UNLIMITED
Sometimes you sparkle. And the world turns.
Sometimes the world really is your oyster.
oysterbaywines.com
DEL2897
Over beer?
Editor Heather Cairns
- is -
Director Emmanuel Giraud
Art Director LLoyd McAlister www.lloydstevie.com Beauty Editor Fern Madden Web Designer Mourad Zeggari
- with Clive Allwright Leni Andronicus Christian Blanchard Jana Bartolo Martin Bray Rhiannon Bulley Megan Cahn A.H. Cayley Kylie Coutts Charlie Dennington Jonathan Geimon M贸nica R. Goya Gunnear H盲mmerle
Jason Henley Kate Jones Melissa Levy Hayley Mears Britt McCamey Roderick NG Kate Roberts Leona Robinson Nigel Stanislaus Sonny Vandervelde Sina Velke Annike Wester Desiree Wise Emily Sue Yee
- Interns Rhiannon Bulley A.H. Cayley Emily Fang
Leila Maktari Tasha Nabila Philippa Velhinho
- at -
www.tangentmag.com info@tangentmag.com 80 Victoria st Beaconsfield 2015 + 61 2 9318 1668 Cover Image (L-R) Olivia and Lourdes wear: Flowers for a Vagabond dresses, Nardiville for Flowers for a Vagabond spats, Rachel Gilbert shoes, Christopher Dobosz custom made glasses Photography Emmanuel Giraud emmanuelgiraud.com Styling Heather Cairns heathercairnsonline.com Make-up Martin Bray @ Look Production using M.A.C Hair Kate Jones and Leona Robinson @ Suki Hairdressing Models Lourdes @ Chic Model Management Olivia S. @ Chic Model Management Special thanks to The Hilton Sydney for the location hiltonsydney.com.au
CON TEN TS
UNLIMITED
UNLIMITED 10. 12. 14. 20. 26. 30.
CONTRIBUTORS NOTES. EDITOR/DIRECTOR TRENDS: DIGITOPIA BIRTH IN ANTWERP PREEN: NO DIRECTION HOME ALEX PERRY UNLIMITED
FASHION
44. 62. 72. 90. 98.
TECHNO CHIC EXOSKELETONS BETTY’S FAULT THERE WERE CLOUDS BUT NO SKY ACID HOUSE
BEAUTY
110. 117. 118.
PANGAEA A RETURN TO PANGAEA THE TRAVELLER’S ANTHOLOGY
CULTURE
124. 130. 134. 138. 141.
CALLING ROBYN DYSFASHIONAL GLOBAL ART FEAST TANGENT YOURSELF TANGENT DIRECTORY
CONTRIBUTORS
MELISSA LEVY STYLIST
What limits do you like breaking in your work? My own expectations. If you could have unlimited access to one thing what would it be? Sunshine and freedom. What will be your fashion statement for the new season? Bare legs in the Parisian summer. Which designers are you getting off on? Céline, Chloé, Dries Van Noten and Rag & Bone. Who would you like to get caught in a cubicle with? Janet Jackson. The eighth deadly sin is . . . peanut butter.
ANNIKA WESTER
ILLUSTRATOR
What limits do you like breaking in your work? Proportions. If you could have unlimited access to one thing what would it be? A beautiful long beach. What will be your fashion statement for the new season? Can’t get enough glitter! Which designers are you getting off on? Elsa Schiaparelli jewelry, Yves Saint Laurent (from the ‘70s) and Anna Sui. Who is inspiring your work at present? That would be myself and my imagination. Who would you like to get caught in a cubicle with? My boyfriend. He’d have a special visitor’s badge. The eighth deadly sin is . . . to never wear make-up being a woman. That is very bad!
CONTRIBUTORS
NATALIE MODEL JONATHAN GEIMON KAYSER
What limits do you like breaking in your work? I really love having many different facial expressions and movements. When I start to move and feel the shoot it is really great. If you could have unlimited access to one thing what would it be? If we are talking ‘not’ in the fashion industry, then a nice heated pool. What will be your fashion statement for the new season? My rolling stones t-shirt and gray torn boots. I like to keep it casual/rock. Which designers are you getting off on? Rad Hourani’s clothing and Christian Siriano. Both of them together would be amazing. Who would you like to get caught in a cubicle with? I don’t want to be caught, but my boyfriend probably ;) The eighth deadly sin is . . . cheaters.
HAIR STYLIST
What limits do you like breaking in your work? Gravity. If you could have unlimited access to one thing what would it be? Massage. What will be your fashion statement for the new season? A purple plastic jacket from Shag. Which designers are you getting off on? Jack London. Who would you like to get caught in a cubicle with? Um, Ricky Martin. “Un, dos, tres”. The eighth deadly sin is . . . to not read Tangent Mag!
NOTES
NOTES.
EDITOR
INTERVIEWING Robyn Beeche for the fourth issue of Tangent Magazine highlighted the concept of Unlimited. By listening to the iconic fashion photographer describe the outrageous compositions she captured in her viewfinder, I was reminded that creative limits are broken when we collaborate. Vivienne Westwood, Malcolm McLaren, Zandra Rhodes and the infamous Leigh Bowery were all frequent visitors to her studio where they would work into the early hours of the morning. They would produce provocative images, pre-Photoshop, that today, still confound the senses. With this idea in mind, other examples of the Unlimited concept popped up all over the fashion world. In this issue you will find Berlin’s Dysfashional exhibition where designers like Maison Martin Margiela and Raf Simons take you on a journey beyond the initial aesthetic of clothing and into the emotion that comes from its function. Exclusive interviews with Antwerp’s fashion graduates from the Royal Academy of Fine Arts show what happens when a group of students have been told to think outside the square for four intensive years. Australia’s own Alex Perry talks about his infinite vision on glamour and dresses that take his team months to embellish. We also talk to design duo Justin Thornton and Thea Bregazzi from Preen, who discuss their label which is heading over the horizon. Our fashion editorials take you from Exoskeletons, to psychedelic rave boys to a futuristic world. We were also lucky to collaborate with Annika Wester, Parisian based Swedish illustrator who teamed up with our talented art designer Lloyd McAlister to create a fusion of digital prints and fashion sketches that will blow your mind. We hope this issue inspires you to be unlimited and take someone else along for the ride. Heather Cairns
DIRECTOR LIMITED ARE OUR DAYS, NOT OUR CREATIVITY.
I believe our world has been producing many creations in the last decades. 2010… How can we make new statements? We start an issue with our feelings on things at that time and discuss it. Places, people, trends, colours, situations that happened or that we fantasize about. Ideas fuel our adrenaline. We start meeting people to create together and often discover that their world is a beautiful and unexpected extension of ours. Interviewing Robyn Beeche reminded me how important it is to listen to ourselves every day and let our passion lead our work. Together we can create, experience and offer to inspire others. Anything becomes unlimited. I will let you enjoy the following pages. Thanks to everyone who made this issue possible. Emmanuel Giraud
TREND
DIGITOPIA
DIGITAL KALEIDOSCOPE. KEEP ALL ACCESSORIES INSIDE THE VEHICLE.
(L-R) Figure one wears: Miss Unkon Dream print, Tour De Force puff bow, Dicha necklace (worn on arm), Forget Me Not scarf (worn on waist). Figure two wears: Bec & Bridge Milky Way print, Bijoux necklace, Bijoux earrings, Othera scarf worn on waist, YSL ring.
ILLUSTRATION ANNIKA WESTER
DIRECTION/DESIGN LLOYDSTEVIE.COM
FASHION RHIANNON BULLEY
TREND
(L-R): Figure one wears: World Apple Strudel print, Petshop waist corset available from Olive Shoppe, Matthew Williamson necklace and cuff, Celestina clutch, Jimmy Choo Shoes. Figure two wears: Ginger & Smart Transcendent print, Aurelio Costarella corset, Angel Jackson clutch, Christian Louboutin shoes.
CONTRIBUTORS TREND
(L-R) Figure one wears: Zimmermann Fleeting Lilac Stripe print, Fendi cuff, Roberto Cavalli ring. Figure two wears: Arnsdorf Organic Canvas Crystal print, Michael Kors watch, Erickson Beamon cuff, Roberto Cavalli ring.
CONTRIBUTORS TREND
(L-R) Figure one wears: Lucette Monochrome print, Alaïa belt Holly Fulton necklace, Alexander McQueen bracelet, Marc by Marc Jacobs watch. (L-R) Figure two wears: Dhini Mughal Empress print, Kenneth Jay Lane earrings, Aurélie Bidermann cuff, Judith Leiber clutch.
TREND
Birthday Suit Bird of Paradise print, Mawi bracelet, earrings and ring.
CONTRIBUTORS DESIGNER
TOON GABOERS
CELEBRATED FOR ITS EXPLORATION OF THE PARALLELISM OF FASHION AND ART, THE ANTWERP ROYAL ACADEMY OF FINE ARTS HAS SHOWCASED THE COLLECTIONS OF THIS YEAR’S INGENIOUS GRADUATES. Founded in 1663, the Antwerp Academy in Belgium is Europe’s most primitive institution of fine arts and is respected for its equal marriage of expression and objection to the reality and culture of fashion. Notorious for its exclusivity and very high creative standards, the academy only accepts limited students and demands originality, perseverance and a healthy imagination. The academy’s artistically industrious next generation, live and dream Antwerp during their four years completing its design course. This year’s graduates shared a certain monochromatic vision and conceptual direction, but each maintained their own aesthetic choices through fabric, silhouette and symmetry. Angular cuts, billowing knits and renaissancestyle collars added a couturelike opulence to a group of collections that were edging toward a conventional standard. With internationally recognized alumni, this year’s graduate collections will be sure to spark the careers for Antwerp’s fashion stars of the future. Photographer Sonny Vandervelde managed to capture the magic of the most creative collections. We spoke to a selection of these students who are making the fashion world tick.
BIRTH IN ANTWERP Leni Andronicus
PHOTOGRAPHY SONNY VANDERVELDE
DESIGNER
THORBJORN ULDEM
CONTRIBUTORS
NATHALIE FORDEYN
How has being part of the creative environment of Antwerp’s Royal Academy of Fine Arts driven your work? Incessant pressure drives you to work harder. The teachers take every day very seriously. This also pushed me to constantly better myself. How has your work evolved over your time at the Academy? I am very critical about my own creations; I can readily see the flaws in my work and am able to turn these into new inspirations. As there always will be [an] ebb and flow, in the end you need these waves to keep yourself alert, to never stop improving. What has inspired your graduation collection? My attraction to -and belief in- a surreal world. I attempt to evoke surrealism through the designs of the dresses I feel people are wearing in this charming surreal world, which is an imaginary world that is not a dream world but a world that lives and exists parallel to our ordinary daily world. Summarise your work’s aesthetic in three words: Different, questioning, feminine. What have been the key techniques and fabrics used in your graduation collection? Sculpture, knitting and crocheting, wool, silk, hand-folded flat pleats and colourful abstract prints. What have been the challenges in your final year? Making a collection out of a very subjective theme. Translating my imagination into vivid reality, while inhabiting a surreal world and to make knitted, crocheted silhouettes standing effortlessly. What do you believe are the key elements of good design? A strong creative base and great translational and artistic skills in execution. What do you think defines style in a woman? Her shoes! Antwerp has launched the careers of some of the world’s top designers including Dries Van Noten and Ann Demeulemeester. Do you feel any pressure to live up to their work? I think, as for everything important in life, you want to go a far as you can. What do you consider your greatest achievement? Patience and persistence. What is your next move in the fashion industry? I’m very open to good opportunities. What is your favorite memory from Antwerp’s Royal Academy of Fine Arts? The day I was told I was accepted into the Fashion Academy!
CONTRIBUTORS
MATTHIEU THOUVENOT
How has your work evolved over your time at the Academy? I learned mostly to organize my ideas, to turn them into shapes and to make these shapes look like my sketches. It’s like a whole language you have to learn. What has inspired your graduation collection? Baroque costume – Last Judgement. Hell. Summarise your work’s aesthetic in three words: Sharp dark lady. What have been the key techniques and fabrics used in your graduation collection? I worked mostly with silks for this collection. It is definitely my favourite material for its technical and aesthetic properties. I also developed my own brocades in Holland, from pattern drawing to weaving. What have been the challenges in your final year? To feel as free as the previous years even though I knew this collection would probably have more consequences for my future. What do you believe are the key elements of good design? It must be a matter of proportions, combinations and contrasts. But I must admit my way of working is extremely intuitive. Intellectualizing too much about the design process feels like restricting my creativity. What do you think defines style in a woman? Attitude, intelligence and character. Antwerp has launched the careers of some of the world’s top designers including Dries Van Noten and Ann Demeulemeester. Do you feel any pressure to live up to their work? Not at all. All the designers who graduate from Antwerp witness an amazing range of styles, inspirations and cultural backgrounds. The field is fully open, it’s really up to each of us to make our personal proposal. What do you consider your greatest achievement? Sitting down and figuring out your greatest achievements when you are twenty-five seems like a dangerous attitude to me! What is your next move in the fashion industry? The word ‘industry’ gives a very narrow sight on fashion. I never figured my future this way. I certainly want to work within a team now, four years working on my own were enough. What is your favorite memory from Antwerp’s Royal Academy of Fine Arts? There are a bunch of good memories ... It was such an intense experience … Looking back it seems difficult to divide the good from the bad. I want to keep it all!
CONTRIBUTORS
MARIE CRAMER
How has being part of the creative environment of Antwerp’s Royal Academy of Fine Arts driven your work? It is always inspiring to be surrounded by creative people! Since the level and the competition are really high there’s a constant will to make good work. How has your work evolved over your time at the Academy? I think my work has really matured. What has inspired your graduation collection? My graduate collection was inspired by pictures of the rooftop of the Opéra Garnier in Paris painted by Marc Chagall, as well as by traditional Russian costumes. Summarise your work’s aesthetic in three words: Feminine, aesthetic and sophisticated. What have been the key techniques and fabrics used in your graduation collection? I used a 4mm felt for all my pieces, in order to get the right shape. I then ‘flisofixed’ it with the real fabrics. Most of my fabrics are hand-painted silks and hand-embroidered brokat. What have been the challenges in your final year? The challenge was to work more or less alone without guidance. What do you believe are the key elements of good design? The key element for me is a balance in the collection. A balance concerning colours, fabrics and shapes. What do you think defines style in a woman? As soon as it gets really personal in an aesthetic way, I would say that is style. Antwerp has launched the careers of some of the world’s top designers including Dries Van Noten and Ann Demeulemeester. Do you feel any pressure to live up to their work? No, I don’t feel this pressure. Every student has another vision of their future. What do you consider your greatest achievement? I think my greatest achievement so far is that I graduated at this school, without changing my personality and style. What is your next move in the fashion industry? I will start to do internships, in order to get more work experience. What is your favorite memory from Antwerp’s Royal Academy of Fine Arts? I can’t remember one favourite memory. Every year was very different, so I have both good and bad memories from each year.
CONTRIBUTORS
JOHAN AKESSON
How has being part of the creative environment of Antwerp’s Royal Academy of Fine Arts driven your work? I’ve learned how to get my message across without exaggerating. How has your work evolved over your time at the Academy? I’ve gotten stronger in my concepts and trust in what I do. What has inspired your graduation collection? Everything is temporary. What caught my attention and became my base of this collection is the world’s collapse, which was clear with the world economic crisis. The world we live in is standing on very thin pillars. That thought has brought me to the fact that all we are left with is love. But also this is temporary in most cases. Summarise your work’s aesthetic in three words: Essentials, diversity and control. What have been the challenges in your final year? The workload. We’ve learned how to make a collection for the past three years, but it was now put to the test. Even though you are on your own, it’s a question of organization and being able to trust in others. What do you believe are the key elements of good design? Strong reasons for your choices, in every aspect and detail. From idea to final product. What do you think defines style in a woman? Confidence. Antwerp has launched the careers of some of the world’s top designers including Dries Van Noten and Ann Demeulemeester. Do you feel any pressure to live up to their work? I believe they have put Antwerp on the map and give it great attention, but I don’t think it’s healthy nor interesting trying to compare. I think we have to find our own way. What do you consider your greatest achievement? Finding my way. What is your next move in the fashion industry? I have a few projects, which I’m finishing and I’m still searching for something more permanent where I can get a more professional experience. What is your favorite memory from Antwerp’s Royal Academy of Fine Arts? It’s a bit of a blur ... but when hard work pays off it is always a good feeling!
DESIGNER
PREEN: NO DIRECTION HOME
BRITISH DESIGNERS JUSTIN THORNTON AND THEA BREGAZZI LOVE LONDON BUT WHEN TALKING ABOUT BUSINESS, THEY CHOOSE NEW YORK. MÓNICA R. GOYA SPEAKS TO THE COUPLE ABOUT THE EVER-EXPANDING LIMITS OF THEIR PROLIFICALLY CHIC LABEL.
DESIGNER
Preen Fall 2010
DESIGNER
Justin Thornton & Thea Bregazzi from Preen
PREEN MEANS devoting effort to
“WE MEET MOST OF THE DESIGNERS, AND WE ARE ALL WORKING VERY HARD. [THERE] IS A REAL CAMARADERIE AMONG THE DESIGNERS.”
making oneself look attractive, but when talking about fashion, Justin Thornton and Thea Bregazzi’s label, Preen, makes you look indisputably cool in an effortless way. The latest Fall 2010 collection was celebrated for finding the critical point between pretty and tough. It seems every editor across the board was yearning for one of the hybrid designs that fused mannish Savile Row tailoring, with floral prints and sensual cut-outs.
The couple behind the British label met in their hometown, in the Isle of Man, when they were eighteen. Thea graduated from the University of Central Lancashire, while Justin graduated from the Winchester School of Art. Together, they launched Preen in 1996. Surprisingly approachable, they confess that the economic crisis “Has not affected our business at all. In fact, the business has grown about 40% in the last two seasons,” Justin claims. “The last two seasons have been our best two seasons.” Justin’s two-day stubble, together with his charming smile, makes it impossible for a Londoner to feel offended when he recognizes that New York has replaced London as the city for their shows. “We love London, and we obviously live here and we find it a very inspiring city, but showing in New York City is working really well for our business. Since we started there our business has grown internationally . . . [we] do have Preen Line, which is a more casual line, and we would love to show that in London, but that’s for the future.” Preen garments are instantly recognizable; they have their own unique style resulting in strong individual looks. “We always do something that we really love, we don’t follow trends, we don’t follow anybody else’s style, we know instinctively what we like and also what our close friends would like to wear. We like to think of what we would try in different situations, in real life situations. We want our clothes to fit in every part of a woman’s life,” Thea claims. Justin goes further to add, “I think also we very much look at designs we have done in the past all the time, each new collection is a journey, it is a development from the previous collection, we take certain elements forward, we re-develop things, and that helps to create the brand and the look.”
Preen Fall 2010
DESIGNER Not only does Preen sell internationally to twenty-five countries with over one-hundred-and-twenty stockists, they also collaborate with Topshop. Thea smiles, flicking her mane of brilliant red hair, “We love working for Topshop. It’s such a nice brand, it’s nice to work for a younger clientele, and introduce our brand to younger girls that then grow up.” Preen’s younger fans were not born when Hervé Léger was achieving great success pioneering the body-conscious look back in the eighties. They brought back that provocative look in their Spring 2007 collection, and that look is here, apparently to stay. Justin does not hesitate. “When we did those powerful dresses, we decided to do the collection inspired by supermodels and that kind of body-con period, and then we did address that. Immediately, Kate Moss rang up the next day and wanted a dress straight from the catwalk. Then everybody ordered it and the next thing we knew was that Gwyneth Paltrow was wearing it, and it went global.” The couple is brilliant in using artistic and cultural references with a modern allure. The signature floral print from the Fall 2010 collection was inspired by the Peter Saville floral design on the cover of New Order’s Power, Corruption and Lies. When it comes to her own wardrobe, Thea confesses that she has “ . . . lots of trousers and Preen pants, which are quite well known, and that is a basic structure which we reinvent every season. I live in Preen black tie trousers, they’re very comfortable.”
“WHEN WE DID THOSE POWERFUL DRESSES, WE DECIDED TO DO THE COLLECTION INSPIRED BY SUPERMODELS AND THAT KIND OF BODY-CON PERIOD . . . IMMEDIATELY, KATE MOSS RANG UP THE NEXT DAY AND WANTED A DRESS STRAIGHT FROM THE CATWALK. THEN EVERYBODY ORDERED IT AND THE NEXT THING WE KNEW WAS THAT GWYNETH PALTROW WAS WEARING IT, AND IT WENT GLOBAL.” The duo is also known for recycling vintage pieces and they both believe that style is not a matter of money. “Obviously when something is of a high quality fabric it tends to be more expensive, which does help, but I think people can look stylish just wearing simple clothes; it’s more about the personal style,” says Justin, while Thea reinforces, “It’s the way you put it together. I hate when people have the top to toe look and it’s all one designer. I like it when it’s mixed with some vintage flea market, something second hand.” The visible connection between the two proves what they say. “We find work together quite natural, in fact we find it difficult to work apart.” “The fashion world is not as elitist and snobbish as it seems,” says Justin. “A lot of real people work in fashion.” Thea supports by saying, “We meet most of the designers, and we are all working very hard. [There] is a real camaraderie among the designers.” Justin interrupts her and claims, “Obviously people think of the fashion world as this high glamorous elitist society but it’s just like any other industry, people working hard, but it’s a creative industry, so you have all sorts of different personalities in it.” Preen’s expectations for the future are simple. “Keep growing and establish ourselves. We do wearable, directional pieces and I hope to keep re-inventing ourselves. I hope to do more accessories - we do shoes and bags now - I’d like to make those ranges bigger and maybe launch some other things.” Ultimately, they are a young couple with children who are typically grounded. Their designs however, are flying off the radar. Mónica R. Goya preen.eu Preen Fall 2010
DESIGNER
UNLIMITED
ALEX PERRY
(L-R) Alex Perry wears: models own clothing. Olivia wears: Alex Perry dress, Hatmaker headpiece.
WHEN ALEX PERRY WALKS INTO A ROOM, HE HAS AN UNDENIABLE PRESENCE. AFTER ALL, HE IS AUSTRALIAN FASHION ROYALTY. THE PERSONA HE PRESENTS ON TV IS HOW HE PRESENTS IN REAL LIFE. IN STATING THAT, ONE THING IS QUITE OBVIOUS AS WE SIT DOWN TO DISCUSS HIS FASHION, FROCKS AND FABRICS - THE MEDIA HAS CERTAINLY HAD ITS WICKED WAY WITH THE WORDS OF ALEX PERRY. HAYLEY MEARS REPORTS.
Sarah wears: Alex Perry dress, Cerrone earrings, Peter Lang necklace (worn as bracelet). Olivia wears: Alex Perry dress, Just Cavalli shoes, Peter Lang earrings, Hatmaker headpiece.
DESIGNER
Francesca wears Hatmaker headpiece.
DESIGNER
(L-R) Francesca wears: Hatmaker headpiece, vintage nipple tassels, Triumph briefs. Olivia wears: Alex Perry dress, Hatmaker headpieces.
“SILENTLY IN MY HEAD, I ALWAYS LOOK AT THINGS AND THINK, THIS IS HOW I’D DO THAT DIFFERENTLY, TO MAKE THIS OR THAT BETTER. EVERYBODY HAS AN AESTHETIC AND ONCE YOU IDENTIFY IT, THEN THAT’S WHAT YOU DO FOR A LIVING.”
(L-R) Francesca wears: Alex Perry dress, Galliano shoes, Cerrone necklace, Dents gloves, Peter Lang bracelet. Maria wears: Alex Perry dress, Dents gloves, Cerrone ring. Olivia wears: Alex Perry dress, Dents gloves. Sarah wears: Alex Perry dress, Galliano shoes, Dents gloves, Peter Lang necklace.
DESIGNER
THE CONTROVERSIAL SIZE of
Alex Perry’s models has been widely publicised for some time. When you really listen to what Perry has to say about the size and weight of models in the industry, he actually isn’t out with calipers pushing anorexic girls down the runway. So how did all the controversy about the weight issue come about? “I did an interview a while back about fuller figures in the fashion industry. I thought it was going to be a really great interview about plus-size models. That half-an-hour interview was then edited down into two seven-second grabs.” Perry explains how all the recent weight debate started. “During this interview I said, we made size 16, but nobody bought them, so why would I have a size 16 girl on the runway? The interview was cropped to ‘you’ll never see a size 16 girl on my runway’. I looked like a total arsehole. I was really misrepresented.” So much so that Perry started receiving hate mail the next day. Perry claims he is simply using the girls available to him and stocking the sizes that are in demand. Snippets of interviews have manifested into a frenzy of controversy about “he said they should be how thin?” and “what’s this about no size 16s?” Perry says that he actually has a lot of clients that he tailors up to a size 24, but these sizes aren’t practical in ready-to-wear. Although he is now his own celebrity, he is still seen most Saturdays in his flagship store in Sydney’s Strand Arcade, fitting brides with the tape measure around his neck. The relationship he builds with these clients is unlike most designers with that kind of profile. He builds genuine relationships with these women and strives to make them as beautiful and glamorous as possible. He puts to use the aesthetic eye that has cursed him since he was a child. “Silently in my head, I always look at things and think, this is how I’d do that differently, to make this or that better. Everybody has an aesthetic and once you identify it, then that’s what you do for a living.” So why is it that male designers such as Perry do womenswear so well? “Boys have a different aesthetic I think, when it comes to dressing women. We take bigger risks. I don’t think about the comfort factor, I’m not concerned if you can’t sit down. I am appearance-driven in that sense – I want you to look good. That dress is only going to be on for four or five hours, so suck it up. You’re going to look fantastic.” One of the many things that sets Alex Perry apart from the rest is the precision detailing of his pieces. The craftsmanship is unlike any other detailing in Australian fashion. The femininity and sheer beauty of his work is not done justice in runway footage or a photographic image. When you see his gowns up close and can see the intricacy and delicacy of each customised gown, it is truly an aweinspiring experience. Perry is somewhat humble when asked about his beautiful craftsmanship. “It comes from being a perfectionist. I have some incredible machinists and hand-sewers working for me, that have an incredible eye for detail and tailoring. Some of them purely work on the chiffon dresses because that’s their strength and the others are doing all the detailing and personalising. We have our beading done at the same place as Dior and Yves Saint Laurent.” When it comes to Generation Y changing the face of Australian fashion, Perry welcomes the change. “Gen Y have a different perspective, they bring a unique freshness. There are some of them, like Dion Lee – he’s fantastic. He’s got a great aesthetic and his workmanship is amazing. He has a great eye for proportion and an incredible eye for detail. The finish of his clothes is worldclass. There are [other Gen Y designers] who just do what other people are doing, which just stands to highlight Dion
“BOYS HAVE A DIFFERENT AESTHETIC I THINK, WHEN IT COMES TO DRESSING WOMEN. WE TAKE BIGGER RISKS. I DON’T THINK ABOUT THE COMFORT FACTOR, I’M NOT CONCERNED IF YOU CAN’T SIT DOWN. I AM APPEARANCE DRIVEN IN THAT SENSE . . . THAT DRESS IS ONLY GOING TO BE ON FOR FOUR OR FIVE HOURS, SO SUCK IT UP. YOU’RE GOING TO LOOK FANTASTIC.”
Lee. Some people are meticulous and he’s meticulous, that guy.” There are two places that Alex Perry will never go in fashion. Menswear and diffusion lines. So why no to menswear? “I just don’t like it. Men aren’t as fun as women and they’re not interesting to dress. With menswear you don’t have the scope, and in Australia men just aren’t into that.” As far as diffusion lines go, Perry believes it compromises the quality of the brand. “If I try and produce a dress that only cost $250, it will only be a shadow of what the dress could have been. In Australia we don’t have the population to warrant such mass production and it just ends up becoming damaging. People come to Alex Perry because they have an expectation of the brand. I need it to cost that much to provide that expectation.” The celebrity is such an important part of the Alex Perry brand. It all started when Perry had his first shop in Kensington, and dressed Noni Hazelhurst for the Logies. These days it is international celebrities, but the home-grown Aussie celebs are the ones closest to Perry’s heart. “As soon as Miranda [Kerr] has got a dress on, it sells out. When I started designing I knew I wanted to get the best celebrities, the most beautiful girls, the ones that everybody is looking at.” Since Perry made his debut as a judge on Australia’s Next Top Model six seasons ago, he has been the most talked about judge in the show’s history. Perry says that he simply states what everyone at home is thinking. “If I call some girl a pig, people get shocked. As if you don’t say that at home - yet it’s so offensive when I say it. There are some people who really like me and other people that think I’m a prick, but you can’t please everyone.” There is plenty more to come for the Alex Perry brand. Something will be happening in the next few months, but he is keeping the details of that closely guarded. He has spoken many times before about branching into homewares and interiors, but does not divulge whether that time is now. Whatever it is in the pipeline, Perry promises that it is something that will be a first for any Australian designer. He describes the Alex Perry girl simply in three words: confident, glamorous and show-off - everything that his designs embody. Love him or hate him, he is unapologetically Australian fashion royalty. Hayley Mears alexperry.com.au
ALEX PERRY
(Clockwise from top) Sarah wears: Alex Perry dress, Galliano shoes. Maria wears: Alex Perry dress, Stillier shoes, Peter Lang necklace. Francesca wears: Alex Perry dress, Just Cavalli shoes, Peter Lang necklace.
Photography. Emmanuel Giraud emmanuelgiraud.com Fashion. Heather Cairns heathercairnsonline.com Hair. Clive Allwright@ Network Agency and ourplacesalon.com.au using KMS Make-up. Nigel Stanislaus for Maybelline NY using MNY Dream Matte Mouse foundation. Set Designer. Kate Roberts Photography assistants. Sam Armmstrong, Zac Handley-Garben. Fashion assistants. Philippa Velhinho, A.H. Cayley, Tasha Nabila Hair assistants. Kelly Grant, Jonathan Geimon Make-up assistant. Judith Loan Models. Olivia Stalin and Maria @ Chic Management, Sara Von Schrenk @ Priscilla’s Management Francesca @ Vivien’s Management Special thanks to The Capitol Theatre for the location capitoltheatre.com.au
Olivia wears: Alex Perry dress. Nicholas Kirkwood shoes from Diodato, Hatmaker headpiece.
www.dan-jones.com
TECHNO CHIC
MILLENNIUM MISSION METALLIC VS. NEUTRAL SHAPES ACCELERATE PHOTOGRAPHY EMMANUEL GIRAUD FASHION HEATHER CAIRNS
Alex Perry dress, Future Fashion headpiece.
(L-R) Lourdes wears: Christopher Dobosz vest, Triumph briefs, Nardiville for Flowers for a Vagabond spats. Olivia wears: Christopher Dobosz dress, Rachel Gilbert gloves.
Lourdes wears: Rick Owens jacket from Xile, Nardiville for Flowers for a Vagabond spats, Rachel Gilbert shoes, Future Fashion headpiece, Philips head phones, Triumph briefs.
(L-R) Olivia wears: Rachel Gilbert dress, gloves and shoes, Philomena Kwok Millinery headpiece, Swarovski purse, Peter Lang earrings and necklace (worn on wrist). Lourdes wears: Rachel Gilbert dress, gloves amd shoes, Philomena Kwok Millinery headpiece, Galliano bag, Peter Lang earrings, Swarovski diamante wrist watch, Peep Toe cuff.
Olivia wears: Aurelio Costarella dress, Gucci boots.
(L-R) Olivia wears: Nicola Finetti dress, Rachel Gilbert shoes, Philomena Kwok Millinery headpiece. Lourdes wears: Nicola Finetti dress, Rachel Gilbert shoes, Philomena Kwok Millinery headpiece.
(L-R) Olivia wears: Flowers for a Vagabond dress, Nardiville for Flowers for a Vagabond spats, Rachel Gilbert shoes, Christopher Dobosz custom made glasses. Lourdes wears: Flowers for a Vagabond dress, Nardiville for Flowers for a Vagabond spats, Rachel Gilbert shoes, Christopher Dobosz custom made glasses.
(L-R) Lourdes wears: Sretsis top, Peep Toe necklace, Philips headsets. Olivia wears Sretsis top, Swarovski necklace, Philips headsets.
(L-R) Lourdes wears: Alex Perry dress, Rachel Gilbert shoes. Olivia wears: Stylist’s own necklace (worn over eyes).
Photography. Emmanuel Giraud emmanuelgiraud.com Styling. Heather Cairns heathercairnsonline.com Make-up. Martin Bray @ Look Production Hair. Kate Jones and Leona Robinson @ Suki Hairdressing Photography assistants. Lloyd McAlister, Zac Handley-Garben Styling Assistants . A.H.Cayley, Tasha Nabila, Emily Fang Models. Lourdes @ Chic Management, Olivia @ Chic Management Special Thanks to Hilton Sydney for the location hiltonsydney.com.au
EXO SKE LET ONS
PHOTOGRAPHY EMMANUEL GIRAUD FASHION HEATHER CAIRNS
FASHION = ARM O U R
Christopher Dobosz dress, Paula Walden headpiece, Becky Doyle custom made glasses.
Rachel Gilbert dress, Alistair Trung visa with glasses, World cuffs, neckpiece made by stylist.
Garth Cook dress, Burberry Prorsum boots, Philomena Kwok Millinery headpiece, World cuffs.
Alistair Trung scarf.
Future Fashion breastplate and gloves, Peep Toe boots, model’s own briefs.
Alex Perry dress, Christopher Dobosz leather floral harness (worn on head), Flowers for a Vagabond headpiece (worn underneath).
Kirrily Johnston dress, scarf and necklace, Peep Toe boots, Design By Jude shoulder pads.
A.Concept jacket, Burberry Prorsum boots, Alistair Trung beads (held in hands), stylist’s own PVC leotard.
Photography. Emmanuel Giraud emmanuelgiraud.com Fashion. Heather Cairns heathercairnsonline.com Make-up. Martin Bray @ Look Production Hair. Clive Allwright@ Network Agency and ourplacesalon.com.au using KMS
Model. Caitlin Lomax @ The Agency Management Fashion assistants. A.H.Cayley and Tasha Nabila Hair assistant. Jonathan Geimon
BETTY’S FAULT
IT STARTS WITH SOUP. GLAMOUR HIGH IN THE WRONG HANDS. INNOCENCE FLUSHED, LOVE SIMMERS. PHOTOGRAPHY EMMANUEL GIRAUD Fashion title page, Natalie wears: Ruth Tarvydas 2008 archived dress, Anna Campbell headpiece.
(L-R) Julian wears: Evil Twin Jacket, Master Slave vest, Peter Lang belt, Diesel jeans, Brando shoes. Natalie wears: Suzy O’Rourke headpiece, diamante necklace from Shag, McQ Alexander McQueen dress from Art Therapi, Fairground wedges, Najo rings.
(L-R) Sarah-Elizabeth wears: Samantha Wills earrings, Alex Perry dress, Regina Garde customized shoes. Julian wears: Jack London jacket and vest, Autonomy shorts, Brando shoes.
Natalie wears: Suzy O’Rourke hat, Ms Couture bodice and briefs, Peter Lang necklace, Milu boots, Charlie Brown skirt (used as train).
(L-R) Natalie wears: Dolce & Gabbana dress from Xile, Peter Lang necklace, State of Georgia boots, Ms Couture briefs, Peter Lang bracelet, Najo bracelets, Samantha Wills ring. Julian wears: Jack London shirt, Dolce & Gabbana suit pants from Xile. King wears: Purple jacket from Shag, Cheap Monday denim.
Manon wears: Dhini Couture dress, Kylie Hawkes bodice, Voodoo stockings, Peter Lang bracelet, Tilkah tassel bracelet.
(L-R) Julian wears: Master/Slave jacket, Autonomy shorts, Zoemou mask. Manon wears: Ruth Tarvydas dress, Suzy O’Rourke headpiece, Colette necklace.
Sarah wears: Grandma Takes a Trip dress, Peter Lang earrings, Elliot Ward-fear boots.
Natalie wears: Swarovski necklace and ring, Galliano top, Amy Blain leather skirt, Elliot Ward-fear arm socks, Beau Coops shoes.
(L-R) King wears: Autonomy shorts. Natalie wears: Ruth Tarvydas gown. Sarah-Elizabeth wears: Dolce & Gabbana dress from Xile, Uscari arm cuff, Samantha Wills ring. Julian wears: World shorts.
(L-R) Sarah-Elizabeth wears: George Gross sequined dress, Ms Couture bodice, Elliot Ward-fear skirt, Indy C necklace, Peter Lang necklace. Natalie wears: Ruth Tarvydas 2008 archived dress, Beau Coops shoes, Anna Campbell headpiece. King wears: Uscari vest, Cheap Monday jeans.
Natalie wears: Ruth Tarvydas gown.
Photography. Emmanuel Giraud emmanuelgiraud.com Fashion. Jana Bartolo janabartolo.com Make-up. Desiree Wise @ Network Agency Hair. Jonathan Geimon Models. Natalie Keyser, Sarah Elizabeth Vosper and Manon @ Priscilla’s Management Julian Agnello @ Vivien’s Management King Digby @ The Agency Management Photography assistant. Zac Handley-Garben, Claire Wallman Fashion assistants. Julia Grant Make-up assistant. Raquel Bester @ Stevie English Special thanks to Betty’s Soup Kitchen for the location 84 Oxford St Darlinghurst +61 93 60 9698
WHISPERS OF WHITE OPACITY
THERE WERE CLOUDS BUT NO SKY PHOTOGRAPHY CHRISTIAN BLANCHARD FASHION EMILY SUE YEE
Ruby Jean wears: Michael Lo Sordo vest and shorts.
Casey wears: Nicola Finetti dress.
Ruby Jean wears: Gucci coat, Paula Walden ring.
(L-R) Ruby Jean wears: ck Calvin Klein dress, Gucci belt. Casey wears: Michael Lo Sordo jacket.
Casey wears: Kuwaii shirt dress, Gucci trousers.
Ruby Jean wears: Twenty8Twelve jumpsuit.
Photography. Christian Blanchard @ Miss Bossy Boots Fashion. Emily Sue Yee Make-up. Nigel Stanislaus using Maybelline NY, MNY Dream Matte Mousse Foundation Hair. Sina Velke @ DLM Photography assistant. Justin Russell Fashion assistant. Tasha Nabila Models. Casey @ Vivien’s Management Ruby Jean @ Priscilla’s Managment
HIATUS OVER. WALLS MELTING ON MENSWEAR. SPRING FLOWERS BEAR NEW COLOUR.
ACID HOUSE PHOTOGRAPHY JASON HENLEY FASHION RODERICK NG
James wears: Subfusco clear vinyl coat, Master/Slave cotton jacket, Butcher’s Hook white tee, Marcus by Marcuse swimwear, Platinum by Kayser hipster opaque, Converse shoes, Moscot glasses.
Ryan wears: Levis vest, St. Augustine Academy bow tie, 2Eros underwear, Adidas Originals by Originals tracksuit pants, Adidas Originals sneakers, Alternative Earth Eco t-shirt, Master/Slave leather gloves.
(L-R) James wears: Dan Jones tassel tank top, World dungarees, Sesame street for Diva necklaces, Alternative Earth top. Ryan wears: Retrosuperfuture sunglasses, Autonomy shirt, World sweater and cravat, Wrangler shorts, Adidas Originals tracksuit pants, Anon belt. Brandon wears: World bow tie, belt and shirt, Le Coq Sportif windbreaker, Butcher’s Hook t-shirt, Gas jeans, 2Eros underwear, Dragon Alliance ski goggles.
Brandon wears: Adidas Originals tracksuit pants, Henleys shirt, Wrangler shorts, Provocator singlet, Master/Slave windbreaker, Dunlop shoes, Sox World socks.
James wears: Alternative Earth hoody, Belle Bijoux belt , Platinum by Kayser tights, Hush Puppies desert boots, Osklen top, World knitted vest.
Ryan wears: World shirt and belt, Autonomy jacket and shirt, Gas jeans, Timberland shoes.
Brandon wears: Dan Jones beaded trousers, Adidas Originals by Originals windbreaker, World shirt.
Brandon wears: Autonomy shirt,shorts and singlet, Master/Slave wind breaker. Ryan wears: Osklen unisex trousers and hat, Autonomy shirt, Butcher’s Hook t-shirt, St Augustine Academy bow tie. James wears: Autonomy trousers and tank top, Master/Slave windbreaker. Photography. Jason Henley jasonhenleyonline.com Styling. Roderick Ng roderickng.com Make-up Desiree Wise @ network agency Hair. Clive Allwright@ Network Agency and ourplacesalon.com.au using KMS Photographers assistant. Stephanie Luc Models. Ryan Pascoe @ Chadwicks Management, Brandon and James D @ Priscilla’s Management.
BEAUTY
GLOBALISATION GLUE BEAUTY FUSED
PANGAEA PHOTOGRAPHY KYLIE COUTTS FASHION BRITT MCCAMEY HAIR CLIVE ALLWRIGHT MAKE-UP MARTIN BRAY
Elin wears: Kirrily Johnston uni-tard. Beauty Note: Armani Luminous Silk foundation, M.A.C pigments in Kelly Green, Bright Fuchsia and Orange, M.A.C style blush, M.A.C orange lip mix, Dior Blackout mascara. (Beauty title page) Elin wears: Bracewell belt, Staple dress.
Eve wears: Akira Isogawa tulle shrug, Sass & Bide beaded collar. Beauty Note: Dior Capture foundation, M.A.C Carbon eye shadow, M.A.C Boot Black liquid eyeliner, M.A.C orange paint stick, M.A.C Style blush, Dior Blackout mascara, M.A.C purple paint stick.
Laura wears: John Galliano dress, Kirrily Johnston bracelets. Beauty Note: Dior Capture foundation, M.A.C golden bronzer, M.A.C gold mineralize pouder. M.A.C eye-shadow in Shady Lady, Carbon and Violet.
Elin wears: Sass & Bide bodysuit, Kirrily Johnston belt. Beauty Note: Dior Capture foundation, M.A.C Vanilla eye shadow, Chanel Sable D’or Bronzer, Dior Blackout mascara, M.A.C white chroma cake.
Eve wears: Twenty8twelve cotton mix shirt, Sass & Bide feathered harness. Beauty Note: Armani Luminous Silk foundation, M.A.C Medium blot powder, M.A.C Boot Black liquid eyeliner, M.A.C eye shadows in Jest, Lime Green, Chrome yellow, orange and Electric Eel.
A RETURN TO PANGAEA
THE YEAR IS 1952. THE COVER OF LIFE MAGAZINE FEATURES A NOW ICONIC BLONDE-HAIRED, BLUE-EYED HOLLYWOOD STARLET DRIPPING IN DIAMONDS IN ALL HER SPLENDOUR. THERE IS NOT A HAIR OUT OF PLACE ON MARILYN MONROE’S CAREFULLY MADE-UP IMAGE. SHE PERSONIFIES THE ‘BEAUTY IDEAL’ OF THE TIME FOR PREPUBESCENT GIRLS, YOUNG WOMEN AND BORED HOUSEWIVES ALIKE - WHILE ALSO APPEALING TO THEIR HUSBANDS, FIANCÉS, FATHERS AND BROTHERS. AS THE COVER OF LIFE MAGAZINE CLAIMS, SHE IS “THE TALK OF HOLLYWOOD” AND THE EPITOME OF 1950’S BEAUTY. FAST-FORWARD more than five decades to 2010. Australian Vogue’s June issue hits the stands. A buzz circulates through the fashion and beauty industry. Beaming out from the landmark cover is the angelic face of Samantha Harris. The nineteen-yearold, who is represented by Chic Management in Australia, is only the second woman of Aboriginal descent to grace the cover of Australian Vogue (Elaine George was the first in 1993). With a caption proclaiming her to be part of the “new generation in beauty”, Harris has entered the Vogue ranks with a bang. “I spent my childhood wondering why you had to have blonde hair and blue eyes to do well in modelling competitions, so I’m proud that a girl with my looks might make it,” says Harris of her modelling fame. Overseas too, over the past two decades, multiculturalism has been replacing old school glamour ideals, imposing itself as the foundation of beauty in the global village of fashion. The question is - do the pages of the glossy magazines and what is in vogue set the precedent for the next beauty ideal, or are magazines responding to global demand and following broader cultural trends? National Creative Team Leader for Napoleon Perdis Cosmetics, Kate Squires, believes it is a combination of both elements. “I do think the big glossy mags such as the Vogues and the Harpers of this world set the stage for the creation of the ‘next big thing’ in beauty ideals. However, I think that they also take influence from what is happening on a global scale [before] incorporating this into their creative selection,” says Squires. “They often take great risks in their unique choices of cover girl [who can forget the Gemma Ward ‘phenomenon’ after American Vogue’s September 2004 cover?] by creating something new and not so typical, thus filtering through to the wider population, and [as a result] a Photography. Kylie Coutts kyliecoutts.com Fashion. Britt McCamey @ Network Agency Hair. Clive Allwright @ Network Agency and ourplacesalon.com.au using KMS Make-up. Martin Bray @ Look Production Models. Laura Gorun, Elin Ledskog and Eve Liu @ Priscilla’s Management
fresh, unique beauty ideal is born.” The frames of reference for the new broader ideals of beauty are supported by the international presence of models from places like Brazil, Eastern Europe and China. Brazilian models like Giselle Bündchen and Adriana Lima seemed to appear increasingly in the media at the turn of the century, as the Brazilian economy expanded exponentially and the fashion world looked to Brazil for their leather supplies. In 2004, when a substantial number of Eastern European countries joined the European Union, the enigmatic beauty of models like Anja Rubic, Carmen Kass and Sahsa Pivovarova was unavoidable on the cover of magazines. More recently, the focus on Shanghai as an industrial superpower has enticed Karl Lagerfeld for Chanel and John Galliano for Dior to show their resort collections in the fast paced city. In turn, the beauty of Oriental women has been thrust into the international spotlight. Sarah Sutcliffe, a representative for Priscilla’s Model Management in Sydney, believes that this injection of multiracial beauty icons can bring an expansive direction to the fashion industry. “I think that by showing multicultural models in fashion and on the covers of magazines, it has changed the industry’s perception of beauty tenfold. By putting these models on covers of magazines it certainly influences [Western] society’s perception of what is considered beautiful. I think this is a positive development for the fashion industry as it is so refreshing to break away from previous standards and beauty ideals,” says Sutcliffe. Beauty products from around the world are now in demand to create the latest global looks from consumers who are no longer satisfied with products found at their doorstep. Who doesn’t want the silken skin of the female workers in Japan’s saké breweries - where the SKII skin care ingredient Pitera was found? In this fast moving, ever-changing internet-driven techno-world, we expect to be able to obtain new and different products by tapping into the net. We are almost spoilt for choice in the fashion and beauty stakes. In the past decade, boutique cosmetics stores such as Mecca Cosmetica, have taken the cosmetics world by storm by showcasing a mixture of multinational cult brands under one roof. “We try to cater for everyone at Mecca and in doing so we aim to bring the best-in-class brands from around the globe.” says a Mecca spokesperson. “Our customers are regular followers of international beauty trends and expect us to stay abreast of the latest in product development. If anything, globalisation assists us to bring the best quality to our stores.” It seems we have the best of both worlds. Access to global trends through the internet means we are open to a new technological era in beauty and fashion ideals. At the same time our perception of what is beautiful is naturally evolving over time. “There is a natural progression of what is considered beautiful,” says Sarah Suttcliffe. “Trends are often reflective of what is happening in society at the time be it [politically], culturally or both. Technology-wise people are able to access information faster than ever before. Being able to blog the latest trends from the front row, for example, ensures that those latest trends and beauty ideals are reaching us instantly. This exposure to more than one culture type has allowed us to embrace different types of beauty. Beauty and fashion will constantly be evolving - collaborating the ideals from the past and combining them with the contemporary ideals of the present and the future.” Nowadays, models like Samantha Harris, Natasha Poly and Adriana Lima are not just the talk of single cities. They are the talk of the world.
THE TRAVELLER’S ANTHOLOGY PHOTOGRAPHY CHARLIE DENNINGTON FASHION MELISSA LEVY BEAUTY EDITOR FERN MADDEN
(Clockwise from center): Balenciaga Paris Eau De Parfum 50ml, Dior Dior Addict Ultra Gloss Flash #982, Yves Saint Laurent Rouge Pure Shine #23 Candy Plum, Alex Monroe leaf earrings, vintage hand earring from Shag, Maniamania black stone necklace, Napoleon Perdis Colour Disc #82 Misty Plum, O.P.I Nail Laquer #Samoan Sand, M.A.C Careblends Essential Oils, Giorgio Armani Maestro Eyeshadow #17, Yves Saint Laurent Mascara Volume False Lash effect #4 Violet, M.A.C Eyebrow Pencil #Spiked, Matina Amanita blue bell ring, Maison Martin Margiela aeroplane necklace from Zambesi, NARS Duo Eyeshadow #Jolie PoupĂŠe, Shiseido Accentuating Cream Eyeliner #1, Yves Saint Laurent Mascara Aqua resistant #1, Black Abyss, Shiseido Perfect Rouge OR418 Day Lily, Aveda Blue Oil Balancing Concentrate, Grown Body Cleanser Chamomile Bergamot and Rosewood and Yves Saint
(Clockwise from top left): Gucci By Gucci Eau De Parfum 50ml, Jean Paul Gaultier Classique Eau De Parfum 50ml, M.A.C Mineralise Satin Finish SPF 15 Foundation #NW50, Yves Saint Laurent Bronzing Powder SPF 12 #3, Maniamania turquoise ring, Giorgio Armani Maestro Eyeshadow #15, Napoleon Colour Disc #45 Sea Green, M.A.C Select Cover Up #NW50, M.A.C Eyebrows Crayon #Stud, Lyie Van Rycke gold necklace, South West Trader turquoise and leather cuff, NARS Duo Eyeshadow #Surabaya, Yves Saint Laurent Touch Eclat #2 Luminous Ivory, Lyie Van Rycke necklace (hanging from book), Hermès passport holder, South West Trader lapis and turquoise pendant, Diva rings, vintage chain bracelet from Shag and Dior Dior skin Nude Natural Glow Hydrating Makeup Fluid #77.
(Clockwise from center top): Yves Saint Laurent Opium Eau De Parfum 100ml, vintage link necklace from Shag, Karen Walker ring, vintage gold earrings from Shag, NARS sheer glow foundation #Barcelona, Yves Saint Laurent Gloss Pur #3 Pure Coral, M.A.C Select Cover Up NW25, Yves Saint Laurent Rouge Volupte #27 Coral Pink, Yves Saint Laurent Rouge Volupte Perle #102 Coral Sun, Karen Walker pendant necklace, Alex Monroe floral necklace, Napoleon Perdis Colour Disc Orange #56, Napoleon Perdis Colour Disc Red #70, Yves Saint Laurent Ombres 5 Lumières No.6 Garden Of Eden, Maniamania ring and leather pouch, NARS Blush #Exhibit A and Paul Smith glasses.
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expansion and CondiTioninG pLan
CULTURE
Rococo, 1984 Image Courtesy Robyn Beeche
CULTURE AS ROBYN BEECHE CHATS OVER THE PHONE through sips of tea, she recounts her time in London. She really lived and created at the centre of these culturally shifting times. Her journey began when she fled to London in 1972 after laying eyes on a selection of European fashion magazines. She landed a job as one of Harri Peccinotti’s assistants and was thrown into the fashion scene of 1970s London. Harri Peccinotti (actually Harri Peck, Beeche reveals: “the ‘inotti’ was for effect”), was revolutionary in his work as an art director and photographer for Vogue, Vanity Fair, Nova and Stern magazines. He was the first to put an African model on a cover. With her fashion eye attuned, Beeche began making her mark as one of the few women photographing the catwalk. “I became known for being able to shoot fashion turning.” This skill helped her forge friendships with designers Zandra Rhodes and Andrew Logan, whose work she documented for decades. Robyn describes the seventies as: “A freedom of expression, a palpable feeling on the streets, in the shops, in the restaurants, at galleries and exhibitions - it was addictive. It made me realise that anything was possible and anything could happen all of a sudden and without warning.”
DURING THE CREATIVE VORTEX OF THE SEVENTIES AND EIGHTIES, LONDON WAS CALLING ROBYN BEECHE. SO WAS VIENNE WESTWOOD, MALCOLM MCLAREN, ZANDRA RHODES AND LEIGH BOWERY, ALL DROPPING INTO HER STUDIO FOR THE NEXT COLLABORATION. SO FREQUENT WERE THESE VISITS THAT BEECHE’S PROVOCATIVE IMAGES CEMENT THE ENERGY OF THESE TWO ERAS. IN THE LEAD UP TO HER SYDNEY EXHIBITION, ‘LONDON CALLING’ AT THE AUSTRALIAN CENTRE FOR PHOTOGRAPHY, HEATHER CAIRNS SPEAKS TO THE WOMAN WHO SAW IT ALL THROUGH HER VIEWFINDER.
Robyn recalls hanging out at Malcolm McLaren’s anarchic Kings Road record and clothing store, the infamous Sex, at that time known as Let It Rock. “It was quite frightening . . . You may end up with the Sex Pistols and then anything really could happen.” Robyn saw McLaren craft a culture in revolt against the politics of the time. “He saw how desperate the kids were on the streets. He gave them an outlet because they could make fashion out of nothing with studs and safety pins.” They had the freedom to be creative on a shoestring. Perhaps this D.I.Y. movement sewed the seeds for the extravagant eighties when creativity was celebrated. Beeche’s studio flourished. Vivienne Westwood’s 1979 collaboration with Beeche, A Look for the Eighties, predicted the impact of Elizabethan collars, and it was Westwood’s Pirate collection that started the new Romantic Wave. Fashion was ablaze. David Bowie would drop in on Steve Strange’s club, Taboo, to poach clubbers for his videos, and Andrew Logan’s Alternative Miss Universe Awards was a competitive venue for dressing to extremes. It was through these venues that Beeche became acquainted with some of her key subjects, the ostentatious Leigh Bowery and Judy Blame. “Judy Blame and Leigh Bowery had creativity on a tap. They made me get involved in even more crazy looks. I allowed everything to happen in my studio, which was filmed for Channel 4.” It was Robyn’s way of “accepting and going through all those green traffic lights and reacting to whatever was right in front of [her] eyes” that helped her create memorable images. It wasn’t a time for compromise. “In the September Issue, we saw how Anna Wintour can influence Prada, but I didn’t get a bat out of what she was wearing or how she can dissect and remove Grace Coddington’s wonderful shoots. We will always have to compromise [today]. We didn’t compromise. If we didn’t have a role of film we would all put in the money for a roll of film.”
CALLING
CULTURE
“IN THE ‘SEPTEMBER ISSUE’, WE SAW HOW ANNA WINTOUR CAN INFLUENCE PRADA, BUT I DIDN’T GET A BAT OUT OF WHAT SHE WAS WEARING OR HOW SHE CAN DISSECT AND REMOVE GRACE CODDINGTON’S WONDERFUL SHOOTS. WE WILL ALWAYS HAVE TO COMPROMISE [TODAY]. WE DIDN’T COMPROMISE. IF WE DIDN’T HAVE A ROLL OF FILM WE WOULD ALL PUT IN THE MONEY FOR A ROLE OF FILM.”
Divine, 1980
4 faces 1, 1986
It wasn’t just the bill that was a joint effort in Robyn’s studio - her shoots would take hours of intense collaboration. “At the time there wasn’t the computer so we had to create the illusion in camera. The more I could think of to make the illusion become more like a work of fine art, the more we would push it. We were classed as the weird photographers. I couldn’t get work with Vogue because I was associated with doing work that was considered too frightening. There wasn’t really an editorial outlet until ID and the Face came out later on in the eighties.” Vogue may have seen her work as frightening but many saw it as Daliand Picasso-esque. Imagine taking the time to cast a subject’s face, to produce a mould, in order to create a trompe l’oeil double exposure effect. Or using mixed media of latex lips, mosaic and sculpture to create a face with multiple lives as in 4 Faces 1. To create a shadow, Beeche would use a Stephen Jones hat. Then, with the help of a
Polaroid reference, she would recreate that shadow with make-up. Her experimentation with portraits led to contracts with large cosmetics houses such as Max Factor, Mary Quant and Vidal Sasson. Beeche and make-up artist Phyllis Cohen would take inspiration from the club scene and sponge make up through lace onto models faces for Max Factor campaigns for the woman on the street. When asked if she believes there will be times like she experienced again, Robyn says that the seventies and eighties were times when boundaries were continually pushed and broken. “Stylists like Caroline Baker were introducing military clothing to the main stream for the first time . . . It’s whether something gels like Malcolm McLaren. He was unique in being able to invent that street culture that spilled over into fashion. There will be more Malcolm McLarens. It requires someone who can really create
Leight Bowery Evening Wear 1986
that energy and it permeates everywhere. London is very good at it, and we all learn from it.” In the pursuit of another fascinating culture to document, Robyn has been in India for the last twenty years. She first visited with Logan and Rhodes in 1985 and returned to document the culture and the unusual festivals that have a history of over 500 years. She tells of one called Holi. “It is a festival of colour. Everyone is wearing white and there is coloured water and coloured powder being thrown everywhere . . . you can imagine how exciting that is because it’s like a Jackson Pollock painting, changing all the time in front of your eyes!” Robyn says she needed “the mysticism of the East and the experience of the West” in this new environment. She remains
creative with her technique and opts for candles over flash. She casts her keen fashion eye over the gender-bending youth and the infinite ways to wear a sari. Her fashion ties remain strong with London. Stephen Jones and Zandra Rhodes are still calling on Robyn and she frequently sends back hats to Jones, which he gets embroidered in her village. What does she want people to walk away with from seeing her exhibition in Sydney? Her answer reveals her beliefs that have driven her to push the boundaries of fashion photography from the seventies fashion scene in London through to the fusion of Eastern and Western cultures in India. “A desire to do something exciting together for no financial gain. When there is no money involved, it’s total freedom. To be allowed expression is a great thing.” For more information on London Calling visit www.acp.org.au Heather Cairns
CULTURE
Leight Bowery Day Wear 1986
CULTURE
Sonia 1984
CULTURE
DYSFASHIONAL DESIGNERS LOOK AT FASHION FROM A WHOLE NEW POINT OF VIEW.
LATE ON A BREEZY BERLIN MORNING, THE MUSEUM CAFÉ IN THE HAUS DER KULTUREN DER WELT IS COMPLETELY EMPTY, EXCEPT FOR LUCA MARCHETTI AND MYSELF. HE SITS ACROSS FROM ME, FIDDLING WITH HIS LIGHTWEIGHT COTTON SCARF - WRAPPING IT AND UNWRAPPING IT AROUND HIS NECK, ALMOST UNKNOWINGLY AS THE TEMPERATURE WAVERS BETWEEN SLIGHTLY COOL AND SLIGHTLY HOT. LITTLE DID I KNOW THIS SIMPLE ACT WAS AN EXAMPLE OF THE VERY REASON WE WERE BOTH THERE - THE FOUNDATION OF THE EXHIBITION OPENING UPSTAIRS. “Fashion is not only catwalks and clothes,” Marchetti explains, “but a deep relationship with garments based on the physical side. The position high heels give you is just as important as their style. We tend to not focus on this because it is less visible and more difficult to catch, but it is part of the story.” This is the story that the curators of Dysfashional, Marchetti and Emanuele Quinz, asked a handful of fashion designers and contemporary artists to help them tell. The esteemed group of collaborators includes the likes of, Maison Martin Margiela, Hussein Chalayan and Pierre Hardy. “Rearranging my scarf and then feeling better,” he continues, “but then it is hot, so I put it another way - it’s not possible to exhibit that just presenting a series of clothes. It is much better and much more interesting to put this gesture into an artwork.” Exploring this dysfunctional side of fashion - represented in the prefix of the exhibition’s title - allowed the designers to work within a disturbance of the normal system and focus on what is quite often forgotten. “I am not trying to change the fashion world, I would just like to give people more time and possibility to address their attention to the conceptual part of it, the creative part of it, the risky part of it,” continues Marchetti. With only the simple instructions of showing a point of view of fashion without clothes, Marchetti and Quinz gave the artists carte blanche to do as they pleased and the outcome was as varied as the exhibitors themselves. Norwegian conceptual artist Sissel Tolaas navigates an olfactory tour through the cemeteries of Paris, the Turkish neighborhoods of Berlin, the markets of London’s Portobello Road and the summer sweltering streets of NYC’s East Village, one scent at a time. French artist Item Idem puts a fashionable yet comical spin on America’s treasured national monument Mount Rushmore, while German designer Bernhard Willhem pairs with French multimedia artist Christophe Hamaide-Pierson to give 200 fashion magazine covers a phallic twist that would make Anna Wintour’s jaw drop. Belgian designer Margiela’s installation of wooden panels covered with photographs
MARC TURLAN
of life-size interiors creates an optical illusion and allows the viewer to see the outside and underside of the décor at once a philosophy he uses when designing clothing. “We enjoy the attempt to explore the aesthetics and imaginary worlds belonging to each designer or fashion house without necessarily showing any garments. Such pushed us to play with some of our codes with a more artistic perspective,” said Margiela. Margiela joined Dysfashional when it began in Luxembourg in 2007. Since then the exhibit has traveled to Lausanne, Paris and finally Berlin, as a “construction site” that changes and adopts designers and artists along the way who transform and meld it to match the essence of each new location. The most recent cities, Paris and Berlin, normally live on opposite ends of the fashion spectrum, but both play important roles in the artistic world. Dysfashional has helped strengthen the bridge between these two creative capitals and has brought their similarities and differences into the light. Berlin-based designers such as Willhem, Jerszy Seymour and Bless have added a whole new element and contributed their Berliner flavor to the mix. “Seeing the exhibition you might get the feeling that Berlin is the alter-ego of Paris. Paris is the flamboyant spectacular fashion you imagine when you think of couture linked with red carpet sensation and hyper-visibility. Berlin is the conceptual
underground,” explains Marchetti. Dysfashional is not only forging creative partnerships between cities, but also allowing the fashion and art world to intertwine. Moving the venue from the runway to the museum, changing the medium from cloth to canvas or video, is not only refreshing for the designers, but for the art enthusiasts, the fashion obsessed and even the everyday consumer. “Art and fashion are two different worlds, but with Dysfashional, I get to move in the betweens,” explains French artist Marc Turlan, who created a series of magazines in which he cut out hollow spaces to reveal hidden meanings in the dense mass of fashion imagery. Such imagery is all around us; the lunch crowd begins to filter into the café as Marchetti and my interview comes to an end. The click of summer heels fill my ears as museum-goers take off their light jackets and hang them over the back of their chairs before they sit down to eat. Such sounds and gestures normally go unnoticed but capture my attention as Marchetti wraps his scarf around his neck and heads out the door. For more information on Dysfashional go to www.meabb.com Megan Cahn
CULTURE
“What we like in the Dysfashional exhibition is the work or the attempt to explore the aesthetics and imaginary worlds belonging to each designer/fashion house without necessarily showing any garments. Such choice - given by the exhibition - where we had ‘carte blanche’ pushed us to play with some of our codes with a more artistic perspective.”
Maison Martin Margiela MAISON MATRIN MARGIELA
BLESS
CULTURE
“Art and Fashion are two different worlds but with Dysfashional, I move in the betweens, that possibly say something about today.”
Marc Turlan
RAF SIMONS
ANTONIO MARRAS BLESS
GLOBAL ART FEAST
NO MATTER WHERE YOU ARE IN THE PHYSICAL WORLD, THE ART WORLD IS ALWAYS DISHING UP EXCITING NEW EVENTS FOR YOU TO BE MOVED AND INSPIRED BY. A.H. CAYLEY HAS RACED AROUND THE GLOBE TO TRACK DOWN THE BEST EXHIBITIONS ACROSS NINE CITIES. WHETHER YOU’RE AN ADMIRER OF THE WORKS OF VALENTINO OR STEPHEN JONES, A FAN OF PHOTOGRAPHY OR A FIEND FOR VIDEO ANIMATION, THIS EDITION OF GLOBAL ART FEAST HAS IT ALL.
GLOBAL ART FEAST BERLIN MAGNUM. SHIFTING MEDIA NEW ROLE OF PHOTOGRAPHY 16 June – 19 September co-berlin.info
Jonas Bendiksen. Moldovia. Transdniester, 2004.
Tracing the more than sixty-year history of the Magnum photo agency alongside the changing demands of the mass media and its users, this exhibition illustrates the phases of modern photojournalism. The expanding presence of photography in the print media is evidenced in the photographs and selected magazine publications of the four Magnum founders. From images of beauty to images of war and political upheaval, this is one powerful exhibition for photographers and fans alike.
GLOBAL ART FEAST
AMSTERDAM
INEZ VAN LAMSWEERDE & VINOODH MATADIN PRETTY MUCH EVERYTHING: PHOTOGRAPHS 1985-2010 25 June - 15 September foam.nl Photographic duo Inez van Lamsweerde and Vinoodh Matadin began their work together in 1986 in Amsterdam. In their extensive careers they have worked on campaigns for the likes of Yves Saint Laurent, Chanel, Balmain, Gucci, and Louis Vuitton, plus regular publications in W Magazine, Vogue and The New York Times. They are photographers that have managed to simultaneously pair their creative fashion work with more mainstream campaigns, showing great fluidity in their combined talent. This exhibition has around 300 photographs spanning the duo’s career. Art, fashion and portrait works all exist next to each other, with the images working to highlight the personal, formal, social, political and intuitive associations that show the way the artists have lived with their images.
Horses can fly, and Muybridge famously proved it. By getting a galloping horse to trigger the shutters of a bank of cameras, he proved this theory by creating an image never seen before - a horse lifting all four hooves off the ground at one moment while running. To share this work, he invented the zoopraxiscope, a method of projecting animated versions of images as short moving sequences, anticipating later developments in the history of cinema. The exhibition brings together the full scope of his art for the first time, and explores how Muybridge created his amazing work. Highlights include a seventeen-foot panorama of San Francisco and recreations of the zoopraxiscope in action.
LONDON
EADWEARD MUYBRIDGE 8 September – 16 January tate.org.uk
Inez Van Lamsweerde & Vinoodh Matadin. Anastasia, 1994. Inez Van Lamsweerde & Vinoodh Matadin. Joanna – Hervé Leger Campaign, 1995.
Eadweard Muybridge, Vernal Fall, 1872.
GLOBAL ART FEAST
STEPHEN JONES & THE ACCENT OF FASHION 8 September – 13 February momu.be To celebrate the 30th anniversary of Stephen Jones’ legendary fashion house, Stephen Jones Millinery, the MoMu-Fashion Museum will present a retrospective of his work, housing the largest collection of his hats - more than 120 items outside Britain, on long-term loan from Antwerp private collectors, Geert Bruloot and Eddy Michiels. The exhibition explores the behind-the-scenes role Jones plays using the freedom he is granted by designers like Jean Paul Gaultier, Thierry Mugler, Christian Dior, Galliano and Marc Jacobs, to name a few. His hats provide a sort of punctuation to a designer’s fashion statement, and can alter the tone of a whole collection. The exhibition also looks more closely at his work in film, music and photography, his early years in the New Romantic days of London, his design process and the sources of inspiration behind his creations.
ANTWERP Stephen Jones hat for John Galliano. Autumn/Winter, 2004-2005.
Rehearsals Haute Couture Collection S/S, 2008. Image. Francois Halard/ Rizzoli International Publications.
BRISBANE
VALENTINO, RETROSPECTIVE: PAST/PRESENT/FUTURE 7 August – 14 November 2010 qag.qld.gov.au
Bruce Nauman. Waxing Hot, 1966.
Developed by Les Arts Décoratifs, Paris, which explores the work of the sophisticated, glamorous, and impeccably timeless Valentino label, this exhibition is exclusive to Brisbane. Valentino, Retrospective: Past/Present/Future encompasses almost everything, from the first haute couture collection from 1959 by Valentino Garavani, through to the A/W 2009–10 creations by Maria Grazia Chiuri and Pier Paolo Piccioli. The exploration of certain themes, such recurring geometric patterns and graphic prints, the skilful use of fabric to create dramatic silhouettes and the distinctive palette of black, white and ‘Valentino red’, highlight the artistic direction behind the designs, and showcases the mastery of Valentino.
NEW YORK
THE ORIGINAL COPY: PHOTOGRAPHY OF SCULPTURE 1839 TO TODAY 1 August – 1 November moma.org Presenting a critical examination of the link between photography and sculpture, this exhibition reveals the implication of one medium on the understanding of another through a selection of almost three hundred outstanding works by more than one hundred artists, from the early days of modernism to present-day photography. Exploring the ways in which, and reasons why, sculpture became a subject of photography, it examines works that cover inanimate objects to the human form within certain historical and political contexts.
GLOBAL ART FEAST
CHICAGO
JOHN BALDESSARI: A PRINT RETROSPECTIVE 2 July – 26 September mocp.org
Spanning four decades of John Baldessari’s post-painting period, this exhibition is a comprehensive retrospective on loan from the Portland collection of Jordan D. Schnitzer. Born in 1931, Baldessari has been teaching and making art since the 1950s, and is often credited with helping Los Angeles, where he lives, become an internationally recognised Centre of Contemporary Art.
Vincent Leow. Andy’s Prank (pink), 2006.
SINGAPORE
John Baldessari. Two Opponents (Blue & Yellow), 2004.
TAGS & TREATS: WORKS BY VINCENT LEOW 6 August - 17 October singaporeartmuseum.sg
Through over two decades of work that stems from debates over the modern Singaporean identity, Vincent Leow has made a name for himself as one of the leaders of Singapore’s contemporary art movement. This exhibition explores Leow’s work from balanced perspective, as it is often seen as aggressive and provocative. Many of the works on display express an oddly meditative tone, revealing an artist still exploring the concepts of identity, memory, and morality and its legacies. Zsa Zsa Zsu, 2007.
TOKYO MAM PROJECT 012: TROMARAMA 24 July – 7 November mori.art.museum Tromarama, the collective formed by a trio of Indonesian artists primarily active in Bandung, creates a variety of video artworks, stop-motion animation pieces and unique installations. These works are made with anything from pieces of woodblock to huge quantities of buttons and beads. They create video clips in this low-tech yet painstaking and time-consuming method, which creates entirely new possibilities for art. Can the humble video clip actually be more than just a backdrop to a song? Tromarama prove in this exhibition – with a newly commissioned video installation – that it’s not such a strange concept.
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