FROCK MAGAZINE 2011 by Sophia Mac

CI-11-327 CRICOS no. 00213J

Create the future with us Through forward-looking courses, practice-led research and a proven track record in growing creative enterprises, QUT is leading the way in creative industries. A variety of courses in performing arts, production, design, writing and communication from bachelor degrees to PhD level are offered â&#x20AC;&#x201C; including Queenslandâ&#x20AC;&#x2122;s only bachelor degree in fashion.

More information Phone (07) 3138 8114, email creativeindustries@qut.edu.au or visit www.qut.edu.au/creative-industries.

FROCK PAPER SCISSORS 2011 Editors MADISON DRABBLE & MEAGAN LAWRENCE Online Editor SUSAN HAINES Online Deputy Editor TESS CAMERON

LAYOUT & DESIGN Creative Director SONIA KWEK Layout & Design Editor LAUREN GIBSON Layout & Design Team MICHELLE THOMAS & REBECCA PITT Web Construction SOPHIA MARY MCDERMOTT & LARA SALAMEH

FEATURES Features Editor SIAN CAMPBELL Chief Sub Editor MARIANNA ECONOMOUS Online Features Editor ZOE MELLICK Online Chief Sub Editor ASHLEY TUCKER Online News Editor MARGUERITE BOASE Features Photographer TANYA WAKELEY

FASHION & BEAUTY Fashion Editors ALICIA COLEMAN & SHEA CAMERON Fashion Assistant KASEY TWIDALE Stylist HANNAH O’CALLAGHAN Men’s Fashion Editor SAM ALDENTON Beauty & Lifestyle Editor ANJALI RAJ Online Fashion Editors JACQUELINE ALLAN & TERRI CHALMERS Online Beauty & Lifestyle Editor MELISSA RASMUSSEN

ADVERTISING & PUBLIC RELATIONS Advertising & Distribution Manager MADELINE PLUNKETT Assistant Advertising & Distribution GENEVIEVE CHAN Public Relations Manager BIANCA RIDGE Assistant Public Relations Manager KATELAN SWEENEY Social Media Manager TENGKU NUR MARIAM Videographer ESTHER LOKE

MAGAZINE CONTRIBUTORS Amber Gerrad-Maxwell, Ashley Tucker, Christina Papa, Dusty Ansell, Ellie McKay, Hayley Elsaesser, Emma Bedsor, Krissie Rogers, Lauren Maugham, Lisa Maynard, Lucinda Hunter, Marie Tolland, Marianna Economous, Rachel Mellers, Sam Aldenton, Skye Kerr, Sonia Kwek, Sophie Kassay, Susan Haines, Tanya Wakeley, Vela Krachangloke, Winona Davis

WEBSITE CONTRIBUTORS Alicia Coleman, Anjali Raj, Annalise Tromans, Amber Gerrard-Maxwell, Ana Armesto, Amy Boughen, Belinda Hall, Caitlin Moriarty, Christina Papa, Christine Conlon, Ellen-Marie Elliot, Emma Reid, Felicity Shield, Genevieve Chan, Jieun Heo, Hannah O’Callaghan, Isabelle McGreevy, Jackalyn Byrne, Jacqueline Allan, Kasey Twidale, Katelen Sweeny, Katherine Hill, Krissie Rogers, Kristal Choi, Laura Templeton, Lauren Gibson, Lauren Maughan, Lisa Maynard, Leonie Smith, Marguerite Boase, Marianna Tigani, Marie Tolland, Marilyn Hunt, Marlise Newell, Megan Staller, Melissa Rasmussen, Michelle Lamont, Michelle Thomas, Nicole, Smyth, Paige Ross, Pollyanna Gardner, Sara Cowling, Sian Campbell, Sophie Kassay, Susan Haines, Shabnam Khan, Stephanie Hyland, Sunghyun Kim, Tina Son, Winona Davis, Tanya Wakeley, Terri Chalmers, Tess Cameron, Zoe Mellick

MANAGING EDITORS Kay McMahon & Erica Bartle k.mcmahon@qut.edu.au

CONTRIBUTING PHOTOGRAPHERS Amy Boughen, Andre Cois, Ashleigh Hansen, Belinda Hall, Elizabeth Grinter, Elisabeth Willis, Freya Lamont, Fraser Stanly, Greg Sullavan, Kerena Nuttall, Kiran Raj, Liam O’Donnell, Shaelah Ariotti, Zoe Mathers

PHOTOGRAPHY Elisabeth Willis

FROCK contents

FEATURES

All Keyed Up

A Burning Issue

FASHION

A Pattern For Success

Print Play

Brisbane To Big Apple

The Huntress

Great Fashion Escape

19 20

In With The Old, Out With The New

The City Called Me So I Came

Be My, Be My Summer Love

21 22

A Dress A Day

Double Exposure

Power To The People

Stitch ‘n’ Bitch

Model Citizens

MAN 48

Lone Rider

The Heritarian Man

The Devil’s In The Detail

No Junk Male

16 www.frockpaperscissors.com

BEAUTY & LIFESTYLE 60

DIY Beauty

Fed Up

To Be, But What To Be?

66 Baby Steps to Big Business 68

Suite Designs

Little Lane That Could

Raising The Bar

“Great things are not accomplished by those who yield to trends and fads and popular opinion.” – Jack Kerouac

This year, FROCK PAPER SCISSORS has turned its focus to identity, and how its progressive formation reflects and defines our individuality. Similar to how language, gender, beliefs and experience form individual identity, the FROCK identity has, throughout its short existence, been shaped by those who have impressed their own ideas and influence to its pages each year. The sixth edition, entitled Go Your Own Way, is a testament to the impressionable souls of life – the adventurers; the risk-takers; the collective of individuals who have strayed from the garden path and are changing the way we think and act, often without even knowing it. Two such people are Sarah Owen and Maxine Thompson – from QUT to NYC, they have taken the leap into new territory and are making their mark on the international fashion industry (see Brisbane To Big Apple, page 15). As we all know (and often learn the hard way), stepping out on your own isn’t always easy. In To Be, But What To Be? (page 64), we look at the sometimes uneasy transition from adolescence to adulthood, before celebrating those who have found their footing and have championed their respective industries in Baby Steps To Big Business (page 66). We also explore the ever-evolving identity of fashion, and how innovations in technology are shaping the current industry (see All Keyed Up, page 8 and Power To The People, page 26). The sixth issue of FROCK is for no one and everyone; for those who inspire and aspire; for those who take a chance and dance to their own tune. As the magazine continues to grow and define itself each year, we hope you too will be able to define your identity and ultimately, your future. Go your own way –

Madison Drabble & Meagan Lawrence

ON THE COVER PHOTOGRAPHY Elisabeth Willis STYLING & MAKE-UP Hannah O’Callaghan HAIR Tahnee Higgins MODEL Elizabeth O’Callaghan GARMENTS Fernando Frisoni from threadbare.co

FROCK ta ures fe

PHOTOGRAPHY Greg Sullavan DESIGNER Stefanie O’Dea MODEL Ella Lethbridge

They’re not designers, stylists, or magazine editors – yet. The next generation of influential fashion forces are making their mark online, forcing a global industry to sit up and take notice. WORDS: ASHLEY TUCKER

PHOTOGRAPHY Elisabeth Willis STYLING & MAKE-UP Hannah O’Callaghan HAIR Tahnee Higgins MODEL Elizabeth O’Callaghan

FROCK features

WHO COULD EVER FORGET THE STRANGE IMAGE: THE KING OF COUTURE, THE MASTER OF CHIC AND THE DEMIGOD OF PARISIAN CATWALKS, CHANEL CREATIVE DIRECTOR KARL LAGERFELD PHOTOGRAPHED IN A WARM EMBRACE WITH 15-YEAR-OLD CHICAGO BLOGGER TAVI GEVINSON. Barely coming up to his elbow, she was chaperoned around the Haute Couture shows of Paris by her father. Since Gevinson started her blog, Style Rookie, in 2008 at age 11, she has travelled the world, shooting the sideshows of the fashion circus - the editors, the models and the cool girls, revealing all aspects and minutiae of their everyday lives. Gevinson is just one of an increasingly powerful and influential group of bloggers whose contribution to the fashion world was, only a few years ago, barely acknowledged in mainstream press. No one, least of all the global fashion industry, could have ever predicted just how many people would be interested in looking at photos of ordinary people and their daily outfits, uploaded seconds after they were shot – or that taking them would rocket said ordinary folk to celebrity status. Things certainly have changed. Nowadays it seems a blog is all you need to command a profile in the fashion world – a world where bloggers like Gevinson are proving that, unlike a trend, they’re here to stay. Gevinson along with a growing army of other fashion bloggers have changed the face of the industry. If you need proof of their growing influence, look no further than the mecca of the industry – the front row of the leading fashion shows. At Dolce & Gabbana’s Spring/Summer 2010 show, D&G not only gave leading bloggers Garance Doré, Scott Schuman, Tommy Ton and Bryan Grey-Yambao the best seats in the house – they received gleaming new laptops on arrival. The opinionated posts of Bryan Grey-Yambao (Bryanboy) saw the fashion addict from Manila end up with Marc Jacobs on his speed dial, a Marc campaign (Fall 2008) styled to mirror him, and a bag named after him. Marc Jacobs personally sent him a carefully gift-wrapped package which he opened to find the bag dedicated to him in green ostrich. Afterwards Bryan wrote on his blog that he had tears streaming down his face and “had never been happier”. Beauty bloggers and vloggers aren’t doing so bad either – Michelle Phan has revolutionised the beauty business by uploading her make-up tutorials on YouTube, where one such tutorial on Lady Gaga’s Poker Face look has amassed up to 30 million hits. Thanks to the strength behind these numbers, it wasn’t long before Phan was signed by beauty company Lancôme. Phan isn’t the only one whose blog has brought success from those keen to collaborate and identify themselves with a new generation of media-ites. There are books being published (The Satorialist by Scott Schuman), t-shirt lines being created (Garance Doré for Gap) and advertising campaigns being shot (Lacoste by Rodie Rose). Even the bloggers are slightly bemused by their newfound importance. When Bryanboy found himself one seat down from Vogue Editor-in-Chief Anna Wintour at the Dolce & Gabbana Spring/Summer 2010 parade in Milan, he confessed he could hardly take pictures. “Oh my God – I’m sitting with royalty!” he gasped.

So what has made the industry sit up and take notice? Surely it has to be more than Dolce & Gabbana mixing up the standard fashion hierarchy and putting four bloggers in the front row? While they might only be new to the blogging game, that doesn’t mean they’re not savvy about it. Bloggers are aware they can do the one thing everyone wants to do these days: connect. They have seized the opportunities created by 21st century digital media – interactive, globalised, multimodal and fast – and energised a parallel force in fashion media. The typical online fashion blog offers fashionistas a completely different style of commentary about fashion, beauty and lifestyle, and gives them the opportunity to share their own opinions, tastes and obsessions – something they can’t do in the mainstream fashion media such as magazines. “When I was a teenager, the only way to engage with fashion was to buy the monthly magazines, but even then, you were anonymous and had no input. You were trapped in the middle of nowhere,” says 29-yearold blog consumer Jessica Williams who hails from small country town Malanda in Far North Queensland. “Now you can be at home in your Abercrombie and Fitch pyjamas and still get the latest in fashion news from anywhere in the world. As long as you’ve got an Internet connection, you can be part of the conversation.” Three years ago, 22-year-old Kobi Lagana’s website, You Want The Lowdown, bloomed into an Internet hit, connecting Lagana and her dreamy closet with a more fashion-conscious crowd. Lagana started her own blog, she says, to experiment with the medium, describing it as “the pen and paper of our generation”. Her blog is part style diary, part shopping wish list and part virtual inspiration board, featuring high and low mixes of international and local labels. She covers anything from a day out at Mount Cotton with Brisbane designer Benjamin Ringuet, to a favourite fashion magazine editorial. Lagana believes the recent explosion in the presence and popularity of fashion blogs is because people are interested in personal style. “No matter what sartorial taste, people are inspired to read about the individual creativity it takes to pull a look together.” It’s not just readers who have a desire to connect – bloggers are also driven by the engagement and responses they get from their followers. According to Vasili Kaliman, a blogger and social media expert from Melbourne, connecting with an audience and engaging in a discourse is something that is born from the desire to be heard. “I think it’s an innate human need to have an audience for whatever it is that you do. The fact that you have an audience really compels you to keep on doing it. You realise you’re not just whistling in the wind, you’re actually doing something which people are finding value in,” says Kaliman. As the inevitability of change besets the fashion industry, it seems no one can ignore the power of the fashion blog. Users are engaging with the fashion system in ways that weren’t possible in the past – herein lies the potential of fashion blogging to reset the parameters of fashion discourse, and open it up to voices and visions that have previously been excluded from mainstream channels. In the 21st century, it’s clear blogging has become a profession – even if no one has worked out the full terms and conditions.

“NOW YOU CAN BE AT HOME IN YOUR ABERCROMBIE AND FITCH PYJAMAS AND STILL GET THE LATEST IN FASHION NEWS FROM ANYWHERE IN THE WORLD.”

www.frockpaperscissors.com

PHOTOGRAPHY Freya Lamont STYLING & MAKE-UP Hannah O’Callaghan MODEL Lilly Rathie at Vivien’s

FROCK features

For over 30 years we’ve been told to cover up, but stylish sun worshippers still continue to bare all in the name of fashion. WORDS: SHEA CAMERON WHEN NIGELLA LAWSON – SELF-APPOINTED DOMESTIC GODDESS AND SEDUCTIVE LICKER OF SPOONS – DECIDED TO TAKE A DIP AT BONDI BEACH EARLIER THIS YEAR, IT CAUSED QUITE A RIPPLE. Dressed head-to-toe in black, her SunSmart attire looked more appropriate for a pilgrimage to Mecca than for an afternoon spent at one of the world’s most iconic beaches. As photos of Lawson’s swimsuit were beamed around the globe, the local media were busy drawing unflattering comparisons between her beachwear and large marine mammals. But was the joke, in fact, on us? Lawson, at the age of 50, has the alabaster complexion of a 35-year-old, and her lack of a ‘healthy’ tan seemingly hasn’t caused her popularity any harm. So while Lara Bingle look-a-likes may chortle in their leathery, tanned hides at Lawson, the question lingers: in a country where more than 200,000 people each year are treated for skin cancer, should we not be considering a more ‘Nigella Lawson’ approach to swimwear? Since the turn of the century, fashion designers such as Coco Chanel have been producing resort wear designed to be accessorised with a glowing tan. As a result, the bronzed body has been placed on a pedestal for more than a century. Once a representation of a healthy, fit form, we now realise a tan has little to do with good health – instead, it is a sign of skin cells caught in a danger zone. Ultraviolet (UV) radiation from sunlight directly enters our skin cells and causes both short and long term damage, the most visible of which is sunburn. To counteract some of this damage, the cells naturally produce the pigment melanin, which might give us the tan we desire but provides no more protection than a sunscreen with a Sun Protection Factor (SPF) of approximately three. While the scientific evidence is overwhelming, swimsuits have evolved little since the sun-drenched and liberated 1960s, with almost all our flesh left exposed to the sun’s damaging rays. While our warm climate may encourage us to hit the beach and show some skin, the price of wearing a bikini summer after summer comes at a very real cost. Two in every three Australians will develop some form of skin cancer by the age of 70, and for 1 in 20 it will come in the (often deadly) form of a melanoma. Australia’s collective obsession with sport, an outdoor lifestyle and scantily clad fashions are all major contributors to an epidemic costing taxpayers what Cancer Council Australia estimates to be almost $300 million annually. While you’d think these statistics would be enough to scare anyone into covering up, experts are finding that appealing to vanity, rather than mortality, will see the greatest impact on behaviours, especially in teens and young adults. Professor Michael Kimlin, Director of Queensland University of Technology’s AusSun Research Laboratory, is a first-hand witness to the damage caused by prolonged sun exposure. He continues to advocate a change to more SunSmart practices, especially among the young. In a recent talk to QUT fashion design students, Professor Kimlin explained that the age at which sun exposure seems to have its most lasting effect is in late childhood through to early adulthood. “While sun exposure at any age causes damage, prolonged and repeated exposure at an earlier age tends to play a significant role in a person’s predisposition to developing cancers later in life,” he says. To show teens the damage they’re doing to their bodies, Professor Kimlin sometimes invites high school students into his laboratory to have their faces photographed using a specially designed UV camera, which shows up otherwise invisible UV-related skin damage. In the photos, the students can’t miss the unmistakable signs of premature aging - including wrinkles, sunspots and blemishes in the deeper layers of

the skin. “In the past we have had 14-year-olds with the same level of sun damage we’d expect to see in 25-year-olds. When they see the photos I think the message really starts to sink in…they don’t like the thought of looking haggard when they get older,” Professor Kimlin says. However, he also admits that while many young people are aware of the damage, there are very few sun-safe products that fashion-conscious teens find socially acceptable. “While I think it’s a pretty tough sell, if someone could design a range of sun-safe clothing that people actually wanted to wear, they’d really be onto something.” It was this idea that inspired a meeting of minds. Dean Brough, lecturer and student coordinator of QUT’s fashion design course, has struggled for years to find garments capable of protecting him during his many weekends spent in the Queensland sun. “I cannot understand why in Queensland, of all places, it is so hard to even find a long sleeve rash shirt,” an exasperated Brough tells the class. He demonstrates his makeshift solution to the problem, which involves pulling his turtleneck up to his eyes and dropping his hat down to his eyebrows, resulting in what you would imagine a Ninja doing a Dick Tracey impersonation would resemble. It is then that Brough sets the class a challenge: to produce a range of sun-smart sportswear that is both fashionable and appropriate. Returning to the classroom a few weeks later, the students are far more upbeat about their challenge – and the results speak for themselves. While daunted at first with the task, second year student Makeda Zucco ultimately found the exercise rewarding. “At first I was worried that we would have to use all those uncomfortable fabrics that are normally used for sun-smart clothing, but then Professor Kimlin explained that contrary to popular belief, it doesn’t matter what type of fabric is used – as long as it’s thick enough to block light and isn’t stretched too tightly across the body. That opened up a lot more design possibilities,” Zucco explains. The resulting designs vary from ballet warm-up gear fitted with hoods and printed with melanocytes, to wetsuits for beginners, taking inspiration from surrealist sea creatures. The garments are far from the boring fluorescent rash shirts currently on offer, and are far more wearable. With these savvy fashion designers of tomorrow on board, perhaps there is hope after all that in the future we will not have to sacrifice our sartorial credentials to spend some time in the sun. With these prototypes still confined to studio mannequins, the fashionable among us still face the dilemma of what to wear to the beach this summer. Professor Kimlin offers a well-worn piece of advice for those who can’t bear to be seen at the beach in long sleeves. He suggests saving the bikini for before 10am or after 3pm, limiting time in the direct sun to less than 20 minutes and always coating exposed areas in a thick layer of sunscreen. “I don’t want to scare people out of being in the sun altogether. Sunshine provides us with Vitamin D, and has been shown to boost our mood. But at least by trying to avoid exposing our skin to the worst our sun has to offer, we may steer clear of most of the damage its radiation can cause,” he clarifies. While many will agree that it’s imperative to avoid melanoma and skin so weathered that it resembles John Wayne’s boots, perhaps not everyone will be purchasing Nigella Lawson’s black ‘burkini’ for their Spring/Summer 2012 wardrobes. Even Professor Kimlin finds it a bit of a hard sell. “Yeah it’s not the best look, is it?” he admits upon seeing the photos. “But sun safety is the reason Nigella looks 10 years younger than the woman standing next to her, and isn’t that what women want more than a tan?” Given a tan or 10 years tacked onto our lives, the answer is obvious, and can be summarised in just three words: slip, slop and slap.

“SUN SAFETY IS THE REASON NIGELLA LOOKS 10 YEARS YOUNGER THAN THE WOMAN STANDING NEXT TO HER, AND ISN’T THAT WHAT WOMEN WANT MORE THAN A TAN?”

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FROCK features

Where will this year’s crop of Queensland University of Technology fashion graduates be five years from now? If the alumni is anything to go by, the sky’s the limit. WORDS: SIAN CAMPBELL

“THERE HAS TO BE A BALANCE BETWEEN YOUR MENTAL SATISFACTION AND THE FINANCIAL NEEDS OF YOUR COMPANY,” SAID THE LATE ALEXANDER MCQUEEN. “[But] I always remember that it’s the fantasy, the artistic side, that makes customers want to buy the straightforward black pants.” A graduate of the prestigious Central Saint Martins, like his successor Sarah Burton, the inimitable McQueen knew the business of fashion beyond the creativity and frivolity. While it takes a certain tenacity to make it in fashion, formal training gives our most promising talents the tools to bring their work to life and, importantly, to customers who love clothes. QUT Fashion Design School graduate, Gail Reid, has found international success with her label, Gail Sorronda, since debuting her collection at Milan Fashion Week and appearing in Vogue Italia. Now stocked by Dolce & Gabbana in Italy, she has lived and worked overseas in both London and Paris. But Reid is just one of a burgeoning group of QUT fashion graduates using the skills, knowledge and contacts they acquired during their studies to rise to acclaim in Brisbane and beyond. Ana Diaz, a 2010 graduate, has just released her second collection for her own label, Diaz, and has collaborated with Sportsgirl on a range hitting stores in March 2012. Meanwhile, graduate Jo Turner has recently opened a Melbourne store after the 2010 launch of a flagship studio in Brisbane’s James Street precinct where she sells her label, Francis Leon. “The idea of the store was to create a space which integrates the consumer into the Francis Leon brand; where they can understand the origins and appreciate the evolution of each garment,” she said. “Our customers appreciate the fact we can see if we need to alter a garment for fit and that we can do it for them.” But while past students may be experiencing huge success on the backs of their fashion degrees, this year’s crop are preparing for ‘the real world’ by finding more ways to make their mark while still studying. Fashion graduate Allanah Sarafian was heavily involved in the 2010 Fleet Store – a pop up project – during the second year of her fashion degree. There she worked as a designer on consignment and all 15 pieces of her collection sold out. She says the experience, and the opportunity she had to work in the store as an assistant, really gave her a feel for the person she was making clothes for. “Just getting to see what sort of items were sold really helped me to get a feel for the direction I want to take my designs in, in terms of what’s marketable,” she says. For Sarafian, it was about connecting with the customer and finding her feet in the industry. As Sarafian describes it, the experience

was a mutually beneficial one. “The prospect of buying something from an up-and-coming designer who is potentially going to be a big name one day was really exciting for the shoppers,” she explains. Sarafian, who aspires to be a freelance costume designer or to intern with a wardrobe department in New York, says she’s looking forward to further involvement in the Fleet Store after she graduates in December (2011), and is already planning her next collection which will hit the store in May 2012. “The experience in 2010 really taught me how to develop a coherent collection, and I think my next collection will be so much better for it. I just want to make things that are wearable and versatile – garments that could feature in a movie and could also be worn at parties.” Kirsty Glynn is a 2011 fashion and business graduate getting ready to make her mark on the industry. She says students are increasingly seeing the benefits of their four-year fashion/business dual degrees, which have them studying an intensive year of business in the first year before combining design and business subjects in second year. “The dual degree is a great experience – it opens you to avenues you might not have known you were good at,” she says. “It’s so important for those that are looking to start their own fashion businesses after graduating. It’s so useful to explore all the different elements of the design and business process. I’ve learnt through this course that my strength really lies in the design element, so I think that would ultimately be my focus.” If there’s anything to be learnt from the success stories coming out of the QUT fashion degrees, it’s that anything is possible. Where will we see Sarafian and Glynn in five years? If the example set by their predecessors is anything to go by, it’s sure to be somewhere amazing. Maybe even McQueen! PHOTOGRAPHY Greg Sullavan STYLING Stefanie O’Dea HAIR Chrissy Taylor MAKE-UP Candice Frost GARMENTS QUT Fashion Graduates MODELS Ella Lethbridge & Tom Jackson IMAGE ONE She wears Ali Kornhauser, He wears Stylist’s own IMAGE TWO She wears Rosie Blanch, He wears Dana Moore IMAGE THREE She wears Clea Prentice, He wears Dana Moore IMAGE FOUR She wears Stefanie O’Dea, He wears Sally Edwards IMAGE FIVE She wears Katrina Gaskin

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From international fashion trends to leading Australian designers. From the high street fashion of Queen Street Mall to the designer boutiques of Elizabeth and Adelaide Streets, thereâ&#x20AC;&#x2122;s head turning fashion on show in The City. www.bnecity.com.au

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FROCK features

It’s the survival of the fittest in the cutthroat world of fashion. Two Brisbane creatives know this better than anyone – they’ve ventured outside the Brisbane bubble and into the concrete jungle that is New York City. Find out what it’s like to jump straight from the River City to the City That Never Sleeps. WORDS: VELA KRACHANGLOKE

MAXINE THOMPSON

SARAH OWEN

WHAT DOES YOUR ROLE AT CHANEL ENTAIL? I’m a Customer Service Ambassador and Personal Assistant to the Boutique Director. I open the store, answer emails, manage the staff, deal with angry customers … it’s pieces of everything!

TELL US ABOUT YOUR JOB AT WGSN (INTERNATIONAL TREND FORECASTING NETWORK). Mostly I cover youth trends in New York, but I cover everything. One day I’ll be at a festival taking street shots or sitting front row at fashion week in Mexico or South Africa, and the next I’m checking out Manhattan galleries.

WHAT INSPIRED YOU TO MOVE TO NEW YORK? I graduated in November 2010, and needed a change of scene. Brisbane wasn’t inspiring or challenging me. A friend called one day and asked if I wanted to move to New York with her. Two months later I arrived! WHAT DOES NEW YORK OFFER THAT OTHER CITIES DON’T? There’s so much going on all of the time. Every night there’s an opening, exhibition or installation going on. Sometimes it’s overwhelming, and I end up staying home because I can’t decide what to do. WHAT’S THE BEST ADVICE YOU COULD GIVE SOMEONE WANTING TO GET STARTED IN NEW YORK? Say YES to everything. Be confident, positive – people notice your energy. Network – collect business cards, send follow-up emails. You never know what someone can offer. DO YOU THINK THERE ARE GOOD OPPORTUNITIES IN BRISBANE? Lots of success has come out of Brisbane – people just need to have the confidence and put themselves out there. Nothing gets handed to you and you need to work hard, but it’ll pay off.

WHAT MADE YOU MOVE TO NEW YORK? I feel like NYC was inevitable – I have scrapbooks from my childhood to prove it! The internship with Vogue was a total shock. I quit my job and packed up my life in Melbourne – when Vogue calls, you jump. IS IT HARD FINDING WORK IN NEW YORK? Definitely. I finished up with Vogue and was freelancing for the New York Times – I was totally broke, crashing on a friend’s couch. I’d apply for hundreds of jobs and hear nothing. Luckily New York Magazine took me on as a paid intern, but once WGSN came along I finally felt like all my hard work paid off! IS NEW YORK MORE COMPETITIVE THAN OTHER CITIES? Definitely. It’s the city you come to work in if you want to compete with the best of the best. WHAT DO YOU DO FOR FUN WHEN YOU’RE NOT WORKING? I’m finally in a position where my fun is work, and my work is fun. I’ve always wanted my job to be an extension of my personality so now what I do Monday to Friday 9-5, I do 24/7 anyway!

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During times of great oppression and suffering in history, women have always been united through their use of clothing as a form of power and expression. WORDS: ELLIE MCKAY

“FOR GIRLS, LIFE WOULD BE TASTELESS WITHOUT FASHION,” BAGHDAD UNIVERSITY ENGINEERING STUDENT, MERNA MAZIN, TOLD THE NEW YORK TIMES IN 2009. Just two years later, American troops are withdrawing from Iraq and there are signs that this fervour of female sartorial freedom will be short-lived. Now many Iraqi women are taking a measured but quietly defiant approach to modernising their wardrobes: a blonde streak here, a black lace head scarf there, a hint of shin beneath a skirt. They wouldn’t be the first. Developing individual style and channelling creativity through dress in the midst of a war-ravaged landscape fraught with tension might seem a strange proposition, as practicalities replace frivolity in the name of sheer survival. But in times of hardship and uncertainty, fashion becomes a means for escape; a glimpse at freedom; and even a political statement. In 1940, as the Second World War gained momentum, some defiant German women dared to rally against state-led conformity by embracing French fashion. Choosing indulgent Haute Couture over staid German styles, they opposed the Nazi ideal of femininity, described by fashion historian, Irene Guenther, as “one of dirndl dresses and braided hair, scrubbed faces shining with wealth, sturdy child-bearing hips sporting seamed stockings and sensible shoes”. Fashion advice touting this uniform-like ideal was first published in The ABCs of National Socialism brochure, written by Curt Rosten in 1933. In the brochure, Rosten explains that “German men want German women... not a frivolous plaything who is superficial and only out for pleasure, who decks herself with tawdry finery and is like a glittering exterior that is hollow and drab within...”, a none-too-subtle dig at enemy France’s stereotypical woman. Still, the Third Reich’s model was not popular among the women of Germany. Guenther puts this down to the fact that “most German women were unwilling to refashion themselves solely for ideological, economic, or political imperatives of state”. Surprising, right? Despite omnipresent Nazi influence, to German women, the French fashion industry was seen as much more modern and alluring than their own. This became apparent to the Third Reich, who realised that if they couldn’t control their women from home, they would have to do it from France.

“FASHION’S IMPORTANCE DURING WAR IS LIKE A FLOWER IN A VASE. IT HELPS YOU FORGET THE HORRORS OF YESTERDAY AND COPE WITH TOMORROW.” Much like it remains now, France in the 1930s and 40s was widely regarded as the fashion capital of the world. The Third Reich’s success in its quest to politicise the fashion industry, along with its occupation of France, meant two things for Germany: German designers could source French design aesthetics to pass off as their own, and could then possess the materials confiscated from French designers to produce these designs. It was thought this takeover would skyrocket Germany to fashion supremacy. For some time, Germany controlled the French clothing and Haute Couture industries by dictating design aesthetics, implementing fabric restrictions and forcing France to pay huge levies for the costs of its own occupation. “On top of this, about 26 to 29 per cent of total French production was delivered to Germany to satisfy the demands of the Third Reich,” says fashion historian, Taylor Lou. The French fashion industry basically supported Germany’s own fashion industry. During this time, Germany was ruling politically, culturally and economically. This continued production of Parisian Haute Couture is thought by some to be a kind of collaboration with the Nazis. Others see it as France’s defiance of Germany, as ultimately Couture was still being produced by the French in France. There is no doubt Parisian Couturiers were serving Germany through their own art, and that following the

orders of the German dictators kept Parisian Couture afloat. However, the idea that this constitutes an agreed-upon, across-the-board collaboration is dubious. Parisian Couturier, Lucien Lelong, was known to waste mountains of material just so the Germans could not claim it, while Madame Grès, regarded as one of the best dressmakers of the 20th century, refused German customers entry. “I was doing the opposite of everything I was supposed to do,” she says. “I had organised a real parade for them. All the dresses without exception were in materials of blue, white and red.” This tri-colour symbol was commonly utilised by Couturiers as an act of nationalism and defiance: something no German would wear. During the lengthy and destructive Lebanese war in the 1970s and 80s, television reporter Raymonde Boutros covered French fashion for Lebanese audiences and consequently had one of the highest rated programs in Beirut. Coming out of this experience, Boutros described fashion’s importance during war as “Like a flower in a vase. It helps you forget the horrors of yesterday and cope with tomorrow”. It is evident that for German, French and Iraqi women, the desire to be expressive through clothing acts as a welcome distraction from the violence, cruelty and uncertainty brought on by war.

PHOTOGRAPHY Elisabeth Willis STYLING & MAKE-UP Hannah O’Callaghan HAIR Tahnee Higgins MODEL Anneliese Lawrie at Vivien’s Special Thanks to Mustang Flights

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PHOTOGRAPHY Elisabeth Willis STYLING & MAKE-UP Hannah O’Callaghan HAIR Tahnee Higgins MODEL Claire Ralston at Vivien’s

Watch out all you fast fashion followers - vintage clothing has made a comeback and it’s bigger and better than ever. WORDS: MARIANNA ECONOMOUS “TO WEAR VINTAGE IS TO MARK ONESELF OUT AS A CONNOISSEUR AND FASHION INDIVIDUALIST,” wrote author Mairi Mackenzie in her 2009 book ...isms: Understanding Fashion. Well, she was probably right a few years back. However, vintage fashion today seems to be doing more than overtaking mainstream fashion – it is becoming mainstream fashion itself. With vintage on the rise, and market and Etsy storeholders tacking the label onto anything more than a decade old, it is important that consumers are aware of what the label ‘vintage’ means. How many shoppers actually know that for fashion to be described or classified as vintage, it has to be around 50 years old? Any later than the 60s, and the ‘vintage’ clothes you’ve just purchased are technically considered ‘retro’, too much earlier and the clothes are classified ‘antique’. A nostalgic appreciation for that which has come before seems to be driving the marketplace lately, and perhaps after so many decades of clothing becoming increasingly immodest and radical, a drastic change in the other direction was inevitable. More and more, past-the-knee skirts, soft floral prints and pastel colours are dominating our wardrobes and the runway from New York to Paris. So why has the trend of dressing like our grandmothers and wearing their frocks become so popular among young women today? Is it because vintage clothing allows for distinct individuality and expression? Is it the quality of the garments? Or is vintage just a seemingly endless trend? “There have always been vintage lovers, but there has definitely been an increase because people are looking for individuality,” says Tamzen Holland, manager, personal stylist and merchandiser for Retro

Metro. “Some people wear vintage for eco-friendly reasons. They also know the quality is a lot better, but most people wear it because they know no one else will have the pieces they have.” Dressed in her favourite outfit – a pin-up style black and white polka dot dress with a circle skirt – Katherine Faraker of Ma Petite Fleur believes vintage clothes are more intricate as well as flattering on the female body than most trend-driven fashion today. “What I like most about vintage is how it is distinct from the trends of today, but is still modern and fashionable,” she says. “You can have such an individualised outfit which you can almost guarantee no one else will have.” But for others, like Tiziana Ferrero-Regis, fashion lecturer at the Queensland University of Technology, there is more substance behind vintage fashion than wanting to stand out among a group of trend-driven people.“Vintage fashion certainly provides for a touch of individuality, but more importantly it communicates the wearer’s status as a connoisseur of historical dress,” she says. “People who wear vintage are often those who can appreciate art and other beautiful and rare objects.” Not only are we seeing an influx of women craftily dressed in vintage, we are also seeing international designers picking up on these trends. Fashion houses Louis Vuitton, Chanel, Balenciaga and Yves Saint Laurent are raiding the house archives looking for inspiration from timeless classics to inject into their new collections. As Parisian designer, Jeanne Lanvin once said, “Modern clothing cannot renounce romantic attributes.” We couldn’t agree more.

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The revival of the social sewing circle. WORDS: TANYA WAKELEY

Photography: Tanya Wakeley

“KNIT ONE, PEARL ONE.” RING ANY BELLS? Not so long ago in a dimly lit lounge room in Australia, this was the practiced mantra of mothers passing on an essential life skill. To the fairer sex, learning to knit, sew, and crochet was both an integral rite of passage and a social tool strengthening the bond between mother and daughter. However, until recently, terms such as purling and grafting were the vernacular of a dying art form. Cut to the post-noughties and the social hierarchy has seen remarkable change. Girls are now educating their mothers on everything from social media to cooking apps. Clothes are bought online, with thimbles and bobbins more likely found in a museum than the kitchen drawer. Almost at the brink of extinction, this once mandatory skill set is being resurrected as an agent of societal change and social facilitation. The revival of the sewing art form has come by way of the ‘Stitch ‘n’ Bitch’ movement. Held in trendy cafés and relaxed bars, Stitch ‘n’ Bitch groups are all about picking up the skills your grandma or mother tried to teach you years ago. The term Stitch ‘n’ Bitch has been attributed to author and famed knitter, Debbie Stoller. She is credited as being one of the “founders of ‘girly feminism’ in which traditional feminine activities and traits, especially those rejected by feminists of the 1970s as being oppressive, are re-evaluated and oftentimes embraced.” It has been suggested that this revival of crafts from days gone by is due to a burgeoning slow fashion movement. Ecologist and author Kate Fletcher says slow fashion is “about choice, information, identity, expression and about producing quality rather than quantity.” The slow fashion ideology is not unlike the slow food movement, which espouses using traditional means to achieve a wonderful result while taking pleasure in the journey of creation. Sewing historian and Brisbane business owner, Howard Austin, has been in the sewing industry for 31 years. “In years gone by when the economy got tight, people would make everything themselves to save a bit of money,” he recalls. Today, money is still tight, but there are more options available to purchase cheap clothing, and therefore sewing skills are not as much of a necessity. “The market driving the steady increase of sales in the sewing and craft industry is a recreation or leisure market, made up of

mostly 18 to 30-years-old females. If you went back 15 years ago, you never would have seen this demographic maintaining such interest.” At a time when sewing was commonplace, the leisure dollar was being spent on things like cinema and advanced technologies – now when technology has become commonplace, we’re taking more pleasure in simpler hands-on hobbies like old fashioned crafts. “People sew for leisure instead of necessity now and the emerging new interest sees the [sewing] industry where it was 30 years ago,” says Austin. This revival of handmade crafts began in 1999 in the United States and has migrated across the world to Brisbane. New groups are readily being formed, culminating in a Brisbane scene that is positively stitching and bitching. Imagine a group of girls (and the occasional man) gathered in a buzzing café or bar, sipping, munching, knitting, embroidering and chatting. The attendees range from students to professionals, many in their early twenties, with a healthy mix of single ladies and yummy mummies. The weekly sessions are eagerly anticipated by all as a chance to relax and socialise while refining creative and productive skills. Works produced by Stitch ‘n’ Bitch groups demonstrate that practicality and creativity are embraced equally. Useful items such as bags, mittens, and socks are created alongside artistic lace patterns and more unique items such as stuffed animals and even a nipple-inspired beanie. Fiona Watkin, the founder of a West End Stitch ’n’ Bitch group, outlines a typical weekly meeting. “We bring our current projects, we often share around new yarn or knitting magazines for the interest of the group, help each other with tricky bits, have in-depth discussions about anything from Lady Gaga to linguistics, and eat cake!” Newcomers are warmly welcomed, whether novice or seasoned stitcher; the only essentials are a willingness to learn and share ideas, a bright personality and a love of beverages and tasty treats. Stitch ‘n’ Bitch groups bring the artisan skills of the 19th century together with feisty feminism and trendy 21st century surrounds. Whether you’re all tweeted out or just in need of some inspiration and fun, you may just find what you’re looking for with a coffee and a yarn. So fellow Frocksters, let’s get Stitching ‘n’ Bitching!

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Photos provided by Rachel Burke

What do pom poms, charity fundraising and fashion have in common? Designerwith-a-cause Rachel Burke has swapped Fashion’s Night Out for sewing nights in. WORDS: LUCINDA HUNTER

WITH HIGH TECH, HIGH FASHION AND HIGH MAINTENANCE LOOKS TAKING OVER THE RUNWAY, IT’S EASY TO BE OVERWHELMED. However, it seems that not everyone is lost in the contemporary haze of celebrity labels and couture, as members of Generation Y are investing more and more in DIY fashion. Young Brisbane designer Rachel Burke is one such youth who is finding that locally produced or personally created garments and accessories are increasingly standing their ground against the mass-market regularities. The meeting of Burke’s creativity with her original style first came to prominence in August 2010, when she raised $5,000 for the charity NAPCAN (National Association for Prevention of Child Abuse and Neglect). Swapping Saturday night cocktails with friends for a needle and thread, Burke slaved away on project i make. you wear it, where she made a dress every Saturday for 20 weeks. Burke recently set herself an even bigger challenge in aid of the Starlight Children’s Foundation. Initiated in April 2011 and finishing in April 2012, her current project aims to raise double the previous fundraising target – an incredible $10,000. I Make My Day sees Burke making a dress from scratch every single day, for an entire year. Public Relations and Communications Coordinator for the Starlight Children’s Foundation Lauren Arena couldn’t be more enthusiastic about working with Burke and getting to be a part of this creative opportunity. “We’re not government funded; we rely solely on donations,” Ms Arena says. “So we’re especially grateful for Rachel’s hard work. People like her ensure that we can keep helping those who need it most.” This ‘fashion for a cause’ concept was the direct result of Burke’s own belief that anything can be achieved with enough energy and enthusiasm. Burke initially began experimenting with textiles after her first year in musical theatre at the Victorian Academy of Arts in Melbourne. “I

got to the end of first year and was like, ‘Oh my God, I hate this!’” Burke laughs. “My mum advised me to come home. I fell back in love with the summers here.” Burke then tried her hand at a writing course, but found it similarly unsatisfying. However, with the encouragement and support of her friends, she finally decided to pursue her real love for textiles and fashion. She admits that her current project, I Make My Day, is an enormous task but is approaching the challenge head-on. “When I first started, it was really scary – although I had already proved to myself that I have the stamina,” she explains. “But it’s become a part of my daily life, and now I’m in the habit of making a dress every day. I’m learning through my mistakes as well – and I’m not a business head at all, so I’m finding that part of the project really challenging.” Initially, Burke kept all the dresses she had made, however, she now recycles fabrics, pulling apart pieces of previous dresses and working them into another charity dress or garment for her own label, Yellowcake. Burke started Yellowcake in 2010 after receiving a wave of requests for original and custom made garments similar to the ones she produced during the i make. you wear it project. Cute, crafty and colourful, Burke based her Yellowcake collection on childhood memories. “I love thinking back to my childhood and the things that stood out. I based my Yellowcake collections on that idea of nostalgia,” she says. Burke dreams of having her own brick-and-mortar store, and is overwhelmed by the interest that her website has attracted. “Selling online is great because that’s where I get the most popularity and demand, but it’s tricky as well because I do it all myself. I constantly wonder if something will run out,” Burke explains. If the worst problem Yellowcake is facing is overwhelming popularity, it would seem life is pretty sweet.

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PHOTOGRAPHY Freya Lamont STYLING & MAKE-UP Hannah O’Callaghan HAIR Tim Hanlon at Papas and Pace MODEL Chelsea Graver at Vivien’s DRESS Josh Goot CUFFS Assad Mounser both from threadbare.co

Meet the new breed of models swapping parties for pilates, martinis for motherhood and right-hooks for textbooks. WORDS: SOPHIE KASSAY

ANYONE OLD ENOUGH TO HAVE PICKED UP A NEWSPAPER IN THE 80S OR 90S WOULD REMEMBER THE FACES EMBLAZONED ACROSS THE WEEKLY GOSSIP AND FASHION PAGES. Impossibly glamorous and perpetually on the wrong side of the law, they were on a first-name basis with the world: Naomi, Linda, Christie, Cindy and Kate. They prowled down catwalks for the world’s top designers, photographed by Demarchelier and Avedon, and graced the covers of countless magazines. Coining the term supermodel, it wasn’t long before they started to receive the same level of public scrutiny usually reserved for actresses, musicians and socialites. But alongside the glossy covers and runway shows were rumours of substance abuse, eating disorders, and anger management issues. The “Cocaine Kate” scandal of 2005 saw heroin chic 90s darling, Kate Moss, lose lucrative contracts with Chanel, Burberry and H&M, and Naomi Campbell’s numerous assault charges left her with one of the worst reputations in the business – not to mention a lifelong ban from British Airways. It was clear the modelling industry was in need of a figurative facelift. No matter how glamorous they were on the runway, bad behaviour is still bad behaviour – and as the world grew bored of bratty beauties throwing phones, the fashion industry began to focus its attention on new recruits. Enter the ‘new model’. Not just a pretty face, they’re also businesswomen, mothers, designers, writers and philanthropists. They have learnt the easy way what their 90s fore-sisters learnt the hard way:

that in a profession as competitive as modelling, a girl’s personality and work ethic is just as important as her physical beauty – if not more so. Take Natalia Vodianova for instance. The supermodel, philanthropist and mother of three founded the Naked Heart Foundation, as well as starred in campaigns for Calvin Klein, Marc Jacobs and Louis Vuitton. Or what about 19-year-old Karlie Kloss, who radiates wholesome all-American charm and cites her favourite activities as baking and ballet? Despite her young age, Kloss is a chameleon in front of the camera and on the runway, flashing a sultry stare for Dolce & Gabbana one minute and a toothy grin for Gap the next. And we certainly can’t forget Liya Kebede, the Ethiopian-born model who is an actress, philanthropist, writer and mother of two. On top of everything else, she’s a World Health Organisation Goodwill Ambassador, writes for The Huffington Post, and had a starring role in the film adaptation of best-selling autobiography Desert Flower as former supermodel Waris Dirie. Johanna Barclay, Model Manager at Vivien’s Model Management in Brisbane, says that when signing a girl to her agency, a pleasant personality and strong work ethic is key. “You can be really beautiful, but if you’re not a nice person you’re not going to last, just like in any other business,” says Barclay. “It’s about the package. When people are paying thousands of dollars, they want to be able to work eight hours with a girl that’s not going to sit there and be a prima donna.” Barclay says a good reputation can go a long way in the industry. “We just can’t have someone behaving badly because it reflects on the whole

“IT’S ABOUT THE PACKAGE. WHEN PEOPLE ARE PAYING THOUSANDS OF DOLLARS, THEY WANT TO BE ABLE TO WORK EIGHT HOURS WITH A GIRL THAT’S NOT GOING TO SIT THERE AND BE A PRIMA DONNA.””

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“A WORKING MODEL IS BASED ON LESS THAN 50 PER CENT PHYSICAL APPEARANCE. IT’S ABOUT ATTITUDE, COMMITMENT AND DEDICATION...” company. All the models have to be ambassadors,” she explains. “We’re really particular about who we take on. I might see 50 girls in a week and we’ll be lucky if we take on one out of 200 that come and see us. We snap [bad behaviour] out of them pretty quickly.” Luckily for Barclay and other Brisbane-based modelling agents, there is no shortage of beautiful, hard-working models in Queensland. Samantha Ashton, a model with Dallys Brisbane, as well as head designer of apparel label Ash to Gold and mother of six-year-old son Felix, attributes motherhood to kicking off her modelling career. “I’ve been modelling off and on for the past 6 or 7 years. I did it quite casually before I had my son but once I had Felix, my body changed and apparently I became more attractive to people!” laughs Ashton. Ashton says becoming a mother instilled her with a new set of qualities she is able to bring to her modelling and budding business. “I think more than anything, having him around has made me a lot more grounded and focused and determined to be the best person that I can be,” she says. When establishing her label, Ash to Gold, Ashton found the local industry contacts she had made from her modelling days to be invaluable. “It’s been amazing,” says Ashton. “Through modelling you’ll meet photographers or make-up artists who know people, and it’s all interrelated. It’s all linked.”

Myra Maxwell has been a model for eight years, and works as a personal assistant and mergers and acquisitions paralegal at a Brisbane law firm. She also understands the competitive nature of the modelling industry, and works hard to set herself apart. “It’s not enough to just turn up to a job. Punctuality is essential, preparation is vital and as a model you really need to think outside the square,” says Maxwell. “A working model is based on less than 50 per cent physical appearance. It’s mostly about attitude, commitment and dedication. I treat it as my business.” Dally’s model and journalism student, Georgina Swan, agrees. She says the skills she has acquired from modelling will prove useful in her future journalism career. “Modelling has given me a sense of independence,” explains Swan. “I have always been a confident person, but modelling has allowed me to make my own decisions. When a career involves something as important and personal as your body, it’s up to you to grab the reins and take control.” So who knows? Maybe one day we’ll be referring to these models by their first names only. What we do know is that the days of snorting cocaine and throwing punches are long gone. These days, girls have to become role models before they can become supermodels.

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From photographing at fashion weeks, to creating skateboard designs and heading his own business â&#x20AC;&#x201C; Michael Greves is a man of many creative talents. WORDS: LISA MAYNARD

FROCK features WITH HIS LARGE SIGNATURE TRUCK PARKED OUTSIDE, 32-YEAR-OLD INTERNATIONAL PHOTOGRAPHER AND GRAPHIC DESIGNER MICHAEL GREVES’ HOME STUDIO PROVES EASY TO FIND. A startling addition to the well-kept homes and manicured lawns that make up the suburb of Wilston, Brisbane, Le Truck – which took Greves two years to design and one year to build – sets an unprecedented first as an optimum mobile studio. Created with luxury features including a make-up station and a fully-wired office, as well as boom and tripod storage, Le Truck was constructed for sophisticated location productions and to save time and money for both Greves and his clients. Custom-built to accommodate any creative project, the truck’s presence at Rosemount Australian Fashion Week 2011 attracted plenty of public attention. Australian Fashion Week also saw the debut of Greves’ photography business, First Face, which shoots catwalk and behind-thescenes footage for designers and PR companies. With over five years experience in the photography industry, both in Australia and overseas in places such as New York and Europe, Greves has created a portfolio which would undoubtedly make aspiring photographers envious. On a recent trip to Paris Fashion Week Ready-to-Wear Autumn Winter 2010/11, his work found its way into international publications such as Grazia France and Vogue Spain. Despite the success he is currently enjoying, Greves is humbled by the recognition he has received. More than the creative drive, it was the freedom associated with being a photographer that attracted Greves to the industry – as he puts it, “photography is an occupation with the loosest guidelines”. Greves could not be any more adamant about the importance of mentoring in the creative industries. After being guided by mentors from around the globe, he recommends all aspiring photographers and creative types consider doing the same.

Award-winning photographer Damien Bredberg was one of Greves’ early heroes, and was the first client to use Le Truck. “That was a milestone, a real turning point,” Greves says. Although Le Truck is outfitted with practically every piece of creative technology and equipment on the market, Greves says that no location shoot is complete without a couple of Fiik skateboards, for which he is photographer, graphic designer and distributor. Developed by Australian brothers Daniel and Mathew Quinn, Fiik is the undisputed world leader in electric skateboards, branding and culture awareness. Stockists are currently limited to South East Queensland, but Greves is excited about his upcoming plans to hit the road in Le Truck for a distribution tour of Far North Queensland. Also on the agenda are plans to create an associated documentary with Italian photographer and filmmaker, Alessandro Somma, who he met while shooting the Jean Paul Gaultier show. But for now, Greves is content to stick to the streets of Brisbane, where you’ll usually spot him with a camera in his hand or skateboard at his feet.

PHOTOGRAPHY Michael Greves GARMENTS Jacinta Apelt STYLING First Face HAIR & MAKE-UP Kenneth Higgins MODEL Jorja

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FROCK explores the revolutionising consumer trend of fashion crowd sourcing and reveals why the voice of today’s fashion consumer has never been louder. WORDS: SUSAN HAINES HAVE YOU EVER SCROLLED THROUGH THE INFINITE PHOTOGRAPHS OF BURBERRY’S THE ART OF THE TRENCH, VOTED FOR A PRODUCT ON FASHIONSTAKE.COM OR FACEBOOK ‘LIKED’ ONE OF YOUR FAVOURITE DESIGNER’S GARMENTS? Then, without even realising it, you have been an active participant in the constantly evolving, consumer-driven world of fashion crowd sourcing. Today, there is a growing market for constantly evolving social media outlets, and an obvious shift towards more user-generated content. Fashion crowd sourcing (otherwise known as democratic selling) encourages consumers to voice opinions through online community engagement. The utilisation of such modes as consumer votes including Tweets and Facebook ‘likes’ are helping retailers and designers to determine what they should buy or manufacture. Increasingly, fashion brands are realising the collective power of consumer networks and are capitalising on the potential by connecting social media to digital commerce. Marketing and communication coordinator, Emma Devlin, says crowd sourcing can produce successful results for brands in many different ways. “From a marketing perspective, it’s a complementary technique used to establish brand recognition and loyalty - especially at a local level, as retailers and designers are hearing the voice of their actual customers,” she says. Threadless.com was the pioneer of fashion crowd sourcing. The website provided the first outlet for aspiring designers to upload their creations for members of the online community to critique and rate. Today, lookbook.nu and fashionstake.com are two of the most popular and interactive fashion community websites - for the people, by the people. These international websites showcase the most popular fashion trends and street style, by asking viewers to vote on user submissions and comment via forums. Burberry’s The Art of the Trench is cited as one of the most successful fashion crowd sourcing experiments to date. In 2009, Burberry introduced the social networking site, artofthetrench.com, to attract a new generation of consumers to build on the brand’s British heritage and trademark belted coat. The marketing campaign was created to showcase not only the iconic trench but also the people who wear it, creating a living document of the brand. The site allows you to submit your own photographs, click on the photos you like, enter a comment, register your 26

approval or share the photo with your friends. Burberry’s groundbreaking digital media strategy is an example of crowd sourcing utilising web 2.0 projects and incorporating new-gen technologies and practices. The Art of the Trench has allowed Burberry to differentiate itself in order to stay relevant to today’s luxury consumer. Through the development of social media and participatory online facilities, there has been a defiant shift in the reign of power from a few fashion elitists to a much younger, educated and savvy audience. Fashion editor of the International Herald Tribune, Suzy Menkes, believes “the world changed when fashion, instead of being a monologue, became a conversation”. There has been a role reversal, where instead of fashion conglomerates holding control, consumers are taking the lead and directing the next trends. Designer and Managing Director of Australian fashion label Limedrop Designs, Clea Garrick, regularly participates in crowd sourcing projects. “The rise of street style has shifted the focus from high fashion dictating trends. Designers are now taking inspiration from the street. So there is a less of a trickle-down effect in fashion now - it has definitely become more democratic,” she says. So will the success of social media networks eliminate the need for fashion intermediaries like buyers, stylists and retailers? Public Relations Consultant, Natalie Hortz, says social media is now revealing what consumers actually desire, as well as what they may desire in the near future, diminishing the demand for these fashion intermediaries. “We are witnessing a new market correction in which the community-curated social media ecosystem will more accurately reflect the out-spoken consumer culture,” she says. The current momentum of street style is also amplifying the necessity for fashion brands to utilise crowd sourcing via social media in order to deliver fashion products that the consumer actually demands. Fashion media in the 21st century is far more fragmented than it was before the discovery of social networking, thanks to techniques like crowd sourcing. Because of this, fashion brands have had to think outside the square, developing interactive business models and revolutionizing their consumer networks and approaches to digital commerce. Crowd sourcing highlights the infinite possibilities of the ever-evolving modernity of fashion. It is certainly evident that the voice of the fashion consumer has never been louder.

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PHOTOGRAPHY Andre Cois MODEL Ashleigh Hawthorne

print play PHOTOGRAPHY Karena Nuttall STYLING & MIXED MEDIA ARTWORK Hayley Elsaesser & Skye Kerr HAIR & MAKE-UP Christine Murphy, UnleashMe MODEL Brooke Jamieson

Previous page: PANTS Jiara RINGS Deciduous The Label TOP & SHOES Stylist’s Own This page: JACKET Hayley Elsaesser NECKLACE Stylist’s own

TOP H&M SKIRT sass & bide SHOES & NECKLACE Stylist’s own

This page: TOP H&M PANTS Hayley Elsaesser EARRINGS House of Harlow BELT & SHOES Stylist’s own Opposite Page: DRESS & SKIRT Hayley Elsaesser NECKLACE Skye Kerr

PHOTOGRAPHY Freya Lamont STYLING & MAKE-UP Hannah O’Callaghan HAIR Tim Hanlon at Papas and Pace MODEL Madeline at Vivien’s 34

HELMET, CAPE & SKIRT Zambesi from Lylah SHOES Guidi from Camargue [worn throughout]

NECKLACE Serpent & the Swan from Fallow SINGLET & LEGGINGS Zambesi from Lylah

Front page: HEAD PIECE Two Weeks DRESS Bassike both from Bessie Head CAPE Zambesi BODY STRUCTURE NOM*D both from Lylah This page: As above

PHOTOGRAPHY Andre Cois STYLING Marie Tolland HAIR & MAKE-UP Curtly Barnes MODEL Ashleigh Hawthorne 38

TOP Carly Hunter CULOTTES Lover

BLAZER Sportsgirl

JACKET Stylist’s own

TOP Kahlo

PHOTOGRAPHY Fraser Stanley STYLING, HAIR & MAKE-UP Rachel Mellers MODELS Hannah Pereira & Ben Pringle

She wears: SUNGLASSES from Sunday Social NECKLACE from Beginning Boutique TOP Stylistâ&#x20AC;&#x2122;s own

He wears: SUNGLASSES & SHIRT from Sunday Social BELT Ralph Lauren PANTS from General Pants

She wears: HAT from Sunday Social DRESS from Chasing Bow VEST Stylist’s own He wears: SHIRT from Sunday Social PANTS American Apparel SUNGLASSES Stylist’s own

She wears: SEQUIN JACKET & PANTS from Sunday Social RED JACKET Marvin from Drobe HAT, TOP & BELT Stylist’s own He wears: SHIRT from Sunday Social VEST & PANTS Stylist’s own

She wears: TOP Livia Arena from Drobe SKIRT Sunday Social NECKLACE, JACKET & BELT Stylist’s own He wears: HAT Brixton SHIRT Sunday Social PANTS Stylist’s own

PHOTOGRAPHY Dusty Ansell MODEL Adam Scott

PHOTOGRAPHY Dusty Ansell STYLING Sam Aldenton MUSICIAN Nate Webb

MORE THAN JUST MUSIC, ROCK ‘N’ ROLL IS A LIFESTYLE – ONE TO BE EMBRACED, RELISHED. It brought us Morrison, Joplin, and Hendrix, and took them away with swift vengeance. Rock ‘n’ Roll took possession of the hearts and minds of the dissatisfied youth of the 60s and propelled them towards the path of cultural revolution. It became the anthem of a generation, the antagonist of authoritarians. It is the initiator of change, the obliterator of normalcy. Rock ‘n’ Roll has changed the way we live and influenced our culture like no other type of music has done before. As we make our way into a new decade, it is clear that its influence is here to stay; to brainwash the minds of a new generation and continue its love affair with fashion, art, and rebellion. In a cloud of cigarette smoke and a dimly lit backdrop, frock captured Nate Webb from Brisbane band, Bang Bang Boss Kelly - the contemporary embodiment of the Rock ‘n’ Roll dream.

JACKET Vintage PANTS & SHOES Stylist’s own [worn throughout]

SHIRT Hanes JACKET Harrington

Opposite page: SHIRT Dr Denim TIE from Sunday Social This page: SHIRT from Sunday Social

PHOTOGRAPHY Dusty Ansell STYLING Winona Davis & Lauren Maugham ITEMS FROM Apartment, Dirtbox, Paddy Pallin & The Outpost

FROCK man

Forget metro. He’s a man’s man. He’s the one you might mistake for a mountaineer, fisherman or farmer, whose wardrobe reads like an encyclopedia of tried and true classics. Don’t show him a jacket unless it could withstand the Indiana Jones treatment – a cross-breed of heritage and utilitarian, he is deserving of his own title. Brisbane, it’s time to get acquainted with the Heritarian man. WORDS: LAUREN MAUGHAM & WINONA DAVIS

He•ri•ta•ri•an Man noun: 1. a merging of heritage and utilitarian mindset 2. a male who looks for a deeper connection with his apparel choices

He’s Authentic

He’s Embracing Masculinity

The Heritarian man certainly does not identify with the mass-market, nor is he at all interested in buying into fast fashion. Nick Chui from Brisbane retailer, Apartment, explains how the Heritarian man’s strong “appreciation for the stories behind brands” makes his approach to choosing apparel, “savvy, unique, and well informed.” He’ll favour Clarks Originals footwear or a Gitman Vintage shirt because he’s become obsessively involved in their brand history after trawling The Satorialist and reading Inventory Magazine, and is now as loyal to them as he is to his girlfriend. While each and every brand seems to be capitalising on their heritage as of late, the Heritarian man is able to discern through his dedicated and educated research, as well as his keen eye, what is true quality and what most certainly is not. He pledges his loyalty to his favourite brands – firstly because they are accompanied by a solid philosophy he can invest in, and also because knowing his Barracuta Harrington jacket has really stood the test of time makes it a credible choice – in his mind, anyway.

Channelling classic masculine charm a la Paul Newman or Steve McQueen, the Heritarian is breaking away from the past and is bringing the ‘man’ back to men’s apparel. Dirtbox manager and buyer, Cam Butler, is more than glad to see the shift towards classic menswear and away from the metrosexual, peacocking dandy, as with said shift comes “denim that isn’t skinnier than their girlfriends”. The Heritarian man would much prefer to go salmon fishing with his friends than to be caught dead in a salmon silk business shirt. That being said, make no mistake: the Heritarian might embrace a more masculine approach when it comes to his wardrobe selection, but this certainly doesn’t mean he is lacking in the styling stakes. Indeed, the Heritarian man expertly pulls off a more modernistic collaboration of classic utilitarian, heritage pieces and quality modern garments. Despite all odds, the Heritarian man knows how to make it work. You might see him pairing a Patagonia parka with an APC shirt – an emerging look, which Chui notes as, “luxury street”.

He’s Prepared for Anything

He Transcends Fashion Trends

Looking as though he might very well have just stepped out of Robert De Niro’s 1978 film, The Deerhunter, the Heritarian man’s attire may suggest that he is about to climb Mount Kosciuszko or go fishing on Lake Somerset. This is what the Heritarian wants you to think; in reality, he is much more likely to be found somewhere safely inner-city, drinking his James Squire and discussing his favourite websites. However, despite the inconvenience of an urban environment, the Heritarian man prides himself on being prepared for rain, hail or shine thanks to the water and stain-proof, breathable and virtually indestructible quality of his carefully selected clothing. “Even though you’re not climbing up mountains, 50 per cent of the look is still based on the durability of the garments and whether they are going to last,” says Brisbane-based Heritarian, Stuart Lachlan. Functional elements also get the nod of approval, the more purposeful the better. This mindset might have him seeking a pocketknife or a maglite flashlight from Brisbane store, The Outpost, to carry on him – just in case.

The Heritarian “is the best dressed man in the room, but often nobody knows it,” says Butler. Like the classic items he is appropriating, he is unassuming yet subtly stylish. While the true Heritarian is the pioneer of this aesthetic, the appeal of this look hasn’t gone unnoticed by mainstream fashion. Both luxury and street labels have incorporated functional, utilitarian garments and accessories into their recent collections. With experts such as Queensland University of Technology academic, Mark Neighbour, confident that, “whatever mainstream fashion can suck out of these associations, it no doubt will,” the rise in popularity of heritage not only as an apparel trend, but also as a marketing movement, is no surprise. Luckily, the Heritarian has an appreciation of brands that transcends fashion trends. While the incorporation of outerwear and functional pieces into mainstream fashion may contradict the values behind the culture, it won’t kill the Heritarian spirit. In any case, if the fast pace of the fashion industry proves too much for the principled Heritarian man, he might just venture into the wild – no doubt he’s got the gear.

www.frockpaperscissors.com

SHOES Vanishing Elephant from Violent Green

BAG Whillas and Gunn from Dirtbox

SHOES & PANTS Vanishing Elephant BAG Chronicles of Never all from Violent Green

HAT Brixton SHIRT & BLAZER Vanishing Elephant all from Violent Green

RINGS Chronicles of Never from Violent Green & Alan Myerson from Dirtbox SHIRT Weathered CARDIGAN Henrik Vibskov both from Violent Green

PHOTOGRAPHY Dusty Ansell STYLING Sam Aldenton & Sonia Kwek MODEL Adam Scott

IPAD CASE Makr Carry Goods from Dirtbox WATCH Stylistâ&#x20AC;&#x2122;s own

PHOTOGRAPHY Dusty Ansell MODEL Jimmy Moroney

Men are establishing their position as the ultimate tastemakers, from street photographers to personal style bloggers, in fashion’s digital domain. WORDS: CHRISTINA PAPA WITH THE ADVENT OF THE SARTORIALIST IN 2005, SCOTT SCHUMAN PAVED THE WAY FOR FASHION-CONSCIOUS MEN. With his keen eye for detail, from the gentle folds of a soft cardigan to perfectly creased cotton pants, Schuman polished the formula for capturing the debonair gentleman and opened the virtual doors for men to carve out their own online niche. As Mark Tungate wrote in Fashion Brands: Branding Style from Armani to Zara, “The blog sprang out of his [Schuman’s] observation that a certain kind of well-dressed male was not represented in men’s fashion magazines”. Now, from Manhattan to Madrid, guys can be spotted hitting the pavement, camera in hand, on the prowl for the next exuberantly adorned figure of fashion to capture. Social media is also playing a part in transforming the way men consume style – think Burberry live-streaming the latest catwalk collections direct from London and luxury-label apps beaming exclusive behind-the-scene peeks at Valentino directly to the iPad screens of dapper men everywhere. And with fashion moving from overseas to local markets faster than ever, men are accessing the web for their daily dose of outfiteducation. “More people look to street style blogs on how to dress, how to use colours and patterns together, and the changes in silhouettes and shapes,” says Damien Woolnough, fashion editor for The Australian and former editor of Vogue.com.au. As blazers and button-ups infiltrate the blogging stratosphere, fashion blogging is clearly no longer the webdomain of women alone. Since Schuman set the standard over six years ago, guys from across the globe have been honing in on this alluring social media community. “There has been a real resurgence in men’s fashion – the genesis being The Sartorialist,” says Nicholas Atgemis of blog Le Noeud Papillon. “It is the time for men to enjoy fashion again and blogging is the catalyst for this change, allowing men to come together and exchange ideas in a new medium.” A quick perusal of Atgemis’ sophisticated blog 58

and online store, where he sells silk bow ties, pocket squares and scarves, illustrates his love for luxury. Le Neoud Papillon gives a gracious nod to the cutaway collar and deconstructs fabric characteristics for his readers, epitomising the sophisticated new dawn in men’s fashion commentary. From the overtly eccentric Bryan Grey-Yambao of BryanBoy, to the dapper and demure Dan Trepanier of The Style Blogger (Esquire’s ‘Best Dressed Real Man in America 2009’), men are becoming less than camera shy. Trepanier believes blogging enhances the everyman’s interest in the details of dressing. “There’s still a stigma surrounding the fashion industry but blogs have done a service for regular guys,” he told Express. Recognising that most men aren’t comfortable in crocodile skin, Trepanier takes an unintimidating approach to his blogging and demonstrates the wearability of trends for the sartorially inept and avid follower alike. Similarly, Luke Rallings of blogs Sydney Street Style and Crimson Collars hones in on the tweaks made to classic men’s fashion. “It’s more laid back and relaxed, yet at the same time equally as smart and fresh,” he observes. Dr Nicholas Carah, the University of Queensland’s social media expert, says it is attainable style projected by real men that makes blogging all the more attractive to the everyday guy. “This medium allows readers to seek out their interests, opposed to needing their sense of taste to be validated by a large fashion magazine,” he says. Rather than being infiltrated with lifestyle and fashion advice from the institutionalised fashion media, audiences now have the freedom and resources to search for their online style cue. “Bloggers have risen up as powerful tastemakers,” Dr Carah says. Whether it’s street style snaps, trend discussions or rants accompanied by self-timed images, these bloggers have bolted to the forefront of fashion with their timely takes on all things aesthetic. Schuman’s humble desire to give the “well-dressed male” a voice has given way to an online and unabashed masculine fashion revolution in which brandishing a DSLR is more impressive than a fast car.

PHOTOGRAPHY Elisabeth Willis STYLIST & MAKE-UP Hannah O’Callaghan HAIR Tahnee Higgins MODEL Elizabeth O’Callaghan GARMENT Faster by Mark Fast from threadbare.co

Is your beauty regime feeling tired and dull? Then it’s time to give yourself a little DIY pampering! Replace your conventional beauty products with non-toxic, fresh and easy homemade recipes that will keep your complexion looking luminous and beautiful. WORDS: ANJALI RAJ

Strawberry Hand & Foot Exfoliant Makes 1 application 8-10 strawberries 2 tbs. apricot oil (may be substituted with olive oil) 1 tsp. of coarse salt (such as Kosher Salt or Sea Salt) •

Yoghurt, Carrot & Honey Body Mask Makes 1 application 1/4 cup yoghurt 3 tbs. honey 3 tbs. puréed carrots • • • • • 60

Drain and purée canned or slightly cooked carrots in a blender. Mix in a bowl with the yoghurt and honey. Draw a warm bath. Lather body with the mask. Soak in a warm bath for 10-20 minutes.

Mix all ingredients together, massage into hands and feet, rinse, and pat dry.

Strawberries contain a natural fruit acid which aids in exfoliation.

FROCK beauty

Moisturising Hair Conditioner Makes 1 application 1/4 cup of plain yoghurt 1/4 cup of mayonnaise 1 egg white • • •

lend yoghurt, mayonnaise and egg B whites. Cover hair with the mixture, making sure it’s evenly dispersed. Leave in for 30 minutes before rinsing.

Honey Cocoa Butter Lip Balm Makes 100 applications 2 tbs. olive oil   1/2 tsp. honey   3/4 tsp. grated beeswax   1/2 tsp. pure cocoa butter   Vanilla flavoured oil 1 Vitamin E capsule •

Makes 1 application

•

1/2 cup chopped cucumber   1/2 cup chopped avocado   1 egg white   2 tsp. powdered milk

• •

I n a small saucepan, heat oil, honey, wax and butter over a low heat until just melted.   Remove from heat and allow cooling for 2-3 minutes.   Stir in flavouring and contents of Vitamin E capsule.   Pour into containers.

Combine all of the ingredients in a blender until they form a smooth paste. Apply the mask to face and neck using circular upward movements. Leave the mask on for 30 minutes or until dry. Rinse face and neck with warm water, finishing with a cold water rinse.

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Photography: Hannah O’Callaghan

• • • •

Revitalizing Cucumber & Avocado Face Mask

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FROCK beauty

Can’t get your mind, or your feet, off the scales? Experts now believe that the pressure to diet is no longer a battle of the bulge – it’s a battle of the brain.

PHOTOGRAPHY Freya Lamont STYLING & MAKE-UP Hannah O’Callaghan HAIR Tim Hanlon at Papas and Pace MODEL Vita Wilson CUFF & RING Gala Curios from threadbare.co NECKLACE Assad Mounser from threadbare.co

WORDS: KRISSIE ROGERS

GONE ARE THE DAYS WHEN EATING WAS FOR PLEASURE, A WAY OF GETTING ESSENTIAL FUEL. It seems eating has become a virtual battleground to win control over the foods we can’t eat (or think we can’t), those we are currently not eating (carbs top the list), or those we desperately want to eat but know we shouldn’t (chocolate anyone?). Forget about feeling hungry or full – when it comes to food, it seems we’re full of negative emotions, from guilt to denial, from failure to loss of control. It’s not surprising the word people most associate with diet is depression. A recent study conducted by Food Standards Australia shows society has lost touch with what constitutes healthy eating; dieting has become a national pastime. Often, the diet is an unnecessary one. How many slim people do you know who’ve said, “I can’t eat that, I’m on a diet,” only to roll your eyes and think, “What do you have to lose?” Somewhere along the line, society has developed a whole new relationship with food – and it’s a relationship that is often abusive and controlling. Sarah Kennedy, 38, has battled with her weight for years. “I’ve done everything from cutting carbs after 2pm to taking a prawn-based supplement claiming to soak up fat,” she laughs. Even stranger, at 60 kilograms, Kennedy is right in the healthy weight range for her height and age. “I probably don’t really need to lose weight,” Kennedy says. “A marriage break-up or stomach flu aside, my weight has only varied by one or two kilos over the past 10 years.” But still it seems Kennedy, and society in general, feel the compulsion to scrutinise their eating habits. According to Dr Kylie Ball’s book, Eating Behaviours and the Food Environment, many of our eating habits are influenced by others. Researchers surveyed 3,610 women – unsurprisingly, those who moved in healthier social circles were more likely to eat well and exercise regularly. Dr Ball, who is Personal Chair of the School of Exercise and Nutrition Sciences at Deakin University, says the system works both ways. “Women who see others engaging in a particular eating behaviour may view it as normal and adopt it due to an associated positive attitude,” she says. Conversely, results also showed women can double their calorie intake spurred on by the collective ‘I will if you will’ behaviour. Graduate dietician Jarrah Curry says according to her studies, food is highly emotional and it’s not about what we eat – it’s about how. “For

most people eating is a very social activity. You can’t go out with friends, to a family reunion, or on holiday without encountering food,” says Curry. “It’s why the activity of eating has a strong emotional connection. Weight is a balance of how much energy we consume versus that which we expend, so it’s just a matter of walking the line between the two.” The age-old saying is true – everything in moderation. But easier said than done, right? Unfortunately, it seems these days dieticians are a dying breed. Kennedy agrees. “Society no longer wants a structured diet plan; we’re more likely to follow a regimen based on what a friend says or what a celebrity does, rather than a diet advised by a professional.” Curry says she has encountered some pretty bizarre methods when it comes to the task of slimming down. “Skipping meals is the most common. There are other techniques used: some only eat at night, others only eat raw food, only green or white food and some clients live off energy drinks!” she says. Obviously, these methods are far from healthy. “There can be pretty serious health implications, including malnutrition, osteoporosis, iron deficiency and, ironically, weight gain,” Curry says. At the other end of the scale is binge eating. Curry says bingeing can be just as dangerous as dieting. “People fall into a trap. They scoff their faces and then suddenly the guilt kicks in and they do a 180 and starve themselves for the weeks to come, before starting the cycle again. There needs to be a balance.” With our nation’s obesity rate at its highest levels ever and dieting shows like The Biggest Loser everywhere you turn – it’s no wonder the scales are playing on our minds. Kennedy says it’s like living in a trap. “You want to concentrate on more important things but weight is always in your face – what will happen if I eat that? Can I have dessert? What if I have another glass of wine?” Curry says there is no easy way out. “Maintaining a healthy weight can be hard, but it’s important to have a healthy relationship with food. Have a slice of cake if you feel like it. Just remember everything in moderation and savour every mouthful,” she says. So, if like most women you spend much of your week thinking about eating or not eating, now could be the time to dump the guilt and seize back the power you hold over your body.

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PHOTOGRAPHY Elisabeth Willis STYLING Hannah Oâ&#x20AC;&#x2122;Callaghan MAKE-UP Amanda Reid at Arc Creative HAIR Tahnee Higgins MODEL Anna Stretton

FROCK lifestyle

Mortgages, marriage and hair loss are yet to take their toll, but many young Australians struggling to cope with the transition to adulthood are now experiencing a “quarter-life crisis”. WORDS: ELLIE MCKAY IN SOME QUARTERS, THE MIDLIFE CRISIS IS CONSIDERED TO BE A COMICAL AFFAIR, THE STUFF OF WOODY ALLEN AND STEVE MARTIN FILMS. An excuse for those of a certain age to toss aside the old and relish the new, be it quitting a stable job, buying a new car, ‘investing’ in a million dollar boat or upgrading spouses, the midlife crisis certainly has stigma attached. All jokes aside, a midlife crisis is often fuelled by all-too-real feelings of discontent, insecurity, regret, loneliness and anxiety. However, this state of being doesn’t just affect the older generation. The quarter-life crisis, as it is known, differs from the midlife crisis in that it affects younger people who should be thriving between leaving school and putting down roots (marriage, kids, house) causing them to re-evaluate their futures – or, worse, regret a future that hasn’t eventuated. In fact, it could be this gap between traditional markers of adulthood, and the pressure to achieve them by 30, that’s part of the problem. The quarter-life crisis is an international epidemic. American psychologist Lauren Solotar told online news site Wicked Local that she has noticed an increase in the number of young clients she treats for anxiety issues. “There are plenty of things for young people to be anxious about, from the economy and national security, to personal relationships and career choices,” said Dr Solotar. “Everyone worries from time to time.” Meanwhile, in London, Dr Oliver Robinson from the University of Greenwich interviewed 50 students aged 20 to 30, who all admitted to feeling locked into careers and relationships that didn’t feel right. Abby Wilner, author of Quarterlife Crisis: The Unique Challenges of Life in Your Twenties and The Quarterlifer’s Companion, seems to have the answer. Wilner claims to have coined the phrase in 1997 after graduating from college, moving back home and not knowing what to do with her life. The author believes the quarterlife crisis is particularly prevalent among young people because of the high pressures and expectations associated with being an adult. According to Wilner, the American classification of an adult is “based on traditional markers such as financial independence and starting a family. The average American ‘job hops’ eight times before the age of 32, the average graduate accrues $20,000 in education loan debt, and the average age to get married is now 27.” These days, jobs exist in a much more competitive market, especially for those wanting to break into the corporate world. Nicola Christoffersen from ProGrad, a Sydney-based company dedicated to helping graduates make the transition into the corporate world, says, “Graduates who are new to the working world often face difficulties in adjusting to the work environment”. To combat this transition, Christoffersen strongly advises graduates to “be proactive, set clear and

defined goals that are achievable in a certain time frame and discuss these with your employer”. However, concerns about employment are not the only thing that can evoke this anxiety within young people. Psychologist Laurie Brotherstone of Life Resolutions Bundall sees a lot of 20 to 30-year-old clients stressed out and anxious because they don’t know how to cope with all the goals they think they “have” to achieve. “I like the term quarter-life crisis because it does sum up the pressure that many young people put on themselves. There do seem to be many young people who have the unrealistic expectation that they should have it all before they are 30,” says Brotherstone. She says restlessness within young people can occur because they’re trying to juggle too many responsibilities and live up to the high expectations they set for themselves. So, what happens when these expectations are not met? “People can become distressed and doubt themselves, get caught up in the comparisons with others and start to think, ‘What am I doing wrong?’, ‘What’s wrong with me?’, ‘I’m not good enough’, and this can erode self-worth,” says Brotherstone. Some of her clients are students who combine education with part-time work, a social life and personal interests. The psychologist explains that many of her clients experiencing the quarter-life crisis “put a lot of pressure on themselves to achieve in all areas. Each of them feel they have to get the right degree so they can have a great job and live the lifestyle they believe is so important to their future happiness.” It’s easy to fall into the trap of thinking that you have to have everything sorted by age 30. The dangers of comparisons are something that graduate Sarah Henderson knows all too well. “Every time I check Facebook, I feel like everyone else has got it all figured out. There’ll be another album with travel photos, or a status about someone’s amazing new job... I’m still living at home! It’s completely overwhelming,” she says. However, recognising and dealing with a quarter-life crisis has the potential to make us happier in the long term. Robinson concluded his British study by suggesting the quarter-life crisis could be the catalyst for positive change. “It allows for the exploration of new possibilities with a closer link to interests, preferences and sense of self,” he said. “Up until then, you may be driving fast down a road you don’t want to be going down.” Taking time to think about our interests, values and aspirations might seem like a luxury, but could pre-empt a midlife crisis. “It is great to have goals and expectations, but don’t spend so much time worrying and working towards the future that you forget to appreciate and feel fulfilled in your life today,” suggests Brotherstone. “When we feel we are living a life that is in line with our values, we are more likely to feel that our life is meaningful. If our self-worth is only based on the goals we reach or [on] our achievements, it is fragile and easily influenced by that which we have no control over.”

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Baby Steps to Big

Business

It’s a woman’s world – they are striking out on their own, doing things their way, and making a name for themselves. WORDS: KRISSIE ROGERS FOR THOSE OF YOU WHO HAVEN’T BEEN PAYING ATTENTION, WE LIVE IN A COUNTRY RULED BY A FEMALE PRIME MINISTER AND GOVERNOR-GENERAL, WHERE TWO OF OUR NATION’S STATES ARE GOVERNED BY WOMEN, AND WHERE OUR RICHEST PERSON, GINA RINEHART, IS A WOMAN. It seems Australia is finally getting it – women really do know how to get things done. This shift in perception sees an increasing number of ambitious young entrepreneurial ladies striking out on their own and making things happen. Not content to just wait for life to deliver the goods, they’re out to prove they can serve it up themselves. According to the most recent figures from the 2006 census, there were 1.48 million business owner-managers across Australia, and of those, a third (469,058) were female – a figure which has doubled since the 2001 census. Not a bad improvement at all. For women who have always dreamed of owning their own business, this dream is quickly becoming a reality. From fashion to blogging and film production, more and more ladies are quitting their day jobs and becoming their own bosses. FROCK spoke to three such women about how they made the leap from the initial ‘what if?’ daydream to that first business transaction.

JESS BANDIERA – 19

Creative Director of Jessie Lauren, www.jessielauren.com.au A fascination with fashion and homewares inspired Brisbane designer Jess Bandiera to set up her fashion label, Jessie Lauren, in early 2011. “My vision behind the Jessie Lauren label was to create a unique online store that offered homewares, furniture, fashion and accessories,” she says. Bandiera has just launched a new collection of garments through the fashion label that she hopes will fill a niche in the market. “I was often frustrated with the lack of affordable, quality clothing available. I’m not really one to buy from mass-produced stores – I would much rather buy something that’s not only affordable, but is also a bit different to what everyone else is wearing,” she says. Bandiera says that it is her passion for alternative fashion and design that inspired the label, and is hoping to be able to launch another collection in the near future. “I hope that Jessie Lauren keeps growing! Not only are we online now, but I’m also looking into providing my customers other services and opportunities such as fashion styling and interior workshops.” By the sounds of it, this is just the beginning for Jessie Lauren. Her top tip? “Finance! Make sure you have the financial backup; there is nothing worse than a business taking off if you don’t have the capital to grow it. One other thing, be prepared to put in long hours – you give up a lot of your social life, but in the end it’s all worth it!” 66

JAMILLA SLOCUM – 21

Creative Director of Mila Eve Productions, www.milaeveproductions.com When this Brisbane business student started creating short testimonial videos for a previous employer, she didn’t expect a year later she’d be launching her own production company. “Video production has always been an interest, but I’d never studied it or thought of it as a career path. I became an in-house video producer for my previous employer – they asked me to create films explaining their products.” This unexpected position change inspired Slocum to strike out on her own. Since establishing her company in 2010, Slocum has produced videos for clients ranging from Mercedes-Benz Fashion Festival Brisbane and photographer Ian Golding, to a mining company, and even a dairy business. “I’ve done a video for a drilling company, and the next week I made one for an IT corporation – I love the diversity. I know how to milk a cow because I was on a shoot for two days on a farm!” she enthuses. So, what’s next for this up-andcoming creative? “I would love to conquer the Brisbane market, which is enormous, and then progress city by city. Eventually I’d like to have a team of freelance videographers across the country, with a head office here in Brisbane.” If her past achievements are anything to go by, it seems the sky’s the limit for Slocum. Her top tip? “Starting out was hard. I was unsure who would invest in a 21-year-old’s company – so if you’re going to go out on your own, confidence is key. Also, never close your mind to learning and soak up every piece of advice that comes your way.”

CASEY MCARDLE - 21

Owner of Casey McArdle Photography, www.caseymcardlephotography.com For Casey McArdle, photography was only a hobby until earlier this year, when she bit the bullet and decided to start a business doing what she loves most. “I was inspired by all of the successful photographers in my area. I thought it was time I took myself seriously,” she says. McArdle’s photography is currently focused on maternity and newborn work. “They’re the moments that families treasure – it makes me so happy to be a part of it,” she says. Casey McArdle Photography is currently run purely via word of mouth, but that hasn’t stopped McArdle from developing a large clientele base and a beautiful portfolio range. The future is looking bright for this burgeoning company! Her top tip? “Never give up on your dream! I had many people tell me along the way that I would never make it, or that I was stupid for even thinking that I could. Look at me now! Perseverance and persistence is the key.”

FROCK lifestyle

START-UP SECRETS Author of High Heeled Success and co-owner of griffin+row (www.griffinandrow.com) Marcia Griffin, 64, says age is no hindrance to entrepreneurial success. Do your research on the product, price and distribution. Find a mentor to bounce hard questions off as you move forward. Keep your emotions under control – fall in love with the business possibility, not the product!

BUT BEWARE... Don’t fall into the trap of taking advice from the wrong people. Likewise, make sure you seek advice from the right people. Make sure you have enough funds to cover the business until the money flows in! Don’t overspend! The biggest mistake you can make is not undertaking proper risk management. Expect the best, but prepare for the worst!

PHOTOGRAPHY Elisabeth Willis STYLING & MAKE-UP Hannah O’Callaghan HAIR Tahnee Higgins MODEL Paige Bradford

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It is a study, a sanctuary, a place for work and play; it is your bedroom. Far more than a secluded space to get some much needed shut eye, it represents your style and personality within its four walls. What does your room say about you? WORDS & PHOTOGRAPHY: AMBER GERRARD-MAXWELL

Fresh lilies radiate on the bedside table alongside rich scented candles and elegant perfumes.

A faux-fur throw boasts practicality in the winter and infuses texture and depth into the quaint room.

Delicate, considered detail with bursts of bright pink and light green complement lavender walls and an abundance of natural light.

FROCK lifestyle

Atop a glass mosaic, Music hints at an inherent artistic awareness and is used as a source of inspiration. Infusing an unexpected sense of romanticism and wit, pre-loved scrabble letters are propped above the dark furnished bed.

Carefully displayed colognes reflect a well-groomed man, and add a sense of style to the room.

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Photography: Sam Aldenton

FROCK lifestyle

With markets, boutiques, cafés and ping pong on offer in the heart of Brisbane’s Fortitude Valley, where else would you rather be than Winn Lane? WORDS: SAM ALDENTON STROLLING DOWN ANN STREET IN BRISBANE’S FORTITUDE VALLEY ON A QUIET WEDNESDAY AFTERNOON, YOU’RE MET WITH AN ARRAY OF NICHE FASHION BOUTIQUES ALL LINED UP LIKE LADIES IN WAITING. Dormant and placid, they wait for their guests to arrive and flock through their doors during the bustle of weekend trade away from the city hive. As you reach that last ‘lady’ on Ann, often you’ll find an intriguing finger pointing in the direction of Winn Street. Naturally, you follow the disembodied hand and head down the small lane. As you approach Flamingo Café, your ears prick at the piercing cackle of co-owner Christina Hatzipetrou. Flamingo sits snugly on the corner of Winn Lane, the unexpected little street that someone with a rich imagination might christen the Valley’s equivalent of Diagon Alley. But instead of witches and wizards, here in Winn Lane, one of Brisbane’s newest up and coming laneways, you’ll find colourfully-tattooed, Ray-Ban toting hipsters mingling with the city’s veteran creative types. Opposite Flamingo you discover that clothing store The Outpost, proprietor of all things hip, is responsible for the painted “pointing finger” discovered earlier. Modeled on the success that the laneway has had in cities like Melbourne and Tokyo in developing local culture and sustaining the creative industries, Brisbane City Council this year launched its Vibrant Laneways initiative. The initiative is aimed at creating “a uniquely Brisbane sense of discovery” to celebrate the city’s creative arts and support Brisbane’s fertile creative community. What’s truly magical about Winn Lane is its array of unique fashion boutiques, with new stores popping up further down the lane each month. A recent sartorial venture by one of Brisbane’s most loved labels is Easton Pearson’s newest store. The launch of diffusion line EP by Easton Pearson during the Brisbane Mercedes Benz Fashion Festival 2011 brought together the most colourful of Brisbane’s fashion and art lovers. The laneway serves as a practical avenue for stimulating conversations about Brisbane fashion. Lydia Pearson, one half of the duo behind Easton Pearson,

described the laneway as a close knit -no pun intended- neighbourhood. “It feels like home because our offices are just across the road, and also because Flamingo Café is here! It was a really obvious choice for us,” says Pearson. That community feeling that radiates from the laneway is also something that Jess Bartey of Sunday Social, a vintage clothing store in the lane, is enthusiastic about. “All of the shops in the laneway are proud to be part of it - we all help each other out and hold events together, and in a way we’re all working together to create this little community. It’s really lucky because we’re all on the same page in terms of design and what we want the laneway to become.” More than just the obvious set of subculture types that frequent the popular Flamingo Café, Winn Lane appears to be drawing in all sorts of people. “This little pop-up shop is young, fresh and light hearted and appeals to a much younger demographic. It’s such a great way to give ourselves a really individual identity,” says Pearson about the new EP by Easton Pearson store. On the other hand, Sunday Social is finding a broader range of customers attracted to their men’s and women’s vintage duds. “There’s mothers and daughters coming in buying dresses, and then I had a 50-year-old guy who plays in a rock band come in the other day and buy a leather jacket. So just anyone who likes vintage is coming in,” says Bartey. The laneway is also host to The Valley Laneway Markets, held on the first Saturday of the month. After a brief hiatus, the markets, which were previously extended to other surrounding laneways including Bakery Lane, are now being combined into a smaller more edited number of stalls on Winn Lane. On top of everything else, there’s often a ping pong table set up in the lane for customers and store owners to battle it out. “I’m not a very hard worker, and if it’s quiet you’ll usually find me out there,” laughs Bartey. So this coming Sunday, if the sun is shining and you find yourself in Winn Lane – perhaps on the hunt for the dark and raw handcrafted jewelry of Ruby and Prankstar or the visionary and architectural womenswear designs of Ash to Gold, don’t be afraid to jump in and pick up a paddle. Nobody’s pointing fingers.

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Welfare l Pensions l Advocacy l Assistance l

Kedron-Wavell

Sub Branch RSL

The Kedron-Wavell Sub Branch RSL is the largest Sub Branch in Brisbane, providing a wide variety of services to the Brisbane North veteran community. More specifically the role of the RSL is to ensure the wellbeing, care, compensation and commemoration of serving and ex-servicemen and women and their dependants; and promote Government and community awareness

We have moved!

The Kedron-Wavell Sub Branch RSL are highly involved in the local area through community and charity groups such as Greenslopes Hospital and the Burnie Brae Centre. The Sub Branch has also been a strong supporter in the development of youth through scholarships and bursaries at local schools and us universities.

You can now find located on Level One of the Club (to the left of the Blue Pacific Room)

They are also responsible for the organisation of commemoration activities including ANZAC Day and Remembrance Day held at Kedron-Wavell Services Club Inc. Membership to the Sub Branch RSL is available to all ex-servicemen and women.

d. Phone: 3 359 0460 l Email: kwrsl@bigpon w

ww.ked ron-wavell.com.au

FROCK lifestyle

From secret suburban bars to cafés comprised purely of recycled furniture, we reveal three of Brisbane’s finest hidden treasures. WORDS: EMMA BEDSOR From the outset, this intriguing, cosy café appears to consist of no more than a small bar and kitchen area, featuring a well-kept antique piano in the front entry. Further exploration however, leads to the discovery that this humble café is unexpectedly spacious. The back dining area, aptly named ‘The Courtyard’, is comprised of recycled furniture, an abundance of greenery, bricks and quirky graffiti art adorning the walls, creating a dining experience with a difference. Along with a friendly ambience, Jam Jar has an extensive menu and friendly staff that make it a must try for anyone who appreciates great food with an edge. Must Try: Contact Details: Jamjar Sangria Cocktail 138 Boundary St Price Point: West End, 4101 Food under $35 (07) 3844 3395

Acting as a café by day and bar by night, Kerbside has paved the way for a new style of socialising in Brisbane. As the name suggests, the furniture and décor which make the venue so unique is derived from council curb-side collections. Situated in an old warehouse, the combination of miss-matched treasures and trash are used to create a young, fresh, and urban vibe. Both the large interior and courtyard offer ample room to unwind and indulge throughout the evening, despite being in mere metres from Fortitude Valley’s bustling nightlife strip. The chilled and casual ambience created at Kerbside also makes it the perfect spot to replenish the taste buds with coffee, a snack or lunch.

Photography: Emma Bedsor & Amber Gerrard-Maxwell

Must Try: The Granny Flat Cocktail Price Point: Food under $15

Contact Details: Constance St, Ann St End Fortitude Valley, 4006 (07) 3252 9833

Tucked away in the hype and fuss of Brisbane’s CBD, Brew never fails to deliver an all-inclusive dining experience. While posing as a coffee shop during the day, the back basement of this quaint café is converted to a bar during the evening, proving there is much more to the oasis than meets the eye. Enriched by its surroundings, Brew utilises recyclable, urban vintage furnishings to adapt to its seemingly grungy, clandestine location tucked down Burnett Lane. No matter what time of day, the composed atmosphere created by this charming café and bar makes for the perfect spot to indulge with DiBella Coffee out the front, or treat yourself to wine and tapas out the back. Must Try: Contact Details: Wine and Tapas selection Lower Burnett Lane Price Point: Brisbane, 4000 Food under $30 (07) 3211 4242

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