routledge Photographic Assistance Jeremiah Wolf 31

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Chris Ran Lin, 26, RMIT University, Melbourne Chris Ran Lin Clothing

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The Young Ones Hailing from around the country, five fashion design students presented graduate menswear collections that far exceeded their professional peers.

Photography Georges Antoni Styling Jolyon Mason Grooming & Hair Sophie Roberts

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FASHION

Tayler Ainley, 21, Curtin University, Perth Tayler Ainley clothing and Thom Browne eyewear, available at Harrolds.

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Courtney White, 22, University of Technology, Sydney Courtney White clothing and Thom Browne eyewear, available at Harrolds.

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Yuliy Gershinsky, 25, TAFE Design Institute, Sydney Yuliy Gershinsky clothing and (L) Dr Martens boots, and (R) Balmain boots, available at Harrolds .

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Yuliy Gershinsky, 25, TAFE Design Institute, Sydney Yuliy Gershinsky clothing and (L) Dr Martens boots, and (R) Balmain boots, available at Harrolds .

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Jordan Barrett/Emg Models | Digital Operation Selena Simpson Photography Assistance Dave Mckelvey, Felipe Neves & Max Rolon Styling Assistance Carly Rogers

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Story Mitchell Oakley Smith | Photography Sam Hendel Styling Jolyon Mason | Grooming Christina Carey 42

HARROLDS

The introduction of a high-end suiting line completes the offering of men’s department store Harrolds. en’s retail hasn’t traditionally fared all that

move for us to do this after spending so long in the business,” explains

well in Australia in contrast to the glittering

Mr Poulakis. “I wanted to create something by Harrolds and for Harrolds;

boutiques of its female counterpart. It

something beautiful that perfectly fitted our brand and that people could

makes sense, given those barren halls of

aspire to.” Effectively, Harrolds’ suiting line straddles the new and the old

boxy for-hire tuxedos left much to be

of the business: while of the utmost fabric quality, construction and

desired. What has changed, of course,

presentation, the two suits — a British- and French-cut — borrow

is men’s attitude towards shopping: as style became more and more

elements from contemporary men’s fashion that traditional suiting simply

perceptible to men with the rise of online connectivity, so too did their

doesn’t. For one, they’re slimmer than a typical suit. But this was bound to

demand for greater service, offering and standards.

be the case, given Mr Poulakis employed specific tailors known for their

Grasping this shift, Harrolds, the luxury suiting outfitter established

work with Dior Homme, (he who created Hedi Slimane’s famed slim cut),

in 1985 by brothers John and Theo Poulakis, quickly made some radical

and Ralph Lauren Purple Label — to concoct the particular style of each

changes to its business, effectively becoming the country’s leading, and

of them, inspired by men’s style icons.

Harrolds’ French-cut suit takes its sartorial cue from musician,

perhaps only, department store for men. Not that their business model ever really differed from this — they always offered custom-fitted and

actor and director Serge Gainsbourg circa 1970. What defines the suit,

off-the-rack suiting alongside a small range of ready-to-wear, accessories

beyond its slim, hourglass silhouette, is its high rise: the waistline is higher

and fragrances — but the original approach was such that the store only

than normal, the back split longer, and it features a disproportionately

spoke to a small section of the market: older, wealthy and conservative.

long length between chest and waist. “It attracts a younger, stylish customer,” says Mr Poulakis, which makes sense, given it’s sold off-the

The first change, in 2009, was structural. Theo Poulakis, still Harrolds’ joint owner and managing director, and the more public face

-rack in solid charcoal, navy and black colours as opposed to pinstripe

of the business, employed Chris Kyvetos as creative director, charging him

fabrics that sit in a more financial realm. “It’s not at all preppy. It’s slick

with modernising the business. At the same time, the original Melbourne

and sophisticated and a bit rocker.”

While The French-cut shares construction similarities with its

store at the Paris end of Collins Street underwent a significant renovation, while Sydney moved to a larger location altogether: an 800-square metre

British-cut brother — the fully canvassed interior, the five buttonholes

space in the upmarket Westfield development that was, at the time, both

— it attracts a far younger customer, given the slimness of its cut. The

frightening and exciting retailers in the city’s CBD. For what was a rather

British-cut suit, while still on the slimmer side, ensuring it remains

conservative business — its offering at this stage was mostly Brioni,

relevant in a contemporary market, has more Savile Row qualities to

Kiton and Pal Zileri — it was a daring move for Harrolds to abandon the

it, drawing on the legacy of Michael Caine’s style. The shoulders are

financial hub of Martin Place for a position in a shopping centre, but one

broader, the chest larger, and features hand stitching throughout.

In terms of fabrication, the suits are ready-made from silk wools

that, in retrospect, was clever. The original customer still exists — for lack of a better explanation, it could be said that there’s nowhere else for men

of the finest quality — 16-micron merino wool, in contrast to the coarser

to shop in such a format with as vast an offering — but a younger, more

average of 19-to 20-micron — but can be custom-created in over 2000

daring customer has become part of the Harrolds make-up, and he is

fabrics, ranging from cashmere mink to wool mohair. While the custom

shopping up a storm.

option ranges on a sliding scale upwards from $1850, purchasing them off-the-rack begins at $1650 which, when considering their design and

Mr Poulakis puts the success down to a combination of efforts.

place of manufacture, Italy, is considerably affordable.

“Chris’ understanding of the industry is unparalleled, and he knows what

“The concept has been really well received,” says Mr Poulakis,

people like, what makes them talk,” says the retailer. On Mr Kyvetos’ part, the designer fashion end of the business has quickly become an

noting that while the French suit outsells the British two to one, the suits

enviable roll call of the world’s best brands: Raf Simons, Vivienne

have, very quickly, formed approximately 30% of the retailer’s suiting

Westwood, Yves Saint Laurent, Balmain and Givenchy complement

business which, in all, forms a quarter of the stores’ broader sales. “We

more directional labels Comme des Garcons, Miharayasuhiro, Boris

can thank Mad Men and Tom Ford for that,” jokes Mr Poulakis. And

Bidjan Saberi and Australia’s Chronicles of Never.

after a year, the retailer and his tailor are finally happy with the fit and cut, though fine-tuning remains on the cards. “We might change little

Sitting somewhere between this new offering and Harrolds’ existing

things, but just to keep it interesting.”

portfolio of luxury suiting labels is its own suiting line. “It was a natural

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Mr Ashley wears Harrolds suits, shirts & tie, Sax harness, his own jewellery.

Benjamin Ashley/Emg Models Photographic Assistance Will Braden 44

HARROLDS

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The Brand with the Band As the global music industry undergoes a dramatic change, British fashion heavyweight Burberry provides a far-reaching platform for emerging talent.

Story Mitchell Oakley Smith

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BURBERRY

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F

or aspiring musicians, the road to a successful

own wares to new, younger audiences, particularly in the context

career — or even a livelihood — is not an

of the younger, less-known artists. Burberry may not have been

easy one. Recording contracts are illusive

exactly been a buzzword in indie music circles in Northern England,

and, despite some artists finding fame by

for instance. But surely audiences are smarter than to draw such

uploading material to websites like YouTube,

conclusions of artists “selling out” and a big brand taking advantage

building an audience is even harder. Shows

for their own benefit. The relationship Mr Bailey has fostered

like Idol, now in over 40 countries, and

between the Burberry brand and the music world is a symbiotic one.

The Voice provide something of a platform for emerging talent

As he says, “fashion and music have always been connected,” and

to showcase their wares, but in many cases, thanks to the marketing

while the benefits for Burberry are instantly obvious — least of all the

machine that is the premise of such reality television programs,

making cool of what is a 150-year old brand — there’s perhaps even

careers are often ended before they have a chance to really begin.

more for the artists involved. Dominic Sennett, the bassist of band

Burberry Acoustic — a platform established by the British

Life In Film, the first to record a track and engage with with brand via

brand’s chief creative officer Christopher Bailey — doesn’t purport

Burberry Acoustic, echoes Mr Bailey’s sentiment. “There’s a sort of

to solve such an issue, and in truth, perhaps it’s not one that needs

sixties, seventies element to the clothes, which is kind of when British

any definitive resolution, but the artists involved are certainly

fashion started, and it’s always been linked to music,” he says. “The

thankful for the opportunity they’re provided. “Really, it’s fucking

clothes we wear [Burberry] tie in with our look, and we find it a

amazing,” says Tom Odell, a 23-year old London-based singer,

natural fit.”

pianist and songwriter who, when Burberry unveiled its 3D Live

And at the end of the day, Burberry is a very cool brand. It’s

experience in Taipei, Taiwan last month, was the brand’s guest

clothing is enviable, it’s engaged in and revolutionising the use of

performer. “I worked with a film composer who helped me put the

digital media, not only leading the fashion industry but, in some

arrangement together and then we had two days of rehearsals here

respects, the broader commercial world, and yet it’s tied up in this

in Taipei before tonight,” explained Mr Odell of the experience,

brilliant history of outfitting soldiers in the first world war. That it’s

his first, of working with a local orchestra of college-age music

leaped and bounded so far ahead of its market competitors is with

students. The musician’s profile is, as yet, small: Google sheds little

thanks to Mr Bailey and the company’s CEO, Angela Ahrendts,

insight into his work, simply because there isn’t that much. But

who arrived in 2006, five years after Mr Bailey joined the company

as an invited guest of Burberry Acoustic, Mr Odell not only

as creative director. Together, the pair is credited with transforming

performed for the first time in Asia, but will also record acoustic

the brand from mass market to high end by elevating the tartan check

music sessions to be uploaded to the brand’s hugely popular

through clever design and a push into the digital world.

YouTube channel and fed through its vast social media channels.

While large luxury houses spend time assessing the benefits

That platform essentially forms the crux of Burberry Acoustic,

of engaging with social media applications — of having a Facebook

which “celebrates the Burberry heritage of founding, developing and

page, a Twitter account, a YouTube channel — Burberry is busy

supporting emerging British talent,” notes a company spokesperson.

amassing a following and, in doing so, building a community

“Music is something very close to my heart… something that I have

that, with time, only strengthens customers’ relationship with

always loved and is connected to everything we do,” explains Mr Bailey,

the brand. A Facebook fan, and Burberry has near 13 million,

noting that Burberry’s active engagement with British music doesn’t

double that of Louis Vuitton, Chanel, for example, may not purchase

end with the recording and promoting of exclusive tracks. Indeed, Mr

a coat as soon as they see it live-streamed from Burberry’s runway

Bailey personally curates the soundtrack of the brand’s seasonal shows

show, which they can do, in a world first when the function was

in London and Milan, with previous seasons including Adele, The

introduced in 2010, but certainly the brand recognition creates

Clash, The Beatles, Bryan Ferry, Marina and the Diamonds and Rae

a sense of trust. Drawing on its sense of community, Burberry

Morris. Many of the contemporary artists are typically seated front row

launched Art of the Trench in 2009, a website independent to its

at the shows, 18-year old Ms Morris included, bedecked in Burberry

main platform that allows people anywhere in the world to upload

clothing. The more model-looking — Patrick Wolf and Liam Wade —

images of them wearing a trench coat. It plays on the voyeurism

have also sat for acclaimed photographer Mario Testino’s brand

that so much of online fashion culture is built around, with Scott

campaigns, finding their face plastered on billboards from London

Schuman, the photographer behind The Sartorialist, involved in

to Las Vegas.

the project. But it also allows regular people to engage with a global

The promotion and support is multi-layered and tied up

luxury brand on a level previously unexplored; where historic

inherently in the brand’s image, which begs the question of

houses traditionally had certain boundaries, Burberry is keen to

Burberry’s exploitation of musicians as a way of promoting its

break them down.

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Imagery provided by Burberry

BURBERRY

British band Life In Film

photographed for the Burberry Aviator campaign

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British musician Marika Hackman

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Photography provided by Burberry

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BURBERRY

L

ike Mr Odell in Taipei, it was Life In Film’s first visit to Australia when they played at an event at the 2011-opened Sydney flagship store to celebrate the launch of the Burberry Aviator sunglasses, for which they were photographed for the campaign and recorded an exclusive track, at the close of Australian Fashion Week in early May. Similar events were held in Paris, Milan and New York, with the campaign's three

other artists — One Night Only, The Daydream Club and Marika Hackman — performing around the world on the one night. Despite having a much larger profile than that of Mr Odell , Life In Film’s members — Edward Ibbotson, Dominic Sennett, Samuel Fry and Micky Osment — didn’t imagine connecting with fans Down Under quite so soon. “People have found our music on the internet, and we thought it would be a long time before we could play here, so it’s a really good feeling to be in Sydney today,” explained Mr Sennett during an interview the day of the 500-guest event.

After discovering the 2009-established Life In Film, Burberry then asked Mr Fry to feature in its fall 2010/2011 Mario Testino-lensed campaign, which was certainly the highest profile project the lead singer had worked on. “It was insane,” he says. “I had absolutely no concept of the scale of it.” From there, the relationship developed, with the band recording an acoustic performance of their track Alleyway, which, to date, has near 450,000 views on Burberry’s YouTube channel. “We hadn’t gone out of our way to do anything like that, so it was an honour for him [Mr Bailey] to ask us,” says Mr Ibbottson. “It opens us up to people who wouldn’t have found our music, because Burberry is, well, Burberry,” says Mr Fry of Burberry Acoustic. “It’s a great platform for us.”

Indeed, given Burberry’s profile, Mr Bailey does have an opportunity to make brand ambassadors of much larger celebrities than that of Mr Odell or the Life In Film band members, with their no discredit to their talent. In 2009 and 2010, British actress Emma Watson starred in the brand’s campaigns, and surely that level of global recognition is capable of selling more trench coats than an emerging band.

But Burberry is a brand that prides itself on authenticity and heritage, and Mr Bailey’s choices reflect the longevity inherent in the brand; he believes more strongly in talent than he does an of-the-moment face. “He took a punt on us,” says Mr Sennett, “and that’s such an honour when he could have chosen much better known bands.

We like that approach, as opposed to just getting an American superstar, which cheapens the brand. He [Mr Bailey] is helping us out in so many ways.”

The relationship, should it have been handled by another brand, may have been different. “We have not once been asked to change our music,” explains Mr Sennett of the past year’s interaction with Burberry, for which the band has performed a number of times, including now in Sydney. “It’s a cool brand and is universally respected, and that it’s British, and we sound quite British, works well for us.”

“Working with musicians makes our brand about more than just clothes,” explains Mr Bailey of the decision to integrate music into the Burberry world.

“It’s about stories, attitude, energy, emotion and the people who inspire us. I love that the things we do overlap and talk to all these different worlds.” As he notes, musicians are integrated in everything the brand does in a number of ways — live acoustic performances, recorded sessions, brand ambassadorship — but such an approach essentially parallels the convergence of creative streams in contemporary culture. As Mr Osment says, “we’ve noticed how music magazines are going down by the wayside, while fashion and lifestyle and arts culture are becoming combined and much more prevalent [as a combined force]. Everything in modern living has become so entwined.” That was certainly the case when the band members visited Sydney to find themselves interviewed by fashion magazines, care of Burberry’s profile, as opposed to music journalists. “It’s a different setting, and it’s great that we’re exposed to different people who are interested in our music.”

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FASHION

OPPOSITE

World Jacket Ermenegildo Zegna Shirt

Photography Jordan Graham | Styling James Dykes Grooming Max May | Hair Sophie Roberts 53

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OPPOSITE

ABOVE

Calvin Klein Shirt Tom Ford Vest & Trousers, Available At Harrolds Prada Tie Blazer, available at grandma takes a trip Topman Pocket Square

Vintage Blazer, available at Grandma Takes A Trip Alexander Mcqueen Shirt, available at robbie ingham Tom Ford Tie Skin Deep Trousers Anton Coat, prada briefcase

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FASHION

55

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FASHION

57

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FASHION

PREVIOUS

Anton Trousers, Hugo Boss Shirt Alexander Mcqueen Scarf, Available At robby ingham Topman Coat, Skin Deep Hat

OPPOSITE

skin deep shirt tom ford suit, available at harrolds

59

ABOVE

Calvin Klein shirt and suit Burberry trench coat Akubra hat. from skin deep

MANUSCRIPT

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FASHION

LEFT

Paul Smith Shirt Hugo Boss Suit Vintage Rain Coat, From Grandma Takes A Trip Skin Deep Hat RIGHT

Vivienne Westwood Shirt Skin Deep Suit & vest World Trench Coat Lagerfeld Gloves

OPPOSITE

Calvin Klein Suit Emporio Armani Trench Coat Lagerfeld Shirt Eton Tie stylist's own hat

Peter Edward Richardson/The Agency Models Digital Operation Jeremiah Wolf | Photography Assistance James Bailey Styling Assistance Jess Tan 61

MANUSCRIPT

Stockists

AKUBRA / akubra.com.au

AMERICAN APPAREL / americanapparel.net

BURBERRY / burberry.com

ANTON’S / 02 9361 0007

CHRIS RAN LIN / chrisranlin.com

CK CALVIN KLEIN / calvinklein.com

COURTNEY WHITE / theloop.com.au/courtneywhite DR MARTENS / drmartens.com

EMPORIO ARMANI / Armani.com

ERMENEGILDO ZEGNA / zegna.com

ETON / etonshirts.com

GRANDMA TAKES A TRIP / grandmatakesatrip.com

HARROLDS / harrolds.com.au

HUGO BOSS / hugoboss.com

LAGERFELD / karl.com

KSUBI / ksubi.com

LOUIS VUITTON / louisvuitton.com

PRADA / prada.com

OAKLEY / oakley.com

ROBBY INGHAM / robbyingham.com.au

SKIN DEEP / skindeep.com.au

SAX / saxfetish.com

THOM BROWNE EYEWEAR / thombrowneeyewear.com

TOM FORD / tomford.com TOPMAN / topman.com

VIVIEN SHEN / studiovs.tumblr.com

YULIY GERSHINSKY / yuliygershinsky.net

WORLD / worldbrand.co.nz

62

Jonathon D. Miller, 30, is a busy man.

Whilst running his own web design business and playing Dad to his new baby boy, Jonathan applies his magic touch to all manner of artistic projects of passion. He runs Broken Stones Records, a label showcasing Australian homegrown talent and plays in two of his own musical projects; Des Miller and The Magnetic Fields.

Jonathon’s wardrobe is a handsome mix of dishevelled charm, timeless and classic but always highlighted with something unique.

Jonathon wears Whillas & Gunn shirt, Zanerobe jacket, his own jeans and SeaVees shoes.

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