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![70 OCTOBER 2016
GETTYIMAGESINDIGITALEDWARDURRUTIA
©GUIDOHARARI/CONTRASTO/HEADPRESS
Miuccia Prada’s
fashion brilliance is
well documented,
but on release of
her new scent, the
designer details
her love affair
with fragrance.
By Remy Rippon.
Vapour
trail
ON
FRAGRANCE
VS FASHION …
“Perfume is much
more difficult
because it obliges
you to be even
more honest. In
fashion, you can
play because you
have so many
more occasions and
a variety of ways to
express. With perfume,
I get so nervous
about it: you can’t
play. You can’t be
smart or funny; it is
what it is. You have
to go to the core.”
LA FEMME
PRADA EDP,
100ML FOR
$195.
VOGUE MOOD
1
2
3
5
6
ON HER
FIRST SCENT …
“The first perfume I tried
was based on this one
[Shelley Marks fragrance].
I went to a man with a
piece of the bottle and told
him what I remembered
about it, what was in my
imagination. I tried to
translate the memory
of that perfume. And
actually that was my first
fragrance: Prada Amber.”
ON THE
CHALLENGES …
“What I think is most difficult –
and it’s why at the beginning
of my career I didn’t want to do
perfume – is that I was afraid of
the advertising. That’s because
you have to reduce the whole
fantasy of the perfume down
to an image. To define it in
such a way is really difficult. In
fashion, it is about this person,
somebody who might change
and who you can change very
often. But with perfume you
have to give the impression of
a whole world. And that
is nearly impossible.”
ON CREATING
LA FEMME …
“In general, I like strong
fragrances. And the quality
has to be good. There is an
element of no compromise. In
perfume, quality is particularly
important. Because it’s that
smell, or it just doesn’t work.”
ON WHOM SHE HAD IN MIND WHEN
CREATING NEW SCENT LA FEMME …
“I believe in individuality and I never had an icon that was
a woman. I like many different men and women, but an
icon of style? No, never. Actually, I hate the idea.”
ON HER FIRST FRAGRANCE MEMORY …
“I remember being about 16 and my friend’s mother
had this really incredible perfume. I was obsessed with this
perfume. I would go to her home and smell it in the
bathroom. It was from a little artisanal shop on Madison
Avenue that no longer exists called Shelley Marks. I had
other perfumes, but with that one I really fell in love.”
4PRADAA/W’16/’17
PRADAA/W’16/’17
PRADAA/W’11/’12
Miuccia Prada in
1998 at the VH1
Fashion Awards.](https://image.slidesharecdn.com/vogueaustraliaoctober2016-161020183011/85/Vogue-australia-october_2016-79-320.jpg)
![96 OCTOBER 2016
INSTAGRAM.COM/KACYHILLWARD+KWESKIN
Red hot
ou don’t have to be tuned into the giant pop machine
or follow shows like The Voice and X-Factor to know
that becoming the Next Big Thing is not an easy road.
More often than not, the winning recipe involves
talent, tenacity or luck (and a lot of it). In Kacy
Hill’s situation, a talented, tenacious, Los Angeles-
based musician who has gone from Kanye West’s
backup dancer and model to musical protégée, she’ll
be the first to admit that she is luckier than most.
Warm and animated, with translucent, freckle-
adorned skin and a sharp, flame-toned bob, this
Arizona-born singer, whose style can be described
as “Gucci-esque” (though she is a face of the
Calvin Klein autumn/winter ’16/’17 campaign)
has the kind of pinch-me backstory many
musicians would sell their soul at the crossroads
for. After moving to LA and picking up a steady
stream of American Apparel modelling work, Hill
was clocked by West’s artistic collaborator and choreographer,
celebrated artist Vanessa Beecroft, and cast as a “backup
model”, a non-dancing dancer, for the Yeezus tour.
“I learned a lot from working with Vanessa,” she says. “She’s
unapologetic and I think that’s what it takes to be an assertive
female in the world. Kanye is similar; they’re both very much
Y
Kanye West’s latest protégée and a new
face of Calvin Klein, former backup dancer
and model Kacy Hill tells Noelle Faulkner
what she learned from Yeezus and why
she’s much more interested in other people.
VOGUE MOOD
about believing in yourself and your ideas.” Inspired, Hill, who
had just started making her own music, quit after one leg to focus
on fine-tuning her own output, from her sound to her songwriting
and style. “I think what I’ve taken from working with artists like
Vanessa and Kanye is knowing your idea is worth something and
that you’re of value,” she says.
Hill must have made an impression, because West soon got
wind of her ethereal-pop side-hustle and the 22-year-old then
found herself in Atlantic City signing on the dotted line with
G.O.O.D Music (Getting Out Our Dreams), West’s record label.
This musical foray into soaring falsettos, intelligent phrasing and
cinematic-like spaces (not unlike Banks, FKA Twigs, James Blake
and Låpsley) is not the singer’s first – Hill was a classically trained
oboe player from childhood. “I wasn’t really happy [just playing
the oboe],” she says. “But the moment I combined
my love of writing and music, I knew what I needed
to be doing. I think classical gave me a better ear
and taught me the foundations for music, it’s just
that songwriting is more intuitive.” Set to drop her
debut album any day now, Hill’s process is full of
intent and is directly inspired by old journal entries,
experiences and her LA surroundings – what you
hear is what she sees. “I’m really interested in
people,” she muses. “I’m an avid people-watcher.
That’s what inspires me the most – everyday human
life. Especially the American dream, suburban
stuff.” Which LA lends itself quite well to. “It really
is insane the amount of people here who are
following a dream, or searching for a break – there are so many
stories,” she shrugs. “It sounds so silly, but I just think listening
to someone else’s story is just the most beautiful, romantic and
inspiring thing – that’s what I like: existing.” ■
Kacy Hill’s debut album will be released in October through
G.O.O.D Music/Def Jam/Universal Music Australia.
“I’M AN AVID
PEOPLE-
WATCHER.
THAT’S
WHAT
INSPIRES
ME THE
MOST”
Clockwise from
left: Kacy Hill;
with Kanye West;
modelling for Calvin
Klein; in California.](https://image.slidesharecdn.com/vogueaustraliaoctober2016-161020183011/85/Vogue-australia-october_2016-113-320.jpg)
![VOGUE.COM.AU 123
The most ingenious and simple business ideas are those that solve
your own problems. As a young girl in Dallas, Amber Venz Box
yearned for a career in fashion in New York. “Dallas is hours
away from New York and not a publishing city, and I didn’t know
anyone in New York and had no means of getting there,” she says
in her charming Texan accent over the phone from the
RewardStyle headquarters, located in her home town. “I was
among the thousands of girls who never got that opportunity [to
intern in New York’s fashion industry].”
At high school, Venz Box began creating and selling her own
jewellery, then worked in fashion in Los Angeles and New York.
Returning to Dallas, she parlayed her experience and natural taste
as a retail buyer and personal shopper into starting a blog. “The
blog was meant to be a marketing tool to get more people to use
my offline service [as a personal shopper], but whenever I started
documenting it, I quickly lost my key customers. I cut myself out
of my own business because they could get all the information
there,” says Venz Box, now 28. Her boyfriend at the time, Baxter,
who is now her husband and co-founded RewardStyle, was at
graduate school back then, and between them they devised a link
affiliate system that would allow content creators such as Venz
Box to receive commission from products they suggested.
“Someone asked me recently whether it was scary to start
RewardStyle and I said: ‘Honestly, no, because I had literally no
money and I was living at my dad’s house and eating cereal, so
there wasn’t much lower to go.’”
Now, five years on from its launch, RewardStyle has more than
200 employees around the world in five offices and has driven
more than US$1 billion in retail sales internationally. It has also
moved into the beauty and home space and started Like To
Know, which allows Instagram users to receive commission from
products they feature on their posts.
This September sees the start of a partnership with Google to
index social media content. In layman’s terms, that means when
using Google, it will bring up content created on social media
because the creator of the image, the products within it, the
context and how well it performed are all documented, searchable
and trackable, thanks to RewardStyle’s technology.
Venz Box believes that it’s only in recent months that
RewardStyle has been recognised as the powerful tool that it is.
“I feel that it’s only this year that RewardStyle has gained mass
respect. I’m not mad about this at all; I completely understand
that you have to earn your presence,” she says, modestly
acknowledging that users and retailers needed time to become
educated about their product and their needs.
The fashion technologist:
Amber Venz Box
As the co-founder and president of RewardStyle,
one of the world’s largest link affiliate networks,
Amber Venz Box has brought technology and
fashion together to service millions of people
around the world.
Digital sageSmart, savvy and inspiring, four successful
women immersed in technology share their
career stories, passion for the industry and
hopes for the future.
Amber Venz Box
wears a Tibi jumpsuit.
Her own rings.
Valentino shoes.
▲](https://image.slidesharecdn.com/vogueaustraliaoctober2016-161020183011/85/Vogue-australia-october_2016-142-320.jpg)
![124 OCTOBER 2016
STYLIST:PETTACHUAHAIR:TAYLORJAMESREDMANMAKE-UP:PETERBEARD
PHOTOGRAPH:JAKETERREYDETAILSLASTPAGES
Venz Box’s enterprises are among the few that have been
successful in bridging the gap between fashion and technology.
She knows from her own experience it’s a challenging space. “I’ve
seen tech people try to build things for fashion, but there’s too
much nuance in fashion for it to work,” she explains. “You have
to create something that people need to use instead of want to use
[in fashion], and in order to do that you have to
actually have worked in the industry.”
For the many people around the world who,
like Venz Box, have craved a career in fashion,
RewardStyle has been able to make it a possibility
– even without being in New York. The Dallas
location, in fact, helped the company stay in
“stealth mode” for longer. “My fear was that if
we were in New York where the fashion and tech
scene is so huge, we would have had competitors
come about earlier who may have given us a run
for our money. We’ve been around for five years
and there hasn’t been anyone else who has been
able to catch up because we’ve had the time to
build an ecosystem.”
As for content creators, Venz Box wants RewardStyle to be
their business tool. “Their core competency is creating beautiful
and engaging content and we provide the business relationships
and all the technology and business consulting so that they can
be successful in creating the content.” She reports that a single
style influencer made more than US$300,000 in a week from
referring readers to products. “She’s a mum with three kids, so
she can stay at home with them … their college education will be
paid for. It’s life changing for these people and, honestly, that
totally gives me chills.” Zara Wong
Alice Brennan had never fancied herself much of a coder. “I had
no idea I wanted to do this. I went where the opportunities took
me,” says the 28-year-old CEO of software company SettleIn.
After graduating from Oxford University with a degree in
anthropology and archaeology, Brennan relocated from her
native Britain to Japan to help with disaster relief following the
2011 tsunami, a seemingly unlikely catalyst for a career in
coding. “We were cleaning out people’s houses and getting them
back on their feet, but after a while it was about the mental health
of people who had been affected by the tsunami. So then I got
interested in psycho-social intervention; how do you support a
group of people who have been traumatised in that way?” she
explains. “Anthropology is all about human behaviour, so in the
digital world it makes a lot of sense to have an anthropology
degree because you’re dealing with human behaviour and
population on a scale that we’ve never seen before.”
It was an unlikely intersection between social responsibility
and technology that saw Brennan freelance at digital and
humanitarian aid organisations in Australia before recognising
the lack of technological innovation within this realm. “What I
realised is that you have these incredibly skilled and experienced
people who weren’t using technology in the most useful way and
it’s just a big wasted opportunity. It could have been more efficient.”
And so, in late November last year, Brennan signed up for
Techfugees: a two-day hackathon aimed at solving some of the
problems refugees face on entry into Australia with a tech-
solution. Competing against other teams, Brennan along with
her teammates, subsequently won with their innovative
software. “The idea my team came up with was goal-setting,
because the refugee community is so diverse that you can’t
really come up with one solution that will meet everyone’s
“IT’S LIFE
CHANGING
FOR THESE
PEOPLEAND,
HONESTLY,
THAT
TOTALLY
GIVES ME
CHILLS”
“I had always been a tinkerer,” says Anastasia Cammaroto, BT
Financial Group’s chief information officer, telling Vogue a story
about how when she was six years old her parents caught her
opening up her broken talking doll to see how it worked.
Although she enjoyed literature and writing at school,
Cammaroto decided to pursue engineering as a university
student, drawn to the field for its “combination of creativity,
problem-solving and helping the community”. Since then her
expertise has taken her from working at an aluminium smelter in
Queensland, to the control room for the Sydney Harbour Tunnel
and her current role at BT Financial Group.
Had she noticed a smaller proportion of women studying
engineering? “Oh, yes, from day one enrolment,” she remembers.
“One of the things I started to realise was that as we progressed
through the degree, more women started dropping out. They
were transferring into business or choosing different areas of
study. There were maybe 20 of us that started and maybe 10 of
us that finished.” Today, as chief information officer, she oversees
600 people internationally who work together to devise and
strategise how technology needs to be developed and improved
for both staff and customers. “We have actually understood the
way people use technology in terms of solving their goals and
what is important to them.”
The change agent:
Anastasia Cammaroto
In her leading role at a top financial company,
Anastasia Cammaroto is a strong advocate for
gender diversity in the technology field.
Thirty-one per cent of the 600 employees are women – a ratio
higher than the national IT industry average of 28 per cent but
lower than what is desired and a percentage that’s predicted to
plummet as fewer women are graduating from IT-related degrees.
In an industry that seeks solutions for everyday and big-picture
concerns, that’s an issue. “We think about it in averages, so in
600,000 IT professionals, 28 per cent isn’t so bad,
but when you think about it in management
teams – three women out of 10 – the 28 per cent
statistic isn’t so good. It goes back to the question:
‘Why is gender diversity good?’ Because it creates
teams where people think differently about
problems; they bring their own skills and
experiences,” she explains.
Cammaroto pinpoints conversations parents
and educators need to have with their children.
“We pigeonhole kids way too early, and I can see
a world where that gap is going to be so much
smaller, but I think as parents and teachers we’ve
created a self-fulfilling prophecy that says girls are
better at humanities. I’m fascinated to see what
the next generation of girls is going to be because we’re having
conversations now that say: ‘You can be anything.’” ZW
The philanthropist:
Alice Brennan
Bringing her commitment to humanitarian work into
the digital space, Alice Brennan demonstrates the
power of technology to help improve lives.
▲](https://image.slidesharecdn.com/vogueaustraliaoctober2016-161020183011/85/Vogue-australia-october_2016-143-320.jpg)
![VOGUE.COM.AU 133
GETTYIMAGESALEXILUBOMIRSKIMERTMARCUS
From the Oscars to Broadway to a new
Tiffany Co. campaign, Lupita Nyong’o
paves a diverse path. By Jane Albert.
On top of
the world
f ever there was an influential platform to make a statement
and have your message heard around the world, it is the
Academy Awards. Actress Lupita Nyong’o is only too aware of
the power of that podium, so when she took to the stage to
accept the Oscar for best supporting actress for her extraordinary
performance as Patsey in 12 Years a Slave, she made sure her
message packed a punch. “When I look down at this golden
statue, may it remind every child that no matter where you are
from, your dreams are valid,” she said in a voice full of emotion.
That was in 2014. Since then, the girl who was born in Mexico
City but grew up in East Africa has gone on to realise her own
dreams, achieving a number of “firsts” as she did so. The first
African actress to win the best
supporting Oscar, Nyong’o has since
been appointed the face of Lancôme
– the first black celebrity to represent
the French luxury cosmetic brand.
Then there has been Nyong’o’s
Broadway debut this year in the
searing production Eclipsed, the first
time an all-female cast, playwright
and director have performed together
on the Great White Way. And most
recently starring in Grace
Coddington’s project, the new
Legendary Style campaign for Tiffany
Co., one of the first the revered
creative director undertook since
reducing her role at US Vogue after
nearly 30 years with the masthead.
At just 33, Nyong’o has already
achieved a remarkable amount, and
why not? This strong, passionate and
well-educated woman was born to
Kenyan parents Dorothy and Peter
Anyang’ Nyong’o while her father, a
senator and former political science
lecturer, was working briefly in
Mexico. The family returned home to
Kenya within a year of Nyong’o’s birth
but Nyong’o – who refers to herself as
Mexican-Kenyan – returned to Mexico
City as a teenager to learn Spanish (one
of four languages she speaks fluently).
She studied film in Massachusetts, at Hampshire College; and
later acting at the Yale School of Drama.
She quickly caught the eye of the public with her feature film
debut, 12 Years a Slave, the desperate true story of a free black
man who is abducted and sold into slavery. The film earned the
Academy Award for best picture in addition to Nyong’o’s win.
Her performance in that film resulted in the actress being
inundated with offers, some of which she notably took up, including
the role of 1,000-year-old pirate queen Maz Kanata in Star Wars:
The Force Awakens; and providing the voice of wolf mother
Raksha in The Jungle Book. But it came as no surprise to those
who knew her when she chose the theatre for her next big move.
Speaking to Vogue from New York where she was nearing the
end of her Broadway season of Eclipsed, Nyong’o sounded
exhausted yet elated. “This show has been particularly all-
consuming. It is a very emotionally and physically demanding
show,” she says. Written by writer-actor Danai Gurira, Eclipsed is
set during the Liberian civil war and
tells the story of five women enslaved
by a rebel commander who uses and
abuses them at will. Described by
New York Times reviewer Charles
Isherwood as, “one of the most radiant
young actors to be seen on Broadway
in recent seasons”, Nyong’o earned a
prestigious Tony Award nomination
for best actress for her role. Moving to
New York for the 15-week season
hadn’t gone quite as she’d envisaged.
“I thought doing a show on Broadway
would provide me with [more down
time], that I’d still be in New York in
a way that working on a film doesn’t
necessarily allow, that I’d have time. I
find days are spent either taking a
bath in Epsom salts, stretching or
watching fluff, which is very tragic,”
she says with a laugh.
But her return to theatre, her first
love, has been deeply satisfying. “The
theatre and stage are a whole lot more
familiar to me than film, so for me it
was like coming home. There’s
something very thrilling, and also
very scary because you are right there,
there’s nowhere [to hide].”
Nyong’o has never been afraid to
speak her mind and when questioned
by a journalist during the Eclipse
season as to why “such a big star would choose to do such a small
play” she took to Lenny Letter, Lena Dunham and Jenni Konner’s
popular online newsletter to explain her move in frank terms.
“This question felt quite silly,” Nyong’o wrote. “I knew there
was a sense of what was expected of me, but this play felt so
I
“THE THEATRE AND
STAGE ARE A WHOLE
LOT MORE FAMILIAR
TO ME THAN FILM”
Lupita Nyong’o winning
best supporting actress at
the 2014 Academy Awards.
▲](https://image.slidesharecdn.com/vogueaustraliaoctober2016-161020183011/85/Vogue-australia-october_2016-152-320.jpg)
![livier Polge could be described as either the most
clever or the most foolish man in fragrance right now.
Foolish, not because of the fragrances his well-honed
sense of smell has conceived to date as the resident
perfumer of Chanel (Misia, Chance Eau Vive and, most recently,
Boy were all met with praise) but in his latest assignment to
reinterpret the high priestess of the fragrance world: Chanel No.
5. Yes, that Chanel No. 5 – the heady floral juice that you might
spritz when you need to feel particularly self-assured; the scent
that immediately reminds you of your mother/sister/
grandmother/best friend; the fragrance that Marilyn Monroe
catapulted to iconic status admitting she wore it to bed in lieu of
pyjamas; and arguably the most identifiable fragrance in the
world which, despite being around since 1921, holds prime
position on department store floors and women’s dressers alike.
So perhaps Polge could best be described as brave.
But in reality, there’s no better person for the job. The son of
Jacques Polge (Chanel’s in-house perfumer of 35 years responsible
for similarly iconic fragrances like Chance and Coco
Mademoiselle), Polge-junior spent summers as a young student
working in Chanel’s fragrance lab, schooling his sense of smell
for what is to become his grand crescendo. He
even studied at the same fragrance school in the
French fragrance capital of Grasse as Ernest
Beaux, the nose behind the original No. 5
fragrance. It seems it wasn’t so much that Polge
chose fragrance, as fragrance chose him.
If Polge is feeling the weight of the olfactory
world on his shoulders, he’s not showing it.
Back in Grasse (he divides his time between
here and Paris) for one of the most anticipated
fragrance launches in a long time, Polge can
most accurately be described as cool, calm and
collected. It’s almost as if the decision to
reimagine one of the most legendary and
revered fragrances was a simple one. “More or
less,” he says with an air of nonchalance. It
should be noted that it’s not completely
uncharted territory per se: since its inception
the original has been interpreted as an eau de toilette, an eau de
parfum and an eau premiere.
Perhaps he is as worthy an actor as he is perfumer because on
paper the sheer task of creating Chanel No. 5 L’eau – which
translates to “water” – isn’t so fluid. The standard fragrance brief:
ingredient checklists, marketing targets and the “story” behind
the fragrance, has no place here. For L’eau there’s an existing
juice (and an existing story) to be appropriated and, most
importantly, respected.
Needless to say the original No. 5 isn’t going anywhere, which
makes Polge’s assignment all the more delicate. “To tell you the
truth, there is one thing that is very difficult, it’s our strength and
our weakness, really,” says Polge. “Creating a new No. 5 has to
somehow remember the No. 5 of the origin, and this is why I try
always to say that we are coming out with a new No. 5 because
we believe in No. 5 and there is something of No. 5 that has to
be re-translated today.”
So what does today’s Chanel No. 5 wearer look like? She
probably switches between her sneakers and her Chanel two-
toned slingbacks, which she teams with white T-shirts and
vintage Levi’s 501s. She could be described as millennial, a
generation Chanel, like many luxury brands, is becoming
increasingly focused on. Taking over from the baby boomers,
research states millennials are now the largest generational group
and are not averse to putting their money where their make-up/
skincare/fragrance is, with luxury brands in particular seeing a
spike in products aimed specifically at this demographic.
Moreover, given the bombardment of opinions and information
they receive, millennials look to an authoritative voice, and who
better to provide that than Chanel?
The proof is in the front row. At Chanel’s autumn/winter ’16
show, the front row set was punctuated by millennial flag-bearers
including 15-year-old Willow Smith, 17-year-old Lily-Rose Depp
(the face of L’eau) and 27-year-old actress Lily Collins. While this
audience might have appreciated the splendour of the original
No. 5, the new juice aims to speak their language.
But what L’eau cleverly borrows from its predecessor is an
uncanny ability to transcend all of these things and ultimately
appeal to all. As Polge diplomatically puts it when probed as to
whether L’eau is a conscious decision to cater to a millennial
audience: “I would say yes, but I’m always very doubtful about
those precise marketing targets and when you talk about age
groups … what makes somebody young? What makes somebody
old? But speaking otherwise, I would say that it’s more about
contemporary fragrance and I think that it will
seduce somebody with contemporary taste.”
Housed in the same iconic flacon of the
original, it’s hard not to anticipate what you’re
about to smell. Yet L’eau plays the role of
mischievous sister to the original No. 5 with its
zesty citrus notes – lemon, mandarin and
orange – in place of where powder once was.
On closer inspection, a weight has been lifted
off the original: heady jasmine seems to float
off the skin and the signature vanilla accent is
more transparent. “I am always trying to have
this fragrance breathing whereas maybe the
other one [the original] was interesting for its
richness, for its density,” says Polge noting both
the lightness of the ingredients and colouring
of the new juice.
The nectar though is still No. 5 at its core. “I
think I am always speaking about the differences, but I always
forget to say that the most important thing is that Chanel No. 5
is floral and it stays a floral but everything changes,” says Polge
of the rose, jasmine and ylang-ylang brought to life with a hint of
vetiver and cedar.
It’s a Thursday in spring when I meet Polge at Chanel’s
picturesque rose fields in Grasse, the perfect time of year, I learn,
to witness the full force of that floral. This is where the magic
happens. In attention to detail only Chanel could prescribe, the
space where we hold the interview is the ultimate metaphor for
L’eau. Its been recently renovated, keeping the charming,
provincial “good bones” farmhouse exterior, but beyond the
arched doorways it’s as though we’ve fast-forwarded in time: the
room filled with beams of light, raw materials and modern
accents (think Scandinavian living room).
It’s yet one more piece of the puzzle, which completes the
wonderful world of Chanel, a lineage Polge has never lost sight of.
“They [fashion and fragrance] are two separate worlds. But I think
both are very true to Gabrielle Chanel. I think that on both sides
we try to adapt to a new world today and tomorrow, so the style
continues.” As the woman herself once said in no uncertain terms:
“A woman who doesn’t wear perfume has no future.” And rest
assured, the future of No. 5 is in very safe hands. ■
O
“I THINK
THAT ON
BOTH SIDES
WE TRY TO
ADAPT TO A
NEW WORLD
TODAY AND
TOMORROW,
SO THE STYLE
CONTINUES”
VOGUE.COM.AU 167
ARTDIRECTION:HEIDIBOARDMAN
PHOTOGRAPH:EDWARDURRUTIA
ALLPRICESAPPROXIMATEDETAILSLASTPAGES](https://image.slidesharecdn.com/vogueaustraliaoctober2016-161020183011/85/Vogue-australia-october_2016-185-320.jpg)
![any a fashion fangirl has wondered about what life
was like in the bygone rebellious era of fashion – the
days of creative boundary-pushers such as Richard
Avedon, Irving Penn and those then little-known
models – Naomi, Christy, Linda and the others – yet to be
dubbed “supers”; a time when late nights ran into early mornings
on set and fashion wasn’t so fast.
Legendary make-up artist
François Nars’s eponymous new
tome is perhaps as close as one
might get to that reality. “It’s like
my Facebook,” says the 57-year-
old, who you won’t find on
Facebook despite his make-up
brand, Nars Cosmetics, fielding
more than two million likes on its
official page. “For the people who
wish I was on Facebook, well,
there you go. There are a lot of
photographs. It’s very personal …
all the campaigns that I’ve done
over the past 22 years; it’s really all the people who I work with
that I love.”
The mammoth book is a beautifully curated pictorial biography
of Nars’s loves, a timeline of his influences and career to date, but
that’s not to say he’s closing a chapter: “I love creating. Until the
end of my life, no matter what it will be, I will be creating.”
François Nars (Rizzoli, $127), available from www.mecca.com.au.
M
“IT’S VERY
PERSONAL
… IT’S
REALLY ALL
THE PEOPLE
WHO
I WORK
WITH THAT
I LOVE”
As one of the world’s leading make-up
artists, François Nars has seen it all,
and he’s documented it in his new book.
By Remy Rippon.
The man
from Nars
FAMILY TIES
“It all began by watching my mother, by watching her fashion
magazines. I was growing up in the 70s: French Vogue at the
time was the Vogue. It was really the best one on the planet.
That’s how I started doing make-up, on my mother.”
MODEL CITIZEN
“I love working with Daria [Strokous] a lot.
She’s a really professional model and she
loves her job. So I’m trying to find that
again, but it’s not easy.”
HEAD START
“Make-up artists
starting today have so
much information that
maybe it is easier, but
at the same time there’s
probably so much more
competition to get into
the business. So many
people want to be in
the business, you know,
models, photographers,
make-up artists,
hairdressers … maybe in
that way it’s harder.”
Nars’s mother,
Claudette, on the
French Riviera.
WITH KATE
MOSS IN 1997
“She’s incredible,”
Nars says. “She
makes you dream.
She has such a
passion for
fashion, art and
the creative
process. Often you
meet models who
don’t care about
the picture and
just want to go
home. You can
never be a
supermodel with
that attitude. Kate
loved the camera.”
Daria
Strokous stars
in the Nars
Audacious
Lip campaign
in 2015.
172 OCTOBER 2016
VOGUE BEAUTY
IMAGESCOURTESYOFFRANÇOISNARSARCHIVESAND
NARSCOSMETICSFRANÇOISNARS/CONDÉNASTJAPAN](https://image.slidesharecdn.com/vogueaustraliaoctober2016-161020183011/85/Vogue-australia-october_2016-190-320.jpg)
![WORK, WORK, WORK
“Looking back at all the campaigns for the past 20 years,
we have really pushed some buttons: the girls I chose,
the make-up I decided to shoot, sometimes showing girls
with almost no make-up – I thought that was quite daring.
There’s a lot of substance there and I think it really reads as
a vision, of somebody who’s behind the brand. Either you
like it or not, but at least it shows I have a point of view.”
FRIENDS
FOREVER
“I always love
working with
Naomi
Campbell. She is
so beautiful. She
is a dear friend.
Naomi and I, we
are like a family.”
COLOUR CHAMELEON
“You know it’s extremely
vague, believe it or not. It [the
cosmetics line] only happened
maybe a year before the
lipstick came out … and we
worked on it for no more than
a year, so it was not planned
for, like, 10 years.”
IN VOGUE
“In the 70s, the photographers, the
editors, the editors-in-chief were so
fabulous at French Vogue. Very daring
and no limits; they gave full freedom
to the photographers. It was like really
no compromise: it was a different thing.
I started falling in love with the way
the models looked in those pages, and
looking at their make-up and the hair
and, of course, their clothing. The 70s
were such an incredible creative time.
Nothing compares to that era.”
LOVE LINDA
“I worked so much
with Linda that she
was my favourite.
The other ones
will be jealous, but
… I mean they’re all
good friends, but
Linda was really
special. She was
a very good model
to work with, and
a fun model to work
with: she was the
ultimate one.”From the
Nars bronzing
campaign in
2015, starring
Toni Garrn.
Linda
Evangelista,
backstage in New
York in 1995.
VOGUE.COM.AU 173](https://image.slidesharecdn.com/vogueaustraliaoctober2016-161020183011/85/Vogue-australia-october_2016-191-320.jpg)
![190 OCTOBER 2016
PATRICKDEMARCHELIER
cience says babies will stare longer at a face that is
beautiful, a standard measured with variables
including facial symmetry and ratios. They act on
pure instinct. We haven’t grown up much from that
– only that it’s rude to stare. “The pursuit of truth
and beauty is a sphere of activity in which we are
permitted to remain children all our lives,” said
Albert Einstein. When met with beauty, whether visual or even
in music, the medial orbital-frontal cortex lights up. It’s the part
of the brain that’s linked to pleasure, desire and decision making.
And in much the same way as the brain lights up when reacting
to beauty, everyone has an opinion about Kendall Jenner and, by
association, her family as they are depicted in Keeping Up With
The Kardashians. The 20-year-old offspring of the Kris Jenner
clan is indisputably one of the most famous working today, one
of the most popular magazine cover models according to
respected chartist Models.com, and you’ve likely seen her face on
advertisements and a host of magazine covers.
She’s beautiful, sure – and officially so, according to a recent
scientific study, thanks to her symmetrical face, large eyes, full
lips and heart-shaped face. Coupled with her lissom 179
centimetres in height, a career in modelling seemed inevitable.
“When I was a little girl, I was always tall and lanky, and
supermodels were my superheroes,” remembers Kendall, who has
long expressed a desire to be on the runway. “I
would look through my mother’s fashion
magazines and dream of making that my reality.
Flash forward 17 years, and here we are!”
Kindly put, even a famous family – or in the
case of the Kardashians, sometimes infamous –
does not necessarily propel you to the top of the
league. For every Angelina Jolie, there is a Tori
Spelling. And with the added obstacle of a family
known contemporaneously through the base
pop culture lens of reality television, Kendall’s
fashion career has sprung out beyond being just
another Hollywood offspring model. A pivotal
moment was being cast by star-maker stylist
Katie Grand for the Marc by Marc Jacobs show
in February 2014. Walking the runway with
bleached eyebrows and a wig, she was not
immediately recognisable – and proved Kendall’s
versatility in the quick-to-judge world of fashion.
A year after her runway debut, Grand had said to
US Vogue.com: “I’ve worked with Kendall for a year now. It’s
been fascinating to see the transformation from the shy teenager
sitting in the Marc Jacobs reception to the supermodel she is
today.” I had met the quiet teenager when she was photographed
for Vogue Australia. The reserved 16-year-old was accompanied
by her mum-ager, Kris Jenner, who spent the entire shoot sitting
quietly to the side of the studio reading, out of sight from her
daughter and the photographer. There was no reality television
crew in sight, because Kendall was adamant that her modelling
should happen without relying on her family fame.
With half her life spent on Keeping Up With The Kardashians,
we've watched them partake in the usual sort of familial
shenanigans that one would expect relatives to do. Met with
doubts when it first launched, the real-life saga has gone on to
become a smash hit, with viewers unable to get enough of the
family. Are you a Kim, Kourtney, Khloé, Kendall or Kylie? In the
clan, Kendall is the quieter one, often away from them on work
appointments. “I think the greatest challenge in my career so far
has been finding time for myself and the people I love,” says
Kendall of her success. “I would never in a million years complain
about what’s been given to me. This is my dream and, although
there have been struggles or hang-ups, I'm incredibly blessed.”
Today, with a beauty contract with Estée Lauder (there should
be no truer validation of beauty than this – they even let her
make her own lipstick and eyeshadow palette), she’s a regular on
blue-chip catwalks like Chanel, Fendi and Balmain. “She’s a very
sweet person,” Karl Lagerfeld said of Kendall to US Vogue. “Very
caring and not at all spoiled by those superficial successes. I must
say I love her.” She’s the embodiment of the modern model, a
perfect cataclysmic compounding of 21st-century pop culture
fame with a classic, genetic lottery beauty – “beauty is not
caused,” once quipped poet Emily Dickinson. “It is.” But,
ultimately, Kendall’s appeal harks back to an era when models
were personalities on their own – nowadays a model can’t get
away with just being merely beautiful.
“I loved fashion in the 90s when models were celebrities.
Claudia Schiffer, Naomi Campbell, Cindy Crawford and Carla
Bruni were so inspiring; you wanted to watch a show not only for
the clothes but also for the woman in the clothes,” says Olivier
Rousteing of Balmain over Skype from his Paris office. He was
an early supporter of Kendall, too, casting her in his runway
shows and campaigns. “It is like that now with Kendall because
people see the clothes but also see the girls who have something
to say. They are powerful, with personalities.”
Although reflexively categorised as part of the
selfie generation, Kendall bristles at the activity.
“It just doesn't necessarily pertain to me exactly
but [being asked] … how to take a perfect selfie
– if you look at my Instagram, you can tell I’m
not really big on selfies,” she explains. And this
typifies what she is really about. A laymen less
familiar with Kendall’s presence in fashion may
assume she would take photos of herself – arm
stuck in front – in a world where oversharing has
become a currency, but it’s evident that she’s a
vigilant self-curator. Mixed in with her
professional work and humorous images, there
are indeed photos of herself taken not by her but
more often her modelling work, as well as her
own photographs, its graphic composition
combined with a natural, plein air mood. And
what these girls do on social media has influenced
fashion and the way the millennial generation
self-curate online and beyond. “It is obvious to me that
personalities who have massive international followings are
tastemakers and have the power to create and influence trends,”
says Alyce Tran of accessories label The Daily Edited, who keeps
a close eye on the stylistic choices of the “K” girls, citing their use
of a palette made up of nude, khaki and blush as influencing the
colour scheme of her products. “For me, I can look at their
profiles to see what they like, what they are wearing and see how
that translates to consumers and how I might need to adapt my
product strategy to touch on the prevailing trend of the moment.”
Instead, Kendall prefers to share only snippets of her life
through her own photography, a passion that she is just only
beginning to share with the public. “My interest in photography
has always been there; it’s just now I’ve started being more vocal
about it … I've always enjoyed sharing a small glimpse into my
life via photos,” she says. “I more often than not will always have
my camera with me and I'm just snapping pictures along the way
capturing this journey. One day I'll be able to look back at this
crazy, crazy ride and have all of these images to take me back.” ■
“ITHINKTHE
GREATEST
CHALLENGE
INMY
CAREER
SOFAR
HASBEEN
FINDINGTIME
FORMYSELF
ANDTHE
PEOPLE
ILOVE”
S](https://image.slidesharecdn.com/vogueaustraliaoctober2016-161020183011/85/Vogue-australia-october_2016-208-320.jpg)
![One of the biggest changes in legendary stylist
Grace Coddington’s career signals a new and
unchartered chapter in fashion. By Alice Birrell.
A
fter nearly three decades of influential and legendary work at US
Vogue, unsurpassed creative director Grace Coddington announced
she was stepping down. The news broke in January and New York
Times chief fashion critic Vanessa Friedman rather sombrely wrote:
“The tectonic plates of fashion are shifting.” So, with a game-changer
like Coddington on the move, a constant for someone who has worked
at Vogue for longer than this writer has been alive, should we panic?
“It is a difficult period for everyone,” she says, seated in her office at Vogue. “The whole
world is changing. I feel like the carpet is being rocked under me somewhat and it is
particularly challenging for me because I have rejected all that.” By “all that” she means
whip-fast technology, social media and instant Insta-fame. Take pause to believe all this,
though, because Grace Coddington is many things, and one of them is a chameleon. To
wit, she confesses she’s joined Instagram, which of course I already know being that
@therealgracecoddington is there for all 254,000 followers to see.
“I have, I’m ashamed to say. You know mine is 90 per cent drawings, which take a bit
of time and thought actually,” she seems to want to qualify, referring to her long-held
love of sketching. “I have people saying: ‘Well, can you do it now?’ and I just say: ‘No,
let me think about it.’” The future then is not necessarily bleak. What this changing
world has afforded Coddington is a new type of luxury: freedom. For one of her first
ever big projects outside of Vogue, she was hired by Tiffany Co. as creative partner to
create the jeweller’s new Legendary Style campaign.
“I want to be very selective who I give my name to,” she explains. “[Tiffany Co.] is
very beautiful and it is so much part of New York and I have completely embraced New
York.” Along with her relatively constant uniform of sneakers, black pants and black top,
little else embellishes her look other than her red hair, which is either a halo or a flounce
depending on whether she’s sitting or moving fast. She does genuinely wear the jewellery
house’s wares. “I wear Tiffany things; not the big fancy necklaces because I don’t have
that kind of money,” she jokes with a British straightforwardness. Her favourites
▲
THE
WAY
OF
GRACE
224 OCTOBER 2016](https://image.slidesharecdn.com/vogueaustraliaoctober2016-161020183011/85/Vogue-australia-october_2016-242-320.jpg)
![instead are demure diamond rings and pieces by Elsa Peretti.
“Peretti is extraordinary; it is like pieces of sculpture. It is very
easy to use in shoots because it is very graphic,” she points out.
The good news for Vogue is she will stay as creative director-at-
large to work on a handful of shoots each year, but few would be
surprised if she did more. “I still have an office,” she says. “They
are very nice to me, but I’m freelance.” Note that few have
loosened ties with the hallowed Vogue halls so seamlessly.
Our meeting location, in her office, is a last-minute change
from her Chelsea home as she is flying out the next day for
Nicolas Ghesquière’s resort presentation for Louis Vuitton in Rio
de Janeiro and she has work to do. It’s something that, despite her
admiration for Ghesquière, Coddington’s not thrilled about. “It’s
a bit more tiring now. Everyone wants to show in Cuba, or Brazil,
or wherever. It would be nice if they
could just come to the office. But
that’s not going to happen.”
In her workspace all is as anyone
who has seen R.J. Cutler’s 2007
documentary The September Issue
would expect. The area is a brightly
lit pocket inside the vertiginous new
One World Trade Center home of
Condé Nast, tucked away off the
main thoroughfare. Racks flank the
walls outside and a heavy glass
sliding door gives Coddington the
impression of sanctuary. Impression
only, because Coddington
surrenders to a request for direction
when a call comes in from
Alexander McQueen and answers a
query about a dress during the
course of the meeting. The diktat is
business as usual.
There’s no computer on her desk,
a symptom of the technologically
adverse, and instead the space is
dotted with piles of fashion books
and images from shoots – a
decorating quirk she inherited from
friend and collaborator Bruce Weber.
There are also multiple bottles of her recently released perfume,
Grace, and pictures of her treasured pet cats.
Welsh-born Coddington joined Vogue in 1988 after leaving
Britain where she modelled in London in the 1960s, knocking
around with the likes of Mary Quant, Michael Caine and The
Rolling Stones. It was the same day Anna Wintour started as
editor-in-chief, and it was Wintour who invited Coddington to
take up a position – the pair had worked together previously at
British Vogue. A brief, but no less important, stint at Calvin Klein
proceeded and incidentally another of Coddington’s new projects
has seen her modelling for the brand’s new campaign. During
her time there, she orchestrated the bare bones and now iconic
Eternity campaigns with Christy Turlington that flagged a
change in Klein’s own career from sexed up to pared back.
It is not an overstatement to say Coddington has had a hand in
several seismic shifts in the fashion industry. She underpins the
direction Anna Wintour has taken at US Vogue from
foregrounding celebrities increasingly to incorporating the
worlds of art, politics and lifestyle in shoots.
It’s all captured in wistful, and at times heart-stoppingly
romantic, images that have become her stamp. Photographer
David Bailey says the reason he has enjoyed working with
Coddington so much is “because she was not constrained by
fashion. She had an open and free mind to new ideas.” A narrative
theme is an often-observed thread in her images and emotion
guides her sometimes moody, sometimes charming scenes.
Through work with photographers like Helmut Newton, Irving
Penn, Arthur Elgort, Peter Lindbergh, Steven Klein and Annie
Leibovitz, she has forged and cemented trends. As just one
example, she insisted on placing grunge front and centre in a
1992 shoot with Steven Meisel featuring hole-ridden jumpers,
kilts and Doc Martens. It was shot days before Marc Jacobs
showed his famous grunge collection and, as Coddington points
out in her 2012 memoir, “he doesn’t give previews”.
“Grace loves to tell stories and always brings the most amazing
clothes to make the shoot very
exciting, epic and groundbreaking,”
photographer Ellen von Unwerth
says. There’s a feeling that a story is
unravelling before your eyes, a sense
that when the camera shutters off for
good, the whole scene will continue
without the viewer. There was the
1989 Bruce Weber Long Island
shoot with model Bruce Hulse and a
young Talisa Soto. In one image,
Soto poses fists raised ready to fight,
though beguiling in a liquid silk slip
dress. In another Weber image,
Naomi Campbell and a shirtless
Mike Tyson stride purposefully
toward the foreground. In an Arthur
Elgort-shot desert scene, nomadic
children join regal female warriors
in a Mad Max-inspired epic. In one
of Unwerth’s shoots, a platinum-
blonde Amish Christy Turlington
lazes in a wheat field.
Working on instinct, Coddington
understands what a good image is.
“When you see it, you feel it,” she
says. “It is very important you can
see the clothes. I think too many
people are trying to be too creative and forget the fashion picture.
That is the difference between art and a fashion picture: for a
fashion picture you’re actually there to sell the clothes.”
It’s a truth that has driven US Vogue and is made out to be a
point of difference by some commentators between Wintour and
Coddington. In reality the two who have worked together for
decades understand each other. “I don’t believe for one minute
that I have a sense of what’s going to happen or a sense of real
change the way Grace does,” said Wintour in Cutler’s
documentary. “She and I don’t always agree, but I think that over
the years we’ve learnt how to deal with each other’s different
points of view.” Coddington still feels pressure to work at her best
under Wintour. “At some point you have to show [your edit] to
Anna on a rack and that is kind of scary,” she says. “You just hope
she likes it and sometimes she doesn’t. Sometimes she makes you
change it … what happens is you’re left with the best of the best.
If you can survive this, then it is going to be something strong.”
Does she find this challenging? “She is very challenging. It’s
what she does and it’s what is so good about her. You know, she
is never lethargic and just lets it go through. It’s one of those
things; you wonder if she is actually focused or concentrating
▲
VOGUE.COM.AU 227
GETTYIMAGESMARINASCHIANOSNOWDONELLENVON
UNWERTHILLUSTRATIONSBYGRACECODDINGTON
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NOSTALGIC. YOU
HAVE TO FIND WHAT’S
RIGHT FOR YOU”](https://image.slidesharecdn.com/vogueaustraliaoctober2016-161020183011/85/Vogue-australia-october_2016-245-320.jpg)
![working on a collection, we don’t tell our parents.” When the
collections have been shown, they are welcoming and open, at
pains to express their design process. They may be depicted as
outsiders, but their opinions show that they know much more
than what they may let on. Their friends include Kirsten Dunst,
Tavi Gevinson, Dakota Fanning, Emma Watson and Natalie
Portman – the cool, smart girls in the room (of this fictive,
metaphoric high school, which is definitely not your run of the
mill.) In fact, the designers are directing a film due out next year,
entitled Woodshock, with Dunst as the main actress.
One season might cite the idea of Australiana (as in autumn/
winter ’12/’13), another, Van Gogh mixed in with California’s
Mount Wilson (see spring/
summer ’12). Not in that
hackneyed way that other
designers do it – their latest
collection, autumn/winter
’16/’17 claimed origins in San
Francisco’s hippie heritage
inspired by a trip back to their
alma mater Berkeley, but it
stayed far away from flower
power. Instead it explored a
mystical, dream-like state of the
mere idea of San Francisco,
translated visually into dark-lip-
stained models with orchids
knotted in their hair and subtle
wave motifs appearing in the
form of sequins and frills lopping
around the form. “I have to say
that the collections that are most
representative of us as designers
are based on more of an abstract
feeling and we just pull from a
more unconscious place, it’s
more about emotions,” Kate says.
The collection marked a
decade for Rodarte in the fashion
industry. The label sets itself
apart for prioritising the
“integrity of the collection, the
idea, the creativity”, as Laura
puts it. “Pushing all of our limits
as much as we can to try to make
an idea come across.”
Many have questioned the commerciality of Rodarte. Would
they be questioned about their business viability so much if they
weren’t based in the US? “Commerciality is such a huge part of
fashion and it’s a great part [because] it keeps the business
growing and thriving … but as a community, we shouldn’t be
afraid of having artistic souls who want to do it for those reasons.
The commercial aspects are important but so are the artistic
aspects,” Kate says.
Both Kate and Laura are selective of what they wear from their
own designs, preferring to keep their personal styles separate.
Unlike other female designers, the Rodarte models are not
Mulleavy facsimiles, allowing them to be completely unharnessed
and free in their pursuit of inventiveness in fashion. “We’re very
Californian, very laidback. We make these things that are so
connected to who we are but I don’t connect to it [in a way]
so that I need to wear it,” Kate says. They would prefer to not be
bound by their own tastes of what they like to wear themselves.
“I don’t design for us. For me, it’s about complete creatively what
I want to make. It’s nice to work from a blank canvas.”
Wide-ranging influences in their designs aside, the process of
their work can be compared to haute couture. As it’s been told,
Alexander McQueen had once caught sight of their designs at a
Met Museum exhibition and gasped – later praising the sisters
for their work. “It starts with sketching and it’s very meticulous.
Things evolve with draping – we have an idea, but you have to
follow your ideas when you’re draping,” Kate says. Many of their
designs are made as one-offs. “The way production works is it
goes into the store when someone wants to buy it,” explains Kate.
“I love the idea that fashion is aspirational and special. For me, it
feels like it’s part of our thread
to make things that feel special
and hopefully when someone
gets it, it’s special for them.”
They have made dresses for
“one, sometimes two or three”
people in the world. “Luxury is
about dreams and ideas, and
they don’t happen as fast as fast
fashion,” Laura says.
Collections have had them
executing atypical techniques
on fabrics: sandpapering and
burning among them. Regular
Rodarte model Kia Low
remembers being backstage
with extra sand being applied to
her finale dress. “It was hand-
beaded and had netting and
sand that you would find on the
beach – it was a real-life
mermaid dress,” she says. “The
sisters are super relaxed. They
definitely have the most relaxed
vibe backstage.”
There’s a complex femininity
in their designs, especially as of
late – their past few collections
have developed upon each other
with motifs of layered lace and
sequins. “I think we are at home
when we do that,” says Kate.
“But I don’t think this is
feminine, that’s just a social construct. From an intellectual point
of view, I like to think outside that … But, yeah, there is a
femininity and a romance to it. For a woman designer, it’s
interesting to embrace softness and femininity and still produce
a powerful collection.” The dresses of the autumn/winter ’16/’17
collection are spun from lace appliquéd with sequin flowers,
leather piping alongside ruffles of embroidered sheer fabric, fine
fabrics layered and draped across the body in crimson and black.
“If you hold up the dresses they are like little sculptures but they
are still soft-looking. When you look at it, it’s constructed and
layered, but to me, it’s like doing a deconstructed dress. Creating
something soft and ethereal but all the work that goes into it, it’s
like an architecture.” The women who buy the Rodarte dress
aren’t buying it because it’s just another lace dress, or another
sequinned piece to wear out. For that purpose, there are many
others to choose from. It’s within that Rodarte dress that the
Mulleavy sisters weave their tales and dreams, bestowing upon
you entry into their enchanted world. ■
252 OCTOBER 2016
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![254 OCTOBER 2016
How did you two meet?
Tilda Cobham-Hervey: “We have the same agent. Her name is
Trish McAskill.”
Eamon Farren: “She is the leader of our careers and lives! One
day she rang me and said: ‘Darling, I have just met your little
sister, she’s from Adelaide and she has a movie coming up.’”
TCH: “I believe you were not so keen at the beginning.”
EF: “That is not true!”
TCH: “Trish is very much like a mother and best friend. I knew
about you already because you worked with the Windmill
Theatre Company and I have watched every one of those shows
since I was a child. As soon as I met Trish, I remember her telling
me: ‘You have this big brother.’”
EF: “So we sort of had to get along or we would
have been in deep trouble.”
TCH: “I think we had dinner together after that
and then did a short film together called Marcia
The Shark. We spent quite a few days in each
other’s pockets and the rest of it has been just
running into each other … our worlds collided
because we have similar friends and people
around us.”
And then you did another short film together,
The Suitor?
EF: “Yes, Tilly plays an enigmatic and studious
young woman in the 1930s or 40s. Her aunt is
trying to set her up and I play the hapless young
suitor who falls in love with Tilly. It kind of felt
weird because we are [like] brother and sister.”
So what was the first time you worked together and what was
it like?
TCH: “The first time we started working together was on the
first short film. But I was also involved in the initial development
of the play Girl Asleep. We played around with a whole lot of
ideas and it was excellent fun to be part of. Then I wasn’t able to
do the play because of 52 Tuesdays [her debut feature], but I
watched it two or three times in Adelaide and Eamon made me
laugh so much I was crying.”
Was it hard translating Girl Asleep to film?
EF: “It was always going to be a massive challenge from the
beginning. Windmill are such a brave, ingenious company and
they make such cool work. It has their brand, it has their feel. I
think if anyone could do it, they could. What makes the film
great is that Matthew Whittet [scriptwriter] and Jonathon
Oxlade [production design] made it so original, which I think is
really hard to do.”
TCH: “What was so exciting was that they didn’t steer away
from anything. It was so bold. It feels like the love child of
Napoleon Dynamite, and Wes Anderson and Michel Gondry kind
of worlds, which I have always loved. In the film they do a lot of
theatrical tricks and in the play they do a lot of filmic tricks. It
was a nice way to challenge that.”
EF: “It’s great to a see a film that it is not the exact
frame of its theatrical origin.”
TCH: “Everyone had to trust the crazy. We were in
a studio the whole time and there is one scene
where I am riding a fake horse and there was a
wind machine and projector. When you are doing
those kinds of things, I think a lot of people have
to put blind trust in the fact that in the end it
would make sense.”
It has had such a huge response, internationally
as well.
TCH: “What is also so incredible because it’s a
kids’ movie and that’s how it is marketed. But
really it is a movie for everyone. I have a 12-year-
old brother and a lot of the films marketed for that
age group aren’t in the same realm as this one.
They’re not as bold nor as breathtaking. They don’t have the
same odd sense of humour and this film doesn’t dumb down for
children. They really inspire kids and challenge them.”
EF: “That’s also true because it explores the awkwardness and the
kind of cheekiness of everything. The dancing and singing feels
like adolescence. The film embraces all that weird stuff.”
What is it like to work for a small theatre company like
Windmill – is it like a big family?
TCH: “I have worked in Adelaide a lot and I grew up in Adelaide
and I am about to do another film there. I think it is a testament
to how a small community makes work. I think the arts
community is small but extremely supportive and is extremely
“I WATCHED
IT TWO OR
THREE
TIMES AND
EAMON
MADE ME
LAUGH SO
MUCH I WAS
CRYING”
Rising Australian stars Tilda Cobham-Hervey and
Eamon Farren tell Sophie Tedmanson about their new
film Girl Asleep and their close friendship. Styled by
Kate Darvill. Photographed by Duncan Killick.
KINDRED
SPIRITS
▲](https://image.slidesharecdn.com/vogueaustraliaoctober2016-161020183011/85/Vogue-australia-october_2016-272-320.jpg)
![DUNCANKILLICK
tight-knit and everyone helps each other out a lot. There is a real
sense of family between companies and projects there. I think
that is why I love working there so much. Everyone was really
doing it because they were so passionate, unlike big projects
where that isn’t the case.”
EF: “I totally agree. Windmill are very loyal to their artists and
it’s a company of many incredible people. They’re people who
back what they’re doing and I think that makes you feel like this
is what it’s about. This one feeling … this is why I do this. I think
that is what makes them special.”
TCH: “I think it is a strange job from outside. I would always
want to be working with people I love who share the same artistic
sensibilities. That is the exciting part of the job. I think what
happens at Windmill doesn’t happen in other film or theatre
companies. They kind of always work with the same people and
you get this trust and you build a real community around
storytelling. You can push your boundaries much more and be
happier about that.”
You both have a lot going on. Tilly, you’ve been in The
Kettering Incident and Barracuda; and Eamon, you’re
working with David Lynch on the new Twin Peaks.
EF: “I am excited to see what it turns out like. It was an incredible
experience. I am also going over to Broadway for four months to
perform The Present [revising the sell-out Sydney Theatre
Company show starring Cate Blanchett], and that is going to be
so fun. It is a really cool moment for Australian theatre.”
How do you feel about doing Broadway?
EF: “It’s surreal. I don’t know what to expect. I’m sure it’s going
to be exciting and it’s going to be great – we get to live in New
York for four months. The opportunity is really amazing but the
cast doesn’t really know what to expect. I think it is a dream for
everyone. Doing this part on Broadway is a dream come true.”
Do you feel like it has been a really big year for you both in
professional terms?
EF: “This play came out of nowhere for me. Sometimes, it’s a
great year and sometimes it’s not. But I have been really busy
lately and that is gratifying. I had the
pleasure of working with some amazing
people in the past year. It has been a
wicked year and a half. I am grateful but
also excited about what I can do next.
But having said that, you don’t know
what is coming next. ”
TCH: “I find it exhilarating and
terrifying all at once. I do go slightly mad
not knowing what is going to happen
next. I think what I have really learnt in
the past year is to keep my brain active. I
am trying to find other ways to keep my
brain energised and find other ways to
become more creative. I’ve been very
lucky in the past few years as well. I also
know that it could end at any moment,
so I’ve been studying, too.”
Tell us more about your studies.
TCH: “I am studying in Adelaide. It is a
study grant that they give out in four
different categories where you propose
what kind of study you want to
undertake. I loved school and I was bit
of a nerd and I found it quite hard not
going to university, so I am at the point
now where I like the idea of going to
university. I have been lucky to have
work come my way at the moment. I
don’t necessarily want to go to a strict
drama school but want to do little parts
of learning all around the place. I
proposed my own version of university
that involves studying with Europeans
and doing a few more practical classes.”
Sounds like Tilly university!
EF: “She is so utterly boring [said
sarcastically]. Welcome to our brother/
sister relationship!”
How did you both get into acting?
TCH: “I started doing circus when I was
nine. My parents are in the arts industry;
my mum was a dancer and my dad works
in lighting and set. So I did grow up
Dior Homme
jacket, $3,900,
top, $940,
pants, $1,400,
and shoes,
$1,750.](https://image.slidesharecdn.com/vogueaustraliaoctober2016-161020183011/85/Vogue-australia-october_2016-274-320.jpg)
![VOGUE.COM.AU 257
around theatre and then I went into the
circus. But I was always more interested in
the storytelling than the tricks so I was
quite uncoordinated. Also, when I was 13
I did a show in Sydney with Kate
Champion’s dance theatre company and
my mum was playing my mum in it. I
then did a short film [Australian coming-
of-age drama 52 Tuesdays], which was
accepted into a Berlin film festival. It was
a total surprise because I didn’t think
about doing this job forever but it just sort
of happened. I would have always been in
the arts in some way. I have made little
shows in my bedroom and I will always
try to keep doing that sort of stuff.”
EF: “I think it’s really cool. I grew up on
the Gold Coast with a mum who is a
teacher. I went to drama school where
I met this amazing drama teacher, who
I’ll never forget. She had moved back
from England and started running this
school for drama kids. The best thing she
did was not kick me out of class because
I was a shithead. When I went to high
school, I did some community theatre
and always loved it. My first job was
working on a film at Movie World in the
Gold Coast. I went to do a year of
international business and economics at
university in the Gold Coast. I knew I
was going to be an actor and it was my
economics professor who, at the end of
first year, suggested I audition for acting
school. All my friends in the Gold Coast
told me I was wasting my time and theirs
because they probably did all my
assignments. I eventually quit economics.
There are certain things like this
industry that make you want to restlessly
run towards it.”
TCH: “Yes, sometimes there is not a lot of control over the
direction your life takes.”
We have so many Hollywood films being made in Australia
now it seems the boundaries have gone. Do you find that
helps as actors – that you don’t have to just be successful in
LA anymore and that you’re part of a more global acting
community?
EF: “I hope that good work will always be around and there will
always be a platform to showcase that. Girl Asleep is good work
and has found its platform in festivals.”
Do you think people are thinking more outside the box,
thinking more creatively?
EF: “I think filmmaking needs more people working outside
the box.”
TCH: “I think the whole world gets smaller because of
technology. It is also about adapting the technology to what you
want to say. The more you travel, the more you learn.”
EF: “My mother never understood the industry. [In teaching
terms …] it is like a staffroom, but you have a new staffroom
every three months. But you still keep in touch and can work
with those people again.”
Is it a good era in which to be young actors?
TCH: “I do. I think the media [being in the public eye] is a blessing
and a curse. The Instagram side is full on and I feel a little trapped.
Being a young actor is becoming more celebrated as well, especially
film and TV. You have so many platforms to watch TV on. If you
put money into film and TV, it can be recognised globally.”
Do either of you want to direct, write or produce in future?
TCH: “No, I would hate it. I would not be able to deal with the
responsibility of telling someone what to do and say.”
EF: “I don’t want to either. I just want to keep acting. The most
exciting and scary part of this job is to keep on acting no matter
how old you are. It is one of the best jobs in the world and you
just want to keep doing it as long as they have you.”
Do you keep in touch with people you have worked with?
TCH: “We build a family with these people. You don’t see them
for a long time but it can seem like the shortest time when you
meet them again.”
EF: “We have to make an intense connection with these people,
which is so dynamic.” ■
Girl Asleep is showing in cinemas now; the play will be revised at
Sydney’s Belvoir in December.
Chanel sweater,
$2,100, pants,
$5,050, and hat,
$1,490, from the
Chanel boutiques.
Hair: Koh
Make-up:
Charlie Kielty](https://image.slidesharecdn.com/vogueaustraliaoctober2016-161020183011/85/Vogue-australia-october_2016-275-320.jpg)
![Technology and Innovation by Bill Clinton. He believes, as he
wrote in his 2012 book How To Create a Mind, that “mortality is
within our grasp”, and he practises what he preaches. Sitting with
him at dinner a few years back, I watched him consume about 30
supplements; a measure which, he claimed, had given him a
“biological age” at least a decade younger than his chronological
years. But here’s the question: could you really be bothered? To
take all those tablets three times a day, or do any of the other
things that the burgeoning longevity industry suggests might
possibly extend your life? Meditation. Mindfulness. Hormone
therapy. Nutritional therapy. Fasting. DNA profiling. You could
probably lose whole years of your life just reading up on all
the research.
Gareth Ackland is a clinician scientist at the William Harvey
Research Institute at Barts and the London School of Medicine
and Dentistry, whose team, Generation X, is in the running for
the Palo Alto Longevity Prize, one of many Silicon Valley-based
funds encouraging scientists to “hack the code of life”. He tells
me he is a Fitbit wearer, but also mentions several articles he has
read recently discussing the potentially negative impact that
things such as wearable fitness gadgets are having on people.
“They could be counterproductive in that they’re making some
wearers neurotic,” he says.
Presumably, though, your approach to wellbeing must – at
some level – depend on how optimistic you are by
nature. If you’re predisposed to believe some of
these technologies might work, maybe you’ll get
more benefit from them. That’s why a lot of the
research into longevity is around how big a part
mind-set plays in conquering illness and ageing.
There are now scientific studies that point to the
positive role meditation can play in promoting
longevity, including reducing anxiety, enhancing
the immune system, slowing down the rate of
progression in neurodegenerative diseases and
lowering blood pressure.
I decide to put the theory to the test by
undergoing cryotherapy, one of the most extreme
therapies available to the youth-prolonging
enthusiast – it’s the younger and less
Frankensteinesque version of freezing dead bodies for defrosting
at a later date (something, incidentally, that both de Grey and
Kurzweil have signed up for). Now very popular among the
ageing-obsessed in New York and Los Angeles, it involves
spending up to five minutes standing in a tank of liquid nitrogen
at a temperature of minus 130 degrees Celsius. The benefits?
Largely anecdotal, but enough to make you stop and think.
“I’ll be with you in a minute, I’m just with my leukaemia lady!”
salon entrepreneur Alla Pashynska shouts to me across the
basement from which she operates. I wonder how the leukaemia
lady feels about such a public introduction, but before I’ve
finished formulating the thought, she has emerged from the
therapy room, clad in fluffy black, waving medical records at me.
“It’s miraculous!” she says, telling me that after eight years of
treatment, she came to see Pashynska in January and has been
having twice-weekly sessions ever since. Her white-blood-cell
count has reduced by three-quarters.
Next thing, I’m standing in the tank wearing only my
underwear, plus Ugg boots and fleece gloves (extremities need to
be protected because they take longer to recover). After 30
seconds I feel numb everywhere, and strangely giggly – euphoria
is apparently a side effect of extreme cold. Pashynska tries to
distract me by turning on some music and making me dance. I
pride myself on an excellent pain threshold but the cold is
borderline unbearable.
Afterwards, my limbs are as chilly as stone. I keep touching
them and laughing – it feels as if I am a marble statue come to
life, all cool and smooth. I’ve never felt my body so cold. Five
minutes or so later, though, I am fully back to normal.
But would I put myself through this process week in, week out,
just on a vague promise of anti-ageing? No way. I’m just not
that committed.
The truth is, for all Silicon Valley’s audacious claims, there is
a vast gulf between what the biogerontologists say may be
possible a few decades from now, and what we can probably
claim makes a difference today. This gulf is the reason Ackland
is interested in forging links with California: “Currently there is
scientific technology and there is medical technology,” he says.
“What the [Palo Alto] prize does is attempt to engineer a direct
and immediate dialogue between the dramatic pace of scientific
technology and its biomedical application.”
But what’s in it for Silicon Valley? Can it be as simple as the
idea that the longer people live, the longer they’ll need to use
high-tech consumables? Or is it more to do with big pharma?
Living longer certainly doesn’t mean an absence of illness, so it
would surely be good news for the pill-dispensing pharmaceutical
giants. There’s also an ego element; the tech
supremos who have made billions don’t want to
step off the train any time soon. (“When you’re
young and you’ve just created something amazing
that’s made a tonne of money, you do egotistical
things,” Dave Asprey, chairman of the board of
the Silicon Valley Health Institute, has said.) And
we can’t rule out philanthropy: what else to spend
all that money on? It’s thought that Google
co-founder Sergey Brin may also be driven by his
discovery in 2008 that he carries a genetic
mutation that means he has a greater likelihood of
developing Parkinson’s disease.
It’s also been noted how many of the tech
billionaires have married women who have a
background in science. Facebook co-founder
Mark Zuckerberg’s wife Priscilla Chan is a paediatrician. Sergey
Brin’s ex-wife Anne Wojcicki, co-founder of the DNA service
23andMe, studied biology. Pam Omidyar, wife of eBay’s Pierre
Omidyar (who became a billionaire at 31), is also a biologist –
in fact, the first two couples, along with others, founded the
Breakthrough Prize, which last year gave six awards of US$3
million each to pioneering scientists, many of whom had
projects related to longevity.
Ackland thinks that another motivation is the appearance of a
new revenue stream. “Apps, wearable devices and other
potentially disruptive technologies that can find uses in
healthcare open up an unpredictably exciting area, in a field
that’s often institutionally slow to react to technological change,”
he says.
But let’s face it: living forever is also, for a certain kind of
scientist, the most alluring problem to solve since Faust made his
pact with the devil. Could eternal youth just be a matter of
algorithms? de Grey thinks so. “Things are changing here first,”
he had said, referring to why so much of the current anti-ageing
research is coming out of California’s tech hub. “We have a great
density of visionaries who like to think high.” (There’s also
money available in that part of the world: the story goes that
WHAT
HAPPENS
TO SEIZING
THE DAY,
LIVING
EACH ONE
AS IF IT
WERE YOUR
LAST?
262 OCTOBER 2016](https://image.slidesharecdn.com/vogueaustraliaoctober2016-161020183011/85/Vogue-australia-october_2016-280-320.jpg)
![ai iDINING
Hidden down a narrow lane in Kyoto’s Gion
district is the tiny and hard-to-find Michelin-
starred Gion Nanba, where chef Nanba
prepares kaiseki, the traditional multi-course
Japanese experience. Dine at the six-seat counter
or choose a private dining room mere steps from
the action as the two chefs prepare a haute
cuisine based on local seafood specialties.
o r YAKITORI
Not far from the Kamo River in central Kyoto,
Torito’s relaxed atmosphere and English menu
makes it easy to enjoy the smoky charcoal
flavours of traditional Japanese skewered
chicken in all its forms. Book ahead and choose
a counter seat to order big and watch the
young chefs in action. Don’t go past the spicy
deep-fried chicken thighs.
a CRAFT
A contrast to traditional Kyoto, newcomer
Before 9’s two-storey vibe is equal parts hipster
and minimalist, filled with locals and the
occasional traveller. Choose from around eight
craft beers or the sake selection, along with
a small bar menu. The floor-to-ceiling-glass
shopfront style creates an open bar experience,
with customers spilling out onto the street on
a warm night.
“In socks and and hushed
voices, the scene is one
for quiet contemplation”
garden, while inside the tatami mats are devoid of
visitors. In socks and with hushed voices, the scene is
one for quiet contemplation, the pavilions looking
out on the carefully raked dry garden with a gentle
mist of summer rain. The name “Komyo” consists
of two kanji characters meaning “bright” and
“light”. Combined, it alludes to the light given off
from the mercy of Buddha. There’s quiet beauty
everywhere here, even in the naming of the shrine.
Central to the garden design is the group of three
stones that is thought to represent one of the
Buddhas, flanked by two bodhisattvas, a placement
common in Buddhist gardens.
attendant. Passengers are shown to their seats upon
boarding and treated to slippers and an eye mask,
although it’s a shame to sleep on these journeys and
miss the beguiling scenery. Rail passes need to be pre-
purchased before leaving Australia go to railplus.
com.au and can be used for shinkansen trips (although
you’ll need to pay extra for “Gran” class).
Pulling into Tokyo Station, the rhythm of the city
is immediately evident, a phenomenal network of
trains above and below ground moves millions
throughout the city’s neighbourhoods every day.
Just five minutes by taxi from this enormous
transport hub, Palace Hotel Tokyo sits on the banks of
one of the Imperial Palace’s numerous moats, its high-
rise views looking back across to the tree-shrouded
palace gardens. One of Tokyo’s most iconic luxury
hotels, its location in exclusive Marunouchi (with a
handy Otemachi subway entrance directly accessible
via the hotel basement) makes it the ideal base to
uncover all that this fascinating city has to offer.
Steps away is nearby Marunouchi Naka Dori, a tree-
lined shopping and dining street very much like New
York’s Madison Avenue.
Tokyo has been Japan’s capital since the Meiji
restoration of 1868, taking over from Kyoto with a
powerful confidence. For first-timers and return
visitors alike it’s arguably one of the world’s most
energetic, playful and vibrant hyper-modern cities,
with good manners at every turn. It would be hard to
have a bad time here. The Palace offers a quiet
sanctum from the buzz, with 290 elegant rooms
offering sophisticated design restraint and generously
proportioned rooms in a city where real estate is at a
premium. The independent Japanese-owned hotel
From Kyoto to Tokyo it’s just over a two-hour
bullet-train journey. Travelling between cities in
Japan this way is a civilised and memorable way to
move. The gentle rocking and hum of the tracks is a
soothing soundtrack as the shinkansen speeds past rice
paddies, thatched homes, farms and modern towns.
Crossing rivers, the trains wind up past mountain
ridges punctuated by tunnels cut through the rock,
emerging to a new landscape and an expanse of sky.
Some of the shinkansen ZW]M[ IT[W WᙘMZ T]`]ZQW][
“Gran” class reserved seating complete with bento
service, plush reclining seats and a dedicated carriage
JNTO.ORG.AU
SPECIAL FEATURE](https://image.slidesharecdn.com/vogueaustraliaoctober2016-161020183011/85/Vogue-australia-october_2016-287-320.jpg)
![out for its exotic flavours like avocado and honey and strawberry millefeuille. Pop
into the Mitsukoshi basement food hall in Ginza for more eye-popping displays of
packaging, food art and outstanding customer service.
Amezaiku (candy art) is alive and well in Tokyo, particularly in the Ameshin
studio in Solamachi shopping town in Asakusa’s Tokyo Skytree. Watch as Tokyo
artist Shinri Tezuka and his apprentices create exquisite detail in a range of delicate
candy-shaped animals. The unique creations are then placed on stands with strict
instructions for international travel. It’s almost a given they are too good to eat.
For lunch on the go, Marugame Seimen udon noodle restaurant is unbeatable
(there are 65 in Tokyo in total) but the Shinjuku branch is tucked away in a quiet
spot worth seeking out. Join the queue of nearby office workers forming an
orderly line out the door. Watch through the window as the kitchen hand rolls
sheets of dough flat and cuts them into thick white noodles before moving them
on a large wooden dowel to the steaming kitchen area.
This Marugame branch is close to the Tokyo Metropolitan Government
Building, which offers panoramic views of the city from its two observation decks.
On a clear day, Mount Fuji, Tokyo Skytree and Meiji shrine can all be be seen
from the observatories. While no longer the tallest building in Tokyo, the
landmark grey edifice has attracted volumes of acclaim since its completion in
1990, with architect Kenzo Tange’s design making the central building look like
a giant computer chip. Sunset and evening views over the neon-studded city make
it a worthwhile destination at night.
Offering an alternative viewing space with late opening hours, the world-class
Mori Art Museum in the Mori Tower in modern Roppongi Hills showcases a
range of major contemporary exhibitions, ranging from video art to anime,
curated to include global art trends with an emphasis on Asian artists. Pause at the
Tokyo City View observation area on the 52nd floor for 360 degree views
(particularly at night) or head to the rooftop Sky Deck for the open-air vista. The
museum is part of Art Triangle Roppongi, which also features the Suntory
Museum of Art and the National Art Center Tokyo with a handful of galleries in
between. The gleaming, glass-walled ultra-modern National Art Center Tokyo is
Japan’s largest exhibition space and is dedicated to special exhibitions (it has no
permanent collection). For advance planning, tokyoartbeat.com is an up-to-the-
minute site and app featuring current and future exhibitions and art events.
In downtown Ginza, where every global brand has a presence in Tokyo’s most
famous shopping area, Mitsubishi has recently opened the contemporary multi-
storey METoA in Tokyu Plaza Ginza, an exhibition, cafe and shop space
dedicated to providing visitors with limited-run hands-on experiences and
installations. Break a shopping morning session here with Me’s contemporary
high-ceilinged cafe serving an Australian-inspired menu and Allpress coffee.
Tokyu Plaza Ginza only recently opened, its stunning exterior designed to
look like Tokyo’s Edo period kiriko K] OTI[[ )KZW[[ ÆWWZ[ IVL _W JI[MUMV[
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Making noodles at
Marugame Seimen.
The Evian spa at Palace
Hotel Tokyo, Marunouchi.
A lantern at the
“Thunder Gate”
of Senso-ji temple.
“Watch through the window as the kitchen
hand rolls sheets of dough flat and cuts them
into thick white noodles”](https://image.slidesharecdn.com/vogueaustraliaoctober2016-161020183011/85/Vogue-australia-october_2016-290-320.jpg)
![have been told there are 80,000 restaurants in Tokyo. I can’t vouch for
the accuracy of that information, but I can promise you one thing: it’s
next to impossible to have a bad meal in the Japanese capital.
The level of quality produce and dedication to the craft of cooking
seems inherent in the culture. Many of the places are small and hidden
away. However, it was many years ago that I first remember having
okonomiyaki at an airport in Osaka after a ski trip. These little pancakes come
in all flavours and fillings, usually served with a sweet mayonnaise.
A couple of years ago I was reacquainted with them at Tokyu Food Show
in Shibuya, my favourite of all the fantastic Tokyo food halls, and I knew
then we just had to have it on the Qantas menu. We thought the addition of
crab would make it not only sweet but also slightly salty, with lots of umami
flavour a Japanese word roughly translated to mean “rich and savoury”.
It’s now a key feature of the menu on our flights to Japan.
If you’re in the centre of Tokyo, I highly recommend making time for
a visit to the fantastic basement food halls in the department stores – there’s
all this incredible food being cooked in front of you.
For great noodles, get to Afuri in Shibuya-ku it may well be the first time
you order your noodles through a vending machine. It’s far from fancy, but
it’s quick and delicious. I like the kara tsuyu tsukemen noodles served cold with
nori, pickled bamboo, boiled egg and warm pork garnish.
Tonki is an institution in Tokyo and renowned for its deep-fried pork
KW^MZML QV ÅVM JZMILKZ]UJ[ 1¼[ VW NI[ NWWL Q¼[ OW I ZMITTaVQKMPWUM
cooked feeling to it; really nice and well worth the wait.
If you’re after fresh seafood and a quintessential casual Japanese dining
experience, there are plenty of great izakaya, but I love the Uoshin group’s
scattering of restaurants in Tokyo in Shibuya, Shimokitazawa and Ebisu.
The pub-like fun atmosphere at the Akasaka location is my favourite.
Finish an evening with a drink at Bar Martha in Ebisu for walls lined
with loads of vinyl, plus old-school tunes, cocktails and whiskey.
Restauranteur and Qantas
Creative Director, Food,
Beverage and Service
Neil Perry AM shares
his culinary inspiration.
FOR MORE INFORMATION,
VISIT QANTAS.COM.AU
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also features a Hands Expo Culture Mall showcasing Japanese treasures such
as plastic food, wooden phone covers and the ubiquitous range of Japanese
stationery. The art of Tokyo shopping is no more apparent than here at the plaza.
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train station. Emerge from the underground network to a plethora of high-
rise buildings, video screens, neon lights, shopping centres, restaurants, cafes,
departments stores and footpaths packed with shoppers and commuters. It’s the
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as pedestrians cross from every corner when the traffic lights turn red. For an
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to more than 1,500 trees in blossom from the end of March to early April.
Harajuku is a mecca for Tokyo’s under-30 fashion collective, with everything
from small designer brands to Japanese streetwear. There are plenty of Tokyo
quirks in the never-ending lanes, including the new White Atelier Converse store
and, on Cat Street, the successful US export Luke’s Lobster, which draws 50-
deep queues of locals waiting for their taste of the Maine-inspired lobster rolls.
Countless designers, global trends and fashion subcultures got their start in this
small neighbourhood of Tokyo.
A counterpoint to the pop-culture manic experience of Harajuku, the tree-lined
Omotesando Street offers a more refined shopping pace with a steady stream
of well-dressed locals enjoying the sunshine, French patisseries, contemporary
architecture, luxury international brands and Tokyo’s never-ending perfection
of visual merchandising. Window shopping never looked so good.
Esquisse Cinq restaurant
IWSa]8TIbI/QVbI
a o o o
8PWWOZIXP[+PZQ[+W]ZIVL[]XXTQML
SPECIAL FEATURE
JNTO.ORG.AU](https://image.slidesharecdn.com/vogueaustraliaoctober2016-161020183011/85/Vogue-australia-october_2016-291-320.jpg)
![i i a i LUXURY
South of Tokyo, luxurious Amanemu offers
serious onsen indulgence, sitting quietly among
forested hills off the beaten track of Japan’s
main visitor trails. Retreat to ocean views from
the spa treatment suites, outdoor onsen bath
pavilions, a yoga studio, watsu water therapy
pool and the signature Aman face and body
treatments; www.aman.com.
ri r i ZEN
With superb views of the surrounding
mountains and namesake river from every
room, Bettei Otozure offers a boutique ryokan
and onsen experience with all the serenity
of rural Japan. Enjoy the natural healing
properties of the mountainous hot springs
in your own private hot-spring bath on the
balcony in each room; tablethotels.com.
or RETREAT
A picturesque French-inspired retreat, Arcana
Izu sits south of Mount Fuji and offers a
complete escape from the city. With soothing
floor-to-ceiling views of the forest, Arcana Izu is
popular with international guests and wealthy
Tokyoites for its Zen-like simplicity and private
hot spring baths. Book ahead for an Akura Spa
experience using the therapeutic waters of the
Yugashima onsen; tablethotels.com.
The ryokan tradition is a fascinating window into old-world Japan, where great pride is taken in the hospitality,
dining and beautiful bathing facilities offered. Beniya Mukayu is no exception to this tradition, standing on a
hill of the sacred Yakushiyama, with all the tranquil Zen-like simplicity to be expected; its modernist
architectural design perfectly complementing the moss-covered Japanese garden at its centre. This is a retreat
where less is more and the traditions of Japan are quietly incorporated into all 17 of the Western-style and
traditional tatami-mat rooms and suites.
Downstairs from the main lounge are separate men’s and women’s onsen with sauna. While getting naked in
front of strangers may be confronting, the onsen ritual of bathing on the wooden stool, rinsing and preparing
for the hot spring waters is worth the journey, with every step as liberating as the next. The ryokan’s unique
Yakushiyama natural body products add further sensuality to the preparation. Compared to a sento (Japanese
public bathhouse), the onsen is a much more private experience at Beniya Mukayu; however, if the quiet
communal area is still too much, each guest room also offers a private outdoor onsen (known as a rotenburo) on
the balcony of each room.
Melding the power of the spring waters with Japanese herbs, the ryokan IT[W WᙘMZ[ AIS][PQaIUI NIKQIT IVL
body treatments using customised herbal balls and creams blended according to the physical condition and
constitution of each guest. A unique spa experience is guaranteed.
Beniya Mukayu is a modern ryokan at its very best, with impeccable attention to guests. As the sun rises,
proprietress Sachiko Nakamichi hosts 7am yoga on the timber deck, a 45-minute stretching and contemplative
experience that brings new meaning to the tree pose, as the perfect proportions of the branches of the region’s
red pines rise up from the garden in front, while the sun moves steadily behind.
At night, guests gather in the ryokan’s black timber dining room while the resident chef prepares a traditional
10-course kaiseki meal made from locally sourced ingredients, with a particular focus on seafood from the Sea
of Japan in the Honshu area, served on locally crafted ceramics.
Find Beniya Mukayu and other luxury ryokan with onsen in Japan at tablethotels.com.
A courtyard garden.
Dinner, kaiseki-style.
Ryokan slippers.
TOP THREE ONSEN
JNTO.ORG.AU
SPECIAL FEATURE](https://image.slidesharecdn.com/vogueaustraliaoctober2016-161020183011/85/Vogue-australia-october_2016-297-320.jpg)
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Vogue australia october_2016
This issue of Vogue celebrates music, fashion and art. It features portraits of artists at Splendour in the Grass festival styled in rebellious, celebratory looks. Profiles include five young Australian musicians photographed in Gucci's bohemian styles. John Olsen's art exhibition opens alongside reflections from his son Tim. Grace Coddington signals a new chapter as her career evolves. Kendall Jenner graces the colorful cover in Gucci, reflecting this season's invitation to break from black into summer hues.
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Vogue australia october_2016
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- 37. PATRICKDEMARCHELIER ® VOLLXINo10WholeNo628,*RECOMMENDEDPRICE COVER 44 EDITOR’S LETTER 50VOGUE VOX 52 CONTRIBUTORS 54 THIS MONTH ON VOGUE.COM.AU 58 VOGUE180°Paris-based expat designer Martin Grant. VOGUE MOOD 65HOLDTRUEWe are what we choose to obsess, collect and wear this season. 68Slip service; Vapour trail; It’s a sign; On repeat; Red hot. 72WRITTENINTHESTARSThere’s a new constellation of astrology gurus in the ascendancy. 78THISISYOURLIFEWhat’s it like to be a twentysomething today? 82CLASSICTURNMichael Kors on rewriting wardrobe classics and why we need to find the fun in fashion again. 86JOINTHECLUBRising star Sander Lak brings his impressive fashion CV to the new It label Sies Marjan. 92ETCHEDINSTONETimes may change but as Bulgari’s new exhibition proves, the allure of the world’s finest jewels endures. Kendall Jenner wears a Gucci coat, dress and belt. Make-up from Estée Lauder, starting with Illuminating Perfecting Primer and Double Wear Nude Cushion Stick Radiant Makeup; on cheeks, Pure Color Envy Blush in Blushing Nude; on eyes, Pure Color Envy Sculpting EyeShadow 5-Color Palette in Defiant Nude and Sumptuous Knockout Defining Lift and Fan Mascara; on lips, Pure Color Envy Sculpting Lipstick in Insatiable Ivory. Fashion editor: Paul Cavaco Photographer: Patrick Demarchelier Hair: Didier Malige Make-up: Diane Kendal Manicure: Megumi Yamamoto OCTOBER2016 32 OCTOBER 2016
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- 42. BENHASSETTPHILIPSINDEN STEVENVISNEAU ® OCTOBER2016 VOGUE RACING 99RIDINGHIGHActress TessaJames is back in the acting field. 102BESTINSHOWVogue has your racing fashion schedule covered. 108TAKINGTHEREINSHorseracing’s leading lady Francesca Cumani. 112ONTRACKTake note from the designers who know best about wearing a winner this racing season. 114GOLDSTANDARDFinishing touches in gilt matelassé. VOGUE CODES 118TECHITTOTHELIMIT A digital revolution is ripe for women to boost their presence in the technology realm. 122DIGITALSAGEFour women immersed in technology share their career stories, passion for the industry and hopes for the future. 129START-UPCENTRALSan Francisco seems to draw as many would-be digital moguls as it does tourists. ARTS 132ONTOPOFTHEWORLD From the Oscars to Broadway to a new Tiffany & Co. campaign, Lupita Nyong’o paves a diverse path. 136TELLINGTALESSinger/songwriter Holly Throsby is weaving stories of a new kind. 138SOUNDSANDVISIONSSpring has sprung in the art world with plenty of exhibitions, theatre, music and movies to take in this month. 144PRETTYGRITTYWhy Downtown Los Angeles is contemporary art’s new hotbed. BEAUTY 157ONLYINLA…The latest health and cosmetic services Los Angelenos are signing up for. 166TAKETWOReimagining Chanel No. 5 is a task perfumer Olivier Polge is taking in his stride. 168BEAUTYBITES ONLY IN LA … PAGE 157 VOGUE.COM.AU 33
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- 45. NICOLEBENTLEYDUNCANKILLICK EDWARDURRUTIA ® OCTOBER2016 STAR GAZING PAGE 288 SUBSCRIBE TO VOGUETURNTO PAGE 178 TO SUBSCRIBE OR RENEW AND RECEIVE A BONUS SELF-TAN * (%# )* *(%0 KINDRED SPIRITS PAGE 254 LOVE IS HERE TO STAY PAGE 192 172THEMANFROMNARSAs one of the world’s leading make-up artists, François Nars has seen it all, and he’s documented it in his new book. 174MILKITMilk-based formulations that assist in your pursuit of flawless skin. 176JOINTHECLUBThe rise and rise of wolf-pack workouts designed to keep you motivated to exercise. FASHION 182LEADEROFTHEPACK Kendall Jenner is the go-to for the millennial generation. 192LOVEISHERETOSTAYA festival of sounds, band to band, tent to tent, good music all the way … Splendour in the Grass, Vogue style. 236DIALITUPIncrease the volume, add that little bit extra and stand out. FEATURES 218SONOFTHEBRUSHGallerist Tim Olsen gives a rare insight into his father John Olsen’s powerful ability and influence. 224THEWAYOFGRACE One of the biggest changes in legendary stylist Grace Coddington’s career signals a new, uncharted chapter in fashion. 230PERFECTHARMONYFive musicians, five fabulous Gucci looks. 250RAREBIRDSOutsiders in the fashion world, the sisters behind American label Rodarte continue to galvanise the industry. 254KINDREDSPIRITSRising Australian stars Tilda Cobham-Hervey and Eamon Farren on their new film Girl Asleep and their close friendship. 258CATCHTHEMIFYOUCAN Chasing virtual Pokémon characters has gripped the nation. 260IMMORTALBELOVEDThanks to companies better known for IT than wellbeing, immortality could be merely an algorithm away. 282 WHERE TO BUY 283 HOROSCOPES 288 LAST WORD 36 OCTOBER 2016
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- 49. ® EDWINA McCANN EDITOR-IN-CHIEF editor@vogue.com.au DeputyEditor 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 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 KAILA D’AGOSTINO 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) ANDREA HORWOOD-BUX (West Coast) NATASHA INCHLEY (Fashion) EMMA STRENNER (Beauty) EDITORIAL ADMINISTRATION AND RIGHTS Digital Assets and Rights Manager TRUDY BIERNAT Commercial Director, Lifestyle PAUL BLACKBURN National Sales and Strategy Director, Style NICOLE WAUDBY (02) 8045 4661. Heads of Brand Strategy, Style MERRYN PEARSE (02) 9288 1090 JANE SCHOFIELD (02) 8045 4658. NSW Group Sales Manager CHEYNE HALL (02) 8045 4667. NSW Key Account Managers KATE CORBETT (02) 8045 4737. CATHERINE PATRICK (02) 8045 4613. ELISE DE SANTO (02) 8045 4675. Digital Brand Manager ADRIANA HOOPER (02) 8045 4655. NSW Campaign Implementation Manager KATE DWYER (02) 9288 1009. NSW Account Executives, Style TESSA DIXON (02) 8045 4744. CHARMAINE WU (02) 8045 4653. Victoria Sales Director, Style KAREN CLEMENTS (03) 9292 3202. Victoria Group Business Managers WILLIAM JAMISON (03) 9292 2749. BETHANY SUTTON (03) 9292 1621. Victoria Account Executive, Style KIERAN FANKHAUSER (03) 9292 3203. Victoria Campaign Implementation Manager REBECCA RODELL (03) 9292 1951. Queensland Commercial Director, Lifestyle ROSE WEGNER (07) 3666 6903. Classified Advertising REBECCA WHITE 1300 139 305. Asia: KIM KENCHINGTON, Mediaworks Asia. (852) 2882 1106. Advertising Creative Director RICHARD McAULIFFE Advertising Creative Manager EVA CHOWN Advertising Creative Producers JENNY HAYES YASMIN SHIMA Creative Services Senior Art Directors CARYN ISEMANN KRISTYN JENKINS ROHAN PETERSON Advertising Copy Editors ANNETTE FARNSWORTH BROOKE LEWIS Production Manager MICHELLE O’BRIEN Advertising Production Coordinator CARINA NILMA General Manager, Retail Sales and Circulation BRETT WILLIS Subscriptions Acquisition Manager MELISSA BLADES Subscriptions Retention Manager CRYSTAL EWINS Digital Director JULIAN DELANEY Senior Product Manager CASSANDRA ALLARS Product Manager TINA ISHAK Platform Manager DAVID BERRY Digital Art Director HEIDI BOARDMAN Marketing Director – Lifestyle DIANA KAY Marketing Manager MELISSA MORPHET Brand Manager MAGDALENA ZAJAC Event Marketing Manager BROOKE KING Events Manager DANIELLE ISENBERG Marketing Executive RACHEL CHRISTIAN Sponsorship Manager, Style ELLE RITSON Senior Commercial Manager JOSH MEISNER Chief Executive Officer NICOLE SHEFFIELD Director of Communications SHARYN WHITTEN Group Publisher – Lifestyle NICK SMITH VOGUE AUSTRALIA magazine is published by NewsLifeMedia Pty Ltd (ACN 088 923 906). ISSN 0042-8019. NewsLifeMedia Pty Ltd is a wholly owned subsidiary of News Limited (ACN 007 871 178). Copyright 2016 by NewsLifeMedia Pty Ltd. All rights reserved. 2 Holt Street, Surry Hills, NSW 2010. Tel: (02) 9288 3000. Postal address: Vogue Australia, NewsLifeMedia, Level 1, Locked Bag 5030, Alexandria, NSW 2015. Email: editvogueaust@vogue.com.au. Melbourne office: HWT Tower, Level 5, 40 City Road, Southbank, Victoria 3006. Tel: (03) 9292 2000. Fax: (03) 9292 3299. Brisbane office: 41 Campbell Street, Bowen Hills, Queensland 4006. Tel: (07) 3666 6910. Fax: (07) 3620 2001. Subscriptions: within Australia, 1300 656 933; overseas: (61 2) 9282 8023. Email: subs@magsonline.com.au. Subscriptions mail: Magsonline, Reply Paid 87050, Sydney, NSW 2001 (no stamp required). Website: www.vogue.com.au. Condé Nast International JONATHAN NEWHOUSE Chairman and Chief Executive NICHOLAS COLERIDGE President Condé Nast Asia Pacific JAMES WOOLHOUSE President JASON MILES Director of Planning VOGUE.COM.AU Printed by Offset Alpine Printing, 42 Boorea Street, Lidcombe, NSW 2141 under ISO 14001 Environmental Certification. Offset Alpine is committed to environmental improvement by using environmental management systems, continuously introducing environmental initiatives and benchmarking to globally recognised standards and monitoring. Paper fibre is from PEFC-certified forests and controlled sources. 40 OCTOBER 2016
- 53. editor’sLETTER 44 OCTOBER 2016 NICOLEBENTLEYASGERAASKOVMORTENSEN helast time I attended Splendour in the Grass was some years ago, but I don’t recall it being nearly as fashion fabulous as our senior fashion editor Kate Darvill has imagined it in this month’s feature shoot, from page 192. Our team travelled to the legendary music festival to capture the essence of the rebellious and celebratory nature of it, which is so in tune with the fashion of this season. Music and fashion have been happy bedfellows forever, but frankly I’ve never seen the combination look so good. Don’t miss the portraits of a number of talented artists who agreed to be photographed backstage by Vogue alongside Australian model Charlee Fraser, who is making a name for herself on international runways. In another perfect marriage of music and fashion, we profile five young Australian musicians who are lucky enough to be blessed with both beauty and incredible musical prowess, from page 230. Gucci creative director Alessandro Michele is a fan of breaking the rules and celebrating a quirky individualism. There’s almost a spiritual freedom that these artists and the designer share, and so it made sense to photograph them in Gucci’s latest resort collection, which was shown in a renegade manner in Westminster Abbey in London earlier this year. As this issue unfolded, it became a riot of colour led by social media and modelling phenomenon Kendall Jenner, who was styled by Paul Cavaco for our cover on which she splendidly sits wearing Gucci’s new bohemian cool. This season’s collections invite us all to break out of black as we head into our Australian summer. T V Charlee Fraser in “Love is here to stay”, turn to page 192. Alexander McQueen jacket, dress, and earrings.
- 55. editor’sLETTER 46 OCTOBER 2016 PATRICKDEMARCHELIERJAKETERREY EdwinaMcCann Editor-in-chief The prints and bold colour combinations of the new looks sit perfectly next to the painterly genius of John Olsen. As John’s retrospective exhibition opens at the National Gallery of Victoria this month, his son Tim, a friend of mine and Vogue’s, and talented gallerist in his own right, writes poignantly and beautifully about life growing up with his artist father. We also celebrate the creative genius of Grace Coddington whose contribution to the pages of US Vogue over the past three decades and British Vogue before that as a stylist, and originally as a model, are unsurpassed. Her vision is now being lent to Tiffany Co.’s creative direction, too. This month we will be hosting our first Vogue Codes summit over two days in Sydney. It is designed to provoke debate and actions to make a career in technology more fashionable among women. In Australia, women founded only four per cent of tech start-ups, and make up only 28 per cent of the technology workforce. It’s estimated that there will be 100,000 new jobs created in the technology space over the next five years and women will be unable to equally benefit from these new opportunities if we do not see significant change. Every career will be touched by technology and yet the number of women graduating with a computer science degree has halved in the past decade. It’s simply not acceptable. So come along and listen to our keynote speakers and panels, or join the debate on our social media channels or on Vogue.com.au. Be part of the move to empower more women with technology. Kendall Jenner, in “Leader of the pack”, from page 182. Michael Kors coat, pullover, top and skirt. Gucci looks in “Perfect harmony”. See page 230.
- 58. S P RI N G 2 0 16 B Y R O N B A Y S E A F O L L Y. C O M . A U w e l c o m e t o
- 59. vogueVOX In the USA:Condé Nast Chairman Emeritus: S.I. Newhouse, Jr. Chairman: Charles H. Townsend President and Chief Executive Officer: Robert A. Sauerberg, Jr. Artistic Director: Anna Wintour In other countries: Condé Nast International Chairman and Chief Executive: Jonathan Newhouse President: Nicholas Coleridge Vice Presidents: Giampaolo Grandi, James Woolhouse, Moritz von Laffert, Elizabeth Schimel Chief Digital Officer: Wolfgang Blau President, Asia-Pacific: James Woolhouse President, New Markets and Editorial Director, Brand Development: Karina Dobrotvorskaya Director of Planning: Jason Miles Director of Acquisitions and Investments: Moritz von Laffert Global President, Condé Nast E-commerce: Franck Zayan Executive Director, Condé Nast Global Development: Jamie Bill The Condé Nast group of brands includes: US Vogue,VanityFair,Glamour,Brides,Self,GQ,GQStyle,TheNewYorker, Condé Nast Traveler, Allure, Architectural Digest, Bon Appétit, Epicurious, Wired, W, Golf Digest, Teen Vogue, Ars Technica, Condé Nast Entertainment, The Scene, Pitchfork UK Vogue, House Garden, Brides, Tatler, The World of Interiors, GQ, Vanity Fair, Condé Nast Traveller, Glamour, Condé Nast Johansens, GQ Style, Love, Wired, Condé Nast College of Fashion Design, Ars Technica France Vogue, Vogue Hommes International, AD, Glamour, Vogue Collections, GQ, AD Collector, Vanity Fair, Vogue Travel in France, GQ Le Manuel du Style, Glamour Style Italy Vogue, L’Uomo Vogue, Vogue Bambini, Glamour, Vogue Sposa, AD, Condé Nast Traveller, GQ, Vanity Fair, Wired, Vogue Accessory, La Cucina Italiana, CNLive Germany Vogue, GQ, AD, Glamour, GQ Style, Myself, Wired Spain Vogue, GQ, Vogue Novias, Vogue Niños, Condé Nast Traveler, Vogue Colecciones, Vogue Belleza, Glamour, AD, Vanity Fair Japan Vogue, GQ, Vogue Girl, Wired, Vogue Wedding Taiwan Vogue, GQ Mexico and Latin America Vogue Mexico and Latin America, Glamour Mexico and Latin America, AD Mexico, GQ Mexico and Latin America, Vanity Fair Mexico India Vogue, GQ, Condé Nast Traveller, AD Published under joint venture: Brazil: Vogue, Casa Vogue, GQ, Glamour, GQ Style Russia: Vogue, GQ, AD, Glamour, GQ Style, Tatler, Condé Nast Traveller, Allure Published under licence or copyright cooperation: Australia: Vogue, Vogue Living, GQ Bulgaria: Glamour China: Vogue, Vogue Collections, Self, AD, Condé Nast Traveler, GQ, GQ Style, Brides, Condé Nast Center of Fashion Design Czech Republic and Slovakia: La Cucina Italiana Hungary: Glamour Iceland: Glamour Korea: Vogue, GQ, Allure, W, GQ Style Middle East: Condé Nast Traveller, AD, Vogue Café at The Dubai Mall, GQ Bar Dubai Poland: Glamour Portugal: Vogue, GQ Romania: Glamour Russia: Vogue Café Moscow, Tatler Club Moscow South Africa: House Garden, GQ, Glamour, House Garden Gourmet, GQ Style The Netherlands: Glamour, Vogue Thailand: Vogue, GQ, Vogue Lounge Bangkok Turkey: Vogue, GQ, Condé Nast Traveller, La Cucina Italiana, GQ Style, Glamour Ukraine: Vogue, Vogue Café Kiev Vogue Australia Subscription rate for 12 issues post paid is $82 (within Australia). Copyright © 2016. Published by NewsLifeMedia. All rights reserved. Reproduction in whole or part without permission is strictly prohibited. NewsLifeMedia is a licensed user in Australia of the registered trademarks VOGUE, VOGUE LIVING and GQ and has been granted the exclusive right to use those trademarks in relation to magazines published by NewsLifeMedia by the proprietor of the trademarks. Printed in Australia by Offset Alpine Printing. Distributed by Gordon and Gotch Australia Pty Ltd, tel 1300 650 666. SEBASTIANKIMJUSTINRIDLEREMMASUMMERTON CRYSTAL CLEAR Vogue.com.au spent a week exploring the world of crystals, chatting to Miranda Kerr. “I’m loving this new crystal kick Vogue is on,” said Annette Williams on Facebook. Missed crystal week? See hashtags #vogueaustralia and #crystalweek for more. @VogueAustralia Instagrammed the portrait series of Olympians from the August issue, photographed by Justin Ridler. “This is stunning. The lighting, the composition, the tones,” said @alexandra_arielle_photo on athlete Kelsey-Lee Roberts. Sporting success the model and the shot” – @Meika_wagner_rebel73 on Instagram. Lily Donaldson in Rio. Feeling reflective on @glossier The actress and singer was a hit on our cover. “Such a beautiful photo shoot,” wrote @ekl99swift on Instagram. “Obsessed with this cover,” said @offdutybeauty on Instagram. “Feeling the need to buy this issue. Nice cover for my collection,” wrote Wyne Barba on Facebook. “Vogue Australia always has the best people,” said @ilaayda61 on Instagram. 60 MILLION 96 MILLION 61 MILLION 45 MILLION followers on Twitter #SelenaGomez has more than 13 MILLION posts on Instagram 50 OCTOBER 2016
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- 61. 52 OCTOBER 2016 vogueCONTRIBUTORS MACLAYHERIOTRIKKIKEENEELIZABETHLIPPMANCAROLINEMCCREDIE TIMOLSEN For this issue, Tim Olsen has written the moving piece about his father, John Olsen, “Son of the brush”, on page 218. On the upcoming exhibition of his father’s work at Melbourne’s NGV, Tim says: “Each painting is like listening to a different piece of music, which transports me to that place in time.” photo shoot, from securing photographers to reserving flights. Shooting on location can be especially tricky. “We started working on Splendour two months prior,” she says. “It was a logistical challenge, but lots of fun.” See the outcome of Osland’s careful coordination in “Love is here to stay” from page 192. PAUL CAVACO Paul Cavaco has styled everyone from our October cover girl Kendall Jenner, to Madonna. “Kendall loves modelling and is a hard worker,” he says. We just had to ask Cavaco about styling Madonna’s famous Sex book: “It was hilarious and naughty. Aside from being a brilliant performer, she’s an amazing model.”
- 67. The tide isturning. The sun is high in the sky. And Martin Grant is enjoying letting the sight and the sound of the sea engulf him. By Alison Veness. Styled by Philippa Moroney. Photographed by Hugh Stewart. Martin Grant 58 OCTOBER 2016 vogue180º GROOMING:NADINEMONLEY
- 68. ven though hehas been living in Paris for a few decades now, Martin Grant is an Aussie alright. We managed to catch him on a rare visit to Sydney for the launch of the Qantas pilot’s uniforms, which he redesigned. If you look at this photograph you will see the miasma of the heat rippling off the sand as he stares across the Pacific to the horizon. We think he is contemplating, enjoying this rare moment of escapism, a beautiful nothingness, a joy and a certain solitude that is only possible right here. We see him much like a Max Dupain figure: perfectly still, in the midday sun, stretched out on his deckchair, under a sunshade captured in his secret spot … He likes to get away from it – the constancy of designing collections, the hum of his own mind that is so crowded with clever ideas and wonderful dresses and funny thoughts. He can be wildly improper, we think, flirting with danger, but he is the man who can, and does, and so we sit on the sand in total stillness on this side of the world with him. ■ E VOGUE.COM.AU 59
- 73. 1300 36 4810 MontblancBohème Day Night
- 74. triding and trickedout with trinkets of miniature books, keys and roses, it was as though the Prada women were so obsessed with these found objects they had strung them around their necks, off their belts, on and around their clothes. “Everything is symbolic. It is like a collage of what is happy or painful, of whether you are feeling beautiful or horrible, when you have love or no love,” says Miuccia Prada backstage at the Prada autumn/winter ’16/’17 show. “I thought of someone who has all the clothes she’s ever had on the floor in front of her in the morning, and she must choose how she’s going to assemble herself.” These vagabonds, as Miuccia calls them, might have uncovered these trinkets on their wayward travels, arranging their collections on their bodies to tell tales of their adventures. S We are what we choose to obsess, collect, and wear this season. By Zara Wong. DOLCEGABBANAA/W’16/’17 PRADAA/W’16/’17 LOUISVUITTONA/W’16/’17 MARYKATRANTZOUA/W’16/’17 ▲ MAISONMARGIELAA/W’16/’17 CHRISTIAN DIOR RINGS, $630 EACH. MARNIA/W’16/’17 VOGUE.COM.AU 65
- 75. COAT COUP Consider thisa call up: the military coat has broken rank and gone wayward, restructuring itself to loosen its shape, elongate at the hem and get roughed up at the edges. Wrap up and run away. IT IS THE ACT OF SELECTING, GATHERING AND ORGANISING THAT SEPARATES COLLECTABLES FROM THINGS CHRISTIAN DIOR SHOES, $2,250. GIVENCHYA/W’16/’17 MARCJACOBSA/W’16/’17 At Paris fashion week. Alexa Chung in London. On the streets of Milan. In Milan. Collecting is about more than mere stuff. “The artist is a collector,” explains Austin Kleon, adding: “Hoarders collect indiscriminately, artists collect selectively.” Today, the collecting of images happens on Instagram, music on smartphone playlists. The curation says more about us than single choices. The great collectors of history include Rudolf II, the Holy Roman Emperor in the 16th century, whose Kunstkammer had archaeological relics alongside furniture and antique manuscripts (he also collected exotic plants and animals for his gardens) – a broad expanse of taste and knowledge. And collecting need not be exclusive to the aristocratic or wealthy. Dorothy and Herb Vogel – a librarian and a postal clerk – amassed one of the most important collections of modern American art in the 20th century, stored under their bed and around their one-bedroom New York apartment. It is the act of selecting, gathering and organising that separates collectables from things. Taking a leaf from the Alessandro Michele-for-Gucci book of pastiche econtextualising (for autumn/winter ’16/’17 he looked to graffiti street art and Catherine de’ Medici, for starters), the woman this season assembles herself from her collection of objects from art and travels. There were Egyptian relics and iconography at Givenchy, translated into geometric patterns layered with the Eye of Horus, and at Loewe, models wore oversized resin cat pendants, as though they were hanging choice pieces from their sculpture collection around their necks. All the better to go with their metal and leather bustiers. Just as at Prada, Nicolas Ghesquière’s women at Louis Vuitton were also travellers inspired by finds. “We had an idea of this trip, of a woman who could be a digital heroine, like Tomb Raider, when she discovers an archaeological site,” he said after the show. Burberry’s energetic textural clash suited the label’s signature British quirk, as if Christopher Bailey had rifled through a treasure chest of old fabrics, drawing upon recollections of the past. The juxtaposition of tchotchkes that evoke the past and the present, here and away, create the complex weave of fashion today. Mixing up what is found – fabrics and vestures – is a pastiche of symbols and recollections; it’s the meaning we imbue objects with. And having ownership of these objects is an act of remembering. As philosopher Walter Benjamin best surmises: “Every passion borders on the chaotic, but the collector’s passion borders on the chaos of memories.” ■ 66 OCTOBER 2016 VOGUE MOOD
- 77. Off the clock Whenoff duty your attireshould denote ademeanour as breezy asthe slip. Espadrilles anda carryall telegraph do-not-disturb vibes. After eight The slip dress in its natural sartorial habitat is brought tolife with minimal extras. A glint of gilded jewellery and a vampy stiletto are the only company needed. That tissue-thin sliver of a thing, the slip dress, is worth obsessing over, as proved by its 24/7 versatility. Nine to five Structured tailoring provides the template to be apropos at the office. A slip slinking beneath a blazer avoids being risqué if paired with a crisp cotton shirt. CHANEL EARRINGS, $960, FROM THE CHANEL BOUTIQUES. BURBERRY BAG, $1,195. CÉLINE EARRINGS, $690. A.P.C. SNEAKERS, $240, FROM WWW.MATCHES FASHION.COM. 3X1 JACKET, $1,000, FROM WWW.EDWARDS IMPORTS.COM. LOUIS VUITTON BAG, $5,000. CHLOÉ SHOES, $595, FROM WWW. STYLEBOP. COM. OLE LYNGGAARD BRACELETS, FROM TOP, $2,350, $,2,250 AND $2,350. Slip service JOHNGALLIANOA/W’16/’17 CHRISTIAN DIOR BAG, $6,300. SAINT LAURENT BLAZER, $3,490. PATEK PHILIPPE WATCH, $35,400, FROM J FARREN-PRICE. Getting inearly Dialling down the diaphanous factor is a must for early morning engagements. Play it casual in relaxed codifiers, denim and sneakers. MARCO DE VINCENZO SHOES, $935, FROM WWW. NET-A-PORTER.COM. VICTORIA BECKHAM GLASSES, $535. 68 OCTOBER 2016 VOGUE MOOD WORDS:ALICEBIRRELLPHOTOGRAPHS:INDIGITAL ALLPRICESAPPROXIMATEDETAILSLASTPAGES
- 79. 70 OCTOBER 2016 GETTYIMAGESINDIGITALEDWARDURRUTIA ©GUIDOHARARI/CONTRASTO/HEADPRESS MiucciaPrada’s fashion brilliance is well documented, but on release of her new scent, the designer details her love affair with fragrance. By Remy Rippon. Vapour trail ON FRAGRANCE VS FASHION … “Perfume is much more difficult because it obliges you to be even more honest. In fashion, you can play because you have so many more occasions and a variety of ways to express. With perfume, I get so nervous about it: you can’t play. You can’t be smart or funny; it is what it is. You have to go to the core.” LA FEMME PRADA EDP, 100ML FOR $195. VOGUE MOOD 1 2 3 5 6 ON HER FIRST SCENT … “The first perfume I tried was based on this one [Shelley Marks fragrance]. I went to a man with a piece of the bottle and told him what I remembered about it, what was in my imagination. I tried to translate the memory of that perfume. And actually that was my first fragrance: Prada Amber.” ON THE CHALLENGES … “What I think is most difficult – and it’s why at the beginning of my career I didn’t want to do perfume – is that I was afraid of the advertising. That’s because you have to reduce the whole fantasy of the perfume down to an image. To define it in such a way is really difficult. In fashion, it is about this person, somebody who might change and who you can change very often. But with perfume you have to give the impression of a whole world. And that is nearly impossible.” ON CREATING LA FEMME … “In general, I like strong fragrances. And the quality has to be good. There is an element of no compromise. In perfume, quality is particularly important. Because it’s that smell, or it just doesn’t work.” ON WHOM SHE HAD IN MIND WHEN CREATING NEW SCENT LA FEMME … “I believe in individuality and I never had an icon that was a woman. I like many different men and women, but an icon of style? No, never. Actually, I hate the idea.” ON HER FIRST FRAGRANCE MEMORY … “I remember being about 16 and my friend’s mother had this really incredible perfume. I was obsessed with this perfume. I would go to her home and smell it in the bathroom. It was from a little artisanal shop on Madison Avenue that no longer exists called Shelley Marks. I had other perfumes, but with that one I really fell in love.” 4PRADAA/W’16/’17 PRADAA/W’16/’17 PRADAA/W’11/’12 Miuccia Prada in 1998 at the VH1 Fashion Awards.
- 81. ou have tobe careful about dropping the A-bomb into conversation. Casually inquire after someone’s star sign at a party, or blame a missed email on Mercury in retrograde and you make a dangerous gamble. For some, it will be a bit like announcing you own everything Justin Bieber has ever recorded, or declaring that the earth is flat. The evangelical atheist Richard Dawkins reckons astrologers should be prosecuted. But he would. He’s an Aries. Few would say they believe in astrology, exactly … it’s more like a guilty pleasure, an irrationality of choice. Clearly it’s ridiculous to contend that an ancient Babylonian interpretation of the movement of the heavens, filtered through a bit of new age pop psychology, might govern our innermost desires. Scientists don’t take horoscopes in the least bit seriously. But lost souls do, more and more. Astrology is ascendant in a way that may seem surprising in our binary, utilitarian age. Celebrities are extolling the virtues of the stars with increasing abandon. Lena Dunham recently announced: “Yes, you can be a very serious and substantial woman and also allow the planets to rule your soul!” Cara Delevingne (Leo) has a tattoo of a lion on her hand; Rita Ora (Sagittarius) has a bow and arrow behind her ear; Rihanna (Pisces) has two fish on her neck. Yet perhaps this makes sense: famous people often feel at the mercy of forces they can’t control. Meanwhile, a new generation is using the stars to chart their course through an increasingly uncertain world. “It’s not a niche market but a cultural movement,” according to Aliza Faragher, co-founder of the Los Angeles-based dating app Align, which makes matches according to astrological compatibility. Indeed, from stargazing retreats in Tulum to Gemini hate-memes on Tumblr (many stemming from the fact that Donald Trump is a Gemini) and the growing trend for biodynamic food “grown and harvested according to the phases of the moon,” all things cosmic are being redefined. How else to explain the six million visitors to Astrologyzone.com each month, the website of America’s most popular astrologer, Susan Miller? “Astrology is wildly popular with millennials,” Ruby Warrington, British journalist and founder of the website The Numinous, tells me on the phone from New York, where she’s now based. The site specialises in “modern cosmic thinking”. “As our lives become more entwined with technology and we outsource the job of knowing ourselves to our apps, devices and machines, a space is being created for a deeper investigation about what it really means to be human,” she says. The Numinous offers advice on how to cope with the Mercury retrograde (the thrice-yearly phenomenon where the transit of the messenger planet spells earthbound calamity) alongside articles on jewellery Y There’s a new constellation of astrology gurus in the ascendancy. Richard Godwin charts their influence. DRIESVANNOTENA/W’16/’17 DRIESVANNOTENA/W’16/’17 ALEXANDERMCQUEENA/W’16/’17 R+CO OUTER SPACE FLEXIBLE HAIRSPRAY, $42. VALENTINOA/W’16/’17 Writtenin the stars 72 OCTOBER 2016 VOGUE MOOD
- 82. look. The locationsof objects in the cosmos each influence a different aspect of your character. Your sun sign governs your identity, your rising sign is the face you present to the world (and your fashion sense), your moon sign represents your more hidden emotions, and so on. For some, seeing a high-end astrologer like Faulkner at Soho House is slightly less burdensome than seeing a shrink and often as beneficial. The practice is also gaining intellectual respectability, claim married astrologers Quinn Cox and Stella Starsky. He is a puckish Libran, formerly a journalist; she is a sensual Capricorn, formerly a buyer at Dries Van Noten. Together they now run a private cosmic consultancy in Boston for clients including Harvard professors and Wall Street investors. “They’re sophisticated, they’re unembarrassed and they tend to be ambitious,” says Cox. The pair don’t approve of “playing God” and making predictions for people’s futures, which they see as exploitative. “We prefer to use it as a tool for greater self- awareness, perhaps in addition to cognitive therapy or meditation,” says Starsky. They developed their “sexy-smart” style by making charts for friends after fashion shows, and went on to publish the cult bestselling book Sextrology (truly, an indispensable guide to human weirdness). Their main innovation is to divide the signs into male and female, and in place of the vague language of newspaper horoscopes, they are unnervingly specific, right down to physical details and sexual peccadilloes: Cancer males have womanly hips, Leo women like to go on top, Virgo men are highly controlling, and so on (it gets filthier). “We maintain that our book can be read cover to cover as a story of human nature,” says Starsky. “These are characters in a mythical archetypal story. I think younger generations see that more readily than those into their granny’s astrology.” Scientists, of course, consider astrology a pseudoscience, as it begins with a premise and then seeks evidence to back it up, making it susceptible to confirmation bias. We see what we want to see in it. And as even Cox admits: “After every session we look at each other as if to say: ‘I have no idea why this works.’ I just know that once you buy into the idea of this thing being real, there are rules, everything is interrelated, and it’s always right.” But even with my confirmation-bias goggles on, I find it hard to get past the embarrassingly accurate description of me in Sextrology. (I’m Cancer male, Aries moon, Virgo rising, since you ask.) My habit of flipping my feet when I wake up in the morning, my loping gait, my pathological need for female approval. “It’s you, it’s definitely you,” confirms my Aquarian wife, who otherwise considers astrology the pinnacle of narcissism. And when I supply Starsky and Cox with my full birth chart for a Skype consultation, I do begin to fear drowning in my own watery reflection. They tell me all sorts of things about myself: how the Mercury- Sun conjunction in my 10th house means writing is the perfect designers and orgasmic meditation workshops. “I see all things numinous as the missing pieces to the wellness craze that’s sweeping the world,” she says. “You can drink green juice and do all the yoga you want, but if you’re not addressing your emotional and spiritual wellbeing, too, it will have very little lasting impact.” The Numinous marks a shift away from astrology’s more naff associations. Now, it speaks to meditation, mindfulness, and a wider “consciousness” movement, used less to predict the future and more as a means of understanding those endless subjects of fascination: ourselves. “Having a birth chart made is personal to you,” says Carolyne Faulkner, astrologer for Soho Houses around the globe. “It maps the positions of the sun, moon, planets and other celestial objects when you were born. No-one in the world has the same one.” Faulkner is the go-to woman for singers, actors and creative types who regularly fly her around the world to dispense one-to- one cosmic advice. And, as she explains, there’s a lot more to it than with the newspaper horoscopes – as with molecules (and also Scientology) it all becomes more complicated the more you ALEXANDER MCQUEEN CLUTCH, $5,790. MEADOWLARK NECKLACE, $705. VALENTINOA/W’16/’17 RODARTEA/W’16/’17 ▲ VALENTINO DRESS, $2,820, FROM WWW. MATCHESFASHION. COM. Crystal- gazing from British Vogue, September, 1932. VOGUE.COM.AU 73 GEORGEHOYNINGEN-HUENEINDIGITAL ALLPRICESAPPROXIMATEDETAILSLASTPAGES
- 83. career for me,but that a Saturn-Jupiter opposition in my first house means I am always torn between conforming to the rules and colouring outside the lines. Am I too much or not enough? This is apparently a powerful dynamic for me. There are things about my mother, too, and teenage depression, and then something “leaps out” at them. “When you were about 19 there’s something totally left of field that happened that you’ve never been able to explain …” says Cox. Erm, maybe the never-to- be-repeated gay relationship I had when I was a student in France? “Okay! Well, yes!” I never tell anyone about this, I say, not because I’m ashamed but because it just seems like it happened to a different person. “You need to embrace it as part of your healing,” Starsky tells me. “It’s not about the thing itself, sex or anything like that,” says Cox. “It’s about the part of you that was available to that. It was the: ‘Who am I?’ in that situation.” They advise me to read “Self-reliance”, a 1841 essay by Ralph Waldo Emerson, and move to LA. I come away feeling dizzy, elated. Perhaps this is what comes with finally being understood! Perhaps I’m giving myself licence to express this now as Starsky says I need to stop retreating into my cerebral comfort zone and start following my instincts! Later, I have a comedown. Doesn’t everyone undergo some sort of transition at 19 or 20? Why did I confess that? But wasn’t their advice actually quite insightful? Wise even? I’m torn between wanting to confess more and more and feeling that this inward journey is dangerous and solipsistic. My Jupiter-Saturn playing up again. But as a system of identity, astrology chimes with many modern modes of thinking, bypassing the politics of ethnicity, gender, social class, religion and age. Astrology is also redemptive and non- judgemental, a way of legitimising “you’re weird”. Meanwhile, the fact that science-minded types find it so appalling makes it all feel quite subversive, in the way of wearing a tutu to a football match. AS A SYSTEM OF IDENTITY, ASTROLOGY CHIMES WITH MANY MODERN MODES OF THINKING ALEXANDERMCQUEENA/W’16/’17 GUCCI BAG, $4,235. R+CO MOON SHINE CONDITIONER, $36. BROOKE GREGSON CAPRICORN NECKLACE $2,280. One of my favourite astrologers is Victor Vazquez (aka rapper-artist-novelist Kool A.D.), whose hip-hop horoscopes for Paper magazine are mocking and deadly serious at the same time. “I believe in astrology, as much as, like, anything else,” he tells me. “I find its sort of outsider status among academics pretty attractive. Mysticism finds its way into everybody’s thinking whether we’re conscious of it or not.” Astrology’s popularity with a generation that has grown up Googling everything makes hella sense, as Kool A.D. might say. All you need is someone’s birthday, and ideally their precise time and place of birth, and you can log on to Alabe.com and call up a sort of Wikipedia page of their soul. “This represents a hugely empowering shift away from the astrologer as a guru figure, placing the answers firmly in the hands of the individual,” says Warrington. Our online interactions are mediated by the great gods of big data in any case, and archetypes aren’t so different from algorithms. (“If you liked this Taurus, you might also like these Capricorns!”). They’re also a lot more, well, human. Why is my boyfriend such a control freak? He’s a Virgo. Why is the world so messed up at the moment? Mercury is in retrograde. And without discounting the influence of genetics and culture and education and so on, is it really so implausible that the time of year that you were born has some influence on your character? The moon governs the tides and creates tiny signatures in the form of pearls – moon-like emanations formed by the sea washing over oyster beds. Pretty! Might it not have some tiny effect on our moods, too? But then you reach the limits of the theory. The idea that Pluto, a minuscule rock 4.5 billion miles away, has any effect on our actions is absurd. But, as Albert Camus argued, only by recognising the absurd can you be free. In his autobiography, Speak, Memory, Vladimir Nabokov relates an episode that I have always found instructive. When he was a young boy, his father took him to say how- do-you-do to a famous general. The military man shows him a trick, arranging some matches in the shape of a boat, but then an aide-de-camp interrupts. The Russo-Japanese war has broken out and the general is needed at the front. Nabokov never sees the end of the trick. Many years later, his father is fleeing the Bolsheviks when a peasant approaches him at a railway station and asks for a light. It turns out to be the general in disguise. The meeting itself isn’t of much interest to Nabokov. “What pleases me is the evolution of the match theme … the following of such thematic designs through one’s life should be, I think, the true purpose of autobiography.” And of life itself, perhaps? These thematic designs run through all of our lives, irrespective of who or what we think is doing the designing. Consciousness is the gift that allows us to notice these signs and symbols. It’s one of our highest callings, therefore, to train our senses and faculties to appreciate them all the more, from the tiniest pearl to the phases of the moon. Jung referred to astrology’s “synchronicity principle” – its meaningful coincidence. He did not believe that the planets literally cause us to act in certain ways. But they do provide a set of coordinates that allow us to slip out of the world of emails and alarms and into the realm of myth and poetry. It doesn’t have to be empirically true. It doesn’t even need to signify anything. Perhaps it just needs to be beautiful. ■ 74 OCTOBER 2016 VOGUE MOOD INDIGITAL ALLPRICESAPPROXIMATEDETAILSLASTPAGES
- 85. SWALLOWS MOON PHASES EVIL EYE TEAPOT PANTHER BUTTERFLIES SERPENT FLAMINGOS GUCCIA/W’16/’17 PRADABAG, $4,370. ALEXANDERMCQUEEN A/W’16/’17 MARYKATRANTZOUA/W’16/’17 GUCCIA/W’16/’17 GIVENCHYA/W’16/’17 MIUMIUA/W’16/’17 DOLCEGABBANAA/W’16/’17 ALEXANDER MCQUEEN CUFF, $555. ALEXANDER MCQUEEN BROOCH, $455. 76 OCTOBER 2016 VOGUE MOOD INDIGITAL
- 87. What’s it liketo be a twentysomething today? Here’s a window into this generation’s psyche in all aspects of life. This is your life RELATIONSHIPS Dating is best done in summer. Rooftops and outdoor venues have more exit options than the lengthy winter dinner. Our friends met on Tinder, but they had friends in common anyway, so why delay the inevitable? Everyone hates the “what are we?” conversation. Weddings are fun but it’s hard to imagine going from multiple dates to venue hire anytime soon. Couples have a hard time wrestling with the morals of the wedding tax every vendor slaps on their services when they know nuptials are involved. When 30 looms, we’ll nevertheless pay up. BEAUTY AND HEALTH We reject contoured Instagram selfies but stop-start YouTube make-up tutorials to get ready for espresso martinis on a Saturday night, before regretting that we pre-booked a Sunday morning aerial yoga and post- workout green juice, which looks better than it tastes. We try fitness trends as often as we change our cotton Calvin Klein underwear (thank goodness for ClassPass) and feel somewhere between inadequate and inspired into a daily fitness regimen by #transformationtuesday Instagrams. Some days that motivation will only go so far as donning Lululemon tights and heading to the farmers’ market. Technology The phone is the new car because now it’s our smartphones that provide us with the ease of getting about, of keeping in contact and staying social. We’ll be the first to claim we’re not really addicted to technology – except for the daily instances of checking our emails then falling into a two-hour Instagram stalking hole. We haven’t updated our Facebook status since our parents joined and Snapchat is mildly amusing. We know social media is self-curated, but regardless we’re still willing to comply with it. 78 OCTOBER 2016 VOGUE MOOD
- 88. SHOPPING We have justabout as many options on our Net-a-Porter wish list as we do tabs open on our iPads. Back-in-stock updates litter our work inbox (the new Re/ Dones will be sold out by the time we check our personal Gmail). We sit in bed late and trawl Instagram for new labels until our eyes begin to water and it’s 1am. There’s nothing like buying something overseas so no-one has it back home, and physical stores are the only way to go if it’s jeans or swimwear we need. Topshop and Zara offer instant hits. STYLE Our big-ticket items are accessories like a Chanel quilted handbag or a Balenciaga leather jacket. We’re told we need to invest in our clothes, but chain stores are far too fun. Even when we found ourselves accidentally dabbling in normcore – unironically – we are still finding our style personalities. We’d like to think we’re unique and that our choices reflect what we’re like. Some of us may have reached the stage where we think we need to dress our age, or project our professional aspirations, but when we’re still paying rent or living with our parents it’s hard to define what dressing like a grown-up really is. HOUSING Because social media is all-pervasive, interiors are a must-do hobby, but to make our living quarters Instagram-able we decorate as we dress: mixing Tom Dixon and Thonet with Ikea and Muji. We talk about housing prices with friends and congratulate the few who are new homeowners, knowing most of them had help from parents (we rarely talk about that). Living with parents was a way to save for the deposit, and those who rent know the joys of share houses. Some of us returned home. Those who have bought don’t live in their places and rent them out to make repayments, but at least they’re on the property ladder. Holidays The gap year is part of Australian lore, and if we didn’t make it happen the year we left school we still think it’s something we are entitled to do. Our island location stimulates a hunger for the peripatetic life. We Airbnb when we go away to counterbalance the financial sting of a holiday, some of which, try as we might, ends up on credit. We’ve been to Asia and are saving for New York. If that doesn’t happen we’ll probably end up in New Zealand or Hawaii. Our friends keep telling us we have to see Japan. appalled if restaurants don’t split bills, but accept credit card surcharges – few of us carry cash. CAREER We told ourselves we weren’t going to work in offices, and here we are. Some of our friends have moved overseas. It sounds glamorous, but they’re doing more of the same. Others have quit the cubicle life for the start-up life, regaling us about it with smug smiles. We were told we could be whatever we wanted, but our HECs debts say otherwise. Down time It’s all about finding somewhere new to humblebrag about – a new bakery with farm-to-table produce, a bar that distils its own whisky. We save long-form articles from the New Yorker to read later, but end up finding ourselves on Buzzfeed or watching a Tastemade video. No-one will ever admit to not knowing about the politics both in Australia and the US even if you have a passing knowledge at best. Everyone has a faux-intellectual opinion on Brexit. VOGUE.COM.AU 79 WORDS:ALICEBIRRELLREMYRIPPONZARAWONG PHOTOGRAPHS:INDIGITAL
- 89. For Aje designerEdwina Robinson her core piece, a leather jacket, taps a personal duality. “I’m petite and quite feminine and there is something about the weight and toughness of leather that adds a sense of strength,” says Robinson who owns eight. “I am stronger on the inside than I look on the outside.” “It’s a comfort blanket. Knowing something will work,” says model and actress Dree Hemingway of her fearlessly faithful style. She revisits grey cashmere knits and vintage jeans ad infinitum. “You miss out on the exploration of a different style but I never regret it.” For those afraid of uniformity, contributing British Vogue editor Laura Bailey, also a steadfast denim die-hard, finds expression within the confines of her beloved staples. “Ever- evolving styles – like Levi’s embroidered and cropped updated 501s – feed my desire for the new,” she explains. “The pull of denim for me is also attached to the allure of icons like Lauren Hutton and Debbie Harry, plus a romanticism of America, cowboys and road trips.” Recurrent pieces allow eclectic dresser Pandora Sykes to colour within the lines without getting stuck in a cycle of ■ T On repeat HIT LIST Vintage shirts are on call constantly for Pandora Sykes. 80 OCTOBER 2016 KRISTAANNADAISYHOFSTETTERLEWISKAYLAPERKINEVAKSALVIINSTAGRAM.COM/ DREELOUISEHEMINGWAYINSTAGRAM.COM/VERONIKAHEILBRUNNER VOGUE MOOD
- 99. Designer Michael Kors ?B5GB9D97G1B4B?25 31CC93C 14 G8I G5 554D? 694 D85 6E 961C89? 1719 By Zara Wong. Classic DEB FACTS AND FIGURES WHAT GOES INTO MAKING A RUNWAY LOOK. 70 HOURS to make a feather- embellished tweed coat. 2,230 BEADS for a mini-dress. 5,000 FEATHERS for the cocktail dress. 560 HOURS to make sequinned pants. A mink coat is patchwork, not dyed. 82 OCTOBER 2016 VOGUE MOOD
- 100. lake Lively ison the front row of Michael Kors, looking how you would expect Blake Lively to look at New York fashion week, pushing through the morning winter blizzard in a sequined sheath gown and a coat. Sequins for daytime? Sure, why not? In Kors’s world, it’s cropped denim strewn with crystal and feather frippery, or as seen here in the pages of Vogue, the street- sport shape of a zip-up hoodie made in luxurious tweed – with a matching skirt to finish. “Brocade to the office, sweatshirts at night – I don’t think my customers pay attention to time of day either,” says Michael Kors in his midtown New York office. It’s a comment on how women are dressing today, and the ethos of his show – wardrobe classics elevated. That elevation is achieved by way of textures and fabrics that epitomise the fun and frivolity of fashion, such as ostrich feathers, furs and sequins. Within his witticisms and quick quips lies a designer who explores season after season how women want to dress – it’s themselves, but better. “Look at Jackie Kennedy – everyone says she was so consistent, but she actually went through lots of changes in how she dressed, changing proportions and lengths, always clean lines and never a lot of print or pattern.” He’s cracked the code of how to identify a sense of style. “And the reality is in today’s world everyone’s a movie star, because everyone has too 1,800 FEATHERS for the skirt. 4,000 FEATHERS for an extravagant evening dress. 1,300 OSTRICH FEATHERS for the jeans. 2,100beads for the evening pants. 36,000 CRYSTALS BEADS for the finale brocade dress. “I FEEL LIKE WE’VE FORGOTTEN THE WORD CHARMING. AND FLIRTY … WHY NOT HAVE A LITTLE FUN?” ▲ VOGUE.COM.AU 83 B FASHIONEDITOR:PHILIPPAMORONEY PHOTOGRAPHS:DUNCANKILLICKGETTYIMAGES INDIGITALHAIR:DIANEGORGIEVSKI MAKE-UP:MOLLYWARKENTIN MODEL:RUBYCAMPBELL
- 103. 86 OCTOBER 2016 VOGUEMOOD PHOTOGRAPHS:OLIVERHADLEEPEARCHSITTINGSEDITOR:KARENKAISER HAIR:ILKERAKYOLMAKE-UP:SUSIESOBOLDETAILSLASTPAGES Join the clanRising design star Sander Lak brings his impressive fashion CV to the new It label Sies Marjan. By Sarah Mower. ver since that freezing day during February’s New York fashion week when a bundled-up audience had their pulses raised by the first sight of the Sies Marjan collection, the early spotters have been practising their pronunciation. It will be essential to get it right, after all, when you murmur a subdued “Sies Marjan” to the umpteenth admirer who wants to know who made the prettily twisted floral-sprigged dress you’re wearing. “It’s Sees Mar-jahn,” says Sander Lak with a direct smile and an untraceable English-European accent. “It’s my parents’ first E All clothes by Sies Marjan. ▲
- 104. WOLFORD BOUTIQUE, 15Collins Street, Melbourne, Ph 61 3 9650 1277 WOLFORD by APPOINTMENT, MO - FR, 96 Toorak Road, South Yarra, Ph 61 3 9820 0039 · www.wolfordmelbourne.com
- 105. 88 OCTOBER 2016 VOGUEMOOD OLIVERHADLEEPEARCH names together.” The gangly-limbed creative director of Sies Marjan, his shirt perpetually half tucked in, is a former head of design at Dries Van Noten, which partly explains the clamour surrounding his debut in the crumbling splendour of the art deco penthouse of Tribeca’s 100 Barclay building. A faded landmark currently under renovation, the space made an almost symbolic setting for Lak’s tousled-romantic aesthetic, a line-up of intricately cut spiralling dresses, slouchy pants with cargo pockets, skinny-sloppy knits and falling-off- the-shoulder drapery, all spiked with a brilliantly offbeat sense of colour. Lak himself – Dutch by birth, with a childhood spent in Borneo, Malaysia, Gabon, Scotland and Amsterdam before he completed his studies at Central Saint Martins – comes across as a kind of world citizen, his arrival unfettered by notions of national borders and business shibboleths of how clothes should be designed and marketed. “I don’t see age or skin or culture as any sort of category,” he says. “I’m trying to create my own culture, a clan.” Like Demna Gvasalia at Vetements and Balenciaga – albeit with a diametrically different aesthetic – Lak belongs to the rising generation of designers who have spent the past decade or so working in the back rooms of big fashion houses and are now emerging in their own right. Turning up at a time when the fashion scene is pretty much in chaos only adds to their feeling of opportunity. “That’s what’s amazing!” says Lak. “It feels like there are no rules now, that nobody can say what’s right anymore. We can do it our way.” His way is at once grounded, spiked with humour and a passion for quirky colour, and marked by total precision. “I started by looking at old clothes; the cargo pants came from thinking about what the cool girls, who I could never be friends with, wore when I was in high school in Amsterdam in the 90s,” he says, laughing. “Then I look at colours individually, fine-tuning them. And we really worked on fabric: a jacquard with a mountain scene, an old-school Fortuny fabric that was very difficult to make, and a flower print like a cheap shower curtain.” The resources, along with the rare luxury of time to put all that together, come from the fact that Sies Marjan is an enterprise backed by financier Howard Marks and his wife, Nancy, who headhunted Lak to take over the studio and the sewing atelier once occupied by the Chado Ralph Rucci collection. “We needed a year to build a campaign and a culture, to work out what is our basic fit, the scale of sizing and proportion,” Lak says. “Normally you design something and figure that out later, after the samples are made.” Lak’s talent extends to a gift for interior design. The wall opposite the elevator at the Sies Marjan studio has been hung with 20th-century amateur portrait paintings, and he’s decorated the vast salon-like reception areas with brilliantly upgraded furniture – a couch re-covered in fluffy white shearling with pink fake-fur cushions tossed on it, a 70s glass table – and banks of bookshelves. “I love fake versions of iconic furniture. I bought a fake Ludwig Mies van der Rohe chair in a terrible plastic and had it reupholstered in carpet,” he says. “I’ve got a leather couch with fake- and real-fur pillows. And plants; I have to have plants.” Lately he’s been working overtime in New York putting his new Chelsea apartment together. “I’m so excited: I’m going to live in an old ballroom! My first grown-up apartment!” There’s just one other thing Lak is looking forward to. Unfazed by the sudden acclaim, and the whirl of Sies Marjan being instantly snapped up by retailers (Barneys New York and Matchesfashion.com among them), he says that “the best moment will be when I see someone in the clothes; someone who I don’t know, who has spent her own money. I’m going to walk up to her and just say: ‘Thank you.’” ■ “WHEN I SEE SOMEONE IN THE CLOTHES, I’M GOING TO WALK UP AND SAY: ‘THANK YOU’” Sander Lak in his Manhattan apartment, with accents including an original Hans Wegner chair and vintage lamp from 1stdibs.
- 106. THE NEW MINICONVERTIBLE. STAY OPEN. TURN HEADS IN A BREEZE.
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- 109. recious antique jewellery,love-worn, cared for and treasured isn’t anything new. It doesn’t signal an exciting new tremor in fashion or a seismic shift, and it won’t have Instagram influencers hyping its arrival in Australia. But for an archivist enmeshed in 132 years of history, new discoveries are not only a result of putting together an exhibition spanning more than 80 years, but also a stirring and serendipitous journey. “There are always surprises in this job,” explains Bulgari’s brand and heritage curator Lucia Boscaini, who cites as an example a rare Bulgari tiara the house had presumed lost. “We knew that a couple of very important earrings of Elizabeth Taylor’s were purchased at a Christie’s auction by a museum in Doha, so for this exhibition we approached them. We discovered that decades ago they acquired a very rare and precious Bulgari tiara dated 1925 to 1930,” she says. “We had only heard of this tiara in platinum and diamonds. We didn’t have any idea it would still be around, let alone that it was in a museum.” The intricate piece will make its display debut in Australia, never before seen alongside the 80-plus-piece collection that opens at the National Gallery of Victoria in Melbourne on September 30. Italian Jewels Bulgari Style will allow audiences a likely never-to-be-repeated look at the jeweller’s rich and meticulously preserved archives – in part because sourcing some of the priceless pieces means synthesising loans from myriad private collections and museums worldwide and, if needs must, returning them promptly afterward to their rightful homes. Being able to do this, Boscaini says, requires skills akin to a detective. “I always feel like the Sherlock Holmes of antique jewellery,” she says laughing. For Bulgari, this includes documenting as many purchases as possible, leaning on personal relationships with clients built through generations, stalking the sales catalogues of prestigious auction houses lest a rare piece P Times may change but as Bulgari’s new exhibition proves, jewels endures. By Alice Birrell. Etched in stone BULGARI HERITAGE COLLECTION GOLD SAUTOIR SET WITH YELLOW AND BLUE SAPPHIRES, AGATE, CITRINES AND DIAMONDS. BULGARI HERITAGE COLLECTION GOLD NECKLACE, 1967, SET WITH RUBIES, SAPPHIRES, EMERALDS AND 22.5 CARATS OF DIAMONDS. BULGARI GOLD SNAKE BRACELET AND WATCH, 1965, WITH DIAMOND- SET EYES. BULGARI GOLD MELONE EVENING BAG, 1980, SET WITH SAPPHIRE THUMBPIECE. BULGARI HERITAGE COLLECTION GOLD PENDANT EARRINGS, 1967, SET WITH RUBIES, EMERALDS, SAPPHIRES AND 7.5 CARATS OF DIAMONDS. BULGARI HERITAGE COLLECTION TUBOGAS GOLD CHOKER, 1980. Sophia Loren Keira Knightley wearing vintage Bulgari (and below) at the 2006 Academy Awards. 92 OCTOBER 2016 VOGUE MOOD IMAGESCOURTESYOFBULGARI ▲
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- 111. they come toour store in north London, it could highlight an important antique jewel.” Beyond the jewels themselves, Boscaini hopes the exhibition will also reveal the romance of the personal minutiae running through the house’s history. The multibillion dollar company – bought in 2011 by LVMH for US$6 billion – was built on Italian amicizia; friendship. The descendants of founder Sotirios Voulgaris (Italianised to “Bulgari” after moving to Rome from Greece in 1881), Gianni, Nicola and Paolo Bulgari, established a level of service that blurred the line between friend and shop owner and set an admirable benchmark in the 1950s and 60s. Taylor, along with legendary actresses like Anita Ekberg, Ingrid Bergman, Audrey Hepburn and Gina Lollobrigida, frequented the brand’s Via dei Condotti store in down time between filming at the famed Cinecittà studios with iconic directors like Federico Fellini and Michelangelo Antonioni. As a result, many Bulgari pieces – be they bought by paramours or purchased on an actress’s salary – wound up on screen. Taylor wore Bulgari in The V.I.P.s, Boom! and Ash Wednesday, among others, and famously on the set of Cleopatra. Actresses showcased their new purchase in a way that isn’t seen much today due to the roles of Hollywood stylists and costume designers. Wittingly or not, those actresses immortalised love affairs, scandals and the spoils of being A-list on screen. The Bulgari signature – unhampered creativity, a flair for colour and hunger for innovation – was forged in parallel with the hotbed of creativity that was Cinecittà in the exuberant post-war years. To examine these pieces up close is to take in first-hand a multi-faceted piece of history. There are the tremblant brooches, so-called because of the complex springs that house the diamonds, allowing them to quiver prettily; the monete, robust gold chains inlaid with ancient coins as homage to Roman roots; and decadently coloured parures – a set designed to be worn together – like the raspberry and blue cabochons of rubies and sapphires clustered on a weighty necklace dated 1967, then worn by Keira Knightley at the 2006 Academy Awards. That fascination with celebrities and the way they chose to accoutre their lives endures, and is something Boscaini and the NGV curators understand. Via photographs, film and the pieces themselves, Italian Jewels reminds us that those twinkling orbs on stars, who are so often broken down by social media, restore a certain old-world mystery to their demeanour, even if just for a brief moment. Boscaini hopes attendees will discover this. “It is written in the word, because in Italian gioelli is jewellery and happiness is gioia – joy, so happiness is the root for jewels. That’s what I believe has to be the measurement of achievement that we get through this exhibition; that people will feel joyful.” Faced with jewels of immeasurable value, it would be impossible not to. Italian Jewels Bulgari Style, September 30 to January 29, 2017, at the National Gallery Victoria. Visit www.ngv.vic.gov.au. SERVICE THAT BLURRED THE LINE BETWEEN FRIEND AND SHOP OWNER BULGARI GOLD BRACELET, 1960, SET WITH SAPPHIRE SAND DIAMONDS. BULGARI GOLD NECKLACE, 1973, WITH GOLD COINS DATING FROM THE 16TH CENTURY. WORN BY ANNE HATHAWAY ON THE RED CARPET. BULGARI GOLD NECKLACE, 1975, SET WITH ROMAN IMPERIAL CORNELIAN, NICCOLO, JASPER AND SARDONYX INTAGLIOS. ABOVE: BULGARI HERITAGE COLLECTION GOLD FLOWER BROOCH, 1945, SET WITH SAPPHIRES, RUBIES AND DIAMONDS. BULGARI PLATINUM TREMBLANT BROOCH, 1958, SET WITH 46.5 CARATS OF DIAMONDS. 94 OCTOBER 2016 VOGUE MOOD IMAGESCOBULGARI
- 113. 96 OCTOBER 2016 INSTAGRAM.COM/KACYHILLWARD+KWESKIN Redhot ou don’t have to be tuned into the giant pop machine or follow shows like The Voice and X-Factor to know that becoming the Next Big Thing is not an easy road. More often than not, the winning recipe involves talent, tenacity or luck (and a lot of it). In Kacy Hill’s situation, a talented, tenacious, Los Angeles- based musician who has gone from Kanye West’s backup dancer and model to musical protégée, she’ll be the first to admit that she is luckier than most. Warm and animated, with translucent, freckle- adorned skin and a sharp, flame-toned bob, this Arizona-born singer, whose style can be described as “Gucci-esque” (though she is a face of the Calvin Klein autumn/winter ’16/’17 campaign) has the kind of pinch-me backstory many musicians would sell their soul at the crossroads for. After moving to LA and picking up a steady stream of American Apparel modelling work, Hill was clocked by West’s artistic collaborator and choreographer, celebrated artist Vanessa Beecroft, and cast as a “backup model”, a non-dancing dancer, for the Yeezus tour. “I learned a lot from working with Vanessa,” she says. “She’s unapologetic and I think that’s what it takes to be an assertive female in the world. Kanye is similar; they’re both very much Y Kanye West’s latest protégée and a new face of Calvin Klein, former backup dancer and model Kacy Hill tells Noelle Faulkner what she learned from Yeezus and why she’s much more interested in other people. VOGUE MOOD about believing in yourself and your ideas.” Inspired, Hill, who had just started making her own music, quit after one leg to focus on fine-tuning her own output, from her sound to her songwriting and style. “I think what I’ve taken from working with artists like Vanessa and Kanye is knowing your idea is worth something and that you’re of value,” she says. Hill must have made an impression, because West soon got wind of her ethereal-pop side-hustle and the 22-year-old then found herself in Atlantic City signing on the dotted line with G.O.O.D Music (Getting Out Our Dreams), West’s record label. This musical foray into soaring falsettos, intelligent phrasing and cinematic-like spaces (not unlike Banks, FKA Twigs, James Blake and Låpsley) is not the singer’s first – Hill was a classically trained oboe player from childhood. “I wasn’t really happy [just playing the oboe],” she says. “But the moment I combined my love of writing and music, I knew what I needed to be doing. I think classical gave me a better ear and taught me the foundations for music, it’s just that songwriting is more intuitive.” Set to drop her debut album any day now, Hill’s process is full of intent and is directly inspired by old journal entries, experiences and her LA surroundings – what you hear is what she sees. “I’m really interested in people,” she muses. “I’m an avid people-watcher. That’s what inspires me the most – everyday human life. Especially the American dream, suburban stuff.” Which LA lends itself quite well to. “It really is insane the amount of people here who are following a dream, or searching for a break – there are so many stories,” she shrugs. “It sounds so silly, but I just think listening to someone else’s story is just the most beautiful, romantic and inspiring thing – that’s what I like: existing.” ■ Kacy Hill’s debut album will be released in October through G.O.O.D Music/Def Jam/Universal Music Australia. “I’M AN AVID PEOPLE- WATCHER. THAT’S WHAT INSPIRES ME THE MOST” Clockwise from left: Kacy Hill; with Kanye West; modelling for Calvin Klein; in California.
- 115. JOIN VOGUE ANDA TEAM OF GLOBAL INDUSTRY EXPERTS TO FIND OUT HOW YOU CAN PLAY A PART IN THE DIGITAL REVOLUTION. VOGUE HOW WOMEN CAN BE EMPOWERED BY TECHNOLOGY CODES VOGUE INVITES YOU THE FIRST-EVER VOGUE CODES SUMMIT: INTERNATIONAL SPEAKERS PANEL DISCUSSIONS PRESENTATIONS FRIDAY, OCTOBER 14, 2016 8:30AM-5:30PM LEVEL 28, WESTPAC, 200 BARANGAROO AVENUE, BARANGAROO, SYDNEY SPACES ARE LIMITED BOOK NOW VOGUE.COM.AU/VOGUECODES EDWINA MCCANN, editor-in-chief, Vogue KATHRYN PARSONS, co-CEO, Decoded AMBER VENZ BOX, president, rewardStyle ZARA WONG, content strategy director, Vogue
- 116. VOGUE.COM.AU 99 HAIR:DIANEGORGIEVSKIMAKE-UP:MOLLYWARKENTIN ALLPRICESAPPROXIMATEDETAILSLASTPAGES Actress Tessa Jamesis right on track in the acting field. By Jane Albert. Styled by Philippa Moroney. Photographed by Duncan Killick. Riding high vogueRACING Tessa James wears a Gucci dress, $2,965, and shoes, $2,235. Nerida Winter hat, $165, from a selection at Myer. Longines watch, $2,075, worn throughout.
- 117. Greatest hits DUNCANKILLICK ALLPRICESAPPROXIMATEDETAILSLASTPAGES VOGUE RACING herewas plenty of darkness while Tessa James was undergoing invasive treatment for Hodgkin’s lymphoma, but there was also the odd moment of levity. A particular favourite was the day James implored her husband, Nate Myles, to go horse riding with her. The actress has had a lifelong affinity for horses, a result of her upbringing in semi- rural Victoria where she regularly attended pony club. When she was diagnosed in 2013, she found herself drawn to horses once more, discovering they brought her some peace. One of her goals during treatment was to go riding with Myles, only to have him refuse point blank, the result of a nasty childhood encounter. “When I wasn’t well I had a list of fun things to do, as I’d go for treatment every two weeks and for five days I’d feel awful. I said I wanted to go and ride horses, as they’re known for being therapeutic and healing. But he said he wouldn’t do it. I made him come with me, but he wouldn’t even go up to the horse and pat it!” James did manage to help Myles overcome his fear of horses, but the sight of the muscular professional rugby league player sitting rigid with fear while being led slowly on a rope still makes her giggle. Her love of horses had another upside: earlier this year she was invited to help launch luxury watchmaker Longines’s new equestrian collection and was flown to the Royal Ascot races in England and Chantilly in France for the Prix de Diane, as a guest of Longines. Life has only improved for the screen actor, who became a household name after joining the cast of Home and Away when she was only 16. She has made her longed-for move into film, initially with a small cameo on the local bachelors and spinsters farce, Spin Out, starring Xavier Samuel and co-directed by comedian Tim Ferguson; and recently spent two weeks in her other home, LA, shooting her first American film, You’re Gonna Miss Me, a comedy starring Morgan Fairchild. “It was surreal, because I’d never worked there before so to be on my way to a set, after everything I’d been through, was an emotional, exciting experience. It probably wasn’t as glamorous as I’d imagined, but that’s fine … one day,” she says. James and Myles, a prop with the Manly Sea Eagles, are used to spending time apart since purchasing an apartment in LA, where James is based three or four months of the year. “People find it strange but it’s just something we’ve always done,” the 25-year-old says. “We know we’re young and at that point in our lives when it’s important to do what we love.” A dedicated, disciplined actor, James undertakes regular training. She’s recently taken workshops with legendary US acting coach Larry Moss and The Actor’s Studio method coach Elizabeth Kemp. Her dream is to do theatre, but also admits to an obsession with fashion. “If I wasn’t an actress I’d love to be a fashion editor. I’ve bought magazines ever since I could. I love Vogue. I love the touch and feel of magazines,” she says, citing Michael Lo Sordo, Christopher Esber, Ellery and Dion Lee as favourite local designers. “As an actress, you get dressed by certain people and I never felt I came across as the person I was inside. So I’ve made a conscious effort to find designers who do express that for me.” ■ T 100 OCTOBER 2016
- 119. 102 OCTOBER 2016 VOGUERACING STYLIST:MONIQUESANTOS PHOTOGRAPHS:GETTYIMAGESGEORGINAEGAN PRICESAPPROXIMATEDETAILSLASTPAGES Derby DayTake advantage of the classic colour combination by throwing caution to the wind with textural choices. Vogue has your racing fashion schedule covered. Best in show N ER. HATMAKER HEADBAND, $990. CHRISTIE MILLINERY HEADBAND, $825. SASS BIDE JACKET, $590, FROM A SELECTION AT MYER. CHANELA/W’16/’17 MATICEVSKI SKIRT, $990, FROM A SELECTION AT MYER.
- 121. 104 OCTOBER 2016 VOGUERACING GETTYIMAGESINDIGITAL ALLPRICESAPPROXIMATEDETAILSLASTPAGES Melbourne CupMake the day count in either paintbox brights or throwback tropics. MATICEVSKI DRESS, $1,600, FROM A SELECTION AT MYER. PETER LANG CUFF, $129, FROM MYER. BOSS HEADBAND, $220. GUCCI SHOES, $775. ROSANTICA HAIR CLIP, $280, FROM WWW.NET-A- PORTER.COM. ALTUZARRA BLAZER, $1,985, FROM WWW. NET-A-PORTER.COM. ANN SHOEBRIDGE HEADBAND, $370, FROM A SELECTION AT MYER. CHRISTIAN LOUBOUTIN BAG, $2,135. FENDI SUNGLASSES, $710. PRADAA/W’16/’17 SALVATOREFERRAGAMOA/W’16/’17 GIVENCHYA/W’16/’17
- 122. the essence ofcaviar introducing skin caviar essence-in-lotion Gentle, yet highly effective, extravagant, yet essential, rich with caviar water, it will become the first transformative step of your daily lifting and firming ritual. There is nothing else like it, so beneficial to your skin, so sophisticated, so utterly precious. You will discover that the missing link to ultimate skincare, was the very first step: Skin Caviar Essence-in-Lotion.
- 123. 106 OCTOBER 2016 VOGUERACING GETTYIMAGESINDIGITAL ALLPRICESAPPROXIMATEDETAILSLASTPAGES -Q
- 124. M QCelebrate thewaning spring season with garden party style. MELISSA JOY MANNING EARRINGS, $5,635. CHRISTIE MILLINERY CROWN, $555. MARNI DRESS $3,320, FROM WWW. NET-A-PORTER.COM. BONDI HAT, $75, FROM MYER. MICHAEL KORS EARRINGS, $200, FROM MYER. FENDI BAG, P.O.A. MIU MIU SHOES, $1,840. ZIMMERMANN DRESS, $950. AQUAZZURA SHOES, $890. PIPER HAT, $70, FROM MYER. CHRISTIANDIORA/W’16/’17 TOMMYHILFIGERA/W’16/’17 Veruschka in a 1969 issue of Vogue, photographed by Franco Rubartelli. Audrey Hepburn in 1955. )Q
- 125. M QThink golden sandtones for a chic update. MICHAEL KORS GLASSES, $329, FROM MYER.
- 126. Step: 2 TREAT Step: 4 PERFECTMOISTURISE LaPrairie Skin Caviar Liquid Lift, $670. La Prairie Skin Caviar Luxe Cream, $550. La Prairie Skin Caviar Concealer Foundation SPF 15, $275. Step: 1 PREPARE La Prairie Skin Caviar Essence-in-Lotion, $300. YOUR FOUR VIAR RITUAL Be ready to face the day by treating onic La Prairie Skin Caviar Collection. THE NEW SKINCARE STEP THE TRANSFORMER La Prairie Skin Caviar Essence- in-Lotion is simple to use: twice a day, place a few drops into the palm of your hand, smooth over the complexion and then gently massage in. This preps the skin and helps to enhance the effectiveness of the treatment products that follow. LA PRAIRIE’S LAVISH SKIN CAVIAR ESSENCE-IN-LOTION IS THE FIRST STEP TO FIRMER, SMOOTHER SKIN. Perfectly smooth, youthful-looking skin is your best accessory this spring/summer. Now, Swiss skincare company La Prairie promises achieving this doesn’t have to be complicated – it’s just a matter of adding the new step of a treatment essence to your skincare routine. The newly released light yet powerful Skin Caviar Essence-in-Lotion is the luxury brand’s first treatment essence. It’s specially formulated with an exclusive caviar water and precious caviar extracts to help give you skin that looks firmed and lifted. La Prairie Skin Caviar Essence-in- Lotion is in stores this month. Meet the new must-have from La Prairie that promises supercharged skin. VOGUE PROMOTION For more information, visit www.laprairie.com.au. Beauty booster
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- 129. 110 OCTOBER 2016 VOGUERACING PHILIPSINDEN ALLPRICESAPPROXIMATEDETAILSLASTPAGES rowing up in one of Europe’s racing dynasties, there was never any doubt that Francesca Cumani would follow in her family’s footsteps. Now calling Australia home, Cumani is one of our top horse-racing personalities and an avid supporter of women in racing. Her career achievements read like a rollcall of racing accolades: successful TV commentator for Channel Seven’s equine events; host of CNN’s Winning Post, a documentary-style segment that took her all around the world; and now ambassador for Magic Millions, a new role that will see her getting back in the saddle, albeit for something slightly different. The 2017 Magic Millions event will introduce polo for the very first time, with an exhibition match between ambassadors Cumani and Zara Phillips, the equestrian champion Royal, and some of the best players in the world, including American Nic Roldan, Argentinian Alejandro Novillo Astrada and Cumani’s husband, Australian polo champion Rob Archibald. “It’s actually a lot harder than it looks,” Cumani says earnestly. “You have to be seriously fit and it takes a lot of skill. I think polo has an image of being totally glamorous, with people drinking G Giorgio Armani jacket, $4,500, and skirt, $3,500. Tredstep boots, $550, from Horse-in-the-box. Hair: Jonathan Dadoun Make-up: Yvette Yvette Production: Romain Violleau champagne and wearing white jodhpurs, but I’ve realised through Rob that there’s a lot of hard work that goes into it.” It’s been a while since Cumani has ridden, however, as she recently took time off to welcome new son Harry, now six months. “My life has completely changed – becoming a parent definitely makes you a lot more selfless and really changes your perspective on life. You put someone else first all the time; they become your priority,” she says with a smile. “But I think it’s important to have a bit of balance – as much as I love being a mum, I don’t want to lose myself completely. I’m happy to hand him over to his grandparents or anyone who wants a cuddle so I can have time to do other things.” In person, Cumani’s passion for anything horse- related is obvious – whether it’s the animals themselves, the sports, or the events she regularly attends. She moves with an inherent gracefulness; it’s easy to see why she has become a racing style icon in her own right. “Growing up in England, we have the influence of Royal Ascot where there are actual dress rules. I think racing should be kept like that – it should be demure and chic, less of that nightclub feeling with short skirts and revealing dresses,” she says. “It’s really important to dress to your figure shape. I don’t tend to be someone who follows all the latest fashions – I’d say my style veers more towards traditional, timeless and elegant.” Just like the woman herself. ■ “IT’S ACTUALLY A LOT HARDER THAN IT LOOKS”
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- 131. VOGUE RACING n theworld of fashion, the lines are so frequently blurred that race day dress codes are a welcome hark back to the traditions that kicked off the spring racing carnival. “A race day outfit works best when it’s a contemporary look but follows the rules of the track,” says Karen Walker. Wearing a unique headpiece also gives a nod to history. “They’re the essential accessory come race day, whether you’re wearing a crown, leather headpiece or a back piece,” says milliner Viktoria Novak. Most spring styling advice tells us to experiment within the themes, but that’s not to say you can’t bend the status quo. “It’s not just about dresses. It’s also about tuxedo pantsuits or jumpsuits or dresses over pants – anything goes,” points out Daniel Avakian. Perhaps the only rule worth abiding by is best summed up by Kate Sylvester: “Never, ever wear something if it makes you feel awkward or foolish. You’re stuck in it all day!” I From sleek monochrome to nation-stopping attire, take note from the designers who know best about wearing a winner this spring racing season. “Any r ce day outfit woul be improved with a air of sunglasses.” – Ka en Walker On track STYLING TIPS “Being a long day, opt for something that is well cut that you can easily walk and stand in. It doesn’t mean you have to be boring – go for a vibrant pop of colour and details such as fringing, pleating or a fabric drape.” – Yeojin Bae “I always like seeing a bit of unconventional styling, like a layered look with a dress over trousers and a great blazer on top.” – Daniel Avakian “It’s important to keep a strong sense of personal style and to have an element of currency – a mid-length skirt is on trend and also race appropriate.” – Edwina Robinson of Aje “Often outfits have too many i eas. I’m all for one point of view r ther than a whole lot of ideas sl mmed into one look.” – Karen alker “A red lip is always the best accessory.” – Yeojin Bae “A acket thrown ver the shoulders.” – Edwina Robinson unblock.” – Kate Sylvester HOW TO USE ACCESSORIES ,Q Q ` QM OFFEY DIGITAL 112 OCTOBER 2016 ELIZABETH ARDEN BEAUTIFUL COLOR MOISTURIZING LIPSTICK MATTE FINISH IN RED HOT, $ M MYER. GENA A SHEER CREEN ON SPF50+, $15. PRADA SUNGLASSES, $320, FROM MYER. 1 2 3 4 LANVINA/W’16/’17 RONALDVANDERKEMPCOUTURE’16 DANIELAVAKIANA/W’16/’17 YEOJINBAEA/W’16/’17 ELIESAABCOUTURE’16 ROKSANDAA/W’16/’17 Backstage at Giambattista Valli autumn/winter ’16/’17. Rodarte autumn/ winter ’16/’17.
- 133. 114 OCTOBER 2016 ARTDIRECTION:DIJANASAVORSTYLIST:MONIQUE SANTOSPHOTOGRAPH:GEORGINAEGAN ALLPRICESAPPROXIMATEDETAILSLASTPAGES Finishingtouches in gilt matelassé could just be your winning ticket. MICHAEL KORS COLLECTION BAG, $2,240, AND SHOES, $1,050. Gold standard VOGUE RACING
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- 137. 118 OCTOBER 2016 n2016, there are several statements that remain undisputed. The fashion industry is excited about Raf Simons’s debut at Calvin Klein, and in turn Maria Grazia Chiuri’s at Dior. Brexit still raises a question mark. And the Sydney property market is simultaneously the most tired conversation topic yet the one that everyone has something to say about. Here’s another one – we’re living in an age of a digital revolution. We’re touching our smartphones more than 85 times a day, which is of course higher than what we all estimate. About 83 per cent of Australia’s population accesses the internet, and technological literacy – while considered a bit of cultural cachet at the moment – will increasingly be required. We’re in an age when a modern supermodel like Karlie Kloss wants to extend her personal brand to go beyond the fashion runway, so sets up Kode With Klossy, a platform of coding camps and scholarships that encourages I Tech it to the limitComputer programming has long been a male- dominated realm. But a digital revolution is ripe for women to boost their presence. By Zara Wong. school-aged girls to learn computer coding. It was a classic smartest-girl-in-the-room move, chosen in lieu of the usual fashion line/beauty brand/memoir route, and it’s actually making a positive difference to the future of girls who look up to the multitasking model. Their involvement is also helping to shift the stigma of coding being something more suited to boys. It’s about time. The STEM industries – that is, science, technology, engineering and mathematics – have startlingly fewer women employed in them, or electing to study these subjects at university level. While there are even fewer people graduating with computer science degrees in the past decade overall, the drop in women graduating with them is even more severe at 50 per cent. There is a perception that STEM subjects are reserved for the boys, and that girls are better suited to right- side brain (artistic) subjects, a damaging stereotype. This untruth GETTYIMAGES
- 138. © 2016 WestpacBanking Corporation ABN 33 007 457 141 AFSL and Australian credit licence 233714. Is Australia’s most future-focused industry backward? Less than 30% of the IT industry is female, but at estpac we think that should be 50%. Want to join us? westpac.com.au/careers
- 139. 120 OCTOBER 2016 isat odds with not only studies today but also the history of technology. Significant figures in tech history are female. Grace Hopper programmed one of the world’s first computers and was influential in the establishment of early computer programming language COBOL. The six all-female primary programmers (Kay McNulty, Betty Jennings, Betty Snyder, Marlyn Wescoff, Fran Bilas and Ruth Lichterman) behind another of the world’s first general- purpose computers, ENIAC, have gone down in computer history. And at the very beginning there was 19th-century mathematician Ada Lovelace, who worked on a machine considered to be the first computer, making her theoretically the world’s first computer programmer. And who said girls were bad at tech? “We as Australian women need to be preparing ourselves for a digital future and the best way to prepare ourselves for that is to actually understand what digital skills we require,” says Anastasia Cammaroto, chief information officer of BT Financial Group, who is speaking at Vogue Codes, a summit held on October 14 in Sydney centred around women in technology and encouraging more females to become more technologically literate. Cammaroto grew up enjoying both the arts and the sciences in high school, interests that were combined in her engineering and later information technology career experiences, which has been both creative as well as closely people oriented. “It is so ingrained in us that boys are better in science and maths when the facts prove that girls are just as good at that, and these myths are playing out and they influence the way we influence our children,” she continues. “I’m fascinated now to see what the next generation of girls is going to be because we’re having conversations now that are saying, ‘You can be anything.’” And as Kloss said to Forbes about her passion for getting girls interested in computers: “I think women are currently an underutilised and poorly supported group of potential employees in an industry that has a widening gap of unfilled jobs. So I think the opportunity is just tremendous.” The diminishing number of people graduating from STEM fields is incongruous in light of the prevalence of technology and digital in the world today. “The world has been changed by technology,” says Kathryn Parsons, co-CEO and co-founder of Decoded, one of the largest technology educators in the world and a keynote speaker of Vogue Codes. “Every single product we use is impacting our behaviour, our lives, and it’s predominantly been encoded in lines of code written by men,” she says. There is a slew of poorly designed products that miss-aim for women: health apps that ignore menstrual cycles, 48 per cent of role-playing video games that have a female character as an option (compared to 98 per cent offering male characters) – incidentally, this video game study was conducted by a 12-year- old girl, further proof that technological expertise need not have an age barrier, either. Men are more often the test subjects of medical trials, which makes medication less safe for women. And, alarmingly, most virtual assistants, like Siri, do not recognise the vocabulary associated with domestic abuse or rape, which will affect one in three women some time in their life. It is also a sad irony that they mostly defaulted to a female voice. Amped-up technological literacy further improves cognisance of how things work around us and exposes one to different ways of thinking and learning. It’s even useful to brush up on terminology to better improve comprehension in tech- related situations, whether it’s being aware of the difference between coding and machine learning or a web-based app versus a native app. And as futurist Marc Goodman, who has consulted for the FBI and Interpol, says: “If you control the code, you control the world.” There is also the obvious benefit of upskilling – but within the actual learning of the technology is the appeal that it is a space with room for creativity and innovation. We need to have the tools and understanding of it to build from it, whether it be web-based software like Canva – whose co-founder Melanie Perkins will also be speaking at Vogue Codes – or for social change. “I want women to be a part of technology and create successful businesses from it,” adds Parsons, who is active within the tech entrepreneur space but concedes there is a long way to go. Currently in Australia, one in four start-ups are founded by women, and of those in the tech space, the number drops to less than four per cent. And it can be a ticket out of the ordinary towards self-made success; the #startuplife is skewed towards comedy, but ultimately portrayed to be something that many are striving towards. High-profile tech stars like Mark Zuckerberg of Facebook or Sophia Amoruso of Nasty Gal are considered role models for a life better worked – and lived. So what are you waiting for? Get with the program. ■ DECODING THE CODE HTML (Hypertext Markup Language) is the language of content used to create web pages or web applications. CSS (Cascading Style Sheets) is the language of design, and used to set the visual style of web pages and user interfaces. JavaScript is a programming language that helps make applications more responsive and interactive. It is used on web pages, widgets, games and more. API (Application Programming Interface) is a set of instructions to interface with a third party service, like Google Maps or Twitter. For more information, go to https://resources. decoded.com/code/. Karlie Kloss GETTYIMAGES
- 140. The world’s thinnestlaptop The New HP Spectre Laptop Reinvent Obsession Do great things.
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- 142. VOGUE.COM.AU 123 The mostingenious and simple business ideas are those that solve your own problems. As a young girl in Dallas, Amber Venz Box yearned for a career in fashion in New York. “Dallas is hours away from New York and not a publishing city, and I didn’t know anyone in New York and had no means of getting there,” she says in her charming Texan accent over the phone from the RewardStyle headquarters, located in her home town. “I was among the thousands of girls who never got that opportunity [to intern in New York’s fashion industry].” At high school, Venz Box began creating and selling her own jewellery, then worked in fashion in Los Angeles and New York. Returning to Dallas, she parlayed her experience and natural taste as a retail buyer and personal shopper into starting a blog. “The blog was meant to be a marketing tool to get more people to use my offline service [as a personal shopper], but whenever I started documenting it, I quickly lost my key customers. I cut myself out of my own business because they could get all the information there,” says Venz Box, now 28. Her boyfriend at the time, Baxter, who is now her husband and co-founded RewardStyle, was at graduate school back then, and between them they devised a link affiliate system that would allow content creators such as Venz Box to receive commission from products they suggested. “Someone asked me recently whether it was scary to start RewardStyle and I said: ‘Honestly, no, because I had literally no money and I was living at my dad’s house and eating cereal, so there wasn’t much lower to go.’” Now, five years on from its launch, RewardStyle has more than 200 employees around the world in five offices and has driven more than US$1 billion in retail sales internationally. It has also moved into the beauty and home space and started Like To Know, which allows Instagram users to receive commission from products they feature on their posts. This September sees the start of a partnership with Google to index social media content. In layman’s terms, that means when using Google, it will bring up content created on social media because the creator of the image, the products within it, the context and how well it performed are all documented, searchable and trackable, thanks to RewardStyle’s technology. Venz Box believes that it’s only in recent months that RewardStyle has been recognised as the powerful tool that it is. “I feel that it’s only this year that RewardStyle has gained mass respect. I’m not mad about this at all; I completely understand that you have to earn your presence,” she says, modestly acknowledging that users and retailers needed time to become educated about their product and their needs. The fashion technologist: Amber Venz Box As the co-founder and president of RewardStyle, one of the world’s largest link affiliate networks, Amber Venz Box has brought technology and fashion together to service millions of people around the world. Digital sageSmart, savvy and inspiring, four successful women immersed in technology share their career stories, passion for the industry and hopes for the future. Amber Venz Box wears a Tibi jumpsuit. Her own rings. Valentino shoes. ▲
- 143. 124 OCTOBER 2016 STYLIST:PETTACHUAHAIR:TAYLORJAMESREDMANMAKE-UP:PETERBEARD PHOTOGRAPH:JAKETERREYDETAILSLASTPAGES VenzBox’s enterprises are among the few that have been successful in bridging the gap between fashion and technology. She knows from her own experience it’s a challenging space. “I’ve seen tech people try to build things for fashion, but there’s too much nuance in fashion for it to work,” she explains. “You have to create something that people need to use instead of want to use [in fashion], and in order to do that you have to actually have worked in the industry.” For the many people around the world who, like Venz Box, have craved a career in fashion, RewardStyle has been able to make it a possibility – even without being in New York. The Dallas location, in fact, helped the company stay in “stealth mode” for longer. “My fear was that if we were in New York where the fashion and tech scene is so huge, we would have had competitors come about earlier who may have given us a run for our money. We’ve been around for five years and there hasn’t been anyone else who has been able to catch up because we’ve had the time to build an ecosystem.” As for content creators, Venz Box wants RewardStyle to be their business tool. “Their core competency is creating beautiful and engaging content and we provide the business relationships and all the technology and business consulting so that they can be successful in creating the content.” She reports that a single style influencer made more than US$300,000 in a week from referring readers to products. “She’s a mum with three kids, so she can stay at home with them … their college education will be paid for. It’s life changing for these people and, honestly, that totally gives me chills.” Zara Wong Alice Brennan had never fancied herself much of a coder. “I had no idea I wanted to do this. I went where the opportunities took me,” says the 28-year-old CEO of software company SettleIn. After graduating from Oxford University with a degree in anthropology and archaeology, Brennan relocated from her native Britain to Japan to help with disaster relief following the 2011 tsunami, a seemingly unlikely catalyst for a career in coding. “We were cleaning out people’s houses and getting them back on their feet, but after a while it was about the mental health of people who had been affected by the tsunami. So then I got interested in psycho-social intervention; how do you support a group of people who have been traumatised in that way?” she explains. “Anthropology is all about human behaviour, so in the digital world it makes a lot of sense to have an anthropology degree because you’re dealing with human behaviour and population on a scale that we’ve never seen before.” It was an unlikely intersection between social responsibility and technology that saw Brennan freelance at digital and humanitarian aid organisations in Australia before recognising the lack of technological innovation within this realm. “What I realised is that you have these incredibly skilled and experienced people who weren’t using technology in the most useful way and it’s just a big wasted opportunity. It could have been more efficient.” And so, in late November last year, Brennan signed up for Techfugees: a two-day hackathon aimed at solving some of the problems refugees face on entry into Australia with a tech- solution. Competing against other teams, Brennan along with her teammates, subsequently won with their innovative software. “The idea my team came up with was goal-setting, because the refugee community is so diverse that you can’t really come up with one solution that will meet everyone’s “IT’S LIFE CHANGING FOR THESE PEOPLEAND, HONESTLY, THAT TOTALLY GIVES ME CHILLS” “I had always been a tinkerer,” says Anastasia Cammaroto, BT Financial Group’s chief information officer, telling Vogue a story about how when she was six years old her parents caught her opening up her broken talking doll to see how it worked. Although she enjoyed literature and writing at school, Cammaroto decided to pursue engineering as a university student, drawn to the field for its “combination of creativity, problem-solving and helping the community”. Since then her expertise has taken her from working at an aluminium smelter in Queensland, to the control room for the Sydney Harbour Tunnel and her current role at BT Financial Group. Had she noticed a smaller proportion of women studying engineering? “Oh, yes, from day one enrolment,” she remembers. “One of the things I started to realise was that as we progressed through the degree, more women started dropping out. They were transferring into business or choosing different areas of study. There were maybe 20 of us that started and maybe 10 of us that finished.” Today, as chief information officer, she oversees 600 people internationally who work together to devise and strategise how technology needs to be developed and improved for both staff and customers. “We have actually understood the way people use technology in terms of solving their goals and what is important to them.” The change agent: Anastasia Cammaroto In her leading role at a top financial company, Anastasia Cammaroto is a strong advocate for gender diversity in the technology field. Thirty-one per cent of the 600 employees are women – a ratio higher than the national IT industry average of 28 per cent but lower than what is desired and a percentage that’s predicted to plummet as fewer women are graduating from IT-related degrees. In an industry that seeks solutions for everyday and big-picture concerns, that’s an issue. “We think about it in averages, so in 600,000 IT professionals, 28 per cent isn’t so bad, but when you think about it in management teams – three women out of 10 – the 28 per cent statistic isn’t so good. It goes back to the question: ‘Why is gender diversity good?’ Because it creates teams where people think differently about problems; they bring their own skills and experiences,” she explains. Cammaroto pinpoints conversations parents and educators need to have with their children. “We pigeonhole kids way too early, and I can see a world where that gap is going to be so much smaller, but I think as parents and teachers we’ve created a self-fulfilling prophecy that says girls are better at humanities. I’m fascinated to see what the next generation of girls is going to be because we’re having conversations now that say: ‘You can be anything.’” ZW The philanthropist: Alice Brennan Bringing her commitment to humanitarian work into the digital space, Alice Brennan demonstrates the power of technology to help improve lives. ▲
- 145. 126 OCTOBER 2016 AliceBrennan wears a Giorgio Armani shirt. Dion Lee pants. The Mode Collective shoes.
- 146. VOGUE.COM.AU 127 STYLIST:PETTACHUAHAIR:DIANADJURDJEVSKI MAKE-UP:PETERBEARDPHOTOGRAPHS: JAKETERREYDETAILSLASTPAGES “I startedCode Club Australia a little more than two years ago – an after-school kids’ club teaching nine- to 11-year-olds the basics of how to build computer games, animations, basically the language of websites and apps. It began as a very practical response to an issue I was hearing over and over again: that we don’t have enough engineers, coders and programmers here in Australia to match the demand for their skills. “After the first few code clubs got set up and I started to meet some of the kids participating, I realised something extra. Of course, coding is an important skill for them to learn for the needs but the one thing that everyone had in common was that they had to achieve things but didn’t really know how to go about it,” says Brennan of the app that allows refugees to input goals – to learn English, join a university, find housing, integrate into their community – and achieve them with the help of a refugee service organisation. Ten months on and SettleIn has successfully transitioned from bright idea to fully-fledged start-up: Brennan now works full-time on the business with the plan to roll out the software to refugee organisations in the coming months. For her, it’s a shift towards diversifying people, opinions and involvement in tech start-ups. “The tech industry gets a lot of flack for being very white, male-dominated and very data- driven and not very diverse. But I think in places where you diversify that, the potential for technology is enormous and the more you get tech into the hands of people who are not your traditional techies, the more exciting things you see,” says Brennan, whose hackathon teammates included those who have endured the process of entering Australia as a refugee. Brennan is also keen to see more women enter the tech industry but reveals that there was one surprising obstacle she faced in her role: deciding what to wear to work each day since clothing is a form of non-verbal communication. “It was a really hard thing to navigate because I’m meeting refugees who are not used to the way women in Australia dress, then I’m heading off to a tech event where if you turn up in something smart they think you’re not going to be innovative,” says Brennan who quickly noticed she was switching between jeans and sneakers and business attire to assimilate into her varied roles. “I had to think really hard about what I was wearing in order to be respectful of the communities I’m working with as well as being taken seriously as a tech person, a CEO, and a young woman.” Remy Rippon The mentor: Annie Parker She has dedicated her career to investing in the future. Not only is she co-founder of start-up accelerator muru-D and founder of Code Club Australia, Parker has also organised Techfugees. Here she describes her passion for mentoring in the Australian start-up space. future, but it also just happens to be life changing. I have endless stories: more and more girls who are embracing what they thought to be a boy’s subject; kids who don’t run fast or catch balls starting to feel like they have other talents and rebuilding their confidence levels; kids with learning disabilities who previously never felt like they fitted in finding that learning to code is like a super power; kids from rural towns in Australia realising that they can create extraordinary things from anywhere; teachers realising that digital skills aren’t as hard for them to pick up as they thought; parents realising that it’s not just important for their kids to learn digital skills, but that they’re also fun.” “I guess that’s why I love the power of technology so much – it’s inclusive, empowering and the possibilities are endless. Imagine if we all took some inspiration from these amazing children and realised that we can all do this too. What futures would we create for ourselves? What amazing ideas do we all have in our minds that we could bring to life? So go on, why not have a go? Maybe you’ll surprise yourself by what you might be able to do.” ■ All the women profiled in this story will be speaking at the Vogue Codes summit in Sydney on October 14. For more information on the event, go to www.vogue.com.au/culture/vogue+codes. Annie Parker wears a Giorgio Armani shirt. Akira skirt. Her own T-shirt.
- 147. N E WPA N D O R A L O C K E T S S T Y L E D B Y YO U Express your unique style with hand-finished lockets made from sterling silver. Personalise your locket by adding your favourite sparkling petite elements. PANDORA floating locket with necklace chain from $149. Be inspired at pandora.net
- 148. Karlie Kloss andKendall Jenner with Instagram founders Kevin Systrom (left) and Mike Krieger at the Instagram campus at Facebook headquarters in the San Francisco Bay Area. San Francisco seems to draw as many would-be digital moguls as it does tourists. By Mark Sariban. Start-up central here’s a discernible buzz in the picturesque bayside city of San Francisco – and an increasing number of Australian accents on the streets of this start-up epicentre. In April this year the Turnbull government launched a “Landing Pad” for Australian internet entrepreneurs, a mini-incubator within San Francisco’s RocketSpace technology campus on the fringe of the downtown financial district, while Qantas celebrated the reboot of its direct flights from Sydney by holding a world-first inflight TED talks session on board a San Francisco-bound flight in February this year. “We all know about the impact of the California tech boom,” said Qantas’s Olivia Wirth at the time of the TED talks flight, “but what’s really exciting is the growing number of Australians doing business with Silicon Valley … one of the reasons we relaunched flights between Sydney and San Francisco was to support growing business travel driven by the tech boom.” While the city has been transformed in recent years by a febrile start-up culture and the rivers of revenue flowing from established tech giants like Apple, Google and Facebook, San Francisco remains a first-class tourist destination. Tackle the city in style by setting up camp at the Fairmont San Francisco, a majestic hotel facing Grace Cathedral on top of Nob Hill, with stately rooms commanding sweeping views of the city from the Golden Gate Bridge to Alcatraz to Coit Tower. Dating back to 1907 – a year after the Great Earthquake that levelled the city – the Fairmont is steeped in a glorious history. Alfred Hitchcock filmed scenes for Vertigo here, while the penthouse suite, which occupies the whole top floor of the T hotel, has hosted many a US president, including John F Kennedy, who reportedly made good use of a secret bookshelf door in the atrium-style library to spirit in a certain movie-star mistress. The hotel stands at the only juncture where all of San Francisco’s cable car lines meet, so it’s the perfect base for your sightseeing expeditions. You may want to start your day, however, by walking along the handsome streets plunging down from Nob Hill towards Union Square and the Market Street shopping district. Heading back up the steep hill to the Fairmont is another matter: grab a cable car or avail yourself of the services of one of the RocketSpace incubator’s most notable success stories – Uber. Go to www.fairmont.com/san-francisco. Qantas flies direct to San Francisco from Sydney six days a week with connecting flights from other Australian cities. For fares and schedule information, go to www.qantas.com. VOGUE.COM.AU 129 GETTYIMAGESMARIOTESTINO
- 149. Kendall Jenner and GigiHadid in Yahoo!’s San Francisco office with Polyvore CEO Jess Lee (centre). ORGANISED STYLE COCKTAIL HOUR, DOWNTOWN STYLE Josh Trabulsi. For a drink with a difference, check out BAY ARTS Head over to Golden Gate Park for a sweeping survey of American art at the de Young (deyoung.famsf.org), while the impressive San Francisco Museum of Modern Art (www.sfmoma.org) reopened in May this year with a doubling of gallery space in the South of Market district. Feeling a little tiki at the Tonga Room Hurricane Bar, in the Fairmont San Francisco. In such a hilly city, riding cable cars is less a tourist cliche and more a necessity. Expect highly curated fashion at Hero Shop. The San Francisco outpost of Barneys New York. The old and the new at the de Young fine-arts museum in Golden Gate Park. 130 OCTOBER 2016 INSTAGRAM.COM/JAM_CREATIVECO MARKSARIBANMARIOTESTINO
- 150. ACROSS THE BAY TheClaremont Club Spa may be a mere 20-minute drive over the Bay Bridge from downtown San Francisco, but with its dazzling-white guest wings and tower rising above an expanse of tennis courts and pools amid impeccably manicured gardens it’s a world away from the bustling city. This iconic 100-year- old hotel, which was completely restored in 2015, stands at the foot of a hill overlooking the leafy university suburb of Berkeley. From my super-comfortable suite in the hotel’s landmark tower I have sweeping views of icy San Francisco Bay and the neighbourhoods of tree-lined streets of postcard-perfect Victorian weatherboard houses. There’s a stately old-school charm throughout this hotel, from the high ceilings of the Meritage restaurant serving New American cuisine on the ground floor to the owner’s homage to legends of mountain climbing in the Hillary Tenzing Room off the lobby and the uniformed attendants in a spa complex so labyrinthine you might well need your own Sherpa to guide you back to your room. Go to www.fairmont.com/claremont-berkeley. Periscope founders Joe Bernstein (left) and Kayvon Beykpour with Karlie Kloss and Gigi Hadid at Twitter headquarters in San Francisco. The Claremont Club Spa in Berkeley, across the bay from San Francisco. Poolside cabanas at the Sonoma Mission Inn Spa. VOGUE.COM.AU 131
- 152. VOGUE.COM.AU 133 GETTYIMAGESALEXILUBOMIRSKIMERTMARCUS From theOscars to Broadway to a new Tiffany Co. campaign, Lupita Nyong’o paves a diverse path. By Jane Albert. On top of the world f ever there was an influential platform to make a statement and have your message heard around the world, it is the Academy Awards. Actress Lupita Nyong’o is only too aware of the power of that podium, so when she took to the stage to accept the Oscar for best supporting actress for her extraordinary performance as Patsey in 12 Years a Slave, she made sure her message packed a punch. “When I look down at this golden statue, may it remind every child that no matter where you are from, your dreams are valid,” she said in a voice full of emotion. That was in 2014. Since then, the girl who was born in Mexico City but grew up in East Africa has gone on to realise her own dreams, achieving a number of “firsts” as she did so. The first African actress to win the best supporting Oscar, Nyong’o has since been appointed the face of Lancôme – the first black celebrity to represent the French luxury cosmetic brand. Then there has been Nyong’o’s Broadway debut this year in the searing production Eclipsed, the first time an all-female cast, playwright and director have performed together on the Great White Way. And most recently starring in Grace Coddington’s project, the new Legendary Style campaign for Tiffany Co., one of the first the revered creative director undertook since reducing her role at US Vogue after nearly 30 years with the masthead. At just 33, Nyong’o has already achieved a remarkable amount, and why not? This strong, passionate and well-educated woman was born to Kenyan parents Dorothy and Peter Anyang’ Nyong’o while her father, a senator and former political science lecturer, was working briefly in Mexico. The family returned home to Kenya within a year of Nyong’o’s birth but Nyong’o – who refers to herself as Mexican-Kenyan – returned to Mexico City as a teenager to learn Spanish (one of four languages she speaks fluently). She studied film in Massachusetts, at Hampshire College; and later acting at the Yale School of Drama. She quickly caught the eye of the public with her feature film debut, 12 Years a Slave, the desperate true story of a free black man who is abducted and sold into slavery. The film earned the Academy Award for best picture in addition to Nyong’o’s win. Her performance in that film resulted in the actress being inundated with offers, some of which she notably took up, including the role of 1,000-year-old pirate queen Maz Kanata in Star Wars: The Force Awakens; and providing the voice of wolf mother Raksha in The Jungle Book. But it came as no surprise to those who knew her when she chose the theatre for her next big move. Speaking to Vogue from New York where she was nearing the end of her Broadway season of Eclipsed, Nyong’o sounded exhausted yet elated. “This show has been particularly all- consuming. It is a very emotionally and physically demanding show,” she says. Written by writer-actor Danai Gurira, Eclipsed is set during the Liberian civil war and tells the story of five women enslaved by a rebel commander who uses and abuses them at will. Described by New York Times reviewer Charles Isherwood as, “one of the most radiant young actors to be seen on Broadway in recent seasons”, Nyong’o earned a prestigious Tony Award nomination for best actress for her role. Moving to New York for the 15-week season hadn’t gone quite as she’d envisaged. “I thought doing a show on Broadway would provide me with [more down time], that I’d still be in New York in a way that working on a film doesn’t necessarily allow, that I’d have time. I find days are spent either taking a bath in Epsom salts, stretching or watching fluff, which is very tragic,” she says with a laugh. But her return to theatre, her first love, has been deeply satisfying. “The theatre and stage are a whole lot more familiar to me than film, so for me it was like coming home. There’s something very thrilling, and also very scary because you are right there, there’s nowhere [to hide].” Nyong’o has never been afraid to speak her mind and when questioned by a journalist during the Eclipse season as to why “such a big star would choose to do such a small play” she took to Lenny Letter, Lena Dunham and Jenni Konner’s popular online newsletter to explain her move in frank terms. “This question felt quite silly,” Nyong’o wrote. “I knew there was a sense of what was expected of me, but this play felt so I “THE THEATRE AND STAGE ARE A WHOLE LOT MORE FAMILIAR TO ME THAN FILM” Lupita Nyong’o winning best supporting actress at the 2014 Academy Awards. ▲
- 153. GETTYIMAGESALEXILUBOMIRSKI important I hadto do it, expectations be damned. I think as women, as women of colour, as black women, too often we hear about what we ‘need to do’ … I am proud of my decision to take the time to sit with myself and not get caught up in what others want for me.” Which is not to say she hasn’t been involved in myriad other high-profile projects: Nyong’o has a lead role in Mira Nair’s latest film Queen of Katwe; she has reprised the role of Maz Kanata in the next Star Wars film, Rogue One: A Star Wars Story; and also features in the film adaptation of Marvel’s Black Panther. In between there was the Tiffany Co. Legendary Style campaign, featuring Nyong’o alongside Elle Fanning, Christy Turlington and Natalie Westling. “Grace is a very warm person, very inviting, but at the same time very sure of herself, so she’s a good person to trust with your image,” Nyong’o says. “I work well when I’m able to take direction. It’s a very exciting time for Grace in her career, and to be able to work with her – I don’t know if you’d call it a dream come true – but it was awesome.” Nyong’o enjoys the diversity of the work her success affords her and hopes her choices will continue to inspire others to challenge the status quo. “I look for roles that offer me an opportunity to investigate humanity in a new way, a role that will stretch me, that is exciting to me but that also terrifies me. If there are things about a role I instinctively understand and other things I have no idea how to do, that’s a role I will probably want to do.” ■ Above left: Nyong’o for Tiffany Co. and, left, on stage in Eclipsed. Torraine Futurum (left) and Catherine McNeil, from Diverse Beauty. “I was shooting Lupita Nyong’o and she is this stunning, richly dark, beautiful African woman, and she said to me the first time we shot: ‘Listen, please don’t lighten my skin because I’ve had people do that before.’ Well, I didn’t know that happened, so I started going through my archives and looking at pictures I’d taken and seeing what had been done after I’d handed them to clients and I realised that they had lightened darker girls’ skin. “I loved the fact that Lupita was this beautiful, proud black woman who didn’t have straightened hair and wasn’t trying to lighten her skin. Everything about her she was proud of and she owned. She made me think how I so rarely get to shoot beautifully dark women whether they’re African, Latino, Indian or Asian or whatever, because I always have this buffer. When I would offer my list of say 10 girls for a shoot, the first girls that would get knocked were always the African girls, and the comments were: ‘Oh, we love her but …’ And there was always a ‘but’. Then the Asian girls would get knocked off the list, then the Latino girls, etc, and you were always left with the top five models in the world who were either blonde or brown- haired Caucasian girls. “So I wanted to do a book that was basically anything that was on that list where they said: ‘we love her but … she’s too freckly, her hair is too crazy, she’s too dark, too ginger …’ whatever. I wanted to celebrate those ‘toos’. “In Diverse Beauty I want to show beautiful aspirational fashion images using a much more diverse beauty look than we usually see in magazines. Beauty is not a range from one to three, it’s a range from one to 50, and I think the more people see images with a vast array of people in them the more it will just become the norm. “To me, beauty is more than what’s on the surface, it’s mostly what’s inside. My perfect example is my wife. I think she’s beautiful, but her real beauty is when she smiles; it’s her inner beauty and confidence because she owns everything about her. It’s being content with what you have and just letting that shine through and being strong and proud. That’s what beauty is.” Diverse Beauty by Alexi Lubomirski (Damiani editore, $70) is out late October. All proceeds from sales go to the charity Concern Worldwide. Photographer Alexi Lubomirski tells us what inspired his new book, Diverse Beauty, which features Lupita Nyong’o. Mix master “SHE SAID: ‘PLEASE DON’T LIGHTEN MY SKIN’” VOGUE ARTS 134 OCTOBER 2016
- 155. 136 OCTOBER 2016 VOGUEARTS HAIR:DIANEGORGIEVSKIMAKE-UP:MOLLYWARKENTIN DETAILSLASTPAGES phrasing and there’s only so much you can say. I felt this incredible freedom in writing prose.” Throsby’s immersion into a new creative realm came at an ideal time for the four-time Aria- nominated artist, who since 2004 has released six albums – including Seeker Lover Keeper (2011) with Sarah Blasko and Sally Seltmann – and collaborated with artists and toured extensively. “I took a very conscious step back from music because I was a bit exhausted by the whole thing,” she reveals. “At that point I thought I probably wouldn’t do music again.” Writing a book was an exciting, unconscious process, she says. The world she conjured in her imagination became the place she visited every day. But while the tale’s country setting, so vividly brought to life by Throsby, is crucial to the feel of the book, it’s not a reflection of her own childhood. “It’s not based on my experience growing up, but as a musician I recorded all of my albums on the south coast and have done so much touring to regional towns, so I think when I started writing my creative world was located in that area,” she explains. Right now, fans of Throsby’s music will be relieved to hear she’s enjoying a renewed enthusiasm for her former vocation. “Once I finished the book I had the strongest desire to finish all my songs and get back into the studio,” she says. A new album is due early next year, and after that? “I’ll probably start work on a new novel. I don’t really know what it’s going to be about. I used to think I had to figure it all out before I started. Turns out that you don’t.” ■ Goodwood by Holly Throsby (Allen Unwin, $29.99) is out now. ears ago, when I picked up my friend Peter in my beaten-up Corolla, Holly Throsby’s just- released debut album On Night was playing on the stereo. “My god, this is beautiful,” he said, genuinely overcome. “I know, she’s amazing!” I replied. So when 12 years on, Throsby’s debut novel Goodwood lands on my desk, I’m not surprised to learn that the gifted songwriter has turned her hand to fiction. “I was always interested in writing, and remember winning a short story competition as a child,” says Throsby, 37, during the chat we schedule when her two-year-old daughter Alvy takes a nap. “But I got into songwriting as a teenager and that continued into my 20s, and even though I majored in English, my degree didn’t involve creative writing at all.” It was only after publisher Richard Walsh contacted her that Throsby’s long-held desire to pen a novel gained fresh conviction. “He just encouraged me, which is all I needed as it turns out. Sometimes it just takes someone else who believes in you and to say keep going.” Throsby wrote the first draft of Goodwood in just eight months. “I had this very clear deadline, which was the due date of my baby,” she says. Then she put her work into a drawer for 10 months – “being a mother was much more intense than I imagined!” – with the final version polished for publication soon after. Set in the early 90s, the story centres on 17-year-old Jean Brown, who lives in the fictional town of Goodwood in Australia. Life is fairly uneventful in this small community until two locals inexplicably disappear, leaving the town shaken. As the mystery unravels and secrets are exposed, the story explores Jean’s own complexities – her relationship with her family, her sexuality. The book’s quiet dreamy pace is undercut by a dark sense of foreboding, and there is a strong and captivating lyrical quality to the prose. “I think my songwriting came through in the book, through repetition in terms of phrases the characters say and scenes that happen near other scenes,” Throsby ponders. “When I think about it, it’s almost like a chorus – the book has a kind of rhythm that people may think comes from thinking in a musical way, but in every other way the process was extremely different. Songwriting is so contained and you’re stuck within melodic Y Musician Holly Throsby is weaving stories of a new kind. By Cushla Chauhan. Styled by Philippa Moroney. Photographed by Duncan Killick. Telling tales “AT THAT POINT I THOUGHT I PROBABLY WOULDN’T DO MUSIC AGAIN”
- 156. DRINK THE CHOICEof When it comesto the choice of vodka you drink, your selection is the purest form of judgement. It is not so much a choice of brand but an act of discernment. When it comes to creating a vodka, quality, passion and commitment make their own choices. From the source chosen: natural spring water from the pristine North Island of New Zealand. To fresh seasonal whey for exceptional smoothness, free of gluten. Triple distilled and filtered through carbon, free of impurities. These choices create a new standard of excellence. The talent is in the choices. VDKA6 C M DRI K RESPONSIBLY
- 157. Spring has sprungin the art world with plenty of exhibitions, theatre, music and movies to take in this month. Sounds and visions MODERN MUSES The works of iconic artists Georgia O’Keeffe, Margaret Preston and Grace Cossington Smith come together for the landmark exhibition Making Modernism, which opens this month at the Heide Museum of Modern Art. Go to www.heide.com.au. 1. O M “walk-in camera obscuras”: projecting the view outside (such as here at Wendy Whiteley’s house in Lavender Bay) inside over the interiors. Exhibition runs until November 5. Go to www.stillsgallery.com.au. Encampment (2016) by Francesco Clemente. Wendy Whiteley’s Library, Lavender Bay (2016) by Robyn Stacey. Untitled (42nd Street Series) (1979) by Larry Clark. 138 OCTOBER 2016 VOGUE ARTS COMPILEDBYSOPHIETEDMANSONPHOTOGRAPHS:ZAN WIMBERLEY(ENCAMPMENT)©GEORGIAO’KEEFFEMUSEUM (RAM’SHEAD,BLUEMORNINGGLORY)©ROBYNSTACEY (WENDYWHITELEY’SLIBRARY,LAVENDERBAY)
- 158. FOR FURTHER INFORMATION,PLEASE CONTACT OUR WEDDING SPECIALIST ON +61 2 9308 0550, EMAIL WEDDINGS@ONEANDONLYWOLGANVALLEY.COM OR VISIT oneandonlywolganvalley.com BR I NGI NG DR E A M S TO L I F E Exceptionally styled celebrations, choreographed to exquisite perfection.
- 159. A MIDSUMMER NIGHT’S DREAM “Lovelooks not with the eyes, but with the mind, and therefore is winged Cupid painted blind.” It wouldn’t be spring without a new take on one of Shakespeare’s classic romantic fairytales. The Sydney Theatre Company revises the classic with a dark new vision. Until October 22. Go to www.sydneytheatre.com.au. 3. On the stage PORTRAITS NUDES FLOWERS BY MARIANO VIVANCO FEATURES FAMOUS FACES SUCH AS RIHANNA, CINDY CRAWFORD AND LADY GAGA PHOTOGRAPHED IN SIMPLICITY. RRP, $65. ALL PROCEEDS TO CHARITY. GO TO WWW. DAMIANIEDITORE.COM. 2. On the table 9H PN M CAPTAIN FANTASTIC THE EDGE OF SEVENTEEN MASTERMINDS Japan, theatre from China and Scotland and local comedy are among the many highlights of the Melbourne Festival, which features 62 events over 18 days from October 6. Go to www.festival.melbourne. 140 OCTOBER 2016 VOGUE ARTS JAMESGREEN(AMIDSUMMERNIGHT’SDREAM)
- 161. REGINA SPEKTOR Lyrical popsongstress Regina Spektor returns this month with a new album, her seventh, Remember Us To Life (out September 30). KYLIE MINOGUE Kylie Minogue’s spectacular stage costumes designed by Dolce Gabbana, John Galliano, Karl Lagerfeld and John Paul Gaultier feature in Kylie On Stage, a new free exhibition showcasing the creative process behind our queen of pop’s fabulous fashions from 1989 to now. Opens late September at The Arts Centre, Melbourne. Go to www. artscentremelbourne.com.au. 5. Spring M M.I.A. British singer M.I.A. has said this album – hip-hop- infused A.I.M, which is accompanied by visual works – is one of her most positive to date. BERNARD FANNING The former Powderfinger frontman returns with a stunning new solo album, Civil Dust, themed on decisions and consequences. Filming the documentary. Nick Cave in the studio. Kylie on her Showgirl tour. Lisa Mitchell 142 OCTOBER 2016 VOGUE ARTS KERRYBROWN(NICKCAVE)
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- 163. IMAGESCOURTESYOF:MARIALASSNIG/HAUSER WIRTHSCHIMMELFROHAWKTWOFEATHERS/NEW IMAGEGALLERYCINDYSHERMAN/METROPICTURES 144 OCTOBER 2016 VOGUEARTS Pretty gritty t wasn’t long ago that LA was the punch line of vapidity; a wasteland of dreams, breast implants and traffic. Call it the Hedi Slimane-at-Saint Laurent effect, the gentrification of Hollywood or a yearning for sunlight and cheap rent, but as more creatives go west, LA – particularly the area of Downtown – is now one of the most-watched contemporary-art destinations. “Downtown has always tried to make it,” observes Marsea Goldberg, gallery director at New Image Art, which has ridden that quintessential LA counter-culture line of punk, skate and fine art for more than 20 years (Goldberg represents Australian Anthony Lister, for example). “There were always people pushing for it, but no-one would go there. A lot of great things were always going on, but it was like Repo Man down there!” she says, laughing. “It was very punked-out and underground.” Now, artists and gallery owners are taking advantage of the industrial spaces and affordability. “From what I understand, 106 galleries opened up last year. Yes, it’s gentrifying, but it’s very creative again. Fantastic, big institutions are moving in and the crowd is expanding. DTLA’s on fire. We’re at a time that reminds me of how New York once was.” The big institutions are the two private super-galleries, which have brought a sense of scale, pedigree and architectural consideration to town: the Broad and Hauser Wirth Schimmel. Sunlight-filled and grand in scale, the Broad puts the extensive collection of philanthropists Eli and Edythe Broad – names that adorn almost every benefactor plaque in the city – on show for all to see. “I had a lot of people say: ‘Do you really think LA needs another contemporary art museum?’” says founding director Joanne Heyler. “Not a fun question to answer when you’re putting life blood into a new museum. But if our attendance is any measure, the appetite is there, and then some.” When the free-ticketed venue opened last year, there was a three-month wait to snap up a ticket. On the other side, the elegant (and huge) Hauser Wirth Schimmel is redefining the commercial model. “There’s nowhere else that you can do what we’re doing with space,” says Graham Steele, senior director. “There’s flexibility here, allowing for more creativity. There’s also the opportunity to get involved with the community, so we sit between a museum and a gallery.” “I don’t think you can really consider yourself current with contemporary art and not come to Los Angeles,” says Heyler. “You’re missing what artists are doing and what some of the best curators are thinking.” LA might never have the art commerce density of, say, Hong Kong or New York, but it has the space and subculture to drive a movement. “It’s like how we’ve survived perfectly well without a pro football team for quite a long time. We’re not necessarily following art capital formula, but I don’t think that’s a bad thing.” ■ I Hauser Wirth Schimmel art gallery. Inside the Broad contemporary art museum, designed by Diller Scofidio + Renfro. Untitled #92 (1981).
- 165. Create your ideal sofawith Domayne® – just select the shape, size and fabric. PREVIOUS PAGE: AUSTRALIAN-MADE HAMMAR 3-SEATER SOFA IN WARWICK KEY LARGO FABRIC, $2,799; ENYA COFFEE TABLE, $1,099. Aura Luxury velvet cushion in Indigo, $59.95; Lark fur cushion in Silver, $64.95; concrete vase, medium, $74.95; Foundry Tobacco Vanilla 18oz candle, $64.99; Robert Gordon lattice basket, $189.95 for a set of three; Casablanca rug in White (155x225cm), $699. TOP: AUSTRALIAN-MADE LIAM 2.5-SEATER SOFA WITH CHAISE IN WARWICK VEGAS FABRIC, $2,599; FLIP SIDE TABLE, SMALL, $629. Kew cushion in Silver, $39.95; Knox cushion in Silver, $59.95; Picasso rug in Beige (160x230cm), $599. ABOVE: AUSTRALIAN-MADE SCANDI 2.5-SEATER SOFA IN ZEPEL ETERNAL FABRIC, $2,499; ENYA 2-DOOR, 5-DRAWER BUFFET, $2,399. Ghost lamp table, $399, and coffee table, $799; Mauritz pendant light in Black, $179.95; Lark fur cushion in Magnet, $64.96; Flec cushion in Black and Natural, $59.95; Kelim Triangles rug (155x225cm), $799. On lamp table: Provisions Dark Chocolate candle, $32.98. On coffee table: Concrete and Leather tray, $89.95; Salut red wine glasses, $39.95 for six. On buffet: Little Helper table lamp in Black, $149.95; Matte Black ginger jar, $39.95; Droplet vase in copper, $45; Ink Black One framed print, $339.95. All other items stylist’s own.
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- 169. TOP: AUSTRALIAN-MADE HUNTERKING SINGLE BED IN NAVY WITH TRUNDLE, $1,899; BEACHCOMBER LINGERIE CHEST, $1,499. Somersby pendant light in White, $219.95; Cloud Marquee light, $49.95; Hemp rug in Natural (155x225cm), $599. Bedding: Aura Maison double quilt cover in Dove, $179, and pillow cases in Dove, $29.95 each; Linen House Nara king single sheet set*, $159.95; Aura Big Stripe cushion in Indigo, $69.95; Kalm cushion, $89.95. ABOVE: AUSTRALIAN-MADE BOLTON QUEEN BED WITH HEADBOARD IN WARWICK BOLTON FABRIC AND BASE IN WARWICK JACK FABRIC, $999; ZANDER ROUND BEDSIDE TABLE, $749, AND TALLBOY, $2,299. Adelaide pendant light, small, $199.95; Apothecary Vetiver Cardamom candle, $29.95; concrete and leather chunky vessel, $49.95; Jasper round basket, $139.95; Silk Cosy rug in beige (160x230cm), $599. Bedding: Aura Maison queen quilt cover in Indigo, $199, pillowcase in Indigo, $29.95, and queen sheet set* in Natural, $329; Kew cushion in Indigo, $39.95; Moss Stitch throw in Indigo, $129; Quatrefoil throw, $89.95. All other items stylist’s own. Mattresses and other accessories shown are optional extras. Customise your bed by choosing the style, frame and finish from the options at Domayne® .
- 170. Domayne® stores are operatedby independent franchisees. Advertised prices valid at New South Wales stores only. Prices may vary between states due to additional freight charges. Offer ends 31/10/16. *King single sheet sets each consist of 1x fitted sheet, 1x flat sheet and 1x standard pillowcase. Queen sheet sets each consist of 1x fitted sheet, 1x flat sheet and 2x standard pillowcases. **Queen quilt cover sets each consist of 1x quilt cover and 2x standard pillowcases. Mattresses and other accessories shown are optional extras. VISIT DOMAYNE.COM.AU TO BROWSE OUR FULL RANGE OF FURNITURE, BEDDING AND HOMEWARES AUSTRALIAN-MADE JAVIER QUEEN BED IN SILVERTOP ASH TIMBER, $2,499, OPEN BEDSIDE TABLE, LARGE, $1,099, AND 1-DRAWER BEDSIDE TABLE, LARGE, $1,299. Copenhagen pendant light in Gold tone, $169.95; Hug mug in Grey, $34.95 for a set of four; Matte White ginger jar, $39.95; Kit table lamp in Gold tone, $99, matte black vase, $24.95; Silk Cosy rug in White and Cream (160x230cm), $599. Bedding: Sheridan Farrer queen quilt cover in Dove, $269.95 and standard pillowcases in Dove, $59.95 for a set of two; Sheridan Abbotson queen linen fitted sheet in White, $309.95, flat sheet in white, $269.95, and standard pillowcases in White, 99.96 for a set of two. All other items stylist’s own. ADVERTISEMENT
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- 176. vogueBEAUTY Only “La-la land” isthe epicentre of weird and wonderful beauty and wellness trends, where crystal alchemy and cleansing are a way of life. Here’s a guide to the latest health and cosmetic services Los Angelenos are signing up for. By Jody Scott and Remy Rippon.
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- 180. ADD TO CART Fromorganic and good-for-the-skin to outlandish and Insta-worthy, California has become the unofficial hot spot for some of the most pioneering beauty brands today. HOURGLASS COSMETICS Committed to innovation, Hourglass has gained cult status for its dedication to a flawless complexion. HOURGLASS ILLUME SHEER COLOUR TRIO, $92. SMASHBOX There’s nothing more LA than a cosmetics line being born out of one of the city’s most respected photo studios. SMASHBOX BROW TECH SHAPING POWDER, $36. G Known innovative mud treatments, an A-listers’ ritual before red carpet events (and great for selfies). GLAM GLOW GRAVITY MUD FIRMING TREATMENT, $98. URBAN DECAY Urban Decay’s intensely pigmented palettes draw flocks of make-up obsessives and industry insiders alike. URBAN DECAY AFTERGLOW POWDER BLUSH IN BANG, $42. OUAI The brainchild of go-to Kardashian hairstylist Jen Atkin, Ouai aims to simplify hairstyling with its easy-to-use, no-fuss offering. OUAI WAVE SPRAY, $40. ADD TO ADDRESS BOOK: VIOLET GREY Cassandra Huysentruyt Grey has brought a discerning code of conduct to LA’s infamous Melrose Place via her luxury beauty boutique Violet Grey. The tight edit is approved by a who’s who of Hollywood hair, make-up and skin experts (Grey’s husband is the CEO of Paramount Pictures). All products must meet the “Violet Code”, a rigorous set of standards, before they make it onto the shelves. Skin whisperer LA’s go-to facialist Kate Somerville is responsible for some of the most famous faces in Hollywood. Here’s her skin download. In terms of skin treatments, what’s exciting you at the moment? “We have a cutting-edge new treatment called EndyMed at my Skin Health Experts clinic in Los Angeles. EndyMed combines microneedling and radio frequency to deliver amazing anti-ageing and skin remodelling results with minimal down time. Radio-frequency waves gradually heat deep layers of the skin, and the microneedle technology stimulates the production of new collagen and elastin.” What’s the future hold for skincare? “I began my career as a paramedical aesthetician and I was working in a doctor’s office when laser treatments first came out. At that time, lasers were actually burning the top level of skin and clients had major down time. Now we offer laser treatments that can have you looking better when you’re finished than when you came in!” Are you seeing any development in light/laser therapy or injectables? “There are innovative injectables, like Kybella, which we just brought to my clinic. Kybella actually destroys fat cells under the chin to improve your profile. It targets double chin without surgery!” VOGUE.COM.AU 161 BENHASSETTEDWARDURRUTIA
- 182. It’s my laserin a jar.Andie MacDowell
- 183. CUTTING EDGE RESULTSWITHOUT A COSMETIC PROCEDURE of women^ considering a laser treatment would delay it. BEFORE WRINKLES REDUCED IN JUST 4 WEEKS* AFTER REVITALIFT / L A S E R X 3 / CORRECT / REDENSIFY / RESUPPORT ■ CLINICALLY PROVEN CONCENTRATED WITH 3% PRO-XYLANE™ TO VISIBLY REDUCE FINE LINES WRINKLES.
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- 185. livier Polge couldbe described as either the most clever or the most foolish man in fragrance right now. Foolish, not because of the fragrances his well-honed sense of smell has conceived to date as the resident perfumer of Chanel (Misia, Chance Eau Vive and, most recently, Boy were all met with praise) but in his latest assignment to reinterpret the high priestess of the fragrance world: Chanel No. 5. Yes, that Chanel No. 5 – the heady floral juice that you might spritz when you need to feel particularly self-assured; the scent that immediately reminds you of your mother/sister/ grandmother/best friend; the fragrance that Marilyn Monroe catapulted to iconic status admitting she wore it to bed in lieu of pyjamas; and arguably the most identifiable fragrance in the world which, despite being around since 1921, holds prime position on department store floors and women’s dressers alike. So perhaps Polge could best be described as brave. But in reality, there’s no better person for the job. The son of Jacques Polge (Chanel’s in-house perfumer of 35 years responsible for similarly iconic fragrances like Chance and Coco Mademoiselle), Polge-junior spent summers as a young student working in Chanel’s fragrance lab, schooling his sense of smell for what is to become his grand crescendo. He even studied at the same fragrance school in the French fragrance capital of Grasse as Ernest Beaux, the nose behind the original No. 5 fragrance. It seems it wasn’t so much that Polge chose fragrance, as fragrance chose him. If Polge is feeling the weight of the olfactory world on his shoulders, he’s not showing it. Back in Grasse (he divides his time between here and Paris) for one of the most anticipated fragrance launches in a long time, Polge can most accurately be described as cool, calm and collected. It’s almost as if the decision to reimagine one of the most legendary and revered fragrances was a simple one. “More or less,” he says with an air of nonchalance. It should be noted that it’s not completely uncharted territory per se: since its inception the original has been interpreted as an eau de toilette, an eau de parfum and an eau premiere. Perhaps he is as worthy an actor as he is perfumer because on paper the sheer task of creating Chanel No. 5 L’eau – which translates to “water” – isn’t so fluid. The standard fragrance brief: ingredient checklists, marketing targets and the “story” behind the fragrance, has no place here. For L’eau there’s an existing juice (and an existing story) to be appropriated and, most importantly, respected. Needless to say the original No. 5 isn’t going anywhere, which makes Polge’s assignment all the more delicate. “To tell you the truth, there is one thing that is very difficult, it’s our strength and our weakness, really,” says Polge. “Creating a new No. 5 has to somehow remember the No. 5 of the origin, and this is why I try always to say that we are coming out with a new No. 5 because we believe in No. 5 and there is something of No. 5 that has to be re-translated today.” So what does today’s Chanel No. 5 wearer look like? She probably switches between her sneakers and her Chanel two- toned slingbacks, which she teams with white T-shirts and vintage Levi’s 501s. She could be described as millennial, a generation Chanel, like many luxury brands, is becoming increasingly focused on. Taking over from the baby boomers, research states millennials are now the largest generational group and are not averse to putting their money where their make-up/ skincare/fragrance is, with luxury brands in particular seeing a spike in products aimed specifically at this demographic. Moreover, given the bombardment of opinions and information they receive, millennials look to an authoritative voice, and who better to provide that than Chanel? The proof is in the front row. At Chanel’s autumn/winter ’16 show, the front row set was punctuated by millennial flag-bearers including 15-year-old Willow Smith, 17-year-old Lily-Rose Depp (the face of L’eau) and 27-year-old actress Lily Collins. While this audience might have appreciated the splendour of the original No. 5, the new juice aims to speak their language. But what L’eau cleverly borrows from its predecessor is an uncanny ability to transcend all of these things and ultimately appeal to all. As Polge diplomatically puts it when probed as to whether L’eau is a conscious decision to cater to a millennial audience: “I would say yes, but I’m always very doubtful about those precise marketing targets and when you talk about age groups … what makes somebody young? What makes somebody old? But speaking otherwise, I would say that it’s more about contemporary fragrance and I think that it will seduce somebody with contemporary taste.” Housed in the same iconic flacon of the original, it’s hard not to anticipate what you’re about to smell. Yet L’eau plays the role of mischievous sister to the original No. 5 with its zesty citrus notes – lemon, mandarin and orange – in place of where powder once was. On closer inspection, a weight has been lifted off the original: heady jasmine seems to float off the skin and the signature vanilla accent is more transparent. “I am always trying to have this fragrance breathing whereas maybe the other one [the original] was interesting for its richness, for its density,” says Polge noting both the lightness of the ingredients and colouring of the new juice. The nectar though is still No. 5 at its core. “I think I am always speaking about the differences, but I always forget to say that the most important thing is that Chanel No. 5 is floral and it stays a floral but everything changes,” says Polge of the rose, jasmine and ylang-ylang brought to life with a hint of vetiver and cedar. It’s a Thursday in spring when I meet Polge at Chanel’s picturesque rose fields in Grasse, the perfect time of year, I learn, to witness the full force of that floral. This is where the magic happens. In attention to detail only Chanel could prescribe, the space where we hold the interview is the ultimate metaphor for L’eau. Its been recently renovated, keeping the charming, provincial “good bones” farmhouse exterior, but beyond the arched doorways it’s as though we’ve fast-forwarded in time: the room filled with beams of light, raw materials and modern accents (think Scandinavian living room). It’s yet one more piece of the puzzle, which completes the wonderful world of Chanel, a lineage Polge has never lost sight of. “They [fashion and fragrance] are two separate worlds. But I think both are very true to Gabrielle Chanel. I think that on both sides we try to adapt to a new world today and tomorrow, so the style continues.” As the woman herself once said in no uncertain terms: “A woman who doesn’t wear perfume has no future.” And rest assured, the future of No. 5 is in very safe hands. ■ O “I THINK THAT ON BOTH SIDES WE TRY TO ADAPT TO A NEW WORLD TODAY AND TOMORROW, SO THE STYLE CONTINUES” VOGUE.COM.AU 167 ARTDIRECTION:HEIDIBOARDMAN PHOTOGRAPH:EDWARDURRUTIA ALLPRICESAPPROXIMATEDETAILSLASTPAGES
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- 188. Lip service As ChristianDior’s resident creative and image director of make-up, Peter Philips is the only man we trust to give us the details on wearing the new Dior Rouge collection with confidence. ips have had a resurgence of late. Can you explain why? “Women are getting more and more comfortable with make-up, in all its forms, and there is a real desire to play and experiment with their looks. Matt lipsticks are usually considered to be more dramatic, more theatrical in the eyes of most women, and complicated to apply and wear. That’s why most have stayed away from it. Those obstacles seem to fade out, and I believe that’s why matt lipsticks are becoming more accepted.” Are there any rules in matching lip colours to skin tone? “Like everything in make-up, it’s best to try out shades and to check them out in different lights. The colour of your skin and teeth and the intensity of your natural lip colour will have an impact on finding the perfect shade.” The lips were incredibly bold at the autumn/winter ’16/’17 show. Can you tell us how you came to decide on the colour? “The idea behind the look was to make a bold but sophisticated statement. That’s why I created a look that’s focused on two make- up features in the face, the lips and the lashes. Big, fat spider lashes combined with dark glossy lips was a look that stands out and looks great on every girl who was in the show.” How can women ensure lipstick looks modern and cool? “I feel that a lipstick looks modern and cool when it’s part of a simple make-up look. If you do a bold lip, better to keep a low profile on your eye make-up and blush. Make sure your skin looks immaculate, healthy-looking and glowing at the right spots.” L SOAP GLORY DIOR ROUGE LIPSTICKS, $52 EACH. Backstage at Christian Dior. 170 OCT VOGUE BEAUTY VOGUE.COM.AU 170 DUAL WONDERS ARTDIRECTION:HEIDIBOARDMANPHOTOGRAPHS:INDIGITALEDWARDURRUTIA ALLPRICESAPPROXIMATEDETAILSLASTPAGES
- 189. KERASILKNEW LUXURY HAIRCARE Luxuriously smooth, incredibly supple, impressively voluminous or amazingly dazzling? Ask your stylist for the new Kerasilk – and get the FALL IN LOVE WITH YOUR HAIR Find your nearest Goldwell Salon at www.goldwell.com/salonfinder
- 190. any a fashionfangirl has wondered about what life was like in the bygone rebellious era of fashion – the days of creative boundary-pushers such as Richard Avedon, Irving Penn and those then little-known models – Naomi, Christy, Linda and the others – yet to be dubbed “supers”; a time when late nights ran into early mornings on set and fashion wasn’t so fast. Legendary make-up artist François Nars’s eponymous new tome is perhaps as close as one might get to that reality. “It’s like my Facebook,” says the 57-year- old, who you won’t find on Facebook despite his make-up brand, Nars Cosmetics, fielding more than two million likes on its official page. “For the people who wish I was on Facebook, well, there you go. There are a lot of photographs. It’s very personal … all the campaigns that I’ve done over the past 22 years; it’s really all the people who I work with that I love.” The mammoth book is a beautifully curated pictorial biography of Nars’s loves, a timeline of his influences and career to date, but that’s not to say he’s closing a chapter: “I love creating. Until the end of my life, no matter what it will be, I will be creating.” François Nars (Rizzoli, $127), available from www.mecca.com.au. M “IT’S VERY PERSONAL … IT’S REALLY ALL THE PEOPLE WHO I WORK WITH THAT I LOVE” As one of the world’s leading make-up artists, François Nars has seen it all, and he’s documented it in his new book. By Remy Rippon. The man from Nars FAMILY TIES “It all began by watching my mother, by watching her fashion magazines. I was growing up in the 70s: French Vogue at the time was the Vogue. It was really the best one on the planet. That’s how I started doing make-up, on my mother.” MODEL CITIZEN “I love working with Daria [Strokous] a lot. She’s a really professional model and she loves her job. So I’m trying to find that again, but it’s not easy.” HEAD START “Make-up artists starting today have so much information that maybe it is easier, but at the same time there’s probably so much more competition to get into the business. So many people want to be in the business, you know, models, photographers, make-up artists, hairdressers … maybe in that way it’s harder.” Nars’s mother, Claudette, on the French Riviera. WITH KATE MOSS IN 1997 “She’s incredible,” Nars says. “She makes you dream. She has such a passion for fashion, art and the creative process. Often you meet models who don’t care about the picture and just want to go home. You can never be a supermodel with that attitude. Kate loved the camera.” Daria Strokous stars in the Nars Audacious Lip campaign in 2015. 172 OCTOBER 2016 VOGUE BEAUTY IMAGESCOURTESYOFFRANÇOISNARSARCHIVESAND NARSCOSMETICSFRANÇOISNARS/CONDÉNASTJAPAN
- 191. WORK, WORK, WORK “Lookingback at all the campaigns for the past 20 years, we have really pushed some buttons: the girls I chose, the make-up I decided to shoot, sometimes showing girls with almost no make-up – I thought that was quite daring. There’s a lot of substance there and I think it really reads as a vision, of somebody who’s behind the brand. Either you like it or not, but at least it shows I have a point of view.” FRIENDS FOREVER “I always love working with Naomi Campbell. She is so beautiful. She is a dear friend. Naomi and I, we are like a family.” COLOUR CHAMELEON “You know it’s extremely vague, believe it or not. It [the cosmetics line] only happened maybe a year before the lipstick came out … and we worked on it for no more than a year, so it was not planned for, like, 10 years.” IN VOGUE “In the 70s, the photographers, the editors, the editors-in-chief were so fabulous at French Vogue. Very daring and no limits; they gave full freedom to the photographers. It was like really no compromise: it was a different thing. I started falling in love with the way the models looked in those pages, and looking at their make-up and the hair and, of course, their clothing. The 70s were such an incredible creative time. Nothing compares to that era.” LOVE LINDA “I worked so much with Linda that she was my favourite. The other ones will be jealous, but … I mean they’re all good friends, but Linda was really special. She was a very good model to work with, and a fun model to work with: she was the ultimate one.”From the Nars bronzing campaign in 2015, starring Toni Garrn. Linda Evangelista, backstage in New York in 1995. VOGUE.COM.AU 173
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- 193. MAJOR PARTNER MAJORDONORS SUPPORTERS 16 SEP – 12 FEB THE IAN POTTER CENTRE: NGV AUSTRALIA, FEDERATION SQUARE John Olsen Seafood paella 2007 (detail) Private collection © John Olsen, administered by Viscopy, Sydney A NATIONAL GALLERY OF VICTORIA EXHIBITION IN ASSOCIATION WITH THE ART GALLERY OF NEW SOUTH WALES MEDIA PARTNER
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- 195. VOGUE.COM.AU 177 CARLTONDAVIS eet Monique.Monique enjoys listening to Madonna, her guilty pleasure is rosé champagne, her favourite destination is Corsica and her go-to karaoke song is Jolene. No, this isn’t her online dating profile; Monique is an instructor at New York-based cult-fitness outfit SoulCycle and the fact that we know all of this (and more if you attend one of her 45-minute classes) is via her online trainer profile. Monique forms part of the new breed of community- minded workouts that aim to fulfil not only the physiological benefits of exercise – improved fitness, weight control, reduced risk of disease – but also the latest share-all, one-of-the-pack mentality sweeping city gyms and fitness classes alike. “I draw on the energy of everybody in the class,” says Deborah Symond, founder of e-tailor Mode Sportif and self-anointed SoulCycle fan girl. “It’s inspiring being around people who are pushing themselves to be better and to train harder.” It’s not by coincidence that everyone from Victoria’s Secret models to school teachers and overworked office workers are flocking to its classes to alter not only their abs but to share in a common set of goals as well. “It’s a workout for both the body and mind,” says Symond, admitting she gets FOMO when it’s been too long between rides. “When I walk out of a SoulCycle class I am full of energy and enthusiasm – I cannot wipe the smile from my face. I think that’s why it’s completely addictive.” The notion that exercise alters both the body and the mind is not a ground-breaking concept by any stretch, but where these souped-up hyper-inclusive workouts differs is in the shared sense of belonging enthusiasts get from recurring workouts with like-minded people which goes beyond casual acknowledgement to actual friendships and cliques. “Some of these activities actually satisfy some basic physiological needs, and one of those key ones is the idea of sense of belonging and being related to other people who are doing similar activities. You’ve got frequent interaction, you’ve got people who care about what you do, and you get warmth and security from those experiences: that’s very powerful,” says Dr Stephen Cobley, senior lecturer in exercise and sport science at the University of Sydney. It’s the wellness world’s take on the share economy: peer-to-peer interaction that’s mutually beneficial, and it marks a shift from the naming and shaming, crack-the-whip- style boot camps towards more positive goal setting and reinforcement. Likewise, it goes well beyond the subpar acknowledgment you might give to the girl with the topknot who attends Tuesday’s 6pm Bikram yoga class. Nowadays, the line between gruelling exercise and social get-together is blurred: it’s not uncommon to know how your trainer likes their green juice, or where the mother-daughter duo training alongside you is going on their summer holiday. M “YOU’VE GOT FREQUENT INTERACTION, PEOPLE WHO CARE ABOUT WHAT YOU DO … THAT’S VERY POWERFUL” The promise of a toned physique and improved fitness is no longer 5?E78 D? 75D @5?@5 =?F97 Remy Rippon investigates the rise and B9C5?6G?6@13;G?B;?EDC45C9754 D? ;55@ I?E =?D9F1D54 Join the club Barry’s Bootcamp, which marries cardio and strength training via its outposts in the US, UK and Norway, encourages healthy hangouts. Post-workout, wearied enthusiasts head straight to the Fuel Bar for a protein shake while their happy endorphins are still circulating, perhaps replacing the need to catch up over cocktails, which evoke similarly happy feelings but aren’t nearly as gracious to your health or your waistline. The reason people get into a habitual exercise routine is as much to do with the social dimension of the workout, says Cobley, as the fitness pay-off. “There is a big social part of it and a social dynamic and that social sense of belonging, interaction. There’s a lot of emphasis on caring and support from a lot of the other people training there, which can feel very positive in a context where people are engaging in difficult work.” It’s evidenced by the upsurge of female participation in fitness challenges like army-style obstacle course Tough Mudder, Nike+ Run Club, ultramarathons, even Sydney’s own City to Surf (last year, three generations of women from the same family overtook me on Heartbreak Hill). And the common thread? While they’re ultimately individual challenges, there’s an overriding team mentality, sense of camaraderie and BFF culture ingrained in each event. I was somewhat apprehensive at buying into the hype that surrounds group fitness challenges – and high-fiving makes me cringe. When I Googled CrossFit Sydney and the slogan “We are not a gym, we are a community” stared back at me, I met it with an equal dose of apprehension and excitement. Upon entry to the “community”, my anxieties are affirmed by the jungle gym situation on the back wall, but thankfully my trainer, Raph, empathised as she had found herself in a similar situation when she moved from Canada a while ago. “When I started at CrossFit Bare, I had only just moved to Australia and didn’t know anyone,” she explains, handing me my first weight. “Everyone was so kind and willing to help, not just with CrossFit but everything: where to get the best coffee, how to get my taxes done, inviting me to family Christmas. As someone who was here alone, I found they quickly became my family.” It’s a refreshing antidote to the often exclusive nature of exercise fuelled by social media, which oftentimes hinges more on insecurity than positivity. “Every time you attack a new workout or try a new skill, you’re taking a chance, putting yourself out there and sharing your successes or failures with the class,” she adds. “This creates a bond where everyone is solely rooting for you to succeed and to be the best you can be. From here we see a whole new level of trust and friendship grow.” And let’s be honest, sometimes even the glowing memory of post- workout euphoria isn’t enough to get you moving, but if it involves catching up with your best friends? Sign me up. ■
- 196. SUBSCRIBE NOW RECEIVE SUBSCRIBENOW! VISIT MAGSONLINE.COM.AU/VOGUE/M1610VAU provides the perfect product for every skin tone, from a light sunkissed glow to the deepest, darkest bronze. ST. TROPEZ IS THE LEADING TANNING BRAND, CHOSEN GLOBALLY BY PROFESSIONALS, CELEBRITIES AND BEAUTY EDITORS ALIKE. VALUED AT OVER $51
- 197. A BONUS GIFT FROMST. TROPEZ OR CALL 1300 656 933 AND QUOTE M1610VAU BOHEMIA FASHION’S PEACE, LOVE ROCK’N’ROLL VOGUE CODES GET WITH THE PROGRAM ON TRACK RACING STYLE GUIDE K MILLENNIAL DOLLAR BABY JOHN OLSEN AN INTIMATE PORTRAIT BY TIM OLSEN SUBSCRIBE OR EXTEND YOUR SUBSCRIPTION FOR JUST $69.95 AND RECEIVE A BONUS GIFT FROM ST. TROPEZ! Gift offer is available for 1- and 2-year print subscriptions for delivery to Australian addresses only, while stocks last. Limit one gift per subscription. Please allow 4–6 weeks for delivery of your gift. For overseas rates, visit magsonline.com.au/vogue. HURRY, GIFT STOCK IS LIMITED. OFFER ENDS OCTOBER 16, 2016.
- 198. SUBSCRIBENOW!Subscribe to thedigital edition of Vogue Australia for only $19.99 and save 67% SAVE 67%
- 199. VOGUE.COM.AU 181 MILLENNIAL SUPERSTARS MAKING IT HAPPEN. FASHION: FASTFLOWING IN THE HEAT OF SELF- EXPRESSION. ALL OF IT MAKING MUSIC. INTENSE, INTRIGUING IN TUNE. BELIEVE IT.
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- 208. 190 OCTOBER 2016 PATRICKDEMARCHELIER ciencesays babies will stare longer at a face that is beautiful, a standard measured with variables including facial symmetry and ratios. They act on pure instinct. We haven’t grown up much from that – only that it’s rude to stare. “The pursuit of truth and beauty is a sphere of activity in which we are permitted to remain children all our lives,” said Albert Einstein. When met with beauty, whether visual or even in music, the medial orbital-frontal cortex lights up. It’s the part of the brain that’s linked to pleasure, desire and decision making. And in much the same way as the brain lights up when reacting to beauty, everyone has an opinion about Kendall Jenner and, by association, her family as they are depicted in Keeping Up With The Kardashians. The 20-year-old offspring of the Kris Jenner clan is indisputably one of the most famous working today, one of the most popular magazine cover models according to respected chartist Models.com, and you’ve likely seen her face on advertisements and a host of magazine covers. She’s beautiful, sure – and officially so, according to a recent scientific study, thanks to her symmetrical face, large eyes, full lips and heart-shaped face. Coupled with her lissom 179 centimetres in height, a career in modelling seemed inevitable. “When I was a little girl, I was always tall and lanky, and supermodels were my superheroes,” remembers Kendall, who has long expressed a desire to be on the runway. “I would look through my mother’s fashion magazines and dream of making that my reality. Flash forward 17 years, and here we are!” Kindly put, even a famous family – or in the case of the Kardashians, sometimes infamous – does not necessarily propel you to the top of the league. For every Angelina Jolie, there is a Tori Spelling. And with the added obstacle of a family known contemporaneously through the base pop culture lens of reality television, Kendall’s fashion career has sprung out beyond being just another Hollywood offspring model. A pivotal moment was being cast by star-maker stylist Katie Grand for the Marc by Marc Jacobs show in February 2014. Walking the runway with bleached eyebrows and a wig, she was not immediately recognisable – and proved Kendall’s versatility in the quick-to-judge world of fashion. A year after her runway debut, Grand had said to US Vogue.com: “I’ve worked with Kendall for a year now. It’s been fascinating to see the transformation from the shy teenager sitting in the Marc Jacobs reception to the supermodel she is today.” I had met the quiet teenager when she was photographed for Vogue Australia. The reserved 16-year-old was accompanied by her mum-ager, Kris Jenner, who spent the entire shoot sitting quietly to the side of the studio reading, out of sight from her daughter and the photographer. There was no reality television crew in sight, because Kendall was adamant that her modelling should happen without relying on her family fame. With half her life spent on Keeping Up With The Kardashians, we've watched them partake in the usual sort of familial shenanigans that one would expect relatives to do. Met with doubts when it first launched, the real-life saga has gone on to become a smash hit, with viewers unable to get enough of the family. Are you a Kim, Kourtney, Khloé, Kendall or Kylie? In the clan, Kendall is the quieter one, often away from them on work appointments. “I think the greatest challenge in my career so far has been finding time for myself and the people I love,” says Kendall of her success. “I would never in a million years complain about what’s been given to me. This is my dream and, although there have been struggles or hang-ups, I'm incredibly blessed.” Today, with a beauty contract with Estée Lauder (there should be no truer validation of beauty than this – they even let her make her own lipstick and eyeshadow palette), she’s a regular on blue-chip catwalks like Chanel, Fendi and Balmain. “She’s a very sweet person,” Karl Lagerfeld said of Kendall to US Vogue. “Very caring and not at all spoiled by those superficial successes. I must say I love her.” She’s the embodiment of the modern model, a perfect cataclysmic compounding of 21st-century pop culture fame with a classic, genetic lottery beauty – “beauty is not caused,” once quipped poet Emily Dickinson. “It is.” But, ultimately, Kendall’s appeal harks back to an era when models were personalities on their own – nowadays a model can’t get away with just being merely beautiful. “I loved fashion in the 90s when models were celebrities. Claudia Schiffer, Naomi Campbell, Cindy Crawford and Carla Bruni were so inspiring; you wanted to watch a show not only for the clothes but also for the woman in the clothes,” says Olivier Rousteing of Balmain over Skype from his Paris office. He was an early supporter of Kendall, too, casting her in his runway shows and campaigns. “It is like that now with Kendall because people see the clothes but also see the girls who have something to say. They are powerful, with personalities.” Although reflexively categorised as part of the selfie generation, Kendall bristles at the activity. “It just doesn't necessarily pertain to me exactly but [being asked] … how to take a perfect selfie – if you look at my Instagram, you can tell I’m not really big on selfies,” she explains. And this typifies what she is really about. A laymen less familiar with Kendall’s presence in fashion may assume she would take photos of herself – arm stuck in front – in a world where oversharing has become a currency, but it’s evident that she’s a vigilant self-curator. Mixed in with her professional work and humorous images, there are indeed photos of herself taken not by her but more often her modelling work, as well as her own photographs, its graphic composition combined with a natural, plein air mood. And what these girls do on social media has influenced fashion and the way the millennial generation self-curate online and beyond. “It is obvious to me that personalities who have massive international followings are tastemakers and have the power to create and influence trends,” says Alyce Tran of accessories label The Daily Edited, who keeps a close eye on the stylistic choices of the “K” girls, citing their use of a palette made up of nude, khaki and blush as influencing the colour scheme of her products. “For me, I can look at their profiles to see what they like, what they are wearing and see how that translates to consumers and how I might need to adapt my product strategy to touch on the prevailing trend of the moment.” Instead, Kendall prefers to share only snippets of her life through her own photography, a passion that she is just only beginning to share with the public. “My interest in photography has always been there; it’s just now I’ve started being more vocal about it … I've always enjoyed sharing a small glimpse into my life via photos,” she says. “I more often than not will always have my camera with me and I'm just snapping pictures along the way capturing this journey. One day I'll be able to look back at this crazy, crazy ride and have all of these images to take me back.” ■ “ITHINKTHE GREATEST CHALLENGE INMY CAREER SOFAR HASBEEN FINDINGTIME FORMYSELF ANDTHE PEOPLE ILOVE” S
- 210. 192 OCTOBER 2016 AFESTIVAL OF SOUNDS, BAND TO BAND, TENT TO TENT, GOOD MUSIC ALL THE WAY. STYLED BY KATE DARVILL. PHOTOGRAPHED BY NICOLE BENTLEY. LO V
- 211. Charlee Fraser wearsan Alexander Wang dress, $2,590, and beanie, $415. Lafitte socks, $30, worn throughout. Valentino boots, P.O.A., worn throughout. Necklaces, from top: Linden Cook necklace, $275. ManiaMania necklace, $290. Love Hatred necklace, $480. On left arm, from top: Pandora bracelet, $69. The Family Jewels bracelets, $500, $170 and $420. On left hand: Vintage rings, $420 and $450, from Four Winds Gallery. On right hand, from top: The Family Jewels ring, $75. Fiorina Jewellery ring, $425. The Family Jewels ring, $290. Kane wears Ksubi jeans, $200, from General Pants. His own belt and boots, worn throughout. All prices approximate; fashion details last pages.
- 212. From left toright: Nelson wears a Ralph Lauren sweater, $900. Vintage T-shirt, $120, from Storeroom Vintage. Ksubi jeans, $200, from General Pants. Vintage necklace, $980, from Four Winds Gallery. His own boots. Lucy wears an Insight T-shirt, $30, from General Pants. The Family Jewels necklace, $210. All other clothing and jewellery, her own. Charlee wears a N°21 jacket, P.O.A., and shirt, $540, from www.matchesfashion.com. N°21 dress, P.O.A. Iro dress, worn underneath, $800. Alexander McQueen earrings, P.O.A. On right hand: Gucci ring, $590. On left hand: Gucci rings, $420 and $360. Woman in background wears a Saint Laurent jacket, $1,830, from David Jones. Zimmermann dress, $795. All other clothing, her own. Troy, in background, wears a Gucci cardigan, $5,030.
- 213. Zoe Karssen T-shirt,$169. Victoria Beckham dress, $3,500. Preen Line coat, $1,435, from www.matchesfashion.com. Fausto Puglisi beanie, P.O.A. Necklaces, from top: vintage necklace, $490, from Four Winds Gallery. The Family Jewels necklace, $189. Pandora, necklace, $139, with The Family Jewels charms, $39 each. NICOLEBENTLEY
- 214. Alexander McQueen jacket, $13,145,dress, $4,230, and earrings, P.O.A. Beauty note: Toni Guy Casual Rough Texturiser.
- 217. The Preatures wear theirown clothes. Charlee wears a Haider Ackermann jacket, shirt and pants, all P.O.A. One Teaspoon bra, $80. Elsa Peretti earrings, $1,250, from Tiffany Co. Pandora necklace, $139, with The Family Jewels charms, $39 each. Vintage ring, $420, from Four Winds Gallery. THE PREATURES Every once in a while, a band comes along that resuscitates the howling urgency of rock’n’roll. The Preatures are that standing side by side, backs to the crowd with their “X” ingredient: one hell of a frontwoman, Isabella Manfredi, who transitions from raucous Joan Jett rebel to Chanel sylph in a shrug of her fringed suede jacket. WORDS:ALICEBIRRELL PHOTOGRAPH:NICOLEBENTLEY
- 218. From left toright: Kane wears a Paige shirt, $300. Ksubi jeans, $200, from General Pants. The Family Jewels ring, $229. Charlee wears a Discount Universe jacket, $3,815. R13 dress, $825, from www.matchesfashion.com. Necklaces, from top: The Family Jewels necklace, $179. Vintage necklace, $980, from Four Winds Gallery. Vintage cuffs, $795 and $4,995, from Four Winds Gallery. Nelson wears a Burberry coat, $4,095. Vintage T-shirt, $120, from Storeroom Vintage. All other clothing, his own. Lucy wears a Sportsmax dress, $1,115. NICOLEBENTLEY
- 219. VOGUE.COM.AU 201 Charlee wearsa Chanel dress, $26,660, from the Chanel boutiques. The Family Jewels earrings, $279. Necklaces, from top: Steviie necklace, $32. ManiaMania necklace, $290. Love Hatred necklace, $480. On right arm, from top: vintage bracelet, $995, from Four Winds Gallery. Fiorina Jewellery bracelet, $395. On right hand, from top: The Family Jewels ring, $75. Vintage rings, $420 and $450, from Four Winds Gallery. Kane wears an Insight T-shirt, $30, from General Pants. Christian Dior jeans, $1,200. Vintage cuff, $760, from Four Winds Gallery.
- 221. Charlee wears aPreen dress, $2,200. Elsa Peretti scarf, $5,800, from Tiffany Co. Linden Cook earrings, $165. On left hand, from top: The Family Jewels ring, $169. Love Hatred ring, $450. On right arm, from top: The Family Jewels bracelet, $169. Fiorina Jewellery bracelets, $345 and $395. The Family Jewels bracelet, $420. On right hand: vintage ring, $380, from Four Winds Gallery. NICOLEBENTLEY
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- 224. GANG OF YOUTHS Asdusk descends on the festival site, Gang of Youths frontman Dave Le’aupepe (far left) has a moment with his gang, temporarily joined by model Charlee Fraser. The Sydney- based quintet needs it; they’re about to take their fierce, emotive act in front of more than 33,000 elated fans.
- 225. Gang of Youthswear their own clothes. Charlee wears a Barbara Bui dress, P.O.A. Louis Vuitton earrings, $950. On left hand: Gucci ring, $360. On right hand, from left: Gucci ring, $420. Linden Cook ring, $275. Fendi boots, P.O.A. WORDS:ALICEBIRRELL PHOTOGRAPH:NICOLEBENTLEY
- 226. Nelson wears aCusto Barcelona jacket, P.O.A. Charlee wears an Acne Studios top, $900. Bally pants, $3,250. Vintage earrings, $1,495, from Four Winds Gallery. Linden Cook necklace, $275. On right arm: vintage cuff, $995, from Four Winds Gallery. On right hand: vintage rings, $315, and $550, from Four Winds Gallery. On left arm: vintage cuff, $1,950, from Four Winds Gallery. On left hand: vintage rings, $420, $680 and $350, from Four Winds Gallery. Haider Ackermann belt, P.O.A. NICOLEBENTLEY
- 227. Maison Margiela jacket andshorts, both P.O.A. Linden Cook earrings, $165. Vintage necklace, on top, $490, and vintage ring, $315, from Four Winds Gallery. Tiffany Co. necklace, $560.
- 231. From left: Kanewears a Bally shirt, $1,650. Charlee wears a Burberry jacket and dress, $3,850 each. Linden Cook earrings, $165. On right arm, from top: The Family Jewels bracelet, $169. Fiorina Jewellery bracelets, $345 and $395. The Family Jewels bracelet, $169. Paloma Picasso ring, $290, from Tiffany Co. Troy wears a vintage necklace, $980, from Four Winds Gallery. NICOLEBENTLEY
- 232. 214 OCTOBER 2016 WORDS:ALICEBIRRELL PHOTOGRAPH:NICOLEBENTLEY ViolentSoho wear their own clothes. Charlee wears a Louis Vuitton dress, $6,850, pants, $5,500, and earrings, $950. Elie Saab ring, P.O.A. VIOLENT SOHO It was suburban Brisbane that incubated and spat out the intense sound that is Violent Soho. Their ruffian sensibility on stage is countered by their down-to-earth demeanour in a calm backstage moment.
- 233. Boss dress, P.O.A. VintageT-shirt, $200, from Storeroom Vintage. Tate NY earrings, $95. The Family Jewels necklace, on top, $210. Vintage necklace, $980, from Four Winds Gallery.
- 235. The Kills weartheir own clothes. Charlee wears a Kenzo top, $1,550, and pants, $900. Louis Vuitton earrings, $950. Fausto Puglisi rings, P.O.A. Hair: Koh Make-up: Victoria Baron Set stylists: Lucy Ewing and Lisa Smith @ Spell Models: Kane Anderson, Lucy Blay, Charlee Fraser, Nelson Powell and Troy Swindail WORDS:ALICEBIRRELL PHOTOGRAPH:NICOLEBENTLEY THE KILLS When Alison Mosshart sank to her knees, microphone in hand, as Jamie Hince’s guitar seethed in the closing minutes of The Kills’ set at Splendour in the Grass, they reconfirmed their place in the contemporary rock canon. Doing it to Death is their latest single. Everyone hopes they will.
- 236. 218 OCTOBER 2016 yearliest memories are of the studio in Sydney’s Watsons Bay. It was here that I spent my first years, dwarfed by canvases that loomed like vast apostles, and I can still smell the gum turpentine, feel the spent tubes beneath my bare feet, see the scraped palettes, the oil- stained rags, the uncorked bottle, a smock hanging in the corner and the unfinished paintings leaning in on each other. Above the fireplace, a glass of red at half-mast, a salute to the night before. To anyone else it might have been clutter or a riotous mess. To me it was home, a place where things were made and invented in the raw rather than bought new. A kitchen where there was always a fish straight from the sea wrapped in newspaper. A dining table surrounded by loud, opinionated thinkers. Ideas uttered like prophecies, advice thrown around like sea salt, music, laughter and sometimes tears. And that’s what it’s like to be the child of an artist. No single day was ever the same. In my case two artists, both Mum and Dad. But my father was dominant like the sun, a heliocentric force, who always returned to the circle whether it was his famous paella pan surrounded by a swarm of drop-ins or the burning ball of cadmium yellow he so often placed in the belly of his paintings. John Olsen. A throwaway line by many – that he is Australia’s answer to Picasso or hailed sentimentally as a national living John Olsen is one of Australia’s greatest living artists. Here, his son, gallerist Tim Olsen, who helped curate a new retrospective, reflects on his bohemian childhood and gives a rare insight into his father’s powerful ability and influence. SON OF THE BRUSH M Entrance to the Seaport of Desire (1964). ▲
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- 240. treasure – tomy sister Louise and I he was a teacher before we knew we were being taught anything. For John, the line between art and life was rarely broken. For my mother, Valerie, painting was a sacred sanctuary, a place to quietly return to the soul. It’s funny to think of how our parents fretted about our futures. “What will become of them with such a bohemian upbringing?” was the familiar refrain. And perhaps we were eventually sent to private schools as a bit of last-minute insurance, a compensation for the years living as vagabonds, crisscrossing Spain, Portugal and France, or the odd moments sitting on the pub steps, either waiting for the fisherman to sell their morning haul or at closing time waiting for the party to end. It was a childhood that mixed earthy pleasures with worldly company as it seemed that everyone who came to our kitchen table – Margaret Olley, Germaine Greer, Russell Drysdale, Donald Friend, Barry Humphries, Sidney Nolan – made my sister and I unknowing witnesses to a dynamic culture unfolding. The value of painting was a crucible undisputed in our house, making my childhood rich in two assets: art and memory. Money might be inherited but I think creativity is bred and with it comes an even greater sense of responsibility. Unknowingly, us kids got an unlikely work ethic from watching our parents sticking at the art through feast and famine and I think that contributed greatly to Louise’s independence and success as a designer (for her company Dinosaur Designs) and my eventual tenacity as a dealer. The unspoken credo in our house was that anything was allowed except mediocrity. You can’t throw in the brush! According to my parents I was conceived at the National Art School in Darlinghurst in Sydney, and I showed a flair for painting early. At the age of three, I crept into my father’s studio unseen one morning and “contributed” to a large painting he was working on at the time. At breakfast there was an uproar: “He’s buggered the painting!” John thundered to my mother. Then, later in the day at a pre-dusk moment he christened “chardonnay time”, a second glass of wine was consumed. This time he called out: “The kid’s a bloody genius!” The painting, Entrance to the Seaport of Desire, now hangs in the Art Gallery of New South Wales, and my hand is still in there somewhere. As a young man I had the temerity to study to be an artist and the wisdom to not become one. Seven years of art school taught me something, but watching Dad and living through every artwork on a highly personal level taught me more. Seeing Spanish Encounter hanging in a museum is like looking at an old photo album, but the memories are coded in paint. It is a rare privilege to grow from infancy to maturity within a vast body of work. In many ways, John’s paintings have the ability to distort and play with time. The joyful immediacy of his mark conceals the gravitas that forms the bedrock of six decades of painting. As his famously dark self-portrait, Self portrait Janus Faced, attests, my father has two very distinct personas. The first is the public identity: the gregarious host, the bon vivant flinging saffron, bon mots and rare pigment into the void, the Zen calligrapher inventing his own frenetic lexicon of line. Less known is the introvert. The man working in complete cloistered silence. Deep in doubt before an unfinished painting. Reflecting the day in his rambling art journal. Alone in the bush or a private thought. Sealed by a closed studio door. There is no doubt as to the hierarchy held by an obsessive and prolific painter. First came 222 OCTOBER 2016
- 241. art, then yourwoman and then your children. We were taught from an early age that it was the things that could not be seen that manifested most powerfully: “If you haven’t got the feeling right,” John admonished, “just forget it.” And it’s probably that deceptively direct approach that has seen Dad simplified in some critical and art historic circles. His lineage as a painter shoots an arrow through half a century of Modernism, his compositional experimentation literally turned Australian landscape upside down and he mastered many mediums within a vast body of work: etching, ceramics, calligraphy (his own!), watercolour and oil. I like to think he challenged himself despite his success and not because of it. And that was another critical gift of living so closely within the orbit of an art star: good artists always leave room for doubt. The fallow moment. The dark night. “The billabong period” as he called it many times. God knows he has had his detractors; many times within my father’s career his work passed in and out of fashion. With honour and acknowledgement came the changing and fickle tastes of new generations. I am baffled by the conceptual or “post-post modern” artists who are not generous to him. There is more raw experiment in his process than in entire museum wings and his work has a strong (if little known) performative streak. These are intensely physical paintings full of unmapped gestures and unplanned outbursts. Intensity is something he has sustained over time. Simply staying a painter in the stream of contemporary whims and honing his language outside of trends, to my eye, is rare in itself. He carved the path but he also stayed the course. This morning Dad sent me a photo. Beret on head, hand on brush, frenetic energised lines leaping onto the canvas. It was probably taken while the world was still sleeping, long before breakfast. They say Cézanne died painting but he probably didn’t see it like that. He lived painting and the line between art and life wasn’t drawn. The gifts an artist leaves his children are always measured in gold frames. I suppose people look at the heirs to Henri Matisse or Lucian Freud as living with priceless artefacts. As a gallerist I have the strange duality of knowing the market value of a work of art and the spiritual value of living with something rare and original. What I tell young collectors every day is to look at their motivation in investing in a work of art. It has to be emotional: art for me is not real estate. I walk past John’s major work Lake Hindmarsh every day, breathing in the dormant majesty and emotional solemnity of this big moody brown canvas. I see its place in art history as a major work, possibly a misunderstood work, but more strongly this painting glowers with memory. Just as some tribes live with ancestral talismans, I am surrounded by the power of family. John always said: “In life, there are lovers and there are others, and you know what you can do with the others!” Long live the lovers. ■ John Olsen: The You Beaut Country opens September 16 at the National Gallery of Victoria before opening at the Art Gallery of New South Wales next March. Go to www.ngv.vic.gov.au. IN MANY WAYS, JOHN’S PAINTINGS HAVE THE ABILITY TO DISTORT AND PLAY WITH TIME VOGUE.COM.AU 223 IMAGESCOURTESYOFJOHNOLSENANDNGV
- 242. One of thebiggest changes in legendary stylist Grace Coddington’s career signals a new and unchartered chapter in fashion. By Alice Birrell. A fter nearly three decades of influential and legendary work at US Vogue, unsurpassed creative director Grace Coddington announced she was stepping down. The news broke in January and New York Times chief fashion critic Vanessa Friedman rather sombrely wrote: “The tectonic plates of fashion are shifting.” So, with a game-changer like Coddington on the move, a constant for someone who has worked at Vogue for longer than this writer has been alive, should we panic? “It is a difficult period for everyone,” she says, seated in her office at Vogue. “The whole world is changing. I feel like the carpet is being rocked under me somewhat and it is particularly challenging for me because I have rejected all that.” By “all that” she means whip-fast technology, social media and instant Insta-fame. Take pause to believe all this, though, because Grace Coddington is many things, and one of them is a chameleon. To wit, she confesses she’s joined Instagram, which of course I already know being that @therealgracecoddington is there for all 254,000 followers to see. “I have, I’m ashamed to say. You know mine is 90 per cent drawings, which take a bit of time and thought actually,” she seems to want to qualify, referring to her long-held love of sketching. “I have people saying: ‘Well, can you do it now?’ and I just say: ‘No, let me think about it.’” The future then is not necessarily bleak. What this changing world has afforded Coddington is a new type of luxury: freedom. For one of her first ever big projects outside of Vogue, she was hired by Tiffany Co. as creative partner to create the jeweller’s new Legendary Style campaign. “I want to be very selective who I give my name to,” she explains. “[Tiffany Co.] is very beautiful and it is so much part of New York and I have completely embraced New York.” Along with her relatively constant uniform of sneakers, black pants and black top, little else embellishes her look other than her red hair, which is either a halo or a flounce depending on whether she’s sitting or moving fast. She does genuinely wear the jewellery house’s wares. “I wear Tiffany things; not the big fancy necklaces because I don’t have that kind of money,” she jokes with a British straightforwardness. Her favourites ▲ THE WAY OF GRACE 224 OCTOBER 2016
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- 244. Clockwise from topleft: illustration by Coddington of Lupita Nyong’o being shot by David Sims for the Tiffany Co. campaign; Anna Wintour and Coddington at Paris fashion week; Coddington in 1992 with her longtime partner, hairstylist Didier Malige; a previously unpublished image of Ellen von Unwerth and Coddington; Coddington walking in the woods in Buckinghamshire, 1964. Opposite: an illustration by Coddington of the stars of the Legendary Style campaign, from left: Christy Turlington, Elle Fanning, Lupita Nyong’o and Natalie Westling.
- 245. instead are demurediamond rings and pieces by Elsa Peretti. “Peretti is extraordinary; it is like pieces of sculpture. It is very easy to use in shoots because it is very graphic,” she points out. The good news for Vogue is she will stay as creative director-at- large to work on a handful of shoots each year, but few would be surprised if she did more. “I still have an office,” she says. “They are very nice to me, but I’m freelance.” Note that few have loosened ties with the hallowed Vogue halls so seamlessly. Our meeting location, in her office, is a last-minute change from her Chelsea home as she is flying out the next day for Nicolas Ghesquière’s resort presentation for Louis Vuitton in Rio de Janeiro and she has work to do. It’s something that, despite her admiration for Ghesquière, Coddington’s not thrilled about. “It’s a bit more tiring now. Everyone wants to show in Cuba, or Brazil, or wherever. It would be nice if they could just come to the office. But that’s not going to happen.” In her workspace all is as anyone who has seen R.J. Cutler’s 2007 documentary The September Issue would expect. The area is a brightly lit pocket inside the vertiginous new One World Trade Center home of Condé Nast, tucked away off the main thoroughfare. Racks flank the walls outside and a heavy glass sliding door gives Coddington the impression of sanctuary. Impression only, because Coddington surrenders to a request for direction when a call comes in from Alexander McQueen and answers a query about a dress during the course of the meeting. The diktat is business as usual. There’s no computer on her desk, a symptom of the technologically adverse, and instead the space is dotted with piles of fashion books and images from shoots – a decorating quirk she inherited from friend and collaborator Bruce Weber. There are also multiple bottles of her recently released perfume, Grace, and pictures of her treasured pet cats. Welsh-born Coddington joined Vogue in 1988 after leaving Britain where she modelled in London in the 1960s, knocking around with the likes of Mary Quant, Michael Caine and The Rolling Stones. It was the same day Anna Wintour started as editor-in-chief, and it was Wintour who invited Coddington to take up a position – the pair had worked together previously at British Vogue. A brief, but no less important, stint at Calvin Klein proceeded and incidentally another of Coddington’s new projects has seen her modelling for the brand’s new campaign. During her time there, she orchestrated the bare bones and now iconic Eternity campaigns with Christy Turlington that flagged a change in Klein’s own career from sexed up to pared back. It is not an overstatement to say Coddington has had a hand in several seismic shifts in the fashion industry. She underpins the direction Anna Wintour has taken at US Vogue from foregrounding celebrities increasingly to incorporating the worlds of art, politics and lifestyle in shoots. It’s all captured in wistful, and at times heart-stoppingly romantic, images that have become her stamp. Photographer David Bailey says the reason he has enjoyed working with Coddington so much is “because she was not constrained by fashion. She had an open and free mind to new ideas.” A narrative theme is an often-observed thread in her images and emotion guides her sometimes moody, sometimes charming scenes. Through work with photographers like Helmut Newton, Irving Penn, Arthur Elgort, Peter Lindbergh, Steven Klein and Annie Leibovitz, she has forged and cemented trends. As just one example, she insisted on placing grunge front and centre in a 1992 shoot with Steven Meisel featuring hole-ridden jumpers, kilts and Doc Martens. It was shot days before Marc Jacobs showed his famous grunge collection and, as Coddington points out in her 2012 memoir, “he doesn’t give previews”. “Grace loves to tell stories and always brings the most amazing clothes to make the shoot very exciting, epic and groundbreaking,” photographer Ellen von Unwerth says. There’s a feeling that a story is unravelling before your eyes, a sense that when the camera shutters off for good, the whole scene will continue without the viewer. There was the 1989 Bruce Weber Long Island shoot with model Bruce Hulse and a young Talisa Soto. In one image, Soto poses fists raised ready to fight, though beguiling in a liquid silk slip dress. In another Weber image, Naomi Campbell and a shirtless Mike Tyson stride purposefully toward the foreground. In an Arthur Elgort-shot desert scene, nomadic children join regal female warriors in a Mad Max-inspired epic. In one of Unwerth’s shoots, a platinum- blonde Amish Christy Turlington lazes in a wheat field. Working on instinct, Coddington understands what a good image is. “When you see it, you feel it,” she says. “It is very important you can see the clothes. I think too many people are trying to be too creative and forget the fashion picture. That is the difference between art and a fashion picture: for a fashion picture you’re actually there to sell the clothes.” It’s a truth that has driven US Vogue and is made out to be a point of difference by some commentators between Wintour and Coddington. In reality the two who have worked together for decades understand each other. “I don’t believe for one minute that I have a sense of what’s going to happen or a sense of real change the way Grace does,” said Wintour in Cutler’s documentary. “She and I don’t always agree, but I think that over the years we’ve learnt how to deal with each other’s different points of view.” Coddington still feels pressure to work at her best under Wintour. “At some point you have to show [your edit] to Anna on a rack and that is kind of scary,” she says. “You just hope she likes it and sometimes she doesn’t. Sometimes she makes you change it … what happens is you’re left with the best of the best. If you can survive this, then it is going to be something strong.” Does she find this challenging? “She is very challenging. It’s what she does and it’s what is so good about her. You know, she is never lethargic and just lets it go through. It’s one of those things; you wonder if she is actually focused or concentrating ▲ VOGUE.COM.AU 227 GETTYIMAGESMARINASCHIANOSNOWDONELLENVON UNWERTHILLUSTRATIONSBYGRACECODDINGTON COURTESYOFGRACECODDINGTONANDTIFFANYCO. “I CAN’T BE TOO NOSTALGIC. YOU HAVE TO FIND WHAT’S RIGHT FOR YOU”
- 246. on something andyou had better believe she is,” she says emphatically. “As soon as you step through her door, she is on it. She already knows where it should be and how it should be. It’s an opinion of course – that’s what an editor is.” A stylist then, or at least an original like Coddington, is resourceful. “She will run up a mountain to pick a daisy if it is needed to make the pictures better, and that is a rare thing,” says Unwerth. It’s a style not all editors working today preference, but Coddington says it’s what she likes. “I am always trying to cut them down saying: ‘Listen, let’s just jump in a car, you and me, one assistant and a model and hair and make-up’ … They all say that sounds really exciting but then by the time you take off to do the job you’ve accumulated 20 people.” It’s a preference for a down-to-earth approach to work that earned her legions of fans after The September Issue. She shares her office with two well-mannered assistants, a concept at odds with the supercilious editrix stereotype the media is fond of spruiking. They deal with the daily concerns of being Grace Coddington like answering countless emails and phone calls. With humility she says she is grateful to Tiffany “for giving me a start in my whole new career at the age of 75”. With that humility comes a tendency toward self-criticism, a slight restlessness that propels creatives like her on. When asked if she remembers when she first felt confident in her work, she replies: “I never felt that. I mean there are times when you think it is really good or you think it went well and obviously you’re really excited but I don’t think you’re ever like: ‘Okay, I’ve got it.’ It’s better that you don’t completely relax and say ‘I’m fabulous’ because for sure someone is going to tell you you’re not.” Whether she’d admit it or not, Coddington has embraced the changing times somewhat. For the Tiffany Co. campaign, she elected to include celebrities when she’s fought to shoot models at Vogue. Elle Fanning and Lupita Nyong’o appear alongside models Natalie Westling and Christy Turlington. She’s also had to evolve her working relationships with runway faces, which was once always close. “I had relationships with the models; when you did a trip with someone, it could be up to two weeks. That doesn’t happen now because shoots are shorter and shorter,” she explains. “Although life is supposed to be so much simpler digitally, it’s not.” Her single complaint about the Instagram generation – the Kendalls and Gigis – is that she isn’t given the time to know them well enough. “They kind of come in and go … it’s difficult to have a relationship. I feel like I almost have to speak to them through Instagram or something and I don’t speak Instagram.” As she continues a pragmatism creeps in. “I can’t be too nostalgic. I think you have to find what’s right for you,” she says. “That’s why I am very excited to go freelance because it gives me a whole other point of view that I didn’t have before. You’re seeing things from a different perspective.” Some might still view the career shift as a departure of the old guard, giving way to the new generation of powerful millennials who want fast hits, snaps, memes. To have influence, though, the new modes will need to do what Coddington has always done: provide a means of escape, a natty sideways passage into another space. To be memorable. Change will come certainly, at US Vogue and elsewhere, but as long as Coddington is willing to work and then beyond that, her defining vision will keep shaping a world as we see it – knowing or not – through Grace’s eyes. ■ 228 OCTOBER 2016 A Givenchy couture-clad Natalia Vodianova styled by Coddington for the October 2008 issue of US Vogue, shot by Patrick Demarchelier.
- 249. VOGUE.COM.AU 231 E Asta wearsa Gucci jacket, $2,705, shirt, $925, pants, $1,010, hat, $615, earrings, $930, rings, on right hand, $375 and $280, on left hand, $590, and shoes, $985. All prices approximate; fashion details last pages. Five musicians, five fabulous looks and a whole slew of hope. By Alison Veness and Alice Birrell. Styled by Kate Darvill. Photographed by Jake Terrey. PERFECT HARMONY verything is possible, no rules.” These are Gucci’s Alessandro Michele’s words and his philosophy and it is as time honoured as every rebel with music in their heart, every rip in every pair of jeans, every sequinned love heart and inked tattoo, every A minor chord to every E major chord. Fashion, music and art are all part of one creative world that is being explored so fabulously right now. We are in the midst of a creative explosion, a new era rich with possibilities. And so Vogue invited five Australian musicians to tune into the Gucci vibe that is running red hot, five women who sing and play as passionately and steadily from the heart as the man of the hour, Michele. Rock’n’roll, hell, yeah. His happy discord of Renaissance and street, which has become so much part of his design signature at Gucci, is as tangible and immersive as the sound of Asta, Banoffee, Sophie Lowe, Vera Blue and Jess Kent. Five musicians Michele loved as we worked on this showcase with Gucci. Each artist says something undeniably unique, and collectively they have a gritty, sweet and deep harmony and discord. They play it hard and strong, something memorable. If it’s all about a celebration of individuality right now, then each of them deserves a Grammy as they work towards singular yet common goals of engaging us in their conversations. They are all part of the new musical movement of women breaking through. Florence Welch (the perfect Gucci watches and jewellery ambassador) paved the way and so they have a shadow land, a mystery and bravery. They are Gucci girls in essence. Resonant and resplendent. Part of the unofficial extended family he is ceaselessly creating. Michele is totally inclusive; he has invited people into his world and imbued Gucci with a wonderful energy and the notion that anything is possible. ASTA The combination of fine features and slate-blue eyes, arresting as they are, gives away none of the power that musician Asta projects through her songs. The depth of vocals, which bolster singles like Dynamite and My Heart is on Fire, live up to their punchy names and signpost the career trajectory of Asta Evelyn Binnie-Ireland from Tasmania, who was able to fuse her brand of acoustic pop with contemporary electronica. It all gave way to radio time while the young singer-songwriter was still studying at school and has earnt her a spot on playlists in pockets around the country. ▲
- 250. Jess wears aGucci sweater, $4,240, skirt, $3,380, earrings, $780, necklace, $2,705, bangles, $1,860 and $3,820, rings, on right hand, $745, $1,025 and $815, on left hand, $590, stockings, $140, and shoes, $2,065.
- 251. VOGUE.COM.AU 233 JAKETERREY JESS KENT Ifthere were ever a time to convert to a new look, it would be trialling the attire of the ultimate eclectic: Gucci’s Alessandro Michele. Sydney-based Jess Kent let hairstylist Sophie Roberts cut a fringe to go with her hyperchromatic Gucci attire for Vogue’s shoot, though exposing herself to a slew of influences is not new for the young musician. Checking off reggae, pop, grime and hip-hop – music her guitarist father exposed her to as a child – as touch points, Kent’s boiled it all down to a single, Get Down, released late last year. Though she’s yet to put out a full album, the lithe dark-haired musician is on the edge; she’s just broken out onto the festival scene and has promised the world more danceable sounds for 2017. SOPHIE LOWE Reincarnation is a process, and one that both Sophie Lowe and the house of Gucci have undergone in recent years. From acting to music, the 26-year-old spent 10 years refining her output before releasing her second EP last year. Her skill in both genres allows Lowe to sing her brand of synth-y electronica and act convincingly in video clips for herself, and Flume. The key to transformation – for Lowe and the Italian house – is to come out the other side revitalised, and ready to express something important. Sophie wears a Gucci jacket, $3,810, skirt, $1,785, hat, $685, brooch, $1,225, rings, on right hand, $590, on left hand, $270, $420 and $360, bag, $5,530, stockings, $480, and shoes, $1,165. ▲
- 252. 234 OCTOBER 2016 JAKETERREY BANOFFEE Likemany of us, Melbourne musician Banoffee grew up on an aural diet of artists like Lauryn Hill, TLC and Snoop Dogg, but unlike most of us, the singer-songwriter let those sounds settle deep in her consciousness, eventually giving shape to a viable career path. Known as Martha Brown to her friends, the 27-year- old artist released her second EP last year bringing together her offbeat, light-dark influences and conveying both power and vulnerability. Emitting self-assuredness, the willowy ice-blonde pulls off Michele’s Gucci vision with ease. The parallel doesn’t end there either – not dissimilar to the Gucci creative director, Banoffee is multidisciplinary, producing visuals for almost every song she writes. VERA BLUE A tangle of raven hair tumbles over singer Vera Blue’s petite shoulders clad in white ruffles, transmitting the kind of freewheeling vibe Gucci girls of today are known for. Real name Celia Pavey, her musical breed is anchored in the world of folk and as a guitarist, violinist and singer she’s a multitasker. Her 2013 album This Music won favour locally and overseas and landed her coveted spots on the upcoming summer festival circuit. ■ Banoffee wears a Gucci top, $1,010, jeans, $1,205, headpiece, $1,030, earrings, $930, belt, $795, bracelets, on right hand, $1,860 and $3,820, rings, $360 and $470, bangle, on left hand, $595, and rings, $320, $280 and $375, socks, $110, and shoes, $2,065.
- 253. Vera wears aGucci cardigan, $5,655, dress, $3,075, hat, $445, and rings, on left hand, $445 and $375, on right hand, $470. Hair: Sophie Roberts Make-up: Linda Jefferyes Set design: Petta Chua Flowers: My Violet
- 254. 236 OCTOBER 2016 UP DIAL IT INCREASE THEVOLUME, ADD THAT LITTLE BIT EXTRA AND STAND OUT. CONVERSATION STARTED. STYLED BY SARAJANE HOARE. PHOTOGRAPHED BY PATRICK DEMARCHELIER.
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- 268. uring fashion month,each host city has a character. London is the freshly-unboxed-from- graduate-school new cool, Milan is the old Italian guard spiked with subversive wit, and Paris is where the powerhouses show, and trends are solidified. As for New York, which kicks off the entire show schedule, it’s the commercial one, where retail buyers head to for pumped-up contemporary sportswear, the sort of clothes you would rely on for workwear habituals. To put it nicely, New York fashion week is about the wearability of fashion rather than experimental vigour. Except for perhaps Rodarte – the three-syllable designer label by sisters Kate and Laura Mulleavy, who named it after Spanish-ising their mother’s maiden name. Their shows are the apex of New York fashion week, a coveted ticket to see the pair’s wayward references, their moody depictions of the raw savageness in beauty by way of intricate layers with a heavy touch of the hand. You don’t go to New York fashion week and not see Rodarte. Their career began when they sent off handmade paper dolls dressed in their designs to fashion editors from their home in California’s Pasadena where they are still based. Neither had studied or worked in fashion before – Kate studied art history and Laura English literature. Away from the fashion capitals of fashion, two outsider geniuses concocted a label that has gone on to become one of the most memorable and intriguing American brands in recent times. It makes for quite a story. Their isolated geographic base is used sometimes to explain their unseen, wholly original way at approaching fashion that is apart from what else is shown on the runway. Kate tells me how they would get asked when they were moving from California. “We got asked that for five years!” she says with a laugh. “Us living in California is part of who we are and it comes out on the clothes. I think it had more to do with us fitting into a certain idea of something. We never fitted in.” She blames the internet for the public’s eased view of their geographic locations – but it could also be because of time, and their growth as designers as among the most exciting and intriguing in fashion today. No-one’s asking if they’re leaving California now. Leading up to the show week, the designers stay quiet on their plans, revealing nothing to the press. “We are very internal when we create,” Kate says. “We don’t talk to anyone when we’re Outsiders in the fashion world, the sisters behind American label Rodarte continue to galvanise the industry. By Zara Wong. D rare birds ▲ 250 OCTOBER 2016
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- 270. working on acollection, we don’t tell our parents.” When the collections have been shown, they are welcoming and open, at pains to express their design process. They may be depicted as outsiders, but their opinions show that they know much more than what they may let on. Their friends include Kirsten Dunst, Tavi Gevinson, Dakota Fanning, Emma Watson and Natalie Portman – the cool, smart girls in the room (of this fictive, metaphoric high school, which is definitely not your run of the mill.) In fact, the designers are directing a film due out next year, entitled Woodshock, with Dunst as the main actress. One season might cite the idea of Australiana (as in autumn/ winter ’12/’13), another, Van Gogh mixed in with California’s Mount Wilson (see spring/ summer ’12). Not in that hackneyed way that other designers do it – their latest collection, autumn/winter ’16/’17 claimed origins in San Francisco’s hippie heritage inspired by a trip back to their alma mater Berkeley, but it stayed far away from flower power. Instead it explored a mystical, dream-like state of the mere idea of San Francisco, translated visually into dark-lip- stained models with orchids knotted in their hair and subtle wave motifs appearing in the form of sequins and frills lopping around the form. “I have to say that the collections that are most representative of us as designers are based on more of an abstract feeling and we just pull from a more unconscious place, it’s more about emotions,” Kate says. The collection marked a decade for Rodarte in the fashion industry. The label sets itself apart for prioritising the “integrity of the collection, the idea, the creativity”, as Laura puts it. “Pushing all of our limits as much as we can to try to make an idea come across.” Many have questioned the commerciality of Rodarte. Would they be questioned about their business viability so much if they weren’t based in the US? “Commerciality is such a huge part of fashion and it’s a great part [because] it keeps the business growing and thriving … but as a community, we shouldn’t be afraid of having artistic souls who want to do it for those reasons. The commercial aspects are important but so are the artistic aspects,” Kate says. Both Kate and Laura are selective of what they wear from their own designs, preferring to keep their personal styles separate. Unlike other female designers, the Rodarte models are not Mulleavy facsimiles, allowing them to be completely unharnessed and free in their pursuit of inventiveness in fashion. “We’re very Californian, very laidback. We make these things that are so connected to who we are but I don’t connect to it [in a way] so that I need to wear it,” Kate says. They would prefer to not be bound by their own tastes of what they like to wear themselves. “I don’t design for us. For me, it’s about complete creatively what I want to make. It’s nice to work from a blank canvas.” Wide-ranging influences in their designs aside, the process of their work can be compared to haute couture. As it’s been told, Alexander McQueen had once caught sight of their designs at a Met Museum exhibition and gasped – later praising the sisters for their work. “It starts with sketching and it’s very meticulous. Things evolve with draping – we have an idea, but you have to follow your ideas when you’re draping,” Kate says. Many of their designs are made as one-offs. “The way production works is it goes into the store when someone wants to buy it,” explains Kate. “I love the idea that fashion is aspirational and special. For me, it feels like it’s part of our thread to make things that feel special and hopefully when someone gets it, it’s special for them.” They have made dresses for “one, sometimes two or three” people in the world. “Luxury is about dreams and ideas, and they don’t happen as fast as fast fashion,” Laura says. Collections have had them executing atypical techniques on fabrics: sandpapering and burning among them. Regular Rodarte model Kia Low remembers being backstage with extra sand being applied to her finale dress. “It was hand- beaded and had netting and sand that you would find on the beach – it was a real-life mermaid dress,” she says. “The sisters are super relaxed. They definitely have the most relaxed vibe backstage.” There’s a complex femininity in their designs, especially as of late – their past few collections have developed upon each other with motifs of layered lace and sequins. “I think we are at home when we do that,” says Kate. “But I don’t think this is feminine, that’s just a social construct. From an intellectual point of view, I like to think outside that … But, yeah, there is a femininity and a romance to it. For a woman designer, it’s interesting to embrace softness and femininity and still produce a powerful collection.” The dresses of the autumn/winter ’16/’17 collection are spun from lace appliquéd with sequin flowers, leather piping alongside ruffles of embroidered sheer fabric, fine fabrics layered and draped across the body in crimson and black. “If you hold up the dresses they are like little sculptures but they are still soft-looking. When you look at it, it’s constructed and layered, but to me, it’s like doing a deconstructed dress. Creating something soft and ethereal but all the work that goes into it, it’s like an architecture.” The women who buy the Rodarte dress aren’t buying it because it’s just another lace dress, or another sequinned piece to wear out. For that purpose, there are many others to choose from. It’s within that Rodarte dress that the Mulleavy sisters weave their tales and dreams, bestowing upon you entry into their enchanted world. ■ 252 OCTOBER 2016 INDIGITAL
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- 272. 254 OCTOBER 2016 Howdid you two meet? Tilda Cobham-Hervey: “We have the same agent. Her name is Trish McAskill.” Eamon Farren: “She is the leader of our careers and lives! One day she rang me and said: ‘Darling, I have just met your little sister, she’s from Adelaide and she has a movie coming up.’” TCH: “I believe you were not so keen at the beginning.” EF: “That is not true!” TCH: “Trish is very much like a mother and best friend. I knew about you already because you worked with the Windmill Theatre Company and I have watched every one of those shows since I was a child. As soon as I met Trish, I remember her telling me: ‘You have this big brother.’” EF: “So we sort of had to get along or we would have been in deep trouble.” TCH: “I think we had dinner together after that and then did a short film together called Marcia The Shark. We spent quite a few days in each other’s pockets and the rest of it has been just running into each other … our worlds collided because we have similar friends and people around us.” And then you did another short film together, The Suitor? EF: “Yes, Tilly plays an enigmatic and studious young woman in the 1930s or 40s. Her aunt is trying to set her up and I play the hapless young suitor who falls in love with Tilly. It kind of felt weird because we are [like] brother and sister.” So what was the first time you worked together and what was it like? TCH: “The first time we started working together was on the first short film. But I was also involved in the initial development of the play Girl Asleep. We played around with a whole lot of ideas and it was excellent fun to be part of. Then I wasn’t able to do the play because of 52 Tuesdays [her debut feature], but I watched it two or three times in Adelaide and Eamon made me laugh so much I was crying.” Was it hard translating Girl Asleep to film? EF: “It was always going to be a massive challenge from the beginning. Windmill are such a brave, ingenious company and they make such cool work. It has their brand, it has their feel. I think if anyone could do it, they could. What makes the film great is that Matthew Whittet [scriptwriter] and Jonathon Oxlade [production design] made it so original, which I think is really hard to do.” TCH: “What was so exciting was that they didn’t steer away from anything. It was so bold. It feels like the love child of Napoleon Dynamite, and Wes Anderson and Michel Gondry kind of worlds, which I have always loved. In the film they do a lot of theatrical tricks and in the play they do a lot of filmic tricks. It was a nice way to challenge that.” EF: “It’s great to a see a film that it is not the exact frame of its theatrical origin.” TCH: “Everyone had to trust the crazy. We were in a studio the whole time and there is one scene where I am riding a fake horse and there was a wind machine and projector. When you are doing those kinds of things, I think a lot of people have to put blind trust in the fact that in the end it would make sense.” It has had such a huge response, internationally as well. TCH: “What is also so incredible because it’s a kids’ movie and that’s how it is marketed. But really it is a movie for everyone. I have a 12-year- old brother and a lot of the films marketed for that age group aren’t in the same realm as this one. They’re not as bold nor as breathtaking. They don’t have the same odd sense of humour and this film doesn’t dumb down for children. They really inspire kids and challenge them.” EF: “That’s also true because it explores the awkwardness and the kind of cheekiness of everything. The dancing and singing feels like adolescence. The film embraces all that weird stuff.” What is it like to work for a small theatre company like Windmill – is it like a big family? TCH: “I have worked in Adelaide a lot and I grew up in Adelaide and I am about to do another film there. I think it is a testament to how a small community makes work. I think the arts community is small but extremely supportive and is extremely “I WATCHED IT TWO OR THREE TIMES AND EAMON MADE ME LAUGH SO MUCH I WAS CRYING” Rising Australian stars Tilda Cobham-Hervey and Eamon Farren tell Sophie Tedmanson about their new film Girl Asleep and their close friendship. Styled by Kate Darvill. Photographed by Duncan Killick. KINDRED SPIRITS ▲
- 273. Tilda wears aGucci dress, $6,665, socks, $110, and shoes, $935. Eamon wears a Prada jacket, $5,520, shirt, $1,100, pants, $1,350, and shoes, $850. Lafitte socks, $30. All prices approximate; details last pages.
- 274. DUNCANKILLICK tight-knit and everyonehelps each other out a lot. There is a real sense of family between companies and projects there. I think that is why I love working there so much. Everyone was really doing it because they were so passionate, unlike big projects where that isn’t the case.” EF: “I totally agree. Windmill are very loyal to their artists and it’s a company of many incredible people. They’re people who back what they’re doing and I think that makes you feel like this is what it’s about. This one feeling … this is why I do this. I think that is what makes them special.” TCH: “I think it is a strange job from outside. I would always want to be working with people I love who share the same artistic sensibilities. That is the exciting part of the job. I think what happens at Windmill doesn’t happen in other film or theatre companies. They kind of always work with the same people and you get this trust and you build a real community around storytelling. You can push your boundaries much more and be happier about that.” You both have a lot going on. Tilly, you’ve been in The Kettering Incident and Barracuda; and Eamon, you’re working with David Lynch on the new Twin Peaks. EF: “I am excited to see what it turns out like. It was an incredible experience. I am also going over to Broadway for four months to perform The Present [revising the sell-out Sydney Theatre Company show starring Cate Blanchett], and that is going to be so fun. It is a really cool moment for Australian theatre.” How do you feel about doing Broadway? EF: “It’s surreal. I don’t know what to expect. I’m sure it’s going to be exciting and it’s going to be great – we get to live in New York for four months. The opportunity is really amazing but the cast doesn’t really know what to expect. I think it is a dream for everyone. Doing this part on Broadway is a dream come true.” Do you feel like it has been a really big year for you both in professional terms? EF: “This play came out of nowhere for me. Sometimes, it’s a great year and sometimes it’s not. But I have been really busy lately and that is gratifying. I had the pleasure of working with some amazing people in the past year. It has been a wicked year and a half. I am grateful but also excited about what I can do next. But having said that, you don’t know what is coming next. ” TCH: “I find it exhilarating and terrifying all at once. I do go slightly mad not knowing what is going to happen next. I think what I have really learnt in the past year is to keep my brain active. I am trying to find other ways to keep my brain energised and find other ways to become more creative. I’ve been very lucky in the past few years as well. I also know that it could end at any moment, so I’ve been studying, too.” Tell us more about your studies. TCH: “I am studying in Adelaide. It is a study grant that they give out in four different categories where you propose what kind of study you want to undertake. I loved school and I was bit of a nerd and I found it quite hard not going to university, so I am at the point now where I like the idea of going to university. I have been lucky to have work come my way at the moment. I don’t necessarily want to go to a strict drama school but want to do little parts of learning all around the place. I proposed my own version of university that involves studying with Europeans and doing a few more practical classes.” Sounds like Tilly university! EF: “She is so utterly boring [said sarcastically]. Welcome to our brother/ sister relationship!” How did you both get into acting? TCH: “I started doing circus when I was nine. My parents are in the arts industry; my mum was a dancer and my dad works in lighting and set. So I did grow up Dior Homme jacket, $3,900, top, $940, pants, $1,400, and shoes, $1,750.
- 275. VOGUE.COM.AU 257 around theatreand then I went into the circus. But I was always more interested in the storytelling than the tricks so I was quite uncoordinated. Also, when I was 13 I did a show in Sydney with Kate Champion’s dance theatre company and my mum was playing my mum in it. I then did a short film [Australian coming- of-age drama 52 Tuesdays], which was accepted into a Berlin film festival. It was a total surprise because I didn’t think about doing this job forever but it just sort of happened. I would have always been in the arts in some way. I have made little shows in my bedroom and I will always try to keep doing that sort of stuff.” EF: “I think it’s really cool. I grew up on the Gold Coast with a mum who is a teacher. I went to drama school where I met this amazing drama teacher, who I’ll never forget. She had moved back from England and started running this school for drama kids. The best thing she did was not kick me out of class because I was a shithead. When I went to high school, I did some community theatre and always loved it. My first job was working on a film at Movie World in the Gold Coast. I went to do a year of international business and economics at university in the Gold Coast. I knew I was going to be an actor and it was my economics professor who, at the end of first year, suggested I audition for acting school. All my friends in the Gold Coast told me I was wasting my time and theirs because they probably did all my assignments. I eventually quit economics. There are certain things like this industry that make you want to restlessly run towards it.” TCH: “Yes, sometimes there is not a lot of control over the direction your life takes.” We have so many Hollywood films being made in Australia now it seems the boundaries have gone. Do you find that helps as actors – that you don’t have to just be successful in LA anymore and that you’re part of a more global acting community? EF: “I hope that good work will always be around and there will always be a platform to showcase that. Girl Asleep is good work and has found its platform in festivals.” Do you think people are thinking more outside the box, thinking more creatively? EF: “I think filmmaking needs more people working outside the box.” TCH: “I think the whole world gets smaller because of technology. It is also about adapting the technology to what you want to say. The more you travel, the more you learn.” EF: “My mother never understood the industry. [In teaching terms …] it is like a staffroom, but you have a new staffroom every three months. But you still keep in touch and can work with those people again.” Is it a good era in which to be young actors? TCH: “I do. I think the media [being in the public eye] is a blessing and a curse. The Instagram side is full on and I feel a little trapped. Being a young actor is becoming more celebrated as well, especially film and TV. You have so many platforms to watch TV on. If you put money into film and TV, it can be recognised globally.” Do either of you want to direct, write or produce in future? TCH: “No, I would hate it. I would not be able to deal with the responsibility of telling someone what to do and say.” EF: “I don’t want to either. I just want to keep acting. The most exciting and scary part of this job is to keep on acting no matter how old you are. It is one of the best jobs in the world and you just want to keep doing it as long as they have you.” Do you keep in touch with people you have worked with? TCH: “We build a family with these people. You don’t see them for a long time but it can seem like the shortest time when you meet them again.” EF: “We have to make an intense connection with these people, which is so dynamic.” ■ Girl Asleep is showing in cinemas now; the play will be revised at Sydney’s Belvoir in December. Chanel sweater, $2,100, pants, $5,050, and hat, $1,490, from the Chanel boutiques. Hair: Koh Make-up: Charlie Kielty
- 277. VOGUE.COM.AU 259 and basedat the University of California Santa Cruz’s for Games and Playable Media. pelling games don’t happen by accident anymore than do novels, movies or music,” Professor Isbister says. “Films ks are never lumped into one category, yet people talk mes as if they are all the same.” sor Isbister says games can also be an opportunity for mination. “Who do you choose to go out to play with? u need to catch everything, or are you a novelty seeker? long do you choose to play and why? All these things can be er for self-reflection.” She believes games can trigger deeper emotion than other media including films and novels because players can control how the story unfolds. “Our feelings in everyday life and in games are tied to our goals, our decisions and their consequences,” she says, adding this is why psychology researchers use video games as research instruments to tightly control situations and demonstrate how particular challenges lead to emotional responses. “To the human brain, playing a game is more like actually running a race than watching a film or reading a short story about a race,” she explains. “When I run, I make a series of choices about actions I will take that might affect whether I win. otions ebb and flow as I make these choices and see what s as a result.” ed experiences will soon become more intense thanks ration of virtual reality (VR) headsets promising to n the much-hyped but ultimately disappointing nd the VR revolution is tipped to get even more king international video game sales already 0 billion annually to almost $100 billion the ability to physically insert yourself sy for video game players to enter a rmance state that leading positive ntmihalyi famously called “flow”. Psychology of Optimal Experience, ople are happiest when they are so activity that nothing else seems and when musicians play at their e zone and when programmers stay t code, time seems to melt away and ar,” says Professor Isbister. nvinced that there are benefits to tual or augmented reality. In an article z, Canadian neuroscientist Colin Ellard lking while collecting creatures is hy. of the glowing accounts of the app’s ability to loration”, we are not likely garnering the same and physiological benefits as we would on a ogy-less walk,” Ellard writes. Beyond the positive effects of exercise, there are many other benefits we gain from strolling through the streets – but we often can’t access them when we’re avidly chasing virtual creatures through a three-by-six-inch screen … Let’s not kid ourselves that Pokémon Go players are really learning very much about the world, enriching their minds or finding their place. For anyone wanting that kind of experience, the methodology is much simpler: go outside. Take a wander. Look around. Your brain will thank you for it, no phone required.” ■ U
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- 279. To live intoour hundreds is the stuff of sci-fi or egomaniacal fantasy, but thanks to companies better known for IT than wellbeing, immortality could be merely an algorithm away, writes Nicola Moulton. IMMORTAL BELOVED P icture the scene: a bunker, deep within California’s Silicon Valley. A collection of the world’s leading science, health and technology experts are gathered in a top-secret hub; a futuristic laboratory dedicated to blurring the boundaries between humans and robots. Bodies are frozen and memories downloaded to be stored on computers. Even the language they use to talk about growing older has had a reboot: instead of “anti- ageing” and “elixirs of youth”, it’s now all “human upgrades”, “hacking the ageing code” and “disrupting death”. Here, reaching 100 is considered humdrum and the aim is longevity on a hitherto unimagined scale. In short, it’s about discovering the secrets of living forever. So far, this picture is something that only exists within the depths of my imagination; a conflation of references from James Bond to the Laboratoires Garnier. But it’s not entirely without justification. Because having mastered the microchip and curated the digital age, the tech world’s next big obsession, right now, seems to be the business of longevity. As always in Silicon Valley, Google is never far from the action. In 2013, the tech giant unveiled a highly secretive research company called Calico (it stands for the California Life Company) focused on “health, wellbeing and longevity” (Time magazine ran with the coverline “Can Google Solve Death?”). But for all the excitement around the company’s mission to “disrupt death”, precious little is known about what it’s really doing. The team at Calico, I was told, “isn’t giving interviews at the moment”, and its website tells you almost nothing. British scientist Aubrey de Grey, sometimes referred to as the “rock star” of the longevity world, divides his time between Britain and California, developing his theory that with a big enough budget we may be able to reach a point where we could choose the age at which we would like to exist for the rest of our natural lives within the next 25 years. (His navel-grazing beard lends him a sort of “mad professor” air, and the irony is lost on no-one that the man who has become the academic face of anti-ageing certainly feels happy making himself look far older than he is – although when someone asked him why, he joked in his TED talk that he was actually 158.) One of de Grey’s friends, and adviser to Google’s Calico, is Ray Kurzweil, a 68-year- old Woody Allen-like figure who was presented with the National Medal of ▲ VOGUE.COM.AU 261 DANIELSANNWALD
- 280. Technology and Innovationby Bill Clinton. He believes, as he wrote in his 2012 book How To Create a Mind, that “mortality is within our grasp”, and he practises what he preaches. Sitting with him at dinner a few years back, I watched him consume about 30 supplements; a measure which, he claimed, had given him a “biological age” at least a decade younger than his chronological years. But here’s the question: could you really be bothered? To take all those tablets three times a day, or do any of the other things that the burgeoning longevity industry suggests might possibly extend your life? Meditation. Mindfulness. Hormone therapy. Nutritional therapy. Fasting. DNA profiling. You could probably lose whole years of your life just reading up on all the research. Gareth Ackland is a clinician scientist at the William Harvey Research Institute at Barts and the London School of Medicine and Dentistry, whose team, Generation X, is in the running for the Palo Alto Longevity Prize, one of many Silicon Valley-based funds encouraging scientists to “hack the code of life”. He tells me he is a Fitbit wearer, but also mentions several articles he has read recently discussing the potentially negative impact that things such as wearable fitness gadgets are having on people. “They could be counterproductive in that they’re making some wearers neurotic,” he says. Presumably, though, your approach to wellbeing must – at some level – depend on how optimistic you are by nature. If you’re predisposed to believe some of these technologies might work, maybe you’ll get more benefit from them. That’s why a lot of the research into longevity is around how big a part mind-set plays in conquering illness and ageing. There are now scientific studies that point to the positive role meditation can play in promoting longevity, including reducing anxiety, enhancing the immune system, slowing down the rate of progression in neurodegenerative diseases and lowering blood pressure. I decide to put the theory to the test by undergoing cryotherapy, one of the most extreme therapies available to the youth-prolonging enthusiast – it’s the younger and less Frankensteinesque version of freezing dead bodies for defrosting at a later date (something, incidentally, that both de Grey and Kurzweil have signed up for). Now very popular among the ageing-obsessed in New York and Los Angeles, it involves spending up to five minutes standing in a tank of liquid nitrogen at a temperature of minus 130 degrees Celsius. The benefits? Largely anecdotal, but enough to make you stop and think. “I’ll be with you in a minute, I’m just with my leukaemia lady!” salon entrepreneur Alla Pashynska shouts to me across the basement from which she operates. I wonder how the leukaemia lady feels about such a public introduction, but before I’ve finished formulating the thought, she has emerged from the therapy room, clad in fluffy black, waving medical records at me. “It’s miraculous!” she says, telling me that after eight years of treatment, she came to see Pashynska in January and has been having twice-weekly sessions ever since. Her white-blood-cell count has reduced by three-quarters. Next thing, I’m standing in the tank wearing only my underwear, plus Ugg boots and fleece gloves (extremities need to be protected because they take longer to recover). After 30 seconds I feel numb everywhere, and strangely giggly – euphoria is apparently a side effect of extreme cold. Pashynska tries to distract me by turning on some music and making me dance. I pride myself on an excellent pain threshold but the cold is borderline unbearable. Afterwards, my limbs are as chilly as stone. I keep touching them and laughing – it feels as if I am a marble statue come to life, all cool and smooth. I’ve never felt my body so cold. Five minutes or so later, though, I am fully back to normal. But would I put myself through this process week in, week out, just on a vague promise of anti-ageing? No way. I’m just not that committed. The truth is, for all Silicon Valley’s audacious claims, there is a vast gulf between what the biogerontologists say may be possible a few decades from now, and what we can probably claim makes a difference today. This gulf is the reason Ackland is interested in forging links with California: “Currently there is scientific technology and there is medical technology,” he says. “What the [Palo Alto] prize does is attempt to engineer a direct and immediate dialogue between the dramatic pace of scientific technology and its biomedical application.” But what’s in it for Silicon Valley? Can it be as simple as the idea that the longer people live, the longer they’ll need to use high-tech consumables? Or is it more to do with big pharma? Living longer certainly doesn’t mean an absence of illness, so it would surely be good news for the pill-dispensing pharmaceutical giants. There’s also an ego element; the tech supremos who have made billions don’t want to step off the train any time soon. (“When you’re young and you’ve just created something amazing that’s made a tonne of money, you do egotistical things,” Dave Asprey, chairman of the board of the Silicon Valley Health Institute, has said.) And we can’t rule out philanthropy: what else to spend all that money on? It’s thought that Google co-founder Sergey Brin may also be driven by his discovery in 2008 that he carries a genetic mutation that means he has a greater likelihood of developing Parkinson’s disease. It’s also been noted how many of the tech billionaires have married women who have a background in science. Facebook co-founder Mark Zuckerberg’s wife Priscilla Chan is a paediatrician. Sergey Brin’s ex-wife Anne Wojcicki, co-founder of the DNA service 23andMe, studied biology. Pam Omidyar, wife of eBay’s Pierre Omidyar (who became a billionaire at 31), is also a biologist – in fact, the first two couples, along with others, founded the Breakthrough Prize, which last year gave six awards of US$3 million each to pioneering scientists, many of whom had projects related to longevity. Ackland thinks that another motivation is the appearance of a new revenue stream. “Apps, wearable devices and other potentially disruptive technologies that can find uses in healthcare open up an unpredictably exciting area, in a field that’s often institutionally slow to react to technological change,” he says. But let’s face it: living forever is also, for a certain kind of scientist, the most alluring problem to solve since Faust made his pact with the devil. Could eternal youth just be a matter of algorithms? de Grey thinks so. “Things are changing here first,” he had said, referring to why so much of the current anti-ageing research is coming out of California’s tech hub. “We have a great density of visionaries who like to think high.” (There’s also money available in that part of the world: the story goes that WHAT HAPPENS TO SEIZING THE DAY, LIVING EACH ONE AS IF IT WERE YOUR LAST? 262 OCTOBER 2016
- 281. when Kurzweil askedBrin and his fellow Google founder Larry Page how much he had to spend, they told him to let them know when he runs out of money and they’d send more.) But who wants to live longer if you’re not actually in your prime? That’s where the longevity question starts to get even more complicated. Experts are already referring to “healthspan” rather than “lifespan”, to make the point that the focus of research should be on extending the period that a human being is alive before their health goes downhill, and the EU has an official goal of adding two years to healthspan by 2020. Where that figure comes from, though, and what it really means, is unclear. Does it mean adding two years to everyone’s life, or does it depend on how old you are to begin with? Or is it only applicable to babies born in 2020? The figures, as so often in the longevity “race”, grab the headlines, but the facts are hidden. One explanation of “healthspan” is that each of us has a homeostatic capacity: the point at which our bodies stop being able to take things in their stride so easily. Somewhere around middle age, you might notice you get travel sickness where once you didn’t, or that getting up from sitting on the floor starts to be something you have to put effort into. That, for the longevity world, is the thing they want to stave off. Put that way, surely none of us would say no? But the ethical questions are massive, and something no-one seems prepared to tackle head-on. The murky worlds of population restriction, impaired brain function and a potential future where the rich are able to buy their way to longer lives are all part of the debate, and ethics committees so far don’t seem to want to commit. There are also wider cultural questions around what becomes of someone when they don’t see an end in sight. What happens to seizing the day, living each one as if it were your last? What does it do to your relationships if there’s never a threat of anyone you know ever dying? How does it affect your sense of self? If youth was historically wasted on the young, what if you can now be youthful and experienced? Maybe as transhumanists like Kurzweil believe, none of this actually matters, because in the future you’ll be able to use technology to overcome your biological limitations. In other words, it’ll be possible to reprogram yourself (using genome- editing technology) to alter and improve your capacity for pleasure, making you a delight to spend time with, 24/7. But who, really, wants to spend all day surrounded by a bunch of computers and call them friends? Not me. And in fact, discussing this piece over the past few months, I’ve encountered far more people who are horrified by the idea of humans becoming more robotic than people excited about the idea of living forever. One thing’s for sure, though: the idea of your body as a piece of software waiting to be “hacked” isn’t going away. There’s even a new school of thought that says we should teach children to code biology as well as computers, in order to foster the most seamless link between the two. And Stephen Hawking has also said that it’s already “theoretically possible” to download your brain onto a computer. In the absence of indisputable proof, though, for now – as the mindfulness lobby seems to suggest – you really are as old as you feel. In our offices, we have a quote on the wall by Woody Allen (the real one) as a counterbalance to the deluge of anti- wrinkle creams we receive each week. It says: “You can live to be 100 if you give up all the things that make you want to live to be 100.” I wonder what Silicon Valley would have to say about that. ■ AGEING BY NUMBERS 82.8Average life expectancy in years for a baby born in Australia now. This is above the USA, at 79 years, but below Japan, at 84. 2The number of years that have been added to the average life expectancy every decade for the past 100 years. To put it another way, for every hour that passes, you have gained 12 more minutes of your life expectancy. 2020The year by which the EU has committed to adding two years to the average person’s “healthspan” (their period of wellness before age-associated diseases set in). 50/50The odds of bringing ageing under what Aubrey de Grey calls “a decisive level of medical control with the next 25 years or so”. 122The longest confirmed human lifespan. Jeanne Calment was born in France in 1875 and died in 1997. -130The temperature in Celsius that your body is subjected to during cryotherapy sessions. VOGUE.COM.AU 263
- 282. exclusively in Be inspiredby the latest trends in fashion, home and beauty. Be intrigued by exclusive celebrity interviews. Be surprised by each week’s delicious recipes. Make it a Stellar Sunday.
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- 284. Fusing ceremony, traditionand modern innovation, Japan’s endless beauty is an artisan’s delight. or o ar er brilliant red lips are mesmerising in their colour and perfection, a perfectly proportioned scarlet slash against the white foundation covering her childlike round face. Mysterious brown eyes don’t give much away, the deep pools so dark that it’s almost impossible to distinguish the pupil from her iris. Tomitsuyu has wanted to be a geiko (the Kyoto name for a geisha) all her life, and after three years of training as a maiko (an apprentice geiko) seven days a week, is still unsure whether she will pass the test to become fully qualified in two years’ time. But under the steady hand of Reiko Tomimori, who owns the Tomikiku teahouse she inherited from her grandfather, Tomitsuyu will continue her maiko training in dancing, music, calligraphy and tea ceremonies. An only child, born and raised in Kyoto, she is impossibly poised and polite. When asked whether she misses her parents, who she sees just twice a year, the first sign of emotion flickers across her face. “Of course,” she demures, “but they are proud of me.” At just 19, Tomitsuyu has already travelled to Australia, New Zealand and the United Arab Emirates, with hopes to travel much more once she becomes a geiko, commanding rates of up to $2,500 a booking. Tomitsuyu is a symbolic face of traditional Japan, loyal to beautiful Kyoto, where her favourite time of year is autumn, as the streets and gardens become awash with the seasonal reds, purples, yellows and gold of the city’s tree-lined streets and parks. H Photographs:ChrisCourtIllustration:GraceLeeWords:ClareCattProducedbyNewsStudios Maiko Tomitae outside the Tomikiku teahouse in Kyoto. CITY
- 285. She’s clearly alocal in Gion-machi, greeting and acknowledging local shopkeepers and neighbours, but casting her eyes downwards as fascinated passers-by stare shamelessly at her silk robes and red parasol, beaming only as she looks directly into the approved camera lens; the consummate professional. Much like the sunshine and beauty of Tomitsuyu and her blue-kimonoed maiko sister Tomitae, Kyoto’s charming good looks are steeped in tradition, the former capital famous for its five geiko districts, cobblestoned streets, temples, shrines, carefully preserved buildings and a mere 17 UNESCO World Heritage sites. By day, the city is an endless treasure trove of history, Edo-period architecture and opportunities to uncover the artisan traditions that have held the city strong for thousands of years. At night, the unmarked restaurants, tiny bars and teahouses come to life with lantern after lantern punctuating dusk and the narrow streets. In a small workshop in a nondescript lane, brothers Shun and Ryo Kojima are continuing the 10th generation of their family lantern- making business, one of just three traditional workshops in Kyoto, with a history dating back 220 years. To watch them work is mesmerising: Shun splits the thick pipes of bamboo into the thin strips that will form the backbone of the lanterns, while Ryo’s steady hand fixes the opaque paper to the lantern’s frames with a traditional glue. Together they have taken over Kojima Shoten while at the same time launching their own brand, Ko-Chube, which offers a new style of lantern suited to modern lifestyles. Their custom hand-made lanterns, available to order in over 100 shapes and sizes, illuminate many of the streets of Kyoto, including guesthouses, restaurants, bars and the Minami-za theatre, famous for its kabuki performances. What stands them apart from their mass-produced competitors, however, is their distinctive lantern-making method of jibari-shiki (“affixing style”), which requires considerable craftmanship and time, a method they learnt as apprentices under their father Mamoru’s eagle eye and unequivocal dedication to perfection. After the lanterns are crafted, Shun and Ryo work with local artists and calligraphers who decorate the delicate washi paper with unique imagery and script by hand; each design unique to their customer’s request and painted directly on to the lantern using brush and ink. Kyoto quietly boasts a wealth of artisans like Shun and Ryo who have stood the test of time, long after the capital was relocated to Tokyo (visit kyotoartisans. jp/en to find and book an artisan experience). Compared to Tokyo, Kyoto is a relatively small city of around 1.3 million, divided by two rivers and a multitude of bridges. Getting around the main areas is relatively straightforward, but the luxury of a private guide and interpreter makes it even easier to experience the best the city has to offer (both in Kyoto and Tokyo). Local guide and interpreter Hiroko Inaba, who works with Chris Rowthorn Tours (chrisrowthorn. com), is the ultimate companion when visiting the city, offering a unique insight into daily Kyoto life, with her quick thinking and local knowledge helping to negotiate little-known entrances to popular sites such as the Fushimi Inari Taisha, a shrine in south- east Kyoto. Entering the woods, it’s a steady climb up the northern forested slope of Mount Inari with not even a local in sight. After a network of strange lichen-covered stone foxes, shrines and shady tableaux, it’s a gentle merge into a stream of visitors flowing through the mountain’s arcades of 5,000- plus vermilion torii, a sacred Kyoto tradition dedicated to business success, with large companies paying over a million dollars to have the huge pillars inscribed with their names. Apart from the myriad temples, shrines and landscaped gardens, Kyoto is also home to hundreds of restaurants and bars, with over 100 Michelin- starred restaurants. Sample the specialties of the region, including tofu, tea ceremonies with Kyo-gashi (Kyoto speciality sweets), dumplings of rice flour on skewers (mitarashi dango) and Kyo-kaiseki, the pinnacle of multi-course dining which could only be described as food art. Not for the faint-hearted, Kyo- kaiseki’s intricate dishes offer a memorable foray into local delicacies such as sea bream, octopus eggs, abalone, pickles and sea urchin. Presented with formality and quiet respect, a Kyo-kaiseki meal can take several hours to be served. JNTO.ORG.AU SPECIAL FEATURE
- 286. From the carefullyserved kaiseki dish to the carefully wrapped bento boxes served in the heart of Kyoto at lunchtime, the genuine expression of omotenashi in Japan is felt at every turn. A heartfelt expression of hospitality, it’s a spirit that so aptly underpins many experiences. The very nature of omotenashi makes it a difficult word to define: with no literal translation in English, it’s an attitude and a spirit that has been woven into Japanese culture for centuries. To be aware of it before a visit deepens an experience; a new appreciation for the bow of the head, the careful presentation of a card or the taxi driver who steps forward in his white gloves to open the passenger car door. At the elegant Ritz-Carlton, built on the banks of Kyoto’s Kamo river, the Japanese principle of omotenashi is alive and well. Close to downtown Kyoto, its style easily makes it the most luxurious of Kyoto’s hotels, with beautifully appointed rooms subtly furnished with Japanese prints, lacquerware, cherryblossommotifsinthebathroomandasignature bonsai. Floor-to-ceiling windows frame the river and village aspect, creating a powerful sense of place, with the high-end rooms boasting private gardens. Seated at Sushi Mizuki’s sushi counter overlooking the hotel’s meticulously manicured gardens, sit back and watch as the head chef prepares mouth- watering sushi with nimble hands and impeccable English. He humbly attributes his skill to his Tokyo training and the sharpening of his well-worn knives every night. His precision is clear: the local scallop with a delicate lemon cream almost melts in the mouth. Sushi Mizuki is not to be missed. Around 30 minutes from the Ritz-Carlton, at the base of Kyoto’s western mountains, is the famous Arashiyama Grove, a twisting winding narrow road that’s sheltered on either side by towering green bamboo that creates a shaded tunnel-like effect, with the sun streaming through to create surreal lighting. For bamboo appreciation minus the masses, head to the area early in the day for guaranteed solitude. The nearby Tenryu-ji Buddhist temple is the headquarters of the Rinzai school of Zen Buddhism. While it looks simplistic from the outside, the small gate and office belie the discreet beauty hidden inside, with a large carp-filled pond mirroring the maples and botanical variety of the Zen-like world- class gardens. In autumn the gardens are a riot of colour, while in sakura (cherry blossom) season the show is just as beautiful. One would be hard-pressed to visit all of Kyoto’s temples and shrines in a lifetime, so to find a handful of quiet ones in between the guidebook must-sees is a necessity in this picture-book town. Above a wealthy residential area in the back streets is Komyo-in, one of the Buddhist sub-temples of Tofuku-ji. Sculptured pines stand proudly in the front KYOTO ADVENTURE (CLOCKWISE FROM THIS PAGE): Komyo-in temple; Shun Kojima showing a hand-made lantern from Kojima Shoten; dessert at Sushi Mizuki at the Ritz-Carlton; a Kyoto street scene; Arashiyama Grove. The lobby at the Ritz-Carlton in Kyoto.
- 287. ai iDINING Hidden downa narrow lane in Kyoto’s Gion district is the tiny and hard-to-find Michelin- starred Gion Nanba, where chef Nanba prepares kaiseki, the traditional multi-course Japanese experience. Dine at the six-seat counter or choose a private dining room mere steps from the action as the two chefs prepare a haute cuisine based on local seafood specialties. o r YAKITORI Not far from the Kamo River in central Kyoto, Torito’s relaxed atmosphere and English menu makes it easy to enjoy the smoky charcoal flavours of traditional Japanese skewered chicken in all its forms. Book ahead and choose a counter seat to order big and watch the young chefs in action. Don’t go past the spicy deep-fried chicken thighs. a CRAFT A contrast to traditional Kyoto, newcomer Before 9’s two-storey vibe is equal parts hipster and minimalist, filled with locals and the occasional traveller. Choose from around eight craft beers or the sake selection, along with a small bar menu. The floor-to-ceiling-glass shopfront style creates an open bar experience, with customers spilling out onto the street on a warm night. “In socks and and hushed voices, the scene is one for quiet contemplation” garden, while inside the tatami mats are devoid of visitors. In socks and with hushed voices, the scene is one for quiet contemplation, the pavilions looking out on the carefully raked dry garden with a gentle mist of summer rain. The name “Komyo” consists of two kanji characters meaning “bright” and “light”. Combined, it alludes to the light given off from the mercy of Buddha. There’s quiet beauty everywhere here, even in the naming of the shrine. Central to the garden design is the group of three stones that is thought to represent one of the Buddhas, flanked by two bodhisattvas, a placement common in Buddhist gardens. attendant. Passengers are shown to their seats upon boarding and treated to slippers and an eye mask, although it’s a shame to sleep on these journeys and miss the beguiling scenery. Rail passes need to be pre- purchased before leaving Australia go to railplus. com.au and can be used for shinkansen trips (although you’ll need to pay extra for “Gran” class). Pulling into Tokyo Station, the rhythm of the city is immediately evident, a phenomenal network of trains above and below ground moves millions throughout the city’s neighbourhoods every day. Just five minutes by taxi from this enormous transport hub, Palace Hotel Tokyo sits on the banks of one of the Imperial Palace’s numerous moats, its high- rise views looking back across to the tree-shrouded palace gardens. One of Tokyo’s most iconic luxury hotels, its location in exclusive Marunouchi (with a handy Otemachi subway entrance directly accessible via the hotel basement) makes it the ideal base to uncover all that this fascinating city has to offer. Steps away is nearby Marunouchi Naka Dori, a tree- lined shopping and dining street very much like New York’s Madison Avenue. Tokyo has been Japan’s capital since the Meiji restoration of 1868, taking over from Kyoto with a powerful confidence. For first-timers and return visitors alike it’s arguably one of the world’s most energetic, playful and vibrant hyper-modern cities, with good manners at every turn. It would be hard to have a bad time here. The Palace offers a quiet sanctum from the buzz, with 290 elegant rooms offering sophisticated design restraint and generously proportioned rooms in a city where real estate is at a premium. The independent Japanese-owned hotel From Kyoto to Tokyo it’s just over a two-hour bullet-train journey. Travelling between cities in Japan this way is a civilised and memorable way to move. The gentle rocking and hum of the tracks is a soothing soundtrack as the shinkansen speeds past rice paddies, thatched homes, farms and modern towns. Crossing rivers, the trains wind up past mountain ridges punctuated by tunnels cut through the rock, emerging to a new landscape and an expanse of sky. Some of the shinkansen ZW]M[ IT[W WᙘMZ T]`]ZQW][ “Gran” class reserved seating complete with bento service, plush reclining seats and a dedicated carriage JNTO.ORG.AU SPECIAL FEATURE
- 289. clearly draws onJapan’s rich history, culture and art scene offerings. After a day on the streets of Tokyo, it’s hard to resist some quiet time back in your room, taking in the views from the private balcony or soaking in the open-style bathtub looking out to the Tokyo skyline. For even more indulgence, retreat to the hotel’s fifth floor for the first Evian-branded spa in Japan. The all-white Alpine-inspired design and the flock of white origami cranes suspended from the roof is balanced perfectly with the signature Japanese seitai trigger point massage treatment, the ideal antidote to retail fatigue. Anyone with a hankering for tempura should book ahead for Palace Hotel Tokyo’s intimate Tatsumi six- seat tempura restaurant, where the chef cooks a range of vegetables and seafood fresh from Tsukiji market, presented on traditional ceramics and served with a delicate seasonal range of salt pairings to enhance the natural flavours of the day’s offerings. The mythical Tsukiji market, close to Ginza, is the world’s busiest fish market and is absolutely worth a trip. There’s nothing luxurious about the market’s gritty working energy, but the authentic, narrow cobblestone pathways between row after row of vendors of every seafood imaginable will hold strong in the memory bank for a long time. Rustic timber and metal carts are still used to lug boxes and enormous tuna, while vibrant red octopuses, sea urchins and eels lie waiting for sale to some of Tokyo’s best chefs and restaurants. The surrounding side markets and street-food eateries are packed with life and colour and with locals slurping noodles and filling bamboo baskets with fresh produce. Across the other side of the city, the energy is also high in Asakusa, the bustling centre of Tokyo’s historic downtown. The phenomenal Buddhist temple Senso-ji draws worshippers and crowds through the enormous vermilion-lacquered gates with an oversized red lantern marking the entrance. Inside, the low drumming and wafting incense saturates the senses, with locals making their way to the main incense burner at the top of the stairs. Here they light and extinguish their incense sticks, before waving their hands to direct the smoke over their body, a gesture that symbolises healing. Good fortune is also on offer at Senso-ji and many Japanese temples with omikuji, a black and white fortune paper traditionally written in prose, based on poems written by a Buddhist monk. Custom sees good fortunes retained, while the not-so-good-luck readings are left behind to flutter in the breeze, tied to the timber and wire racks with hundreds of others. Chefs and locals frequent nearby Kappabashi Street for the four or so blocks of kitchen and commercial cooking supplies. It’s a good place to pick up authentic Japanese kitchenware. A handful of key stores stand out, including Fuwari for porcelain, teapots and cutting boards, and Kama- Asa, showcasing knives (up to 80 different kinds) and exquisite Nanbu-tekki ironware and gems like crane- shaped graters. In a city where eating is almost a spectator sport, there’s no shortage of places to snack, lunch or indulge in all-out fine dining. First stop for any unique Tokyo food experience should be the department stores’ food basements. Tokyu Food Show and Isetan food hall in Shibuya are an incredible mix of fresh produce, seafood, cakes, bread, sushi, noodles, pickles, salads, cheese, spices and Asian ingredients. Choose from over 30 varieties of tofu or pick up a $180 rockmelon. Tokyu Food Show’s Pariya gelato and sorbet bar tucked away in a corner is worth seeking i LEGEND In a city where sushi restaurants open and close daily, a Tokyo sushi experience is elevated to performance art at the legendary Kyubey in Ginza district (one of Kyubey’s seven Tokyo and Osaka restaurants). Watch the theatre of sushi come alive at the counter as your personal chef prepares an unforgettable course of seasonal sushi in front of you. Indulgence with every bite. cr SOBA Leave plenty of time to find Tamawarai, a small unmarked restaurant in a lane in the Jingumae district of Shibuya. Owner and chef Masahiro Urakawa prepares his signature soba noodles from the buckwheat he grows in a field in rural Tochigi. Don’t miss the hearty coarse-ground hot noodles served with tempura and a side dish of tofu, roasted seaweed and Japanese pickles. a rDARK Slip into Royal Bar at Palace Hotel Tokyo for a quiet retreat, complete with dark wood, deep leather and plush velvet in a moody interior. The bar counter itself is made from one beautiful long piece of mahogany restored from when the bar’s original bartender held court over 50 years ago. Expect seasonal cocktails, an expansive whiskey selection and delicious tapas. The lobby at Palace Hotel Tokyo in Marunouchi. “Anyone with a hankering for tempura should book ahead for Palace Hotel Tokyo’s intimate Tatsumi six-seat tempura restaurant” JNTO.ORG.AU SPECIAL FEATURE
- 290. out for itsexotic flavours like avocado and honey and strawberry millefeuille. Pop into the Mitsukoshi basement food hall in Ginza for more eye-popping displays of packaging, food art and outstanding customer service. Amezaiku (candy art) is alive and well in Tokyo, particularly in the Ameshin studio in Solamachi shopping town in Asakusa’s Tokyo Skytree. Watch as Tokyo artist Shinri Tezuka and his apprentices create exquisite detail in a range of delicate candy-shaped animals. The unique creations are then placed on stands with strict instructions for international travel. It’s almost a given they are too good to eat. For lunch on the go, Marugame Seimen udon noodle restaurant is unbeatable (there are 65 in Tokyo in total) but the Shinjuku branch is tucked away in a quiet spot worth seeking out. Join the queue of nearby office workers forming an orderly line out the door. Watch through the window as the kitchen hand rolls sheets of dough flat and cuts them into thick white noodles before moving them on a large wooden dowel to the steaming kitchen area. This Marugame branch is close to the Tokyo Metropolitan Government Building, which offers panoramic views of the city from its two observation decks. On a clear day, Mount Fuji, Tokyo Skytree and Meiji shrine can all be be seen from the observatories. While no longer the tallest building in Tokyo, the landmark grey edifice has attracted volumes of acclaim since its completion in 1990, with architect Kenzo Tange’s design making the central building look like a giant computer chip. Sunset and evening views over the neon-studded city make it a worthwhile destination at night. Offering an alternative viewing space with late opening hours, the world-class Mori Art Museum in the Mori Tower in modern Roppongi Hills showcases a range of major contemporary exhibitions, ranging from video art to anime, curated to include global art trends with an emphasis on Asian artists. Pause at the Tokyo City View observation area on the 52nd floor for 360 degree views (particularly at night) or head to the rooftop Sky Deck for the open-air vista. The museum is part of Art Triangle Roppongi, which also features the Suntory Museum of Art and the National Art Center Tokyo with a handful of galleries in between. The gleaming, glass-walled ultra-modern National Art Center Tokyo is Japan’s largest exhibition space and is dedicated to special exhibitions (it has no permanent collection). For advance planning, tokyoartbeat.com is an up-to-the- minute site and app featuring current and future exhibitions and art events. In downtown Ginza, where every global brand has a presence in Tokyo’s most famous shopping area, Mitsubishi has recently opened the contemporary multi- storey METoA in Tokyu Plaza Ginza, an exhibition, cafe and shop space dedicated to providing visitors with limited-run hands-on experiences and installations. Break a shopping morning session here with Me’s contemporary high-ceilinged cafe serving an Australian-inspired menu and Allpress coffee. Tokyu Plaza Ginza only recently opened, its stunning exterior designed to look like Tokyo’s Edo period kiriko K] OTI[[ )KZW[[ ÆWWZ[ IVL _W JI[MUMV[ TM^MT[Q¼[IJZMMbaZIVOMWN[WZM[IVLZM[I]ZIV[_QPPMTQOPÅTTML3QZQSW Making noodles at Marugame Seimen. The Evian spa at Palace Hotel Tokyo, Marunouchi. A lantern at the “Thunder Gate” of Senso-ji temple. “Watch through the window as the kitchen hand rolls sheets of dough flat and cuts them into thick white noodles”
- 291. have been toldthere are 80,000 restaurants in Tokyo. I can’t vouch for the accuracy of that information, but I can promise you one thing: it’s next to impossible to have a bad meal in the Japanese capital. The level of quality produce and dedication to the craft of cooking seems inherent in the culture. Many of the places are small and hidden away. However, it was many years ago that I first remember having okonomiyaki at an airport in Osaka after a ski trip. These little pancakes come in all flavours and fillings, usually served with a sweet mayonnaise. A couple of years ago I was reacquainted with them at Tokyu Food Show in Shibuya, my favourite of all the fantastic Tokyo food halls, and I knew then we just had to have it on the Qantas menu. We thought the addition of crab would make it not only sweet but also slightly salty, with lots of umami flavour a Japanese word roughly translated to mean “rich and savoury”. It’s now a key feature of the menu on our flights to Japan. If you’re in the centre of Tokyo, I highly recommend making time for a visit to the fantastic basement food halls in the department stores – there’s all this incredible food being cooked in front of you. For great noodles, get to Afuri in Shibuya-ku it may well be the first time you order your noodles through a vending machine. It’s far from fancy, but it’s quick and delicious. I like the kara tsuyu tsukemen noodles served cold with nori, pickled bamboo, boiled egg and warm pork garnish. Tonki is an institution in Tokyo and renowned for its deep-fried pork KW^MZML QV ÅVM JZMILKZ]UJ[ 1¼[ VW NI[ NWWL Q¼[ OW I ZMITTaVQKMPWUM cooked feeling to it; really nice and well worth the wait. If you’re after fresh seafood and a quintessential casual Japanese dining experience, there are plenty of great izakaya, but I love the Uoshin group’s scattering of restaurants in Tokyo in Shibuya, Shimokitazawa and Ebisu. The pub-like fun atmosphere at the Akasaka location is my favourite. Finish an evening with a drink at Bar Martha in Ebisu for walls lined with loads of vinyl, plus old-school tunes, cocktails and whiskey. Restauranteur and Qantas Creative Director, Food, Beverage and Service Neil Perry AM shares his culinary inspiration. FOR MORE INFORMATION, VISIT QANTAS.COM.AU I 4W]VOM WV PM [Q`P ÆWWZ ;WX W ISM QV PM W^MZPMIL TQOPQVO _PQTM [QXXQVO KWᙘMM IVL TWWSQVO LW_V WV W /QVbI¼[ ;]SQaIJI[PQ KZW[[QVO WSa] 8TIbI /QVbI also features a Hands Expo Culture Mall showcasing Japanese treasures such as plastic food, wooden phone covers and the ubiquitous range of Japanese stationery. The art of Tokyo shopping is no more apparent than here at the plaza. ;M^MV []J_Ia [WX[ I_Ia NZWU /QVbI Q[ ;PQVR]S] PWUM W PM _WZTL¼[ J][QM[ train station. Emerge from the underground network to a plethora of high- rise buildings, video screens, neon lights, shopping centres, restaurants, cafes, departments stores and footpaths packed with shoppers and commuters. It’s the ]TQUIM WSaW ¹PMZM 1 IUº UWUMV 8I][M I NM_ UQV]M[ IVL LZQVS QV PM [QOP as pedestrians cross from every corner when the traffic lights turn red. For an QVVMZKQa WI[Q[ TWWS NWZ ;PQVR]S] /aWMV 6IQWVIT /IZLMV I XIZS PI Q[ PWUM to more than 1,500 trees in blossom from the end of March to early April. Harajuku is a mecca for Tokyo’s under-30 fashion collective, with everything from small designer brands to Japanese streetwear. There are plenty of Tokyo quirks in the never-ending lanes, including the new White Atelier Converse store and, on Cat Street, the successful US export Luke’s Lobster, which draws 50- deep queues of locals waiting for their taste of the Maine-inspired lobster rolls. Countless designers, global trends and fashion subcultures got their start in this small neighbourhood of Tokyo. A counterpoint to the pop-culture manic experience of Harajuku, the tree-lined Omotesando Street offers a more refined shopping pace with a steady stream of well-dressed locals enjoying the sunshine, French patisseries, contemporary architecture, luxury international brands and Tokyo’s never-ending perfection of visual merchandising. Window shopping never looked so good. Esquisse Cinq restaurant IWSa]8TIbI/QVbI a o o o 8PWWOZIXP[+PZQ[+W]ZIVL[]XXTQML SPECIAL FEATURE JNTO.ORG.AU
- 292. apanese designers havehad a profound and singular impact on global fashion. No other country has been as successful in presenting a cohesive fashion narrative about its unique style and changing vision, nor in nurturing second and third design generations that work together with a sense of teamwork rarely seen elsewhere. Issey Miyake, Yohji Yamamoto and Rei Kawakubo, of Comme des Garçons, have revolutionised the way we think of fashion, followed by a second generation of designers, such as Junya Watanabe and Jun Takahashi, and a new generation, including Tao Kurihara, Akira Naka and Hiroaki Ohya. What each generation shares is a unique sensibility of Japanese design and its sense of beauty embodied in clothing, which often means questioning existing Western aesthetic ideals. When Japanese designers burst onto the international fashion scene in Paris in 1981, they deconstructed existing fashion rules and reconstructed their own vision of what it could be, using concepts such as asymmetry and minimalism to produce radical silhouettes, frayed and distorted fabrics and sizeless garments. J a o The history of Japanese fashion is no more evident than in the fascinating hub of Tokyo. What sets Japanese designers apart from their American and European counterparts is an immersion in traditional Japanese culture and a desire to reinterpret it and make it relevant for today. The capital of Japanese fashion is certainly Tokyo, a beguiling mix of the radical, the traditional and the now that is home to global names, emerging designers and the flagship stores of Japan’s top luxury brands. Traditional crafts and kimono jostle for floor space with futuristic, cutting-edge designs in a city that has a plethora of fashion districts that are as diverse as they are plentiful. Yamamoto and Miyake both have flagship stores in Tokyo, where Miyake references the traditional art of origami with his Pleats Please line, which uses new fabric technology to create garments that are washable, wrinkle-free and elegant. His APOC range (A Piece Of Cloth) was built around the invention of a way to cut an entire garment from a single piece of cloth, while Yamamoto also explores new techniques of cutting and finishing garments that often appear frayed and distorted, but always with an artist’s understanding of sculpture and texture. A rich lineage and the mentorship by these designers of the next generation, including Watanabe and Takahashi, has resulted in a design continuum and a canon unique in the world. A key concept in Japanese design is wabi-sabi, wabi meaning “without decoration” and sabi meaning “atmospheric and old”. This translates to garments that find beauty in imperfection and an aesthetic that meditates on the wonder of flaws and chaos disrupting the natural order. Takahashi explores wabi-sabi with extraordinary outerwear referencing traditional Japanese textiles and the beauty of nature, which can involve anything from a royal ruff at the neck to faces masked with flowers. As Watanabe has said: “I have never thought about whether or not I am successful … I am not interested in the mainstream.” Instead, he creates mesmerising garments that are perplexing, fascinating and seductive in equal measure. Sacai designer Chitose Abe takes a more feminine, but no less conceptual, approach that mixes colour, pattern and traditional tailoring techniques, and has won a legion of new fans through her shows at Paris Fashion Week. In sum, Japanese designers eschew trends and the mainstream in favour of testing the sculptural and philosophical possibilities of cloth and thread, which recalls a comment from the late couturier Cristóbal Balenciaga. “A couturier,” Balenciaga said, must be “an architect for design, a sculptor for shape, a painter for colour, a musician for harmony and philosopher for temperance”. The beauty of Japanese design is its reimagining of fashion that balances tradition with innovation to celebrate all of the above qualities in a way that is consistent with its country of origin yet utterly unique when compared to anywhere else. Images:ChrisCourtGettyImagesWords:GeorginaSafe The Miu Miu store in Aoyama. The Norihiko Dan-designed Hugo Boss building on Omotesando Street. CENTRAL FASHION
- 293. it paled inshock value compared to Kawakubo’s 1997 collection Body Meets Dress, Dress Meets Body, which was otherwise known as “lumps and bumps”. The collection featured models in simple gingham dresses with padding in the wrong places to create hunchbacks, swollen hips and other growths on the body. The point was to question existing conventions of beauty such as symmetry and perfect proportion, which Kawakubo has done consistently since founding Comme des Garçons in 1969. Today, she is the creative director of a global empire turning over $220 million a year with over 20 distinct lines, and is also the co-founder of the Dover Street Market chain of international concept stores. Throughout her career Kawakubo has been renowned for nurturing other designers, in particular Junya Watanabe and Tao Kurihara, and has inspired numerous fashion designers, including Martin Margiela, Helmut Lang and Ann Demeulemeester. “My approach is simple,” she once told Interview magazine. “It is nothing other than what I am thinking at the time I make each piece of clothing, whether I think it is strong and beautiful. The result is something that other people decide.” ei Kawakubo did not train as a fashion designer. Instead, she studied art and literature at Keio University in Tokyo, which is perhaps why she questions the very codes fashion has been defined by. As the creative director of Comme des Garçons, Kawakubo is often referred to as the world’s most influential living fashion designer. She made her debut in Paris in 1981, then followed in 1982 with a collection aptly named Destroy, as she would go on to subvert all fashion conventions by consistently challenging established notions of beauty. Destroy, for example, featured tattered, asymmetrical and holey garments in an entirely new aesthetic, still sewn by hand using haute couture techniques. Kawakubo was soon so famous that her black-clad fans were dubbed “the crows” by the Japanese press, but the designer told the New Yorker in 2005 that she “never intended to start a revolution”: she only wanted to show “what I thought was strong and beautiful. It just so happened that my notion was different from everybody else’s.” While Destroy was confronting to many it was hailed as a new “aesthetic of poverty” R ICONAlways a leader, never a follower: Rei Kawakubo of Commes des Garçon still paves the way for Japanese fashion designers. A statement shopper in Ginza. The Sukiyabashi crossing in Ginza. a a o oHOT SPOTS ISETAN (SHINJUKU) A luxury fashion mecca stocking the world’s top brands, with a superlative food hall. Browse the kimono section for obi sashes and other traditional accessories. COMME DES GARÇONS (AOYAMA) This visually stunning store is the flagship for Rei Kawakubo’s dark, asymmetrical designs, and stocks almost every brand within the Comme des Garçons stable. ISSEY MIYAKE (AOYAMA) This Tokyo flagship carries the full line, and a short walk away you’ll find other Issey Miyake stores, including Issey Miyake Men and Pleats Please. PRADA (AOYAMA) This six-storey green glass Herzog De Meuron commission is an architectural marvel and one of the most distinctive buildings in Tokyo. The largest Prada store in Japan carries every line produced by the Italian luxury label. MIU MIU (AOYAMA) This understated box-like store was also designed by Herzog de Meuron and sits opposite the Prada flagship. JNTO.ORG.AU SPECIAL FEATURE
- 294. c icROUTE Journeying intoJapan’s regional areas makes it even easier to appreciate the breathtaking beauty during any season. GETAWAY Photographs:ChrisCourtWords:ClareCatt
- 295. typical Japan travellernarrative goes something like this along the “Golden Route”: Tokyo, Hakone, Mount Fuji, Kyoto, Osaka and perhaps Hiroshima, if there’s enough time. Of course, for anyone partial to a little white powder, there’s a whole snow scene in Japan to be explored. Beyond Tokyo and the Golden Route, a wealth of regional areas offers ways to experience the beauty and luxury of Japan, staying at luxury ryokan and small hotels outside the main cities. Since the new bullet train service from Tokyo to Kanazawa was launched in 2015, the pretty castle town has found new favour. In just two and a half hours, Tokyo is a world away and classical Edo-period Japan comes into play in this UNESCO City of Crafts and Folk Art. Amid tracts of tall timbers, moss-covered rocks and a dedicated blossom path, one of Japan’s three most famous gardens, Kenroku-en garden, is a living haiku. This is everything a Japanese landscape should be. It’s not hard to imagine the changing colours through the seasons; in the heat of summer it still emits colour and shade. Even the sight of three gardeners sweeping silt from one of the garden’s pebble-lined streams using traditional Japanese bamboo brooms is poetry in motion. Across from the gardens, the restored Kanazawa Castle stands tall on the hill overlooking the town, its huge stone walls topped with white walls and simple peaks. In winter, when the snow sits along its grey rooftop, the beauty is picturesque. Just a walk from the castle is the Kanazawa 21st Century Museum of Contemporary Art, a low circular building with glass outer walls and a combination of community areas and public art space. Argentinian artist Leandro Erlich’s fascinating Swimming Pool is a permanent installation in one of the central courtyards. An optical illusion creates the effect of seeing people immersed in the water when they’re actually just in the room beneath. Kanazawa is home to Japan’s second biggest geisha area, after Kyoto. In the Higashi Chaya-gai district, a series of carefully preserved teahouses line the narrow streets. In between the teahouses are cafes, galleries and places to buy the area’s traditional gold leaf and lacquerware craft. The geisha houses have a screening of kimusuko (timber lattice) on the ground floor, with timber and glass on the outside of the first-floor entertaining areas. For art lovers, journey south-west of Osaka to Naoshima, a small, isolated island offering one of the world’s most remarkable art and architecture experiences. Stay at Benesse House, a museum, restaurant and hotel centre in one, the unique concept a collaboration between billionaire art collector Soichiro Fukutake and Pritzker prize- winning architect Tadao Ando. The 49 luxury rooms are all Western in design, with a Japanese sensibility, and there’s unique artwork in each room, spread across four distinctly different buildings. To savour the one-of-a-kind experience, guests in the museum hotel have special 24-hour access to major works and site-specific installations, bringing new meaning to art after dark. A REGIONAL GETAWAY (CLOCKWISE FROM OPPOSITE PAGE): a teahouse in Kanazawa’s Higashi Chaya-gai district; Kenroku-en garden; a cafe in Higashi Chaya-gai; Kanazawa Castle; matcha (green tea) ice-cream in Kanazawa. i a io SNOW With over 500 ski resorts in Japan, there’s no shortage of places to ski and board. HOKKAIDO The Hokkaido powder belt is home to several ski areas, including Asahidake and Kurodake. For a luxury stay, many of the best options are within the Niseko area, outside of Sapporo. SHIGA KOGEN IN NAGANO With 19 ski areas and 52 lifts, Nagano, north-west of Tokyo, is Japan’s largest ski destination. Head to the furthermost point and least-visited, Okushiga Kogen, for unspoilt natural scenery with some of Japan’s best powder snow and snow monkeys. Hire a local guide for an even deeper exploration of the area. ZAO IN TOHOKU The northern end of the main island of Japan (Honshu), Tohoku has a number of resorts, including Zao Onsen, which is accessible via bullet train from Tokyo. Zao Onsen has 26 runs, 37 lifts and is renowned for juhyo, frost-covered giant trees known as “snow monsters”. Skiing in Hokkaido. JNTO.ORG.AU SPECIAL FEATURE
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- 297. i i ai LUXURY South of Tokyo, luxurious Amanemu offers serious onsen indulgence, sitting quietly among forested hills off the beaten track of Japan’s main visitor trails. Retreat to ocean views from the spa treatment suites, outdoor onsen bath pavilions, a yoga studio, watsu water therapy pool and the signature Aman face and body treatments; www.aman.com. ri r i ZEN With superb views of the surrounding mountains and namesake river from every room, Bettei Otozure offers a boutique ryokan and onsen experience with all the serenity of rural Japan. Enjoy the natural healing properties of the mountainous hot springs in your own private hot-spring bath on the balcony in each room; tablethotels.com. or RETREAT A picturesque French-inspired retreat, Arcana Izu sits south of Mount Fuji and offers a complete escape from the city. With soothing floor-to-ceiling views of the forest, Arcana Izu is popular with international guests and wealthy Tokyoites for its Zen-like simplicity and private hot spring baths. Book ahead for an Akura Spa experience using the therapeutic waters of the Yugashima onsen; tablethotels.com. The ryokan tradition is a fascinating window into old-world Japan, where great pride is taken in the hospitality, dining and beautiful bathing facilities offered. Beniya Mukayu is no exception to this tradition, standing on a hill of the sacred Yakushiyama, with all the tranquil Zen-like simplicity to be expected; its modernist architectural design perfectly complementing the moss-covered Japanese garden at its centre. This is a retreat where less is more and the traditions of Japan are quietly incorporated into all 17 of the Western-style and traditional tatami-mat rooms and suites. Downstairs from the main lounge are separate men’s and women’s onsen with sauna. While getting naked in front of strangers may be confronting, the onsen ritual of bathing on the wooden stool, rinsing and preparing for the hot spring waters is worth the journey, with every step as liberating as the next. The ryokan’s unique Yakushiyama natural body products add further sensuality to the preparation. Compared to a sento (Japanese public bathhouse), the onsen is a much more private experience at Beniya Mukayu; however, if the quiet communal area is still too much, each guest room also offers a private outdoor onsen (known as a rotenburo) on the balcony of each room. Melding the power of the spring waters with Japanese herbs, the ryokan IT[W WᙘMZ[ AIS][PQaIUI NIKQIT IVL body treatments using customised herbal balls and creams blended according to the physical condition and constitution of each guest. A unique spa experience is guaranteed. Beniya Mukayu is a modern ryokan at its very best, with impeccable attention to guests. As the sun rises, proprietress Sachiko Nakamichi hosts 7am yoga on the timber deck, a 45-minute stretching and contemplative experience that brings new meaning to the tree pose, as the perfect proportions of the branches of the region’s red pines rise up from the garden in front, while the sun moves steadily behind. At night, guests gather in the ryokan’s black timber dining room while the resident chef prepares a traditional 10-course kaiseki meal made from locally sourced ingredients, with a particular focus on seafood from the Sea of Japan in the Honshu area, served on locally crafted ceramics. Find Beniya Mukayu and other luxury ryokan with onsen in Japan at tablethotels.com. A courtyard garden. Dinner, kaiseki-style. Ryokan slippers. TOP THREE ONSEN JNTO.ORG.AU SPECIAL FEATURE
- 298. Qantas’s convenient dailyflights to Japan guarantee a relaxed arrival in Tokyo. FOR MORE INFORMATION, VISIT QANTAS.COM.AU. t’s early morning in Japan’s capital and the city is already wide awake. With the kaleidoscope of neon lights well and truly off, the early-morning Qantas flight from Sydney taxis into one of the world’s busiest airports. Welcome to Tokyo, a city that will almost certainly blow your mind, no matter how often you’re lucky enough to visit. In 2015, Qantas began operating the first-ever direct flight from Sydney to Haneda International Airport, in addition to the Brisbane-Narita route, allowing Australians to arrive at Tokyo’s most central airport. The beauty of the departure time from Sydney is an arrival in Tokyo just after dawn, allowing a full day ahead for exploration, relaxing or making domestic flight or train connections. The flight is just a little over nine and a half hours, passing in the blink of an eye with the constant stream of entertainment, in-flight dining options and, in Business Class, the enviable flatbed in the refurbished B747, now matching the standard of the A380. Supper is served not long after the seatbelt sign switches off: choose from Neil Perry’s Rockpool- inspired menu, including a generous selection of Japanese dishes such as a black sesame rice parcel for travellers keen to start their culinary journey immediately. Expect outstanding service plus a range of snacks, fruit and chocolates available at any time during the night, with premium beer, champagne and a wine list selected by Rockpool sommeliers. Sake is also available exclusively on flights to Japan. There’s no doubt that after the premium dining it’s easy to reach into the vivid Kate Spade amenities kit, don the soft black eyemask and settle in for some uninterrupted hours of in-air slumber. The cocoon- like flatbeds, with adjustable entertainment screens and latest movie, music and television options, and the electric privacy screen between seats, maximises the pleasure of the journey. The return flight to Australia is also perfectly timed, with the Qantas late-evening service from Tokyo providing an early-morning arrival into Sydney. A generous 40 kilograms of checked luggage and two carry-on bags for Business Class means all that Tokyo retail therapy is easy to get home. Now to unpack … I r c TIMING o MOVE Qantas offers 14 flights weekly from Australia to Tokyo (Haneda and Narita airports). Narita services international flights, while Haneda’s three terminals offer international and domestic connections. On arrival in Haneda, a taxi to the centre of Tokyo is approximately 30 minutes or less (depending on traffic), while the monorail is an easy option that bypasses busy Tokyo streets and brings you right into the city. The monorail, subway and rail system all have English signage, comprehensive maps and clear station names, making it super-easy to get around. GETTING THERE FOR MORE INSPIRATION AND TRAVEL TIPS, VISIT THE JAPAN NATIONAL TOURISM ORGANIZATION SITE AT JNTO.ORG.AU. JNTO.ORG.AU
- 299. VOGUE.COM.AU 281 HOROSCOPES ASTROLOGER:STELLANOVA If you’relooking for a new neighbourhood to explore or diversions to pursue, you could get your wish now. A passing interest could become a permanent fixture. Romance could be a factor, as could a love nest that promises a good return on investment. Once your mind is made up it looks like a done deal, but do check the small print. STYLE ICON: Amy Adams Work could hit a peak now, so revel in your success or consider a new challenge. You don’t have to prove anything, but with love, children and your creative talents go deep, as nothing superficial will do. A fresh start at home, moving in with your lover or making plans to extend your family are all big possibilities now. STYLE ICON: Joan Smalls Deep thinking is what you do best: this month an “aha!” moment could convince you to look on the bright side of life rather than dwell on what might go wrong. If health or work have left you depleted, you get a welcome surge of energy now so that, with almost no effort, you, a romance and your finances all start to look in good shape. STYLE ICON: Lorde Rather than going to the unusual extremes you sometimes prefer, a new and more balanced outlook will work in your favour this month. Your career could blossom as a result, with more money and potentially more love from your co-workers and “the powers that be”, too. Funding a wild ambition that just got serious is also possible now. STYLE ICON: Rosamund Pike Freedom from financial or romantic repression is likely this month. Channel your inner super-sleuth to work out the best option, especially for any challenging legal, educational or life-choice scenarios. Getting away from it all is likely too, with distance rather than absence making the heart (and finances and career) grow fonder. STYLE ICON: Olivia Wilde Plans close to your heart can start now with a little help from your friends. You get clarity this month, too, on how to be one of life’s movers and shakers, even if it means tapping in to your charisma and layering on the charm to make your dreams come true. Romance goes on hold for now while ambitions get right of way. STYLE ICON: Amanda Seyfried Life could get overwhelming now, so delegate. Start afresh: the key to success is a willingness to share the workload as well the spotlight. Handing over some of your power frees your soul and your libido, and as love becomes an adventure you may desire to “get a room” – ideally on an overseas trip and with a view. STYLE ICON: Emma Watson Your career gets a jump-start this month, and your contacts, especially new ones you make now, could be instrumental in giving you a lucky break. Think twice before dodging tricky home issues through escapist pursuits or dubious romance, and focus on how a power posse could help you nail your ambitions. STYLE ICON: Zooey Deschanel Let a sense of harmony rule your work routines and a sense of balance guide your health regimen this month. By turning things you might usually see as a chore into something pleasurable, your wellbeing, work and you can all be transformed. An added bonus to these adjustments is the chance to take love into all-new territory now, too. STYLE ICON: Amber Heard GEMINI 22 MAY – 21 JUNE VIRGO 24 AUGUST – 23 SEPTEMBER LEO24 JULY – 23 AUGUST CAPRICORN 22 DECEMBER – 20 JANUARY LIBRA 24 SEPTEMBER – 23 OCTOBER Juggling home, romance and health this month should be a breeze for your grasshopper mind. All things new float your boat, so old dreams, old ambitions and even old friends could be left behind. It’s a big month for love, but check your motivation, as stability here could suit you more than adventure and the unknown. STYLE ICON: Carey Mulligan ARIES 21 MARCH – 20 APRIL Your logic is on fire this month. A sharp appraisal of yourself, your finances and how to improve both reveals your next move, which is to invest in honing your skills, especially communication. If love is lacking or is around but could do with a revamp, learning some new moves could pep up your romantic repertoire. STYLE ICON: Salma Hayek CANCER 22 JUNE – 23 JULY AQUARIUS 21 JANUARY – 19 FEBRUARY SCORPIO 24 OCTOBER – 22 NOVEMBER TAURUS 21 APRIL – 21 MAY PISCES 20 FEBRUARY – 20 MARCH SAGITTARIUS 23 NOVEMBER – 21 DECEMBER No time to daydream this month, so you’ll have to think on your feet. Life is coming at you from weird and wonderful directions. You’re a force of nature and a money magnet now, and suitors old or new will be in awe of your wit and wisdom. Love finds you in transit or in training, or hanging out in your hood. STYLE ICON: Felicity Jones
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- 301. VOGUE.COM.AU 283 PATRICKDEMARCHELIER The detailsof stores listed on these pages have been supplied to Vogue by the manufacturers. For enquiries, contact Vogue Fashion Information, Locked Bag 5030, Alexandria, NSW 2015 or Level 5, 40 City Road, Southbank, Victoria 3006. All prices correct at the time of going to print. A.P.C. available from a selection at www.matchesfashion.com. A.W.A.K.E. available from a selection at www.matchesfashion.com; www.a-w-a-k-e.com. Acne Studios (02) 9360 0294. Akira www.akira.com.au. Alexander McQueen accessories available from a selection at Cosmopolitan Shoes (02) 9362 0510 and Miss Louise (03) 9654 7730. Alexander McQueen available from a selection at Cultstatus (08) 9481 8886, David Jones 133 357, Marais (03) 8658 9555 and www.Net-A-Porter.com. Alexander Wang available from a selection at Belinda (02) 9380 8725, Bloodorange (02) 9357 2424, The Corner Shop (02) 9380 9828 and David Jones 133 357; www.alexanderwang.com. Altuzarra available from a selection at www.farfetch.com, www.matchesfashion. com and www.Net-A-Porter.com. Ann Shoebridge available from a selection at Myer 1800 811 611; www.annshoebridge.com. Anna Sui www.annasui.com. Aquazurra available from a selection at www.Net-A-Porter.comandwww.stylebop.com; www.aquazurra.com. Balenciaga clothing available from a selection at Harrolds 1300 755 103, Marais (03) 8658 9555, Parlour X (02) 9331 0999 and www.thestyleset.com. Bally 1800 781 851. Barbara Bui available from a selection at www.stylebop.com; www.barbarabui.com. Bassike (02) 8457 6800. BodyWrap www.bodywrap-shapewear.com. Bondi available from a selection at Myer 1800 811 611. Boss (03) 9474 6330. Bumble and Bumble available from a selection at www.meccacosmetica.com.au. Burberry (02) 8296 8588. Calvin Klein Collection available from a selection at Myer Melbourne (03) 9661 1111; www.calvinklein.com. Caolion available from a selection at Sephora (02) 9221 5703. Carla Zampatti www.carlazampatti.com.au. Céline accessories available from a selection at from Miss Louise (03) 9654 7730 and Parlour X (02) 9331 0999. Chanel (02) 9233 4800, (02) 9243 1311, (03) 9671 3533 or (07) 3859 4707. Chanel fragrances www.chanel.com.au. Chloé accessories available from a selection at Miss Louise (03) 9654 7730 and www.stylebop.com. Christian Dior (02) 9229 4600 and (03) 9650 0132. Christian Dior cosmetics and fragrances (02) 9695 4800. Christian Louboutin (02) 8203 0902; available from a selection at www.Net-A-Porter.com. Christie Millinery www.christiemillinery.com. Christopher Kane available from a selection at Belinda (02) 9380 8725, www. matchesfashion.com, www.Net-A-Porter. com; www.christopherkane.com. Clarins (02) 9663 4277. Clinique (02) 9381 1200 or 1800 556 948. Custo Barcelona www.custo.com. Dion Lee www.dionlee.com.au. Dinosaur Designs www.dinosaurdesigns.com.au. Discount Universe www.discountuniverse.com.au. Elie Saab www.eliesaab.com. Emporio Armani (02) 8233 5858 or (03) 9654 1991. Etro available from a selection at www. Net-A-Porter.com and www.stylebop.com; www.etro.com. Evangeline Millinery www.evangelinemillinery.com.au. Fausto Puglisi www.faustopuglisi.com. Fendi (02) 9540 0500. Four Winds Gallery www.fourwindsgallery.com.au. Georg Jensen 1800 441 765. Giorgio Armani (02) 8233 5888 or (03) 9662 1661. Givenchy available from a selection at David Jones 133 357 and Marais (03) 8658 9555. GlamGlow available from a selection at www.meccacosmetica.com.au. Gucci 1300 442 878. Haider Ackermann available from a selection at Assin (02) 9331 6265 or (03) 9654 0158, and Poepke (02) 9380 7611. Hourglass Cosmetics available from a selection at www.meccacosmetica.com.au. Insight available from a selection www. generalpants.com.auandwww.theiconic.com.au. Iro (02) 9362 1165. J.W. Anderson available from a selection at www.matchesfashion.com, www. Net-A-Porter.com; www.j-w-anderson.com. Jacquemus available from a selection at www.Net-A-Porter.com and www.shopbop.com; www.jacquemus.com. Jennifer Behr available from a selection at Désordre (02) 8065 2751 and www.Net-A- Porter.com; www.jenniferbehr.com. Josie Maran available from a selection at www.meccacosmetica.com.au. Kate Somerville available from a selection at www.meccacosmetica.com.au. Kenzo (03) 9663 9224 and available from a selection at Harrolds 1300 755 103 and Parlour X (02) 9331 0999. Kevin Murphy 1800 104 204. Kiki de Montparnasse available from a selection at www.Net-A-Porter.com and www.shopbop.com; www.kikidm.com. Kora Organics (02) 9979 5672. Korres available from a selection at www.meccacosmetica.com.au. Ksubi available from a selection at www.generalpants.com; www.ksubi.com. La Prairie (02) 9888 0600 or 1800 649 849. Lafitte www.lafitte.com.au. Lancôme 1300 651 991. Linden Cook www.lindencookdesign.com. Longines (03) 8844 3300. Louis Vuitton 1300 883 880. Love Hatred www.loveandhatred.com.au. Love Stories www.lovestoriesintimates.com. Maison Martin Margiela available from a selection at Harrolds 1300 755 103 and www.thenewguard.com.au. ManiaMania www.themaniamania.com. Marimekko www.marimekko.com. Marni accessories available from a selection at Belinda (02) 9380 8725 and www.Net-A-Porter.com. Martin Grant www.martingrantparis.com. Mary Katrantzou available from a selection at www.Net-A-Porter.com; www.marykatrantzou.com. Maticevski available from a selection at Myer 1800 811 611. Melissa Joy Manning available from a selection at www.Net-A-Porter.com; www.melissajoymanning.com. Michael Kors available from a selection at Myer 1800 811 611; www.michaelkors.com. Mimco 1800 994 340. Miu Miu (02) 9223 1688. N°21 available from a selection at www.matchesfashion.com and www.Net-A-Porter.com; www.numeroventuno.com. Nails Inc. available from a selection at David Jones 133 357 and www.stylepatisserie.com. Nars available from a selection at www.meccacosmetica.com.au. Nerida Winter available from a selection at Myer 1800 811 611; www.neridawinter.com. Ole Lynggaard 1800 765 336. One Teaspoon available from a selection at www.generalpants.com and www. gluestore.com.au; www.oneteaspoon.com.au. Ouai available from a selection at Sephora (02) 9221 5703. Paige www.paige.com. Pandora www.pandora.net. Patek Philippe available from a selection at www.jfarrenprice.com.au; www.patek.com. Payot www.payot.com/au/en. Percy Reed available from a selection at Sephora (02) 9221 5703. Peter Lang available from a selection at Myer 1800 811 611; www.peterlang.com.au. Prada (02) 9223 1688. Preen available from a selection at Désordre (02) 8065 2751 and www.matchesfashion.com; www.preenbythorntonbregazzi.com. Preen Line available from a selection at www.matchesfashion.com and www.stylebop.com; www. preenbythorntonbregazzi.com. PRIVACY NOTICE. NewsLifeMedia collects information about you, including for example your name and contact details which you provide when registering or using our services as well as information from data houses, social media services, our affiliates and other entities you deal or interact with for example by using their services. We collect and use that information to provide you with our goods and services, to promote and improve our goods and services, for the purposes described in our Privacy Policy and for any other purposes that we describe at the time of collection. We may disclose your information to our related companies, including those located outside Australia. Any of us may contact you for those purposes (including by email and SMS). We may also disclose your information to our service and content providers, including those located outside Australia. If you do not provide us with requested information we may not be able to provide you with the goods and services you require. Where you have entered a competition, we may disclose your personal information to authorities if you are a prize winner or otherwise as required by law. Further information about how we handle personal information, how you can complain about a breach of the Australian Privacy Principles, how we will deal with a complaint of that nature, how you can access or seek correction of your personal information and our contact details can be found in our privacy policy at www newscorpaustraliaprivacy.com. WHERE TO BUY Proenza Schouler available from a selection at Parlour X (02) 9331 0999, www.farfetch.com and www.Net-A-Porter.com. R13 available from a selection at www.matchesfashion.com and www.shopbop.com; www.r13denim.com. Ralph Lauren 1800 501 201. Redken 1300 650 170 or 1300 386 421. Revlon 1800 025 488. Rodin available from a selection at www.meccacosmetica.com.au. Rosantica available from a selection at www.Net-A-Porter.com. Rosie Assoulin available from a selection at www.matchesfashion.com. Saint Laurent available from a selection at Harrolds 1300 755 103, Miss Louise (03) 9654 7730, www.Net-A-Porter.com and www.thestyleset.com. SarahSebastianwww.sarahandsebastian.com. Sass Bide (02) 9667 1667; available from a selection at Myer 1800 811 611. Scanlan Theodore (03) 9639 6500 or (02) 9380 9388. Shu Uemura 1300 651 991. Sisley 1300 780 800. Smashbox available from a selection at www.meccacosmetica.com.au. Sportmax available from a selection at www.farfetch.com, www.matchesfashion. com and www.shopstyle.com.au. Steviie available from a selection at www.dearseptemberstore.blogspot.com. StoreroomVintagewww.storeroomvintage.co. Ten Pieces www.tenpieces.com.au. The Family Jewels www.thefamilyjewels.com.au. The Hatmaker (02) 9360 0041. The Mode Collective www.themodecollective.com. 3.1 Phillip Lim available from a selection at David Jones, www.Net-A-Porter.com, www.shopbop.com and www.stylebop.com. 3CE available from a selection at Sephora (02) 9221 5703. 3x1 available from a selection at www.edwardsimports.com and www.shopbop.com; www.3x1.us. Tibi available from a selection at www. Net-A-Porter.com and www.shopbop.com; www.tibi.com. Tiffany Co. 1800 731 131. Tom Ford available from a selection at David Jones 133 357 and Harrolds 1300 755 103; www.tomford.com. Tommy Hilfiger 1300 348 885. Tredstep available from a selection at www.horseinthebox.com.au; www.tredstepireland.com. Tresemmé 1800 061 027. Urban Decay available from a selection at www.meccacosmetica.com.au. Valentino accessories available from a selection at Miss Louise (03) 9654 7730 and www.Net-A-Porter.com. Valentino available from a selection at Parlour X (02) 9331 0999 and www.Net-A-Porter.com. Victoria Beckham available from a selection at www.Net-A-Porter.com; www.victoriabeckham.com. Yves Saint Laurent cosmetics and fragrances 1300 651 991. Zoe Karssen enquiries to www. edwardsimports.com; www.zoekarssen.com. Zimmermann www.zimmermannwear.com.
- 302. To advertise pleasecontact Amy Frear 1300 139 305 Email: vogueclassifieds@newslifemedia.com.au V O G U E A U S T R A L I A DIRECTORY PONI COSMETICS PONi Cosmetics ‘Pegasus’ is a black liquid eyeliner. The water-resistant formula glides on smoothly and the soft but sharp felt tip ensures for precise application making perfect liquid liner simple for beginner to expert. Make sure you check out the instructional/how-to videos on our website. RRP 29AUD /ponicosmetics @ponicosmetics /PONi Cosmetics ponicosmetics.com.au GOLDEN DOOR ELYSIA HEALTH RETREAT AND SPA Take time out this Spring to recharge and replenish at our world renowned health retreat and spa. At Golden Door you will experience delicious healthy eating, physical activity, motivational seminars, and essential rest and relaxation. Start your transformation to a healthier, happier and more motivated you. Located in the beautiful NSW Hunter Valley, we are close to both Sydney and Newcastle airports. Quote VOGUE-OCT when booking before 31.11.2016 to receive 20% off a 5 night program exclusive for Vogue readers. reservations@elysia.com.au or 1800 212 011 /thegoldendoor @goldendooraustralia goldendoor.com.au SKIN O2 Feed your lashes. See results in as little as 4-6 weeks. Shop now skino2.com.au VANESSA MEGAN Award-winning, high performance, certified organic skincare. Love the skin you live in with chemical free, non-toxic and cruelty-free advanced organic skincare! Shop online now and use the code VOGUE and receive 15% off. /vanessameganorganicskincare @vanessameganorganicskincare vanessamegan.com 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 BEAUTIFUL BUNDLES Beautiful Bundles is a bespoke gift delivery service that takes the pressure away from giving that perfect gift for any occasion. There are a number of bundles including, but certainly not limited to Thanks a Bundle, The Best News Ever, A New Person and The Blokey Bundle. Bundles are filled to the brim with tired and tested Australian products from beautiful suppliers. @beautifulbundles_gifts beautifulbundles.com.au MARY MARY Statement blooms and luxe, textured arrangements for all occasions. Weddings, private events, flower deliveries, gorgeous arrangements for home and unique corporate blooms. Let our imaginative team of flower lovers create something special for you. /marymarystudio @marymarystudio marymary.com.au
- 303. lifestyle collection To advertiseplease contact Amy Frear 1300 139 305 Email: vogueclassifieds@newslifemedia.com.au BLOOM CO Bloom Co is a homewares and lifestyle concept store, stocking a boutique collection of décor, fashion, accessories, textiles, furniture, artwork and more. Shop online or visit our Williamstown store. 51 Ferguson St Williamstown VIC 3016 03 9397 0022 /bloomandco @bloomandco_australia bloomandco.com.au ADRIEN HARPER WATCHES The revival of 90’s minimalism in classic, contemporary timepieces. In a world where everyone wants to be unique, Adrien Harper recognizes the need for individuality and customization. Each watch is customizable via an interchangeable clip, allowing both watch face and strap to be mixed and matched in seconds. Enter code VOGUE to receive 15% off until October 31, 2016. /adrienharperwatches @adrienharperwatches adrienharper.com ONE PALM When you are embarking on your next journey , be sure to check in to One Palm. An online store combining the needs of all things travel. Leather bags and accessories, luggage, fashion and feel good products. Look sharp, feel good and travel right. @onepalmstudio onepalmstudio.com BLACK SALT BOUTIQUE A fashion boutique stocking leading styles for the woman of today. Including unique designs from Cooper St, Blessed Are The Meek, Ruby Sees All, Elliatt, Mavi, DR Denim, Amuse Society, Free People, Zoe Kratzmann Shoes, Billini Shoes. Free Shipping Australia Wide. 02 60216123 /blacksalt_ boutique @blacksaltboutique blacksaltboutique.com.au MADE BY FRESSKO Fressko’s New COLOUR COLLECTION - 360ml, Chemical Free, vacuum sealed, hard shell, silver lined glass flasks. @madebyfressko_official madebyfressko.com 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. /ILOVELINEN @ilovelinen ilovelinen.com.au COCO CALIFORNIA @coco_california cococalifornia.com.au Free express shipping on all Australian orders free international shipping on all orders over $200
- 304. To advertise pleasecontact Amy Frear 1300 139 305 Email: vogueclassifieds@newslifemedia.com.au V O G U E A U S T R A L I A DIRECTORY ORDER OF STYLE Effortless Style – Delivering Now. ‘Whoever said you can’t buy style didn’t know where to shop.’ An impeccably curated online collection of the most coveted international and Australian brands. Shop luxury staples, premium denim and accessories, expertly styled to create effortlessly cool, ready-to-wear looks. /orderofstyleboutique @orderofstyle orderofstyle.com ICONIC-STYLE Enjoy a ring for every finger with the Alpha Collection. Specialising in Sterling Silver, ICONIC-STYLE provides simple luxe jewellery at an affordable price. Free Shipping Australia Wide /iconicstylesydney @iconicstylesydney iconic-style.com ZEBRANO | SIZES 14+ Designer collections, casual wear, essential clothing for everyday. Be first to view the new season collections - have your selection delivered direct to your door in Australia (gst free). View lookbooks, discover trends and shop online. zebrano.com.au LUXE STORE Luxe is a stylish boutique stocking an extensive range of Australian and International brands online and in our Hobart store. Designers include Morrison, Viktoria and Woods, Jac+ Jack, Cable, Hunkydory, Mes Demoiselles, Camper shoes, skincare brand Aesop, Dinosaur Designs and Tasmania’s own Henk Berg hand crafted leather. Find us online or come and visit us when next in Hobart. 134 Liverpool St Hobart TAS 03 6236 9902 /Luxe @luxe_hobart luxestore.com.au BOTANICA DAY SPA Located within Melbourne’s grandest heritage hotel, InterContinental Melbourne the Rialto, Botanica Day Spa offers a tranquil escape for those looking to relax, re-balance and restore a sense of well-being. The spa offers four luxurious treatment rooms including a double room, making it perfect for couples or friends wishing to indulge themselves. +61 3 9620 5992 / Botanica-Day-Spa @botanica_dayspa www.botanicadayspa.com.au CERRA STYLE Book. Wear. Return. Find the perfect outfit for your next event with our collection of Australian and international designer pieces. From play-suits to formal dresses and accessories, you can hire online now or visit us for styling in the studio. 0477 455 544 @cerrastyle cerrastyle.com.au TATIANA ROZUMIAK A high-end evening wear label designed for the elegant women in mind who appreciates quality and fit. The styles express modern femininity through timeless silhouettes with delicately hand crafted features. 0455 875 558 @tatianarozumiak /tatianarozumiak /Tatiana Rozumiak tatianarozumiak.com
- 305. lifestyle collection To advertiseplease contact Amy Frear 1300 139 305 Email: vogueclassifieds@newslifemedia.com.au ALCIEMAY Each detailed piece of AlcieMay swimwear and activewear is designed and made in Australia for the woman who wants the perfect balance of comfort and style. If you desire nothing less than the best in quality and individuality… Welcome to AlcieMay @alciemay alciemay.com LILLEVENN Lillevenn is an Australian boutique inspired by Scandinavian women’s fashion, focusing on elegance, simplicity and comfort. Lillevenn handpicks labels based on their fundamental requirements for quality, natural fibres and ethical responsibility. Fall in love with Nordic design at @lillevenn_denmark_wa lillevenn.com.au MIDSUMMER STAR Free spirits roaming the globe: the moon, comets and stars in their hands. Crystals and stones glint beneath the moonbeams. Owls, foxes, wolves and cats go where the wild things are. Eclectic, nomadic, beautiful… all drawn by the Midsummer Star. 15% Discount enter VOGUE15 at checkout /themidsummerstar @midsummer_star midsummerstar.com JEAN JAIL Your online fashion destination. For that lavish special occasion to everyday streetwear styles and everything in between. With a wide range of dresses, playsuits, bodysuits, shorts, tops all your favourite labels. Our gift to you 10% of your purchase, just use code ‘VOGUE10’ for the months of September October. /jeanjailonline @jeanjail jeanjail.com.au LUXE.IT.FWD Shop online authentic pre-owned designer handbags from Chanel, Louis Vuitton, Celine, Hermes, YSL, Givenchy and Dior at up to 60% off the RRP new. Free shipping and returns with authenticity guaranteed. You can also sell your bag with us. $50 off for Vogue readers Enter code: VOGUE /luxeitfwd @luxe.it.fwd luxeitfwd.com.au NUNIE AND YU Shop our extensive range of Paula Ryan online or call us! Our team of well informed and friendly staff are always ready to help you with our range of the best Australian and New Zealand brands. Free Shipping in Australia. 1 University Ave Canberra 02 6248 5353 /NunieandYu nunie.com.au CUA51015 DIPLOMA OF SCREEN AND MEDIA (SPECIALIST MAKE-UP SERVICES) If you’ve got a passion for make-up and are dreaming of film and fashion, or can imagine yourself on the scene of magazine and music shoots, unleash your creativity with a specialist make-up course and take make-up artistry to a whole new level. Study this nationally recognised qualification and learn exciting skills to develop your portfolio. Are you ready to show the world your vision? RTO code: 70203 121391 1300 490 725 /iwantthatbeautycourse iwantthatbeautycourse.com.au
- 306. 288 OCTOBER 2016 WORDS:ALICEBIRRELLARTDIRECTION:MANDYALEXANDHEIDIBOARDMAN STYLIST:MONIQUESANTOSMAKE-UP:KRISTINBRETTMODEL:KIALOW PHOTOGRAPH:EDWARDURRUTIAALLPRICESAPPROXIMATEDETAILSLASTPAGES Givenchytaps the mystical in a bag winking with stars, but forget the deep symbolism – this constellation spells off-duty decadence. Star gazing