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GEORGJENSEN.COM
 CONTENTS

June 2018

Rebel Wilson wears a Martin

Grant coat. Christian Siriano
dress, from 11 Honoré.
Bulgari bracelet and rings.
Make up from Dior, starting
with Diorskin Forever
Undercover Foundation
in Light Beige; on cheeks,
Diorblush Vibrant Color
Powder Blush in Mimi Bronze;
on eyes, 5 Couleurs Couture
Colours & Effects Eyeshadow
Palette in Touch and Iconic
Overcurl in Black; on lips,
Rouge Dior Lipstick in
Saint Germain.

Stylist: Kate Darvill

Photographer:
Nicole Bentley
Hair: Bryce Scarlett
Make up: Pati Dubroff
Manicure: Betina Goldstein
Set design: Eli Metcalf

34 EDITOR’S LETTER 64 Arts

AN INDEPENDENT WOMAN 84
36 VOGUE VAULT
Bianca Spender strikes out on her own. SET IN MOTION
38 THIS MONTH ON VOGUE.COM.AU
68 Australian Ballet dancer Alice Topp branches
40 VOGUE VIDEO BIG STRIDES out into choreography and costume design.
42 CONTRIBUTORS Boots are on the rise – to the knees and beyond. 86
73 REFLECTING ON EXISTENCE
Viewpoint BRIGHT IDEAS Previewing Laurie Anderson’s new works.
46 Lucy Folk has expanded her offering from eclectic
A COAT TALE jewellery to a vibrant clothing line. Vogue Codes
Coats take a trip, from vivid colours to avant-garde 76 90
shapes, kaleidoscopic patterns and lush textures. GOOD DAY, SUNSHINE WELL CONNECTED
VOL LXIII NO 6 WHOLE NO 648 *RECOMMENDED PRICE

56 The easy elegance of Emilia Wickstead’s resort Meet the dynamic Eva Chen, Instagram’s director
THE ENTERTAINER collection fulfils all our holiday desires. of fashion partnerships.
Dua Lipa in the new ultra-wide silhouette. 78 92
60 BOLD STEPS TAKING FLIGHT
Blow up; Case in point; Best of the West; Giovanni Morelli, the new creative director of A designer and entrepreneur join forces to create
All round; Two fabulous. Stuart Weitzman, is not about treading lightly. the sustainable footwear brand Allbirds.

26 JUNE 2018
DAV3240_V
 CONTENTS

June 2018

Beauty 156
COOL COUTURE
96
A new spirit of youthfulness and diversity is
TURNING HEADS
changing the rarefied world of haute couture.
Voluminous, sleek, natural or lopped, hair
this season is all about style switch-ups
that reflect how you feel right now.
Features
146
106
MILAN ÉLAN
TRICKS & TREATS
Thanks to an array of bright young talents,
Stay a cut above the rest by combing through
Milan is enjoying a newfound vibrancy.
the now and the next in hair cleansing, heat
protection and styling. 152
MODERN MASTERY
110
Melbourne’s NGV prepares to showcase a
IN CONTROL
selection of MoMA New York’s masterpieces.
Smooth frizz, disguise grey strands, flatten kinks,
eradicate split ends and say goodbye to bad hair 166
days with our army of obedient hair tamers. DISTURBING TRENDS
Meet the fashion trend forecaster turned
112
Facebook whistleblower.
LOSING IT
Few subjects remain taboo in today’s over- 170
sharing world: one of them is hair loss. THIN AIR
Air travel inflicts an arduous journey upon the
114
traveller with a fear of flying, but it can be beaten.
ONE-WAY TICKET
A trio of fragrances from Chanel evokes a sense of
travel and of glorious getaways on the continent.
Voyage
172
Fashion RETURN TO HAMBURG
Karl Lagerfeld staged Chanel’s 2018 Métiers d’Art
124
in Hamburg, inspired by its seafaring history.
REBEL HEART
Rebel Wilson is the definition of a modern A L I Q U E D U N C A N K I L L I C K S COT T T R I N D L E

woman: switched-on, unafraid and empowered. 179 HOROSCOPES

She is also comedy dynamite. 184 LAST WORD
132
PLAY IT AS IT LAYS SUBSCRIBE TO VOGUE
Somewhere way out west, all with a sense of the TU RN TO PAG E 118 TO SU B SCRIB E
O R REN EW AN D RECEIVE 14 IS SU ES
early 70s, as bohemian meets babe in a haze of FO R TH E PRICE O F 12 .
ribbed knits, wide pants and tomboy tailoring.

30 JUNE 2018
 Edwina McCann
Editor-in-Chief editor@vogue.com.au

D eput y E d it or a nd Fe at u re s D i re c t or S OPH I E T E DM A NS ON
features@vogue.com.au

Fa sh ion D i re c t or C H R I ST I N E C E N T E N E R A

Cre at i ve D i re c t or at L a r ge A L I S ON V E N E S S

ART art@vogue.com.au
A r t D i re c t or M A N DY A L E X
S en ior D e sig ner DIJA N A M A DDI S ON Ju n ior D e sig ner A RQU E T T E C O OK E

FASHION fashion@vogue.com.au
S en ior Fa sh ion E d it or K AT E DA RV I L L
Fa sh ion E d it or a nd Ma rket D i re c t or PH I L I PPA MORON E Y
Ju n ior Fa sh ion E d it or PE T TA C H UA   Ma rket E d it or K A I L A M AT T H E WS
Fa sh ion A s si s t a nt R E BE C CA B ON AV I A

BOOK INGS bookings@vogue.com.au

Phot og ra phy a nd C a s t i ng D i re c t or R I K K I K E E N E   B o ok i ng s E d it or DA N ICA O S L A N D

FASHION FEATURES vogue@vogue.com.au

Fa sh ion Fe at u re s a nd C ont ent St rat e g y D i re c t or Z A R A WONG
S en ior Fa sh ion Fe at u re s E d it or A L IC E BI R R E L L

BEAUTY AND HEA LTH beauty@vogue.com.au

S en ior B e aut y a nd He a lt h E d it or R E M Y R I PP ON
He a lt h E d it or at L a r ge JODY S C O T T   B e aut y S p e cia l P roje c t s R IC K Y A L L E N

COPY copy@vogue.com.au
Travel E d it or a nd C opy E d it or M A R K S A R I BA N
D eput y C opy E d it or a nd L i fe s t y le Wr it er C US H L A C H AU H A N

Su s t a i n a bi l it y E d it or at L a r ge C L A R E PR E S S

A r t s Wr it er JA N E A L BE R T

E d it or ia l C o ord i n at or R E BE C CA S H A L A L A

Ma n a g i ng E d it or L OU I S E BRYA N T

DIGITA L vogue@vogue.com.au
D ig it a l E d it or ia l D i re c t or J U L I A F R A N K
D ig it a l E d it or L I L I T H H A R DI E LU PICA   A s s o ciat e D ig it a l E d it or DA N I E L L E G AY   A s si s t a nt D ig it a l E d it or F R A NC E S CA WA L L AC E

CONTRIBUTORS
A L IC E CAVA N AGH ( Pa r i s)   V IC T OR I A C OL L I S ON (S p e cia l P roje c t s E d it or)   PI PPA HOLT ( L ondon)   N ATA S H A I NC H L E Y ( Fa sh ion)

EDITORIA L ADMINISTR ATION AND RIGHTS

D ig it a l A s s et s a nd R ig ht s Ma n a ger T RU DY BI E R N AT D ig it a l A s s et s a nd R ig ht s C o ord i n at or J E S S ICA R IC H MON D

Nat ion a l S a le s a nd St rat e g y D i re c t or, St y le N IC OL E WAU DBY (02) 8 0 4 5 4 6 61 .

He ad of Bra nd St rat e g y, St y le M E R RY N DH A M I (02) 92 8 8 10 9 0. He ad of D ig it a l C om mercia l St rat e g y, St y le A M A N DA S PAC K M A N (02) 8 0 4 5 4 6 5 8 .  
NS W Group S a le s Ma n a ger C H E Y N E H A L L (02) 8 0 4 5 4 6 67.
NS W Key Ac c ou nt Ma n a ger s K AT E C OR BE T T (02) 8 0 4 5 47 3 7. CAT H E R I N E PAT R IC K (02) 8 0 4 5 4 613 .   
D ig it a l Bra nd Ma n a ger K R I ST I N A K A R A S S OU L I S (02) 92 8 8 174 3 . Br a nd St r at eg y Ma n a ger T E S S A DI XON (02) 8 0 4 5 474 4 . 
He ad of St rat e g ic Pa r t ner sh ip s H A N N A H DAV I D -W R IGH T (02) 8 0 4 5 49 8 6 . NS W C a mpa ig n I mplement at ion Ma n a ger K AT E DW Y E R (02) 92 8 8 10 0 9.
NS W Ac c ou nt E xe c ut i ve s , St y le E L I Z A C ON NOR (02) 92 8 8 132 4 . G A R I N E H T ORO S S I A N (02) 8 0 4 5 4 6 5 3 . 
Vic t or ia S a le s D i re c t or, St y le K A R E N C L E M E N T S (0 3) 92 92 32 02 . Vic t or ia He ad of S a le s E L I S E DE S A N T O (0 3) 92 92 162 1 . Vic t or ia Group B u si ne s s Ma n a ger N A DI N E DE N I S ON (0 3) 92 92 32 2 4 .
Vic t or ia He ad of D i re c t S a le s & Pa r t ner sh ip s JO C ONSTA BL E (0 3) 92 92 32 0 3 . Vic t or ia C a mpa ig n I mplement at ion Ma n a ger R E BE C CA RODE L L (0 3) 92 92 195 1 .
Q ue en sla nd C om mercia l D i re c t or, L i fe s t y le RO S E W E GN E R (0 7) 3 6 6 6 69 0 3 . Vic t or ia Ac c ou nt E xe c ut i ve S A R A H-JA N E BAC ON (0 3) 92 92 32 0 8 .
C la s si f ie d Ad ver t i si ng R E BE C CA W H I T E 13 0 0 13 9 3 0 5 . A sia : K I M K E NC H I NGT ON , Me d iawork s A sia (8 52) 2 8 82 1 10 6 .

Ad ver t i si ng Cre at i ve D i re c t or R IC H A R D M C AU L I F F E Ad ver t i si ng Cre at i ve Ma n a ger E VA C HOW N 

Ad ver t i si ng Cre at i ve P ro duc er s J E N N Y H AY E S S A R A H M U RY
Cre at i ve S er v ic e s S en ior A r t D i re c t or s A M A N DA A N DE R S ON CA RY N I S E M A N N 
Ad ver t i si ng C opy E d it or s A N N E T T E FA R NS WOR T H BRO OK E L E W I S ROB BA DM A N 

P ro duc t ion Ma n a ger M IC H E L L E O ’ BR I E N Ad ver t i si ng P ro duc t ion C o ord i n at or GI N A J I A NG

G enera l Ma n a ger, R et a i l S a le s a nd Ci rc u lat ion BR E T T W I L L I S Su b s cr ipt ion s Ac q u i sit ion Ma n a ger GR A N T DU R I E Su b s cr ipt ion s R et ent ion Ma n a ger C RYSTA L E W I NS

G enera l Ma n a ger, D ig it a l ST UA R T FAG G

He ad of P ro duc t D e sig n A L E X FAW DR AY D ig it a l D e sig ner Y E A R A C H A H A M

Ma rket i ng D i re c t or DI A N A K AY D ig it a l Ma rket i ng Ma n a ger S H A N NON W Y L I E Bra nd Ma n a ger R AC H E L C H R I ST I A N

Event s Ma rket i ng Ma n a ger N ATA L I E H E A DL A N D Event s Ma n a ger GE N E V I E V E M C CA S K I L L Ma rket i ng C o ord i n at or S H E L BY A L L E N

D i re c t or of C om mu n ic at ion s S H A RY N W H I T T E N
G enera l Ma n a ger, Net work S a le s , NS W PAU L BL AC K BU R N
Publisher, News Prestige Network NICHOLAS GR AY

VO GU E AUST R A L I A m a ga z i ne i s pu bl i she d by New sL i feMe d ia P t y Lt d (AC N 0 8 8 92 3 9 0 6). I S S N 0 0 4 2 - 8 019. New sL i feMe d ia P t y Lt d i s a w hol l y ow ne d s u b sid ia r y
of New s L i m it e d (AC N 0 0 7 8 7 1 178). C opy r ig ht 2 018 by New sL i feMe d ia P t y Lt d . A l l r ig ht s re s er ve d . 2 Holt St re et , Su r r y H i l l s , NS W 2 010. Tel : (02) 92 8 8 3 0 0 0.
Po s t a l add re s s: Vog ue A u s t ra l ia , New sL i feMe d ia , L evel 1 , L o cke d B a g 5 0 3 0, A lex a nd r ia , NS W 2 015 . E m a i l : e d it vog ue au s t @ vog ue .c om . au .
Melb ou r ne of f ic e : H W T Tower, L evel 5 , 4 0 Cit y R oad , S out h ba n k , Vic t or ia 3 0 0 6 . Tel : (0 3) 92 92 2 0 0 0. Fa x : (0 3) 92 92 32 9 9.
Br i sba ne of f ic e : 4 1 C a mpb el l St re et , B owen H i l l s , Q ue en sla nd 4 0 0 6 . Tel : (0 7) 3 6 6 6 6910. Fa x : (0 7) 3 62 0 2 0 01 .

Su b s cr ipt ion s: w it h i n A u s t ra l ia , 13 0 0 6 5 6 93 3 ; over s e a s: (61 2) 92 82 8 02 3 . E m a i l : s u b s @ m a g s on l i ne .c om . au .

Su b s cr ipt ion s m a i l : Ma g s on l i ne , R epl y Pa id 8 70 5 0, Syd ney, NS W 2 0 01 (no s t a mp re q u i re d). We b sit e : w w w.vog ue .c om . au .

C ondé Na s t I nt er n at ion a l JON AT H A N N E W HOUS E C ha i r m a n a nd C h ief E xe c ut i ve WOL F G A NG BL AU P re sident

P r i nt e d by PM P L i m it e d . Pa p er f ibre i s f rom s u s t a i n a bl y m a n a ge d fore s t s a nd c ont rol le d s ou rc e s .

32 JUNE 2018
 VOGUE

Editor’s letter

R
ebel Wilson is indeed fearless. She’s gone where few
celebrities have dared to go. She has challenged the
Australian tabloid press, taking weeks out of her work
schedule in the US to appear in Australian courts to do so –
and won. She is charming, just as funny in person as she is on
screen, and continues to delight audiences as a phenomenally successful
comic writer and newly minted film producer with an eye for detail (as
you will read in Alison Veness’s story from page 124). We are very proud
of Rebel’s first Vogue Australia cover. Make sure you watch the hysterical
accompanying video (go to Vogue.com.au or our YouTube channel).
Speaking of empowered women, this month we host the third annual
Vogue Codes summit aimed at encouraging more women and girls to
engage with technology. We will host events in Sydney and Melbourne,
including Vogue Codes Live, with fabulous activations and a free kids’
day too. In this issue we profile some of our guest speakers, including
Instagram’s Eva Chen, who tells us the social media platform has taken
down the “velvet rope of fashion … you could live in Melbourne
or Montana and feel like you’re a fashion insider”; and Tim Brown,
a former New Zealand soccer player turned co-creator of Allbirds, the
must-have sneaker for Silicon Valley entrepreneurs, and beloved by
Oprah and Barack Obama. The sneakers are environmentally friendly,
comfortable and yet another example of the power of the right product
plus e-commerce creating an overnight international success.
I have been overwhelmed by the embrace of Vogue Codes by Vogue
readers and beyond. We are looking to launch this Australian initiative
internationally with Vogue titles, thereby engaging more women globally
in a conversation about the opportunities and challenges faced by women
pursuing careers in technology, and questioning why many still don’t.
None of this would be possible without the support of Westpac, and
specifically Anastasia Cammaroto and Dave Curran. They grasped the
importance of creating a movement, and leveraging the reach and
appeal of the Vogue brand to start important conversations and attract Rebel Wilson
in ‘Rebel heart’,
more young women to the ample career opportunities that exist in areas from page 124.
of technology. Even if you don’t work in IT per se, all work is, or will be,
affected by technology and everybody will need to be tech literate.
Women cannot be left behind. I thank David and Anastasia for their
foresight, advice and vision. Further thanks is extended to returning
partner HP, back for the third year, and committed to creating the best
performing and most beautiful technology. And finally, we welcome
new partner Audi, its progressive views, innovation and consistent
performance makes it the perfect collaborator.
If you haven’t already bought a ticket to Vogue Codes, go online today:
codes.vogue.com.au.
N I CO L E B E N T L E Y

EDWINA MCCANN EDITOR-IN-CHIEF

34 JUNE 2018
 VO G U E VAU LT

Twice a charm Condé Nast Internationa l

Cha irma n a nd Chief Executive: Jonatha n Newhouse
President: Wolfga ng Blau
A former Vogue cover star goes behind the scenes to
The Condé Nast Internationa l Group of Bra nds
assist on Rebel Wilson’s cover shoot 24 years later. includes:
UK
Vog ue, House & Ga rden, Brides, Tatler,
T he World of I nteriors, G Q , Va n it y Fa i r,
Condé Nast Travel ler, Gla mou r,
Condé Nast Joha nsens, G Q St yle, Love, Wi red,
Condé Nast Col lege of Fash ion & Desig n, A rs Tech n ica
Fra nce
Vog ue, Vog ue Hom mes, A D, Gla mou r, Vog ue Col lections,
G Q , A D Col lector, Va n it y Fa i r, G Q Le Ma nuel du St yle,
Gla mou r St yle
Ita ly
Vog ue, Gla mou r, A D, Condé Nast Travel ler, G Q ,
Va n it y Fa i r, Wi red, La Cuci na It a l ia na
Germa ny
Vog ue, G Q , A D, Gla mou r, G Q St yle, Wi red
Spa in
Vog ue, G Q , Vog ue Nov ias, Vog ue Ni ños,
Condé Nast Traveler, Vog ue Colecciones,
Vog ue Bel leza , Gla mou r, A D, Va n it y Fa i r
Japa n
Vog ue, G Q , Vog ue Gi rl, Wi red, Vog ue Wedd i ng
Ta iwa n
Vog ue, G Q , I ntercu lt u re
Mex ico a nd Latin A merica
Vog ue Mex ico a nd Lati n A merica , Gla mou r Mex ico,
A D Mexico, GQ Mexico and Latin A merica,
Vanity Fair Mexico
India
Vog ue, G Q , Condé Nast Travel ler, A D

Published under Joint Venture:

Bra zil: Vog ue, Casa Vog ue, G Q , Gla mou r
Russia: Vog ue, G Q , A D, Gla mou r, G Q St yle, Tatler,
Gla mou r St yle Book

Published under License or Copy rig ht Cooperation:

Austra lia: Vog ue, Vog ue L iv i ng, G Q
Bulga ria: Gla mou r
China: Vog ue, A D, Condé Nast Traveler, G Q , G Q St yle,
Brides, Condé Nast Center of Fash ion & Desig n, Vog ue Me
Czech Republic a nd Slova k ia: La Cuci na Ita lia na
Hunga r y: Gla mou r
Icela nd: Gla mou r
Korea: Vog ue, G Q , A l lu re, W
Midd le East: Vog ue, Condé Nast Travel ler, A D,
Vog ue Ca fé at T he Duba i Ma l l
Pola nd: Gla mou r
Por tuga l: Vog ue, G Q
Roma nia: Gla mou r
Russia: Vog ue Ca fé Moscow, Tatler Club Moscow
South A frica: House & Ga rden, G Q , Gla mou r,
House & Ga rden Gou rmet, G Q St yle, Gla mou r Ha i r
The Netherla nds: Vog ue, Gla mou r, Vog ue T he Book ,
Vog ue Ma n, Vog ue L iv i ng
Tha ila nd: Vog ue, G Q , Vog ue Lou nge Ba ng kok
Turkey: Vog ue, G Q
U k ra ine: Vog ue, Vog ue Ca fé K iev

Condé Nast USA

President a nd Chief Executive Of f icer:
Rober t A . Sauerberg, Jr.
A r tistic Director: A n na Wi ntou r

Vog ue, Va n it y Fa i r, Gla mou r, Brides, Self, G Q , G Q St yle,

T he New Yorker, Condé Nast Traveler, A l lu re, A D,
Bon Appétit, Epicu rious, Wi red, W, Golf Digest,
Golf World, Teen Vog ue, A rs Tech n ica , T he Scene,

F
or former model Jenny Brunt, finding herself on a Vogue set was nothing new. As the Pitch fork , Backcha n nel

cover star of our December 1993 issue, Brunt knows her way around a Vogue shoot better Vog ue Austra lia
Subscription rate for 12 issues post pa id is $82 (w ith i n
than most. But earlier this year, 24 years after she graced our cover, she returned to join Aust ra lia). Copy rig ht © 2018. P ublished by NewsL ifeMed ia .
W O R D S : F R A N C E S C A WA L L A C E

A l l rig hts reser ved. Reproduction i n whole or pa r t w ithout

the team behind the lens. As part of stylist Elizabeth Stewart’s team, Brunt was on set for June
cover star Rebel Wilson’s Sydney photo shoot, even appearing in a video with the actress giving
her modelling tips: to smoulder or not to smoulder? (The video can be seen on Vogue.com.au.)
For her 1993 cover, Brunt was photographed by 90s fashion favourite Paul Lange
in a Donna Karan top and pants-suit, and, interestingly, didn’t appear inside the magazine,
perm ission is st rictly proh ibited. NewsL ifeMed ia is a
licensed user i n Aust ra lia of the reg istered t radema rk s
VOGU E , VOGU E L I V I NG a nd G Q a nd has been g ra nted
the exclusive rig ht to use those t radema rk s i n relation to
maga zi nes published by NewsL ifeMed ia by the proprietor
of the t radema rk s. P ri nted i n Aust ra lia by PM P L i m ited.
Dist ributed by Gordon a nd Gotch Aust ra lia P t y Ltd,
tel 1300 650 666.

a common practice for titles of the era. Once a Vogue woman, always a Vogue woman.

36 JUNE 2018 36
 1.
VO G U E CO D ES WAR M U P

This year’s Learn to layer like

event, aiming a pro with the best
to empower in street style
women in the inspiration.
technology
sector, 3.
kicks off in
Melbourne
from June 12 6.

and in Sydney
from June 20.
4.
7.

CO O L CHAN G E

Give your
beauty
cabinet a
reboot with
these winter
warriors.

8.
R ESO RT
ROTATI O N
11. 1. Sportmax jacket,
$1,755. 2. On the streets
See every of New York. 3. Rebel
look from Wilson at the 2016 Vanity
every show 10. Fair Oscars after-party.
this resort 4. Bobbi Brown Lip Color in
Red, $47. 5. Chanel resort
’19 season. ’18. 6. Backstage at Lanvin
s/s ’18. 7. Benefit Hoola Ultra
Plush Shimmering Golden
Nude lip gloss, $23. 8. Louis
Vuitton resort ’18.
9. Christian Dior resort
’18. 10. Nars Brow
Defining Cream in
Tanami, $35. 11. On
the streets of Milan.
12. Guerlain L’Art

G E O R G I N A E G A N G E T T Y I M A G E S I N D I G I TA L E D WA R D U R R U T I A
12. Du Trait Precision

A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B
Felt Eyeliner, $52.

ONLINE

Vogue.com.au
This month Vogue brings you the resort ’19 shows, both locally and across the globe, from every fanciful
location in which they take place. Let the resort shows heat up the season as the temperature drops and
look to our street style inspiration for new techniques in layering. Plus, it’s time to welcome winter beauty.
T WIT TER , FACEBOOK , INSTAG R AM AND TUMBLR: @VO G U E AU STR ALIA SNAPCHAT: @ M I S SVO G U E AU STR ALIA

38 JUNE 2018
 Watch

Vogue

Australia

on

YouTube.
Subscribe to our YouTube channel Vogue Australia,

home to exclusive celebrity interviews,

behind-the-scenes access,

fashion, beauty and fitness how-tos, and more.

www.youtube.com/vogueaustralia
40 JUNE 2018
VOGUE
Contributors
BRYCE SCARLETT
A favourite of It girls Gigi Hadid,
Margot Robbie and Lily Aldridge,
hairstylist Bryce Scarlett is
definitely one in-demand man.
SOPHIA LI
Videographer Sophia Li worked
Working on Rebel Wilson’s hair
closely with Rebel Wilson for our
for this issue’s cover shoot,
cover video, getting to know the
Scarlett described his experience
actress as she tried on couture
with the actress as “comfortable
pieces and worked her magic
and enjoyable”. “Rebel is so kind
in front of the camera. “I loved
and easy to be around,” he says,
when she walked out in her first
adding that he let her hair do the
look: it was a full-on black gown.
talking with just a little help from
She was working the split and
a wind machine. “We were really
high-end jewellery, completely
focusing on Rebel’s natural
owning it, and everyone was
beauty, so we left her hair
feeding off of her energy.”
with very easy natural texture,
Talking of how they discussed
then added in a bit of wind
everything from children’s
for movement.”
charities in Tanzania to Wilson’s
love of Disneyland, Li cites her
favourite moment during the
shoot: “Rebel was so focused on
a pose while on a lounge chair
that she rolled off. It was a funny
moment for everyone and also
made for a great shot.”
42
KAILA MATTHEWS
This issue marked a special
milestone for our market editor,
Kaila Matthews: her first Vogue
cover shoot. Joining the team
just a few months ago, Matthews
was instrumental in pulling
together the finished product
for our Rebel Wilson shoot, an
experience she describes as one
JIM DARLING
Artist Jim Darling is a man of
of the best. “Working on a cover,
aesthetic contradictions.
or any shoot for that matter,
Describing his artwork through
is amazing. The sense of
the lens of opposites – “simple yet
accomplishment when
detailed, fluid yet textured, and
everything runs according to
realistic yet abstract” – the
plan is a wonderful feeling,” she
Dallas-based painter and sculptor
says. “A highlight from the issue
proves there is beauty to be
was working closely with Kate
found in the everyday. For his
Darvill and the designers to
work accompanying Alice
create one-off, beautiful looks for
Birrell’s story on her fear of
Rebel.” As for the best part of
flying, ‘Thin air’, Darling’s simple
working at Vogue? “Working with
depiction of the view outside a
like-minded people who come
plane window is more than just a
together to create new and
view; it symbolises what lies
exciting content every month. Oh,
beyond. “It is a simple concept,
and cake – there’s always cake!”
and hopefully there is enough
detail in the painting to give the
viewer a chance to explore, as one
does in the window seat,” he says.
JUNE 2 0 1 8
 giorgioarmanibeauty.com.au Cate Blanchett

the new fragrance

V O G U E

V I E W
A COAT TALE
This new season, coats take a trip:
from vivid colours to avant-garde
shapes, kaleidoscopic patterns and
lush textures. When the sharp nip
of winter takes your breath away,
let these coats warm things up.
By Alice Birrell.

ST YLING PE T TA CH UA
PHOTOG R APHS JAKE TER R E Y

P O I N T
46
 CHECK
THIS

What maketh a true

modern classic? The
term is bandied
around enough, but
our era of fashion
can be defined by
this: bare bones that
say timeless and a
surprise twist that
catches the eye.
Christian Dior coat,
$7,700, sweater,
$1,900, tights, $1,650,
and shoes, $1,490.
H A R : P E T E L E N N O N M A K E- U P: P E T E R B E A R D M O D E L : M AT L DA D O D S
A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B

JUNE 2018 47
VOGUE V IEW POINT

PRETTY
YOUNG SWING

Coats should never be a

plain afterthought. Take this
example: short and neat, a
swing coat that has its soul
in the 60s is a piece that
can hold its own, never
mind what’s underneath.
Chanel coat and jumpsuit, sold
as a set, $20,780, hat, $4,250,
and boots, $3,250, from the
Chanel boutiques. Tiffany
& Co. earrings, $660.

A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B
JAKE TERREY

48
VOGUE V IEW POINT

HUE
IMPACT

The classics are already

lined up in the wardrobe,
so what next? Inject some
spirit with punchy pigment
like this tomato-red,

Sportmax coat, $4,420.

Bianca Spender coat, worn
underneath, $1,095, and pants,
$425. Wolford socks, $69.
Christian Dior shoes, $1,590.

A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B
JAKE TERREY

50
FUZZY VISION

Givenchy’s faux does away

with any need for real fur.
Seductively touchable in
delicate wisps, it says equal
parts day piece and
night wonder.
Givenchy coat, $6,050, belt,
$850, and boots, $3,150.
Christian Louboutin
bag, $2,845.

JUNE 2018 51
VOGUE V IEW POINT

LADY WHO
LUNCHES

Dusty pink the colour of

iced pastries is a polite
coverall, but don’t mistake
its soft palette for
paltriness. Pastels have real
power when combined with
unexpected details like
glitch-y graphic patterns
worn with a soupçon
of nonchalance.
Fendi jacket, $10,600. Camilla
& Marc top, $600. Dylan Kain
bag, $540. Wolford tights, $85.
Jimmy Choo shoes, $1,095.

52
 LAYERED
MEANING
A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B

Balenciaga’s picnic
blanket-cum-hunting
coat – the two are sewn
together – gives a newer,
more chic meaning to the
expression ‘rug up’ and is
irresistibly snug to boot.
Balenciaga jacket, $5,660,
shirt, $1,785, earrings,
$4,600 (in left ear), $9,550
JAKE TERREY

(in right ear), bag, $2,280,

and boots, $2,105.

JUNE 2018 53
VOGUE V IEW POINT

TEDDY GIRL

A shearling coat has

asserted itself as a
category in its own right.
This winter an intense
raspberry shade takes
things up a style notch.
Bally coat, $22,000. Scanlan
Theodore dress, $600. Gucci
glasses and bag, P.O.A.
Bally shoes, $1,190.

A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B
FROM WHERE
I STAND OUT

It was only a matter of time

until the humble puffer
transformed into an epic
trophy piece. Stride out
JAKE TERREY

padded in pure X-factor.

Versace jacket, $9,040,
and boots, P.O.A.

54 JUNE 2018
VOGUE V IEW POINT

STYLE SYLLABUS

The
entertainer
The new ultra-wide silhouette calls
for a level of self-assuredness and
confidence, which British singer Dua
Lipa has in strides. By Zara Wong.
ST YLING PH I LI PPA M O RO N E Y
PHOTOG R APH D U N CAN KI LLI CK

D
ua Lipa works so hard that she has
been on tour for two years, with one
more year to go. Although for the
22-year-old British musician, performing and
dressing up is less ‘work’ and more a driving
passion that has existed for as long as she can
remember. “I’ve always wanted to sing and
perform,” she says after her Vogue shoot. “People
have asked when was the first time I realised
I liked music but it’s never been a thing; it’s
always been around. I never had a plan B.”
So relentless is her approach to her career –
stellar so far, with a list of accolades and
record-breakers so long it would take up most
of this paragraph to include them – that
during her recent Australian tour, Lipa was
forced to take time out for emergency wisdom
teeth surgery. “You just have to get it done,”
she says with a rueful smile on having delayed
the process before it came to a head during the
Australian leg. “I was like: ‘Wow, great, in
Australia – I didn’t expect this!”
While many musicians are introduced to the
fashion world through their music careers,
Lipa says it was an interest from early on.
Growing up, she would read her mother’s
issues of Vogue and create scrapbooks of her
favourite images. She also remembers being
struck by both the sound and imagery of artists
such as Pink. “That hair on her Missundaztood
album!” she exclaims. “That was such a look.”
Lipa’s own style can be seen in some of the
most memorable music videos of the past 12
months, such as the pop-tastic film clip for New
Rules, which Lorde proclaimed to be one of
her favourite music clips of the moment.
“It’s not necessarily the putting together of
the image that is important, but being able to
represent yourself and who you are as an
artist that is important to musicians,” she
ponders aloud. “When I get involved in ¤

56
VOGUE V IEW POINT
the fashion world, it’s another outlet for my creativity, another extension
of my music and who I am as an artist. Fashion is an extension of what
I’d like to say, another part of me, so from the very beginning I had quite
a clear idea of what I like to wear.”
Embracing the silhouette of wide-legged pants with fitted tops was a
logical step from her on-stage to off-duty looks, which include tracksuit
sets or cropped tops (that show off her boxing-honed midriff) with
matching pants, as seen in her chart-topping IDGAF video clip. She says
the turtleneck with black pants (see below) was a
favourite look from the Vogue shoot. “It was really cool,
and the low camera angles the photographer used were
“FASHION IS
really fun,” she notes astutely. “I’ve always liked to play AN EXTENSION
dress-ups.” Even as a teenager, the singer experimented OF WHAT I’D
with her wardrobe, regularly canvassing the high
street: “Different colours, different styles – I would never
LIKE TO SAY;
limit myself and would make the looks my own by ANOTHER PART
accessorising and layering.” OF WHO I AM”
While shopping in her local stores back home is less of
an option for her, given her busy touring schedule, she
still buys online, sending packages to her parents’ address.
Born in London to Kosovar-Albanian parents, Lipa moved with her
family back to Kosovo at the age of 11, before returning to London on
her own at 15. “I always knew I wanted to sing, but didn’t realise how
much until I didn’t have the opportunity to do it on the scale I wanted
to,” she says of her time in Kosovo.
Three years after arriving back in London, at just 18, she signed a
record deal. “That was when I realised it was real; the record deal meant
I could quit my job as a waitress,” she remembers with a laugh.
Burberry top, $700. Moncler pants, $1,735. Alinka earring, $2,505 and $1,846 (in left ear). Fear of God shoes, $1,250, from Harrolds.
58
Her style, it seems, sashays from boyish to feminine – like the
Giambattista Valli haute couture tulle gown she wore to the Brit awards
where she won Best British Female Solo Artist and British Breakthrough
Act. “That was my dream dress!” she says. “I remember the box when it
came in – it was humongous. When we unpacked it, the dress went on
and on and went around the little island in my kitchen and so when
I tried it, I couldn’t move! Piling it in the car was really tricky. I had to go
into the car backwards and lie on the dress.”
On the day of the shoot the team is taken aback when
Lipa turns up to the studio wearing a short, summery
wrap dress that she bought at Bondi markets. “It caught
my eye and I’m obsessed with it!” she says. “Day to day
I dress depending on how I feel – mostly trackies and
a crop top, a hoodie and a scarf and heels. Most of the
time, it’s whatever won’t crease, because I have to get
around really quickly!”
While Lipa is mostly identified as a pop musician, her
lower-pitched voice (as a child, she was once told it was
too low for choir, making her doubt her musical ability)
means she can experiment more musically. “It’s crazy and surreal and
exciting, all at once,” she says of achieving smash hits.
In 2017, Lipa was the most streamed female artist on Spotify in the
UK, beating out Beyoncé, Taylor Swift and Ariana Grande, while her
track New Rules hit more than a billion views on YouTube, making her
the youngest female musician to reach that mark. “I love pop music and
it’s something I’ve grown up with, but my music is diverse, and I feel
like that’s similar to how I like my fashion – it’s quite playful
and unexpected.” ■
 WEARING THE PANTS

Sportmax top, $1,065.

Wynn Hamlyn
pants, $420.

Reliquia
earrings,
$179.

Loewe
sneakers,
$980.
A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B

Strateas
Carlucci
top, $350.
GEORG NA EGAN DUNCAN K LL CK

Strateas
Carlucci
pants, $540.

JUNE 2018 59
VOGUE V IEW POINT

NEED IT NOW

A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B
WORDS: AL CE B RRELL

ART DIREC TION D IJANA MAD D I SO N ST YLING K AI L A MAT TH E WS

PHOTOG R APH EDWAR D U R RUTIA

60 JUNE 2018
VOGUE V IEW POINT

SNAPSHOT

Case in point
ST YLING K ATE DARVI LL
PHOTOG R APH JAKE TER R E Y

here are simple rules when it comes to

T achieving one’s chosen style angle.

Haphazard bohemian? Select
overflowing fabrics and louche silhouettes.
Artful bowerbird? Set to snappy geometrics
and a profusion of primaries. The woman
who needs instant polish can sidestep
complicated cues and cut straight to the
boxy bag. Structured and sleek, it still loudly
says elegance, thanks to its genteel past:
precious metal minaudières borne of the
needs of women on evenings out, when
stashing a few personal effects in a cigarette
case just wouldn’t do. Pick a shape, hold with
poise and go. Alice Birrell

Left: Miu Miu coat, $11,540, vest, $290, dress, $6,460,

briefs, $190, socks, $290, and shoes, $2,150. Fendi
bag, $5,590. Centre: Kate Sylvester dress, $359.
Giorgio Armani bag, $3,750. Right: Bianca Spender
jacket, $715. Salvatore Ferragamo bag, $2,290.

62
 M O D E L S : A L I C E M O R G A N L A R A C A RT E R H E L E N M C C U S K E R
A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B

JUNE 2018 63
VOGUE V IEW POINT

Bianca Spender wears

a Bianca Spender top,
and skirt, P.O.A. Her
own watch, worn
throughout, and shoes.

64
 An independent
woman
Bianca Spender never expected a career
in fashion, which is surprising, given she
is the daughter of Carla Zampatti. Here,
she writes about her recent decision to
make her eponymous label independent
after more than a decade under the
umbrella of her mother’s company.
ST YLING K ATE DARVI LL
PHOTOG R APHS DAVE WH EELER

D
raping fabric is like a form of meditation for me.
I am completely absorbed in my own world,
and gain enormous satisfaction from the practice
of this art.
Yet I never thought I would work in fashion. Neither of
my parents particularly encouraged me to follow this path,
so the journey toward owning my namesake fashion
business has been a gradual one.
I grew up in the shadow of a larger-than-life mother,
who was passionate about her success, and passionate
about teaching her children to understand the value of
money, hard work and independence. My father, on the
other hand, was an intellectual, a diplomat and a quiet,
considerate thinker from a privileged family. He knew
well the blessing and burden of a high-profile family.
Independence has always been a defining trait of my
family. My story of independence started when I was nine
and we moved to a new family home. It was decided that
we were old enough to not have a nanny and it was time to
contribute to the family. I learnt to make my lunches, iron
my uniform and cook dinner.
Our school holidays were about working in Mum’s office.
I learnt very quickly how unglamorous the fashion
industry was. Being in my mother’s realm gave us a strong
connection to her work, what she was to other people and
why she was not home a lot. I loved being useful, and felt
E D I T E D BY: Z A R A W O N G H A I R : KO H M A K E- U P: G I L L I A N C A M P B E L L

proud to be working in an adult’s world.

It is interesting thinking about this, as my sons love coming
into my office every holiday. They want me to give them jobs,
not just come and observe, they want to be part of it and
understand how it all works. I am touched that I have been
able to share my work with my children and inspire them.
It has been a natural instinct for all of Mum’s three
D E TA I L S AT V O G U E . CO M . A U / W T B

children to want to help her at work. We have all been part

of the business for the past 15 years in different ways.
Mum approached me in 2003 to come home from Paris
and work with her. She asked me to design a capsule
collection with strict criteria. If it sold well, I stayed and if
it did not I would leave. Half of it sold really well and half
of it didn’t, but we could see that there was potential. ¤

JUNE 2018 65
VOGUE V IEW POINT

A few seasons later, we came to the decision that she would

back me to start my own label. The customers had started
asking which pieces were the Bianca pieces, because they
could see there was a distinct difference and style.
Perhaps this has been the hardest part of the working
relationship, learning to trust in the differences. I wanted
to make my own mark, independent of her aesthetic, but
complementary. I had always had my own sense of style,
but I questioned my talent, and did not want to be
compared to my mum, who was such a high achiever.
“THE FEELING,
It was a journey for me to find myself in fashion. OF BEING
I realised that Mum saw me in my own light a few years RESPONSIBLE
ago, at Australian fashion week. My show had just finished
and she came rushing out the back and hugged me,
FOR YOUR OWN
tightly, and she had tears in her eyes. She whispered: “I’m DESTINY IS
so proud.” I knew that she saw that I was making my own WONDERFUL”
statement, my own way, and she loved it.
Ultimately, it was always about standing on my own two
feet. From the beginning we had talked about the
complexity of working in a family business. We agreed
that I had the right to separate my company at any time.
Just as she always wanted to own her own business, I feel
that this is the strongest way to honour her. I too am a
working mother, and I try my best to balance my love for
my family with my love for what I do. Even after 50 years
in business, Mum is still determined to reach new targets,
and I am looking forward to reaching some of the goals
I have set for myself now!
I appreciate the benefits of the infrastructure that my
mother has built and this aligns with my own views of
keeping a strong fashion industry based here in Australia.
My partner is an environmentalist, and we believe in
supporting local businesses, local workforces, in reducing The next stage in this journey was setting up an independent studio. When
our carbon footprint, in being efficient with fashion I thought about a new workroom space, I wanted it to be full of light, to be close to
production. Carla Zampatti Ltd designs and manufactures nature, somewhere where I had space to breathe, to cover my walls in inspiration,
in Sydney, and I have been glad to support and utilise this. turn the music up if I felt like it, but also homely enough that my kids could come
For more than 10 years Carla and I have had a mutually and hang out and feel like it was a warm nurturing environment.
supportive business relationship. I still worked across a I chose a terrace in Rushcutters Bay. It overlooks the water, has the most overladen
number of aspects of her business, and she ensured frangipani tree right out the front, gets lots of sunshine and salty air, and has plenty
that Bianca Spender could grow into a financially of room for me and my team.
independent company. It has definitely taken some adjustment to not have my production in the same
The idea of being an autonomous has been in my head for building any more, but my new sense of freedom more than makes up for that.
a long time. Separating the company was a very natural Right now I am in the middle of designing my next collection, and already I can see
thing when my sister, who had been the managing director that my aesthetic is evolving. There has been a shift, a lightness, an element of surprise
for eight years, left to pursue her own goals. My sister and to the pieces, and it is very motivating. I have brought on some new people to
I had been working very closely building the Bianca collaborate with, but retained my core team, and I feel very inspired by the dynamic.
Spender brand. When she was leaving we were looking at I am looking at toward the future. The feeling of doing it yourself, of being
how to restructure the business and Mum and I agreed responsible for your own destiny is wonderful. I have always felt the burden of coming
that the time had come for me to own full financial and from a privileged family background. I am aware that I have opportunities that many
D E TA I L S AT V O G U E . CO M . A U / W T B

creative responsibility for my label.
Throughout 2017, Mum and I were quietly working
through the details of separating our businesses, and I felt
growing excitement, not only about my upcoming
others don’t have, and it is very important to me to respect and earn those opportunities.
This move has given me enormous confidence. I am finding my own balance my
own voice really being in touch with my instinct. My ultimate goal is to have a
sustainable business: a business that maintains and prolongs my love of planet Earth,
DAV E W H E E L E R

independence, but also I began to see that we would be able my love of design, and of our family’s love of fashion. A business that keeps up its
to enjoy a new phase in our relationship. We were mother strength and vitality. A business that provides support and sustenance to itself and
and daughter again, and that came first. to the broader community. A business that sustains me. ■

66 JUNE 2018
VOGUE V IEW POINT

A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B
TA K E N OT E

BIG STRIDES
Boots are on the rise to the knees
and beyond, that is. Bring them to life
WORDS: AL CE B RRELL

in slick colours and luxurious details.

ART DIREC TION D IJANA MAD D I SO N ST YLING K AI L A MAT TH E WS
Beau Coops
PHOTOG R APH G EO RG I NA EGAN boots, $699.

68
 Giorgio Armani
boots, $3,600.

Scanlan Theodore
Givenchy boots, $3,150. boots, $1,000.

JUNE 2018 69
70
3.

MOODBOARD
8.
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4.

11.

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APHS: GEORG NA EGAN GETTY MAGES
A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B
D OWNLOAD THE VOGU E D I G ITA L E D ITI O N NOW.

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 VOGUE V IEW POINT

Lucy Folk wears a

Jac & Jack T shirt.
Julien David skirt.
Lucy Folk jewellery,
worn throughout,
from Playa by
Lucy Folk. Toga
Pulla shoes. Her
own vintage
Chanel jacket.

SINGULAR STYLE

Bright ideas
Lucy Folk has expanded her offering from
eclectic jewellery to a clothing line that reflects
her affinity with vibrant hues. By Zara Wong.
ST YLING PE T TA CH UA Lucy Folk boiler suit.
PHOTOG R APHS D U N CAN KI LLI CK Avec Modération shoes.

L
ucy Folk is driving from Melbourne to visit her sister
in Bellingen, and the phone reception is left wanting.
The Australian designer’s eclectic, unique aesthetic
has flowered into a cult jewellery line, and an even more
cult clothing line of robes and jumpsuits. Colour and a
surprising, idiosyncratic twist – say, wearing a baseball cap
with a dress – define Folk’s personal style. Black is not an
option, I venture. “I wear it all the time!” she responds
brightly. “Head-to-toe black? Really?” Affirmative, Folk
confirms. The mistake soon becomes apparent: she
misheard ‘black’ as ‘flax’, the fibre used in linen, a mainstay
in her clothing line. “Not wearing black had become a
H A R : B E L L E J A C K S O N M A K E- U P: J O E L B A B I CC I
point of view in terms of style. There is not one product that everyone is desperate to get
in Melbourne, whereas in Sydney if one stylish girl buys something, then all her friends
will buy the same thing. That will never happen in Melbourne!” she says with a laugh,
mentioning the statement sunglasses that consistently sell out at Playa, her Bondi Beach
store. She lives close by in a beach-view apartment, which features a rug in the living
room she had made in Marrakech, a city she has a close relationship with. Her ready-
to-wear line is made there, and she visits regularly to oversee production.
Her Melbourne upbringing schooled her in layering. “I always wear a statement
coat in a block colour like blue, pink or tan, a long dress over jeans with colourful
trainers, and a bright yellow hat so that it’s vibrant for winter but still playful. I like
wearing white with flashes of colour – but not your average kind of colour palette.”
She veers far away from “anything strict or refined. I don’t feel like myself in anything

conscious decision,” she tells me, referencing the adage of too tight or in dark colours. I gravitate towards colour and that makes me feel really
black being the unofficial fashion colour of her home town happy and positive.” Since living in Paris, she has begun to embrace heels for the
of Melbourne. “I remember clients coming into my store evening, “but solid heels like from Marni – so I can navigate the cobblestones of
D E TA I L S AT V O G U E . CO M . A U / W T B

wearing head-to-toe black and they would love my colour
chain, because they were still engaged in colour. I don’t find
black so interesting – it’s an easy option, you know?”
Although she has homes in Sydney and Paris, her roots are
in Melbourne. “I don’t feel very Sydney, even though,
because of the colour, I have been told I am very ‘Sydney’,”
she says. “People in Melbourne each have their own unique
Paris!” Returning to Sydney, her wardrobe is more casual. “I find it refreshing to be
just wearing shorts and a T-shirt, hat and sunnies, heaps of jewellery and good slides.”
She owes her visual eye to her family. Her grandmother, as she remembers, owned
Salvatore Ferragamo Vara flats in various colours, and would wear dresses with
trench coats. “She had amazing clothes. We [her sister, mother and cousin] all have a
masculine edge to our style – none of us feel good in a dress without offsetting it with
something a bit masculine,” she says. “I was lucky to have a very stylish family!” ■

JUNE 2018 73
VOGUE V IEW POINT
Pearls of wisdom
Sarah Gittoes and Robert Grynkofki have been giving
life to precious pieces in silver and gold for close to
eight years. The understated pieces they create for
their label Sarah & Sebastian are a meditation on
minimalism, so when they took to pearls, they gave
them a new patina: experimental, raw and precious
all at once. An avid scuba diver herself, Gittoes
shares how to wear them now … and it’s a long
way from the heirloom jewellery box.

Vogue: What sets pearls apart?

Sarah Gittoes: “They are delicate, light and have an
understated luxury that resonates with us. The visual
softness and organic contrast with metal is beautiful.”
Vogue: What would you say to women who might
associate pearls with older, more traditional jewellery?
SG: “We have quite an unconventional approach when
it comes to pearls in the way they are worn and set. It
all comes down to personal style and having fun. The
colour of pearls makes it so easy to style back with
jeans and a T-shirt, or to create a more elevated look.”

All round
The notion that pearls are old
Vogue: How do you avoid pearls looking dated?

styles and encourage the pearl to be worn singularly.”

world has been well and truly Vogue: How should you wear them on an occasion
debunked by shrewd designers versus off-duty?
taking a modern angle. Tap their SG: “A single pearl layered with other pieces
contemporary cool by playing creates texture and achieves an off-duty look.
with shape and colour. Keeping it simple can feel more suitable for an
occasion. Pieces made with fine metals like

M
y first piece of proper jewellery was a pair of pearl studs my mother gave me silver and nine-karat gold are definitely the
for my 15th birthday,” model Hannah Motler confides as I clip Chanel most versatile and understated and could
Tahitian pearls on to her lobes for a Vogue shoot. “I’ll always treasure them.” easily take you from day to night.”
Pearls have that effect. Wearing them for the first time has been a rite of passage for Vogue: How do you look after pearls?
generations. The Queen is often seen in a three-strand pearl necklace, which was her SG: “A simple wipe down with a soft cloth
first serious piece of jewellery, given to her by her grandfather. As Hannah will and warm water after wearing will keep
discover, pearls act as a touchstone, linking you to your family and youth. pearls free from dirt and protect their
The other unique characteristic of a pearl is its opalescent sheen, which has the effect lustrous outer layer. Keep pearls away from
of lifting a face, arguably even more than make-up. However, that assumes you have any harsh chemical such as soaps, perfume

P H OTO G R A P H S : G E O R G N A E G A N A N G E LO P E N N E T TA N T E R V E W: A L I C E B I R R E L L
the right colour pearl for your skin tone. They come in myriad shades – shell pinks, and hairspray. If you’re getting ready for
metallic coppers, peacock greens, blues and buttery yellows, one of which might suit a night out, make sure your pearl piece
you better. “First, I look at the skin under a client’s wrist,” explains pearl expert Chrissie is always the finishing touch.”
Coleman Douglas. It’s intuitive; she credits her artist parents with giving her a
heightened sense of colour. “I might twin a pearl with eye colour, or be influenced by

A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B
a lip undertone or skin pigmentation,” she continues, “but never hair colour, because
that can change.” Darker skin, she says, looks a million dollars against strong gold,
whereas dark grey or warm pink is phenomenal with pale complexions, “but only if she
has brown eyes”. She promises that when you place the right pearl next to your face, it’s
the equivalent of turning on the light in a room. Pearls, though, are not for show-offs.
“The point isn’t for the jewellery to stand out,” Coleman Douglas tells me, “but to
attract attention to the wearer’s face.” They may remain a coming-of-age jewel, but the
young designers and established innovators who have made them current – like
Australian authorities on the material, Paspaley and Kailis – bring a new dynamism
to pearls, burying any twinset connotations. Fretting over the sizes of South Seas
versus Akoya or Chinese freshwater pearls is also a thing of the past. Now dimensions Sarah & Sebastian earring, $295, ring, $620, and necklace, $360.
don’t matter so much as finding the colour that works for you. Carol Woolton

74 JUNE 2018
 9 JUNE -
7 OCT 2018

MELBOURNE WINTER MASTERPIECES

130 YEARS OF MODERN AND CONTEMPORARY ART

FROM THE MUSEUM OF MODERN ART, NEW YORK.
ONLY IN MELBOURNE. NATIONAL GALLERY OF VICTORIA

PRESENTED BY NGV PRINCIPAL PARTNER MAJOR PARTNERS

Roy Lichtenstein Drowning girl, 1963. Oil and synthetic polymer paint on canvas, 171.6 x 169.5 cm. The Museum of Modern Art, New York.
Philip Johnson Fund (by exchange) and gift of Mr. and Mrs. Bagley Wright, 1971. © Estate of Roy Lichtenstein / Licensed by Copyright Agency, 2018 NGV.MELBOURNE
VOGUE V IEW POINT

Good day, I
n the world of Emilia Wickstead, the women are elegant and worldly, heading to
work, perhaps, in one of her wool crepe sheaths in dusty pink, saffron or cream;
going out for evening cocktails in a toffee-toned, bell-sleeved silk blouse; or

sunshine attending garden parties in floral-printed dresses with portrait necklines updated
with ruched waists and offbeat hues. And what would these women wear on
holiday? Well, now that you ask … the New Zealand-born, London-based designer
The easy elegance of
has just the thing.
Emilia Wickstead’s resort
“I used this one line: ‘Once upon a time, a place in the sun’ as a sort of moving
collection fulfils all our
inscription within the collection. It’s a kind of by-the-sea approach,” says Wickstead on
holiday desires. the phone from her London offices about her high summer collection, which showed
By Zara Wong. at Australian fashion week and was made immediately available to purchase online.
“When we decided to work on our second exclusive capsule collection with Emilia
Wickstead, she hadn’t designed a high summer vacation collection before and we all
wanted it to reflect her distinctive feminine and vintage-inspired aesthetic and to
include the beautiful, iconic floral prints that we have loved from the beginning,”
says Natalie Kingham, fashion and buying director at Matchesfashion.com.
The ease of the collection stems from its prints and shapes with shorts, frilled
jumpsuits and short cloqué pieces to be worn over swimsuits. “We want to transport
you to another time, another world. A lot of the styles are very much from a time past,
but done in a very modern way,” says Wickstead, mentioning in-house-designed floral
prints, which are a twist on the patterns seen in 50s upholstery and furnishings. “I am
quite particular; I don’t like things to be too conventional. I like it whimsical and I’m
often inspired more by interior prints as opposed to those used in clothing.”
Beyond the unmistakable colours and prints, that Emilia Wickstead quality also
comes from the silhouettes. “And,” she says, “I would say, architecturally, the way
we put an garment together. Fitting after fitting, we always think about how we can
make this feel more fresh and fashion-forward and very easy.” It’s a mantra that is
even more important with this collection. “In our designs we can feel very dressed-
up and formal, so with the Matchesfashion.com x Emilia Wickstead resort it was
about wanting to create a feel of holidaying and relaxation.” She adds: “I wanted to
create something for the holidays that wasn’t a kaftan.”
Wickstead, as she reminds us, is her own customer, because her designs are aligned
to her personal style. “I try everything on!” she says cheerfully. “It was refreshing
designing this collection actually, because I am a 34-year-old woman who likes to go
on holiday, or tries to, at least.”
Her best-loved escapes? Having spent time in Milan, where she moved with
her family at the age of 14, she nominates Italy is one of her favourite places, for its
food and climate. “I love the beautiful water and rocky beaches, which are so
charming … the cobblestone streets, the old
buildings with shutters,” she says.
New Zealand, her birthplace, is also a regular
destination. “It’s the complete opposite: it’s where
“I am quite
you go for long walks on huge beaches and eat particular;
fish and chips outside. I thank my lucky stars I am I don’t
from New Zealand and it’s such a big part of my
life and who I am.”
like things
A skip over the Tasman Sea from New Zealand to be too
to Australian shores – literally, since the collection conventional.
was shown on the coast – was firmly in
Wickstead’s mind for the resort launch. “Australia,
I like it
like New Zealand, has this very original ease with whimsical
dressing. Being from New Zealand is very much and I’m often
linked with me coming to Sydney and being close
to home and close to the most beautiful beaches in
inspired more
the world.” by interior
By the sea, we’ll go. ■ prints”

76
D E TA I L S AT V O G U E . CO M . A U / W T B

Emilia Wickstead (left)

wears her own Emilia
Wickstead dress. A model
wears a dress from the
Matchesfashion.com x
Emilia Wickstead 2019
resort collection.

JUNE 2018 77
VOGUE V IEW POINT
Bold steps
As the first person ever to take over the Stuart Weitzman brand
since its namesake’s departure, new creative director Giovanni
Morelli is not about treading lightly. By Alice Birrell.
ST YLING K AI L A MAT TH E WS
PHOTOG R APH EDWAR D U R RUTIA
T
he ritual of taking up the mantle from a label’s founder in fashion is often
approached with monastic reverence. White gloves are slipped on to sort
through archives of time-faded tissue paper in temperature-controlled
environs while coos of delight float above each iconic piece, shaken from its acid-free
housing. For the wheelsman charged with taking over at Stuart Weitzman from
Stuart Weitzman himself, no such thing occurred.
“With all due respect, I mean, whatever has been done is good but this is a new
journey,” says new creative director Giovanni Morelli, who joined the label in May
last year. “I prefer very much the future. The past brings you back to the past.” And
indeed it is not the shoe label’s speed to be talking history. Although more than 32
years old, its outgoing founder, who stays on as the company’s chairman, created a
brand that we associate with those strappy sandals – the Nudist – that all red-carpet
stylists with any clout stockpile in masses, and boots, stretch, sock and thigh-highs
that get around town on the well-toned limbs of Jenners, Hadids and Hailey Baldwin.
“I don’t think it’s very good to be linked to the past,” Morelli is going on to say on
the day following the brand’s presentation during New York fashion week for
autumn/winter ’18/’19. He is in the label’s Hudson Yards showroom in New York,
part of Tapestry’s (formerly Coach Inc.) headquarters, the conglomerate that
purchased the label in 2015 for US$574 million. The showroom is crowded with shoes,
orderly but numerous. There is oodles of choice, in every colour, for every woman,
including Schiap-pink sandals with a sculptural silver knot on the toe, suede boots in
vivid grape, slip-on loafers in white, mules, pumps, wedges, cuissardes, slippers,
shoes for night, shoes for day, shoes for not thinking about and just going.
In the middle of it all, Italian-born Morelli sits in a plain white T-shirt with abundant
salt and pepper curls flopping over his face, a heavy chain around his neck, at odds
with the spindly stilettos tripping up the shelves on the walls. Shoeboxes are stacked
anywhere with industriousness, as if to say should a box be strewn to the side then so
be it, the beauty of the shoe will emerge from its nest of paper. There are so many
shoes, because, simply, he wants the brand to cater to many more women.
“I think this is very important but also I think it is what makes the difference between
Stuart Weitzman and other shoe brands that are more monothematic. Let’s put it that
way,” he says in his default forthright tone. He doesn’t feel pressure charting this new
era (“frankly, no”) as creative head and working with a new CEO – Eraldo Poletto
joined in April from Ferragamo – to steer the brand into a new successful chapter.
“Relaxed?” he posits himself. “No.” Which might explain the speed at which he
got to work switching the signature colour to a cobalt that colours the shoes’ heels,
and packaging, that he likes to call “ultra blue”, and introduced a bag line for a label
that has made its name with footwear. Training in fashion in Milan, Morelli ended
up in accessories with a career that has included 15 years at Chloé working with
Phoebe Philo, as well as Prada, Marc Jacobs and before Stuart Weitzman, Loewe with
Jonathan Anderson, where he was global leather goods design director. He is the
person behind wait-listed bags like Chloé’s Faye, and the Marc Jacobs Stam bag,
which makes him primed for a next hit.
At Prada he says he learnt everything under ‘Mrs Prada’, while at Chloé he built a
creative process, just expressing. “I was very free,” he says. “Sometimes, in those
houses, it’s very: ‘Oh, this is a risk, you cannot do that.’ Chloé was not at all like this.
It was all about building a way. Whatever people couldn’t do, we did.”
78
He knows the world doesn’t need another bag, instead
making them this time as “something different, fun, to
start a conversation” and something that brings here a
directional fashion element: the bags are an ironic take on
a shoebox and come in novel miniature to full-scale size.
He also sees it as an inroad to becoming a mega-brand.
“I wanted to be a more global, successful brand. Of course,
then you can’t only rely on one category.”
That doesn’t mean dismissing what the brand is known for,
like the aforementioned Nudist, designed purposefully
minimally so as not to compete with an outfit and as a result
has dominated red carpets everywhere, and which he has
reworked with a slightly flared, square heel and thicker
straps – made to be seen more. Or the Tieland, the stretch-
suede (a feat of engineering that means seamlessly backing
supple suede with elasticised lining) thigh-high boots that
he’s echoing for autumn/winter ’18/’19 in shearling-lined
riding and lace-up block versions with unexpected finishes
and details like square metal studs and fringing. “A sense of
eclecticism and richness is important,” he says, which has
meant challenges, like creating stretch versions of fabric that
weren’t ever meant to stretch, like, say, python.
He’s not holding back, because he doesn’t have the time
to. “It’s like you drive a car at high speed and also now,
I drive the car for every single aspect.” Second-guessing is
not his style and he doesn’t pay too much mind to whether
the former creative director might approve. “I will do
things in my way that probably Stuart wanted to do in
another way,” he reflects. “But we are two different people
so it’s very simple.” A fearless statement from someone
who sees the clear way forward. ■
“Whatever
has been done
is good but
this is a
new journey.
I prefer very
much the
future. The
past brings
you back to
the past”
   " 

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June 12-24, 2018, Melbourne and Sydney.
TICKETS ON SALE NOW + SELLING FAST!
codes.vogue.com.au
 VOGUE V IEW POINT

Two fabulous
Jac + Jack’s collaboration with the
one-for-one social enterprise Two Good
will warm your heart, writes Vogue
sustainability editor-at-large Clare Press.
ST YLING K ATE DARVI LL
PHOTOG R APH DAVE WH EELER

I
t is easy to imagine that domestic violence and
homelessness happen to ‘other people’, but for many
that’s not true. According to an Australian Institute
of Health and Welfare report released in February this
year, one in six Australian women has experienced
physical and/or sexual violence by a partner, and fleeing
domestic violence is the leading cause of homelessness for
women with children.
While that’s not been Lisa Dempsey’s personal
experience, the co-founder of Australian label Jac + Jack
understands how it can happen. “I myself have been in
a vulnerable position before. I left home at a very young
age, way too young,” she says. “I’ve also had friends who
were successful in their careers then found themselves in
situations when they were either homeless or almost there.
It can happen to anyone. That’s the point.”
When faced with a big, thorny social issue like this,
many of us feel overwhelmed. What can we do? Enter Two
Good, a social enterprise that works with women’s refuges
in Sydney and Melbourne to provide nourishing food,
employment opportunities and now, for the first time,
Jacqueline Hunt (left) wears a
something comforting and beautiful for women fleeing Jac + Jack sweater, $529, and
domestic violence to wear. her own pants. Lisa Dempsey
“I don’t think we should underestimate that gesture that wears a Jac + Jack sweater,
$529, and pants, $369. Her own
someone cares,” says Dempsey who, with business partner watch and jewellery. For every
Jacqueline Hunt, has designed dark-navy relaxed Jac + Jack x Two Good set sold,
drawstring pants and a sueded cotton sweat top for the one is given to a woman in
a domestic violence refuge.
program. For every Jac + Jack set sold through the Two
Good website, one is given to a woman in a refuge. “We put
a lot of thought into how these pieces feel as well as look,” Giving back is good business, as well as good
says Hunt. “The idea was to make them feel welcoming.”
“AS HUMANS, karma. Numerous polls show that millennials are
Two Good’s main focus is food. Co-founder Rob Caslick WE NEED TO drawn to companies that give back, whether through
started a soup kitchen in Sydney’s Kings Cross 10 years ago LOOK AFTER one-for-one models like Two Good’s – popularised by
before launching Two Good as a lunch delivery business the American shoe brand Toms – or profit-donation
A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B

with partner Cathal Flaherty in 2015. “Our idea was to

create a business with purpose that serves the same high-
quality, healthy food to our paying customers as those we
donate to,” says Caslick.
H A I R : G I L I A N C A M P B E L L M A K E- U P: KO H
ONE ANOTHER projects. We’re increasingly looking for brands to
… THIS PROJECT espouse values we relate to, but it has to be authentic.
RESONATES” Hunt, too, believes genuine and meaningful wins
the race. “Our business model is about working with

Their delicious dishes-to-go, with a focus on organic
ingredients, have been designed by some of Australia’s
leading chefs, including Kylie Kwong, Peter Gilmore and
Neil Perry, and are lunchtime favourites in the Vogue
offices. For every order, Two Good donates another, of the
same quality, to a women’s refuge or soup kitchen. They
are delivered in recyclable glass jars and Deliveroo drops
them off at no cost for orders of 10 or more.
suppliers that have integrity right the way through
our supply chain,” she says. “We have a successful business, so how does that help
other people? How can we all prosper by doing things the right way and bring
everyone along for the ride? That’s how Lisa and I think in business and in life.”
Dempsey agrees: “As humans, we need to look after one another,” she says. “Of
course, there are many ways to do that, but for us this project really resonates. If we
can produce something beautiful that allows us to give back and make a small
difference to a vulnerable woman’s experience, why wouldn’t we?” ■

JUNE 2018 81
 CYCLE OF TRUST
The most enviable wardrobes are often also the most
delicate. Vogue Australia senior designer Dijana Maddison
and GQ Australia senior sub-editor Chris Riley explain how
caring for those special pieces can be made so much easier.

t
he moment you bring home your first piece of
investment clothing, you know your wardrobe
will never be the same again. Unfortunately,
the same can be said for your dry-cleaning bills. The
thought of throwing a carefully selected wool suit,
silk dress or cashmere sweater into the washing
machine or dryer is inconceivable, unless you have
the right equipment, that is.

break the rules Jac + Jack

cashmere
Engineered with couture and high-end clothing knit, $349.
in mind, select AEG washing machines and dryers
feature a unique ‘Refresh’ cycle that revives clothing
that usually requires professional cleaning. “This
F\FOHHOLPLQDWHVRGRXUVDQGUHOD[HVÀEUHVVRIDEULFV
are reinvigorated,” Maddison says. “This prolongs
the time between trips to the dry-cleaner and it’s
perfect for pieces you wear regularly or if an event
pops up unexpectedly.”

better care, more wear Ginger & Smart

sequin top, $469.
AEG appliances are built to launder with expert care,
so you can wear your favourite clothing as often as
you’d like without having to consider cleaning costs.
Advanced OKOMix technology blends detergents and
softeners with water before they enter the drum for a
much gentler wash. “With this level of care, you can
FRQÀGHQWO\ZHDUWKHSLHFHV\RX·YHLQYHVWHGLQPRUH
often, which in turn elevates your look,” Riley says.

Seal of approval
A selection of AEG appliances meet the high
VWDQGDUGVUHTXLUHGIRU:RROPDUNFHUWLÀFDWLRQ
and have earned both the Green and Blue Apparel
Care logos, meaning they can safely launder
woollen garments, including those labelled hand-
wash only. The technology AEG has used in the
development of its ‘Wool’ cycles means its washing
and drying appliances protect woollen garments
from pilling, shrinkage and stretching. AEG is the
RFLDOODXQGU\DSSOLDQFHSDUWQHURI0HUFHGHV%HQ] Bianca Spender
Fashion Week Australia. crepe trench, $995.
 VO GUE PROMOTION

“Every stitch and every fibre of

clothing is expertly protected.”
dijana maddison
Vogue Australia senior designer

“Finally, laundering expensive

items can be stress-free.”
Chris riley
GQ Australia senior sub-editor

For more details, visit hn.com.au/aegfashion

VOGUE CU LTU R E

DANCE

ST YLING PH I LI PPA M O RO N E Y
PHOTOG R APHS JAKE TER R E Y

84
 Y
ou wouldn’t know it to watch her on stage at the Sydney Opera
House, in her pale pink pointe shoes, tights and tutu, but
ballerina Alice Topp has a tattoo of a tiny bluebird on her right
foot. Many years ago, a fracture in that foot resulted in her losing her
contract with Royal New Zealand Ballet, a loss that led to a series of
hurdles she fought hard to overcome. Overcome them she did,
ultimately landing a coveted position at the Australian Ballet, where
she has enjoyed a successful 11-year career dancing in Australia and
abroad in productions by some of the world’s most respected
choreographers. The bluebird travels with her, a constant reminder that
the cracks in our past make us stronger and shape who we become.
It is a mantra that guides her and one that has inspired her greatest
challenge to date. A budding choreographer, Topp is preparing for the
international debut of her first mainstage commissioned by the Australian
Ballet. Titled Aurum (Latin for ‘gold’), it is a contemporary piece for 12
dancers that pays homage to kintsugi, the Japanese art of repairing broken
ceramics with gold or silver lacquer to illuminate, rather than disguise
the fractures, often creating an object more beautiful than its original.
What makes Aurum particularly compelling is that it’s the first work in
15 years to be choreographed by a female member of the Australian Ballet.
The last was Meryl Tankard’s Wild Swans in 2003. Rather than being
intimidated, Topp is facing the challenge with grace and determination.
“I feel very excited to be able to stand up and say it’s something I think
does need to change,” she says. “But I want my work to be known for
being strong because the work is good, not because I’m female.”
Topp is a breath of fresh air, a lively and engaging conversationalist
whose interests and ideas stem from fashion, music, books, art to the AFL
and cricket, sports she follows with her father. Her circle of friends takes
in designer Toni Maticevski and musician Ben Folds (whose music video
Capable of Anything she choreographed in 2017), while her taste in music
ranges from jazz to punk and rock; the poems of Patti Smith are on her
bedside table. But throughout her life ballet has remained a constant.
Topp grew up in the Victorian town of Bendigo and began dancing at
the age of two, a student at her mother’s small dance school. By four she
drifted into gymnastics, netball and horse-riding, a true country girl, but
biennial trips to see the Australian Ballet School’s Dancers Company
perform Graeme Murphy’s Nutcracker or Stephen Baynes’s 1914 ensured
ballet was never far away, and at eight she began dancing again. When
she was offered a spot at the Victorian College of the Arts Secondary
School, she begged her parents to let her go, leaving home for Melbourne
aged 13, where she lived in the school’s hostel. It was a considerable
sacrifice for her schoolteacher father and retail-worker mother and, as it
turned out, a tough year for Topp herself, who suffered overwhelming
homesickness. “It made me realise how much I loved dance, if I was
willing to endure how horrible I felt most of the time,” she says, laughing.
She went on to full-time classical training at Ballet Theatre of Victoria,
A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B
experimental choreography. Her most successful, Little Atlas, received a
second outing as part of the company’s Symphony in C program in 2016.
Motivated by a cataclysmic illness that left her mother with severe
memory loss, it was praised for its ability to depict complex, interesting
and characterful relationships. It is a topic Topp returns to time and again.
“A lot of my work is emotionally fuelled,” she says. “You want people
leaving the theatre feeling, thinking, questioning.” Encouraged by
previous collaborations with Maticevski, and fashion designers Georgia
Lazzaro and Crystal Dunn, she is designing the costumes herself and
again using the music of Italian composer and pianist Ludovico
Einaudi, performed live. Topp says it is a great privilege creating for her
fellow dancers, friends she has grown up with and whose extraordinary
artistry and skill she hopes Aurum will emphasise.
Topp’s dream is to move from being a dancer-choreographer to a full-
time choreographer, but she is aware of the risks, particularly in
a country where successful female choreographers are scarce.
“Without putting pressure on myself or the company, I have spoken
briefly with artistic director David McAllister about becoming the first
female resident choreographer. Personally, I think it’s time. This is the
company where I discovered this path and I’ve very passionate about
creating on this company. We have such incredible dancers and artists.”
Aurum will be performed as part of the Australian Ballet’s triple bill Verve at
the Arts Centre Melbourne, June 21–30. Go to www.australianballet.com.au.
“YOU WANT
PEOPLE
LEAVING THE
THEATRE
FEELING,
THINKING,
QUESTIONING”

opting for a four-hour daily commute to Bendigo and studying by

correspondence; before landing a position at Royal New Zealand Ballet.
When her contract wasn’t renewed, she travelled overseas and endured
H A R : P E T E L E N N O N M A K E- U P: P E T E R B E A R D

15 unsuccessful auditions for dance companies – “it was like a

slaughterhouse, so confronting, an absolute shock” – before returning
to Australia and finally gaining a position with the Australian Ballet in
2007. Choreographing her own steps never occurred to her until the
company’s music director Nicolette Fraillon suggested she consider it,
after watching her rehearse Divergence, a unique ballet that allows for
individual expression.
Fraillon knew what she was doing. Since then Topp has choreographed
four successful works for the Australian Ballet’s Bodytorque program of

JUNE 2018 85
VOGUE CU LTU R E
ART
Reflecting
on existence
Laurie Anderson is returning to Australia with
an absorbing line-up of new and progressive
works. The artist talks with Alison Veness.
Y
es to screaming,” Laurie Anderson writes in an email after our
phone call drops out (more on the screaming later). Technology
is a bitch. We are talking on the eve of her inaugural artist in
residence shows at the newly rebranded Home of the Arts (HOTA) on
the Gold Coast, where she will be performing over four days this
month. Every single part of Anderson’s residency will be unique.
The American artist, and wife of the late Lou Reed, is quite incredible;
an unstoppable powerhouse of ongoing ideas and passion, all syncopated
to create the richness of her multimedia work. She is provocative: rip it
apart, look at things anew, believe, play, chew it up, spit it out, entertain.
Think. Feel. She will be inspiring audiences with, among other works,
SOL, a 30-minute reworking of the 1972 composition inspired by her
teacher and artist Sol LeWitt, which will be followed by Stories in the
Dark, performed, as the title suggests, in darkness. There will be Concert
for Dogs, which she debuted in 2010 on the steps of the Sydney Opera
House in the upper registers of dog sound, to total canine delight, and
The Language of the Future, a collection of songs and stories. We talk
about what might be the language of the now and the
future. Anderson is at times frustrated, despairing, and
yet she is emphatically getting on with it. “WE THOUGHT:
“I try to be flexible; I don’t really care about being ‘WOW, WE
completely topical and up to date, because it’s not a new
show: the performance is about stories and what they are.
ARE REALLY
It’s an amazing time to be thinking about that, because
TALKING ABOUT
everyone is making up stories right now,” she says. PORNOGRAPHY
“It’s a very amazing moment. I’m very, very happy IN PUBLIC’”
about that. I was talking to some young women, art
students, like, [aged] 16, recently; they are so optimistic
and it’s really inspiring. But in the middle of what they were talking
about I was thinking: ‘Wait a second, didn’t we do that, like, 30 years
ago? Didn’t we fight that fight three decades ago for equal rights for
women, and equal pay, and all sorts of things, and just a basic level of
respect?’ So I really have to think about my idea of progress. Of course,
we are making slow progress, and I have to be optimistic, but sometimes
I look at what’s going on and it’s agonisingly slow. It’s probably several
million years of programming to what men and women do, so we are
trying to do some major reorganisation here.”
We talk about the #MeToo movement. “I did an event at the Town Hall
in New York recently and it made me think about something I’d done
also at the Town Hall in 1992, an event for the Women’s Action Coalition.
It was surrounding the Supreme Court nomination of a justice named
Clarence Thomas; it was a very controversial one, as he had made his
secretary read pornography. It was really one of the first kinds of trials
86
in the United States where we thought: ‘Wow, we are really talking
about pornography in public.’ So from that standpoint, of all the work
we did in the early 90s, here we are at #MeToo, which is a really similar
situation, so I get a little discouraged, I have to admit. I’m trying not to
say that kind of thing, because it’s important to be positive, but
realistically this is very, very difficult to do. You can’t just sweep in and
change it in a couple of weeks.”
Anderson has been examining and challenging the status quo all her
life. Her performance United States in 1982 (and subsequent United States
Live album, released in 1984) was an ongoing dialogue about the state of
the union, which I suggest is much like The Language of the Future.
“United States was pretty general, too. It really was about trying to live
in a technological society. I always like what Gertrude Stein said about
that – America is the oldest country in the world, because it’s lived in
the 20th century the longest – and I always appreciated that. You know
it really is and it still feels like an experiment here, and how do people
really continue to talk to each other and cooperate? At the moment it’s
not an experiment that’s working out very well.”
The Language of the Future allows Anderson “to look at
how things are changing, not just in the States, but
particularly [how we’re] influenced by technology,
because there is so much. And even though I use a lot of
technology, I’ve always been critical of it. More and
more, I’m kind of regretting my industry. You kind of
look around and wonder if it’s making things that much
easier for us. I see more stressed-out people than I’ve
seen before, I see people who are very anxious,
constantly consulting their phones and not having as
much fun. You love the convenience, but you hate the cost.”
I ask Anderson about her earliest memory of performing pre-techno-
takeover? “I think it probably had a lot of anxiety in it. It was probably
something like a violin recital; they were very competitive and I was
always very nervous. As an adult I never have been, as a kid it was tough.”
I think of Landfall, an album released earlier this year with San
Francisco’s Kronos Quartet, which captures a soaring mournfulness
with Hurricane Sandy as the basis for its soundscape. It is heart-and-
soul violin, and the rest an aftermath of sadness. Expect nothing less.
Anderson is the definition of nowness with all its thorny contradictions:
cheer and wearying disappointment.
As for that screaming, it was about Yoko Ono and her 19-second
protest on the first anniversary of Donald Trump’s presidency. Yes,
Laurie is screaming. And we are screaming in appreciation.
Laurie Anderson is artist in residence at HOTA from June 20. Go to hota.com.au.
T H I LO H O F F M A N N

Contemporary artist
Laurie Anderson.

JUNE 2018 87
 Help breaks
the code.
The tech industry is made up
of less than 30% women*.
Westpac is committed to help
gender equality and we’re
determined to press for more.
Join us.

Westpac Careers

*2016 Deloitte Australia’s Digital Pulse. © Westpac Banking Corporation ABN 33 007 457 141 AFSL and Australian credit licence 233714.
VOGUE CODES
Well connected
Eva Chen, Instagram’s director of fashion partnerships, is
transforming the way businesses foster their social media profiles,
and, as Zara Wong finds out, it all comes down to authenticity.
W
e know her from #evachenpose – the updates from Instagram’s
miniature conference room on her Instagram account – and from the
videos of her children playing with the app’s filters. Eva Chen’s
reputation and influence exceeds the realms of traditional media. As director of
fashion partnerships at Instagram, Chen has been instrumental in guiding the best
of fashion’s insiders to produce their most authentic imagery and videos for the
social media platform, a continuation from her earlier career working at fashion and
beauty magazines. Chen visits Australia this June to speak at Vogue Codes.
90
Zara Wong: “You started your career working at
magazines such as Elle and Teen Vogue, and then you were
editor-in-chief at Lucky. Did you ever think you would
be working at a technology company like Instagram?”
Eva Chen: “No! I never would have predicted it. With my
career, I have always just followed what I’m interested in
and what I want to learn more about at the time. When
I had Ren [her first-born daughter] I decided to leave Lucky
and take some time off, and then this opportunity
presented itself. Even before I worked for Instagram I felt
like I was doing a similar role to my job now; people like
Pat McGrath or models like Karlie Kloss would ask for
advice on what they should post on Instagram. I always
was the kind of editor that people ask for advice about
social media, so now it’s my job to help people tell their
stories better on Instagram, whether it’s models, designers,
stylists or glam squads.
“What’s amazing is that any time I’m in an airport, and
I look around and see what people are doing, so often
it’s scrolling through Instagram or posting their stories. It
makes me really happy and I want to say: ‘Hey, that’s
where I work!’ I’m constantly learning, whether from
someone who works on a product team, or Marne Levine,
the COO of Instagram. She is an amazing role model whose
brain is wired in such an amazing way. She balances all the
details along with her passion.”
ZW: “And even before that, you were using Pinterest and
Tumblr, recommending what to buy on sale and replying
when people asked you for career or beauty advice.“
EC: “Yeah! That’s like O.G. The other platforms for me were
always about the ability to connect to a bigger audience
and to interact with people. When I was at Teen Vogue it
was talking to teens to help them in any way I could,
whether it’s skincare or fights with friends. And now
I really get it all through Instagram. I try to answer as
many questions as I can over Instagram and interact with
my followers. It’s been really helpful as a new-ish mum.
There are some followers who I’ve never met, but if I ever
meet them in person, I would literally give them the
biggest, bone-crushing hug, because I feel like I have
a relationship with these people.”
ZW: “You’re so open on your Instagram – when you meet
your followers in person, do you sense they feel like they
have the liberty to get really personal quickly?”
EC: “I invite it, so I don’t mind. Even before Instagram
existed, I was that person where if you stopped me on the
street and asked for directions I would be like: ‘Oh, there’s
this pizza place on the corner’, and, ‘Oh, there’s a really
good bubble tea place two blocks away as well – let me
write that down for you.’ I like sharing what I like –
experiences, emotions – and now Instagram has allowed
me to reach a wider audience. I will never forget when
I was talking about my son [Tao], who didn’t learn to sleep
through the night until about 11 months, which is quite
late, and there was just an outpouring of words and advice
 from my followers and it reduced me to tears. They were so
sympathetic and eager to help. I was so grateful to have
them sharing their wisdom.”
ZW: “The internet and Instagram have played a big part
in making fashion so much more open and democratic
now. What effect do you think this openness has on the
fashion industry in particular?“
EC: “Instagram has taken down the velvet rope of fashion
and made it a really inclusive and friendly experience for
everyone. You could live in Melbourne or Montana and
feel like you’re a fashion insider from the comfort of your
own home. Now people want to see the details and the
behind-the-scenes, so you have someone like hairstylist
Jen Atkin, who works with many celebrities, and you can
see what she does. There’s an entertainment factor in the
behind-the-scenes. An overall trend on Instagram has been
a return to authenticity. We’re seeing that people want real
moments on Instagram that are raw, and not too edited or
staged or that look like they were shot with a professional
camera or with a huge crew with professional make-up
artists. People don’t just want to see the finished image,
they want to see how we got to that finished image.
“I think about the fact that it took me a while to figure
out what I wanted to do job-wise. I grew up as a first-
generation American to immigrant parents who gave me
so much in terms of education. But I didn’t know magazine
jobs existed, or what marketing entailed. All I really knew
was that people could be doctors, bankers, lawyers and
engineers. If I had the opportunity to follow a young stylist
styling someone for her first Met Gala or a model like Slick
Woods or Adwoa Aboah and follow their ups and downs,
it would have given me a quicker path to my current career.
I probably wouldn’t have struggled quite as much as I did
when I was younger, but I guess it all worked out, because
it all links to where I am now.”
ZW: “We’ve seen you go from Elle and Teen Vogue and
Lucky to Instagram, and on paper it looks great, but there
are always the bits in between where you’re not sure, or,
you know, something has not gone as planned …“
EC: “Definitely. It’s better to try things and realise that you
don’t want it. You might think that you’re a failure, but it’s
actually a success because you learnt something about
yourself. I find it really admirable when people share on
Instagram when they’re having a hard time. I follow the
curve model Paloma Elsesser [@Palomija] who talked so
U N G A N O + AG R I O D I M A S /G E T T Y I M A G E S P O RT R A I T
passionately what it was like to work with Glossier where
she posed nude – and tastefully nude – and what it meant
for her and body acceptance, which is a growing movement
on Instagram. I know right now in England there’s a
movement where people are using the hashtag
#acneisnormal, and I love that! I am very inspired by that:
when people are open and courageous in that way.”
ZW: “How did your time working in magazines prepare
you for your job now?“
EC: “At magazines I worked with photographers, models,
stylists, market editors, writers, and I would try to get them to do the best work they
could on behalf of the magazine. I think my job now is quite similar, but it’s on behalf
of their Instagram, so their Instagram is their own magazine. What I took from it was
the ability to talk to a lot of different kinds of people and to see the big picture.”
ZW: “Instagram is a tech company first and foremost. When did you realise that
you had an interest in it and that it would be a big part of your career?“
EC: “I honestly wouldn’t have guessed that it would be. I’ve been doing informational
interviews once a week for maybe over 10 years now. My advice to people is to look
for your passion. If you love movies, you could find a way to make working in
entertainment a reality for you. You don’t need to be the movie star, but you could be
in production or the art department. It’s just a matter of doing the research and
finding a way to get there, and being a little bit entrepreneurial and thinking outside
the box. So for me it’s been a really happy surprise and that’s how my career, oddly,
has kind of operated. It’s always been a passion first.”
ZW: “From your position, what do you see the future of fashion looking like?“
EC: “There’s still the progression towards body inclusivity and body positivity.
Right now it’s: ‘Yay, it’s so great, we’ve arrived’, but we’re still ways off from it being
the norm. Fashion shows should reflect different cultures and different looks and
everything in between. I’m glad that we’re at the point where it’s expected that you
have a diverse point of view, and I think a lot of that is going to come off when
executive leadership or a company’s board of directors have diversity represented by
women with different backgrounds, LGBT, body positivity, everything. There is an
expectation on leadership now to hire for that at that C-suite level.”
ZW: “What are you most frequently asked about Instagram?“
EC: “There are no real rules besides be yourself. It’s really hard to be very prescriptive.
But a few rules I prescribe to on my Instagram is, number one: be open, be authentic,
don’t try to be X, Y, Z bloggers, because they have however number of followers. You
should post what moves you and what you’re interested in, and not what will
resonate with people. You will find your community on Instagram no matter, because
there are 300 million people on Instagram. Number two is if you have a hobby or
a passion, tap into that community and grow your voice there. Don’t obsess over
your grid, don’t delete everything on your account so that you’re cool and aloof.”
ZW: “What do you wish more people knew at the beginning stages of their career?“
EC: “I honestly went through my career taking each day at a time. I would have
continued doing that, asking lots of questions – don’t feel bad to stop and take a break
and re-evaluate what’s right for you. People don’t have the expectation that they’re the
same person at all points in their life. There’s no
reason why your job at 22 should be the same job
“Instagram when you’re 30. So I think taking time to kind
has taken of ask yourself: ‘Am I happy most of the time?
Do I like what I’m doing? What is the purpose
down the of what I’m doing?’
velvet rope “The best investment I think that any woman
of fashion can make is to take care of herself, because it’s
hard to balance. The most important thing is
and made it a knowing when to say you need a night off, pour a
really inclusive glass of wine, and read, like, your dorky science-
and friendly fiction book. It might sound clichéd, but taking
care of yourself so you can take care of other
experience for people – whether it’s at work, school, or with
everyone … family or loved one – if you can give back to
people want to people you can give a little back to yourself. Be
nice to yourself, and be forgiving to yourself.”
see the behind- To find out more about Eva Chen’s appearance at
the-scenes” Vogue Codes, go to codes.vogue.com.au.
JUNE 2018 91
VOGUE CODES
Taking flight
A visionary designer and an entrepreneur
have joined forces to create environmentally
sustainable footwear. By Zara Wong.
C
omfort and fashion have not been easy bedfellows,
but on the hilly streets of San Francisco, pedestrians
have found the middle ground. A start-up
consultant who I meet for coffee one morning in Hayes
Valley is wearing simple shoes from Allbirds – medium-
thickness soles, laces that match the body – natch, telling me
that San Franciscans are proud to finally be able to wear a
home-grown brand. (Them, and Barack Obama, Jacinda
Ardern, Eva Chen and Gayle King, who gave Oprah Winfrey
a pair and wrote of them: “When shoes feel this good, they
don’t usually look this cute.”) Allbirds, founded by Tim
Brown, a former New Zealand soccer player, and Joey
Zwillinger, a clean technology entrepreneur, is a minimalist
line of runners and loafers made from sustainable materials
like ZQ Merino wool from New Zealand and eucalyptus
fibre. The textured laces are made with recycled post-
consumer materials such as plastic bottles; the insoles are
derived from castor-bean oil. The body of the shoe wicks
away moisture, so socks are not required. To clean them,
they can be thrown in a washing machine.
Allbirds is a B Corp (which certifies sustainability) and
the first shoe company to be certified by Forest Stewardship
Council. “We’ve made an equivalent product [to other shoe
manufacturers], but in a better way environmentally – that
is the brand, that is the mission and that’s a non-negotiable
for us,” says Brown, who had been working on the idea for
92
Allbirds founders Joey Zwillinger
(left) and Tim Brown at their
headquarters in San Francisco.
several years before partnering with Zwillinger. Comfort is a major factor in the
shoes, which came from stripping back the design to the necessities. “Our whole
mindset is no-compromise. Not only does it have to be a great performing product,
but it needs to be easily accessible for a reasonable price, otherwise it’s not potentially
a big business and it doesn’t make an impact,” says Zwillinger. “We think maybe you
should run barefoot. But next to that, ours is the next best thing.”
They take me through their offices to the design department. With more than 100
members, the team has grown faster than expected, so the offices are a rabbit warren
in a historic laneway of San Francisco. We walk back out past the reception, which
everyone in the Allbirds office takes turn manning for a week at a time, regardless of
their job title. The head of design is Jamie McLellan, who is also from New Zealand
and has designed for Cathay Pacific and Tom Dixon. He talks through the prototypes
of the recently released Tree line, made of eucalyptus fibre, which has been two years
in the making. Since the start of the company, the wool shoes alone have gone through
over 27 iterative tweaks as Allbirds responds to customer feedback. “The wool shoes
are made of a knit that comes in a roll of fabric and we cut out the pieces, whereas for
Tree, we knit the eucalyptus fibre into shape, so that there’s very little wastage,” says
McLellan. Through a maze again, and we’re at their first retail store, downstairs from
the offices. It was originally meant to be a temporary pop-up, but it’s been so popular
it’s now permanent. Customers walk away from the store with their Allbirds shoes in
efficiently designed brown cardboard shoeboxes to minimise wastage.
Brown and Zwillinger had met through their wives, who are best friends from
university. Zwillinger was feeling disillusioned about a project to create
environmentally friendly surfboards. “We got a pro surfer to ride it and there was
all this great PR, but when you speak to a surfboard manufacturer they would say:
‘Oh no, that costs 10 per cent more, no chance.’”
“For the longest time in London,” says Brown of the early days, “I would tell people
that I was making a shoe out of wool and they would pat me on the head. Being part
of the footwear industry was not part of some grand plan. It took connecting with
Joey around the idea of sustainability, about a revolution, about the way things are
made, a complete shift in our human desire to understand the provenance of the
materials in the things we buy, how they are made and who made them.” ■
Tim Brown will speak at Vogue Codes in Sydney on June 22 and 23; codes.vogue.com.au.
JUNE 2018
 HP Spectre 13 Laptop PC
Light. Powerful.
All eyes are on it.

13
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Available at Harvey Norman

Windows Hello: the password is you.

© Copyright 2018 HP Development Company, L.P. Microsoft and Windows are either registered trademarks or trademarks of Microsoft Corporation in the United States
and/or other countries. Screens simulated, subject to change; Apps sold separately, availability may vary. Feature and app availability and experience may vary by market
and device.
 VO GUE PROMOTION

The Dyson Supersonic

hair dryer uses intelligent
heat control to protect
your hair from extreme
heat damage and
maintain natural shine.

S
ome superheroes wear capes, others come to the
rescue in a less obvious way. Where blow-drying is
concerned, the smartest devices are those that deliver
the benefits you see – shiny, glossy hair – and, equally,
those you don’t: the integrity of each individual strand of
hair. While conventional hair dryers have, historically,
dealt only with the former, the Dyson Supersonic hair
dryer gets to the root of heat damage.

Feeling hot, hot, hot

Heat and hair drying go hand in hand, but that’s not to

SENDING say the hotter the hair dryer, the better it is. In fact, new
research suggests quite the opposite. Blasting strands at
anything more than 150 degrees Celsius can damage hair

OUT AN cuticles, which is why the Dyson Supersonic hair dryer’s

clever inbuilt thermistor measures air temperature 20
times per second to help protect against heat damage and

S S
shield hair’s natural shine.

The quicker, the better

“I think it’s really important to dry hair fast in order to
minimise damage to your hair and for it to retain its
strength,” says celebrity hairstylist and Dyson Supersonic
ambassador Renya Xydis. Rather than resorting to soaring
temperatures, a combination of hair-safe heat (below 150
degrees Celsius) and strong airflow is the perfect power
COMPROMISING coupling for decreasing drying time without causing
extreme heat damage.
SHINE AND
CAUSING FRIZZ, Let there be light
HEAT DAMAGE Fun fact: healthy hair is less porous, which means when
light hits each strand, it’s reflected. To the naked eye, we
HAS LONG BEEN interpret that as shiny hair. Conversely, heat-damaged
LINKED TO hair sports many tiny pores, which scatter light in all
LACKLUSTRE directions and compromise shine factor.
LOCKS. BUT YOU Know the warning signs
CAN PREVENT They say ignorance is bliss, but when it comes to heat
IT BY USING damage, the warning signs are glaringly obvious – think
THE LATEST IN split ends, breakage and unruly strands. Extreme heat
INTELLIGENT damage is irreversible (save for a generous cut), which is
why avoiding extreme heat (more than 150 degrees
Dyson Supersonic
HAIR-DRYING Celsius) is one of the most important things you can do to
hair dryer, $499. TECHNOLOGY. maintain healthier hair, from inside to out.

Go to www.dyson.com.au/supersonic
V O G U E

TURNING
HEADS
Voluminous, sleek,
natural or lopped,
hair this season is all
about style switch-
ups that reflect how
you feel right now.
By Remy Rippon.
Photographed
by Nagi Sakai.
Hair by
Kenshin Asano.

B E A U T Y
M A K E- U P: R E O M OTO M A N C U R E : K YO O K A DA M O D E L : J E N A G O L D S A C K
A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B

Chop chop
We’re calling it: the bob is
the most evolutionary style
of the past few decades.
Right now it’s asymmetric,
blunt and poker-straight.
Redken Align 12 Protective
Smoothing Lotion, $35. Tibi top.

JUNE 2018 97
VOGUE BE AUT Y

Turn up the volume

Feel like taking it back to
the 90s with a voluminous
blowout? No problem. Bring it
into 2018 via a hint of frizz that
whispers of lived-in glamour.
Kérastase V.I.P Volume In Powder
Spray, $38. Jil Sander top.

A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B
N A G S A K A /A RT PA RT N E R L C E N S N G

98 JUNE 2018
VOGUE BE AUT Y

A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B
Oil slick
If there’s a style that says
N A G S A K A /A RT PA RT N E R L C E N S N G

understated, modern, cool

and rebellious all at once,
it’s this one. Drench strands
in gel (or water) and simply
comb from root to tip.
Label.m Gel, $44.
Jennifer Fisher earrings.

100 JUNE 2018

VOGUE BE AUT Y

Geometry lesson
With billowy silhouettes
infiltrating our wardrobes,
it’s only natural that our
beauty regimen follows
suit. Keep volume at the
base for maximum impact.
Tresemmé Salon Finish Freeze
Hold Hairspray, $8. Céline
coat. Vintage bracelet, from
New York Vintage.

A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B
N A G S A K A /A RT PA RT N E R L C E N S N G

102 JUNE 2018

VOGUE BE AUT Y

A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B
Wave rider
If your mane sports natural swing,
then this style is a no-brainer. For
N A G S A K A /A RT PA RT N E R L C E N S N G

the rest of us, embrace products

that grip, like dry texturising
sprays, or oils to smooth without
weighing down the hair.
Kevin Murphy Bedroom Hair
Flexible Texturising Hairspray, $43.
Calvin Klein 205W39NYC shirt.

104 JUNE 2018

TOUCH SCREEN SERIES ROSE GOLD GLAMOUR
VOGUE BE AUT Y
Tricks
& treats
Stay a cut above the rest by
combing through the now
and the next in hair cleansing,
heat protection and styling.
By Lilith Hardie Lupica.
106
SKIN DEEP
Much of our daily beauty routine places emphasis on
skincare, but it’s time to officially start pouring as much
time, energy and know-how into your hair. Serums,
masks and sun protection are all musts for maintaining
your hair’s health as UV rays, styling and pollution all
make an impact.
“A UV protector is absolutely key, especially in Australia,
where our UV levels are among the harshest in the world,
burning the skin and dehydrating our poor locks!” says
Anthony Nader of Raw Salon, before adding that it’s
imperative to use year-round sun protection on your
strands. Nader also suggests applying oils overnight and
using this time to not only repair your hair but also style
it. “Pop a treatment on and by all means give your mane a
braid. That doubles up in the morning when you unravel it
and you now have cascading waves that are controllable and
styled, and – bonus – you’ve got another 15 minutes in bed.”
BUBBLE TROUBLE
Dive into the new weightless and foaming wonders
designed to eliminate the heavy lifting from your shower
routines. Rather than lather, rinse and repeat, Pantene’s
new Pro-V Foam Conditioner promises to nourish without
the residue or build-up of cream conditioners. Similarly,
Bumble and bumble’s BB Scalp Detox uses micellar water,
which is better known as a skin cleansing ingredient, to
remove impurities and product build-up in one fizzy,
foaming pump.
CLIP IN
What’s old is new again as hair accessories of the past, once
relegated to the back of your bathroom cabinet, are cool
again. Silky scrunchies of the 80s now make the perfect
pairing with your top knot, while 90s-era banana clips ¤
A L L P R C E S A P P R OX I M AT E D E TA L S AT V O G U E . CO M . A U/ W T B
A L Q U E E D WA R D U R R U T A
From left: Dyson dryer, $499;
Joico K Pak Color Therapy Luster Lock
Multi Perfector Daily Shine & Protect Spray,
$30; Shu Uemura Art Of Hair Essence Absolue
Overnight Serum, $58; Pantene Pro V Repair
& Protect Foam Conditioner, $10.
JUNE 2018
VOGUE BE AUT Y

and headbands are also weaving their way back into our
lives, thanks to their reappearance on the autumn/winter
‘18/’19 runways. Gucci, Chanel and Alexander Wang all
offer up modern takes on baubles that are designed to be as
useful as they are chic.

RAW POWER
If concocting a morning smoothie or a vegetable-packed
green juice is your favourite way to wake up, we suggest
extending your routine to your rinse, too. Make the
switch from sulphates, silicones and parabens for scalp-
and hair-nourishing ingredients like coconut and
coriander oil, honey, quinoa, goji berries and kaolin clay.
Finally, treat your hair to the detox your digestive system
received months ago. Just as you would whiz together
ingredients that support your body in your smoothie,
Matrix Biolage R.A.W. Nourish Shampoo and Conditioner
will give your hair a shot of goodness that’s almost good
enough to eat – almost.

HEAT UP
Dull, dry and limp: the three words no-one ever wants to
use to describe their hair but, unfortunately, that’s the
result when heat damage rears its ugly head. Aside from
using heat-protectant products, changing up your heat
styling tool is the best bet. When shopping around, keep an
eye out for descriptions like ‘ionic’, ‘ceramic’ and ‘thermal
protection’. Styling tools thus described allow you to style
without the singe, while the Dyson Supersonic, seemingly
the last word in modern hair care, has the ability to
measure the air temperature exiting your hair dryer 20
times per second, meaning you have temperature-
controlled assurance and little to worry about.

BABY STEPS
Our love affair with blunt bobs and lobs seems to be
coming to an end, with long, shiny manes taking centre
stage on the autumn/winter ‘18/’19 runways. However, if
you’re planning to grow your hair out, be warned:
maintenance is key. “Grow as long as you can go, but
please just make sure you keep having what I like to call
‘baby trims’ every eight weeks,” says Nader of keeping
your ends healthy and avoiding breakage. If you have an
itch to grow your hair long again, Nader recommends
won’t get the same vibrant colouring blondes can expect,
without stepping near the bleach. US-based line Overtone,
which is vegan and PETA-certified, produces colour-
depositing conditioners that are designed to be applied
regularly, to steadily replace dye pigments as well as build
on your colour, while Splat hair dye uses finely milled
pigments to alter your hair’s shade.

asking your stylist to add dimension and fullness by way
of longer layers, which will allow you to style with ease, as
one-dimensional hair won’t hold a curl, no matter how
much product or heat you might apply.
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VOGUE BE AUT Y
Losing it
Few subjects remain taboo in today’s
over-sharing world: one of them is
hair loss. Remy Rippon uncovers
what most of us would rather hide.
W
hatever your thoughts on over-sharing on social media, there’s one
universal truth we can’t refute, particularly when it comes to our beauty
regimen: every product, tool and technique is laid bare for the world to
see. As a result, there are few remaining beauty taboos. If we’re enduring it, chances
are we’re talking about it. But there’s one exception to the rule, a very real
phenomenon that’s omitted from the conversation – hair loss.
It may be unsexy, but it’s happening. “Fifty per cent of all men and women are
affected by hair thinning and/or hair loss at some point in their lives,” says Gina
Thomas, educational director for Wella and Coty Professional Beauty. And the
causes are plentiful: stress; hormones; pregnancy (during and after); genetics; diet
(calorie-restricted or low-carb in particular); life stage (puberty, menopause);
medications; and environmental factors (sunlight, pollution, even water quality) can
all contribute to changes in hair texture and loss.
“It’s usually a consequence of something else happening,” says dermatologist and
Dyson Supersonic spokesperson Professor Rodney Sinclair, adding that hair loss can
112
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be a glaringly obvious warning of iron deficiency, thyroid
problems or hormone imbalances. It generally falls into
one of two camps: hair shedding, which is hair falling out
from the scalp or breaking (you might notice more strands
in your brush or on your pillowcase), and balding, which is
hair disappearing, resulting in visible patches of scalp. It
can range from severe cases of alopecia (patchy hair loss
due to autoimmune factors) to less severe hormone or
stress-related hair loss, and diagnosis is usually carried out
by a dermatologist via a blood test and physical assessment.
“I ask [hair-loss patients] if any health or lifestyle changes
have occurred six to 16 weeks before noticing hair loss,” says
trichologist Dr David Kingsley, adding that it can take a few
months for the hair to fall out once it actually stops growing.
Any form of hair loss, however, affects self-confidence. A
study by Nioxin, a leader in hair-loss products, in
partnership with a Yale University psychologist, found that
a quarter of the 4,000 people surveyed would avoid social
interactions if they experienced hair loss or thinning. Six in
10 respondents agreed to feeling concerned about hair
thinning, with 25- to 34-year-olds being the most concerned.
It’s no wonder, then, that the beauty market is flooded with
products to treat hair loss, with varying degrees of efficacy.
Sinclair says there’s no one-size-fits-all approach, and
the right treatment is largely based on the type of hair loss.
“If it’s hair shedding, it’s important to find out what the
cause is,” he says, “and if it’s short-lived, you might not
actually need to do anything.” Sinclair adds that for more
concerning hair loss, topically applied minoxidil may be
prescribed. Over-the-counter products, such as Nioxin’s 3D
A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B
P H OTO G R A P H S : Y U L A G O R B A C H E N KO E D WA R D U R R U T A
Care System, can also complement prescribed treatments.
Likewise, some at-home tweaks can be beneficial. “Wear
your ponytail loose,” says Thomas. “This minimises stress
along the hairline, which contributes to breakage.” The
styling devices you use can have an impact, too. Choose a
heat-controlled hair dryer; the Dyson Supersonic regulates
the exit temperature by measuring it up to 20 times per
second to avoid frying follicles, which causes breakage.
And Kingsley advises washing hair regularly. “It stops
growing an average three months prior [to falling out], so
not washing it will cause the hair to accumulate and
increase the amount seen when washing.” ■
JUNE 2018
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VOGUE BE AUT Y

ART DIREC TION D IJANA MAD D I SO N

PHOTOG R APH EDWAR D U R RUTIA
 I “I wasn’t
n 1913, armed with a modest sum of cash borrowed from her then
boyfriend, a young Gabrielle Chanel opened an eponymous store
in the French seaside town of Deauville. It’s where she brought her
signature sense of ease and practical comfort (think sailor stripes,
borrowed-from-the-boys jersey fabrics and décolletage-exposing
blouses in place of stuffy corsets) to well-to-do Parisians on coastal
weekenders. So disruptive and radical was her approach that despite
Chanel shuttering the store on rue Gontaut-Biron 12 years later, the
picturesque town and the storied house still have a mutual affection.
Inspired by this narrative, the brand’s in-house perfumer Olivier
Polge chose Deauville as one of three destinations, along with Biarritz
and Venice, for the brand’s latest fragrance offering, a trio of
juices, Paris-Deauville, Paris-Biarritz and Paris-Venise, collectively
dubbed Les Eaux de Chanel. Far from a literal interpretation of the
locales – a trend (or trap) for many perfumers – Polge instead relied
on deep memories to interpret them, not once revisiting the
destinations to jog his olfactive recollections. “There is a strange link
between fragrance and memory. When people ask me about my job
and how I learn, I say it’s not a matter of having a very precise nose or
being able to smell something that nobody else can smell, but it’s
more about animating the link between your nose, your brain, and
your memory,” he says.
The landmarks themselves were an obvious choice, says Polge, who
cherry-picked Biarritz, Venice and Deauville for their significance in
Gabrielle’s life and in the brand’s rich history. “I like the fact that often
scents, in your memory, are related to places or to people, and I think
that there’s an evocation from the cities, which easily makes your mind
elaborate.” Venice, for instance, was where Gabrielle retreated after the
untimely death of her lover Boy Capel (he who funded the opening of
the Deauville store, a loan which she paid back in full). Here, she
befriended Venetian artists and aristocrats who reignited her creative
spark; the delicate mosaics and historic architecture informed Chanel’s
very first jewellery collection.
Meanwhile, in Biarritz, a lively city just a stone’s throw from the
Spanish border, Gabrielle opened another boutique and quickly
found favour among Spanish royalty (Queen Victoria Eugenia of Spain
was a fan). Picnics, ocean swims and parties filled her days and allowed
a sense of ease and comfort to permeate her designs.
It’s little wonder then, that all three scents in Les Eaux de Chanel are
A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B
uncharacteristically light and airy. “The first year I came to Chanel,
I spent a lot of time researching and trying to understand more deeply
the history of the fragrances. But now I know: I integrate certain aspects
of the brand, but then follow it in my own way,” says Polge, who since
taking the reins from his perfumer father in 2013 has seamlessly added
a contemporary edge to the house. “One of our specificities is to
create quite opulent, complex fragrances, and it was interesting to create
fragrances that are a little more simple, which I think is something that
people might want today.”
It’s a clever move. While Chanel’s modus operandi with scents has
long been punchy bouquets of white florals, like those found in
blockbuster fragrances Chanel No 5 and Allure, Polge says the latest
striving to
capture the
Normandy
countryside
as it stands
today, but
rather the
promise of a
stroll through
the tall grass
… fragrance
makes you
travel”
trio has a luminosity and lightness which may appeal to those with
“a more casual relationship with fragrance”.
For Paris-Biarritz, Polge chose perhaps life’s simplest luxury, a dip in
the ocean, as the heart of the scent. But that’s not to suggest it’s diluted:
zesty grapefruit and mandarin spring into action on application. The
dry-down is subtle, thanks to the clever fusion of lily-of-the-valley,
vetiver and white musk notes. The juice is ‘fresh’ in the most
sophisticated sense, multi-dimensional and luminous. “There is
something about the luxury of simple things,” remarks Polge.
Travel, escapism and adventure were also woven into the scents. Paris-
Venise drew as much inspiration from the Italian city as the means of
arrival: the lengthy journey from Paris to Venice via the famous Orient
Express train. It’s the most urban of the collection, thanks to the alchemy
of citrus notes, neroli and red berry with cedar and amber. The clever
addition of vanilla brings an air of warmth and subtlety.
Likewise, for Paris-Deauville Polge is appealing to our imagination.
“I wasn’t striving to capture the Normandy countryside as it stands today,
but rather the promise of a stroll through the tall grass,” says Polge.
“Fragrance makes you travel.” The actual juice is green and as crisp as
morning dew on freshly cut grass, with the addition of orange rind and
basil leaf. Florals, like essence of rose and jasmine, mellow it out, while the
restrained mix of patchouli feels earthy without overpowering the scent.
The bottles too mark a departure from the delicate, dresser-worthy
flacons made famous by the house. The cologne-style bottle feels
substantial, and while they are nearly identical (and sold individually),
the juice of each bears a varied watercolour tint. “The bottle is larger
than usual, because it refers to the lightness of the scent. I don’t like the
word splash, but when you speak about these kind of scents, it refers to
a larger, more generous way for applying. It’s very simple, yet I think it
breathes Chanel, no?” We couldn’t agree more. ■
JUNE 2018 115
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vogue
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JUNE 2018 123
“A rebel is a person who stands up for their own personal opinions despite what
anyone else says. A true rebel stands up for what they believe is right, not
against what’s right … It’s all about being an individual and refusing to follow
a crowd that forces you to think the same way they do even if it means becoming
an outcast to society. True rebels know who they are and do not compromise
their individuality or personal opinion for anyone. They’re straightforward and
honest and they will sure as hell tell it like it is.”
So reads the Urban Dictionary’s definition of ‘rebel’, one that kind of
nails Rebel Wilson.
We are having lunch together at the Park Hyatt Sydney, two days after
she has been at Melbourne’s Court of Appeal to hear Bauer Media’s
appeal against the ruling of Supreme Court judge Justice John Dixon,
who awarded her a record sum of $4.5 million in damages against Bauer
for defamation. Whatever is decided (at the time of writing, the next
court date had not yet been set), the victory is already hers – the decision
is unchallenged: she has won the biggest ever defamation case in
Australian history.
“With over 40 of the questions that went to the jury, we won on every
single question, which is a comprehensive victory,”
Wilson says. When the amount is eventually settled she
will be able to name which children’s and hospital “I LIKE TO
charities and non-profit organisations will benefit from SAY I’M THE
the damages. There is a possibility, however, that the
case may go to the High Court after the appeal. “I guess
GUARDIAN
because Bauer Media is a company the strategy has been OF THE
bullying throughout,” Wilson says, adding: “I took on a COMEDY –
huge media organisation owned by German billionaires
who are extremely aggressive and try to bully and
I HAVE VERY
intimidate anyone who legally challenges them. I had a STRONG
great case and Bauer’s conduct was so disgusting. There VIEWS ABOUT
was so much more evidence that we couldn’t even put in
the trial, as the trial was already so long. The company
JOKES”
has behaved disgracefully and so I thought I had to take
them to task. I did, and won on every single issue. I guess in that way
I can put it behind me, and at least anybody who did believe the articles
knows now that it was all made up and that Bauer knew it was false and
printed it anyway.”
It has been a stressful period for Wilson: the lies, the loss of her
livelihood for the past few years, and having to endure 19 sitting court
days. Her law degree helped, but for anyone it would be exhausting. Yet
she will not be worn down, even though she doesn’t feel like it’s over.
She has been keeping busy lately, with five movies in development,
some of which she will co-star in, and with writing scripts. And through
it all she still manages to stay upbeat for almost everyone – the fans, the
autographs, the selfies … she is the funny lady, after all – Fat Amy, so
very ‘pitch perfect’. And, of course, she could break into song at any
moment, but she won’t because that is what she does for a job, not what
she does in real life.
In person, Wilson is focused and thoughtful. “I was unique and I was
ambitious at acting school,” she says, referring to the Australian Theatre
for Young People (ATYP), which she attended at the same time as she
studied for her arts/law degree at the University of New South Wales.
And nothing has changed.
Over lunch we drink water and order barramundi, chicken, steamed
vegetables and chicken-salt fries with paprika. Wilson talks more than
she eats and her food is left cold. She has the best smile and great skin
(she uses Dermalogica and loves SK-II).
126
“Why do I have to be so brilliant at every single thing I do?” – Fat
Amy, Pitch Perfect 3.
She says she is proud to be on the cover of Vogue Australia for the first
time and, of course, worked it on the day we photographed her in an LA
studio. The trick to modelling, she says with a sly smile, is imagining
you are a Victoria’s Secret model. “Be that woman and own it.” And she
did. (Watch her hilarious video on the set of our shoot at Vogue.com.au.)
She is an inspiration for standing up for what you believe in, is all ‘girl
power’ and believes in human rights and women’s rights. She has
sponsored many children at the School of St Jude’s in Tanzania and her
first sponsored student recently graduated. “She got a scholarship,”
Wilson says proudly, although she was ready to pay for her tuition.
The actress loved school and still has a strong group of friends from
Tara Anglican School for Girls in western Sydney, with whom she
celebrated a 20-year reunion in LA last year. As a student she was very
academic, achieving 99.3 in her Higher School Certificate. She was also
good at maths. Jokes, she says, are about maths and patterns. “So, like
red, red, black – three is the quickest way to get a joke – you learn that
at comedy school,” she explains. “You set up an
expectation and subvert it; it’s a good way to get a
laugh. It’s mathematical, that’s why that’s funny.”
Her next comedy, The Hustle, is about two con women,
loosely based on the 1988 film Dirty Rotten Scoundrels,
starring Wilson in the role played by Steve Martin, and
Anne Hathaway in Michael Caine’s former role. “This is
not just a remake of a remake of an original – that was
with Marlon Brando, and was a book,” Wilson clarifies.
On set, the two stars spent a lot of time laughing and
singing. “Annie was in an acapella group in college
and so for some reason we obviously got talking about
that. She is very pro-female comedy.”
The Hustle is co-produced by Wilson’s production
company Camp Sugar, and is slated for an October
2018 release, followed by its second offering, Isn’t It Romantic, a romantic
comedy starring Priyanka Chopra and Liam Hemsworth, set to open on
Valentine’s Day, 2019.
Producing suits Wilson. “It’s the first time my name will come up
with ‘produced by’, which is very cool,” she says proudly of The Hustle.
Camp Sugar gives Wilson the freedom to develop her own scripts with
her team before selling them to the studios. “They supply the money to
make the film, as commercial comedies cost on average US$35 million
to make,” she explains. “They take over a lot of the responsibilities and
I get to see it through creatively. I like to say I’m the guardian of the
comedy – I have very strong views about the jokes in the film.”
At the end of shooting, Wilson anonymously attends the test
screenings to gauge audience feedback: “I wear a little wig and sit at the
back and people don’t know I’m there taking notes and listening to
what people are saying. Then I make changes.”
As a result, an extra musical number is being added to the closing
scene of Isn’t it Romantic because the already existing musical number
was the highest-testing scene: “So we’re like: ‘Let’s give them more – a
fun thing at the end.’”
When it comes to the writing, Wilson prefers a quiet location with a
view. “When you’re writing, it’s very imaginative and internal,” she
N I CO L E B E N T L E Y
explains. Before we met, she had been looking out to the Opera House
from her hotel room, brainstorming ideas for her next collection for
Rebel Wilson X Angels, her plus-size clothing label. Designs are ¤
based on the body-con styles Wilson herself loves to wear and what her good”. The house faces the iconic Hollywood sign and her office is close
team imagines and refers to as ‘This Is Rebel’s Friend’ would like to by in West Hollywood.
wear. Sneakers, flats and tiny kitten heels are also set to join the range. For all the TV inspiration she remains all about the movies. “It’s still
She has also been writing “a little bit” for the Billboard Awards, which where the power is,” she says. We talk awards – or rather the lack of an
she is invited to, to present an award this month. “Unscripted, drugs, Oscar category for comedy. Doubtless she will lobby for that now she is a
chaos …” she says of the backstage craziness of music events. “It’s the member of the academy. Of the five movies she has in development, one
day after the royal wedding, so not many people will have done jokes is in partnership with Simon Cowell. “We are making a film about K-pop,
from the actual event, so I’ll do something related to that,” she says. because he is very musical. It will star primarily an Asian cast. And I just
I ask if she is on a Meghan sold one to Universal about
Markle trajectory: “Well, bi-racial twins. It was in the
I can’t marry a royal; they are National Geographic recently
all taken now,” she quips. and I thought it was very
Asked about romance, the interesting; especially
comedian reveals she considering race relations in
doesn’t have a boyfriend. America, and to do a comic
“I am totally single. I think storyline with overt themes
I’m looking for the right about race in it but that isn’t
person, but there isn’t a good overtly about race … it’s a
pool of people to date in very rare phenomenon. We
LA.” As she disclosed on are writing the script now.
Channel 10’s The Project, she It’s in the early stages but it’s
would be happy to be on the a big commercial comedy.”
next season of reality show Her favourite movies
The Bachelorette. “I really growing up were Muriel’s
related,” she says of having Wedding, which had a big
watched Sophie Monk in the influence on her. “I just adore
last series, “although I don’t it; it is so funny and heartfelt
think they could afford me.” and emotional.” Priscilla,
Wilson is a major consumer Queen of the Desert was
of reality TV and has just another one. “I remember my
finished Married At First mum taking me to the RSL
Sight. “I became obsessed club to watch movies and
with that show; I had to Priscilla was hilarious. I’d
watch every episode,” she love to create my own
says. The Netflix Australian movie that is like
documentary Wild Wild that – something universal.
Country, about a cult in I don’t think I’ve got it yet.”
Oregon, was also on her She adds: “There are so
viewing list, along with many really great talents
“heavy dramas”, like The from here … Rose (Byrne) out
Handmaid’s Tale. “Elisabeth of nowhere becomes like a
Moss – I love everything she comedy legend – incredible
does. And I love Wentworth, She just inhabits a character
such good Australian drama with such strong female actors.” and does it from there.” Of the new generation of Aussies to watch she
She watches a lot of Bravo, too, and The Block and HGTV, the home says Geraldine Viswanathan “is the funniest in Blockers”, and Katherine
renovations channel. Wilson loves property. After lunch she will be off to Langford of 13 Reasons Why and Love, Simon, fame is “really talented”.
look at the Sydney property she bought two years ago. She also has Recently she approached Paul Hogan seeking permission to do a
homes in LA, New York and London. Interior decorating and custom Crocodile Dundee remake, since he owns the rights to the film. “Obviously
designing are other passions. “I was living with Matt Lucas, who has a it would have Paul Hogan in it in some way, but he doesn’t want a female
good eye for design and worked on the interior design of the house in to play Crocodile Dundee,” she says. “Which I think is a travesty as
West Hollywood we shared,” she says. “I learnt a bit from that and then I think out of anyone in Australia I’m the most suited to do it …” Doesn’t
it just started. I went with Jeff Lewis, who has a show called Flipping Out, he know she is qualified?
and I learnt everything: I went to the marble quarry, tile store, flooring “I’ve wrestled crocodiles and dingoes simultaneously.” – Fat Amy,
stores, all of them … and I’m obsessed with textured wallpapers. I never Pitch Perfect 1
thought I would even care about that kind of thing, but maybe because Surprisingly, Wilson admits she never intended to be a comedian.
N I CO L E B E N T L E Y

I travel so much and work, so hard I want my house to be a sanctuary.” While training at ATYP she was determined to be more like Dame Judi
Her LA home is in the Hollywood Hills, which, she says, “is a bit more Dench. “I always thought I’d be a dramatic actress,” she says.
peaceful and you have deer, rabbits and coyotes … which are not so Continued on page 176

130
 Givenchy jacket,
$8,600. Carven top,
$560. Polo Ralph
Lauren skirt, $1,099.
Jennifer Fisher
earrings, $790. All
prices approximate;
details at Vogue.
com.au/WTB.

PLAY IT
AS IT LAYS
Somewhere way out west, all with a sense of the early 70s, as bohemian meets babe in a haze of ribbed
knits, wide pants and some tomboy tailoring. Styled by Celia Azoulay. Photographed by Scott Trindle.

132
 Gucci jacket, P.O.A.
Carven top, $700.
Missoni pants, $2,740.
Jennifer Fisher ring,
$466. Louis Vuitton
boots, $2,680.

JUNE 2018 133

 Dsquared2 jacket, $1,515.
Vanessa Seward top, $490.
Frame jeans, $389. Vintage
hat, from New York Vintage.
Jennifer Fisher earrings,
$790, and ring, $465. Louis
Vuitton boots, $2,680.
S COT T T R I N D L E
 Isabel Marant
Étoile knit, $595.

S COT T T R I N D L E
Chanel jumpsuit, $9,640,
pullover, $2,810, and hat,
$1,700, from the Chanel
boutiques. Jennifer
Fisher ring, $465. Louis
Vuitton boots, $2,680.
S COT T T R I N D L E

Stella McCartney top, $1,020.

Hermès jumper, $1,710. Beauty
note: Giorgio Armani Face
Fabric Foundation in 1.
 Barrie sweater,
$5,819. Frame
jeans, $359.
Jennifer Fisher
ring, $465. Louis
Vuitton boots,
$2,680.
 Miu Miu sweater, $2,150.
S COT T T R I N D L E
 Sonia Rykiel sweater,
S COT T T R I N D L E

$2,370. Land Of
Distraction pants, $389.
Louis Vuitton
boots, $2,680.
Vintage vest, $200, from What
Goes Around Comes Around.
S COT T T R I N D L E

Altuzarra dress, $3,530. Aurélie

Bidermann necklace, $1,180.
Jennifer Fisher ring, $465.
146
 MILAN
ÉLAN
Thanks to an array of bright young
talents, Milan is enjoying a newfound
vibrancy. Alexandra Marshall checks out
the scene. Styled by Gianluca Longo.
Photographed by Guido Taroni.
For romance and allure, Italy’s troika of museum
cities, Venice, Rome and Florence, has always
reigned supreme. Milan might be the country’s
most cosmopolitan city, but with post-war facades
as grey as its skies, it’s long been considered a place
of drudgery: good for the luxury business – Prada,
Giorgio Armani and Kartell are just a few of
the mega firms based there – but stunted by a
corporate, hidebound and hierarchical culture.
Sure, the Fondazione Prada has facilitated a worthy
dialogue with contemporary art since 1993, and
the Salone del Mobile furniture fair has become as
glamorous as Art Basel, with nearly 10 times as
many visitors. But compared to cities like New
York or London, Milan has traditionally been seen
as unwelcoming to upstart creativity. In one of
the world’s most important fashion capitals, new
brands didn’t catch on much and young talent was
largely absorbed by big houses or set up shop
abroad. Travelling editors and buyers on the
lookout for indie designers knew they could sleep
in a little late during Milan fashion week.
But now, for what seems like the first time in
decades, they are setting their alarms. Young
fashion companies are thriving. Up-and-coming
design firms and architects are cutting through
Italian traditionalism with eclectic spaces like
Luca Cipelletti’s massive, ongoing overhaul of the
Museo Nazionale della Scienza e della Tecnologia
Leonardo da Vinci, which layers new builds and
contemporary renovation on top of historical
structures from the 16th to 20th centuries. Brutalist
and Fascist-era architecture have made a
comeback, bringing international taste around to
where Milan has been for decades. “Milan has the
Attico’s Giorgia best architecture of the 20th century,” Cipelletti
Tordini (left) and says. “It was so forward-looking at the time that it
Gilda Ambrosio.
Both wear Attico and wasn’t really understood. Now it’s considered,
their own jewellery. like, wow.” ¤

JUNE 2018 147

 Tourism has increased so much that Milan now outclasses even Rome
in the number of yearly visitors and, crucially, how much they spend.
“In Milan, the thing used to be to complain,” says Marta Ferri, the
daughter of the photographer Fabrizio Ferri, whose made-to-measure
dresses in wild upholstery fabrics have become de rigueur for the Italian
aristocracy’s wedding season. “But things are happening here. There’s
a different energy. People are actually happy now!” Ferri was thinking
of moving to Buenos Aires in 2010, when some gowns she designed and
had made by her mother-in-law’s dressmaker started getting traction
among the women in the titled circles she moves in. “People were like:
‘Wow, you made that? Why don’t you do one for me?’” Ferri decided to
wing it. “I had to pretend I had an atelier,” she says, laughing. She
covered a stately mid-century apartment in loud Manuel Canovas
wallpaper, tossed in a thousand and one mismatched cushions, and
opened up shop. For the past couple of years, Ferri has also designed for
the furniture company Molteni & C.
As the city broadens its horizons, once off-limits palazzi and
apartments are also opening up. Gilda Ambrosio and Giorgia Tordini,
who launched Attico, a relaxed line inspired by kimono and slip
dresses, in 2016, held their most recent show in a Renzo Mongiardino-
designed flat. In fact, Ambrosio and Tordini have staged all of their
presentations in private residences. “We found our first places to show
on Airbnb,” Tordini explains. She is partly based in New York and
collaborates with Ambrosio via Skype and shared Pinterest folders.
(Now they can afford a location scout;
Attico currently has 200 stockists
worldwide.) The Milan-based
Austrian designer Arthur Arbesser, power. “The regime took half the
who was recently named creative garden and made it public, which
director of Fay, the heritage outerwear became the Via dei Giardini, and the
company owned by Diego Della Valle, factory shut down soon after the war,”
has also used private, intimate Perego di Cremnago says. Where it
locations for his own shows – once supplied the army and heads of
including Cipelletti’s apartment. state, Cambiaghi now turns out acid-
This familiar, informal register coloured cashmere and rabbit-felt
would have felt voyeuristic and fedoras and top hats, and bright,
distasteful to the old Milan, whose whimsical handbags by a former
upper-crust culture was secretive and designer at Etro. A capsule collection
“always a bit uptight”, says Maria with the artist Vincenzo Viscione and
Mantero, of the Mantero textile the jewellery designer Anna Maga
dynasty. Known for her extravagant Visconti includes the Young Pope
head wraps, in 2016 she launched Dee model, in white cashmere, with a wide,
di Vita, a line of silk turbans, which she floppy brim and a bronze pot-leaf pin.
sells in limited editions to small “What happened is the internet
boutiques, to benefit a wellbeing centre changed everything,” says J.J. Martin,
for women with cancer at Milan’s San who grew up in LA and moved to
Raffaele Hospital. “Milanese society Les Petits Joueurs founders, siblings Maria Milan in 2001 to work as a journalist
Sole Cecchi and Andrea Cecchi. Maria Sole
was always polite, of course, but now wears an Alberta Ferretti dress. Pomellato before starting her fashion company,
it’s confident. And social!” necklaces. Les Petits Joueurs bag. Andrea La DoubleJ, nearly three years ago, and
wears an ENNW suit. Bulgari watch.
Case in point: The atelier of Matteo later expanding the business to include
Perego di Cremnago, who a few years home decor. Martin partnered with
ago relaunched Cambiaghi, his family’s Mantero to plumb its massive 116-year-
hatmaking business, is in the same ground-floor space on Via Borgonuovo old archives, and started making vintage-inspired dresses, skirts and
where his family has lived since the 1600s, though it had to be rebuilt after blouses in riotously coloured, mix-and-don’t-match prints. “That belief
G U I D O TA R O N I

World War II. (He, his wife and their three young kids live in an apartment that you can do anything is a very American thing, but for young
upstairs.) In its heyday, Cambiaghi was one of the leading hatmakers in people in Italy, traditionally, there was a sense of oppression and a lack
Italy, cranking out 33,000 hand-felted lids a day, until Mussolini came to of upward mobility. But then they started seeing YouTube stars in ¤

JUNE 2018 149


Founders of Design by Gemini, twin sisters
Elena (left) and Giulia Sella. Both wear
Bottega Veneta. VCruz Jewels
bracelets. Gianvito Rossi shoes.
their garages making millions, and so, like everywhere
else, it filled them with new ideas.” “FOR YEARS
Indeed, one of the first blogger-influencers to really I WAS
monetise street style is Milanese: former law student
Chiara Ferragni, of the Blonde Salad. Today, based in
DESPERATE
LA and in Milan – where she keeps an apartment TO GET OUT
with her boyfriend, the rapper Fedez, in Studio OF HERE …
Libeskind’s new CityLife Residences – Ferragni sits
atop a multimillion-dollar shoe and clothing
BUT I CAN’T
business. Her success has spawned a whole new IMAGINE
generation of digital-savvy creatives like Design by LEAVING
Gemini, an interiors, product design, and social
media marketing firm founded by the 28-year-old
ANYMORE”
twin sisters Elena and Giulia Sella. The Attico girls
were street-style stars before they started designing, too. And then
there’s Blazé Milano, the four-year-old company specialising in
classically tailored blazers in whimsical woollens, velvets and silks.
“We owe our success to Instagram,” admits Delfina Pinardi, one of
a trio of ex-Italian Elle editors who started the line. Social media is
the perfect advertising vehicle for a company that sells, as Pinardi puts
it: “one thing, well made, in Italy”.
150
Specialising in just one thing is a strategy that many newcomers are
successfully adopting. “Italy isn’t a country that believes very much in
venture capital, and the previous generation hasn’t always been so good
at making room for the next one,” says Emanuele Farneti, the recently
appointed editor-in-chief of Vogue Italia, who is eager to increase
support for local independent designers. “When you have difficulties,
sometimes creativity can take over.”
Take the Les Petits Joueurs bags trimmed in bright fur, eye-catching
embroideries and even plastic bricks that Maria Sole Cecchi and her
brother Andrea create. Or the statement-making, oversized costume
jewellery of Madina Visconti di Modrone, who worked with her mother,
Osanna, a jeweller turned furniture designer, before going out on her
own. Or the quirky and colourful shoe brand Giannico, the brainchild
of a self-taught 22-year-old, Nicolò Beretta, who skipped school and
convinced his parents to pony up his college fund to get him started.
Beretta works out of his modernist apartment, selling 6,000 pairs of
Giannico pointy mules, pumps and flats a year.
Even food, Italy’s most rigidly conservative pursuit, is loosening up.
Remember when Milanese trattorias all looked the same? Garage Italia,
Lapo Elkann’s haute car-customisation outpost built in an old gas
station and remodelled by the architect Michele De Lucchi, put in a
sleek restaurant and bar by the local celebrity chef Carlo Cracco. “As a
business capital, Milan will always have dignified power-lunch spots,
but now you need to be more international,” says Vogue’s Farneti. The
latest trend is all-day flower-shop cafes like you might find in
Copenhagen or Berlin, but serving light, casual Italian food. Fioraio
Bianchi, in the charming Brera neighbourhood, was transformed into a
restaurant. The young design firm Quincoces-Dragò’s Six Gallery, a
furniture store with a similar florist cum laid-back bistro, has made
every tip sheet this year. And Potafiori, which combines sleek, raw
concrete and picnic benches with William Morris textiles and buckets
and buckets of lush blooms, has become a place to be seen near Bocconi
University. (Potafiori’s owner, the flame-haired Rosalba Piccinni, is also
a singer, and is known to break out into impromptu renditions of
so-unhip-they’re-hip Italian classics like Volare.)
But perhaps the hangout that best embodies the new
Milan is LùBar, helmed by the designer Luisa Beccaria’s
kids, Lucrezia and Ludovico Bonaccorsi, with an assist
from their older sister, Lucilla. It started as a beachside
snack bar near their father’s Sicilian farm, then morphed
into a Milanese food truck, and is now an all-day cafe in
a greenhouse-style patio in the Villa Reale, near the
entrance of Milan’s Galleria d’Arte Moderna, where
the city’s young creatives linger over Sicilian arancini
and cannoli. “Now everyone has a taste for independence,
and an idea for his or her own brand,” says Lucrezia of
her and her siblings’ do-it-yourself spirit.
Historically the hardest workers in Italy, the Milanese
are being well served by this emphasis on creative
entrepreneurship. “In the 80s, cash flew around here,
and Milan was booming,” says Annamaria Sbisà, the journalist behind
Il Giardino Segreto (The Secret Garden), Italian Vanity Fair’s Proustian back
page. “Today, it’s booming again, but it’s more about the mind, so it’s
even better. We’re not having an economic rebirth as much as a cultural
G U I D O TA R O N I
one. For years I was desperate to get out of here, but I couldn’t because
of my kids. Well, now my kids are old enough for me to leave, but I can’t
imagine leaving anymore.” ■
Italian designer Marta Ferri
wears her own creations.
MODERN
MASTERY
As Melbourne’s NGV prepares to showcase
a selection of MoMA New York’s masterpieces
celebrating 130 years of modern art, Sophie
Tedmanson discovers the museum’s riches.
On a crisp spring morning New York’s Museum of Modern
Art is a bustling hive of art appreciation and activity. In a
gallery on the fifth floor, tourists in a cluster are jostling
for position in front of Van Gogh’s iconic Starry Night;
another group stares quizzically at Picasso’s controversial
Cubist work Les Demoiselles d’Avignon; and others stand
awestruck by the beauty of movement in Matisse’s
magnificent Dance (I). Edward Hopper’s New York Movie
catches my eye on a wall near a lift, and one floor down, a
group of schoolchildren sits quietly drawing in front of
Mario Merz’s Fall of the House of Usher, with its neon unicorn
horn. In a corner gallery, an elderly woman sits alone
contemplating Agnes Martin’s minimalist six-panel With
My Back to the World, a calm space amid the bustle of New
York’s most famous contemporary art museum. Outside
unseasonal snowflakes fall silently past the window; the
serene scene is mesmerising.
In an adjacent room my breath is taken away by Cy
Twombly’s Four Seasons, a quartet of giant cream panels of
dripping paint, moods and scrawls evoking the seasons;
I keep being drawn back to Primavera, the pink and red
florals summoning spring. Around another corner reveals
more American greats: Warhol, Ruscha, Lichtenstein, a
gallery full of Jackson Pollocks (including Number 1A 1948,
which features the artist’s famous handprints autograph);
and, of course, Jasper Johns’s American Flag. Downstairs in
the cafe, a group of Millennial girls are debating whose is
the most Instagram-worthy selfie with Isa Genzken’s Rose
II, the giant stainless-steel rose stem that stands proud
outside in MoMA’s Sculpture Garden, juxtaposing the
modernity of the building’s internal façade.
This is modern art at its finest: captivating, revelatory,
emotional and engaging.
MoMA is the contemporary-art centrepiece of New York.
It’s one of the most significant museums in the world and is
run by one of the most influential directors of modern art,
Glenn Lowry, who presides over the museum upstairs in the
MoMA offices. He is tall, with a firm handshake, determined
stare and personable yet forthright manner, and is dressed
in the arty uniform of a black turtleneck and black pants.
His office is oddly bare – the bookshelves above the couch
are empty, but there are several piles of books stacked neatly
on the floor. I ponder whether this is purposefully ¤

152
minimalistic. “Oh no,” says Lowry with a laugh, “that’s
because of flooding from the snow storm the other day.”
During more than two decades at the helm of MoMA,
Lowry has been the honorary caretaker of the museum’s
vast collection of almost 200,000 works by some of the
world’s greatest artists. This month, MoMA will share part
of that collection with Australia when 200 works travel to
Melbourne for MoMA at NGV, an exclusive exhibition for
the National Gallery of Victoria’s Winter Masterpieces
series. The showcase spans 130 years of artistic creation
and innovation, including architecture and design,
painting, sculpture and other media from artists as diverse
as Le Corbusier, Paul Gauguin, René Magritte, Toulouse-
Lautrec, Georgia O’Keeffe, Mark Rothko, Frida Kahlo, Jeff
Koons and Diane Arbus.
MoMA first sent an exhibition to Australia
in 1967 when Two Decades of American Art
“THERE IS
travelled to Sydney and Melbourne.
Collaboration between international A GREATER
galleries and sharing collections for INTEREST
exhibitions is “very important”, says Lowry,
not only for cross-cultural relationships, but
IN THE
also for starting global conversations. PRESENT
Lowry has also witnessed a boom in interest – AND
in contemporary art during his tenure. “The
last 25 or 30 years has seen a dramatic shift
PEOPLE
in what people are looking at,” he says, “and LIVE IN THE
that shift has moved away from the MOMENT”
Renaissance, antiquity and 18th century to a
fascination with modern and contemporary
art. There is greater interest in the present –
contemporary art is about the moment, and people live in
the moment. There is a greater familiarity with visual
imagery [through] digital platforms and being able to
share images. We have become far more conscious of how
images circulate and perhaps in where they originated.
I think also [it’s] the ability of artists to speak to us in a
direct way, as opposed to artists from the past speaking to
us filtered through history. The dramatic explosion in
value-validated contemporary arts also makes people
interested. I think it’s a combination of many different
factors that have really, in the last 25 years, made
contemporary art the art that people want to see.”
Art has always reflected the political climate of its time,
and we are currently in such a highly agitated climate that
it seems more pertinent than ever to depict it creatively.
Artist Ai Weiwei documents the refugee crisis in his film
Human Flow at a time when equality movements for women
and the LGBTQI community, advocacy for gun control by
teenagers in the US and the politicisation of Generation Z
is seeing people frequently take to the streets for peaceful
marches to have their say.
I ask Lowry if he feels any responsibility as a leading
authority in the art world to represent the moment through
showcasing political art, especially given the current
political and socio-economic climate around the world.
“It’s a good question, and almost every [art museum]
director I know is thinking we are in a very complicated,
154
agitated, contentious moment,” he says. “What we want to try to do is make sure we
represent a variety of voices and that we give people the opportunity to see and
think about artworks that carry potent messages. I don’t think we have to be overtly
political: I think we have to present artists with different points of view, so that
people can decide for themselves what’s meaningful.
“Go through our lobby and we have the refugee flag affirming refugees may be
stateless, but they’re human beings who require care just like the rest of us. And then
we have the gay pride flag [representing a] marginalised group,” says Lowry. “They
are present in our lobby, which signals we are aware of these communities, and they
have an important voice, just as any other community, within our museum. For me,
the central valour of a museum is that it’s an open, generous place that’s about the
exchange of ideas, and that’s a political statement.”
MoMA at NGV features several political artworks, and many masterpieces never
seen before in Australia. Across New York’s Queensboro Bridge, in a nondescript
warehouse in Queens on Long Island, is the most extraordinary
storeroom housing MoMA’s expansive archives – worth millions of
dollars. Through several security doors we enter a warehouse where
S A LVA D O R D A L Í , G A L A -S A LVA D O R D A L Í F O U N DAT I O N /A RT I S T S R I G H T S S O C I E T Y ( A R S), N E W YO R K . L I C E N S E D B Y V I S CO P Y, 2 01 7 D I G I TA L I M A G E © T H E M U S E U M O F M O D E R N A R T, N E W YO R K , 2 01 7
there are rows and rows of masterpieces catalogued only by numbers
© 2 01 6 S U CC E S S I O N H . M AT I S S E /A RT I S T S R I G H T S S O C I E T Y ( A R S) , N E W YO R K © 2 01 7 C . H E R S CO V I C I , B R U S S E L S /A R T I S T S R I G H T S S O C I E T Y ( A R S) , N E W YO R K . L I C E N S E D BY V I S CO P Y, 2 01 7 © 2 01 7
and stacked in shelves. On a table sits two canvases, small and
unassuming (approximately A4 size). But on closer inspection they are
extraordinary: Frida Kahlo’s Self Portrait with Cropped Hair (1940) and
Salvador Dalí’s The Persistence of Memory (1931). It is such an incongruous
situation, that it takes a second for me to recognise these masterpieces;
I even hold my breath as I peer closer, savouring the sight until they are
taken to be shipped to the NGV. The artworks are assessed by MoMA’s
registrar Steven Wheeler for any damage (standard protocol for any
works being sent off-site) before they are carefully prepared for
shipping: MoMA staff, with gloved hands, gently load them – first the
Kahlo, then the Dalí – into a purpose-built frame, then that frame into a
purpose-built box, and then into a specially insulated crate. From there
they will be loaded into a truck and shipped to Melbourne along with scores of other
paintings, sculptures and objects that make up the exhibition.
Back at MoMA’s West 54th Street museum space in Manhattan, some of the
paintings coming to Melbourne have not yet been taken off the walls. Ernst Ludwig
Kirchner’s Street, Dresden, is an enormous canvas that commands the gallery space
in which it hangs. Painted at the turn of the century, it depicts women on a busy street,
the bustle of their skirts peeping out beneath their coats, flowers pinned to their hats,
an electric street car in the distance pushing through the crowd. The scene reminds me
somewhat of an Edwardian-era Melbourne tram scene. The oil colours are iridescent;
vibrant orange, pinks and deep greens are eye-catching, then you look closer and the
women’s faces are vacant, empty despite the busy scene surrounding them.
The Kirchner was one of the masterpieces that stood out from the collection for
Miranda Wallace, NGV’s senior curator, international exhibition projects, who
co-curated MoMA at NGV with MoMA’s Samantha Friedman, Juliet Kinchin and
Christian Rattemeyer. Wallace, who had the enviable task of travelling to New York
several times to research the MoMA archives, said curating the exhibition was “a bit
like building a jigsaw” that involved delving into MoMA’s extraordinary collection
and reflecting on telling the story of contemporary art through a historical
framework – but “a different story of the history of modern art than you would have
got 50 years ago”, she says.
“We’re not trying to show the ‘isms’ and movements, [more] the history of art, so
being able to see a Cubist work by Picasso alongside a painting by Léger, for example,
it’s not of that same movement but of the same time,” Wallace says. “It’s a much more
open way of seeing art of the past, opening discussions around parallel modernities.”
For Lowry, the concept of MoMA at NGV is simple: “Our goal is to have produced
together an exhibition that has lots of great art, ranging from iconic and familiar to
surprising and unfamiliar. And in doing that to spark a conversation.”
MoMA at NGV opens on June 8; go to www.ngv.vic.gov.au.
 Above: The Portrait (1935) by René Magritte. Below: La Goulue
at the Moulin Rouge (1891–92) by Henri de Toulouse-Lautrec.

Above: La Japonaise: Woman Beside the Water (1905) by Henri Matisse.

Below: The Persistence of Memory (1931) by Salvador Dalí.

JUNE 2018 155

 VA L E N T I N O

COOL
COUTURE
JUNE 2018 157
VIKTOR & ROLF
J EAN PAU L
G A U LT I E R
Three specialists, 200 hours
and 25 metres of the finest
fabrics went into Gaultier’s
futuristic folklore gown, which
paid tribute to Pierre Cardin,
the legendary couturier who
gave 17-year-old Gaultier his
first job in fashion.
Gaultier Paris taffeta, lamé
and radzimir gown with leather
bustier and jewellery.
 A L E X A N D R E VAU T H I E R
Vauthier based each of his looks on characters from art and
cinema, including Catherine Deneuve’s Miriam in The Hunger,
Blade Runner’s Rachael and The Fifer by Édouard Manet.
From left: Selena wears an Alexandre Vauthier haute couture leather dress,
W I L LY VA N D E R P E R R E

cap and boots. Chanel Fine Jewellery necklace and ring. He Cong wears an
Alexandre Vauthier haute couture embellished grain de poudre jacket,
bustier, pants and hat. Piaget necklace. Signe wears an Alexandre Vauthier
haute couture twill dress with brooch. De Beers bracelet. Anok wears an
Alexandre Vauthier haute couture embroidered velvet jacket with brooch,
leather pants, sunglasses and hat. Dior Joaillerie ring.
 GIVENCHY
Clare Waight Keller, who joined
Givenchy last year, approached
her first couture collection with
contemporary eyes, employing
classic couture fabrics – tiers of
silk gazar, faille and double satin
– in highly structured dresses.
From left: Anok wears a silk-faille
bustier dress. Kiki wears an asymmetric
wool coat and silk-gazar dress. Selena
wears a double satin bustier dress
embroidered with velvet and sequins.
Jonas wears an embroidered evening
coat, silk shirt and leather pants with
hand-laced seams. All Givenchy haute
couture. Boucheron jewellery.
CHRISTIAN DIOR
Maria Grazia Chiuri paid homage to surrealist
artist Leonor Fini in a monochromatic
collection that drew on the movement.
From left: Maryna wears a cashmere coat with point
W I L LY VA N D E R P E R R E

d’esprit shirt and tie. He Cong wears a satin coat with

dotted tulle shirt and tie. Slone wears a silk and velvet
dress with vinyl mask. Alyssa wears an organza bustier
dress with embroidered feather cape. All Christian
Dior haute couture clothing and jewellery.
CHANEL
DISTURBING
TRENDS
Meet the fashion trend forecaster turned psychological warfare
expert who blew the whistle on the misuse of Facebook data to
spread disinformation in democracies. By Xerxes Cook.
Christopher Wylie is the “gay Canadian vegan who somehow ended up creating
‘Steve Bannon’s psychological warfare mindfuck tool’”, as he put it to the Guardian
earlier this year when he blew the whistle on Cambridge Analytica’s disinformation
operations during the Brexit and Trump votes. And we can add fashion student to
the unlikely mix of identity labels, as Wylie, who had previously worked on
campaigns for Barack Obama and Britain’s Liberal Democrats party, was studying
for a PhD in fashion trend forecasting while working for Cambridge Analytica. It
was during this time Wylie began developing an algorithm to quantify culture,
which was later used to influence the political opinions of millions of people whose
data he harvested from Facebook. In the aftermath of Wylie’s revelations, Cambridge
Analytica announced in May that it was shutting down and declaring bankruptcy.
I met Wylie in London in the week in which Mark Zuckerberg testified to US
Congress about the data breach and its influence on American democracy, and
ahead of Wylie’s own testimony to a select committee of British Parliament in late
March, to hear his thoughts on the similarities between politics and fashion, fake
news, and whether the era of moving fast and breaking things is over.
Xerxes Cook: “What are some of the similarities between politics
and fashion?”
Christopher Wylie: “Politics is just as cyclical as fashion, and so much of politics
is about the aesthetic you’re presenting, and the narrative you’re presenting. You’ll
have these major events in fashion – fashion week, shows, different seasons – and
you’ll have the same thing in politics. Trends are just as important in politics as they
are in fashion, just that rather than an aesthetic trend, it might be an ideological,
behavioural or cultural trend. In politics, you need to keep track of all kinds of
trends, because you need to know what the adoption of that will be six months down
the road. Knowing that is going to help you win an election.”
XC: “And in your eyes, how do they differ?”
CW: “Amazingly, with fashion, not only is it visually and aesthetically really
enriching, computationally and mathematically it’s really hard. How do you define
bold? You could come up with theories that certain colours are bold, but are they
really? If I go to a black-tie dinner but I’m decked out in camo, I’m actually wearing
quite muted colours. Something that is intuitive for a human is usually the hardest
thing to teach a computer.”
XC: “How did you get from teaching computers to how to
understand fashion to inventing the ‘psychological warfare
mindfuck tool’ that played such a decisive role in swinging the
Brexit and Trump votes?”
CW: “It’s about profiling. Profiling is important from a military perspective, because Christopher Wylie was
it’s a way to create early warning flags about somebody who is more susceptible to the director of research at
the discredited – and now
radicalisation. The premise of this research was about understanding how our defunct – Cambridge
psychology influences our behaviour or our adoption of things, and combining it Analytica, working on
LU C A C A M P R I

‘informational warfare’,
into this idea of using data to capture a person’s identity. Because if we know who
before quitting and
this person is, we can design personalised interventions that will change their turning whistleblower.
behaviour in a way that is bespoke to that person.” ¤

166
JUNE 2018 167

XC: “What was Steve Bannon’s role in this?”
CW: “Steve Bannon is a really militant guy; he uses the term “YOU FIND
‘culture war’ quite pointedly. He literally means: ‘I want to PEOPLE WHO
fight a war, in our culture.’ For him it just clicked: if he’s going
to fight a war, he needs an arsenal of weapons. What are the
WOULD BE MOST
weapons for culture? It’s information. It just so happened that AMENABLE TO
Steve Bannon was setting up Breitbart UK, so he was going THIS PARTICULAR
back and forth to London, and Alexander Nix [the founder of
Cambridge Analytica’s parent company, SCL Group] then
CONSPIRACY
introduces me to Steve Bannon. He tells me about this idea of if THEORY AND LET
you want to change politics, you have to change culture. I then THEM START
said that if you want to change something you first have to
know what it is. What I told Steve Bannon was that the units of
GOING DOWN
culture are people: this is why we use a lot of the same words THE RABBIT-HOLE
to describe cultures as we do people, as ultimately culture is OF CLICKING
made up of people.”
XC: “From a data point of view, the units are people,
THINGS”
and people are comprised of their data trail and
online likes?”
CW: “Exactly. If the units of culture are people, and people can be quantified by
their social data, then we can quantify culture using the internet, right? If we’ve
then quantified culture, then we can change it. What he was talking about was very
similar to what I was researching, when I would take off my information-warfare
hat and put on my fashion hat. He wanted to create a trend. And a trend is a
movement in a culture; what we call an information cascade – and you can measure
that. Once you measure it, you can then identify the exact people who if they move
slightly this way, you’ve then changed the culture.”
XC: “Some of these ‘personalised interventions’ included fake news.
168
Do you think stories such as Hillary Clinton
running a paedophile ring and so on were
spread by Cambridge Analytica using the
algorithm you had made?”
CW: “SCL Group specialises in rumour campaigns, and,
ultimately, disinformation. Cambridge Analytica will set up
all kinds of entities and companies which then disappear, so
no-one can trace what they actually do. The way it works is
that you set up blogs and news sites – things that don’t look
like campaign material – and you find people who would be
most amenable to this particular conspiracy theory, unfact
or ‘alternative fact’. You let them start going down the rabbit-
hole of clicking things. The idea is that you start showing
them the same material from all these different kinds of
sources, so they feel like they see it everywhere, but they
don’t see it on the news. They then question why the
‘establishment’ doesn’t want them to know something.”
XC: “how long did you spend at cambridge
analytica?”
CW: “A year-and-a-half. I left at the end of 2014. Some of the
clients and candidates we started meeting were batshit
insane. The research we were doing still maintained this
ethos of us working in an informational war context, but
actually now this was going to be applied in a democracy
– targeting and exploiting essentially mental vulnerabilities
in certain types of people, in the context of making them
vote in a particular way. We’re all sitting there thinking:
‘What the fuck are we doing?’”
XC: “What did you do after you
jumped ship?”
CW: “It’s funny, because first Alexander
[Nix] tried to offer me more money, and
I said: ‘It’s literally not about money.’ He
came back and said: ‘You like fashion,
what if we find you something in
fashion and you can keep doing it, and
we can switch back and forth.’ I was
like no, your offer is fashion and
fascism. The last project they were
planning out was in Nigeria. They were
working with hackers, hacking the now
President of Nigeria’s medical records
for kompromat [compromising material].
They created these videos of people
being burned alive in order to
intimidate voters. I’m like, this is not
conducive to a healthy democracy. Why
the fuck would I do that? Why would I create content so that
people are too scared to vote? So some billionaire can get his
candidate in and make money from exploiting this country?
That’s fucked-up. So I leave. I then start doing some work
I L LU S T R AT I O N S : B E N W I S E M A N
with the Centre for Fashion Enterprise, which helps
promising young designers such as Craig Green, who I’m
wearing now. I just needed a break. This was heavy, heavy,
heavy, and I needed something light.”
XC: “In your testimony to MPs at the British
Parliament’s Digital, Culture Media and Sport
Committee hearings, you said you disclosed wiring is appropriate. You can work in this space, but don’t create an open platform
Cambridge Analytica’s activities during the that foreign actors can use to exploit and interfere with our democracy.”
Brexit and Trump campaigns because you XC: “How about data in fashion? How should companies go about
fundamentally disagree with the use of military using their market research and inventory data?”
psychological operations on civilians. Do you CW: “I think there’s a way of applying data science and marketing tech to actually
believe these disinformation techniques swung catalyse creativity. If you have data on customers and you do a proper job at
both the Brexit and Trump votes?” segmenting the market, you can find a market for anything. You might have a very
CW: “Yes. It was very uncomfortable sitting there thinking particular aesthetic, and there might only be a market of 10,000 people out of the
I have possibly played a role in this. There’s a difference whole world, but that’s where an algorithm will actually help you: it’ll help you find
between a really sketchy company and a really sketchy the people who want to buy your thing. One of the things that I do find interesting
company that fundamentally changes geopolitics. It was right now is what people might call irony, like in Vetements, Balenciaga … ”
the election of Donald Trump and listening to narratives XC: “ … this very knowing, self-referential meta-trend.”
that I remember from Cambridge Analytica: the wall, CW: “Like with Virgil Abloh, where it’s literally, this is a ‘black dress’, or Vetements
‘drain the swamp’, all the NSA with their logos. Taking the piss. It’s where I’ll look to fashion
[National Security Agency] and Deep to better understand how people feel more generally. If you
State paranoia … these were all “THERE’S A have a lot of designers who are starting to make stuff that is
research dreams that Steve Bannon set ironic – or stupid, like [Vetements’s] €200 DHL T-shirt – and
up. I don’t have the words to describe
DIFFERENCE people are buying it, it’s because you have a total collapse of
it. I clearly fucked up big time, left this BETWEEN A trust in institutions, including fashion institutions. That says
company, which I helped set up, to its REALLY SKETCHY a lot about how we see the world right now. This is where
own devices, and you’ve now got this fashion, and culture in general, is so important. Right now,
– Donald Trump as President.”
COMPANY AND A there are no progressive Steve Bannons out there. There’s a
XC: “Whistleblowers are the REALLY SKETCHY reason why he’s obsessed with culture and fighting a culture
counter-cultural heroes of COMPANY THAT war: there’s nobody fighting back. The fashion industry could
do more to make people care about stuff. It has a lot more
today. Yet there seems some
ambivalence in your case, with
FUNDAMENTALLY power than I think it realises. You never see the fashion
the feeling we can’t consider CHANGES industry going around playing hard politics, but it could, just
you a true hero because you GEOPOLITICS” like every other industry does.” ■

chose to work with these

people in the first place, and
because the consequences of you doing so are
unbelievably catastrophic.”
CW: “That’s fair. I would agree with that. I don’t shy away
from the fact that I did some fucked-up shit. The thing
I would say, though, is that if you look at Edward Snowden,
he worked for the NSA. Chelsea Manning worked for the
US military. When you actually look at most whistleblowers
who release information to the public about what they’re
working on, it requires them to be complicit in the first
place: that’s how they know about it. There’s no such thing
as a perfect whistleblower. So, absolutely, they are fair
criticisms. I accept those criticisms. That’s in part why I’ve
come forward. But you see the impact: Facebook has
known about this since 2016, yet it was only until a massive
amount of media pressure that you then get Mark
Zuckerberg testifying at Congress for two days straight.”
XC: “It seems as if your legacy as a
whistleblower, not your legacy as the
research director of Cambridge Analytica, is
to bring about the first era of real regulation
to the internet.”
CW: “I think the biggest impact of blowing the whistle is
the mindset. Legislators are now starting to realise the
digital space is integral to the physical space. Data is like
electricity now. It’s unreasonable to say if you don’t want to
be electrocuted, don’t use electricity. But it’s not
unreasonable to demand safe building codes so your

JUNE 2018 169

170
Thin air
A modern and increasing necessity, air travel inflicts an arduous journey upon the traveller
with a fear of flying, but it can be beaten, writes Alice Birrell. Artwork by Jim Darling.
It is 3.30am on a Friday and my parents have woken me up. Without a
second’s hesitation – there is no iPhone alarm to snooze – I bail myself
out of bed to get dressed and brush my teeth. I’m 10 years old, feeling
nauseous from the early hour, and a van is coming to take us to the
airport, which is a 45-minute drive through the dark streets. I am a
jangling mass of excitement. We have family round-the-world tickets
for a six-week trip of a lifetime, a time that is as without end for a
10-year-old as it is for a working adult, and we are to catch a plane to our
first port of call in a schedule that includes England, France, New York
and on to Disneyland. I can’t eat a bite of breakfast.
It’s nearly two decades later and I am sweaty-handed, fumbling with
the headphone connection to listen to an announcement about the
weather for the flight ahead on a solo work trip from Tokyo back home
to Sydney, and I am almost in tears because I missed what the pilot said.
Did he say cyclone? Surely not through it? Around it? Can you go
around? It didn’t look possible when I saw the
continent-sized snarling mass on the news. Dinner is
served and I don’t eat a bite. IT HELPS TO
There exists two parallel worlds in this life – yours:
easy, sometimes stressful plane trips; and mine: a tense,
KNOW THAT
dark place that exists after the doors are armed, a place AVIATION IS
studded with bouts of bloodcurdling fear at the chime ON OUR SIDE
of the seatbelt light. A kind of real-world Upside Down
that roughly one in six people have experienced. The
IN HOW WE
National Institute of Mental Health in America EXPERIENCE
estimates that as high as a quarter of the US population FLIGHT
has experienced flight-related anxiety. It seems quite
feasible then that we have either travelled with, are, or
might yet become this kind of flyer.
With air travel on the rise, up from two billion people in 2006 to
3.8 billion in 2016, flight-related anxiety is harder to dismiss as
something to be dealt with only when it occurs. For me, boarding planes
frequently for work meant something had to be done, efficiently and
effectively. As though approaching a writing assignment, I began to
research. First, bad news was in store: severe turbulence is on the rise as
science links tumultuous jet streams – meandering rivulets of cool and
warm air rushing around up there – to global warming. If, like me, you
are a woman, the news gets worse. A study led by Boeing revealed
women are twice as likely as men to experience fear of flying.
Psychologists have observed a peculiarity of this type of phobia; it
can tend to develop as we get older. Peruvian novelist Mario Vargas
Llosa wrote that “fear of flying wells up suddenly, when people not
lacking in imagination and sensitivity realise that they are 30,000 feet in
the air, travelling through clouds at 800 miles an hour, and ask: ‘What
the hell am I doing here?’ and begin to tremble.” Mortality salience –
our awareness that death is inevitable – has long been observed as
coming about as we age, and this was true for me, when somewhere
between the ages of 10 and 29, I shifted into the sphere of fear. For some it
becomes pronounced as personal relationships develop and strengthen,
for others it’s indicative of an underlying anxiety. Sometimes it’s both.
For every individual, the way up and out is different. There are courses,
apps and hypnosis, and then there was the method that worked for me,
though it may not work for others. I sat down with a professional trained
to help five times, and five only, and it was gaining knowledge alongside
long hard practice. It wasn’t sporadic bouts of relaxation exercises or
listening to people say things like: “Flying is the safest mode of transport,
22 times safer than a car.” Without a framework or methodical guidance,
it’s understandable why this kind of treatment doesn’t work. Instead,
although it isn’t new, tried, tested empirical evidence-based cognitive
behavioural therapy (CBT) assisted me in processing information in a way
that doesn’t feed into anxieties. “Twenty-two times safer”, I would usually
follow up mentally with, “is not that high”, but CBT teaches you to short-
circuit unhelpful thought patterns with disruptive, declarative facts, or
“challenging thoughts” that stop catastrophising where it begins, inviting
rational thought back in. Luckily, flying has an excellent set of facts to
bolster it, so much so that psychologists often suggest
patients research them – not so much reports on accidents,
rather the mechanics of flying.
Cherry-picking some of these and stowing them
away to retrieve when needed was the key to working
out my coping mechanism muscle. A select few include
airtight logical titbits from retired pilot Captain Tom
Bunn in his app, SOAR: “Pilots, because they know the
facts, simply cannot understand why passengers have
any concern at all about turbulence” or: “Pilots change
altitude only for passenger comfort” and, endearingly:
“The airplane couldn’t be happier than in turbulence.”
I have also learnt that modern aircraft wings are
pressure-tested to breaking point and planes undergo g-force tests that
will never likely be replicated under natural conditions.
Interestingly, of all the layered fears bundled up in planes – congested
space, flying alone, flying over water, small aircraft, long-distance,
turbulence is a particular sticking point for many. And it’s no wonder:
the high-paced inertia throws synapses and balance into disorder,
bamboozling the inner ear. It’s hurtling over a bump somewhere
between 740 and 930 kilometres per hour. In severe turbulence, one
pilot observed that a plane’s drop in altitude was nine to 12 metres. That
is like jumping off a three-storey building.
Bumps of this kind, however, are highly unlikely. Steve Allright, pilot
and author of Flying with Confidence, says severe turbulence made up
only five minutes of the 14,000 hours flying time he has under his belt.
Leisure travellers, he says, “will almost certainly never experience it, and
nor will most businesspeople”. I’ve developed this trick: I imagine the
captain and first officer talking about something banal like the latest
recruit to a football team as we scud over another roiling patch of air.
The journey back to comfortable is somewhat like these rides. Smooth,
then jolted back into the fear state. The motivation to keep at it is fuelled
by the awe modern flying can inspire. To be spirited onto foreign soil is
wondrous. We discover places, not slowly as before the air age, but
Continued on page 176
JUNE 2018 171
VOGUE VOYAGE

RESORT

Return to
Hamburg
It was a homecoming of
the highest order when
Karl Lagerfeld staged
Chanel’s 2018 Métiers
d’Art in the city of his
birth drawing inspiration
from its seafaring history,
as Vogue discovers.

172
 Opposite: the modern
glass structure of
Elbphilharmonie rests
on an old tea and
tobacco storehouse on
Hamburg’s Elbe River,
the site of Chanel’s
Métiers d’Art show.
This page: inside the
building’s Great Hall
where the show was
held. The hall’s design
was inspired in part
by the ancient Greek
theatre of Delphi.
G E T T Y I M A G E S I N D I G I TA L

JUNE 2018 173

VOGUE VOYAGE

Phoebe Tonkin attends the show in Hamburg. Models in fisherman-style cable knits.

Tweed that echoes Hamburg’s brickwork. A Chanel shipping container-inspired bag. Sailor caps: a nod to the port-city location.

Anna Ewers for Chanel Métiers d’Art Paris. Lily-Rose Depp in Chanel.

1 74
 Models encircle
the orchestra,
led by cellist
Oliver Coates.
K
arl Lagerfeld might have said that he wasn’t breaking his rule
of not looking back to the past by staging Chanel’s Métiers
d’Art collection in his birthplace of Hamburg, but he hadn’t
fooled many. Summoning 1,420 power clientele as well as media, buyers
and the cream of the German creative scene – actresses and film
directors alike – to the soaring, gleaming, brand-spanking new
Elbphilharmonie, Hamburg’s concert hall, there really was no more
authentic venue for the creative director.
The Métiers d’Art travelling roadshow, which presents the house’s
pre-fall collection and the fine craftsmanship of the French ateliers the
house engages to painstakingly produce its confections – Lesage for
embroidery, Lemarié for feathers, Desrues for buttons, Causse for
gloves, and so on, has been circling closer to (Karl’s) home of late. From
Dallas to Tokyo, Salzburg, Rome and most recently Paris, where the
Chanel ateliers reside.
In December, after 16 years of Métiers d’Art, Lagerfeld
took to the port town an ensemble of the house’s pretty “I WAS REALLY
young friends, including Kristen Stewart, Anna
Mouglalis, Australia’s Phoebe Tonkin and Lily-Rose
MOVED BY THE
Depp, who said how touching it was to see him back WHOLE ENERGY
G E T T Y I M A G E S I N D I G I TA L
home. “I was really moved by the whole energy of it and OF IT AND HOW
how the music went so well with the clothes,” she said.
“It really reflects the connection that Karl has to this
THE MUSIC WENT
place. I’m sure it means to him what it means to all of us SO WELL …”
to come home; this kind of comfort.”
During the show an ensemble of the musical variety took to the stage
of the Grand Hall. Guests took in the Resonanz orchestra, led by London
cellist Oliver Coates, who performed music composed for the show,
sending notes floating up to the top, tent-like reaches of the Herzog and
de Meuron designed building.
Below, Kaia Gerber and Anna Ewers led models winding their way
down cascading terraces in navy cable knits, leg warmers and sailors’
duffels slung over shoulders. Chanel has long been known for its
nautical connection – Coco made famous the marinière stripe – and it
was updated in trouser suits, smart naval jackets trimmed in naval
braid and topped with captain’s hats. A check tweed that mirrored the
brickwork of the city, and metallic skirt suits, were signed off with
shimmering evening looks swathed in black sequins.
Lagerfeld had the most fun with the accessories. Take the shipping
container, yes, shipping container-inspired
minaudières. Only Chanel could make such a utilitarian
object chic. Or the accordion bags in felt to look like a
ship’s musical instrument of choice.
Post show, post standing ovation, guests ventured on to
Fischauktionshalle, or fish auction hall, to drink
champagne and eat the catch of the day as candles melted
over the tables. It was a port of call to end the night,
replete with tattoo parlour, dancing and a swashbuckling
choir. “Something about that show was really, really
special,” Depp said. A true homecoming, Chanel style. ■
JUNE 2018 175
CONTINUED FROM PAGE 130
“I was in a play at Sydney Theatre Company and I thought I’d made it.
I was 19 and thought I was playing a dramatic role and as I got on stage
people just started laughing at me and I was like: ‘What am I doing?’ It
was very confusing that first show, and then I just leaned into that and
realised that there is something people find funny about me, so I just kept
doing it.” She adds: “Only when I got the ATYP international scholarship
from Nicole Kidman did I realise I wanted to specialise in comedy.”
When she got to America she had the chance to meet Jason Segel and
Amy Poehler on two separate occasions and received some great
advice. At that time, she pitched herself only as a comic actress, but
that doesn’t mean she’s given up on serious roles; out of the seven
agents who manage her, one is scoping dramatic roles for her.
I ask if she were a castaway on a desert island, who she would want
there with her to make her laugh. “Jennifer Saunders – she is a hero of
mine. I just adore her and I was so glad to cast her as my mother in the
opening scene of Isn’t It Romantic … and Joanna Lumley and also Dawn
French, and then Australians Magda (Szubanski), Gina (Riley) and Jane
(Turner) – they have all been big comedy influences. Then from
America, Amy Schumer, Tina Fey and Amy Poehler are very, very
funny, and Sarah Silverman has the sharpest wit …”
“When I was 18 I had to run away, which was a real bitch because of
the chafing …” – Fat Amy, Pitch Perfect 3
This is the kind of line that endeared Rebel Wilson to Michelle
Obama. “She is a fan of Pitch Perfect,” Wilson confirms. She has been
invited to make a speech with the former First Lady for College Signing
Day at Temple University in Philadelphia, which encourages kids to
further their education. “She had invited me to the White House after
Pitch Perfect 1 came out, but I was filming and couldn’t travel. She is such
a nice woman and I like what she’s all about – and her arms,” she says
with a laugh. “When Barack Obama was in office she was encouraging
a lot of health programs and she just seems like a really cool woman
and I hope she runs for President of America – her or Oprah. They are
both in the same category: inspiring, good, strong women.”
We talk about women standing up for themselves and #MeToo.
Wilson admits a married man has once coerced her in a hotel room and
also dealt with a sexist incident during the filming of Pitch Perfect 1.
Of equal pay, she says: “I have been in such girl-power projects, my
first movie Bridesmaids and then Pitch Perfect. The girls far outweighed
the boys and got paid far more. Pay disparity hasn’t been an issue and
I also think I’m a good negotiator, which is why I get good contracts.
Some women may not know their worth, but I have a good sense of it.
I don’t need to be paid more than men: I just need to be paid fairly.”
Of the benefits of being famous, she says: “You get to meet really
interesting people and get to know the real person, and have crazy
experiences, and get free tickets court-side to the LA Lakers.”
Wilson tells it like it is. She is a woman making the most of her
success, on a mission. Total respect.
“You crush it so hard your nips tingle.” – Fat Amy, Pitch Perfect 3
Oh yes, she does. And so do we. ■ above a boundless Indian Ocean.
176
CONTINUED FROM PAGE 171
abruptly, space and time concertinaed, making the unveil more
exciting. To go full pelt down what looks like a super-sized road, then
cantilever into the sky in a softer float is a wonder.
Writers seem to note this potential for profundity at 39,000 feet.
Elijah Wolfson writing for the Atlantic noted heightened emotions
induced by oxygen deprivation, or hypoxia, at high altitude. “We cry
happily when we recognise, deep down, that every connection we
make in life could end up severed.” Nathan Heller, writing in the New
Yorker, observed: “A part of me is sure I’ll die at every take-off, yet
I need to feel that panic and lift or I’m hopeless. Flight is the best
metaphor for writing that I know.”
When I think this way, I instantly feel better. I think of the A380 as a
big cruise ship in the sky. It also helps to know that aviation is on our
side in improving how we experience flight. Lasers that detect clear air
turbulence (CAT), the type that tips over drinks, are being developed
by Boeing to scan 17.5 kilometres ahead of the aircraft. Qantas, in an
unprecedented partnership between airline and science, is working with
the Charles Perkins Centre to monitor passenger responses to long hauls
on the route between Perth and London, including measuring blood
pressure, cardio-metabolic states and cognitive function.
While not directly aimed at curbing the fear of flying, for me, it
means the physical factors that contribute to a decreased ability to deal
with anxiety are minimised. Leading the research, Professor Stephen
Simpson, says Qantas has worked with the University of Sydney’s
research institute to see if changes in diet, regulation in temperature
and meal service times can encourage better sleep patterns. “Body
clocks are critical in coordinating physiology, and that includes our
mental state,” he says. “We’ve worked on the timing of when people
are fed, the cabin lighting shifting throughout the flight in wavelength,
temperatures going down when we’re trying to encourage people to go
to sleep, and then rising again to wake people up.”
With results pending, a better shot at sleep still means a better chance
at a calm flight when you wake. A 2015 study published in the Journal of
Neuroscience found that a night of sleeplessness compromises the ability
of the amygdala, the brain’s emotion-processing centre, to determine
what is important to worry about and what is not. Researchers found
the amygdala saw everything as important, which can trigger the
adrenaline-fuelled physical stress response.
So, those sweaty hands. Now when I feel them coming on I think
about the miraculous ability to take to the skies. How journalist
Laura Smith said that flying was “to insist on the ethereal in the
weighted world”. Like anything worth doing, flying rewards those
who challenge their limits. Now, where once I would refuse food for
24 hours and arrive drawn and emotionally spent, I order up big. On
the way home from Europe last month I ordered an overdone dessert.
It was on a white tablecloth served by a lovely flight attendant. I ate the
N I CO L E B E N T L E Y
whole thing with tea as the plane softly dipped and lifted on the
airflows and the sun slung itself lazily over the horizon five kilometres
■
JUNE 2018
VOGUE PROMOTION
VOGUE PROMOTION
 Gemini
22 MAY – 21 JUNE
You’re in your eloquent element
now, gathering hot gossip and
essential information, although
your career could stall as you
get distracted by pleasure, and
spending could get out of control
too. More witty than usual, others
could fall under your spell, so if
you’re not in for the long-term,
make your intentions clear.
STYLE ICON: Nicole Kidman
Virgo
24 AUGUST – 22 SEPTEMBER
You could feel blissfully fulfilled
this month or feel it’s time to
explore new options. There are
no grey areas in between, so let
reality rather than fantasy be
your guide. Your career benefits
from a burst of inspiration, and
putting your ideas out there will
work better than sweating the
small stuff behind the scenes.
STYLE ICON: Carmen Kass
Sagittarius
23 NOVEMBER – 21 DECEMBER
A recent surge that had you
wanting to be everywhere at
once could ease now. You may
need to fly solo for a while or
pair up with a plus one who
could bring fresh energy and
new ideas your way. Cash needs
care, but home life seems to be
able to function without your
usual all-seeing eye this month.
STYLE ICON: Hailee Steinfeld
Pisces
19 FEBRUARY – 20 MARCH
Your intuition may be missing in
action this month. Relying more
on logic than instinct forces you
to think rather than feel, so you
can assess your love-life, career
A S T R O LO G E R : S T E L L A N O VA
and friendships as they are, not
how you wish them to be. Take
the pressure off emotionally
now by pouring more love into
feeling stable and sorted.
STYLE ICON: Sophie Turner
Cancer
22 JUNE – 22 JULY
Expect an avalanche of
confidence now. Your ideas are
on the money and you may even
feel so positive that a work or
love partner could feel that
you’re throwing shade their way.
Involve them in your plans, but
take the kudos where it’s due.
A past love or neglected talent
could also resurface this month.
STYLE ICON: Joan Smalls
Libra
23 SEPTEMBER – 23 OCTOBER
Open up your world now as
the roads less travelled are the
ones that will lead you to new
experiences, connections and
opportunities. Home is unlikely
to be where your heart is, but
throwing yourself into your career
could lead to fresh friendships,
award-winning collaborations
and may improve your love-life.
STYLE ICON: Naomi Watts
Capricorn
22 DECEMBER – 20 JANUARY
You could be heading for a
meltdown this month, but a better
way to deal with the health
or work routines that are
influencing your mood could
emerge to save the day. The
pressure is off you financially,
so since love currently has the
power to work miracles too, let
the help and the healing begin.
STYLE ICON: Ellie Goulding
Aries
21 MARCH – 20 APRIL
Say what you think this month to
whoever will listen, especially if
what you have to say is a fresh
twist on an old issue. You may
need to back down from trying
to move things forward with
your quirkier ambitions or
crazier friends, but getting
creative chez vous could make
romance or a side-hustle flourish.
STYLE ICON: Saoirse Ronan
Leo
HOROSCOPES
June
23 JULY – 23 AUGUST
Any new scheme you want to get
started? This is the time to do it.
Friends are super-supportive,
although work or romantic
sidekicks may seem less
convinced. In six months you’ll
know you did the right thing.
Some hard work lies ahead, but
you have extra charm now, so
use it wisely to get things moving.
STYLE ICON: Greta Gerwig
Scorpio
24 OCTOBER – 22 NOVEMBER
You crave more privacy now.
Financially too, dealing with
issues discreetly beats
broadcasting them to everyone.
A recent full-on phase at home
calms down, meaning you can
explore what you need to know,
be, see or do to advance your
career so more money, respect
and more love is likely.
STYLE ICON: Alicia Vikander
Aquarius
21 JANUARY – 18 FEBRUARY
An obsession with career success
needs a time out now, just as the
more artistic highs you aspire to
get a super boost instead. Taking
better care of yourself could make
you relationship-ready this month
too, although as partnerships
become a priority your finances
could take a hit, so don’t let love
blind you to practicalities.
STYLE ICON: Emma Roberts
Taurus
21 APRIL – 21 MAY
This month is all about finding
new ways to maintain your
current lifestyle or the more lush
lifestyle to which you aspire. Look
for items to sell or skills to share,
or consider renting out your
space. Friends and ambitions may
take second place to feathering
your nest now, but a happy home
means a more loved-up you.
STYLE ICON: Gal Gadot
JUNE 2018 179
 DAVID AND ISSAK IN YOUR ARMS
Designed in Australia, the David In Your Arms, is driven to create
and Issak collection embodies quality bespoke Australian
VOGUE AUSTRALIA DIRECTORY

elegant design, modern & feminine swimwear from their signature knit
silhouettes combined with the fabrication that is functional
seasons most luxurious textures defined by evolutionary designs.
and fine tailoring.
Introducing ÉTÉ – their second
With a glamorous unforgettable Resort collection based on Parisian
showstopper for any social occasion. summer escape to the French
Riviera. Daring, elegant, channelling
Available exclusively online. feminine sophistication.

davidandissak weareinyourarms
davidandissak.com inyourarms.com.au

SHHH SILK HYDE & STONE

Imagine if an anti-ageing product An Australian luxurious
existed that fixed frizzy hair and clothing label with a unique
helped you to sleep better. Well design aesthetic.
we’re here to tell you it does,
friends. Meet, Shhh Silk. Creating timeless, quality
Don’t take our word for it, just garments from natural fabrics.
ask Kim Kardashian, Khloe Designed and Handmade in
Kardashian and Chrissy Teigen. Byron Bay.
They’re big fans.
Exclusive for Vogue readers.
Shhh Silk is the clever girl’s
For 20% off your first order.
best-kept beauty secret.
Use code: ‘VOGUE20’
shhhsilk
shhhsilk hydeandstone
shhhsilk.com.au hydeandstone.com.au

RODE TO NO WEAR LUXE LASER AESTHETICS

A boutique clinic specialising in
An expression of our raw luxe Laser Hair Removal & Advanced
personal style. Earthy tones, raw Skin treatments, using the latest
and textured threads. Designed technology. Our highly trained
and Handmade in Byron Bay. specialists are committed to
providing our clients with the
Exclusive promotion code for best possible treatment tailored
Vogue readers. Use code to their needs.
‘VOGUE15’ for 15% off your
first order. Exclusive to Vogue readers,
20% off first treatment
(excl. cosmetic injectables)
0416 345 911
TO ADVERTISE PLEASE CONTACT AMY FREAR 1300 139 305

rodetonowear luxelaseraesthetics
rodetonowear.com.au www.luxelaseraesthetics.com

BELLE COULEUR HUTCH STORE

Hutch is your go to store for
Australian luxe leather and on trend fashion for both
hide accessories label. women and men.
Travel in style! Offering Australian brands,
with versatile options that can
Each piece is an original be taken from day to night
designed to be uncomplicated and back to day. Create a
in form and function with an style that is effortless,
emphasis on the raw beauty confident and unique to you.
and unique detail of the
Use code: #VOGUE20 for
natural hide and leather.
20% off online

Belle Couleur hutchstoreaustralia

bellecouleur_accessories hutchstore
bellecouleur.com.au hutchstore.com.au
LOST LORELEI BOTANY ESSENTIALS
For beach babes obsessed with shells.
If you love life by the sea and

VOGUE AUSTRALIA DIRECTORY

relaxed linen pieces, you are sure Premium skincare for every day.
to fall in love with Lost Lorelei’s Simplicity and elegance combined
Siren Collection. Each style is in this luxurious all Australian skin
delicately infused with cowrie shell care range containing pure natural
trimmings to instantly make you botanicals including essential oils
feel like an ocean goddess, wherever and Australian native plant extracts.
you wander!
Use our code LOSTFORVOGUE at
checkout to receive 20% OFF
botanyessentials
lostlorelei botanyessentials
lostlorelei.com botanyessentials.com.au

MOVE YOUR BODY LOLA AND LILLY

EVERY SHAPE. EVERY SIZE.
EVERY BODY.
A beautiful fashion boutique
Shop high quality Activewear labels located in Angaston in the
that are designed with YOU in picturesque Barossa Valley
mind. Looks that are not only stocking Australian and
fashionable and functional but will International labels.
have you feeling comfortable and
confident in your own skin, no
matter what shape, size or stage
of life you might be in. 37B Murray Street, Angaston,
South Australia

moveyourbodyfitness lolaandlilly
moveyourbodyhf lola_andlilly
www.moveyourbodyfitness.com.au lolaandlilly.com.au

EVAS SUNDAY

Eva’s Sunday is an Australian

designed linen label with a
modern, layered aesthetic.

Stocked by 90+ boutiques

around Australia & New
Zealand or available in one of
our stores. Details online.

JUNE 2018

evassunday
evassunday.com.au
 WHY MARY TEDDY MAC
Teddy Mac was crafted in front of a
For independent women with a fire-pit over a bottle of red wine in
desire to dress with a difference the winter of 2015. From extremely
VOGUE AUSTRALIA DIRECTORY

and stand out in their own humble beginnings, a whole lot of

glamorous style. crying, and an absurd amount of
temper tantrums Teddy Mac
Why Mary goes retro this winter
Boutique now has a proud array of
with stunning velvet pant suits and
bohemian inspired and ethically
playful dresses.
sourced slow fashion pieces.
Teddy Mac is about being free
spirited, fun, and kind, and with a
janette@whymary.com.au love for linen, texture and prints.
whymaryfashion
whymaryfashion teddymacboutique
whymaryfashion.com teddymacboutique.com

ELIISE MAAR I LOVE LINEN

JEWELLERY Love the seductive power a
Melbourne based jewellery good set of sheets can create?
brand specialising in bespoke So do we.
fine jewellery including wedding Slip into our vintage wash
& engagement rings. French flax, luxe Bamboo &
A brand for the minimalist soft Egyptian cotton bedding
jewellery lovers. Designed and and you’ll want to stay in bed
made to order in our Melbourne all day.
studio. We work with gold, Delivered straight to your
platinum and precious gemstones. door – let us help you live a
See the full collection online. beautiful life.

Eliisemaar ILOVELINEN
maarjewellery ilovelinen
eliisemaar.com ELI ISEMAAR. ilovelinen.com.au

THE V SPOT
An ethical and vegan
friendly shopping
experience for the
finest in eco fashion
and clean beauty.
Every purchase
receives a free
sampling gift valued
at $20.00, simply
mention VOGUE
when ordering.

theVspotAUS
TO ADVERTISE PLEASE CONTACT AMY FREAR 1300 139 305

thevspotaus
thevspot.com.au

BLUSH CLOTHING
PLAYHOUSE

All about the playful side of

fashion, this new and exciting
Australian label is making waves
with their chic yet fun designs
for women in sizes 6 - 22.

Use code ‘VOGUE’ for 20% off! FRANKIE + DASH

blushclothingplayhouse
blushclothingplayhouse
blushclothingplayhouse.com
With natural fabrics and ethical manufacturing, we create luxurious
garments without the impact of fast fashion.
Exclusive offer for Vogue readers 30% off every order using the
code “VOGUE30”
frankieanddash frankieanddash frankieanddash.com
 GET INTO FASHION
STYLING
Work as a freelance fashion stylist or
within the main branches of
professional styling including TV,
advertising, photo shoots, wardrobe
and image consultancy. Phone the
Australian College of Professional
Styling for a free course guide today.
1800 238 811
AustralianCollegeOf
ProfessionalStyling
collegeofstyle
austcollegeprofessionalstyling.com
SOEL WALKER
AN AUSTRALIAN MADE
SKINCARE BRAND.
Soel Walker is about showing your
unique beauty and reminding you,
that the skin you’re in is beautiful.
Natural and organic ingredients,
no chemicals.
Enjoy 10% off with discount code
VOGUE.
Free Shipping for all Australian Babes.
Photography by @nikkicruz
soelwalker
soelwalker.com
LIONEL THE LABEL
Inspired by coastal living and
festival culture, Lionel the Label
introduces a collection of
swimwear, casual wear and
festival fashion.
Made in Australia, each garment
is constructed with precision,
love and a sustainable approach
to the fashion industry.
lionelthelabel
lionelthelabel
lionelthelabel.com.au
ZEBRANO | SIZES 14+
Exquisitely designed clothes and a selection to die for... Select from
Australia & NZ’s top labels in sizes 14+. Mela Purdie, Chocolat, Obi,
Curate by Trelise Cooper, Euphoria, 17 Sundays, Megan Salmon, NYDJ
& so much more.
Get your order delivered GST FREE and get FREE RETURNS on all
Australian orders.
zebrano.com.au
READY OR NOT
A dynamic designer boutique that
offers diverse collections imported
VOGUE AUSTRALIA DIRECTORY
from across the globe. Classic
beauty with a charismatic edge.
Equipment | Go Silk | Joie |
Hunkydory | Free People | 3x1
Estilo Emporio | Area Forte
32b Sunshine Beach Road,
Noosa Heads, QLD
07 5448 0600
readyornotnoosa
readyornotnoosa.com
SILK ONLY
At Silk Only, we believe that
nothing can be better than a
beautiful good night’s sleep from
the hustle and bustle of everyday
life. Based in Sydney Australia, Silk
Only offers a range of luxurious
silk products including bedding,
sleepwear and accessories of the
highest quality on the market.
Exclusive to Vogue readers
20% off every order in June using
code “VOGUE20”
silkonlysleepsolution
silk_only
silkonly.com.au
CHRISTIAN PAUL
JUNE 2018
Inspired by the turquoise blue waters of San Blas, white sand between your
toes in Mexico and tropical fruit salsa dancing in Cuba. You will feel as
though you have taken a step out of reality and into the Caribbean!
Shop Christian Paul’s recent Caribbean Dreamer collection online and in
Myer stores now.
christianpaulwatches christianpaul.com.au
184
L AST PAGE

Chanel box clutches, $16,640

each, from the Chanel boutiques.
PHOTOG R APH G EO RG I NA EGAN
ART DIREC TION D IJANA MAD D I SO N ST YLING K AI L A MAT TH E WS

JUNE 2018
W O R D S : A L C E B R R E L L S H OT O N LO C AT O N AT M A R T M E CO N TA I N E R S E R V I C E S , S T P E T E R S , S Y D N E Y
A L L P R I C E S A P P R OX I M AT E D E TA I L S AT VO G U E .CO M . A U/ W T B
contemporary japanese cuisine

sydney the rocks || double bay

melbourne flinders lane || hamer hall
brisbane eagle street pier
sakerestaurant.com.au