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©2017 COACH®
 ®

APRIL 2017
VOL LXII No 4 Whole No 634,
*RECOMMENDED PRICE
COVER
Saint Laurent by Anthony
Vaccarello dress and
earrings. Cartier ring.
Make-up from L’Oréal,
starting with Nude
Magique Cushion
Foundation in Beige;
on cheeks, Infallible
Sculpt Blush in Nude and
True Match Highlight
Illuminating Powder in
Golden Glow; on eyes,
Colour Riche Eyeshadow
Quad in Forever Bronze;
on lips, Colour Riche
Lipstick in Beige A Nu.
Fashion editor:
Christine Centenera
Photographer:
Benny Horne
Hair: Sophie Roberts
Make-up: Kellie Stratton
Manicure: Jocelyn Petroni
Artwork: Anthony Lister
Shot on location at
Bondi Beach.

42 EDITOR’S LETTER
46 VOGUE VOX
50 THIS MONTH ON VOGUE.COM.AU
54 VOGUE VIDEO
58 CONTRIBUTORS
60 VOGUE 180° Milliner Nerida Winter.

VOGUE MOOD
65 YOUTH BEAT When it comes to
our wardrobes, boundless energy
and bold, brave style is universal.
68 Short order; Mini me; Heart & sole;
Super-size me; Fast fix.
72 TOUR DE FORCE With the
Australian Fashion Chamber on a roll,
Vogue celebrates our local talent.
82 GOING SWIMMINGLY Make a
splash as a million-dollar mermaid.
86 CASUAL AFFAIR Rag & Bone has
written a rule book entirely of its own.
90 PARIS NIGHTS With its glamour
and storied history, the Ritz Paris
was the only venue for Chanel’s
homecoming extravaganza.
94 HIT LIST The top 25 high street
pieces to add to your wardrobe.
98 REMOTE ACCESS Launching a
tech start-up in outback Australia.
100 MAKING THE FIRST MOVE Bumble
founder Whitney Wolfe wants to
change the way online dating works.
SEBASTIAN KIM

104 TWISTS & TURNS Zaha Hadid’s

designs are realised in a reinterpretation
of one of Bulgari’s signature rings.

30 APRIL 2017
ARMANI.COM

ARTS
108 COMING UP ROSES Model
and musician Karen Elson explains
why being true to herself has been
difficult but necessary.
110 PLATE UP As the World’s 50
Best Restaurant Awards heads to
Australia for the first time, Vogue
investigates the culinary landscape.
VOGUE RACES
115 TURF’S UP! Actress Elizabeth
Debicki shines in her new role as
ambassador for the Australian Turf
Club Autumn Racing Carnival.
118 FREE REIN Observing racewear
codes and conventions doesn’t have
to translate to sedate styles.
124 ALL FOR ONE Meet Han Chong,
the man behind Self-Portrait, the
go-to occasion-dressing label.
128 TOP NOTCH Exploring an enduring
passion for hats.
130 A FINAL NOTE Well chosen
accessories will see you first past the post.
34 APRIL 2017
APRIL 2017
TOUR DE FORCE
PAGE 72
BEAUTY
133 IS YOUR FACE FIT? News just in: you
can exercise, knead and massage your
way to firmer, more youthful-looking skin.
138 Star power; Trend tracing;
Primary cause.
142 MAN MADE A new crop of unlikely
beauty enthusiasts is bringing a fresh,
and decidedly genderless approach
to our beauty cabinets.
144 PARTING WAYS Left, right or
somewhere down the middle – the
seemingly simple decision of where
to part your hair makes the world
of difference to your look.
FASHION
152 JUST ADD WATER Coder,
baker, Zeitgeist-maker: model-
turned-mogul Karlie Kloss is the 
CEO of her own destiny.
166 DON’T YOU WANT ME, BABY?
Synthpop, layered leather, tailored
trench coats and long boots. Cover
up. The new discography.
®
FEATURES
178 GIRL TALK In honour of the final
season of Girls, the stars of the show
sit for the ultimate exit interview.
186 IN SEASON A new exhibition
delves into Vincent van Gogh’s
profound connection to nature and its
extraordinary expression on canvas.
192 DISCOVERY CHANNEL Young labels
owe their canny rise to the unmatched,
pulse-raising thrill of a good find.
194 LUCKY CHARM Playing Barack
Obama was a formidable task for young
Australian actor Devon Terrell.
198 LA DOLCE TINA The inimitable
Tina Arena is stronger than ever.
202 GENERATION ANXIETY Millennials
are the most tech-savvy generation in
human history, and the most anxious.
VOGUE STYLE
205 CLEAR CUT Jeweller Alina Barlow’s
Sydney home radiates the same light
elegance as her designs.
210 EYE CANDY Italian designer Cristina
Celestino on creating her collection
of pastel-hued furnishings for Fendi.
VOGUE VOYAGE
213 AMERICAN SUMMER From the
Southern hotspot of Nashville to idyllic
Aspen, there’s plenty to explore in
heartland USA over the warmer months.
218 WHERE TO BUY
219 HOROSCOPES
224 LAST WORD
SUBSCRIBE TO
VOGUE
JAKE TERREY
TURN TO PAGE 112 TO
SUBSCRIBE OR RENEW AND
RECEIVE A BONUS TOTE BAG.
OBJECTS FOR LIFE
 ®

VOGUE.COM.AU
EDWINA McCANN
EDITOR-IN-CHIEF editor@vogue.com.au

Deputy Editor and Features Director SOPHIE TEDMANSON

features@vogue.com.au

Fashion Director CHRISTINE CENTENERA

Creative Director at Large ALISON VENESS

ART art@vogue.com.au
Art Director MANDY ALEX
Senior Designers BEC McDIVEN DIJANA SAVOR Junior Designer ARQUETTE COOKE

FASHION fashion@vogue.com.au
Senior Fashion Editor KATE DARVILL
Fashion Editor and Market Director PHILIPPA MORONEY
Junior Fashion Editor PETTA CHUA Market Editor MONIQUE SANTOS
Fashion Assistant MICHELLE LORETO

BOOKINGS bookings@vogue.com.au
Photography and Casting Director RIKKI KEENE Bookings Editor DANICA OSLAND

FASHION FEATURES vogue@vogue.com.au

Fashion Features and Content Strategy Director ZARA WONG
Fashion Features and News Editor ALICE BIRRELL

BEAUTY beauty@vogue.com.au
Beauty Editor REMY RIPPON
Health Editor at Large JODY SCOTT Beauty Special Projects RICKY ALLEN

COPY copy@vogue.com.au
Travel Editor and Copy Editor MARK SARIBAN
Deputy Copy Editor and Lifestyle Writer CUSHLA CHAUHAN

Arts Writer JANE ALBERT

Editorial Coordinator REBECCA SHALALA

DIGITAL vogue@vogue.com.au
Commercial Digital Editor ERIN WEINGER
Associate Digital Editor LILITH HARDIE LUPICA Assistant Digital Editor DANIELLE GAY

CONTRIBUTORS
ALICE CAVANAGH (Paris) VICTORIA COLLISON (Special Projects Editor) MEG GRAY (Fashion)
PIPPA HOLT (London) NATASHA INCHLEY (Fashion) EMMA STRENNER (Beauty)

EDITORIAL ADMINISTRATION AND RIGHTS

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38 APRIL 2017
editor’s LETTER

am writing this from Milan, where I’ve

I just seen the latest Gucci ready-to-wear

collection by genius designer Alessandro
Michele, held in the house’s new show
space on the outskirts of the city. Inside
the venue, giant curtains of the most
beautiful purple hue were lifted to reveal
a raised runway housed in Perspex tubes
on a stage dubbed “the Alchemist’s
Garden: an anti-modern laboratory”.
Michele collaborated with photographer
and artist Coco Capitán to create slogan
T-shirts and the show invitation, which
read: “What are we going to do with all
the future?” Other slogans in Capitán’s
signature sketchy font included “Common
sense is not so common” and “Tomorrow
is now yesterday”. And for his final bow,
Michele wore his and Capitán’s favourite
T-shirt, printed with the words: “I want to
go back to believing a story.”
And so far this season, that is exactly what
fashion is doing with determination:
creating another story of our times in which
acceptance and a healthy dose of fantasy
reign supreme. Now that might all seem
rather fickle, considering the very serious
issues facing the world and the divisive
nature of politics at the moment. But never
underestimate the power of creative minds
to shift the way we think or the power of
determined minds to change our own
minds (for good and sometimes bad).
Our cover star Karlie Kloss is a woman
on many missions. While visiting
Australia recently to walk in the David
Jones show, Karlie took time to collaborate
with us and home-grown graffiti artist
Anthony Lister, who spray-painted the
Vogue masthead above Karlie’s head for
our cover on one of his street-art works at
Bondi Beach.
Karlie wrote to fashion director Christine Centenera and websites, and she is now learning Swift, a language for building
I following the shoot to say how much she had enjoyed the day. apps. She says she feels a responsibility to get girls engaged with
For me, aside from being delightfully polite, she stands for so important skills that can transform their futures, so that they
many things young women can aspire to. may take part in the evolution of industries and participate in
Her work with Kode With Klossy, a movement to encourage how they are being shaped. As Zara Wong notes in her interview:
young women to learn to code and take an interest in technology, “Karlie is the mascot for the smart-girl-done-good.”
is well aligned with our own Vogue Codes initiative. In London, Never underestimate the power of fashion and those in the
the night before the Gucci show, she co-hosted the Fabulous industry to make a real difference, even though sometimes it may
Fund Fair with her friend and fellow philanthropist Natalia have nothing to do with clothes.
Vodianova, the third annual fundraiser in aid of Vodianova’s
Naked Heart Foundation, which raises money for child support
programs in Russia. She also created a range of cookies with New
York’s famed Momofuku Milk Bar with the aim of raising funds
BENNY HORNE

to provide meals for disadvantaged children.

Karlie is a student at New York University and is proficient Edwina McCann
in coding in HTML, CSS and JavaScript, languages that drive Editor-in-chief

42 APRIL 2017
 louisvuitton.com

The spirit of travel

The spirit of travel
louisvuitton.com
vogue.com.au MODEL BUSINESS

Karlie Kloss
Watch our exclusive behind-the-scenes video where
model-turned-coding-queen Karlie Kloss takes the
Bondi Rescue team through a lifeguard bootcamp.

Miranda Kerr
launched
skincare range
Kora Organics
in 2009.

Alessandra Ambrosio
models designs from her
own Ále by Alessandra
Ambrosio beachy label.

This month …
Follow Vogue Australia on Facebook, Snapchat,
Instagram, Pinterest, Tumblr and Twitter.

Smudged eyes
at Balmain.

Unexpected
colour at Kenzo.
INSTAGRAM.COM/ ALESSANDRAAMBROSIO/
BRUNALIRIO/MIRANDAKERR/KARLIEKLOSS
JAMES COCHRANE GETTY IMAGES

Follow the music

ALL ABOUT EYES:
From colour blocking to the best cat’s
eyes to inspire you, ready-to-wear
spring/summer ’17 was all about the
eyes and Vogue has your how-tos sorted.
Head to Vogue.com.au this month for
behind-the-scenes coverage straight
from California to see what everyone
is wearing at the most stylish
The new cat’s
eyes at Fendi. music festival of the year.

50 APRIL 2017
 loewe.com
Sea Green Calf Puzzle with Shell Embroidered Strap and Yellow Tube Braid, 2017 Chadstone Centre, Melbourne
Audi Vorsprung durch Technik
 #playful?
#independent?
#sophisticated?

The all-new Audi Q2.

#untaggable
audi.com.au

Limited Edition #1 overseas model with optional equipment shown.

vogue VIDEO

0:39 / 3:32

time
Follow our YouTube
channel Vogue
Australia, home to
exclusive celebrity
interviews, behind-
the-scenes access, 0:58 / 1:01
beauty and fashion
how-tos, and more.

0:46 / 2:27

1:02 / 3:01

54 APRIL 2017
vogue CONTRIBUTORS
KERRIE
MCCALLUM
Kerrie McCallum,
editor-in-chief of Delicious,
lent her expertise to write
“Plate up”, on page 110.
Part of a food editor’s
job involves eating at the
best restaurants, but
Kerrie’s favourite dining
spot is unexpected:
“Home! I eat out so
much I like to cook and
entertain with my family
at home when I can.”

SOPHIE
ROBERTS
Hairstylist Sophie Roberts
is no stranger to Vogue
Australia, and for this issue
she was the skilled hand
behind Karlie Kloss’s wild
curls. “We loved the idea
of seeing Karlie as a 90s
supermodel. Adding
a fringe and curls on
the beach seemed luxe
and unexpected.”

LIGHTBULB STUDIO WALTER MAURICE

storytelling app Indigital,

and spoke at our inaugural
Vogue Codes summit last
JORDAN GRAHAM LIZ HAM

year. Of her Vogue writing

debut (see page 98), she says:
“As an Indigenous scientist,
I thought this would be the
last thing I would have
the opportunity to do.”

58 APRIL 2017
vogue180º
Nerida Winter wears
a Balmain jacket and
Moschino dress, worn
as shirt, both from Myer.
Saint Laurent shoes,
from Miss Louise. Her
own pants. Hats and
headpieces, all Nerida
Winter, from Myer.

Nerida Winter
MAKE-UP: MOLLY WARKENTIN
HAIR: KEIREN STREET

Suspended animation. Ideas in motion. Perhaps a

#MannequinChallenge, except that Nerida Winter is literally
flying through the air on rigging. OMG! By Alison Veness.
Styled by Philippa Moroney. Photographed by Hugh Stewart.

60 APRIL 2017
CLOCKS, BIRDCAGE AND TABLES FROM
ICI ET LÀ. LAMP, ROCKING CHAIR AND
S
he is in her own private Dalí. A touch Salvador. Surreal,
HATSTAND FROM OPERA PROPS.
yes sur-really. She is the conjuror of everything imaginative
and the designer of a wild kaleidoscope of heavenly hats.
See, she can even make them crawl delicately across the
DETAILS LAST PAGES
studio floor disguised as spiders and make them all dance for us
on cue. These hats lead their own lives. They have seen things
that some of us can only dream of. Oh, how she has taken us to
the races: giddy up, Melbourne! Randwick! Ascot! Everywhere.
The highs, the triumphs, the total trip of felt, straw and feathers
and all the flights of fantasy steamed, stitched and plumed into a
gorgeous reality. Bows and boaters. Bunny ears, ballerina-pretty
headbands and berets. She has made us leather birds and lace
Minnie Mouse-style ears. Conversation starters. Food for fashion
on the field, naturally. She has topped us off quite brilliantly and
all with that cheeky smile and passion for creating show-stoppers
– the hats that stop a nation. The picture that stops the reader. She
is quite a sensation. We would put money on her as she is a sure
bet any day. Horses? It’s all about Nerida’s hats. ■
VOGUE.COM.AU 61
vivid sydney SHINES 26 may – 17 JUNE 2017
FOR 23 NIGHTS THE CITY OF SYDNEY SHINES BRIGHT
WITH A CELEBRATION OF LIGHT, MUSIC AND IDEAS.
The multi-award winning winter festival
attracted over 2.3 million people in 2016,
cementing its position as the largest event of its
kind in the world. In 2017, Vivid Sydney will
return with an inspiring new program of amazing
light art, cutting-edge music performances,
creative talks, workshops and showcases.
The creative heart of Sydney will be illuminated
from 6pm to 11pm every night with the Vivid
Light program of projections, light sculptures
and installations. Each one is designed to
For further information go to vividsydney.com
engage the senses and emotions with interactive
and immersive experiences.
For melodic vibes, Vivid Music will again
expand musical horizons with a celebration
of breakthrough performers and the best in
current and future music leaders. 2017 will see
over 250 music events held in venues across
Sydney. Meanwhile, Vivid Ideas is Australia’s
most anticipated global forum for ingenuity and
innovation and in 2017 will feature a carefully
curated program of over 200 events.
 BIG IDEAS
The Vivid Ideas schedule will turn creative inspiration into action
with a phenomenal line-up of thought leaders and events. The 2017
program will cover topics such as mixed reality, screen and content,
design, advertising, marketing, smart fashion and wearables.
This year Vivid welcomes American street artist, graphic
designer, activist, illustrator and founder of OBEY clothing,
Shepard Fairey. Best known for his Obama HOPE poster, Fairey
will headline a number of inspirational inluencers for the Game
Changers Talk Series held at Sydney Town Hall.

Clockwise from top:

Shepard Fairey, Image by

vivid SHINES bright Nicole Reed; Vivid Ideas

talk at Sydney Town Hall;
Vivid Light installation 2016;
Goldfrapp, Carriageworks.
In 2017 Vivid lights up Sydney’s icons as the sails of the Sydney Opera
House and the arch of Sydney Harbour Bridge come alive with art
and colour. The creative canvas also includes a lighting display with
the Museum of Contemporary Art featuring Organic Vibrations, a
creative collaboration between Australian artist Julia Gorman, and
the Paris-based creative and artistic collective, Danny Rose.
The Vivid Light Walk will also provide a magical journey through
the Vivid precincts where you can experience a myriad of projections,
interactive installations and light art activations, including an extended
footprint in The Royal Botanic Gardens and new giant animal light
sculptures at Lights for the Wild at Taronga Zoo.

music unleashed
Vivid Music has performances from Australian and International
acts at iconic Sydney venues such as Oxford Arts Factory,
City Recital Hall, The Sydney Conservatorium of Music and
Carriageworks, which will host award-winning duo Goldfrapp
on 2 June.
The cutting-edge line-up at Vivid LIVE at Sydney Opera House
features acclaimed British folk-pop singer/songwriter Laura
Marling on 12 June, and French electronic superheroes AIR
exclusively performing their irst Australian concerts in nine
years on 30–31 May.
From 26–29 May see one of the most inluential American
bands to spearhead the folk-rock renaissance, Fleet Foxes, as
they premiere songs from their highly anticipated new album.
Australian act The Avalanches will be on hand from 27–28 May
with a Vivid LIVE exclusive of the very irst full performance
of their seminal debut album
Since I Left You, and will bring along
some special guests for the ride.
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VOGUE.COM.AU 65
vogueMOOD
VOGUE MOOD
BALLY BAG,
$1,895.

e were all young once. An

W obvious sentiment, but it does

mean there’s a common
denominator, something we
have collectively experienced: youth is a time
of awakening, of discovery. And while we
might not all want to return to micro-minis
or bralettes as tops, when we pass that phase it
doesn’t mean we should leave behind the
willingness to experiment. A breezy
modernity can be imbued into a tired
wardrobe through a colour, or a silhouette.
Try neon as at Alexander Wang, who
touched on the surf-meets-skate Cali counter-
culture. Dabble in a balloon sleeve as at Fendi,
where Karl Lagerfeld employed a hint of
kawaii quirk. Dip into a shrunken biker as at

LOUIS VUITTON S/S ’17

Courrèges. More shapes to try: a puffed
shoulder, sleeves that dangle beyond the
fingertips. More fabrics? Leather and denim,
the original fabrics of teenage rebellion.
And it spread elsewhere. Nicolas Ghesquière
at Louis Vuitton tapped the no-ties freedom of
the young with Petite Malle phone cases rather
Milla Jovovich
than grown-up carry-alls. Chanel took tech- in 1997’s The
savvy literally by weaving wiring into ready-to- Fifth Element.
wear. It came through in the verve of the finale
at Stella McCartney, where models shook it off
in a moment of free dancing, while Marc Jacobs
sent his girls to a good old-fashioned rave.
Today it might be harder to belong to an
individual style tribe, what with the break-
neck speed at which we obsess over the next
thing then discard it, but what we can do is
tap an enduring feeling. If in no other way
than our clothes and our attitudes, we want
to be forever young. ■

Virtual FENDI
JACKET, P.O.A.

realities
Backstage
at Fendi.

Let go of what you

thought the future
would look like: it’s
here, now. Embrace ZARA BOOTS, $ 139.

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68 APRIL 2017
VOGUE MOOD

Mini me
Hemlines are on the rise, but their
leg-flashing lengths aren’t just for
the young, says Zara Wong.

A
few years back, before Anthony
Vaccarello was named creative director
at Yves Saint Laurent, I commented that
his designs, with the slits up above the
hipbone and hemlines skirting the upper parts of
the thigh, were decidedly sexy. “No, not sexy,” he
said in surprise, explaining that he cut them that
way to make it easier for the woman to move.
Old habits die hard, I see, when his debut for
Yves Saint Laurent for the spring/summer ’17 Backstage
season had women swing by in liquid at Giamba.
metallic skirts hitched up to the waist with
swathes of leather sitting high on the leg.
You’d think by now we’d be used to skin-
baring ways. The number of centimetres in
skirt lengths should not have a direct

SAINT LAURENT S/S ’17

relationship to the level of maturity,
seriousness or intelligence. “I was worried
LOUIS VUITTON S/S ’17

that if I looked too feminine, I would not be

taken seriously. I really wanted to wear my
shiny lip gloss and my girlie skirt, but
I decided not to,” wrote Chimamanda Ngozi
Adichie in We Should All Be Feminists.
“Many of us think that the less feminine a
woman appears, the more likely she is to be
taken seriously.” Dressing with a sense of one’s
own form should be an extension of power.
The euphemistic term “age-appropriate” is
really about what you should and shouldn’t wear as
you get older. In my teens and early 20s I would
VERA WANG S/S ’17

shorten dresses and mimic Proenza Schouler runway

TOPSHOP UNIQUE S/S ’17

looks from clothes that came from my mother’s quite
fantastic 80s and early 90s-era closet. Seeing peers in
the fashion industry as they progressed from interns
and assistants to editors and managers swap their
minis for midis and trousers was a way to chart their
relationship with age-appropriate dressing.
But if fashion teaches you one thing, it’s to stick to what
works for you. We all have our personal body gripes – my
own genetic disposition doesn’t lean towards anything with a
midriff focus. The one rule to break is that of never wearing the
same trend twice. Let me explain: if you wore minis in your 20s or
30s, it’s worth revisiting now, but reintroduce the look with a slight
tweak. These days I no longer wear my Luella Bartley micro-minis
without the safety of opaque tights, and ensure that I balance the
rest of the outfit: boots or strategically chosen heels (keep the
stilettos-and-mini combo for night) and a looser shape on top.
Even on days when I question my favoured short length, there is
still Julianne Moore wearing a Tom Ford thigh-grazing shimmery
dress with aplomb or Jennifer Lopez in myriad mini-skirt options
to look to. And I think of Helen Gurley Brown, who wore mini-
skirts well into her 80s. All beautiful women in their own right,
And don’t forget, fashion is only interesting when it’s divisive.
Trends can be a little boring, and for every person who groans
when it’s heralded that the mini is back, another one is rummaging
through her closet in glee.
Dorothy Parker once quipped: “If you wear a short enough
skirt, the party will come to you.” On the runway, skirts went
from a few fingers above the knee to nary a hand-span below the
waist, a length that one would advise are for experts only, and for
the most part are runway show-exclusives anyway. For alternatives,
look to Louis Vuitton for elegant A-line shapes, or Giamba for
ladylike prettiness – the softer hems are more forgiving. As
Vaccarello said to me after the show: “I guess because of the
length, when the woman does put on heels it is like: ‘Oh, wow.’”
INDIGITAL

but far from the typical 180-centimetre supermodels who are That power play from one identity to another: isn’t it satisfying
held up as examples for 40-plus mini-skirt wearers. to be the bearer of such a swift transformation? ■

70 APRIL 2017
VOGUE MOOD
From left: Anna
Plunkett wears a
Romance Was Born
dress, $1,900, and
cape, $390. Her own
boots. Martina
Mount wears a
Romance Was Born
blouse, $990, flares,
$990, and feather
boa, $250. Christian
Louboutin shoes,
P.O.A. Litay Marcus
wears a Romance
Was Born gown,
$900, feather boa,
$250, and Beau
Coops x Romance
Was Born shoes,
$650. Luke Sales
wears his own
clothes.

ROMANCE
WAS BORN
“The AFC has helped
us grow our business
internationally, which is
something we wouldn’t
have been able to do by
ourselves as a small,
independent business.
Showing in Paris has
meant that we have HAIR: CAMERON JON MAKE-UP: NICOLE THOMPSON MOLLY WARKENTIN
really focused our
attention on the
detailing and quality
of our garments.
Developing beautiful
fabrications and
interesting textiles is
ALL PRICES APPROXIMATE DETAILS LAST PAGES

our passion, so the

showroom has been a
driving motivation for
us. To see our business
growing means so much
to us, especially as we
have been in business
now for 10 years.
Looking internationally
is a natural progression
for the brand.” – Anna
Plunkett and Luke Sales,
Romance Was Born

72 APRIL 2017
CHRISTOPHER
ESBER
“The Designers
Abroad initiative
through the AFC
is an opportunity
that resonates
and aligns with
the overarching
vision for the
label. [It has]
offered a
continued
opportunity
to develop
and actualise
new growth
partnerships and
connections.”
– Christopher Esber

almost three years since its inception, Vogue

celebrates our diverse and original local
talent. By Alice Birrell. Styled by Mikey
Ayoubi. Photographed by Jake Terrey.

Christopher Esber (top right) wears his own clothes; all models (above)
wear Christopher Esber. From left: Carla Pereira wears a camisole,
$490, and culottes, $890. Elah Garcia wears a shirt, $790, and dress,
$1,900, worn underneath. Appoline Rozhdestvenska wears a blouse,
$680, and skirt, $550. Martina Mount wears a dress, $1,200.
I
t’s no secret that vision is vital in fashion. As for establishing a
peak body for one of the most dynamic of industries, vision also
lights fuses. “The AFC started with a huge ambition but started
on a wing and a prayer,” says the Australian Fashion Chamber’s
general manager Courtney Miller. Almost three years in, the
chamber already has an august list of achievements. A program
called Designers Abroad has seen some of our most prodigious
talents establish a presence in Paris. “It’s evolved in the last couple
of years to really be an institution that helps our designers,” Miller
reflects. Not only that, but the chamber has connected Antipodean
talents, playing matchmaker for mentors and mentees, as well as
providing a framework for labels as businesses to operate within,
among other crucial initiatives that guide and promote growth.
Miller plans to establish a platform in New York, building on the
awareness of the creativity and original thinking unique to
Australian designers. “We believe fashion is yet another
opportunity for Australia to tell the varied stories of our country
and to change the perception of who we are,” she says. Here, our
designers reflect on their paths to Paris and the importance of the
kind of backing that’s with them all the way.
▲

VOGUE.COM.AU 73
VOGUE MOOD
Ryan Lobo
wears his
own clothes.
Helene L
wears a Tome
jacket, $7,550,
shirt, $1,395,
pants, $875,
and sandals,
P.O.A.

TOME
“The support
from the AFC
has been
amazing both
at home in
Australia and
globally. It’s
important to
be in Paris;
everyone is
there on business
and we get to see
half of our
buyers. It’s a
great occasion
to all come
together and put
on a showcase of
Australian
talent.” – Ryan
Lobo, Tome

P.E NATION
“Paris fashion week is held in such
high regard in the fashion world
and to be presenting the collection
there was such an amazing
opportunity, one we would never
have been able to do on our own
in such a short time since our
launch last year. P.E Nation was
the first activewear brand to be
showcased as part of the AFC. It
was great to meet with buyers face
to face and to explain the ethos
and vision behind the brand
first-hand. Feeling that we were
part of the global fashion industry
… is an awesome feeling for
a start-up.” – Pip Edwards,
co-founder, P.E Nation
P.E Nation’s Claire
Tregoning (centre) and
Pip Edwards (right).
Tregoning wears a P.E
Nation top, $100, and
skirt, $180. Her own
shoes. Edwards wears a
P.E Nation jacket, $250,
and T-shirt, $140. Her
own pants and shoes.
Veronika Heilbrunner
(far left) wears a P.E
Nation top and shorts,
both P.O.A. Converse
sneakers, $120.

74 APRIL 2017
 MACGRAW
“Heading to Paris with the AFC
for our first French showroom in
October made the experience far
more digestible. It’s also really
nice to work closely with so many
Australian labels. Our local
designers are so inspiring and it
seems the world is finally catching
on to that.” – Tessa MacGraw,
co-owner and designer at Macgraw
with her sister Beth MacGraw
From left: Beth MacGraw
wears a Macgraw blazer, $665,
dress, $565, and shoes, $495.
Tessa MacGraw wears
a Macgraw dress, $995,
and boots, $895. Appoline
Rozhdestvenska wears
a Macgraw dress, $825.
Christian Louboutin
shoes, P.O.A.
ALL PRICES APPROXIMATE DETAILS LAST PAGES
JAKE TERREY

Macgraw dress,
$825, and
slides, $525.

VOGUE.COM.AU 75
 GARY BIGENI
“In the past I have had a very clear vision for my brand
and the collections offered each season. The AFC
has helped me balance this creative vision with the
commercial realities of running a business; often
through initiating dialogue with my customers and
providing invaluable product feedback. The network
of like-minded people and companies has provided a
real platform for dialogue, idea exchange and problem-
solving. To be surrounded by great brands and have
the collection seen in this way with structure and
support was nothing short of inspiring.” – Gary Bigeni

DION LEE
“Similar to the Council
of Fashion Designers of
America in the US and
the British Fashion
Council in the UK, the
Australian Fashion
ALL PRICES APPROXIMATE DETAILS LAST PAGES

Chamber has united

designers and created a
forum to discuss the
unique issues and
challenges facing
Australian-based
designer brands.
I believe this has
strengthened the local
JAKE TERREY

industry and allowed

designers to focus
on building global
businesses.” – Dion Lee

76 APRIL 2017
VOGUE MOOD
Heart & sole
Unrivalled film buff? CBE? World’s greatest footwear
designer? Manolo Blahnik is a shoe-in. By Alice Birrell.
wo minutes before a scheduled phone call with one of it is only because he is concerned with other things.
T the most important shoemakers of our time, a terrible
as the emperor of shoes, who has created the
“sole of perfection”, as Beatrix Miller once put “WE MEASURE
realisation dawns: I am not wearing shoes. It is 6am and erudite references that pepper his conversation are the result of an
the prospect that the man referred to
it, might somehow intuit bare-footedness seems
real. A quick change and my anxiety is assuaged,
SUCCESS ON
even though the call is of the landline type, not CREATING
Skype. Which seems to suit Manolo Blahnik BEAUTIFUL
himself equally well.
“I don’t like myself anymore. In the pictures,
OBJECTS”
I am talking about. As a person I can tolerate
myself. In pictures I don’t,” he says, with complete sincerity. He
is in the minority. Blahnik, though plainspoken, is tirelessly boutique will make his shoes available here for the first time since
warm and, despite talking incessantly to fashion journalists and he began his label nearly 50 years ago – he reels off a mix of
78 APRIL 2017
Shoe designer editors throughout his life, is an excellent
Manolo sport. He very politely excuses himself for
Blahnik, with
a model choosing an interview time that is early
wearing the before saying we can discuss “whatever
waist-high you want to know. I have all the time.”
boots he
created for It is hard to believe the 74-year-old has
Vetements. any time at all, given his output and
influence. His is a label imprinted on the
contemporary psyche, thanks to Sex and
the City’s Carrie Bradshaw, whose
Manolos played a supporting role, name-
checked ad nauseam by countless editors,
actresses and musicians, and recognised
by the Queen, who named him an
honorary Commander of the British
Empire in 2007. He has said himself his
shoes have the power to save marriages.
The kind of recognition a life’s work of
this calibre receives is something that has
Blahnik bamboozled. If he’s famous, he’s
the last person to comprehend it. “I don’t
understand when people stop you in the
street and say: ‘Hello Manolo, can I have
a picture with you?’” he says in his blend
of Received Pronunciation and his native
Spanish with the occasional florid
emphasis. “Oh my god,” he says, taken by
a new thought, as he flits seamlessly
between anecdotes. “Today I went to my
store in Burlington Arcade and two lovely
Chinese girls came up and asked for
a picture and then another Spanish girl,
and then someone else. And I said: ‘Look,
I have to go now because I am late …’ If I
go out people recognise my stupid old
face!” he says with mock horror, laughing.
“I don’t think he recognises it. He is
about doing what he does and doing it
well,” says his niece, former architect and
now CEO of the company, Kristina
Blahnik, who places her uncle’s creativity
first. “We measure success on creating
beautiful objects that are creative …
I would, hand on heart, say that is
Manolo’s measure of success as well.” If he
has trouble grasping his level of influence,
Those who know him describe him as extremely cultured. The
intense curiosity. “[He] is constantly running
on some sort of nuclear battery. His mind
moves at the speed of light,” says Kristina. “He
is so aware of what is going on and he talks to
people. He talks to his team, he talks to the
press, he is reading; everything you know from
the classics to the latest books and watching the
latest films. It is hard to keep up with him
because culturally I don’t think anyone could
surpass him.”
TUNG WALSH
When the conversation moves to Australia – where Harrolds
▲
VOGUE MOOD
famous and lesser-known Australians. It’s the kind of thing that
spills out when the door to his encyclopaedic mind is ajar. This
time it’s Cate Blanchett, Jenny Kee, Nicole Kidman, director shoes are made in Italy and, until he injured his tendon, he would
Gillian Armstrong and costume designer Norma Moriceau.
Most of them are movie names, because he is a film aficionado
in the truest sense. His knowledge is intimidating, anchored
from time spent in Paris, where he studied art and saw the
Nouvelle Vague films of Jean-Luc Godard and Luchino Visconti
(The Leopard is one of his favourites). He fell in love with Romy
Schneider and Alain Delon at the theatre and opened himself to
the cultural seedbed that was the French capital.
“It was 1968 and Paris was burning, almost with energy, and
they had change in mind,” he recalls. He tells the story of one
summer going to see the Doors, whom he describes as
“the important young Americans”, and being taken with the
youthful guile of Jim Morrison et al. “It was the beginning of my
discovery of what could be possibly done
with the energy, how to channel [it],
politically or otherwise.”
With so much to draw on, the
resulting designs, in anyone
else’s hands, could easily be
costumey. Not so for Manolo.
Creations in silk, brocade,
mink trim and exotic skins
with oversized buckles, $1,299, FROM
HARROLDS.
exaggerated bows and
swirling straps are all
anchored by heels, lasts
and welts that are as light as
slippers. “From the fairytale
of Cinderella, women all
around the world have been
$1,299, FROM
in search of the perfect shoe,” HARROLDS.
observes Harrolds womenswear
buyer Kathleen Buscema. “The
experience is what makes Manolo
Blahnik like no other. It begins with
discovery; the shoe picks her.”
The septuagenarian’s shoes are enjoying
some extra buzz at the moment. Collaborations
with Rihanna, Vetements, New York label Khaite
and young London-based designer Grace Wales
Bonner have helped this along. He draws energy
from the present and the new guard. “The
names are difficult: Demna Gvasalia and
the other one,” he says, by which he means
brother Guram Gvasalia, of the collective
behind Vetements. “They have another
concept of fashion,” he says. “I love people who
are courageous and have conviction, and they
have conviction.”
While he thinks some of the new gen have definitely “got it”,
he still yearns for elements from the past. He bemoans the of career, make him nervous. Unfortunately for Manolo there is
splintering of a throwaway society and the shrinking class of
people who exude elegance. “Madam Kennedy and people like
that in New York like Nan Kempner, all that generation is
disappearing.” He admires Chinese couture clients, the “classic
chic” of Japanese women and the Englishwomen he sees in his “I like to work. I haven’t got anything else to do. My curiosity
adopted hometown Bath in tweed and twin sets. “They don’t
dress chichi but they look fantastic! I love this country for that
reason. People don’t give a damn about things.”
80 APRIL 2017
It is why core values of quality and integrity govern the way
both Manolo himself and the business at large operate. All the
himself try pairs on in the factory. “You can go crazy with the
decorations and things like that but the most important thing
for me is the comfort,” he says. “I do not have people complaining
at all and I have been doing this for 45 years now.”
Splashy labels and loud branding are not his style. “We haven’t
got a kind of glaring beacon that this is a Manolo Blahnik …
there is a modesty about our shoes,” says Kristina. There are only
12 stand-alone stores when there could easily be more, seeing
that his shoes are sold in more than 30 countries. The business
has remained independent and isn’t rushing to expand. “I think
in this world of brands being owned by large conglomerates you
lose a little bit of that soul,” Kristina says, pointing to their rare
freedom. “We are not beholden to anything. It is unconventional;
it is not following the path that is written.”
When Manolo left the
ALL MANOLO banana plantation in Santa
BLAHNIK SHOES,
$990, FROM
Cruz de la Palma on the
HARROLDS. Canary Islands where
he grew up, he was
beginning to write that
path. When he was 16
or 17, he can’t
remember which, he
went to work for his
uncle, then director of the
United Nations in Geneva.
“Every day we would put papers in
the chambers and I found that so tedious.”
So he escaped to Paris, where he went to art
school and studied set design at L’École du
Louvre before moving to London. A stint
designing costumes for film and theatre
followed before he was set on to shoes on
the advice of Diana Vreeland, to whom his
friend Paloma Picasso introduced him. By
1971 he was making shoes in his own
name with clientele that included Jane
Birkin, Penelope Tree, Charlotte Rampling
and Grace Coddington. He borrowed
£2,000 to open his first store.
Staying steadfast to the traditional values that
served him well in those early years has meant he
has endured in 2017. When once a young Manolo
worked up the courage to compliment Luchino Visconti
STYLING: MONIQUE SANTOS PHOTOGRAPH: GEORGINA EGAN
on his costumes, the filmmaker told him: “Without
tradition, we’re nothing.” Owning a pair of Manolos taps into
a bygone glory. “My customers tell me they feel like the shoes
belong to something very important.”
ALL PRICES APPROXIMATE DETAILS LAST PAGES
A documentary directed by Michael Roberts looking at his life
is due out any day. Retrospectives, inevitable after Manolo’s kind
a big one coming up that will tour Russia, Spain, Canada, Japan
and his father’s native Czech Republic. “I have my young lady
here helping me because I am really lost,” he says of an unseen
assistant. He will continue to work because he simply wants to.
and my energy to me are the same things. Maybe I was born as
what they call a neurotic or hyperactive child. I have to control
myself!” Women everywhere will pray he doesn’t. ■
 NSW
King Street 02 9299 0372

VIC
Emporium 03 9663 1695 • Chapel Street 03 9804 7213
Eastland 03 8658 2350 • Chadstone 03 9569 9517

marimekko.com.au
VOGUE MOOD MIU MIU TE, MAXMARA
SWIMSUIT, $3,140 JACKET,
$1,520. $1,610.

WE
BRACELET, $52

Going

C HANEL
SUNGLASSES,
$490 EACH, FRO
THE CHANEL
BOUTIQUES

MIU MIU
STOLE, $1,520.

ALL PRICES APPROXIMATE DETAILS LAST PAGES

SANTOS PHOTOGRAPHS: GEORGINA EGAN INDI
WORDS: ZARA WONG STYLIST: MONIQUE
MIU MIU S/S ’17

$250 WITH TOP.

 WATER, BABY
No pool, no play need not
be the way: three hotel
pools in the country that
don’t require a room
booking – plus the best
bar pool in Sydney. See the
rest at Vogue.com.au.

The Adelphi Hotel,

Melbourne.

MICHAEL KORS S/S ’17 $1,025.

TIBI S/S ’17

The Shangri-La
ALTUZARRA S/S ’17

Hotel, Sydney.

The Olsen,
EMILIO PUCCI Melbourne.
Models poolside in a PANTS, $1,245,
1957 issue of Glamour. FROM PARLOUR X.

Pool Club at
MARIMEKKO
POUCH, $100. KATE SPADE the Ivy, Sydney.
EARRINGS, $160.

Slide on over Stay plunge-pool-ready with luxed-up slides.

BOSS SLIDES, MIU MIU PRADA

P.O.A. SLIDES, $450. SLIDES, $710.

VOGUE.COM.AU 83
VOGUE MOOD

Super-size me
 2.
1.

1.Hope
Model wears: Comet
Roped ring $55.
VOGUE MOOD

Backstage at Rag
& Bone spring/
summer ’17.

Casual affair
Merging classic British style with American sportswear, Rag & Bone
has written a rule book entirely of its own, writes Alice Birrell.
hree little words. A lot of power can preside in just three It turns out his conversation is as fuss-free as the clothing he

T little words. There’s the obvious (“I love you”), the

rousing (“I’m with her”) and the shrewd (“truth will
out”, as Shakespeare foretold.) If Rag & Bone’s Marcus
Wainwright were running a campaign for some sort of fashion
presidency he might choose these three: “integrity”, “authenticity”
and “quality”. It’s a triumvirate of words that comes up often, and
mantra-like, when speaking with the co-founder and creative
director of the New York-based label.
Punchy? Not really. But then Wainwright is not so much here to
play the fashion game, spouting sexed-up fashion platitudes to the
masses. Instead, as the label celebrates its 15th year, he’s drilling
down to core values. “Quality is first and foremost the most
important thing to me. You can have the most beautiful jacket, but
if it’s not made well, I can’t really wear it,” he says plainly, with
distinctive British practicality. “I think the English in me has
always been very drawn subconsciously to the English approach to
quality, which is very understated, but with a very intense focus.”
produces as the now sole chief executive and creative director of
the label – co-founder and former business partner David Neville
departed the company in June last year, but still sits on the board
of directors. “We’ve never really been about esoteric fashion for
the sake of art,” he says, seemingly still used to speaking as a duo.
“We’ve always had a very focused awareness of the importance of
art and commerce and that it’s our own money – it’s my own
money, my savings that I’m spending – so someone needed to like
it. Someone needed to be able to wear it.”
Now embedded in the fashion psyche, it would seem Wainwright
isn’t talking pocket money. Market sources say the brand was
predicted to take in US$300 million last year. Rag & Bone has
become a go-to, if not the go-to, for extremely well-made real
clothing. This year the label eschewed the runway show for an
exhibition in New York of photographs of friends and muses
wearing the label. “The pressure to be something that we’re not has
never really dominated the decision making,” says Wainwright.
▲

86 APRIL 2017
 for women

life

sussan.com.au
sled by sussan

new catalogue out now

VOGUE MOOD
It’s part of the way the brand is adjusting to the seismic shifts
brought about by the digital age and the problematic high cost of
producing in America. Denim is made in LA, part of ready-to-
wear in New York, with some of the rest produced overseas.
“Some things you have to compromise on otherwise you’ll go
out of business, and some things you just don’t compromise on
because you’ll go out of business,” says Wainwright.
For pre-fall ’17, Wainwright showed jackets in washed-out shades
with palm tree motifs, drawstring shorts and sandals when
everyone else was doing weighty outwear and trousers.
“The system here is so fucked,” he says, not one to hold
back. “People want you to deliver shearling in July and “A GREAT
August when it’s 95 degrees [Fahrenheit]; they want PAIR OF
spring stuff in January and it’s snowing.” The label’s
response is making the switch to monthly drops rather JEANS IS
than seasonal collections. A GREAT
Taking the fashion temperature seems to be an
intuitive skill for Wainwright, who knows there’s a
PAIR OF
need to dip into the Zeitgeist. “You can’t be completely JEANS”
off-trend if everyone wants to wear skinny jeans and
you’re making bell bottoms. That doesn’t work.” That’s not to
suggest the collections that veer toward an editorial look feel
forced. For spring/summer ’17 cricket knits were exaggerated to
become nonchalantly slouchy, cotton twill chinos were smartened
up to become an easy alternative to working-girl trousers and the
roomy shirt dresses were versatile wear-with-alls.
roots. Founding duo Neville and Wainwright met as schoolboys at
RAG & BONE
PARKA, $1,450.
88 APRIL 2017
Wellington College, a favourite of British military families, where
portraits of generals graced the walls, hence the field jackets and
anoraks. The tailoring draws on the traditions of Savile Row,
introduced to Wainwright by his father. Neither had formal
fashion training before they set out to make the perfect pair of
jeans in a Kentucky factory in 2002. “No-one ever told me what
I should think fashion was,” says Wainwright, adding he thinks
the base now of New York has furthered their blend of British
classicism and American sportswear. “Here you just walk around
a block and you can come up with a few ideas. It’s not
that complicated.”
The consistency in the clothing, the shoes and the
bags, the slight Margiela-esque approach to reworking
the staples, has given the brand broad appeal. That the
first Australian store is opening in Melbourne’s The
Strand this month is not surprising. As Wainwright
says, “a great pair of jeans is a great pair of jeans”.
Wainwright now juggles being a father with the
demands of the Rag & Bone men’s and womenswear
and the business mechanisms. “My day is a little bit
crazy, so home is like bath time and stories followed by collapsing
in a heap most of the time.” The future is also on his mind. “A lot
of the time I’m thinking about how fast the world is changing and
how to preemptively make decisions. I think that’s what people are
struggling with in fashion right now; everything feels very fucking
nervy,” he says with a half-laugh. “No-one really knows what’s
going on, and I think you need to seize the day.” Three more words
to see him on the long road. ■
RAG & BONE
SHIRT, $425.
RAG & BONE
PANTS, $855.
ALL PRICES APPROXIMATE DETAILS LAST PAGES
GEORGINA EGAN
90 APRIL 2017
 Opposite: Lily-Rose Depp in her suite at
the Ritz Paris between shows. This page,
from top: Pharrell Williams sitting with
Cuba Tornado Scott; Willow Smith and
her mother Jada Pinkett Smith getting
ready before the show; model Soo Joo
Park training in the hotel pool;
Sofia Richie, who made her debut as
a model in the Chanel show.

Paris nights
With its glamour and storied history, the
Ritz Paris was the only venue for Chanel’s
homecoming extravaganza. By Zara Wong.

H
ometown advantage: back then, to Paris,” Chanel
seemed to declare after previous jaunts around the
world for its Métiers d’Art shows. This is what it looks
like when Chanel takes over the Ritz Paris – the hotel
Gabrielle Chanel called home. It’s a party with a gaggle of
Chanel-ified pretty young things: Lily-Rose Depp (looked on by
her mother, Vanessa Paradis), Sofia Richie, Ellie Bamber, Sistine
Stallone, Bella Heathcote, Rowan Blanchard and Willow Smith.
We hear Pharrell Williams and Anna Mouglalis took part in
some karaoke at the Ritz bar, and Geraldine Chaplin was taught
how to prepare chocolate mousse in the Ritz kitchen. A certain
bellman, who has met both Gabrielle Chanel and Charlie
Chaplin, mused of the night: “Having Geraldine Chaplin makes
it feel like Mademoiselle Chanel is still alive.” ■

VOGUE.COM.AU 91
VOGUE MOOD

1CD VH
We’re familiar with the go-to
labels for an affordable wardrobe
refresh. Here are the new names
to add to your shopping rotation.

Steele

VACATION-READY
Swingy linen 70s-inflected dresses and
ruffled separates have made Melbourne
label Steele a sell-out, and UK-based
Pampelone draws inspiration from the
founder’s childhood holidays in Saint-
Tropez with styles named after the town’s
local spots. Finish off with Cult Gaia’s
bamboo handbag, which has sold out
several times over thanks to its price
(starting from $115) and photogenic style.

Nice Sir the

Martin Label

OFF-DUTY
Alexandra Spencer in Accessible prices and quality converge in labels Sir the Label, Nice
Réalisation Par. Martin and MLM. In fabrics such as silk, cotton and linen, they
make for easy core pieces that are minimal enough to fit into an
existing wardrobe but still offer an inventive twist on classics
like slip dresses and shirting. Bonus? They’re all local labels. ALL PRICES APPROXIMATE DETAILS LAST PAGES

Pixie
Market Loéil Mango
WORDS: ALICE BIRRELL ZARA WONG

INSTANT TREND UPDATE

A low-risk wardrobe investment allows room for
experimentation. Mango is bookmarked by girls like Patricia
Manfield and Giorgia Tordini, who regularly top up their
wardrobes with their easy pieces. New York’s Pixie Market
and Los Angeles-based Loéil are two more best-kept editor
secrets known for their trend-driven inventory.

92 APRIL 2017
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Remote access
It defies convention, but launching a tech start-up in outback
Australia makes perfect sense, writes Mikaela Jade.

A
n investor once said to me that Aboriginal, female, artisanship in Arnhem who have trouble getting their exceptional
remote-area technology start-ups were, “quite frankly, products to market. We’ve developed a subscription box service
high risk”. At the time I was shocked, disheartened and that connects these women through an e-commerce platform to a
angry at the racial and sexist undertones of such a limited number of urban women. Our subscription service takes
remark and gobsmacked that someone who could advance the subscribers on a 12-month journey across Arnhem Land through
world with their pocket change would let “risk” get in the way. experiencing high-quality homewares, clothing, jewellery, native
It is said that high risk brings high reward, and that’s absolutely teas, body products, artworks and literature in a monthly themed
right. Starting an Indigenous augmented reality company from box. Each box contains unique products and includes a multimedia
bare bones in one of the most remote places in Australia has been story of the artisan and a pre-addressed thank-you card. The model
high risk. Kakadu is hardly the place you would expect high tech to works not on volume but on scarcity. Owing to the number of
be incubated: an Aboriginal community with English as a second women, and the time it takes to create their products, we cannot
language, limited by financial resources and zero exposure to the fulfil more than 500 Dilly boxes per month.
tech world, would, you’d assume, steer you away from such an InDigital is in juxtaposition to the fast-paced start-up world. We
endeavour. But that is take our time. In one of
exactly what makes what the most socially isolating
we do high reward. places in Australia, we are
My company, InDigital, connected to mentors in
believes Indigenous Palo Alto, San Francisco,
peoples from around the Dubai, New York,
world are the best placed Melbourne, Sydney and
to deliver real disruption Canberra through
and real value in the digital LinkedIn, Crunchbase
economy. It’s not a and social media. In an
mainstream perspective industry filled with
and causes friction among incubator hubs designed
stalwarts of the investment to cluster people together
world. Where I see in city environments, we
untapped scientif ic operate from a digitally
knowledge – the result of powered distributed
80,000 years of science studio model supported
experiments – they often by staff in India, the
see poverty, lack of Philippines, Montreal,
education and investment Cairns and Port
dissonance. Macquarie. Where young
Luckily, our peoples have start-up entrepreneurs
always known friction UNLIKE THE FAST-PACED START- create inspiration in small
makes fire, and if you light
a fire in the right place at
UP WORLD, WE TAKE OUR TIME Google-esque play pads,
our team of Elders draw
the right time the entire community benefits for a long time. inspiration from a 19,804-square-kilometre world heritage cultural
Augmented reality is our firestick. We have developed a platform landscape carved out 140 million years ago.
that allows Indigenous communities from around the world to There is something deeply rewarding about sitting where people
share and economically benefit from their cultures in 3D have sat for thousands of years asking for answers to humanity’s
augmented reality without an internet connection. Users download challenges. In the quiet rainbow of a winter sunset or the roaring
our app, Indigital Storytelling, point their phone (or soon to be of a summer monsoon storm, the answers always arrive. Personally,
wearable device) at a preprogrammed object, artwork or place and I love to see people’s smiles when we demonstrate the products. In
the traditional owner from that place brings to life ancient 90 seconds we can shatter unconscious biases about Indigenous
IMAGE COURTESY OF MIKAELA JADE

perspectives, knowledge or Dreamings. Users pay for the products
(cards, posters, T-shirts), or at a cultural site they pay to download
the content. It’s created a wildfire of opportunity for the community
where I live. Being able to profit from cultural knowledge systems
in a new and culturally appropriate way is the reward.
Building from our lessons in the remote-area-based digital
communities and empower non-Indigenous people to see us
differently. Best still, Indigenous knowledge holders are for the first
time economically valued in the digital economy and recognised
as innovators on par with those in high-tech launch pads.
Yes, there is no doubt we are high risk. These days, that to me
is the ultimate compliment. ■

economy has empowered us to start a second enterprise with the To find out more about InDigital, go to www.indigital.net.au.
women of Arnhem Land, called the Dilly Box. There are hundreds Mikaela Jade spoke at the inaugural Vogue Codes event in 2016. For
of Indigenous women makers practising thousands of years of more information, go to www.vogue.com.au/voguecodes.

98 APRIL 2017
VOGUE CODES

Making
the
first
move
Whitney Wolfe wants to change
the way online dating works,
on her way to making the
digital world a more civil space
for everyone. By Zara Wong.

O
ver a matcha latte in New York last winter, my clever,
attractive, gainfully employed friend gave me the
lowdown on the city’s dating scene. Bar etiquette
hadn’t improved, and most of the apps on offer
hadn’t helped singles. Except for one. “Bumble,” she said
between sips of her hot drink. “That’s the only app where the
guys are so much better.”
Better? It seemed like a far-fetched statement to make of
a simple dating app. But Bumble, as Whitney Wolfe tells me, has
an in-built functionality that has changed the behaviour of its
user base. “From the get-go, people said it would never work, and
that we were crazy, because men are meant to make the first
move and that women would never do it,” says Bumble’s 27-year-
old co-founder and CEO. “We had to really push our vision and
say: ‘Trust us, if it is the woman who makes the first move, it
really makes a difference.”
Wolfe, as tech world spectators are likely to be aware, was also
the co-founder of Tinder – one of the world’s most prolific apps,
which helped introduce the words “swipe left” to the courtship
lexicon – and masterminded its university campus-focused connecting as it exists – both digitally and in real life – and it
marketing strategy. She was forced out of the company amid came down to the fact that gender norms do not encourage
a sexual discrimination case that included as evidence women to be in control,” Wolfe says over the phone from Austin,
incriminating text messages from another co-founder whom she where her company is located, away from the hubbub and
was dating. The lawsuit was settled out of court. distraction of Silicon Valley. (“There isn’t a fear of missing out;
Hesitant about returning to the dating app industry because of it’s detached from the expectation of looking over your shoulder
her past experiences, Wolfe had hoped to start a platform that to see what the next person is doing,” she says of her choice of
would “encourage kindness, positivity and accountability in the headquarters.) “We have to be equal and that’s where changing
digital space” for young women, as a response to the negativity the roles and putting the women in charge was born.”
found on social media. But a meeting with her now business Wolfe is active in the female start-up community and has
ELLIS PARRINDER

partner Andrey Andreev, who founded the Russian dating app invested in The Wing, a chic all-pink and rose gold women’s only
Badoo, convinced her that the dating world needed a female- club in New York that is less about breeding and more about
centric approach. “I tried to figure out what was missing in terms career development, and which hosts events that run the gamut
of women in that space and what exactly was wrong with of women’s lives, from networking, sex education and style.

100 APRIL 2017

 “I think women really struggle to get men to understand what
their vision is,” she says, “but that can only change by backing
more women.”
She is also keen to shed light on the next generation of women
moving up the ranks in the world. “It is hard for an 18-year-old
girl with a few dollars in her pocket to think she is going to
become the next Arianna Huffington. Don’t get me wrong, she
is an incredible inspiration, but we need to highlight someone
more attainable and useful for women who are at the beginning
of their careers, not just the ones at the top.” It seems appropriate
then that Bumble has introduced the BumbleBFF function,
which allows women to find friends, and is due to launch
BumbleBizz, which facilitates contact for business and
professional reasons.
For Wolfe, the seemingly small act of building a functionality
that forces the woman to initiate conversation was a necessity.
She tells me about how she has been regaled with accounts of
how it has changed users’ behaviours in the real world. “The
golden rule is to treat others well, the way you want to be treated.
It doesn’t apply to digital” – one thinks of all that cyber-bullying,
where vitriol that could not so easily be expressed in real life
gushes online – “so if you want the golden rule to apply, you
need to physically build that into your product … you can’t just
cross your fingers and hope: you have to guide them forward,”
says Wolfe on the powerful impact of making the first move.
“And, with a very simple implementation, we have guided them
to behave in a certain way, which will have a positive impact in
our community.” ■
VOGUE.COM.AU 101
 Is Australia’s
most future-focused
industry backward?
Less than 30% of the IT industry is female,
but at Westpac we think that should be 50%.
Want to join us?

westpac.com.au/careers

© 2017 Westpac Banking Corporation ABN 33 007 457 141 AFSL and Australian credit licence 233714.
 Twists & turns
The lightness and fluidity of late architect Zaha
Hadid’s designs are realised in a reinterpretation
of one of Bulgari’s signature rings. By Zara Wong.

M
aha Kutay picks up the Dictaphone and places it in her palm of her
outstretched hand. She pretends to look at it in bewilderment, and giggles.
She is shy and economical with her words, but Boris Barboni, Bulgari’s
head of marketing, describes her as “polite but strong-minded” – the
perfect soft power to promote Zaha Hadid’s design aesthetic as the late architect’s
trusted accomplice.
Having been tasked to establish and head Zaha Hadid Design 10 years ago, she is in
Miami for the design practice’s latest project: reinvigorating Bulgari’s B.zero1 ring.
And with Hadid’s death last year, Kutay is now Zaha Hadid Design’s spokesperson,
a new role for her, meaning she’s not used to Dictaphones.
When art and architecture collaborates with fashion, synergies and parallel aesthetics
often occur. Not necessarily in this case, though. “Zaha Hadid’s aesthetic with Bulgari
– they do not fit. We are geometric, we are about colour and opulence. Hadid’s aesthetic
is very asymmetrical, very linear and with a colour palette that is very unsaturated

104 APRIL 2017

STAY CONNECTED
IN STYLE.
HE INN
NOVATIVE AND ISH BMW X1.
Objects of desire tend to go out of fashion. The classics however stay
grounded in timeless and sophisticated design, they age with grace.
The BMW X1 is of this approach, refined aesthetics and intelligent
luxury defines its style. BMW ConnectedDrive technology is designed
to be future proof, to adapt to change. Its engine options all employ
a philosophy which balances responsive power and low fuel consumption.
The BMW X1 is a modern classic.
VOGUE ARTS

compared to ours,” says Barboni. “Our designs do not fit, but we Zaha Hadid; instead, it’s a reinterpretation of something that was
share a passion for design and architecture, and innovation.” so legendary and important to us. And we were very interested to
For Hadid, an Iraqi-born Brit, innovation came from her see where we would end up,” says Barboni. “We chose it because
distinct way of understanding space. In the Arabic language, it was very architectural, but being so small, too, it’s a challenge.”
there is no word for landscape. Suzanne Trocmé, the British Barboni remembers sorting through the final sketches
curator, author, designer and friend of Hadid, elaborates: submitted by Zaha Hadid Design and being struck by the beauty
“Within the Arabic language, [traditionally] there are no words of the chosen work. “The smiles were twisted, so they weren’t
for space or spatial awareness, and there’s no word for deadline symmetrical, and then the changes made it have a fluid, wavy
– so with those constraints, where do you start if you’re from the design language,” he says. “The approach was very different.”
region?” Trocmé reminds that there are more female than male The timing of the ring’s launch during Art Basel in Miami is
designers in the Middle East, “… because the men go into oil meaningful. Hadid died in Miami, and lived in an apartment in
and gas and women go into design from engineering and graphic South Beach’s W hotel. The famously straight-talking designer
design”, she says. often complained of the hotel
Hadid herself studied being ruined by visitors, and
mathematics in Beirut before Maha Kutay and disliked the city’s architecture.
below, Bulgari’s
pursuing architecture in new B.zero1 And, just prior to her death,
London. Earlier in the day, ring, $3,220, she had been working on a
Trocmé fascinated the media at which she helped residential apartment the city,
reimagine.
the press launch by relaying how to be completed in 2018. When
she introduced Karl Lagerfeld asked she had said that she had
and Zaha Hadid. It was the greatly reduced her commission
start of a fruitful friendship that fees on the project, such was
went on to see Hadid designing her desire to contribute to the
a mobile Chanel museum, skyline of the beach city.
another milestone in her long The original concept for the
association with the fashion and ring was Hadid’s own. “Zaha
style spaces. came up with an idea and initial
Hadid’s favourite designers sketch,” explains Kutay of the
included Issey Miyake, Miuccia process, which then had the
Prada and Rei Kawakubo, team designing further and
whose work, much like her own, reconvening for feedback. The
challenged the norm. original B.zero1 ring used the
The late architect recognised tubogas technique, which allows
in herself that distinctive precious metals like gold to be
approach of looking beyond made flexible and pliable. Kutay
the conventional boundaries points to the three elements of
of architecture, a propensity the ring that she and her
perhaps due to her background: “IT WAS VERY team determined must
born in Baghdad and being a
woman in the male-dominated
IMPORTANT TO remain unchanged to
share the same essence
world of architecture. GET THIS LACE- of the original: the
She writes of finding
inspiration in the work of
LIKE EFFECT “smiles” within the
centre of the ring, the logo,
painter Kazimir Malevich: AND THIS and the quality of movement
“I found the traditional system TRANSPARENCY” of the springs. “So in the same
of architectural drawing to be way we look at our buildings
limiting and was searching for a new means of representation … connecting to the environment, linking to the surroundings, this
My work explored these ideas through concepts such as explosion, piece of jewellery is somehow connected to the human body.”
fragmentation, warping and bundling. The ideas of lightness, A celebrated and award-winning architect, Hadid’s completed
floating and fluidity in my work all come from this research.” designs clustered late in her life. She has a body of work that
Within her portfolio this lightness and sinuous movement is remains unrealised, like the infamous opera house in Cardiff and
more than apparent, from the London Olympics Aquatic Centre a resort on Hong Kong’s Victoria Peak. Trocmé says Hadid
to the d’Leedon apartments in Singapore. B.zero1 shares the would have been overjoyed to see the Bulgari B.zero1 ring; all
same curvilinear form and rhythmic fluctuations. “If you hold architects want to see their work realised and within reach, so
ALL PRICES APPROXIMATE

the original B.zero1, it has movement, it springs a bit,” explains that, in Hadid’s case, admirers of her work wouldn’t have to
Kutay, showing off the ring, which stands out on her palm like a travel to China or Italy to see her work, or only see it in theoretical
DETAILS LAST PAGES

miniature modernised Colosseum. “So we wanted to visually try sketch form.

to portray that … it was very important to get this lace-like effect When we meet, Kutay is wearing the B.zero1 ring in yellow
and this transparency within the ring.” Removing streams of gold. How satisfying must it be been for her, then, to see the
metal and twisting what’s left has produced a lighter, looser and Bulgari B.zero1 ring finalised, to have her designs twisting and
more modern piece. “The point wasn’t to make a new ring by turning on her own finger? ■

106 APRIL 2017

RED RIDING HOOD
VOGUE ARTS

A “WE’VE
ALL LOVED.
WE’VE ALL
LOST. WE’VE
ALL FELT
JOY AND
SADNESS
IN EQUAL
MEASURE”
RED RIDING HOOD
VOGUE FOOD

Plate up
As the World’s 50 Best Restaurant
Awards heads to Australia for
the first time, Kerrie McCallum
investigates the culinary landscape.

C
hefs. There can be no debating they
are the rock stars of the gastronomic
world. Throw 50 of the most creative,
charismatic and somewhat crazy men on
the planet in a well-fed and lubricated room and
watch the fireworks begin: welcome to the World’s
50 Best Restaurant awards.
It is a heady celebration of gastronomy, talent,
mayhem and tight tuxedos and this month it’ll be
held in Australia for the first time. But what does
this mean for our ever-expanding food industry,
and where does this place us on the culinary map?
And, more intriguingly, why have only a few female
chefs ever made the list?
Considered the annual barometer of the greatest
food and wine experiences around the globe right
now, the list is selected by the World’s 50 Best
Restaurants Academy. Comprising 26 regions, each
with 40 members, this panel of more than 1,000
independent reviewers spends 12 months eating
its way around the world, to determine a pecking
order that changes livelihoods.
For the first time in the event’s 15-year history, it will be held culinary reputation in the northern hemisphere,” he says.
in Australia, at Melbourne’s Royal Exhibition Building on April “Having the ‘Oscars of food’ come to town will increase
5, attracting luminaries such as incumbent number one Massimo international focus on the Australian scene. Australia is having a
Bottura (of Italy’s Osteria Francescana), Noma’s René Redzepi culinary coming-of-age revival lately, and the world is watching
and Heston Blumenthal. For the awards sponsor Tourism with a keen eye.”
Australia, the investment is all part of a master plan to secure the Like any considerable investment of time and money, the
world’s attention via the Restaurant Australia campaign, to plant awards are not free of controversy. A breakaway group challenged
our country in the hearts and minds of potential travellers as a the legitimacy of the awards in 2015. There is also the oft-asked
premier food destination. And even though we question of why so few female chefs make the top
know it, the rest of the world isn’t there yet. 50. In fact, a special award had to be created to
Since the launch of Restaurant Australia TOP FIVE (2016) acknowledge women – Slovenia’s Anna Roš, of
1: Osteria Francescana
(including the Invite the World to Dinner campaign the restaurant Hiša Franko, has been named
(Modena, Italy)
in 2014, as well as the Noma Australia pop-up at world’s best female chef for 2017.
2. El Celler de Can
Barangaroo in 2016), spending on food and wine in Interestingly, Australia’s top-ranked chef is from
Roca (Girona, Spain)
Australia has grown by $886 million. Australia now neither Sydney or Melbourne. Brett Graham of
3. Eleven Madison
ranks number six in the world (up from 10 prior the the Ledbury in London ranked 14 last year (down
Park (New York, USA)
campaign) for food and wine, as perceived by those 4. Central (Lima, Peru) from 10). The Novocastrian moved to London
who haven’t travelled here before. 5. Noma (Copenhagen, after winning the Josephine Pignolet Award and
According to the Fink Group’s John Fink, one Denmark) opened his Notting Hill eatery at the age of 25.
of the country’s premier restaurateurs, who’s Other Australian restaurants that have recently
behind Sydney’s Quay, Bennelong, Otto, Firedoor made the list are Attica (currently ranked 33) and,
and the Bridge Room, it’s a win for Australia. “I would reckon in the 51–100 list, Sepia and Brae.
the awards are the Oscars of the international food scene. The list While Australia’s remoteness makes ranking challenging,
is voted and selected by an international academy of peers. It’s no hosting the awards should give local chefs the opportunity for
slouch to be admitted on the list, that is for sure, and gaining exposure, and many are looking forward to it. Attica’s Ben
IRVING PENN

such recognition from the international community is humbling.” Shewry says: “It will be a great honour and privilege to share
Fink’s Quay, under Peter Gilmore, has been one of our highest- what all of us locals know already –what an incredibly diverse
ranking restaurants on the list. “Australia already has a good and delicious culture Australia is.” Bon appetit! ■

110 APRIL 2017

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 Autumn’s colour
palette

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CONRAN’S
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retreat

I
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KITCHEN & BATHROOM ideas and inspiration

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AS TOLD TO SOPHIE TEDMANSON PHOTOGRAPH: DUNCAN KILLICK

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116 APRIL 2017

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VOGUE.COM.AU 119
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VOGUE.COM.AU 123
VOGUE RACING

occasion-dressing label that wants to

take over your wardrobe. By Zara Wong.

J
odi Gordon!” says the designer Han Chong when he hears
that I’m from Australia. He pulls out his phone and flips
through images on his album, landing on one of Gordon
wearing a black and white jumpsuit from his label Self-
Portrait at a Sydney race day. And then another of her in a
maroon red loop lace mini-dress. His phone is filled with
women wearing his clothes, from familiar names like Reese
Witherspoon to the Duchess of Cambridge to non-celebrity
customers whom Chong regularly checks up on by keeping
tabs on his label’s Instagram account and hashtags. (If
you’ve worn Self-Portrait and taken a photo of it, it’s
likely Chong has seen it.) Self-Portrait’s success has
been defined by social media, which Chong
embraces. “Social media is now all about
individual style,” he says of his label’s name. But
as well as referencing the pop culture wave of
taking selfies, the name Self-Portrait also comes from
the long history of self-portraiture in art – Chong is
also a former artist who has exhibited at the Venice
Biennale and Munich Art Festival.
Chong’s name might not be immediately familiar.
Instead, he prefers to keep the attention on his
label, which has become immediately recognisable
for a style that takes on conventional markers of
femininity but at a price point that the retail
industry euphemistically (and excitedly, it should be
said, considering his commercial success) calls “accessible”.
“It’s hard work, but achievable. You need to go to more
meetings with more mills and more factories and put in
more effort,” he tells me in his New York showroom after
showing his spring/summer ’17 collection. He explains
that his margins are “sensible”, meaning that although he
might not be making as much on each garment as other
designers, they are certainly selling out at full price rather
than languishing on the sales rack. On a yellow dress,
I notice that the fabrication is fils coupe, a type of textile
that I last saw on the runway sample of an American label that
charges dresses in the tens-of-thousands, not the hundreds –
their commercial version of the runway look, I was told, will be
sans fils coupe because it was easier to produce.
On the other hand, Chong and his small team mock up
designs and work out what texture, fabric or look to prioritise,
“and then it’s a lot of negotiating!” They challenge themselves
to design something that looks and feels a lot more expensive
than the price tag. “Most people don’t come from fortune,” he
says. “The more affordable something is, the more they can
see themselves in it and the more attached they’ll get to it.”
It’s this design acumen and acknowledgement of the
customer’s needs that has made Self-Portrait one of the
GETTY IMAGES INDIGITAL

highest performing labels at stockists as varied as Dover Street

Market, Net-A-Porter and Myer. “The brand is also really easy
Jodi Gordon
to wear, the designs feature beautiful detailing, so you don’t
need to rely on over accessorising to complete your look,” says
Karen Brewster, group general manager at Myer. “Many women
Kerry Washington Rachel McAdams
come to Myer when shopping for racewear and Self-Portrait
▲

124 APRIL 2017

VOGUE RACING

is one of our most popular brands over the racing

season. It really is the perfect fashion choice for a
day at the track.”
Robert Clergerie, the luxury French shoe
maison, approached Chong to collaborate on a
shoe line for its spring/summer ’17 collection.
A partnership with Self-Portrait would inject a
youthful zip to the heritage 120-year old label,
now headed by Roland Mouret. The shoes are
all made in France and priced affordably. “We
ask a lot of technical questions and work out
how to keep costs down,” explains Chong.
A career as a fashion designer seemed
unlikely for Chong, were it not for his aunt,
who worked as an artist. He grew up in
Penang, Malaysia, where his parents sold pork
jerky. “I needed more,” he said of his move to
London, where he studied at Central Saint
Martins while moonlighting as a hairdresser to
support himself. Though art and commerce
may have a tempestuous relationship, he is All looks from
willing to merge his vivid artistic streak with Self-Portrait’s
spring/summer
the reality of getting dressed. Fashion is a ’17 collection.
serious business, as he knows: he later went on
to work at high street chains like Topshop and River
Island, where he absorbed insights about customer
behaviour. “If you put the wrong button on the dress, if
“I ALWAYS
there’s anything wrong with the garment, the customer ASK
will put it on and they can tell and it impacts sales,” MYSELF
he says. “The smallest of details can have big effects.”
The Azaelea dress, a bustier dress of coloured
… ‘WHAT
broderie anglaise, has sold many times over. (You may DOES SHE
have seen it recently at a wedding or at cocktails, or
possibly have bought it yourself.) It’s flattering and
WANT TO
photogenic, two factors Chong keeps in mind when WEAR
designing. “We check that everything photographs
well: it needs to be photogenic,” he says assertively.
NEXT?”
“I don’t design thinking about price, I think about
the feeling I want to achieve.” But seeing that his
signature style is being replicated by other designers
and high street labels and perhaps because he’s
weary of his label’s occasion-ready status, the latest
collection delves more into separates and outerwear. “I see
lace dresses everywhere now! I want to offer something
different. When it gets too much, you’ll think to yourself: ‘It’s so
boring!’” he says, sensing a change in the air.
The Self-Portrait woman has a day job, too. Each season is an
exercise in reverse engineering. “I always ask myself at the
beginning: ‘What does she want to wear next?’” I hear this a lot
from many designers, but Chong has put it into practice and it
shows. His style is girlie, but always toughened up – here now
with khaki cottons and military-style buttoning. And with
flip-and-switch functions: looped buttons so the wearer can
decide whether to have the ruffle up or falling across the
shoulder, or if they’d want to shorten a longer skirt. There’s still
the lace, this time woven into a star pattern on a mini-dress, or
geometric shapes that embrace the shoulder, making for a face-
INDIGITAL

framing portrait neckline. All of this and more coming soon to

a wardrobe near you. ■

126 APRIL 2017

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VOGUE RACING

Top
notch
“Our fascination with
convention and our equal
fascination with setting fire to
it – that’s what hats play with.”
Vogue5H@<?B5CÈ1>5>4EB9>7
passion. By Charlotte Sinclair.
he millinery department at Fortnum &

T Mason is exactly as you hope it might be:

carpeted, reassuringly elegant, spotlights
trained on hats and bejewelled headpieces
like miniature sculptures, the noise a hushed
murmur. It is autumn and the glass tables are full
of beanies and tam o’shanters, tweed paperboys
and smart country fedoras of rabbit-fur felt,
finished with bands of grosgrain ribbon or
feathers. The number of headbands with veils,
berets with veils, trilbies with veils – “Veils are
huge,” says Fortnum’s accessories buyer, Sarah
Burton – suggests millinery is going through a
major coquette phase (and by extension us, too).
The question of who wears hats these days is
answered by a glance. A pair of Japanese teenagers
in Comme des Garçons are trying on turbans. Sotto
voce, an elderly woman pushing a Zimmer frame,
and her middle-aged daughter, pause to admire
Eugenia Kim’s wide-brimmed floppy hats. A young
woman in double denim, a frill of piercings on each
ear, a garland of tattoos around her wrist, strokes
a sparkly disco beret by Stephen Jones. Who
wears hats these days? Pretty much anyone.
But while hats still speak of the season, of
weddings and “occasionwear”, they also speak to
certain fashion’s most modish point of view. “[A]
fascination with convention and our equal fascination with Treacy continues. “Hats are directly in the line of vision of the
setting fire to it – that’s what hats play with,” says milliner Noel observer. They focus the attention – when you meet someone,
Stewart. It’s part of the reason they decorate models at you meet their face, not their foot.”
Christopher Kane, Jacquemus, Erdem and Thom Browne, and “Unlike anything else you put on your body, they express your
also the heads of fashion’s most directional tastemakers, including individuality,” says Stewart. Are you the type of person to wear a
Edie Campbell, for instance, who favours berets and tam baseball cap? A fascinator? A homburg? A headpiece fashioned
o’shanters. “They’re good for taming wild hair, plus they make into a pair of rabbit ears? (Which, as every Playboy bunny worth
you look chic and punk at the same time.” Hats convey attitude. her cottontail knows, is the pinnacle of flirtatious adornment.)
As Erdem, who worked with Stewart on hand-moulded black Even practical hats are not merely practical; aesthetics are always at
panamas for his spring show, says: “I loved the idea that this army work – the chin-knotted headscarves the Queen favours, for
of women could shield their identity as they stomped across the instance, found their way on to Alessandro Michele’s Gucci resort
boardwalks of Deauville.” ’17 catwalk. “Yes, hats can be about drama, about making an
There’s something else at work here, something in the realms of entrance, about the most vivid display of your character,
mystery. Speak to any milliner and the word magic comes up imagination and intention – but it depends what you want them to
frequently. A hat has a singular power of transformation, they do,” Stewart continues. “They can also be about protection and
say, imbuing its wearer with “allure, beauty, elegance”, according mystery and mood-accenting in a very serene way.”
to Philip Treacy. Not to mention an ability to turn an outfit from Which brings us back to magic. A hat can be balm for the
ordinary to extraordinary. “Women have always wanted to most beleaguered and glamour-starved soul. “January 22nd,”
beautify their heads and bodies since the beginning of time,” writes EM Delafield’s heroine in her Diary of a Provincial Lady.

128 APRIL 2017

 “Robert startles me at breakfast by asking if my cold – which he
has hitherto ignored – is better. I reply that it has gone. Then
why, he asks, do I look like that? … Feel that life is wholly
unendurable, and decide madly to get a new hat.” As Vogue
reported in 1930: “Nothing in nature or art is so magically
transforming as a wide dropping hat of summer lightness.”
Sometimes, only a hat will do.
“Hats are always emotive, never neutral,” says Jones. No other
accessory conveys such specific information: the personality of its
wearer, their occupation, rank or status. Zucchettos – the skullcaps
worn by Roman Catholic clergy – are colour-coded according to
seniority: black for a priest, purple for a bishop, scarlet for a cardinal
and white for the Pope. Hats can communicate a person’s
separateness from the general consensus, their rebel status – the
pink beanies of the recent women’s marches, for example, or the
Phrygian caps worn by French revolutionaries – or, as with a
policeman’s helmet, their membership of a group and conformity
to it. A hat tells the world who you are or who you want to be.
Make no mistake, a hat alters the way the world
responds to you and the way you respond to the
world (you can’t say that about a handbag). “Hats
“HATS ARE
enable you to be the person you want to be, not DIRECTLY
necessarily the person you are,” says Stephen
Jones. Doors open. Queues dissolve. If you want
IN THE LINE
to get a date, get a hat. “They’re the fashion OF VISION
equivalent of Tinder,” says hatmaker Piers OF THE
Atkinson. “Hats have such a presence in a room.
You always notice the person in a hat leaving the OBSERVER.
viewers admiring the wearer’s lifestyle,” says THEY
Australian milliner Nerida Winter.
A certain type of woman wears a hat. “A hat
FOCUS THE
hat,” as a customer in James Lock puts it later that ATTENTION”
afternoon, meaning something with a bit more
design, intention – oomph – than a woolly beret. “A hat? Oh sure,
she wore a hat,” writes Alan Jenkins in his poem Confidence. A
woman who habitually wears a hat, we infer, has a very precise
sense of herself, and the assurance to telegraph it to the world.
(I’m hoping the cloche might make such a woman of me.) Hats
are an exclamation point. There’s a reason that pop stars favour
them over almost any other accessory, or that Piers Atkinson’s
lacquered cherry headpiece – “literally, the cherry on top” –
adorns stylish coiffures from London to Ibiza to Moscow.
A friend, a committed minimalist who can’t bear hats in any
form for the very reason of their conspicuity, says, with a faint roll
of the eyes: “A woman in a hat is demanding to be looked at.”
(What’s wrong with that?) Though even she admits the likes of
Caroline Sieber in a Chanel boater, or French Vogue’s editor-in-
chief Emmanuelle Alt in a baker-boy cap in the Paris mizzle, or,
yes, Alexa Chung in a grey Maison Michel fedora are supremely
alluring. “Because,” she qualifies, “in these instances the hat is
functional as well as stylish. It’s about right place, right time.”
And yet … doesn’t that rather suck the joy out of it? The fun is
as much in their lack of practicality, their purely decorative
appeal. Charlotte Dellal, a mistress of the chic chapeau, would
say so. “I love that, like shoes, they can transform the way you feel
when you wear them. Sometimes a style simply needs the right
attitude to look good.” (This is not a woman who worries about
EMMA SUMMERTON
being looked at.) Her favourites? “I feel glamorous in a turban,
elegant in a beret and wonderfully old-fashioned in a special
headpiece. Fascinators,” she adds, “don’t count.”
A glossary of hats in Vogue is a poem of energising glamour.
Plumed toques by Balenciaga, Schiaparelli’s mini-toppers,
pillboxes and riding hats and draped capotes, veiled boaters and
straw sou’westers and bicorn skimmers, cockades, capelines,
crazy cartwheels, wind caps, velour hats, hair dryer hats and –
why not? – a flying-saucer boater. “For centuries, women wouldn’t
get dressed without a hat,” says Stephen Jones. “To leave the
house without one would mean you had taken leave of your
senses.” Yet, after the Second World War, hats fell out of favour as
young women embraced a less formal way of dressing. It wasn’t
until the likes of Philip Treacy and Stephen Jones started making
hats in the 80s and 90s, followed by milliners such as Noel
Stewart, the Chanel-owned Maison Michel and locally Nerida
Winter and Ann Shoebridge – not to mention the rise of the high
street, with its machine-made, affordable models – that hats
re-entered our fashion lexicon.
“The hat,” Vogue wrote in 1940, “is not just an accessory, it is as
important a marker of times and fashions as the length of skirts.”
In which case, what does our headgear say about our current
moment? Every mannequin in stores, it seems, is wearing a fedora
or a beanie. “Multiplicity,” says Jones. “Everything
qualifies as a hat now – baseball caps, straw visors
– it’s more democratic. People are less afraid of
them.” He continues, “Hats communicate with
people in a way that clothing doesn’t. Clothes
have to be studied because they have to function
around a body, but a hat can be anything.” In our
Instagram-image-led world, says Treacy, “a hat
has visual potency. By their nature they express
modernity. But they shouldn’t look old. Old and
hat is not a good word combination.
No chance of that. For Christopher Kane’s
spring/summer ’17 show, Stephen Jones created
“scrunched fabric headpieces” as a counterpoint to
outfits of graphic, sheer dresses and Crocs. He
also added a new method to his technical repertoire. “We changed
the fabric and it wouldn’t hold the scrunching. I thought maybe
it needed heating up, so I put it in the microwave – roast dinner,
medium power, five minutes – and it held beautifully.” Millinery
is full of such surprises. “You have to be a furrier, tailor, plastic
moulder, metalworker, embroiderer,” says Jones. “It changes every
season.” Of course, you have to have empathy and imagination to
be a good hat-maker, says Treacy, but fundamentally it’s about
skill and technique. Hats can take hours, weeks or even months
to make. The method of hand-blocking – shaping a material into
a hat over a wooden block, setting it with steam, using a palette
knife to carefully prise it off, stitching by hand – is equal to
couture. Ailments symptomatic of the trade include burnt fingers,
poor eyesight and a sore back.
To Fortnum’s, a few days later, where the in-house milliner
Adrian Phillip Howard is wrist-deep in tissue paper, unwrapping
his creation for me. “Ready?” he asks, and lifts a cloche from its
hatbox. It’s most certainly a hat hat, very Galliano-era Dior, a
streamlined bonnet of leopard-print wool – leopard print! – with
a raised brim that curves over the right eye. It’s decorated with a
curling, stiffened, fabric bow and a spray of cockerel and pheasant
feathers secured with a bronze hatpin. I can’t get it on my head
fast enough. In front of the mirror it happens: a jolt to the
happiness receptors. As I begin mentally scanning my wardrobe
for pencil skirts, fur collars, tweed jackets; suitable occasions or
locations where I might wear it (is it too much for Soho
Farmhouse?); ways to wear it with my hair (should I get it all
chopped off? Go full House of Eliott?), I find myself grinning.
“Oh good,” says Howard. ■
VOGUE.COM.AU 129
vogueBEAUTY

Is
your
face
VD
VOGUE BEAUTY
our face finishes at your boobs.” As a beauty editor, I’ve
Y heard this phrase countless times from dermatologists,
facialists and anyone else who cares about skin enough
to know that any cream, serum, essence or youth-
infusing tonic should not only be used on the face, but also
applied as diligently on the neck and décolletage. After all, skin
is skin. Now, apply the same principle to exercise. Fitness routines
and repetitive exercises to build and shape muscle – practices
usually reserved for south of the neckline – are being introduced
into daily skincare regimens to promote circulation and improve
overall skin tone.
While kneading, flexing and prodding your facial contours
might seem like an odd concept, it’s a centuries-old beauty
practice that has been used in all corners of the globe. Japanese
geisha, lauded for their progressive beauty routines and youthful
complexions, consider facial massage, or tsubo, basic maintenance
to boost circulation and ease puffiness. Meanwhile, in South
Korea, a hotspot for beauty trends both outlandish
and beneficial, skincare blogs are brimming with how-to
tutorials on “skin fit” exercises designed to, say, lift droopy eyes
or create a narrower jawline.
So what does it really mean to be “skin fit”? Like squats to
tighten the glutes or bicep curls to tone the arms, constantly
engaging the facial muscles through specific movements can
potentially improve muscle tone and the skin’s laxity. “Muscles in
the face are ‘mimetic’ muscles, meaning they are used for facial
expressions,” says Dr Jack Zoumaras, a cosmetic
surgeon at Sydney’s Artiste Plastic Surgery. “They
differ from other body muscles by having “THESE
attachments to the overlying skin and not
necessarily arising from bone and tendons, like leg
EXERCISES
and arm muscles. So-called ‘facial yoga’ can WILL
potentially slow down ageing by improving facial STRETCH
muscle tone.”
London-based facialist Nichola Joss has
AND
pioneered a sculpting facial technique that deploys ACTIVATE
kneading and deep lymphatic massage and has, in
turn, gained a dutiful celebrity following from the
THE FACIAL
likes of Gwyneth Paltrow and Gisele Bündchen. MUSCLES”
Her facials are more workout than veg-out: Joss
conducts appointments not in a spa or salon but, more fittingly,
in a fitness studio in Covent Garden (so in-demand are her
services, she also hosts a monthly pop-up in New York). Her
unique (some may argue, intrusive) massage technique is designed
to lift the facial contours and yield impressive results. Relaxing it
is not. “The treatment involves massage from inside the mouth to
distress the muscle tissue and improve the tone and firmness of
the facial muscles to add youth and vitality, encouraging the
muscles to sit higher,” says Joss, who studied physiology before
training as an aesthetician. Joss warns clients that, as with real
sweat sessions, they may feel a little tender post-treatment, but
should see improved firmness and overall radiance. “It works by
toning and de-stressing the muscle fibres to allow them to behave
more youthfully, holding less stress and tension, also holding less
toxin, which is ageing to muscle and skin tissue. Firming muscles
and de-stressing them makes the facial structure feel lighter and
more toned, refreshed and contoured.”
Dr Zoumaras says the first areas of the face to lose tone are
“around the eyes, followed by loose skin along the jaw line and
ears, fat moving to the wrong place, resulting in hollow areas
like under the eyes, and areas of puffiness. The loss of facial
134 APRIL 2017
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tone results in the detachm gaments from the
overlying skin. The skin is now unsupported by the
underlying muscle and becomes ‘crepey’. With time the skin
then droops down and the fat in the face also descends, due to
the unsupported muscle layer.”
Like forgoing the gym for the convenience of your living room,
there are “facecises” that you can do to promote muscle tone in
the face without seeking out a professional. “Exercises involve
opening your mouth wide to make an ‘O’ shape, pouting the lips
and stretching your neck by looking up at the ceiling. These
exercises will stretch and activate the majority of the facial
muscles,” says Dr Zoumaras, who warns against forehead-
focused exercises, which can actually accentuate fine lines.
Meanwhile, beauty companies are ushering in a dual approach
– both topical and manual – to face treatments and upkeep.
Skincare leader Dermalogica recently launched its
on-counter FaceFit service, a menu of supercharged
express treatments designed to boost glow and
radiance in 10 minutes. “FaceFit treatments achieve
visible results and create amazing skin health
benefits by using a combination of Dermalogica’s
active cosmeceutical ingredients with high-tech
equipment such as ultrasound and microcurrents,”
says Emma Hobson, education manager for the
International Dermal Institute and Dermalogica.
I sign up for Dermalogica’s Brilliant Eyes service
and, after I’m lathered in a roster of serums and
moisturisers, the technician begins prodding and
moving the skin in different directions to promote
blood flow. When the physician hands me the mirror I look as
though I’ve awoken from eight hours’ sleep and, like a deflated
tyre that’s been given a shot of air, the fine lines around my eyes
seemed plumper, sans puffiness. I follow an online how-to guide
to repeat the technique at home and set aside a few extra minutes
to incorporate them into my nightly routine.
The gym skin movement has infiltrated beauty bags backstage,
too. This season make-up artists replaced descriptors like
“effortless” and “undone” with “gym skin” and “post-workout”.
At Balmain, where the brief is typically along the lines of
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“modern bombshell”, models could have hot-footed it straight
from an intense sweat session. “I smoothed a clear gel across the
cheekbones, temples, brows and lips, crafting the appearance of
wetness to complement the models’ drenched, slicked-back hair,”
says make-up artist Tom Pecheux. “I wanted the look to be very
dewy and slightly wet, in a way that almost looked like it was an
afterthought of a girl putting her make-up on and then jumping
into the ocean.”
BEN HASSETT
Meanwhile, at Lanvin and Alberta Ferretti, make-up artists were
highlighter-happy, utilising reflections on the zones of the face
– cheekbones, nose, forehead and cupid’s bow – that would
▲
VOGUE.COM.AU 135
VOGUE BEAUTY
typically perspire during a gym class. But even the most artfully
highlighted complexion and diligent face-exercise routine needs
the support of hard-working skincare products. Dior Capture
Totale DreamSkin 1-Minute Mask is a souped-up wonder
product that delivers an instant glow to radiance-zapped skin.
Used twice weekly, the powder-pink gel transforms into a cream
for a turbo-charged dose of chemical exfoliants such as salicylic,
glycolic and citric acids.
Occasionally, directing your efforts away from the problem at
hand can yield effective results. Many dermatologists agree that
while tone and plumpness are important elements in maintaining
a youthful complexion, one shouldn’t overlook the benefits of
brightening. Perricone MD Thio:Plex Intensive is a two-step
136 APRIL 2017
brightening system with anti-inflammatory properties to smooth
out discolouration and brighten the skin tone overall. Uniquely,
it also addresses loss of firmness, with 93 per cent of consumers
who tested the products reporting their skin appeared “firmer,
brighter and more youthful”.
I don’t need a study to be convinced. I switch up my skincare
regimen to include an arsenal of firming and brightening
products, which I knead into the skin with some targeted massage
techniques. While it might be all the prodding or the M.A.C
Strobe Cream I’ve been diligently applying to amp up the glow,
BEN HASSETT
after a week I feel recharged and the top layer of my skin feels
slightly more supple while simultaneously toned. And the best
part? I didn’t even need to set foot inside a sweaty gym. ■
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Meet the London-born,

California-raised musician
and new face of Yves Saint
Laurent Beauté. By
Lilith Hardie Lupica.

A
t just 24, Staz Lindes is on
the verge of becoming
a household name.
The musician – her band the
Paranoyds, a four-piece based in Los
Angeles, play the Golden State’s music
of choice, garage punk – and model,
who has walked for both Moschino
and Saint Laurent, was tapped by the
latter to front the brand’s beauty line.
(Former Saint Laurent creative
director Hedi Slimane first spotted
Lindes performing on stage.)
The blonde, blue-eyed beauty, who
admits she would rather talk songs
than fashion (“I can express myself
most freely with music”), may come
from music royalty – her father is Dire
Straits guitarist Hal Lindes – but it
seems the worlds of fashion and
beauty can’t get enough.
“I started getting scouted as soon as
I was 13 or 14,” Lindes says of the
career that chose her, but it wasn’t
until the age of 20 that she really
began modelling full-time.
“I just wanted to be myself no
matter what. It wasn’t something I was
pressuring myself to be. If it was going to happen it was going to So it should come as no surprise then that when it comes to
happen naturally,” Lindes admits. “If someone wants to put me beauty, Lindes prefers to pare it back, admitting her beauty look
in their clothes and have me represent it then I will, but it’s not is “pretty plain”. “I don’t really wear concealer or anything and
something I’m going to lose sleep over.” I typically wash my hair three times a month, if that, and then I’ll
While her willowy figure and perfect pout may say model-on- do a natural conditioner on the ends.” On the other hand, catch
the-verge, Lindes confesses to not exactly knowing the ins and Lindes performing and expect to see lashings of glitter, which she
outs of fashion. This, however, is not to say she doesn’t enjoy the applies with lip gloss, eyelash glue, ChapStick or whatever
process of getting dressed in the morning. “I wear something adhesive she and her bandmates can get their hands on.
completely different every day,” Lindes says. “I’ve heard people As for her Yves Saint Laurent Beauté stash, Lindes counts the
say: ‘I’ve never seen you wear something more than once.’” She brand’s Baby Doll Kiss & Blush lip-and-cheek stain and Couture
DETAILS LAST PAGES

also describes the freedom of living in an almost seasonless Los Kajal eye pencil as her favourites. She looks to cinema, music and
CLARE SHILLAND

Angeles and her proclivity to wear vintage. photography for inspiration, admitting she’s always tended to do
“I grew up on vintage, and didn’t even really know what brands her own thing rather than follow someone else’s lead. “I’ve just
were until I started modelling. I don’t recognise or look for names always liked using make-up as a tool to express myself,” says the
or labels or anything.” beauty muse. We couldn’t agree more. ■

138 APRIL 2017

VOGUE BEAUTY
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140 APRIL 2017

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# A E R IN B e a ut y
VOGUE BEAUTY

Man made
A new crop of unlikely beauty
enthusiasts is bringing a fresh, and
decidedly genderless, approach to our
beauty cabinets. By Remy Rippon.
DAVID JUSTIN, FOUNDER AND CEO
Mr. Smith
Bar the words Mr. Smith etched across the centre
of the white bottle or tube, it’s difficult to decipher
what Mr. Smith actually is, or who should be using it.
But that’s the point. “As a brand, Mr. Smith is more
androgynous and less sex-driven. Our imagery,
marketing and packaging reflect this, and I believe
that this has resonated with a consumer who is more
confident, self-assured and independent,” says founder
David Justin of the unisex hair-care range that has
expanded from a shampoo and conditioner to 18
products in just over two years. The fact that it looks
good on the bathroom shelf isn’t a coincidence:
Mr. Smith’s aesthetic was shaped by the fashion
industry (Justin’s mother, a hairstylist and now
creative director of Mr. Smith, is a regular backstage
during fashion week, working on shows from Fendi
to Givenchy) and Justin’s own love of design.
“Cosmetic products are such a sensory experience
– touch, smell and look all need to be considered
when creating something luxurious and memorable.
This was very much the impetus for starting
Mr. Smith,” says Justin of the Melbourne-based
company, which is proudly vegan and PETA-
certified. “We’ve done things differently to others,
and that’s what has set us apart.”

LEXANDER VREELAND,
CREATOR AND PRESIDENT

pay homage to his grandmother through a range

of scents that has only recently become available
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INEZ & VINOODH EDWARD URRUTIA
STEVEN CHEE ANDREAS ÖHLUND

142 APRIL 2017

 BEN GORHAM, FOUNDER
Byredo
When Ben Gorham was fresh out of art school, he had
a chance encounter with a perfumer that sparked his foray
into fragrance. “My initial fascination came from learning
about the ability smell has to evoke emotion. We live in
a very visually inclined world, so coming across an
invisible medium with so much power was very
exciting for me at the time,” says the native
Swede, who has been dubbed the fragrance
industry’s progressive minimalist since
launching Byredo in 2006. From the
BYREDO ROSE
brand’s clean, dome-capped flacons to its OF NO MAN’S
melange of unlikely combinations – think LAND EDP,
100ML FOR $240.
pink pepper and white amber; carrot
and vanilla bean – Gorham’s
offering is not only niche, it’s
intentionally gender-neutral.
“I never consider gender when
creating Byredo products. To me,
all gender-related conventions in
fragrance are outdated and I feel
people are starting to understand
that our notions of what is
gender-specific comes from
marketing and commercial
programming.”

LEO GIBBON, FOUNDER

TOMI AHMED, CREATIVE
DIRECTOR
Iiuvo
“Bullshit” isn’t a phrase typically associated with the
beauty industry, but Leo Gibbon and Tomi Ahmed of
pioneering candle brand Iiuvo stand to change that.
The duo found an unlikely market for their disruptive
approach to naming products and minimalist
sensibility. “It was a case of wanting to create what
we felt was missing, as cliched as that sounds,” says
Ahmed, who started his career in visual merchandising
at Comme des Garçon. After launching their first three
candles – Emmie, Woodgrain and Ajon – the pair
collaborated with artist Stefan Brüggemann on the
Bullshit candle, a runaway success. “People were
apprehensive and thought we didn’t
have a clue about what we were
doing, but once we started to
really develop the language,
the early apprehensive thoughts
changed,” says Gibbon. “We
unintentionally challenge the
status quo of the industry type
and challenge the perception of
what one should look, talk or
Tomi Ahmed (left) be like,” he says. And no-one
and Leo Gibbon. is calling bullshit on that.
 Backstage
at Mary
Katrantzou.

MIDDLE
PART At Versace.

At Michael
Kors.
SIDE At Dries
PART Van Noten.

At Oscar
de la Renta.

Parting ways
Left, right or somewhere down the middle
– the seemingly simple decision of where
to part your hair makes the world of
difference to your look. By Remy Rippon.
raping me in a black cape and observing my post-hair-

D wash reflection in the mirror, my hairstylist, John,

combs back my strands in the same way my mother
would when I was five, then asks the inevitable
question: “Which side do you part your hair?” “Kind of here,”
I respond, pointing vaguely left-of-centre.
Truth be told, I’ve been hovering in a state of “partlessness” for
some time, flicking my tresses from side to side and in turn,
confusing my hair’s natural ability to find its groove. The minute
my follicle memory knows where to fall, I flick it to other side,
forcing it to be unpredictable and most importantly, not fall flat
on my scalp. But after John took the metal tip of his comb and
etched a military-precise track from my hairline to the left of my
crown, I felt an immediate sense of newness.
If the spring/summer ’17 runways were anything to go by, it’s a
step in the right direction. At Balmain, models like Gigi Hadid
and Josephine Skriver were issued a part so deep-set it almost
aligned with the outer corner of their eyes. Likewise, at Dries
Van Noten, hairstylist Sam McKnight offset smokescreen
eyeshadow with a left side part that felt more girlie than tough
Backstage
At Prada. at Balmain.
models sleep their way through much of the styling process ahead
of the Michael Kors show. “I told all the models to sleep with
damp hair the night before the show for a just-woke-up look with
minimal styling easily pulled into a deep side part,” says Pita.
Celebrities, meanwhile, know a change of part can go so far as
to turn their careers around. Take Sienna Miller, whose centre-
parted, bohemian-cum-Brigitte Bardot tresses helped push her
profile into the spotlight and inspired a slew of copycats (myself
included) keen to emanate her effortless aesthetic. That was until
2014, when London-based hairstylist Luke Hersheson lopped her
mid-length tresses into a choppy bob made utterly fresh by a wide
side part that gave the illusion it had settled there from simply
INDIGITAL

and asserted the notion that while a definitive part is ultimately being combed through her fingers. Needless to say that with this
put together, it’s never laborious. Just ask Orlando Pita, who let new look, film roles soon followed.
▲

144 APRIL 2017


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While crow’s-feet are testament to
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Olay Eyes products are available at
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 Backstage
at Oscar
de la Renta.
“A part line should be fun to change and doesn’t need to be
drastic, so don’t ever be afraid to experiment,” enthuses hairstylist
Anthony Nader, noting the versatility of a part. “Work with your
growth patterns, especially if you have a cowlick, and then you
can keep in the guidelines of that direct line for safe measure or
exaggerate the part to swing further over if you want to make
a bigger fashion statement.”
And like our fashion choices, where you part your hair can be
a powerful form of non-verbal communication. A study dubbed
the Hair Part Theory, found that where
a person parts their hair can impact other’s
perception of them. It found: “The way a “A PART LINE
person parts [his or her] hair is related to
many subconscious associations when SHOULD BE
assessed by others. Each hair part type FUN TO
initiates cycles of behaviour toward, and
response from, the individual.”
CHANGE AND
The study theorised that people who choose DOESN’T NEED
to part their hair on the right are
unconsciously emphasising characteristics
TO BE DRASTIC,
associated with the right side of the brain, SO DON’T EVER
such as creativity, while people who part left BE AFRAID TO
are subconsciously assessed by others as being
EXPERIMENT”
more aligned with left-brain behaviours such
as logic and science. The jury is out on what
a centre part indicates, or what it means if, like me, you’re a
habitual hair flicker, jumping from left side to right multiple
times a day.
However, that’s precisely the point: a part line shouldn’t be a
decision made during childhood (usually by a parent or
hairdresser) and adhered to for life. Versatility is why parting
one’s hair is a fundamental in styling lore. Consider it the beauty
world’s equivalent of a neckline: functional yet adaptable,
effortless yet dramatic. And unlike hemlines and hair length, age
will never dictate how a part should be worn.
146 APRIL 2017
MASON
But that’s not to say hair type doesn’t PEARSON
TAIL
have an influence. “If you weren’t blessed COMB,
$30.
with masses of strands and your hair is on the
finer side, always be aware of directing your part
line too far over,” says Nader. “Aim to stick as close to
the centre or off-centre as possible, then both sides of the
hair will be balanced.” Nader adds that the part line can
also be a powerful tool to balance asymmetric features: “If
the tip of your nose is pointing to the left, you can make it
appear centred by directing the part
line over to the right.”
So how does one aim to amend a
line that has maintained its position
for decades? Like a plant that’s been
reaching in the direction of the sun’s
rays, it will take some time for the
natural course of the hair shaft to
pivot. Speed up the process by drawing
a line into wet hair and securing it
in a low ponytail overnight. Come
morning, release the band and add
natural texture via a volume spray like
Eleven I Want Body Volume Spray. If
INDIGITAL JAMES COCHRANE EDWARD URRUTIA
a quick fix is in order, apply strong-
ALL PRICES APPROXIMATE DETAILS LAST PAGES
hold hairspray or a dry shampoo (we
love Oribe Gold Lust Dry Shampoo) directly to the roots
and disperse with a comb in the new direction of the hair.
Haven’t had time for a colour? A part can help with that
too. “If you’re poor on time and want those dreaded roots
covered up, opt for a haphazard part line rather than
a strict line,” says Nader.
With my fresh head of highlights, the defined part line
John has drawn is appropriate. I feel like someone’s hit
refresh – the feeling akin to a new haircut, proving that all
I had needed was for someone to impart a part. ■
VOGUE BEAUTY

Primary
cause
 FELINE
BY VOLUME MILLION LASHES
Karlie Kloss.

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WATER CODER, BAKER,
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MODEL-TURNED-MOGUL
KARLIE KLOSS IS
THE CEO OF HER
OWN DESTINY.
BY ZARA WONG.
STYLED BY CHRISTINE Saint Laurent by Anthony
CENTENERA. Vaccarello dress and
earrings, P.O.A. Cartier
PHOTOGRAPHED ring, $107,000. All prices
approximate; fashion
BY BENNY HORNE. details last pages.

152 APRIL 2017

Balenciaga top, $915,
pants, P.O.A., and
shoes, $1,000.
Holly Ryan earrings,
$360. Georg Jensen
ring, $23,700.
L
eaning back in her chair, Karlie Kloss is looking out
the floor-to-ceiling windows across the Sydney
cityscape. “You know, maybe the next time you
speak to me, somewhere like this will be my office,”
she says with an impish smile, waving her hands
around the space with a flourish. “I’ll be the CEO,
with a big boardroom, the corner office.” Even
though she is laughing while she is saying this, I am certain she
is completely serious.
Everything about Kloss visually clocks in as supermodel, a
self-evidence that would not pass anyone by. Exhibit A: here
photographed for Vogue Australia on Bondi Beach. All long
limbs and the subtlest angles, delicate features arranged perfectly
so, letting her flit from gamine to sophisticate with the raise of an
eyebrow, a wrist angled here or there.
She is the girl plucked from St Louis, Minnesota, to walk
exclusively for Calvin Klein, propelling her to the upper echelons
of the fashion world. Bearing all the hallmarks of a classic
successful model, she has walked for every major fashion show
and appeared in countless campaigns and magazine covers. This
is her third for Vogue Australia, and
36th internationally.
“I’ve been modelling for a decade,” she’ll “I’M SURE PEOPLE
say as a fallback, as though she is a little
bashful about having worked so long given
UNDERESTIMATE
that she is only 24 years old. “I feel so ME ALL THE TIME,
mature being able to say that I’ve been
modelling for 10 years!”
BUT THAT ONLY
However triumphant her modelling MOTIVATES ME TO
career has been, it is underselling Kloss
herself to allow it to be the main focus. Off
PROVE THEM
set, she returns to being the Karlie Kloss WRONG AND BEAT
the world knows as a coder, baker, THEM AT THEIR
entrepreneur, philanthropist and student at
New York University. Model-turned-
OWN GAME”
mogul isn’t the most far-fetched of career
transitions, one marked along the way with neon signs bearing
names such as Elle Macpherson and Tyra Banks. But Kloss’s
brand extensions into computer programming and baking are
more left-of-field (not a make-up line or exaltation of beauty in
sight). And essentially, it is all the more sincere. “I don’t want to
be complacent, and I don’t want to just be one thing,” says Kloss
of her curiosity and unwillingness to accept a single label.
While she enjoyed juggling the final four years of high school
with modelling, she was left dissatisfied when her modelling
career turned full-time following graduation. “So, instead of
giving up because I was not challenged anymore, I actually
reversed it on its head and saw all the opportunities to use this as
a platform to do so many other things that I am passionate about,
even if I don’t have anything to do with fashion.”
And the girl knows what she’s talking about. Proficient in
HTML, CSS and Javascript and now learning Swift, a coding
language for building apps in iOS, she visibly lights up when
speaking about it, enamoured by technology’s scope for creativity.
Her first foray into computer programming came from meeting
Avi Flombaum, dean and co-founder of the Flatiron School,
a “coding bootcamp” in New York, with whom she soon spent six
months taking private lessons. “I just wanted to learn,” she says.
“I needed something to do and needed a new challenge. He was
156 APRIL 2017
the one who made this seemingly dry technical skill come to life
for me.” She and Flombaum discussed how his teachings could
be shared beyond the stereotypical scope of a male-only audience,
with Kloss confident she could pass on the message to her fans,
from young women to girls.
“I feel a real responsibility to get the girls who are paying
attention to me interested in these important skills that can
transform their future and help bring them into an industry
where there is a real disconnect and disproportionate number of
men to women in the field.”
After her enlightenment with coding, she launched the
initiative Kode with Klossy, personally underwriting scholarships
for girls to learn coding and generally becoming the poster girl
for almost every woman working in or around technology. She
was met with naysayers, who couldn’t grasp the connection
between her profile and her desire to get girls into coding.
“I’m sure people underestimate me all the time, but that only
motivates me to prove them wrong and to actually beat them
at their own game,” she tells me. “And, I have this sense
of  competition with myself to be the best I can at whatever
I’m trying to do, and to take the path
less trodden.”
It wasn’t her first philanthropic
endeavour. A keen baker, Kloss collaborated
with Momofuku Milk Bar’s Christina Tosi
on a cookie line, Karlie’s Kookies, with the
aim of raising funds to provide meals to
disadvantaged children around the world.
Baking had long been a hobby of hers, but
she took it to the next level and its success
proved that her interests were worth being
taken seriously.
Kloss’s work in the technology space has
reverberated around the world, including
Australia, where Vogue launched the Vogue
Codes summit last year to highlight and
celebrate women working in technology. (During the two-day
inaugural event, Karlie Kloss’s name came up repeatedly:
#girlcrushgoals.) “It’s just the beginning, and hopefully we’re
building Kode with Klossy in the right direction,” she says
earnestly. “I underestimated how many girls would be aware of
the importance of it and there are so many bright young minds
who are aware of how powerful it can be to take part in shaping
the future with technology.”
Kloss is perhaps the only person to have a profile on both
Models.com and technology news site TechCrunch, and has the
experience and kudos to speak about technology beyond the
world of social media. She’s aware of the image it has, too, and
keenly addresses it in her content and positioning. “There is
a misconception about what coding is, and I think that’s part of
the problem,” she explains. “A lot of people don’t have this basic
understanding of how technology works. It’s the way our world
works and we’re continuing to move in that direction, so I think
having the coding skills means that you can take part in the
evolution of how industries are shaped, because that’s what’s
BENNY HORNE
happening right now.”
While in Australia to shoot with Vogue and to launch David
Jones’s new season campaign, she is also swotting up for an
upcoming class on feminism at NYU’s Gallatin School of
▲
Miu Miu swimsuit, $1,720,
and skirt, $1,520. On right
hand: Georg Jensen rings,
$2,795, $1,150 and $6,500.
Tiffany & Co. ring, $290.
On left hand: Swarovski
ring, $179, sold in a set.
Swarovski ring, $199.
Christian Louboutin
shoes, $945.
 BENNY HORNE

Emilio Pucci bodysuit

and shoes, P.O.A. Proenza
Schouler earrings, $795.
Paspaley bracelet, $98,800.
Kailis ring, $7,700.
 Gucci dress, $3,995, and
leggings, $1,725. Cerrone
earrings, $29,500. On right
hand: Swarovski ring, $249.
BENNY HORNE

On left hand: Bulgari ring,

$24,700. Hardy Brothers
ring, $19,499. Hardy
Brothers ring, $11,599.
Paul Andrew shoes, $970.
Individualized Study. “I’m a nerd!” she says proudly. She will also
be a correspondent on Bill Nye Saves the World, a talk show
presented by the titular American television host and science
educator. “Certain things at school have always come naturally to
me, like maths and science,” Kloss says, which on its own reads
as less than humble, but she is so straightforward and endearingly
truthful about it that it demands respect. “I was always one of the
top students in my class, but creative skills have always been
something I’ve struggled with.”
K
loss credits her career in fashion with helping hone
her creativity (“it’s been a unique education”),
which she now exerts over her personal social
media and content platforms. Remembering a time
in fashion before Instagram and Twitter, she has
observed how the industry has embraced them and
applied the skills to her own career. “Instagram
wasn’t invented then. The instantaneous access to runway shows
has had such an impact, and we have all had
to rethink how to connect with the audience.”
The first few years she was “seen but not heard “INSECURITY
– I barely spoke!” she says, laughing. But HAS DRIVEN ME
through her YouTube channel, Instagram,
Snapchat and Twitter – the basic millennial
TO WANT TO
diet – she has taken control of her own PROVE MYSELF.
narrative. “You can create whatever persona
you want, and it’s not exclusive to models.
IT’S IMPORTANT
That has been really empowering.” BECAUSE YOU’RE
It may be difficult to fathom, but Kloss
insists it took her years to develop her
ONLY GETTING
confidence. She recently appeared on the IN YOUR OWN
cover of business technology magazine Fast WAY IF YOU
Company, discussing her work in the tech
space and extending her personal brand. “For
DON’T BELIEVE
a fashion shoot I love transforming into a IN YOURSELF”
character, but for the Fast Company cover, it’s
me. I felt more vulnerable in a way, and almost a bit naked,” she
says, while acknowledging the irony of having a career that
depends on being photographed.
“There was a pivotal point where I had to grow into who I was.
I’m still growing into who I am and hopefully will continue. The
insecurity has driven me to keep wanting to prove it to myself.
It’s so important because you’re only getting in your own way if
you don’t believe in yourself.”
She talks a lot about what’s important: important in her life,
her career, within herself. When she says the word important,
it is defiantly enunciated, suggesting that she has reached a point
in her life where she has the power to prioritise. She is now like a
Cindy or a Kate, where she is known by her first name alone, so
she can afford to be selective with projects and choose to walk
only a handful of runways.
What will her success say about our time now? Each era has had
a beauty who has, with hindsight, symbolically captured the
mood of the times, from the stylish elegance of Dovima in the
1950s, to the liberty and youthfulness of Twiggy and Penelope
Tree encapsulating the 60s. Kloss is renowned for her versatility
and athleticism, sharpened after years of ballet training. It has
taught her how to manipulate her body, making her look even
longer and leaner than her 188-centimetre frame, and how to
164 APRIL 2017
siphon that wholesome all-American vibrancy into an Oscar de la
Renta society hostess or a Versace-clad power woman. We’re in
the age of the side hustle, where conventional job descriptions and
barriers are disintegrating. Where the model-slashie might have
been met with derision a few years ago, the evolved model-and-
something-else such as Kloss is making outside forays a respected
achievement. Kloss is the mascot for the smart-girl-done-good.
Crediting her parents for her sense of entrepreneurship, she
thinks back to the family road trips where the audiobook of
financial self-help best-seller Rich Dad Poor Dad would be played
on repeat. “The whole series!” she declares. “All my sisters would
zone out with their headphones, but I’d be such a nerd and be
fascinated by the idea of being your own boss and building
something that can scale, and that’s why I was so interested to get
into tech and learn about what creates the fabric behind all these
tech companies,” she enthuses.
“I’m ambitious to build Kode with Klossy to be big and far-
reaching, and also ambitious to build a business,” she says while
discussing Vogue Australia’s initiative Vogue
Codes. She is friendly with many people in
the tech world through her personal interests
as well as her boyfriend, Joshua Kushner
(brother to Jared Kushner, the husband of
Ivanka Trump), who co-founded Thrive
Capital, a venture capital firm with
investments in Instagram, Slack and the
Flatiron School.
Kloss displays such clarity in her drive and
goals that she is open about seeking out
advice from her mentors, including Diane
von Furstenberg and Christy Turlington,
who wrote her a letter of recommendation to
NYU (“and many other people who are not
famous!” she interjects. “I email them, meet
them at their office, go have coffee …”).
Kloss is famously polite. “First and foremost,
you have to be grateful and genuine but also persistent,” she says.
“I was apprehensive about asking for someone’s time, but I’ve
been surprised by how much people want to help and give back.”
As to what her future company will look like, she knows it’ll
have a philanthropic element, and she’s interested in reach and
scale. “Ultimately I will be creating something that helps people
in a big or small way. It’s very general.” Her team of eight staff
members across Kode with Klossy and her YouTube channel
work out of her private apartment, but will soon be moving to
more permanent offices in Soho. “So grown-up! It’s so exciting.
I love having that entrepreneurial spirit.”
I interviewed Kloss years before she launched Karlie’s Kookies
or Kode with Klossy, and note she has maintained the same
curiosity and optimism. Some may attribute it to her youthfulness,
but for her it’s not about age, it’s something within. She says she
has never felt like her learning and personal evolution are
complete; the competition with herself and her inner drive are
constantly lit. Working on her numerous projects, she says she
still feels like she hasn’t quite completed her game plan.
BENNY HORNE
“In the same way that Diane is a mentor and a friend to me, at
one point someone was to her, so I hope to someday do that for
anybody who wants advice. But I have to make it first!”
Get ready for Karlie Inc. ■
 Ellery coat, $3,560. Nehera
dress, $760, from Playa by
Lucy Folk. Annie Costello
Brown earrings, $225.
Proenza Schouler bag,
$2,850. On right hand:
Jane D’Arensbourg rings,
$700 and $150. On left
hand: Jane D’Arensbourg
rings, $140 each. Wolford
tights, $79, from Wolford
Melbourne. Vetements x
Manolo Blahnik boots,
$1,735. All prices
approximate; fashion
details last pages.

166 APRIL 2017

Balenciaga coat, $2,785,
shirt, $695, skirt, $945,
earrings, $178, bag,
$1,695, and boots,
$1,895. Adriana Orsini
brooches, $75, $60 and
$60. On right hand:
All Blues rings, $260 and
$180. On left hand: Jane
D’Arensbourg ring, $190.

DON’T
YOU
WANT
ME,
BABY?
SYNTHPOP,
LAYERED
LEATHER,
TAILORED
TRENCH
COATS
AND LONG
BOOTS.
COVER UP.
THE NEW
DISCOGRAPHY.
STYLED BY
NATASHA ROYT.
PHOTOGRAPHED BY
SEBASTIAN KIM.
VOGUE.COM.AU 167
SEBASTIAN KIM

VOGUE.COM.AU 169
 Prada coat, $4,100. A.L.C
shirt, $365. Salvatore
Ferragamo skirt, $2,350. All
Blues earring, $430. Kenneth
Jay Lane brooch, $399.
Vetements x Levi’s belt, $765,
from Parlour X. On right
arm: Annie Costello Brown
bracelet, $150. All Blues rings,
$260 each. On left arm: Jane
D’Arensbourg bracelets, $600
SEBASTIAN KIM

each. Wolford tights, $79,

from Wolford Melbourne.
Vetements x Manolo Blahnik
boots, $1,735.

170 APRIL 2017

Louis Vuitton dress,
P.O.A., and boots,
$3,650. Annie
Costello Brown
earrings, $219. Jane
D’Arensbourg bracelet,
$575. Charlotte
Chesnais bracelet,
$1,509. Wolford
tights, $79, from
Wolford Melbourne.
Beauty note: Max
Factor Marilyn
Monroe Lipstick
Collection lipstick in
Marilyn Berry Red.
Loewe top, $5,150, and
skirt, P.O.A. Jil Sander
earrings, P.O.A.
Kenneth Jay Lane
brooch, $165. On
right hand: Jane
D’Arensbourg ring,
$250. On left hand:
Jane D’Arensbourg
ring, $280. Vetements
x Manolo Blahnik
boots, $1,735.
 Burberry Prorsum trench
coat, $3,695. Prada top,
$920. Agmes earring,
$430. Louis Vuitton
necklace, P.O.A., and
bracelet, P.O.A. Saint
Laurent belt, $285.
SEBASTIAN KIM
SEBASTIAN KIM

VOGUE.COM.AU 175
The cast of Girls, from left, Zosia
Mamet, Jemima Kirke, Allison
Williams and Lena Dunham,
reunited weeks after filming their
final episode. Mamet wears a
Hillier Bartley waistcoat, blouse
and pants. Maison Michel hat.
Kirke wears a Burberry top and
pants. La Perla bra. Smith + Mara
earrings. Doyle & Doyle antique
necklace. Williams wears a The
Perfext dress. H.Stern earrings.
Dunham wears an Olivia von
Halle top. Jil Sander pants.
Fashion details last pages.

178 APRIL 2017

 The HBO series captured what it’s like to
work, navigate friendships and hook up as
a twentysomething. In honour of its final
season, the stars sit for the ultimate exit
interview. Styled by Jillian Davison.
Photographed by Emma Summerton.

VOGUE.COM.AU 179
W
hen Girls premiered on HBO, the world
was a different place. Sure, single-gal
shows like The Mary Tyler Moore Show
and Murphy Brown had laid the
groundwork for then 25-year-old Lena
Dunham’s creation. But Dunham
made clear in the first episode that
neither her character, Hannah, nor Jessa (Jemima Kirke) nor
Marnie (Allison Williams) nor Shoshanna (Zosia Mamet) would
be a Sex and the City fantasy. When chirpy Shoshanna tells Jessa:
“You’re definitely like a Carrie, but with like, some Samantha
aspects and Charlotte hair,” Jessa shoots her a look that just says:
“No.” This show would be different. Girls is fiction, obviously.
But it has been committed to portraying life, for the most part,
as it is. The characters look like people, not actors who spend
every waking second working out or tanning. The apartments
they inhabit are dim and cramped. Their panic about work,
money and love is relatable, the sex they have is awkward and
they go to the bathroom, a lot. At times watching the characters
flail around can get uncomfortable, but then they reel you back
in with a spot-on joke. “Nobody tells you how bad it’s going to be
in the real world,” moans Shoshanna in season four. “Yeah, they
do,” Marnie snaps. “It’s pretty much all they ever tell you.”
It is a comedy, after all. But from the start Girls intentionally
pushed buttons. There’s nudity, which Dunham has explained is
her way of trying to normalise real women’s bodies, homosexuality,
and a character who is “super chill”, as the website Jezebel put it,
about getting an abortion. Because of that, conservative critics
began to rage against it almost immediately. “If, as [Dunham’s]
character suggests in the show’s first episode, she is the voice of
her generation, then one could seriously argue that we’re doomed,”
the National Review warned in 2013. In hindsight it seems that
perhaps its detractors saw before anyone else what a force Girls
would be and how it would permeate our culture. The internet
roiled with Girls think pieces and interviews with the intelligent
cast, all of whom made a point of identifying as feminists and
encouraged others to do so. Travelling to Texas with Dunham in
2014 for a profile, I was startled by the size of the crowds at events
for her book, Not That Kind of Girl, which she held in conjunction
with Planned Parenthood, a favoured cause. Since then Dunham
has further immersed herself in politics; she was one of Hillary
Clinton’s most vocal campaign surrogates. Meanwhile, Kirke
advocated for the Center for Reproductive Rights, candidly
sharing her own abortion story; Mamet wrote about her struggles
with an eating disorder in Glamour; and, as an ambassador to
Horizons National, Williams focused on closing the education gap.
Last year all four women released a public service announcement
urging support for sexual-assault survivors.
Girls isn’t going to go out lightly in its last season. And the
show’s legacy will be felt long after it goes off the air. Dunham
and Girls’ executive producer Jenni Konner, who interviews the
cast below, have made it their mission to deepen the bench of
women storytellers by founding a newsletter, Lenny Letter, and
a production company, A Casual Romance Productions.
With that, Jenni, take it away. Jessica Pressler
Jenni Konner: “Here’s the idea: When you leave a job, they
do something called an exit interview. I want to ask you
questions from an actual exit interview and the company
we’re going to talk about is Girls. So. Hi, guys. Welcome.”
Lena Dunham: “Hi, Jennifer.”
Jenni: “I’m going to start with Jemima. What was the most
satisfying thing about your job, and the least satisfying?”
180 APRIL 2017
Jemima Kirke: “Okay, thank you. The least and the most
satisfying thing about my job was my relationship with Lena.
[Laughter.] In a good way. It definitely caused us to get closer
[after 15 years of friendship], and it caused us to fight. And then
at the end of it, you know, [our relationship] was nicer.”
Jenni: “Everyone, take your cue from Jemima and be brutally
honest. [Laughter.] All right. Allison?”
Allison Williams: “I started playing one person, then she
evolved so much. I got to exercise all kinds of muscles. The least
satisfying? I always wanted to be in the show more. [Laughter.]
That was my MO every year. I wanted to be a piece of furniture
in Hannah’s apartment, if that’s what it took.”
Jenni: “Jemima just said: ‘That’s so typical.’ And I was about
to say: ‘That’s so on-brand.’”
AW: “Listen, I’m consistent.”
Jenni: “You are nothing if not consistent. Zosia?”
Zosia Mamet: “The most satisfying part was getting to play a
person who was so intrinsically opposite of me in, like, every atom
of my being. The dissatisfying thing was that I came to know
this human that I created. And love her. And now I miss her.”
LD: “I think the most satisfying part was learning to treasure
collaboration. When I went into the job, I had fear about letting
other people into my process. So whether it was becoming
partners with you, Jenni, and realising that I had a lifelong
creative partner, which isn’t something that I ever expected to
have in my life based on being raised by parents who went into a
studio alone and acted like art was a solitary activity. Or building
my relationships with Allison and Zosia and learning to listen
when they had a note and not become defensive. Or the hardest,
learning to listen to Jemima, because I always felt like she was,
like, six steps from murdering me and I had to protect myself.
But all of that helped me learn the satisfying thing of opening up
and understanding that other people’s concepts of their characters,
their ideas, are just as valuable as mine.”
Jenni: “And least satisfying?”
LD: “Sometimes I would get very lonely, because I wanted to be
a part of the group, but there was also the element of, like, having
to boss people around. And we would be doing all this as a team,
[but] if we got criticism, I felt like it would all come down on me
in this shit-storm torrent. Even though I was surrounded by love,
there were times where I felt very ‘by myself’ in the process.”
Jenni: “I’m just gonna say, the hardest part of my job was just
trying to get you guys not to get haircuts and tattoos!
[Laughter.] What would you change about the job?”
JK: “Ugh, I think season two.”
LD: “That was the season where you said I had to get out of your
dressing room or you were gonna punch me, Jem.”
JK: “Season two was kind of traumatic for me.”
LD: “I think it’s time for us to disclose to the world that, like,
three days before season two, Jemima tried to quit.” [Laughter.]
JK: “Yeah. My sense of who I was and what I wanted was really
thin. I really wasn’t sure what the fuck I was doing.”
LD: “I remember being in a cab. And Jemima called me. She was
like: ‘I have to tell you something. It’s not a big deal. I don’t want
you to freak out. I want to quit the show.’” [Laughter.]
Jenni: “Zosia, what would you change?”
ZM: “Oh, fuck. That’s so hard. So much of my day-to-day work
on the show was my attempt to try and find Shoshanna. I think
EMMA SUMMERTON
I had a lot of anxiety that I wouldn’t hit her tone right.”
Jenni: “But you invented her tone.”
ZM: “It was such a surprise to me that that [character] came out of
me. I was so all-encompassed in getting it right that I think I lost
some of the ‘relishing the moment’ of being in the scenes.”
▲
 “THE MOST SATISFYING
PART WAS GETTING TO
PLAY A PERSON WHO WAS
SO INTRINSICALLY
OPPOSITE OF ME”

Zosia Mamet wears

a Vince T-shirt. Dior
skirt and sneakers.
Dana Rebecca
Designs earrings.

VOGUE.COM.AU 181
 Jemima Kirke wears a
Preen dress and slip.
Smith + Mara earrings.
Doyle & Doyle antique
necklace. Larkspur
& Hawk bracelet.
Salvatore Ferragamo’s
Creations shoes.

182 APRIL 2017

 “MAKING MY
DEAL WITH
HBO AS A
23-YEAR-OLD
WOMAN, I
FELT THAT I
HAD SO MUCH
TO PROVE”
EMMA SUMMERTON

Lena Dunham wears

a Fenty Puma by
Rihanna hoodie
dress and boots.
Early Halloween
vintage boa.

VOGUE.COM.AU 183
 “THE ENTIRE SHOW
WAS A REAL
EXERCISE IN TRUST
AND LACK OF
CONTROL FOR ME”

Allison Williams wears a Prada

jacket, shirt, pants and belt.
Hair for Dunham: Rheanne
White; all others:
Tamara McNaughton
Make-up for Dunham and
Mamet: Romy Soleimani;
for Williams and
Kirke: Fulvia Farolfi
Manicures: Alicia Torello

184 APRIL 2017

 Jenni: “Allison?”
AW: “What would I change? The entire show was a real exercise
in trust and lack of control for me. And so three seasons ago,
I probably would have said I wish I had been a writer and producer
on the show. [Laughter.] Have some element of control. But now
I know that it would have driven me to an early insane asylum. I
don’t have the skill that Lena does, which is to be able to extricate
myself from my own body as I’m writing my character.”
Jenni: “Okay, Lena? What would you change?”
LD: “Making my deal with HBO as a 23-year-old woman, I felt
that I had so much to prove. I felt like I had to be the person who
answered emails the fastest, stayed up the latest, worked the
hardest. As much as I loved my job, I really, like, injured myself
in some ways. If I had felt like: ‘You’re worthy of eight hours of
sleep, not four; you’re worthy of turning your phone off on a
Saturday’, I don’t think it would have changed the outcome of
the show. [But] I could have worked with a sense of joy and
excitement, rather than guilt and anxiety of being ‘found out.’
The advice I would give any woman going into a job if she has a
sense of impostor syndrome would be: there will be nothing if
you don’t look out for you. And I can’t wait, on my next project,
to go into it with the strength that comes from, like, valuing your
own body and your own mental health.”
Jenni: “What do you think it takes to succeed at this company?”
JK: “Communication, obviously. It is a workspace, but it’s creative.
Like, we’re all putting so much of ourselves into this. And feelings
do get hurt. You need communication.”
ZM: “In order to succeed, all you had to do was really show up
prepared, and ready to be open and a part of the team.”
LD: “Gotta show up to play.”
AW: “And a willingness to thrust your ego aside and say yes. You
guys said: ‘Jump’ and I would say: ‘How high?’”
LD: “What it takes to succeed at the company? Bravery. Not just
the bravery to do a scene that might be uncomfortable or to take
your clothes off. But also the bravery to be like: ‘I have a question.’
To admit when you’re not sure about something, so that we can
come together and make it better.”
Jenni: “Al, did your job duties turn out to be as you expected?”
AW: “I associated sets with a high-drama atmosphere. To my
enormous relief, the cast was the source of almost zero drama, with
the exception of one very abrupt departure [of actor Christopher
Abbott, who played Williams’s boyfriend Charlie].”
Jenni: “But we’ve healed. We’ve all healed.”
LD: “I text him all the time. And he texts back! Yeah. I feel the
same thing as Al. I remember telling people we were doing the
show, and they were like: ‘Who’s on it?’ And I was like: ‘It’s all of
our first job, and we’re all 24.’ And everyone was like: ‘Good luck.’
[Laughter.] And I thought, at a certain point in the second season,
I was gonna have to sit you girls down and be like: ‘Listen, bitches.
You’re lucky to have a job. So get it together and cut out this
behaviour!’ Like: ‘If you’re spotted out with Jared Leto one more
time, this is done.’ [Laughter.] And then everyone was just nice.
Jemima and I fought sometimes because we’ve been close since we
were 11, and that’s one of the things you do when you’re family.”
Jenni: “Okay. Next question: Were you happy with your pay,
benefits and other incentives?” [Laughter.]
ZM: “This might be too dark. But being sort of an orphan child,
without, like, parental figures, it was incredibly pleasant to be
EMMA SUMMERTON
surrounded by human beings whose job on a daily basis was to
take care of me. I was eating up that parental substitution love.”
JK: “Benefits of being on the job? I’m not mad about a good table
at a restaurant. Do you know I actually [pretended to be] my own
publicist when I didn’t have one?”
LD: “She did. And she would call for reservations and clothes.”
JK: “I was just like: ‘Hey, I’m a publicist. I’m calling on behalf of
one Jemima Kirke on HBO’s Girls.’” [Laughter.]
Jenni: “Allison?”
AW: “Well, we were very well compensated, which was a real
privilege. Putting aside the fact that it’s nice to be well paid … it
allowed me to be selective [with other projects] and thus much
more creatively fulfilled.”
LD: “There are a lot of shows where the dudes make a lot more
fucking money than the girls. And we were on a show where the
girls were the thing.”
Jenni: “And they got paid for being the thing. What do you
think your favourite memory will be at this company? Jemima?”
JK: “My best day was the day that I experienced what it’s like to
be picked up [in the air] by Adam Driver.” [Laughter.]
LD: “I like it too. Adam Driver cradled me like a motherfucking
baby for, like, eight takes, and I won’t lie, it felt good.”
JK: “You know the big thing that you jump over in gymnastics?”
Jenni: “The vault.”
JK: “That’s Adam Driver. [Laughter.] Like, you can just run and
jump on it. It doesn’t move, and it supports you fully.”
LD: “It’s like a hot-ass future-Oscar-winning vault. I’m glad we live
in a world where women can reduce men to vaults … I also didn’t
mind being laid across, like, a satiny bed by Patrick Wilson while he
stared at me like I was like a queen from heaven. Like, I’m not
immune to that shit. But my best memory – I hope this isn’t too
personal, Jenni – it was on our last episode. You and I got in a small
argument. Went in a room. And we managed to cry, apologise
and work it out within three minutes, then go back to work.”
Jenni: “And then everyone outside was like: ‘We heard you
got in a huge fight.’”
LD: “Huge fight! But I was so proud. I saw the seven years of
hard work we put into [perfecting our communication] because
we fucking super-processed.”
ZM: “Not to be dark and Wednesday Addams again, but my last
day, which was also Jemima’s last day, hit so hard: the tidal wave
of true sadness. But in the weirdest way, it’s such a happy memory.
Before the age of 30, I got to spend six years on such a joyous
experience that it caused that type of grief at its funeral.”
LD: “If you’re sad, Zosia’s an amazing person to text for a quote.
I was having issues with the loss of a relationship, and she texted
me: ‘We may be soulmates for life, or only a train ride. But it just
changes your life no matter what.’ Zosia is Oprah.”
Jenni: “Would you work for this company in the future?”
JK: “That’s like if someone asked me: ‘Would you like to go back
to college?’ Of course I would. ’Cause I would finally do it right.
So yes, I would do it all over again.”
AW: “I would 100 per cent come back, because, one, I’m spoiled
by the scripts. To start your career with these scripts is a weird
albatross. Every time I read a script by anyone else, I’m like: ‘Oh,
come on. This is not good.’ I will always trust your judgement as
a show-running operation.”
ZM: “So often you work on another project and there’s that feeling
of, like: ‘I think it’s gonna be good, and I hope that they want to
cut together my scene in a pleasant way.’ But there isn’t just innate,
intrinsic trust that exists of, like: ‘Oh, no matter what happens on
set, even if we all vomited, we would still make a good show.’”
LD: “And sometimes we did vomit.”
ZM: “We were allowed to grow. Not only as ourselves, but as
characters. And if I got to do that for the rest of my life, I would
die a happy woman.” ■
Jenni Konner is an executive producer of HBO’s Girls and
co-founder of Lenny Letter.
VOGUE.COM.AU 185
IMAGES COURTESY OF NGV KRÖLLER-MÜLLER
AND VAN GOGH MUSEUM
 IN
SEASON
A new exhibition delves into
Vincent van Gogh’s profound
connection to nature and its
extraordinary expression on
canvas. By Sophie Tedmanson.

I
n the conservation department of the
Kröller-Müller Museum in Amsterdam,
two paintings by Vincent van Gogh lie on a
bench: unframed and ready for restoration.
A security guard hovers nearby and I try
not to breathe as I lean in close to inspect
the masterpiece Pine Trees at Sunset (1889),
my nose inches away from millions of dollars
and more than 140 years of art history.
The colours – iridescent greens, yellows,
blue hues – are magnificent, jumping off the
canvas like the winter grass outside the
window; Van Gogh’s famous brushstrokes
roughly yet perfectly bringing depth to the
leaves and tree trunks; the sunset in the
background literally glowing over the figure
walking in the field under an umbrella; the
ridges of paint rise off the canvas like tiny
mountain peaks. It is in stark contrast to the
smaller, darker Sheaves of Wheat (1885) sitting
next to it, with its tall bale of wheat rising
from a field, heavily varnished and painted in
autumnal olive, browns and mustard yellows.
So raw are these paintings that you can see
the nails on the edge of the canvas and the
century-old varnish weathered with age. They
are, quite simply, breathtaking.
Produced four years apart, they represent the
extraordinary scope of the Dutch post-
Impressionist, who remarkably only painted for
10 years but prolifically produced more than
860 paintings during that period. They also
perfectly encapsulate Van Gogh’s life through
his inspirations: the darker early works
depicting peasant working life in the
Netherlands, through to the vibrant works of
his last years, and that of the seasons, from
summer to spring in the south of France, where
he was being treated for his mental illness.
Nearby, other works – Olive Grove with Two
Olive Pickers (1889) and Tree Trunks in the
Grass (1890) – rest on easels, ready to be
packed up and couriered to Melbourne, where
they will form part of the Van Gogh and the
Seasons exhibition for the Winter Masterpieces
Vincent van Gogh’s series at the National Gallery of Victoria,
Pine Trees and which opens next month.
Dandelions in the
Garden of Saint-Paul The exhibition is the first of its kind that
Hospital
t (1890). specifically focuses on Van Gogh’s artistic
▲

VOGUE.COM.AU 187
The Parsonage Garden at
Nuenen in the Snow (1885).
IMAGES COURTESY OF NGV KRÖLLER-MÜLLER
AND VAN GOGH MUSEUM
relationship with the seasons and will include 60 works on loan of yellow leaves against which the green beech trunks stand out
from the Van Gogh Museum in Amsterdam and Kröller-Müller, so beautifully, and the figures no less.”
a private museum and sculpture park. Van Gogh’s close relationship with his brother meant that when
The seasons had an almost religious effect on Van Gogh, who Theo had a son, named Vincent, the artist gave his namesake
for a time was an evangelical pastor before he turned to art and nephew the painting Almond Blossom (1890); its stunning white
succumbed to his mental illness. flowers on the blue background representative of new life.
According to Ted Gott, head of international art at the NGV, Theo’s great-grandchildren Vincent Willem van Gogh and
Van Gogh’s fascination with the seasons dates back to his early his cousin Josien now sit on the board of the Van Gogh
childhood, when his father, a Protestant preacher, would take his Foundation, which was founded to help preserve and display the
family on walks and used nature to prove the existence of God by 200-plus Van Gogh works inherited by Theo, who died only six
pointing out the wonders that could be found in the garden. months after his brother.
“He grew up in this Josien is chair of the Van
environment of great respect Gogh Foundation, while
for nature, but also associating Willem advises the board,
the cycles of the seasons was and has the added
representing the cycle of life. responsibility of carrying his
So spring represents childhood famous relative’s name.
and adolescence, summer is Sitting in the Van Gogh
maturity to middle age, Museum in Amsterdam, the
autumn is your 60s and 70s, descendants of the world-
and winter is old age.” famous artist happily
Van Gogh also looked at reminisce about visiting their
the seasons with an artist’s great-grandfather Theo’s
palette: winter was house where Vincent’s
predominantly black and Sunflowers, Almond Blossom
white; autumn, gold, yellow and other iconic paintings
or purple; spring was full of hung in the living room.
green and pink; and summer “It wasn’t something
was hot golds and deep blues. exceptional,” recalls Josien,
Interestingly, these brighter pointing to a photograph of
colours and his signature the Van Gogh family lounge
determined brushstrokes are room. “The paintings were in
found most in his last works the house and we grew up
from 1889 to 1890, when he with them, the only thing was
was in the grips of his mental we were not allowed to play
illness at the same time that football in the living room!
his artistic genius was fully “The paintings were always
realised. A standout of the there … when I visited my
Seasons exhibition is The grandfather he had a small
Garden of Saint-Paul Hospital unheated room where he kept
(1889), a vibrantly colourful all the paintings; they were
vista that transports you into just leaning against the wall.”
the springtime in France. It Willem, the eldest, recalls:
was painted while Van Gogh Vase with Cornflowers and Poppies (1887). “We had three or four Van
was being treated, shortly Gogh paintings in the living
before he committed suicide at the age of 37 in 1890. room. Sometimes when no-one was at home the kitchen door
Not surprisingly, given his iconic love of sunflowers, autumn wasn’t locked,” he says grinning, then adds: “Sometimes we had
with its yellow colour palette, was Van Gogh’s favourite season, plumbers around the house and they didn’t know … once we got
according to Sjraar van Heugten, a world-renowned expert on the robbed and they took everything but the paintings!”
Dutch artist and former curator at the Van Gogh Museum, who Upstairs at the museum thousands of tourists flock into the
has curated the Seasons exhibition for the NGV. various galleries to pour over hundreds of Van Gogh works
“Autumn was very dear to him,” says Van Heugten. “It was the – paintings, drawings, letters, including one to Australian
IMAGES COURTESY OF NGV KRÖLLER-MÜLLER

feeling of melancholy, nature shedding the leaves, a whole cycle of impressionist painter John Peter Russell, in which Van Gogh
the seasons, which he finds so impressive. And autumn is in a way wrote: “If you ever come to Paris, take one of my canvases from
related to death but with a promise of spring and new life.” my brother’s place if you wish.”
In one of Van Gogh’s many letters to his brother Theo, who In one gallery, a group 10-deep crowds around one of the
financially supported the artist, Vincent urgently asks for more Sunflowers series, while in the next annexe, another stands in front
AND VAN GOGH MUSEUM

funds, worrying he would not get the correct paint in time before of Vase with Cornflowers and Poppies (1887), a stunning still-life of
autumn turned to winter, before the leaves dropped and he lost red, white and blue flowers that will soon be on its way to Melbourne
his colourful inspiration. to be displayed at the NGV. In a darkened gallery in the middle of
In August, 1882, Van Gogh wrote to Theo: “I’m looking the European winter, it looks just like a beautiful burst of spring. ■
forward to the autumn. By then I must make sure I stock up on Van Gogh and the Seasons opens April 28 at the National Gallery
paint and various things again. I’m particularly fond of the effects of Victoria. Go to www.ngv.vic.gov.au.

190 APRIL 2017

The Garden
of Saint-Paul
Hospital
(1889).

VOGUE.COM.AU 191
Discovery
channel
 I
n secret, at ungodly hours when everyone is asleep, or
sometimes before anyone is awake, I go searching. With the
room bathed in the glare of electro-blue phone light,
I conduct a sometimes so-lengthy-it’s-eye-watering sweep of
social media in search of the ultimate in fashion quarry: the
new label. Perhaps it’s a fledgling start-up, a brand that is
difficult to ship to Australia or an online-only jewellery label
that does custom-name earrings. The one common denominator
though: it must be new and it must be different.
When it comes to fashion, anyone with internet access can tell
you the hunt has changed. The ephemera of online feeds and the
high speed of an ultra-connected world play to frighteningly
shortened attention spans. “We have an insatiable desire for
newness,” says Candice Fragis, buying and merchandising
director at Farfetch, who has seen newer brands benefit from
wandering eyes (and what the New York Times coined the new
“eight-second attention span”) that are increasingly looking away
from the established names to fresh-out-there labels. “We’ve seen
a much faster rise to the top for newer brands,” she says, citing
young-gun French label Jacquemus and the fast and free creations
of three-year-old Polish label Magda Butrym as high performers
for the luxury e-tailer.
With fickleness a characteristic typical of fashion as a whole,
this new pattern of consumption seems inevitable. “The industry
has always had an anti-establishment aspect to it.
One only needs to look at the mini-skirt, the
bikini,” says consultant and founder of Catinella
“TODAY
PR agency, Robyn Catinella. “Today more than MORE
ever there is currency in being a disrupter; there is
a certain cachet to being the first to discover and
THAN EVER
wear something new.” THERE IS
Instagram – as a near entirely visually oriented CURRENCY
platform – has played a crucial role. It is an arena
that thrives off discovery, helped along by the
IN BEING A
search and explore tab and “suggested” carousel of DISRUPTER”
similar accounts that flip up whenever we hit
follow. It doesn’t help that the algorithms governing these
platforms create a kind of artificial style determinism: though we
may like similar accounts, or like similar posts, there remains the
giddy feeling of online kismet when we discover something. We
were supposed to find the label that encapsulates our sense of style
in, say, a black and white knit dress by GCDS or a colour-blocked
shearling jacket by Austrian label Petar Petrov.
It’s a model that befits new labels with small budgets in need of
exposure. “I attracted attention with my picturesque content,” says
Ukrainian Vita Kin of her immediately recognisable namesake
label of paint-box bright pieces, inspired by her native country’s
ART DIRECTION: DIJANA SAVOR PHOTOGRAPH: EDWARD URRUTIA
traditional dress. “Social media is my stage. Buyers and clients are
inspired primarily by what they see on my Instagram feed. It’s also
a great way for me to see how my clients interpret my designs
when they wear my clothing, which in turn inspires me.”
FRANCESCO RUSSO SHOES DETAILS LAST PAGES
Amassing and engaging with a customer base can equate to
meaningful growth. Australian jeweller Christie Nicolaides has
been able to break down geographic barriers through Instagram,
selling worldwide from her online store. Her filigree creations
have bespangled the lobes of editors and stylists from New York
to London. “It allows a business to grow organically instead of
jumping straight into big commitments like leasing a space,” she
explains of the digital realm.
Italian label Attico, founded by stylists and in-demand
influencers Giorgia Tordini and Gilda Ambrosio, capitalised on
their founders’ followings. For both Tordini and Ambrosio, whose
label was spotted by Net-A-Porter’s Lisa Aiken on Instagram, the
discovery continues beyond the initial recognition of the brand.
“Since Attico was born we ‘educated’ our clients to take our pieces
out of context and not just looking at them as something to wear
for a special occasion,” say the duo. “You can wear it [Attico] on
top of your jeans and T-shirt and flats and you are ready to go,” as
exemplified by an Instagram of a sylph-y Tordini in a liquid silver
Attico gown in Paris, and Ambrosio breezing by on her way
somewhere in a silk pistachio wrap dress over denim.
Our follow lists have become mental hit lists of treasured finds.
(On mine currently: British shirt label Bruta, the hard-case straw
bags of Cult Gaia, the offbeat shoes of Turkish Dorateymur,
Milanese denim brand Don’t Cry and the sweetly subverted tea
dresses of Susie Cave’s The Vampire’s Wife.) The anonymity of
online only adds to the feeling of secret discovery. There’s no-one
standing next to us in the shop, eyeing off the same coat in our
hands. It’s an environment that breeds comfort, meaning we
don’t stick to mere window shopping. A recent study by Instagram
of a group of fashion-conscious users found they checked their
feeds more frequently than the average user, and one in three had
bought something they’d seen on the platform.
This translation into sales has seen the rise of relatively niche
online and bricks and mortar stores that stock almost entirely
up-and-coming contemporary brands. Among them Maryam
Nassir Zadeh, The Dreslyn and SSense and, back home, Tuchuzy
and East 43 in Sydney and Grace in Melbourne,
carrying labels like Georgia Alice, Rodebjer and
Cecilie Copenhagen, to name a sample.
“We thrive on brands that are new and
emerging,” says Kate Carroll, a buyer at Tuchuzy.
“It is a huge drawcard for our customers and for
the development of the brand.”
Georgia Danos and Ilana Moses, co-owners and
buyers at Grace, are constantly looking to add to
their stable of designers with fresh talent. “We
always look at every look book sent our way,” the
pair says. “Often now, when we visit the showrooms
we’ve been buying from for years, they’ll have a new label that
they’ll want to show us.”
For established luxury retailers, a nimble mindset shift is
needed in order to keep up and keep ahead. Many luxury e-tail
behemoths are adding new blood to a stock of entrenched blue-
chip names. “Traditional luxury has to be complemented by
fresh voices and cutting-edge talents to create a curated
experience,” surmises Coco Chan, head of womenswear at
Stylebop. These labels’ design credentials are formidable and
their talent, Chan says, matches up to established labels.
London-based Rejina Pyo, a Central Saint Martins’ alumnus
who went on to work under Roksanda Ilincic, won favour with
the fashion set for being an under-the-radar name that offered
something new. “I think as fashion becomes increasingly global,
customers naturally seek out something unique, special,”
impresses Chan. When fashion week rolled around last
September, the fashion set could be seen wearing the much
sought-after tie-back dress (Yasmin Sewell) and the marigold
puff-sleeve tunic (Kate Foley, Pandora Sykes) of Pyo’s, five
months before they went in store. The same went for Ksenia
Schnaider’s culottes-cum-shorts hybrid, which generated its own
hashtag: #demidenims.
“Often these new labels are more experimental and they push
the boundaries of fashion more,” says Kathleen Buscema,
womenswear buyer at luxury boutique Harrolds, a place on whose
polished shelves and metal racks was once a distant possibility
Continued on page 218
VOGUE.COM.AU 193
lucky
charm
Playing one of the world’s most powerful men was a
formidable task for up-and-coming Australian actor
Devon Terrell, but his performance proved as engaging
as his affable personality, writes Cushla Chauhan.
Styled by Petta Chua. Photographed by Tim Ashton.

194 APRIL 2017

W
hen actor Devon Terrell walked onto the
stage to rousing applause at the Toronto
Film Festival last September, he made an
announcement to the audience: “Not to
scare anyone, but I’m Australian.”
It was a playful way to greet the
crowd, who burst into incredulous
laughter hearing his Aussie drawl. Having just watched the
24-year-old actor from Perth play a college-age Barack Obama in
the Netflix bio-drama Barry, they assumed the flawless American
accent they had heard was his own. If anything, it was his nailing
the former US president’s timbre and mannerisms that would
have left an impression.
Terrell chuckles in recalling the reaction. It’s a deep, hearty
laugh I’ve heard often since arriving in the photo studio on the
morning of Vogue’s shoot with the NIDA-trained actor, whose
exuberance and easy interaction with everyone on set reveals a
natural charisma that befits him playing Barack Obama.
It’s this charm that in part led
Barry director Vikram Gandhi to
make the seemingly left-of-field
choice of casting a little-known
Australian in the role of the 44th
American president. But there are
other parallels between the
character and actor too, which
Terrell reveals later.
When we speak, the handsome
lead is excited to be back on home
turf and eagerly anticipating Barry’s
imminent launch on Netflix. He is
in a confident state of mind, in stark
contrast to the way he felt in the Scenes from
Barry, in which
lead-up to that first public screening Terrell plays
in Toronto. “I’ve never been so a 20-year-old
terrified in my life!” he confesses. Barack Obama.
“It’s so humbling to see all those
people sit through your film … to
actually see your work,” he says of
his debut movie role. “The film has
been received so tremendously well
and people are putting away their
politics and seeing it as a story of a
young man growing up and trying
to discover himself.”
Indeed, Barry isn’t a portrait of the
assured former president we recognise today, but rather depicts a
young man of mixed heritage struggling with issues of race and
identity. Set in 1981, it takes us back to when Obama was 20 years
old and has just arrived in New York to attend Columbia University.
While not much has been documented on this period in
Obama’s life, Gandhi and screenwriter Adam Mansbach drew
from the recollections in the former president’s 1995 memoir,
Dreams from my Father. The story they crafted is one of a man
working out his place in the world and who he really is.
Both the film and Terrell’s performance have received critical
acclaim since Barry’s release, but the pressure on the actor at the
time was tremendous. Representing a venerated leader was
daunting enough, but the bio-drama’s release also coincided with
a swell of sentiment in the lead-up to Obama’s final days in office.
“It was extremely hard, because he was so fresh in everyone’s
mind, constantly. But I had to push that away,” says Terrell on
tackling the role, for which he only had two months to prepare.
196 APRIL 2017
Rather than focusing on the weight of that expectation, Terrell
channelled his energy into his work. “I read as much as I could to
see him as Barry the character. I wanted to understand the
nuances of him – how could I create someone that felt real but
also felt authentic to Barack?”
Dreams from my Father, he says, became his bible. He lost
weight – “because I was quite muscly at the time” – and learnt
how to write and play basketball left-handed. He also trained
with a dialect coach perfecting Obama’s accent and idiosyncrasies.
Terrell’s deft vocal mimicry is part of the reason he’s so
convincing on screen, that and the intelligence and inner turmoil
he also manages to convey through expression and movement.
Gandhi entrusted his leading man to take his character where
he needed to go. “On day one he said to me: ‘You are Barry now,
so whatever you’re feeling just go with that.’”
Terrell says the connection he felt with the young Obama
surprised him. “When I first read the script I was kind of shocked
that it wasn’t the Barack Obama I knew, instead it this awkward
young student who was in the
background. I always thought he’d
be a natural leader, but he ebbed
and flowed. I saw myself within
that script and I never thought
reading the character of Barack
I would see myself,” he explains.
“We wanted to make a film that’s
relatable and tell it through this
incredible person, this man who
became an extraordinary human
being, but was just a normal guy
who didn’t have ambitions to be
president. He had greatness within
him, but he never quite saw where it
would lead.”
With his mixed African-American
Anglo-Indian heritage and having
been born in the US before moving
to Perth at the age of five, Terrell not
only bears a physical resemblance to
his character, but also relates to his
battle with identity.
“I never felt like an outsider,” he
reflects on growing up in Perth,
“but within myself I was always
asking those questions, like: ‘Am
I Afro-American or am I Australian?’,
so the film brought up so many things for me.
“I loved getting into the psyche of someone who felt he didn’t
belong anywhere. It became a very important story to me
personally and a lot of cast members, because a lot of us dealt
with the same issues of ‘where do I belong?’”
While Terrell doesn’t expect to hear a critique from Obama
himself, who was sent a copy of the film and had representatives
from the White House present at the Toronto Film Festival last
year, he admits he’d love to know how it was received. “I just
hope he’s proud of how I portrayed him, because I respect him so
highly,” he says.
Given that he’s currently between Australia, New York and LA
for work and deliberating his next career move, it’s perhaps not
foremost in his mind, though. “I haven’t signed off to anything
TIM ASHTON
yet, but I’m reading a lot of scripts and just want to make the right
decision,” he reveals of his plans. “I’ve had some amazing scripts
come my way so, so far, 2017 looks really, really exciting.” ■
La
Dolce
Tina
The inimitable Tina Arena is stronger than
ever, discovers Sophie Tedmanson. Styled by
Petta Chua. Photographed by Jake Terrey.

T
ina Arena is picking at my salad. “I luuurve le fromage,”
she purrs, scooping forkfuls of crumbled feta. Slipping
into French is natural for the songstress, as is Italian.
She speaks a bit of Spanish, too. The day before she
had held court with the Italian musicians on our photo
shoot, singing and dancing a salsa as they played
accordions. A week earlier she hosted the opening of
the Versailles exhibition in Canberra, conversing in French and
English with dignitaries and art executives alike. She was chosen as
the exhibition’s ambassador due to her relationship with France,
where she moved in the late 1990s. It was a move that changed her
life and career; but more on that later.
Speaking multiple languages is just one of the Australian diva’s
many endearing qualities, as is her passion for standing up for herself,
for female equality. She has a voice in song and attitude that belies
her petite stature. Arena is tiny, which earned her the nickname
Tiny Tina when she first graced our TV screens in 1976 at the age of
eight. She grew up in Moonee Ponds with Sicilian parents Giuseppe
(“Joe”) and Francesca (“Franca”), and sisters Nancy and Silvana.
Her upbringing was parlayed into childhood fame when Arena, at
birth named Filippina after her grandmother, appeared on Young
Talent Time. There she was renamed Tina, and a star was born. Four
decades, 11 albums and over 10 million album sales later she is still
recognised as “Tiny Tina”. And she’s still petite. “I haven’t grown
much,” she quips. But so much has happened to shape Arena into the
strong, outspoken, warm-hearted woman sitting across from me. She
emits a calm strength. She has a questioning, friendly yet no-bullshit
attitude. She is self-assured. But it has not always been that way.  
Arena turns 50 this November, a milestone she is embracing. More
than ever she is strong-willed – motherhood and being a female role
model among the many passions she debates during our hour-long
lunch, as is ageing gracefully. “Fifty is worth celebrating,” she says,
staring intensely at me. “Kim Kardashian is not my reference. She is
probably a nice girl but if you ask me who my references are I will say
Isabella Rossellini, Monica Bellucci, Charlotte Rampling, Jenny
Kee, Carla Zampatti. These women have not been frightened to
speak their minds and they are inherently passionate. A lot of people
say ‘she is feisty’, but what’s wrong with that? Cate Blanchett is feisty.
Bette Midler is feisty. There are a lot of Australian women who are
feisty and I love that. I just love anyone who has a go.”
Arena is a diva in all senses of the word. Her brand of soulful pop
– think an Australian version of Mariah Carey or Celine Dion – has
translated into extraordinary success in Australia and France. Yet Tina Arena wears an
despite impressive chart success with her hits Chains, Sorrento Moon Alexander McQueen
dress, from Harrolds.
and Burn, despite being awarded an Order of Australia and singing Cartier rings,
at the Sydney Olympics opening ceremony, Australia has never been bracelet, earrings
her number one market. She never had the cool factor of Kylie and necklace. Other
jewellery, Arena’s
Minogue – her peer in many ways – yet Arena is more extraordinary. own, by Ofée, worn
Minogue was on stage when Arena was inducted into the Aria Hall throughout. Fashion
of Fame in 2015 and, in true Arena fashion, proceeded to lambast details last pages.
▲

198 APRIL 2017

the industry over gender equality. Minogue introduced Arena
after a powerful performance of her hit Chains, backed by Jess
Mauboy and the Veronicas, who looked on admiringly as Arena
descended floodlit stairs wearing a Carla Zampatti jumpsuit. It
was her moment, and she embraced it in the speech that followed.
“Who decides that a woman at a certain point in her life no
longer becomes viable?” she asked the industry assembled before
her. “Women and men of all ages have something interesting to
say, but what I have struggled with is the ostracism of women at
a certain age. I want to acknowledge that ladies over 40 are still
in the game – my darling friend behind me Miss Kylie Minogue,
the wonderful Madonna, J-Lo, Annie Lennox: the list goes on …
Keep doing what you are doing, and keep doing what you do
best, ladies, because we will decide when it’s time for us to stop.”
Back at lunch, Arena is circumspect about her speech, which
received a standing ovation. “I am an artist, I believe in freedom
of speech and I believe I had earned those 12 minutes of airtime
to genuinely share what I felt,” she says. “I didn’t want to hammer
anybody. My intentions were not to offend anybody; my
intentions were to speak the truth, to speak my truth even if that
wasn’t what people wanted to hear.
“As a woman who grew up in a country where my ideas and the
things I wanted were not necessarily always embraced, I felt it was
time to tell people that I was incredibly appreciative
of all that I had been blessed with. But I also want
you to understand that my life has not been a bed
“I WAS LIKE
of roses. I am comfortable with being 40-plus. Age A PAINTER
is something to celebrate, not something to be
ashamed of. I feel women need role models of all
WITH A
ages and I feel there is a lack of mature role models BLANK
in our culture. We tend to be ageist and exceedingly
narcissistic and I struggle with that, because it
CANVAS …
doesn’t allow us to talk about our vulnerabilities. I COULD
It doesn’t entice us to talk about our fears, it doesn’t PAINT
entice us to talk about what makes us happy and
what makes me happy is not necessarily being
WHAT I
perfect. What makes me happy is being a woman WANTED”
and talking about the journey of being a woman.
It was just my moment to be able to express that.”
Arena has always been outspoken. But her acrimonious divorce
from husband and manager Ralph Carr in 1999 and years of
struggling to shrug off her child-star status left her broken. She
left the country to find herself, seeking solace in France. In the
following decade she discovered who she was supposed to be.
“I think I have been able to achieve so much coming through a
difficult period, but I grieved my innocence for a while because
I had a humble and trusting personality and that was violated,”
she says. “That is a big thing to work through. At different times
in your life you see people take advantage of someone’s honesty
professionally and personally. When you’re a kid and you are
thrust into the limelight, that inner circle has to have sanctity
and it doesn’t always and that’s part of the journey. But coming
to terms with that loss and grieving it and going: ‘Okay, what
happened, what do I take from that?’ Don’t be as trusting.”
The move to France helped Arena press reset and gain a brand-
new start, one that rebooted her career and personal life.
“I felt a little bit like a painter with a blank canvas,” she says of
her move. “And finally for the first time in my life I could paint
what I wanted to paint. There were no preconceptions about me,
they hadn’t seen me grow up, so I enjoyed the anonymity, but
that anonymity faded quickly. The music had become so popular
and so I was working and enjoying collaborations. That is what
ultimately attracted me. I felt like I had become a little bit
200 APRIL 2017
stagnant here with the things I had learnt and the things I wanted
to do mixed with people’s trepidation and lack of audacity.
I always like to think outside the box. There was always this sense
of retention and it bored me. I don’t want to be held back.”
She describes France as “the universe telling me not to go to
a dark place”. “Turn the darkness around and turn it into light.
I turned black into white,” she says. “It is so important not to
carry that pain, but to learn from it and that is what is so beautiful
about life. What defines us? It is not only the pleasure, but also
pain. That is where we take the biggest leaps of faith.”
Her success in France proved so great that in 2011 Arena
became the first Australian to receive the Knighthood of the
Order of National Merit, awarded by the French president. It was
in Paris that Arena met her partner, French actor Vincent
Mancini. The couple has a 10-year-old son, Gabriel, and now
split their time between Paris and Melbourne, to be closer to
Arena’s elderly parents, and where Gabriel attends school.
Arena is positive about the future – a new album and perfume
are set for release later this year – and circumspect about the past.
“Universal timing is important to our lives,” she says. “As brutal
as it was it made me a better woman. I’m not going to take shit
from anyone anymore. This is who I am and I’m not going to
change who I am now. I went through five or six years surrounded
by toxicity to come out of that and to look at this
man [Vincent] and the growth we went through
together came at the right time. It was a mode of
survival. It was do or die. I didn’t have the choice.”
How did this period affect her music and lyrics?
“It flourished, because … the voice box is entirely
guided by emotions,” she says. “I had hands
around my neck for years and I felt this liberation
and I could breathe.”
Arena’s emotional fragility is what makes her a
great artist, says John O’Donnell, managing director
of her label EMI, and who has known Arena
personally for more than 20 years. He describes her
equally as “fierce”, a “rare and brilliant singer” and
a “survivor”.
“Tina is a big-match player,” says O’Donnell. “But like so many
great artists, she is a great blend of fragility and insecurities and
incredible drive and ambition. It’s what makes her such
a  compelling and impressive person. She has an ego and is
extremely competitive, but she mostly keeps that hidden or in
check and her personal warmth and her big heart win
through.  For all of her success and worldliness she is still the
daggy immigrant girl from Moonee Ponds.”
It is safe to say Arena has grown from that daggy immigrant
girl into a woman completely comfortable in her own skin. Albeit
one who never forgets her roots. Her mother, a former seamstress,
gave Arena a passion for clothes (“I was a trinket queen as a child,
wearing Mum’s gowns all the time, listening to John Lennon”),
but also instilled her strength as a woman, and taught her to stay
grounded. “She kept shit real,” Arena says, adding that her father
taught her and her sisters to be independent. “Papa was always
like ‘stand strong and make a contribution … pull your weight’.”
As we bid farewell, I ask what makes her happy and she smiles.
“What makes me happy is being a woman and talking about the
journey of being a woman.” With that she says goodbye with
a warm hug and wanders off down the street, humming a tune
and dancing to her own beat. ■
JAKE TERREY
Tina Arena’s new album, Tina Arena, is out this month and she
tours Australia in September. Her fragrance, Renaissance, is due for
release in May.
Above: as on previous
page. Bally heels.
Below: Dolce &
Gabbana dress and
earrings. Falke tights.
Giorgio Armani shoes.
Hair: Molly Warkentin
Make-up: Taylor James
Generation
anxiety
Millennials are the most tech-savvy generation in human history, and the most
anxious. Coincidence? By Jody Scott. Illustration by Christiane Spangsberg.
K
eeping too many tabs open will drain your
batteries, my five-year-old daughter likes to remind
me before helpfully offering to close them.
It might be a ploy to get her hands on my phone,
but it is also a neat metaphor for modern life:
many of us are running around with too many
tabs open inside our heads. We constantly toggle
between screens, compulsively check social media, multi-task
and then cancel commitments because we are so exhausted.
So it’s no surprise recent studies have declared millennials,
especially women, the most anxious generation in history.
Anxiety comes in many forms, but the simplest way to describe
it is feeling worried or nervous about the future or uncertain
situations. In small doses, anxiety can help motivate us to get
things done. However, when it escalates it can be debilitating and
have serious effects on our physical health.
Anxiety wasn’t officially recognised as a condition in the
Diagnostic and Statistical Manual of Mental Disorders (DSM)
until 1980, so the record-keeping on mental health prior to that
was patchy. What we do know is that it’s become more prevalent.
According to a National Health Survey by the Australian Bureau
of Statistics, anxiety affected 3.8 per cent of the total population
in 2011–2012, and 11.2 per cent of us in 2014–2015.
Meanwhile, for those born between 1978 and 1999, Western
life has become a perpetual cycle of technology, sleep deprivation
and spectacularly high expectations set by social media.
Like the rest of us, millennials are also dealing with
unprecedented challenges including political and economic
uncertainty, global warming and rapid technological change.
“All is clearly not well,” says social researcher and author Hugh
Mackay. “We are a society in the grip of epidemics of anxiety,
obesity and depression – 20 per cent of Australians experience
some form of mental illness. It’s already clear that many of us are
severely stressed by the struggle to keep up with the rate of change
in our lives, and one of the consequences of that stress is anxiety.”
Mackay says that while anxiety and depression are not confined
to any particular social or economic stratum, life, as a young person,
is more difficult for millennials than it was for previous generations.
The current crop of Australian adolescents are the offspring of
our most divorced generation of parents, which means many of
them are dealing with the consequences of family breakdown.
“Typically, if both parents are around, they are both working,
and therefore more busy, tired and on a shorter fuse than in
previous generations of parents,” Mackay says, adding that this
generation experienced more out-of-home childcare than in any
previous generation, bringing new emotional challenges.
And while they may be digital natives, he adds that millennials
have been conditioned to confuse data transmission with
communication and to assume that connections via social media
are much the same as person-to-person encounters.
“The IT revolution has actually made it easier than ever to stay
apart from each other, and that fuels anxiety too,” he says.
202 APRIL 2017
A recent Deloitte Mobile Consumer Survey found 18- to
24-year-old Australians check their phones up to 56 times a day
and some check it more than 200 times daily. Sound familiar?
More than 80 per cent of Australians can’t last an hour after
waking before checking their phones, according to the survey of
2,000 Australians aged between 18 and 75. And half of 18 to
24-year-olds check theirs within five minutes of waking.
Just don’t assume they want to talk to you. Instant messaging
usage surpassed voice services for those under 24 in 2015.
So we are high on Wi-Fi, texting like crazy and living in an
almost perpetual state of “fight or flight”. It’s no wonder then
that conversations about mental health are more common.
Lena Dunham, actress, producer and creator of the HBO series
Girls, for instance, has been very honest about her anxiety
disorder. “Part of being human is that you’re in a constantly
transitional place,” Dunham once said in an interview. “I think
something that can be hard is the idea that people would say:
‘I used to have this and now I’m cured.’ And the fact is, I still go
through phases of crippling anxiety.”
According to the Beyondblue support service for depression and
anxiety, Australian data suggests that among 10- to 24-year-old
females, seven to 14 per cent will experience an anxiety condition in
any given year. “Mental health is commonly ranked as a top concern
for young people, and they are more likely than older generations to
recognise the signs of anxiety, talk about it with their friends,
post about it on social media, look up information online and
seek professional help,” says Beyondblue CEO Georgie Harman.
Anti-sugar crusader, author, entrepreneur, blogger and former
journalist Sarah Wilson’s latest book, First, We Make The Beast
Beautiful: A New Story About Anxiety (Macmillan Australia), is a
brave deep dive into her lifelong battle with anxiety, insomnia,
teenage bulimia, obsessive compulsive disorder, depression,
hypomania and bipolar disorder that has at times made her suicidal.
She knows a thing or two about mental health and has some
theories on why anxiety is on the rise among otherwise “normal”
people. “The lives millennials are living is very conducive to turning
up the dial on anxiety,” says Wilson, a 43-year-old Gen Xer. “For
those of us who might have an anxiety disorder, the conditions are
not conducive to handling it well,” she says. “And there are more
people experiencing panic attacks who in the past probably would
not have, because life would not have put them in that position.”
ANXIETY (2017) BY CHRISTIANE SPANGSBERG
Living further away from family and a lack of community are
also having an impact, according to social psychologist Dr Jean
Twenge, author of Generation Me: Why Today’s Young Americans
Are More Confident, Assertive, Entitled and More Miserable Than
Ever Before. “Just a few generations ago, depression and suicide
were considered afflictions of middle age,” she wrote in a 2011
article for the American Journal of Orthopsychiatry. In her book,
she argued another factor was the disconnect between expectations
and reality – young people were told: “You can be anything you
want to be”, and then found that reality was not quite so easy.
Continued on page 218
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 Clockwise from far left:
the playful palette of the Gio
Ponti-designed Villa Planchart in
Venezuela; Celestino’s velvet sofa
for Fendi trimmed with fox fur;
a shutter screen with panels of
lacquered wood and resin-covered
fur; pink accents and ombré walls
feature in Celestino’s Milan home.

or Milan-based designer Cristina Celestino, humour – in

F addition to beauty – lies in the details. “There’s always a

touch of irony,” she says of her work, in which a mane of
colourful fringe, the unexpected shape of an earring back,
or coils of passementerie deliver jolts of fun to modern silhouettes.
Celestino, who studied architecture at the Università Iuav di
Venezia and launched her own design practice, Attico, in 2009,
has teamed up with Fendi for a fizzy collection of furnishings
that made its debut at Design Miami.
She started this project, like most of her others, in the library,
leafing through design books on the likes of Paolo Venini,
Guglielmo Ulrich, Carlo Scarpa and Le Corbusier. It was Italian
architect Gio Ponti’s Villa Planchart that ultimately caught her
eye. “It is a hymn to Italian craftsmanship and style,” she says.
“But it’s in Caracas!” She was as taken with the rare orchids the
Venezuelan home was devised to host as she was with the
polychromatic marble floors and painted ceilings. “The vases,
the flower boxes and the greenery itself were designed by Ponti
PHOTOGRAPHS: HELENIO BARBETTA COURTESY OF FENDI

and became elements of the project,” she says.

Celestino’s sorbet-hued furnishings clearly nod to the villa’s
tropical 1950s interior, as does the lush foliage that is a crucial
part of the line’s presentation. Of course, she threw in a few
wildly luxurious touches for good measure: a sofa and chair are
skirted with fur trim, and an elaborate folding screen includes
panels of resin-covered mink. “The fur becomes immortal,” she
says. “Like an architectural material.”
As for her bit of fun? The earring-back detail that cropped up
in a 2015 range of pendants Celestino designed takes centre
stage in this collection as a jazzy accent on the backs of an
armchair and sofa and as the curling brass bases for a trio of
occasional tables. “The low tables become oversize earrings,” she
says. “Like small furniture jewels.” ■

VOGUE.COM.AU 211
diary
 vogueVOYAGE

American
summer
From the Southern
hotspot of Nashville to
idyllic Aspen, there’s
MIGUEL REVERIEGO

Models Kasia Struss

plenty to explore in
(left) and Jacquelyn heartland USA over
Jablonski outside the
Boot Country store on
the warmer months.
Nashville’s Broadway. By Mark Sariban.

VOGUE.COM.AU 213
 Rolf and
Daughters
Nashville’s Aubrey
Peeples and Lennon
Stella performing at
Bluebird Cafe.

DRINK SHOP
Pinewood
Social bar and
bowling alley,
33 Peabody Street.

EAT

Get your caffeine

fix at Crema,
15 Hermitage Bar seating
Avenue. at Bastion.
VOGUE VOYAGE

Aspen, Colorado
hink of Aspen and snow and skiing are almost certainly

T the first things that come to mind. But this swish

mountain town is just as popular with visitors in summer.
Given the clear blue skies, fresh mountain air, lush green
lawns, bursts of wildflowers everywhere and tiny hummingbirds
whizzing past as you make your way along manicured footpaths,
it’s no surprise the town is buzzing in the “off-season”.
Flying into Aspen’s tiny airport, the plane taxies past a long
row of parked private jets and pulls up outside a low-set terminal.
Stepping onto the tarmac, you’re greeted by a kitschy carved
wooden bear holding up a “Welcome” sign. It’s the first of many
contradictions about this town: there’s plenty of conspicuous
wealth on show, with houses trading for tens of millions, but it’s
far from being a snooty playground of the super-rich.
The relatively down-to-earth, approachable vibe Aspen gives off
springs from its 20th-century reinvention: in the 1940s Chicago-
based industrialists Walter and Elizabeth Paepcke transformed the
sleepy town into a cultural retreat for the mind, body and spirit,
complete with a Bauhaus-style modernist campus and, in 1946,
built the town’s first ski lift. The Paepckes’ humanist ideals live on
in the Aspen Institute, the Aspen Music Festival and the evident
sense of community among the locals, even as property prices have
gone through the roof and headed towards the stratosphere.
Their name lives on, too, in the Paepcke Suite, the grandest of
the six grand suites at the Little Nell, which is the only ski-in/ski-
out five-star resort in Aspen and has an equally impressive summer
offering. The Little Nell’s adventure concierge team can organise
everything from Jeep tours, horseback riding, cycling excursions
(including “ride and dine” dinners where you cycle to your
destination and, thankfully, are driven back afterward), fly-fishing
and trips up the mountain to star-gaze at night.
In summer the Little Nell’s resident gardener Arabella Beavers
plants the garden beds around the pool with an abundance of
edible plants, which attract both hummingbirds flitting from
flower to flower and chefs from the hotel’s Element 47 restaurant,
who pop over to grab herbs for the night’s offerings. Just as the
hotel’s Ajax Tavern is the epicentre of the après-ski scene in winter,
there’s no better place in summer than an outdoor table at Element
47, facing the colourful “living wall” plantings across the pool
while sipping wine from the renowned 22,000-bottle collection
overseen by the Little Nell’s wine director Carlton McCoy.

216 APRIL 2017

Lynda Benglis’s Pink
Ladies and Pink Lady
(For Asha) on the roof deck
at Aspen Art Museum.

IN THE FRAME
Aspen Art Museum stands out in
this low-rise town with its woven-
wood exterior and a remit to show
contemporary art exploring cultural,
social and political issues. 637 East Hyman SAINT LAURENT BOOTS,
Avenue; www.aspenartmuseum.org. $815, FROM WWW.
MATCHESFASHION.COM.

Outerwear brand Aether’s store

at 414 East Cooper Avenue. SHOP

Hats and horns

at Kemo Sabe.

VOGUE.COM.AU 217
GENERATION ANXIETY, FROM PAGE 202 WHERE TO BUY
Mackay says Western society’s “me” culture encourages The details of stores listed on these pages have been supplied to Vogue
anxiety-inducing individualism and materialism. “Think of the by the manufacturers. For enquiries, contact Vogue Fashion Information,
Locked Bag 5030, Alexandria, NSW 2015 or Level 5, 40 City Road,
primary uses of social media – not to communicate but to brag,” Southbank, Victoria 3006. All prices correct at the time of going to print.
he says. “Think of the growing emphasis on personal entitlement A.L.C. from a selection at www.
rather than civic responsibility.” He argues humans are social matchesfashion.com and www.
shopbop.com; www.alcltd.com.
creatures who have evolved to cooperate in close communities Adriana Orsini from a selection
at www.saks.com.
rather than compete. “If we focus too much on our own wants, African Botanics from
a selection at www.
our own entitlements and our own gratifications, with little meccacosmetica.com.au.
Agmes www.agmesnyc.com.
regard for the needs and wellbeing of others, there will be an Aje from a selection at Myer
1800 811 611; www.a-j-e.com.au.
inevitable threat to our mental health,” he says. Alex Perry from a selection
at Myer 1800 811 611.
The good news is that there is mounting evidence to suggest Alexander McQueen from a
selection at David Jones 133 357,
mental health is becoming a priority for millennials. Harrolds 1300 755 103 and
www.Net-A-Porter.com.
Alexander McQueen eyewear
Supermodel, coder, philanthropist and millennial poster girl from a selection at Sunshades
Eyewear (02) 8303 7300.
Karlie Kloss actively encourages girls to learn to code. But she Alexander Wang from a
selection at Belinda (02) 9380
advocates a weekly digital detox, too. “I think it’s important to 8725 and David Jones 133 357;
www.alexanderwang.com.
step away for a minute and actually reconnect with people and All Blues www.allblues.se.
Ann Shoebridge
reconnect with yourself.” www.annshoebridge.com.
Annelise Michelson
Millennials are more willing than previous generations to www.annelisemichelson.com.
Annie Costello Brown
consult a therapist and talk about it openly, says Rachel www.anniecostellobrown.com.
Asilio from a selection
Krautkremer, an insights and strategy director at New York trend at Myer 1800 811 611.
Balenciaga from a selection
forecasting company Cassandra Report. “They are eradicating the at Harrolds 1300 755 103 and
Parlour X (02) 9331 0999;
stigma around therapy,” Krautkremer says. www.balenciaga.com.
Bally 1800 781 851.
She says millennials have a more holistic view of wellness, Balmain from a selection
at Myer 1800 811 611;
believing that mental and spiritual health are just as important as www.balmain.com.
Boss (03) 9474 6304.
fitness and nutrition. “They are starting to see the negative Bottega Veneta (02) 9239 0188.
Bulgari (02) 9233 3611.
repercussions of their always-on lives,” she says. “This is leading Burberry (02) 8296 8588.
By Johnny
them to embrace mindfulness, meditation and sound therapy.” www.byjohnny.com.au.
Byredo from a selection at
Wilson includes many of the self-care hacks she uses to support www.meccacosmetica.com.au.
C/meo Collective
her mental health in her book, including building boundaries, www.cmeocollective.com.
Camilla and Marc 1800 611 617.
turning off social media, embracing simple routines, quitting Cartier 1800 130 000.
Céline from a selection
coffee and sugar (naturally), daily exercise and meditation. at David Jones 133 357, Marais
(03) 8658 9555 and Parlour X
But perhaps her best tip of all is that we learn to embrace the (02) 9331 0999.
Cerrone (02) 8246 9119.
beauty of imperfection. ■ Chanel 1300 242 635.
Charlotte Chesnais
from a selection at
www.matchesfashion.com
DISCOVERY CHANNEL, FROM PAGE 193 and www.Net-A-Porter.com.
Christian Dior (02) 9229 4600
for up-and-comers. “Although the demographic for these brands or (03) 9650 0132.
Christian Dior fragrances and
is often not as wide-reaching as the more established labels, they cosmetics (02) 9695 4800.
Christian Louboutin
are very much as important to us. Our client craves new things,” (02) 8355 5252; from a selection
at www.Net-A-Porter.com.
she says, meaning women will buy into the genre-defying, Christian Roth
www.christianroth.com.
Christie Millinery
cooler-than-cult label Vetements and smaller accessories labels www.christiemillinery.com.
Christie Nicolaides
like Sarah & Sebastian alongside Tom Ford, Valentino and www.christienicolaides.com.au.
Christopher Esber
Alexander McQueen. www.christopheresber.com.au.
Commas from a selection at
But newness in and of itself isn’t enough to sustain a label, let www.pampamswim.com.au.
Country Road
alone a business. “I look for a point of difference, quality and www.countryroad.com.au.
Cue www.cue.cc.
finish of the product,” says Fragis, who applies the usual metrics Dana Rebecca Designs
www.danarebeccadesigns.com.
and checks along with gut instinct before taking on a new label. David Lawrence
www.davidlawrence.com.au.
Like many brands, Tordini and Ambrosio also know social media Derek Lam www.dereklam.com.
Diana Vreeland Parfums
is evolving and increasingly doesn’t have the kind of power it from a selection at
www.meccacosmetica.com.au.
once did to catapult a brand to success. “Today there is so much Dion Lee www.dionlee.com.
Dior Homme (02) 9229 4600
competition and the market is saturated,” say the duo. “Instagram or (03) 95648161.
Dolce & Gabbana (03)
is definitely a powerful tool for young designers, but it’s also so 9662 4732; from a selection
at David Jones 133 357 and
important to have a structure behind you; a sales team that www.Net-A-Porter.com.
Doyle & Doyle
accompanies the brand to a professional path and helps build a www.doyledoyle.com.
Early Halloween
strong network of distribution.” Only then can a brand bypass www.earlyhalloween.com.
Ek Thongprasert from
the usual track to success. a selection at Parlour X
(02) 9331 0999.
Authenticity, too, can carry a brand beyond the point of Ellery eyewear from Specsavers
www.specsavers.com.au.
discovery. Free from the pressures and complexities of a big fashion Ellery www.elleryland.com.
Emilio Pucci from a selection
house, a label can hone in on an original aesthetic. “Customers are at Parlour X (02) 9331 0999;
www.emiliopucci.com.
seeking out something more niche … that sets them apart and Erdem from a selection at
www.matchesfashion.com and
reflects their own individuality,” says Chan. Perhaps this focus on www.Net-A-Porter.com;
www.erdem.com.
unearthing unfound treasure heralds an exciting era in fashion Falke www.falke.com.
Fendi (02) 9231 3756
where creativity comes first. And with so many different aesthetics or (03) 9569 8024.
Fenty Puma by Rihanna
available in these labels, what we are essentially discovering, from a selection at
www.stylerunner.com;
whether that be sifting through the digital jungle late at night or www.puma.com.
Forever New
pounding the pavement searching store to store, is ourselves. ■ www.forevernew.com.au.
218 APRIL 2017
Francesco Russo from a
selection at www.Net-A-Porter.
com and www.mytheresa.com.
G-Star www.g-star.com.
Gary Bigeni
www.garybigeni.com.
General Pants Co.
www.generalpants.com.au.
Georg Jensen
www.georgjensen.com.
Giorgio Armani (02) 8233 5888.
Givenchy eyewear from Safilo
(02) 9540 0500.
Gucci 1300 442 878.
H.Stern www.hstern.net.
H&M 1800 828 220.
Happy Socks
www.happysocks.com.
Hardy Brothers 1300 231 393.
Hermès (02) 9287 3200.
Hillier Bartley from a selection
at www.matchesfashion.com.
Holly Ryan
www.hollyryan.com.au.
Iiuvo from a selection at
www.meccacosmetica.com.au.
Jane D’Arensbourg
www.janedarensbourg.com.
Jennifer Fisher
www.jenniferfisherjewelry.com.
Jil Sander from a selection at
www.matchesfashion.com,
www.Net-A-Porter.com;
www.jilsander.com.
Jimmy Choo (02) 8666 0606
or (03) 9038 1084.
Kailis
www.kailisjewellery.com.au.
Karen Millen
www.karenmillen.com.au.
Kat von D (02) 9221 5703.
Kate Spade (02) 9231 4353.
Kenneth Jay Lane from a
selection at www.Net-A-Porter.
com, www.kennethjaylane.com.
Kiehl’s (02) 9326 9980.
La Perla from a selection at
www.imboutique.com.au and
www.Net-A-Porter.com;
www.laperla.com.
La Prairie (02) 9888 0600
or 1800 649 849.
Lancôme 1300 651 991.
Larkspur & Hawk
www.larkspurandhawk.com.
Laura Mercier (02) 9663 4277.
Loewe (03) 8614 1190.
Longines (03) 8844 3300.
Louis Vuitton 1300 883 880.
Lover from a selection at
www.belleandpaige.com
and www.superette.co.nz.
M.A.C 1800 613 828.
Macgraw
www.macgraw.com.au.
Maison Michel
www.michel-paris.com.
Make Up For Ever
(02) 9221 5703.
Manolo Blahnik from a selection
at Harrolds 1300 755 103.
Mansur Gavriel from a selection
at The Corner Shop (02) 9380
9828, Incu (02) 9331 1014,
www.cultstatus.com.au and
www.matchesfashion.com.
Marcs www.marcs.com.au.
Marimekko
www.marimekko.com.au.
Marni (02) 9327 3809;
from a selection at
www.Net-A-Porter.com.
Mason Pearson 1800 369 273.
Maticevski from a selection
at Myer 1800 811 611.
Max Factor 1800 181 040.
Max Mara (02) 8084 9113.
Michael Kors (02) 9266 099.
Mimco 1800 994 340.
Miu Miu (02) 9223 1688.
Moschino from a selection
at Myer 1800 811 61.
Mr. Smith (03) 9416 3040.
Mulberry www.mulberry.com.
Nars from a selection at
www.meccacosmetica.com.au.
Nehera from a selection at Playa
by Lucy Folk (02) 9130 3666.
Nerida Winter from a selection
at Myer 1800 811 611;
www.neridawinter.com.
Nina Ricci from a selection at
Belinda (02) 9380 8725 and
www.farfetch.com.
O.P.I 1800 812 663
or 1800 358 999.
Ofée www.o-fee.com/en.
Olivia von Halle
www.oliviavonhalle.com.
Olivier Theyskens
www.oliviertheyskens.com.
Oroton www.oroton.com.au.
Oscar de la Renta jewellery
from a selection at
www.Net-A-Porter.com.
P.E. Nation www.pe-nation.com.
Paspaley 1800 888 080.
Paul Andrew
www.paulandrew.com.
Perricone MD from
a selection at www.
meccacosmetica.com.au.
Polo Ralph Lauren
(02) 9410 2038.
Prada (02) 9223 1688.
Preen by Thornton Bregazzi
from a selection at
www.Net-A-Porter.com.
Proenza Schouler
www.proenzaschouler.com.
Rag & Bone (02) 9698 1688.
Repossi www.repossi.com.
Rodin from a selection at
www.meccacosmetica.com.au.
Romance Was Born
www.romancewasborn.com.
Saint Laurent from a selection
at www.matchesfashion.com;
www.ysl.com.
Saint Laurent shoes from
a selection at Miss Louise
(03) 9654 7730.
Salvatore Ferragamo and
Ferragamo’s Creations
1300 095 224.
Sarah J Curtis
www.sarahjcurtis.com.
Sass & Bide
www.sassandbide.com.
Sea from a selection at
www.matchesfashion.com.
Seed www.seedheritage.com.
Self-Portrait from a selection
at Myer 1800 811 611 and
www.Net-A-Porter.com.
Smith + Mara
www.smithandmara.com.
Strand Hatters
www.strandhatters.com.au.
Strateas Carlucci
www.strateascarlucci.com.
Suzy O’Rourke
www.suzyorourke.com.au.
Swarovski 1300 791 599.
Sylvy Earl www.sylvyearl.com.
The Body Shop 1800 065 232.
The Daily Edited
www.thedailyedited.com.
The Perfext from a selection
at www.shopbop.com.
The Upside
www.theupsidesport.com.
The Vintage Clothing Shop
(02) 9238 0090.
Thomas Sabo (02) 94170177.
3 Concept Eyes (02) 9221 5703.
Thurley www.thurley.com.au.
Tiffany & Co. 1800 731 131.
Tod’s (02) 8203 0901.
Tome www.tomenyc.com.
Tony Bianco
www.tonybianco.com.
Topshop (02) 8072 9300.
Urban Decay from a selection at
www.meccacosmetica.com.au.
Valentino from a selection at
Parlour X (02) 9331 0999.
Vetements from a selection
at Harrolds 1300 755 103.
Vetements x Levi’s
from a selection at Parlour X
(02) 9331 0999.
Vetements x Mackintosh
from a selection at Claudia
Krebser (+41) 412 107 723,
www.matchesfashion.com
and www.mytheresa.com.
Vetements x Manolo Blahnik
from a selection at
www.Net-A-Porter.com.
Victoria Novak
www.viktorianovak.com.au.
Vince www.vince.com.
Witchery
www.witchery.com.au.
Wittner www.wittner.com.au.
Wolford
www.wolford melbourne.com.
Zara (02) 9376 7600.
Zimmermann
www.zimmermannwear.com.
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ARIES
21 MARCH – 19 APRIL
What you thought you wanted could
turn out to be not what you wanted
at all this month. It might be your
heart making promises your head
can’t keep. If in doubt, wait it out, as
relationships, career or travel could
be temporarily in limbo. If money is
a factor in your decisions, the end of
the month brings you new options.
STYLE ICON: Rooney Mara
CANCER
22 JUNE – 22 JULY
After a spell of uncertainty with your
career, you’re ready to explore new
options. Keep going with what you
currently do, but keep an eye open for
opportunities to retrain or explore
that start-up you’ve always dreamed
of. You might not get the support
you’d like at home or from partners
now, but she who dares wins.
STYLE ICON: Selena Gomez
LIBRA
23 SEPTEMBER – 23 OCTOBER
You’ve experienced some big changes
since October. There are more to
come, but this month you need
to stop, look, listen and think for
a while. Ironically, the very act of
seeming uninterested could stoke the
embers of a confusing relationship.
But figure out what you want,
especially with your home life.
STYLE ICON: Felicity Jones
CAPRICORN
22 DECEMBER – 20 JANUARY
The power of love could bring some
changes your way now, including a
desire to co-create or even procreate. It
ASTROLOGER: STELLA NOVA
all starts with a rethink of your home
life and a change of direction with
romance. You’re more in touch with
your emotions, so say what you feel. If
work has been in overdrive, it can tick
along in a lower gear for a while.
STYLE ICON: Nigella Lawson
TAURUS
20 APRIL – 20 MAY
Once you decide to do something
there’s no stopping you. This is your
most motivated month to upgrade your
health, work or to reinvent yourself, and
looking back at what has been could be
the jump-start you need to move your
life forwards. Reconnecting with old
friends or past lovers is also likely now,
on new and improved terms.
STYLE ICON: Megan Fox
LEO
23 JULY – 22 AUGUST
Play down your usual charm and add
some hard work and determination
and you can’t fail to be a success in a
month that’s all about transformation,
especially in terms of career.
Love could blossom in unfamiliar
surroundings, where you’ll get to learn
more about what you love, and what
really makes the people you love tick.
STYLE ICON: Hayden Panettiere
SCORPIO
24 OCTOBER – 22 NOVEMBER
Relationships get intriguing, if
confusing, this month. Someone could
be pressing your buttons at work or
making your heart beat faster in love,
or a little of both – you’ll know
before the month ends. While
communication and money may seem
to be in reverse, it’s a good time to
work on your wellbeing and creativity.
STYLE ICON: Ashley Graham
AQUARIUS
21 JANUARY - 18 FEBRUARY
If you’ve been feeling stuck lately you’ll
have extra impetus to make things
happen now, especially at home. The
bigger picture may be too much to
handle, so target what’s manageable.
Your neighbourhood or someone in it
could motivate you to connect through
writing or a short journey, as you start
to sort out the foundations of your life.
STYLE ICON: Alicia Keys
HOROSCOPES
GEMINI
21 MAY – 21 JUNE
Love could hit a roadblock this
month. You might be tempted to
speed through it but you’re better off
slowing down or going into reverse.
Being too full-on could be a turn-off,
so ease up on passion and rediscover
shared aims, except at work, where
the more you put in the more you’ll
get out emotionally and financially.
STYLE ICON: Lily-Rose Depp
VIRGO
23 AUGUST – 22 SEPTEMBER
All the things you thought you knew
inside out could be up for discussion.
Money, home and romance may be
adding to the confusion and you
might get your wires crossed, but don’t
get mad, get better informed. By the
end of the month you’ll be motivated
at work, putting newly acquired
knowledge and skills into action.
STYLE ICON: Michelle Williams
SAGITTARIUS
23 NOVEMBER – 21 DECEMBER
With the routine areas of life you
tend to keep your head down and
power through them, whether it’s a
fitness routine or dull aspects of your
job. Currently you tackle such chores
with renewed zest, and even make
them fun. Friends may be thin on the
ground now, so lie low at home, your
best place for romance this month.
STYLE ICON: Lucy Liu
PISCES
19 FEBRUARY – 20 MARCH
You could rock a retro look or revisit
a “blast from the past” lover this
month. It feels like a nostalgia-filled
time for passion, money, ambitions
and friendships, but avoid wallowing
in “what ifs?”. Learn from your past
and plough ahead with new plans.
What you put into place now could
take root in the coming months.
STYLE ICON: Lily Collins
VOGUE.COM.AU 219
 VOGUE AUSTRALIA
D I R E C TO RY
KIRA PIZZINGRILLI
A ready to wear label that maintains
a modern design aesthetic whilst
complementing a classic feminine
silhouette. Each print is an original
design, which adds a point of
difference to each collection.
For the love of arts and creativity,
KIRA PIZZINGRILLI continues to gain
traction as the label is introduced to
the industry.
Proudly made in Australia.
hellothere@kirapizzingrilli.com
kirapizzingrilli.com
STYLE SECRET
HANDBAG HIRE
Hire the latest range of
designer handbags from Saint
Laurent, Chanel, Givenchy,
Louis Vuitton and much more
from as little as $30!
Enter code: Vogue at the
checkout to get $20 off your hire.
hire@stylesecret.com.au
1300 4 STYLE
stylesecret.handbaghire
stylesecret.com.au
GYSETTE
Gysette represents fashion that
women want to wear which aligns
with their busy and active lifestyle.
Incorporating soft beautiful pieces
with a touch of femininity, Gysette
offers key pieces each season
tailored to the Australian market.
Level 1 – 407 Malvern Road
South Yarra, VIC 3141
03 9826 3517
gysette_
gysette.com.au
I LOVE LINEN
Love the seductive power a good
set of sheets can create? So do we.
Slip into our vintage wash French
flax, luxe Bamboo & soft Egyptian
cotton bedding and you’ll want to
stay in bed all day.
Delivered straight to your door –
let us help you live a beautiful life.
LOVELINEN
ilovelinen
ilovelinen.com.au
To adver tise ple ase contact Amy Fre ar 130 0 139 305
ALISTE BOUTIQUE
Aliste Boutique, are inspired to
deliver the best in quality clothing
and superior service, for both men
and women.
Belen, Dennise and Jasmine, are
dedicated to provide the very best
in both street and high-end fashion,
whilst focusing on dependability,
customer service and uniqueness.
122 Liverpool Street Hobart
03 6288 7204
Aliste Boutique
alisteboutique
Alisteboutique.com
JETT BLACK
Runway Redefined.
Sleek Fashion Luggage and
Travel Accessories designed
in Australia for the Frequent
Traveller.
Purchase through our online
store and enjoy free shipping
Australia wide.
Jettblack
Jettblackofficial
Jettblack.com.au
AUSTRALIAN COLLEGE OF
PROFESSIONAL STYLING
Get Into Fashion Styling.
Online Diploma Course.
Work as a freelance fashion stylist or
within the main branches of professional
styling including TV, advertising, photo
shoots, wardrobe and image consultancy.
Phone for a free information kit.
1800 238 811
austcollegeprofessionalstyling.com
SAYLOR & SAIGE
Saylor & Saige is a fashion & lifestyle
e-boutique stocking a curated collection of
Australian designer labels, providing a
destination for the latest in ready to wear,
accessories and luxe interior styling pieces.
Our premium collections are a fashion-lovers
dream, featuring chic daywear to stunning
special occasion dresses, each chosen for their
exceptional fit and quality.
Enjoy fast shipping, with each order beautifully
wrapped and personalised for every customer.
info@saylorandsaige.com
saylorandsaige
saylorandsaige.com
Email: vo gue classi fie ds@newsli feme dia.com.au
 lifestyle collection

OUT WITH AUDREY

A world of street-style threads and

accessories meets a finely curated
selection of unique homewares from
across the globe.
Fine tune your style with our collection
of apparel, accessories and home
decor from our design shopping hub.
Take the journey Out with Audrey.

outwithaudrey
outwithaudrey
outwithaudrey.com.au

MS. MORALES
COUTURE
EXPERIENCE THE LUXURY OF YOUR OWN
Exclusively designed and PERSONAL JEWELLER
crafted in Colombia.
The Ms. Morales collection of Specialising in sourcing the finest quality materials and jewellery crafting
fine lingerie is crafted of the processes at each step of the way, we have a passion for perfection and
finest lace infused with high an eye for detail that is unparalleled.
tech fabrics designed to
Scarab Rouge is your creative team for uncompromising excellence
mould to your every curve.
in bespoke jewellery. Consultations by appointment, at a venue of
your choice.
msmoralescouture
msmoralescouture aida@scarabrouge.com 0419 800 220
MS.MORALES COUTURE
msmoralescouture.com scarabrouge scarab_rouge scarabrouge.com

MARHO MANGOWOOD BOUTIQUE

Mangowood is a women’s fashion store
Pieces that will feature in any stocking the latest in clothing, footwear
timeless wardrobe, characterised and accessories.
by exceptional quality, raw Featuring all your favourite brands,
materials and classic style. you’re sure to find what you need,
whether it be a whole new outfit, or
Marho is unique, casual and that final finishing touch.
interesting… for the ocean lovers, Shop online or visit our Port Fairy Store.
the dreamers and believers.
1/27 Sackville Street,
Port Fairy, Victoria 3284
03 5568 2160
marhothelabel mangowoodboutique
marho.com.au mangowood.com.au

LENA KASPARIAN ARIS

The Black Label.
Designer Fashion Boutique for The new label redesigning
Women and Men. what we wear to work.
Creator of custom gowns for that Live beyond 9 to 5 with
special occasion. versatile all-occasionwear
for the modern woman.
Parramatta, NSW
02 8677 3822 Shop online with exclusive
code VOGUE15 for 15% off
Rose Bay, NSW
your first order.
02 9371 0242
lenakaspariantheblacklabel
lenakasparian arisology
lenakasparian.com.au www.aris.shop

To adver tise ple ase contact Amy Fre ar 130 0 139 305 Email: vo gue classi fie ds@newsli feme dia.com.au
 VOGUE AUSTRALIA
D I R E C TO RY
DREAMERS & DRIFTERS IVORY LANE
Women and Children’s boutique in
Clothing for the Romantic Bohème. the heart of Wollongong featuring
a range of products and brands
Our Winter 2017 campaign was shot including Finders, Zaliah, Cooper
in the Byron Bay hinterland with muse St, Rollas, James Smith, Fella Swim,
Jamie Kidd; Californian style blogger Kore Swim, Cocolux Candles,
and Instagram sensation. Sunday Somewhere, Little Horn,
Sunday the Label, Saya skincare.
Receive 15% Off your first order just use
code: VOGUE 0400 314 091
Shop 5/4 Globe Lane
Wollongong NSW 2500
dreamersdrifters
dreamers_and_drifters ivorylaneaustralia
dreamersanddrifters.com.au ivorylane.com.au

LELULAH BOUTIQUE
Seeking an effortless shopping
experience?
Renowned for our unique & stylish
range, we will have you feeling
perfectly luxe for every occasion.
Proudly styling sizes 6-18.
Indulge with 15% off your on line
purchase for March & April, simply
HIRIGOYEN use code ‘VOGUEAUS’.
They say there’s nothing free in this world.
Like Vogue ads and good watches. Hirigoyen. Telling it like it is. shop.lelulah
For 15% off: use VOGUE15 lelulahboutique
hirigoyenwatch hirigoyen.com.au lelulah.com.au

AMAROSO
While the sun still shines
and the flowers are still
blooming; lets say bless to
this beautiful mess and
cheers to the good times.
Amaroso is fast becoming BROWS BY ANISA
one of the top Australian
online shopping Anisa uses the Microblading technique which implants colour into the
destinations - let us dress skin creating hairlike strokes that look natural and undetectable.
you in confidence. Perfect for those who want a little definition or those who want to totally
redesign their shape. Achieve semi-permanent perfect Brows 24/7.
boutique.amaroso
amaroso_boutique 0402 367 694 browsbyanisa Brows By Anisa
amaroso.com.au browsbyanisa.com.au

THE LITTLE HAUS OF SONG

TANNING DRESS An ode to creativity, HAUS OF SONG
is an Australian luxury ethical
Feel confident in your post womenswear label designed by and
tan glow or after a massage made for empowered, forward-
in one of our stylish designs. thinking women. Coupling exquisite
The LTD is a crease free fabrics with stunning design,
fabric making it ideal for HAUS OF SONG’s curated collections
travel and pregnancy with continuously evolve whilst retaining
room for a growing bump. an air of timelessness.
Free sizing accommodates QUALITY IS LUXURY,
every shape and size.
ATTITUDE IS STYLE.

littletanningdress hausofsongau
littletanningdress hausofsong
littletanningdress.com hausofsong.com.au

To adver tise ple ase contact Amy Fre ar 130 0 139 305 Email: vo gue classi fie ds@newsli feme dia.com.au
 lifestyle collection

TOTAL FACE GROUP

‘We believe in a world where acceptance and

compliments can come naturally’

Total Face Group is Australia’s largest group of

premium cosmetic clinics, offering a range of
Cosmetic Beauty Treatments including Cosmetic
Injectables, Skin Solutions and CoolSculpting
body fat reduction.

Total Face Group employs a highly experienced

team of Doctors, Aesthetic Nurse Consultants
and Dermal Therapists as part of our
commitment to customer service, excellence,
education and safety.

Clinics are located in VIC, NSW, ACT & QLD.

Call 13 FACE (13 3223) or visit a clinic to book your

complimentary total face consultation.

13 FACE (13 3223)

totalfacegroup.com.au
FOR GOOD LOOKS

OLIEVE AND OLIE

Is there nothing the humble olive
cannot do? Olieve & Olie have taken
things to the next level with their
beautiful range of olive oil body
products. Each product in the
collection has been handcrafted
from the highest quality ingredients,
so you can expect an experience,
rather than just a product.
ZEBRANO | SIZES 14+
Designer collections, casual wear, essential clothing for everyday. Be first 03 5982 0992
to view the new season collections – have your selection delivered direct info@olieveandolie.com.au
to your door in Australia (gst free). View lookbooks, discover trends and
shop online. olieveandolie
www.zebrano.shop olieveandolie.com.au

THE TACK ROOM

BOUTIQUE
A beautifully curated collection of
Racewear, Millinery, Designer Fashion
and Accessories for the modern
Australian woman.
We Are Kindred, Pasduchas, Ministry
of Style, Mavi, Binny, Cooper Street,
Olga Berg, Phyllis & Mimosa, Scotch &
Soda, Elk Accessories, Mesop, Nude
Footwear, Samantha Wills.

SKIN O2
Feed your lashes.
thetackroomboutique
See results in as little as 4-6 weeks. thetackroomboutique
Shop now skino2.com.au thetackroomboutique.com.au

To adver tise ple ase contact Amy Fre ar 130 0 139 305 Email: vo gue classi fie ds@newsli feme dia.com.au