ONE BUT MANY - Frock Paper Scissors

Transcription

issue 08
ONE BUT MANY
the kids are alright | homeland | here comes the sun | you me & the sea
Create your future
with us
Providing Queensland’s premier bachelor degree in fashion is just one of the many ways QUT is leading in the dynamic
creative industries. Our wide range of course options across visual arts and animation, performance and production,
writing and communication, and design - from bachelor degrees to PhD level – ensures you’ll be prepared for your own
creative journey.
With our international reputation for forward-looking courses, practice-led research and a proven track record in
growing creative enterprises, creating your future with us will always be in fashion.
More information
Phone (07) 3138 8114, email [email protected]
or visit www.qut.edu.au/creative-industries
CRICOS No.00213J © QUT 2012 CI-13-434 19957
2013
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BRISBANE
editors Catherine Keating and Brittany Meale
online editors Charlotte Launder and Emily Schweitzer
creative director Robert Koch
art director Leila Swinbourne
layout and design
layout editor Averil Campbell
assistant layout editor Sarah Carlyle
layout and design team Alison Day, Darcy Gee, Evelyn Lin and Kathleen Stern
illustrators Jin Gao and Flora Liu
photo editor Darcy Gee
features
chief sub-editor Alicia Gronert
features editor Sabra Manttan
online sub-editor Ashley Henrickson
online features editor Julia Horan
editorial stylist Suzanne Creevey
features photographer Lauren Payne
fashion and beauty
fashion editor Jessica Lopez-Casas
assistant fashion editor Danika Caldwell
online fashion editor Shenaye Ter Hedde
assistant online fashion Editor Lucy Doyle-Noble
beauty editor Carmody Sutton
lifestyle editor Jade Le-Moigne
online beauty editor Geraldine Baldwin
online lifestlye editor Madi Colless
advertising and public relations
advertising manager Ellanor Gowland
assistant advertising manager Typhanie Vayro
public relations manager Jacqueline Connors
assistant public relations manager Emily Lang
communications co-ordinator Diyanti Camilla
social media
social media manager Bridget Taylor
social media assistant Rafferty Gifford
event and distribution
event and distribution managers Melissa Batterbee and Frances Van Eeden
digital content creation
videographer Michaela Holmes
fashion film editor Grace Spicer-Brown
digital co-ordinator Claudia Jambor
magazine contributors
Kate Conway, Darcy Gee, Alice Given, Tahlia Hays, Michaela Holmes, Georgina Humphries, Claudia Jambor, Amber Kassman, Catherine Keating,
Charlotte Launder, Alberte Leach, Sabra Manttan, Alessia Maruca, Jane Rodgers, Edwina Sinclair, Carmody Sutton,
Bridget Taylor, Hayley Thompson, Teagan West, Matt Willms, I-Man Yin and Hannah Young
website contributors
Seham Alotaibi, Britt Arnold, Diyanti Camilla, Averil Campbell, Liang-zi Carr, Ysabella Chambers, Jacqueline Connors, Kate Conway, Stephanie
Dennis, Ayla Dolan-Evans, Abbie Edwards, Alicia Gronert, Kimberley Hegedus, Georgie Humphries, Claudia Jambor, Sophie Jeays, Amber Kassman,
Jing Leng, Evelyn Lin, Jessica Lopez-Casas, Alessia Maruca, Iyanna McDonald, Byeong Park, Alexander Popescue, Jane Rodgers,
Jingyi Sun, Cecilia Wang, Teagan West and I-Man Yin
contributing photographers
Cam Attree, Georgie Burley, Elizabeth Butner, Keagan Elder, Chloe Gard, Caleb Halkett, Freya Lamont, Alessia Maruca, Danni Ogilivie, Carol Ross,
Janneke Storm, Guangle Tang
managing editors
Kay McMahon and Susan Haines
[email protected]
business editorial assistant
Sarah Matulin
contents
features
11 vain, virtual and vying for vogue
13 the copy and paste era
14 the queensland aesthetic
25 made in australia
27 illustrate the point
36 a retail renaissance
37 collective advice for entrepreneurs
55 in another dimension
56 all about the image
64 thinking responsibly
67 fashion goes walkabout
fashion
16 homeland
28 you me & the sea
46 the kids are alright
58 here comes the sun
beauty and lifestyle
34 take note
38 scent from down under
40 native beauty
53 creative spaces
57 let’s get physical
69 a beautiful future
70 risky business
72 consuming local
73 bugs alive
75 feeding your inner caveman
76 out of this world
FROM THE EDITORS
Over the past eight years frock has taken on many faces – each issue a
snapshot in time; capturing the styles, reporting the issues and foretelling
what is to come for the year ahead.
For those of you who have picked up this mag for the first time, it is our
job to tell you this is a learning experience like no other. Every year, Frock
Paper Scissors acts as the stepping stone to various illustrious careers in
fashion and journalism. frock not only toasts the culturally elite, it creates
the next generation. It takes nothing more than a flick to page 9 to see that
Frocksters go on to great things. This particular masthead, in all its forms, is
synonymous with independence and individuality.
In 2013, frock returns the spotlight to our great homeland, taking you
through the trends, the places and the tastemakers of modern Australia.
‘One But Many’ celebrates the uniqueness that makes our creative inhabitants
so diverse, yet quintessentially Australian. The wider fashion community has
sat up and taken notice, the RM Williams iconic boot is now just at home on
the streets of Manhattan as those of Moranbah.
As editors we have had the privilege to work with the future of Australia’s
cultural elite and have made invaluable connections along the way. Mirroring
the sentiment, ‘One But Many’, the creative purists of over 70 contributors
have helped shape this issue to be as diverse as the country to which it toasts.
Many sleepless nights and countless cups of coffee have resulted in a tangible
(and in our slightly biased opinion) visually stunning glossy to call our own.
So here’s to the girl with sand at her feet and salt in her hair. Here’s to the
trailblazers making the rest of the globe sit up and take notice. Here’s to those
living local and thinking global. To the girl surfing at Surfers or pounding the
pavement in Paris.
Enjoy the issue,
issue 08
ONE BUT MANY
the kids are alright | homeland | here comes the sun | you me & the sea
cover
photography Freya Lamont
styling Carmody Sutton
floral styling Alexandra Lorking-Tanner
assistant styling Kate Conway
model Madilyn Wolens
makeup Darian Michaud
hair Angi Malicki
meet thE
frocksters
words Amber Kassman & Hayley Thompson
Dusty Ansell
Where has your career taken you since frock?
Since being a part of frock 2011 as a photographer, I have moved to
New York and started work as an artist’s assistant with Max Snow.
Working for Max I am involved in all aspects of the creative process
from sourcing inspiration through to digital tech, retouching, and
liaising with publications and websites. Despite specialising in
photography, Max also produces a number of sculptures, paintings
and collages, in which I not only help to create but handle, install
and store.
Since living in New York I have had my photographs featured in
Purple Fashion, Dazed, and Vogue, which was really cool as I’ve
religiously read Purple and followed Jefferson Hack for such a long
time.
What is your most memorable moment from frock?
Being at the launch and seeing how everything had come together.
It’s a lot of fun getting content together but it can also be real
stressful. Knowing how hard all of the team worked, it’s great to
finally see how good everyone’s content looks in the glossy pages
of the hardcopy.
frock helped me to understand how a magazine operates. Working
with layers of editors and understanding how important everybody’s
role is in creating the final product. It’s really no different to any
other publication and I’ve taken quite a lot from my experiences
with frock.
What do you find most challenging about your job?
Fortunately, it’s almost too hard to call it work, I couldn’t be happier
with what I’m doing. I would say that the most challenging part
would be the sunburn [from] spending every second week of the
summer in the Hamptons.
What influential people have you met along your journey?
It’s great being able to meet the people that have been influencing
my work over the years. I’ve met a number of skateboarders and
musicians that I’ve always been ‘in’ to which is really cool.
I’d say that Ari Marcopoulos is one of my favourite artists that I’ve
met a couple of times. He’s a really funny dude... I can’t think of too
many people that are as immersed in such a diverse range of varying
cultures as Ari is.
What do you do when you are not taking photographs?
If I’m not taking photographs I’m definitely looking at them. I spend
a lot of time hanging around art galleries and digging for unusual/
hard to find art books in bookstores. I get out to as much live music
as I can and I’m a massive Knicks fan, so when I’ve got a few bucks
you can definitely catch me in the blue and orange.
What do you find most rewarding about your job?
Working with somebody whose work I’ve been influenced by for
such a long time is super cool. It’s also really good being so heavily
involved in something that I’m really into; art and photography. I
couldn’t be happier.
Was there a defining moment in your career that pushed you in this
direction?
I came across a copy of Purple on level six of the library at QUT and
it kind of just went from there. I was always into taking photos but
never really thought about it. Looking at early Terry Richardson,
Dash Snow, Larry Clark, Wolfgang Tillman’s photos really helped
me and encouraged me to do a lot more of what I was already doing.
It just brought a whole new context to it.
Are there any exciting events happening for you in the upcoming
months?
There’s a few things in the works but aren’t surprises just that much
better?
What advice would you give to future Frocksters?
You’ve gotta be in it to win it (something my Nan taught me).
If there’s something you want you have to get out there and do
something about it. A lot of times it will be a “no” but you’ll never
get a chance if you don’t ask for it. And if you don’t, it’s more than
likely somebody else will.
11
frockpaperscissors.com
Christie Nicolaides
I am a freelance fashion stylist, presenter and fashion wholesaler. I am also the resident
stylist at Westfield Chermside where I perform a wide variety of roles including visual
merchandising, conducting fashion workshops, parades and personal style sessions.
My career as a fashion stylist is always evolving.
What year were you at frock and what was your contribution?
I styled a photoshoot in 2007 and wrote a feature article on the relationship between art and
fashion.
I would make the most of every opportunity that comes your way and enjoy what you do.
There is no right or wrong when it comes to fashion, so stay true to your own personal style.
Tess Cameron
I completed frock as Online Editor in 2011. During that time
I continued writing for the website Concrete Playground and
completed a digital media internship at The Good Guide. I currently
intern for New York website Posse whilst working part time in a
Soho coffee shop (bills are expensive, ugh).
How are your days spent working in New York?
With Posse, I’m lucky enough to be able to write from home. So on
a basic day I brainstorm blog ideas, pitch them and then write them
if I get approval. Obviously in between that I eat and spend a hell of
a lot of time perusing the internet.
What influential people have you met along your journey?
To be honest, the most influential people I’ve met don’t have names
that you’d recognise. I’ve found that the people who inspire and help
me the most are my peers and those who’ve made my internships
possible. They’re the ones who always have an excellent pep talk
ready, show me constant inspiration, and inspire me to do more.
However, I suppose it would be remiss of me to leave out my bizarre
one day stint at NYFW SS14. The café I work at also does catering,
which lead to me spending a day backstage at Rag and Bone serving
Catherine McNeil, Abby Lee Kershew, Jac and a whole slew of other
beauties. I then got to watch the show – being in the same room as
Grace Coddington was phenomenal.
What is your most memorable moment from frock?
Without a doubt, frock was my favourite subject out of my entire
university studies. The friendships I made during that time are still
stronger than ever, and I’ll never forget the camaraderie we felt
during the last few weeks before the launch where we spent every
day, all day in Z6 working like crazy to get everything done and not
minding a single minute of it.
It’s never too early to start thinking about the future and taking
action! There are a bunch of opportunities out there, you just have
to find them. Try not to wait until you have finished uni or you’ll be
in for a rough surprise.
12
vain, virtual and
Vying for vogue
Is fashion blogging and its inherent narcissism promoting a web culture
devoid of creative and intelligent sartorial offerings?
words Alice Given
photography Caleb Halkett
fashion bloggers are leading a virtual ‘Viva la Revolution’,
steering the fashion world in new directions and challenging its
traditional paradigms and modes of operation. A realm dominated
by powerful figureheads - think Diana Vreeland, Anna Wintour and
Franca Sozzani - has had to adapt. Now bloggers exist amongst the
magazine, press and academic hierarchy; their voice and judgement
as important and influential in dictating style and trend.
Their success can be credited to their tactful mastering of self-
promotion. However, while there is a place for the subtle selfie,
there is a growing tendency amongst bloggers to feature very
‘individualistic’ material – a.k.a. their very public love affair with
their lives and the camera. So does this mean witty, informed
journalism, insightful aesthetic predictions and authenticity is
losing out? So it seems.
This evidence is clear for all to see. Look no further than Bryan
Boy, who swiftly readjusts his pose, quickly shines his Gucci loafers,
13
believes strongly in the power of images and their ability to ignite
and pushes capture on the latest iPhone or android (lucrative
our senses and inspire our imagination. “Images and videos can
endorsement deals grant you the choice of both). He converts it to
talk for themselves,” she says. “They can convey the atmosphere
sepia and clicks upload. Three minutes later the ‘likes’ are at 152, but
of a store or place, remind a memory, create a desire and shape
by noon they will have skyrocketed. We have not learnt a style trick
an experience.” Mahyari acknowledges the increasingly vital role
to boot but the verdict so far remains: selfie trumps the substance.
images play in online fashion marketing as they can shape consumer
Society’s growing infatuation with broadcasting online
attitudes and purchases.
snapshots of the ‘me-myself-and-I’ kind has led some clever people
Product endorsement has become one area where blogging
to get researching. In June this year, the University of Michigan
big names are simultaneously winning and losing out. As people
released a case study on the rise of narcissism in social media. The
appreciate celebrity-like status, corporations want their piece of
research concluded that in general, social media “reflected and
the pie. Bloggers have been identified as the perfect marketers
amplified” today’s increasingly vain, egotistical attitudes. Webfor lifestyle, fashion and technology endorsements because they
based platforms that offer sharing of information now act as perfect
operate in the middle ground. They retain an ‘everyday individual’
outlets for people to broadcast material that spans from self-love to
charm which resonates with the masses, while concurrently
downright conceited. “It’s about curating your own image, how you
channelling the fashion fairytale: the desk-bound creative turned
are seen, and also checking on how others respond to this image,”
entrepreneurial style-spotting, globe-trotting socialite. Most
says Elliot Panek, one of the project researchers.
bloggers are the face of their brand and international companies
If it is all about projecting a persona through the content you
are capitalising on their status, relevance, and
post, then there is no doubt the use of image
ability to influence.
and video material is fast overtaking the literary
University of Michigan
Endorsing products provides bloggers
medium as far as online social communication
released a case study on the
with steady revenue to cover expenses and
is concerned. Aestheticism is inherent to
rise of narcissism in social
reinvest in their brand, but it can also make
fashion as it has always been a primarily
visual domain. Therefore, it is not surprising media. The research concluded for less authentic offerings. Some bloggers
are cautious about navigating this area. Many
that today’s fashion bloggers rely heavily on
that social media reflects and want to ensure they do not compromise their
pictures and mini-movies to entertain their
amplifies today’s increasingly originality and stylistic integrity, but others
audiences. Text is becoming a rarity, sidelined
are quick to take the cash and pose with the
in fact, as shots of Bellini’s at twilight on the
vain, egotistical attitudes.
newest Chloé purses and Céline slogan tees.
Grand Canal in Venice and blogsters clad in
This aligns with self-promotion and the maxim ‘look-at-me-inhead-to-toe Prada on the New York sidewalk take precedence.
the-lap-of-luxury’. In many cases over-endorsing undermines the
Alexandra Spencer, model and creator of famed fashion blog
potential many bloggers have to harness and deliver far greater
4th and Bleeker champions the pictorial like no other. Spencer is
aesthetically inspirational material and interesting journalism.
no stranger to self-promotion, appearing in almost every picture
So whether it is endless snaps of socialites or up-and-coming
on her blog, Instagram, and Twitter feeds. She takes a beautiful
scenesters parading their lean silhouettes in Fed-Exed freebies from
photo, plain- clothed or in Pucci, however, Spencer’s blog typifies
McQueen, or pictures of their stroll to fetch macaroons during Paris
the growing trend amongst bloggers to vocalise the #myliferocks
Fashion Week; a fashionista’s drive to blog is alive, buzzing and has
adage. If you’ve got it flaunt it…I guess.
WiFi networks everywhere straining for extra bandwidth.
The power of a first-rate image cannot be completely
Where substance is concerned, there are a few true journalists
downplayed, however. A picture that simultaneously compliments
still beating away at their keys, but modern culture’s craving for
and enhances clothing is the end product bloggers are now
glimpses into the lives of everyday individuals turned fashionlooking for. Twins, Fabliha and Tasfia Reza, are co-founders of the
front-rowers is only propelling offerings towards the fast and futile.
Brisbane-based blog Inside In, Inside Out. The local duo believes
In part, it comes with the territory. Fashion says we can have it
beautifully-styled clothing must be presented in interesting ways
all - it advocates aspiration and consumption in extremes. Today
using professional, striking photography. “No matter how well you
bloggers are continuing to inspire that legacy, becoming a new tool
describe a designer’s clothing or a trend in words, it is the imagery
in the market of promoting dreams. As long as one is aware of that,
that is actually heard most clearly,” Fabliha says. Text has been
they can explore international blog feeds until Lagerfeld leaves the
sidelined and visuals prevail in an image-centric domain with their
roost at Chanel.
ability to instantly communicate style and wow audiences.
Luxury Online Marketing expert, Dr Parisa Mahyari, also
14
The Copy and Paste Era
We have all heard that imitation is the highest form of flattery, but when fast fashion starts to bite
the hand that feeds it, are traditional indent labels still relevant?
words Jane Rodgers
interesting dichotomy that threatens our fast fashion giants.
the insatiable rise of fast fashion has created a nirvana for
“The adapt, copy and paste design is not an art form,” says
consumers. Fast fashion labels manufacture highly coveted runway
Brisbane stylist, Joshua Kilroy. “Fast fashion designers who churn
knock-offs for cheap, redefining the concept of luxury accessibility.
out imitations compromise creativity, and it’s killing originality.”
The commercial dexterity of high street labels like Zara and
There is a common theme to Hollywood blockbusters of the
Topshop is unparalleled, compressing the six month catwalk-tofuture – evolution inevitably leads us to a uniform white suit, with
consumer turnaround time into a mere matter of weeks. And the
identification numbers branding our individuality. Without high
‘ka-ching’ for our wardrobes? Designer rip-offs are flooding into
fashion labels continually directing the innovation of style, fast
stores well before the originals have time to bat an eyelid.
fashion is caught in an imitation loophole.
As retail connoisseurs, our fashion palettes are expanding. No
“Without indent labels to lead the way, fast fashion will
longer is re-mortgaging your home for the sake of a designer frock a
imitate itself to the death... and we will all end up clones of a
point of vogueish pride. With disposable fashion churning through
giant corporation,” says Kilroy. “The whole concept of fashion is
our wardrobes at dizzying heights, all of a sudden we are liberated to
aspiration. Without luxury designers setting that precedence, what
express ourselves with an unprecedented level of frivolity. Proudly
exactly do we have to imitate? A t-shirt with an ASOS logo?”
flaunting, “It only cost me $50!” is sure to earn you far more style
“The continuous consumption demands of consumers has
kudos.
resulted in a kind of ‘wardrobe gluttony’ – buy, sell, buy, repeat,”
As we indulge our fashion appetites in a smorgasbord of nextsays Zoi Vafias, Director of Brisbane Wholesaler Studio Agency. The
day deliveries, you would be forgiven for thinking that consumers
problem for designer indent labels is that the relevance of seasonal
have finally become king. Yet even more so, retailers are revelling in
collections has shifted to a point where the
the profits of fast fashion.
“Fast fashion is risk-free fashion,” explains All of a sudden we are liberated traditional buying cycles are just no longer
Kasey Mckinnon, Madison Square Queensland
to express ourselves with an relevant.
Luxury brands are taking pre-emptive
Wholesale Agent. “When you crunch the
figures, local stock labels are outperforming unprecedented level of frivolity. strikes against the democratisation of fast
traditional indent labels threefold. Stock labels Proudly flaunting, “It only cost fashion; diversifying to stay ahead of the red
line. Camilla homewares licensing agreements
are right on par with international trends, and
me $50!”
are key to profitability, while Ginger & Smart
orders arrive the next day, not in three months
has launched a diffusion range in David Jones, and Sass & Bide
time... eliminating all the risk involved with trend forecasting. What
opened concession stores in Myer.
my customer wants tomorrow, I order today.”
As this self-destructing dichotomy emerges, is there a solution
You do not need to look far to see her sentiments are clearly
for the industry? Vafias says, “For wholesaling, the best solution
shared. A SmartCompany report found that ASOS is flying nearly
to satisfy everybody is for retailers to continue to base their
four full jets worth of fast fashion to Australian shores each week,
distribution model on indent labels, and back it up with fast fashion
while the Topshop powerhouse has announced an aggressive
on the season’s best sellers.” An idealism at best.
expansion, next to transform the Brisbane fashion scene.
The sartorial nirvana that we are all consumed in gives new
It is a sorry sight for Australian designers, whose innovative
light to the age old adage ‘style over substance’. As fast fashion’s
runway designs set the paradigm for seasonal trends, yet are
wrath leaves no survivor in its wake, the cut and paste designer
outdated before the stock hits the sales floors six months later.
is called upon to play homage to the hand that feeds it. As trends
Kirrily Johnston and Lisa Ho are just two of fast fashion’s latest
trickle down the mainstream, luxury fashion plants firmly atop the
casualties. Both designers have been forced into administration
food chain.
with record losses - despite star performances at Australian Fashion
Just like fast food, while the immediate gratification of fast
Week. Major competition from fast fashion giants is making local
fashion is appealing, the long term implications of over-indulgence
designers fear for their fashion livelihood.
are starting to appear around the waistline.
With the dexterity of fast fashion unparalleled, why doesn’t
Australia’s design industry just pack up shop? Yet herein lies the
15
the queensland
aesthetic
Geographical location, climate, and a subsequent attitude towards fashion
all shape a region’s aesthetic. So what defines Queensland’s style?
words Teagan West
photography Lauren Payne
styling Suzanne Creevey
model Miranda Aston @ Que Models
16
she says.
in australia, state-to-state differences extend into the fashion
Amelia Bowe, Editorial Coordinator at Cosmopolitan Australia,
industry, where style aesthetics are defined by geographical region
and climate. Subsequently this attitude extends to fashion, which
says males too were dressing differently interstate, as a lot more
ultimately shapes the local industry.
in Sydney wear tailored garments than those in Brisbane. “They’re
Queenslanders are often considered to have a ‘different’
a bit more experimental with their style whereas I think guys in
approach to many things. From politics and social behaviour to
Brisbane are a little more conservative and maybe not as confident,”
sport and entertainment, Queenslanders are unique.
she says. Perhaps this is because the male population of Queensland
As fashion capitals in New South Wales, Victoria and Western
would be more inclined to ‘dress-up’ in their patterned shirts, board
Australia have publicly fostered a definitive style aesthetic within
shorts and the occasional enclosed shoe rather than don a tailored
the Australian market, Queenslanders have quietly been defining
outfit like their southerly located alter egos.
a look of their own that represents the daring and free-spirited
Golding says she uses a lot of colour and patterns on the pages
qualities embedded in the Queensland culture, both in male and
of U on Sunday because it not only looks good in print, but it is
female attire.
what Queensland consumers are subconsciously looking for.
There is no mistaking that the Queensland aesthetic is unlike
She says using colour on the pages “is not just from an artistic or
that of Victorian sophistication or label-loving New South Wales;
attention seeking point of view, it is just what people want to buy”.
so what defines style in the sunshine state?
In this sense, labels showcasing a lot of colour and lessAccording to Fashion Researcher Margaret Maynard, in her
structured shapes are gaining unprecedented popularity in
three part series about Queensland fashion in collaboration with
Queensland in comparison to other states as a result of the
Queensland style ethos. Golding says, “Camilla is a best selling store
The Fashion Archives; regional, climatic and cultural differences
here in Brisbane and the reason for that is because it’s perfect for our
affect attire in any region. Through her studies, Maynard notes that
climate.” According to Golding, the label’s signature graphic prints,
style in Queensland stems from 20th century relaxed social attitudes
bright colour palette and free-flowing designs are most suitable to
and an emphasis on conservative and sensible fashion choices
style-conscious Queenslanders because they are “vibrant and exotic
that catered for the sub-tropical climate. This pre-21st century
and that is something that the locals really do love.
attitude is the same philosophy Queenslanders unconsciously
“The designers play a big part in the
adapt when dressing themselves with an
underlining demand for comfort, practicality “The more you travel the more culture, whether they choose to pick into the
aesthetic and the vibe of how we dress and
and convenience.
Fashion stylist Liz Golding, Styling you realise that there is a really design accordingly, or if that’s just the way they
design and we embrace because of it,” she says.
Director of Brisbane’s Mercedes-Benz Fashion
big difference.”
Bowe says the Queensland look definitely
Festival and Fashion Editor for U on Sunday in
has a very relaxed feel in comparison to the southern states, and
The Sunday Mail, says climate is a major factor driving fashionistas
said there is less of an emphasis on big name brands in Brisbane.
of the state to restrict structure and over-embrace an array of colour
“People in Sydney go for brands but then still look effortless… they’ll
in their dress. “People embrace colour and pattern here a lot more,”
just wear jeans and a tee but it will be the most expensive jeans and
Golding says. Due to this favourable attitude towards colour and
tee,” she says.
the subtropical climate, the Queensland aesthetic is said to have a
She says style in Queensland does not compromise comfort,
‘resort-y sort of vibe’.
especially in terms of popular footwear thongs, while rubber
“I’m used to it so I think it’s pretty normal, but the more you
double-pluggers are purely for convenience and are by no means a
travel the more you realise that there is a really big difference,”
fashion choice in Sydney, says Bowe. “The only girls you really see
Golding says. “Some of that will be because of the climate and the
walking around in thongs are the ones with sore feet from heels,”
humidity, and also some of that will be because the light is much
she says, after noticing very few people donning the Queensland
brighter and harsher here in Queensland.”
shoe of choice in her new hometown.
Nikki Parkinson, journalist-turned-style-blogger of Styling
The semi-tropical climate and enthusiasm for beach living
You, agrees that the Queensland aesthetic is primarily influenced
in Queensland has created a common consensus towards the
by the weather and a relaxed attitude towards style. “I think the
increasing social acceptance of casual dressing, even in the major
Queensland climate first and foremost influences the Queensland
cities, perhaps underlining the general acceptance of thongs as
aesthetic; secondly, I think we have a more go-with-the-flow
footwear, and not just beach attire.
approach to life, and this translates into the types of clothes we
Fashionistas of the sophisticated fashion elite in Sydney and
like to wear.”
Melbourne will continue to envy the Queensland ‘look’ for its
Like Golding, Parkinson notes colour and structure as the
vibrant colours, free-flowing shapes and intense practicality over
two defining elements of style in Queensland that differs to other
all else, as style in the sunshine state remains unencumbered by its
states. “I travel interstate for work and what I always notice is that
purely unique aesthetic.
generally women in Sydney and Melbourne do not wear as much
colour as Queenslanders. Clothes also tend to be on the more flowy
side in Queensland– especially for summer. We lose the structure,”
17
jacket Easton Pearson
skirt Haut Boheme
bracelets Dinosaur Designs
shoes Stylist’s own worn throughout
homeland
styling Alberte Leach
makeup Yazzi Williams
photography Georgie Burley model Mikaela Ruetschi
assistant styling Lucy Doyle-Noble, Shenaye Ter Hedde
top La La Latrobe
shorts Salté
hat Lack of Colour
sunglasses La La Latrobe
necklace Adornments
kaftan Dinjuan
necklace Thousand Island Dressing
top Haut Boheme
skirt La La Latrobe
necklace Thousand Island Dressing
top Haut Boheme
hat Lack of Colour
necklaces Stylist’s own
dress Haut Boheme
necklace Dinosaur Designs
dress Haut Boheme
Made in australia
Australia’s high production costs are causing many local designers to venture offshore, while others
are pursuing the struggle to keep their products ‘Australian Made’.
words Matt Willms
photography Danni Ogilvie
in her studio in her family’s Sunshine Coast home, young jewellery
designer Holly Ryan is working against the offshore outsourcing
trend; proving ‘Made in Australia’ is possible.
Ryan’s label is completely Australian integrated – everything
from her handmade jewellery to her packaging; it is all made and
sourced in Australia, even the metals and precious stones. Ryan’s
mother works for her full-time and together they are only just
keeping up with production demands. “The strongest thing about
my business is, it’s handmade and it’s Australian… and I don’t waste
anything,” says Ryan.
Ryan’s jewellery adorned Lara Bingle on a Cleo magazine cover
last year and her creations also regularly feature in the pages of
Marie Clare, Russh, Yen and have appeared online for Oyster as well
as on the Vogue Australia blog.
Ryan studied fashion design at QUT and launched her label
in 2011 after the jewellery she designed and paraded alongside her
graduate collection attracted a local stockist. “My label is growing
and keeping it Australian is hard, but I’m doing it,” says Ryan.
However, maintaining Australian manufacturing is not feasible
for everyone within the fashion industry. Sunshine Coast boutique
fashion label Jamie Fame has been forced to move almost all of their
sampling and manufacturing to Indonesia to maintain profitability
in the face of high Australian production costs. “Unfortunately with
the struggling retail market, the boutique sector has significantly
reduced its price points to stay competitive,” says Brad Pengelly,
designer and founder of Jamie Fame.
In the three years since the label was launched, ‘Australian
Made’ has gone from a “unique selling point” to an “obsolete selling
point”. “This has squeezed margins on Australian made brands so
tight, to the point that we were forced to go offshore,” Pengelly says.
According to Pengelly, with the decline in bricks-and-mortar
sales, retailers are not willing to pay a premium for Australian
manufactured garments, even if consumers are. Manufacturing
in Indonesia has allowed the label to reduce its prices, which has
been met with an increase in sales. Also, the creative team can now
create more intricate designs that Australian manufacturers would
not touch because of labour costs.
“A lot of local brands have moved production offshore which has
in turn forced the closure of many Australian production facilities,
making lead times on production a nightmare. Australian-based
brands [that produce offshore] are still using Australian production
places for sampling and product development, but taking their
production overseas,” says Pengelly.
The Secretary of the Textile, Clothing and Footwear Union of
Australia, Michele O’Neil, has a much more positive outlook for
the future of Australian production. According to O’Neil, Australia
has many hard-working and skilled manufacturers, who offer a high
standard of work; they are just sometimes an effort to locate.
Making more informed fashion choices is trending globally and
many Australian manufacturers comply with the ethical standards
consumers are looking for. “As fashion changes so quickly, using
a local supplier can speed up the process, which lends itself to
fashion,” says O’Neil.
According to Cue Clothing Company, they are the largest
manufacturer of women’s fashion in Australia. By using Australian
manufacturing they have the fastest speed to market in the country,
with an average of 25 new styles arriving each and every week.
Australian fashion giants such as Cue and R.M. Williams
manufacture mostly, if not entirely, in Australia while maintaining
company profitability; which is something a boutique brand like
Jamie Fame would find much harder to do. “Australia’s industry
has the potential to develop a global reputation as being beautiful
in design and high quality in manufacturing, as well as ethically
made,” says O’Neil.
It is all about having the right business model, which is
something Holly Ryan is working on.
27
illustrate the point
Will fashion illustration survive in the age of technology?
words Matt Willms
illustration Jin Gao
the first photographic cover of Vogue was printed in 1932; before
then magazine covers were entirely illustrated. The art form quickly
lost its ubiquity after the invention of photography, but today
fashion illustration adds a fresh, creative dimension to magazines,
and the craft is on the rise again.
Illustrations were once the primary method for fashion
advertising and communicating runway looks to the public.
During the 1960s, photography developed rapidly and quickly
started replacing fashion illustration. Photographs were quicker to
produce and more realistic and they showcased fashion designers’
collections more accurately than
illustrators’ creative interpretations.
This ease of process culminated in an
evident favouritism of photography.
In a return to the past, Londonbased fashion illustration magazine
DASH launched its first issue in
February 2012 and the modern
publication has risen from strength to
strength since then. DASH presents
fashion illustration in a way the print
magazine describes as “currently
celebrating a vivid comeback”.
According to the magazine, “DASH
exhibits a professional and highly
artistic level of fashion-based
illustration and art that is present
within the industry today”.
DASH Editor in Chief NoéMie
Schwaller says fashion illustration
brings “imagination, a different type
of imagery and a certain freshness” to
the industry. Schwaller says although
many illustrators still work by hand,
technological advancements and
computer software have enabled
fashion illustration, making it “faster
and easier to deliver”. A challenge
illustrators face is getting the image of
a brand’s product across in a way the brand can absolutely identify
with.
According to local illustrator Katie Moon, another challenge is
getting your name out there. Moon is part of RAW, an organisation
that aims to promote emerging artists from all over the world. The
mostly self-taught artist says it is possible to have a career solely as an
illustrator, but “you have to put in the hard yards and be more open
to commission work and collaborations”. Moon says illustration
brings together reality, imagination and personality. “In art you may
use a photo as a reference, but how your mind translates this onto
paper can give a very different result. Illustration in fashion captures
the clothes, concept and imagination simultaneously. Photography
in fashion is bold and only captures a moment.”
Using technology to enhance her work, Moon scans her
illustrations and through Photoshop can change things like colour,
without destroying the original.
Fashion lecturer at QUT, Deborah Fisher says, “While we
are in an ‘escapism phase’, illustration can be exploratory and
experimental. When the zeitgeist changes to be driven by realism,
the naive and child-like imagery we are seeing at the moment
may lose favour.” Fisher says fashion
illustration can move the viewer away
from reality as illustrators can develop
an aesthetic which is stylised to the
consumer’s ideals.
Fisher does not believe the fashion
industry is tired of photography’s
hyper-realism. Instead she says, “We
are more disillusioned that most
photographic images are altered
and manipulated by Photoshop to
create hyper-real women who do
not reflect women at this time and
place in history.” Fisher believes this
movement against creating ‘perfect’,
yet unrealistic women is growing,
and will ultimately bring the cycle
back to fashion illustration as a way of
presenting fashion to consumers.
“As the fashion industry adapts
to the technology age, illustration as
a form of communicating conceptual
ideas and design development remains
an integral aspect of the design
process,” Fisher says. “However, as
a form of marketing and promoting
fashion, illustration appears to be a
less viable option for major design
houses to procure.”
Fisher, who likens photography to fast fashion and illustration
to slow fashion says, “Fashion illustration’s future is going to be
determined by the direction mainstream fashion takes”.
Although photography may have diminished the monopoly
fashion illustration once held over print media, in doing so the
craft of illustration has found exceptionality. Technology has helped
illustrators, making the art form quicker to produce. As Schwaller
said when questioned about the future of fashion illustration,
“believe in it”.
29
you me & the sea
styling Hannah Young
photography Janneke Storm
model Shannon Beattie
makeup Kate Shanahan
hair Breana Shanahan
vest Benjamin Ringuet from Alterior Motif
bra top Fazio
shorts Celeste Tesoriero from Alterior Motif
socks American Apparel
shoes Jeffrey Campbell from Alterior Motif
top Zoe Karssen from Alterior Motif
shorts Hungry Wolf
necklace Isobel Badin
shoes Stylist’s own
top Fazio
bikini Tigerlily
shorts Cotton On
sunglasses Karen Walker
dress L’America from Alterior Motif
necklace Celeste Tesoriero
shoes Steve Madden
bikini ASOS
overalls Celeste Tesoriero
necklace Isobel Badin
top Zimmermann
shorts Lilya from Alterior Motif
visor Pakaria Powell from Alterior Motif
bike Lombardo Bikes - Touring 26
Take Note
How Brisbane’s successful music scene is influencing its fashion.
words Michaela Holmes
photography Carol Ross
For McQueenie, her on-stage outfits match the music that she
music and fashion have always made an irrevocable pairing,
is playing, and are even a vital part of her performance. Quoting
and definitive style can be pinpointed to music genres across the
early sixties girl bands such as The Shangri-Las and The Ronettes
decades. In the ‘50s, youth in revolt dressed down in blue jeans and
as major style influences, the Johnny and the Fembots girls opt
black leather jackets as the rock ‘n’ roll movement epitomised an era.
for pretty dresses, head scarves, and bold sixties prints on stage.
Hip Hop music embodied sneakers and sportswear, while Courtney
McQueenie explains that there is a theme to stay true to, and
Love and Kurt Cobain inspired grunge looks of the ‘90s. Following
matching with the other girls in the band is a key element in doing
that, with the emergence of the Spice Girls came the opposing
so.
explosion of teen-pop fashion. And of course, there was the fashion
Throughout history, the musicians responsible for creating
and music union of Vivienne Westwood and her involvement with
iconic on-stage looks have had their reasons for the way that they
the Sex Pistols at the height of the punk movement.
dressed. For David Bowie, he changed his image and style based on
The Brisbane music scene is blossoming with Fortitude Valley
each of his many concept albums. He played a character in order for
being touted as the live music “envy of the nation”, and a recent
his music “to look how it sounds”. Johnny Cash, known as the Man
bout of homegrown bands receiving nation-wide praise and TripleJ
in Black, wore black as a symbol of rebellion, but initially to see if
love. As in previous eras, will this local music movement influence
he could get away with it. He did, and so dressed in black clothing
Brisbane’s fashion culture?
after that. In Keith Richard’s autobiography, Life, he describes
Andrew Dooris, bass player for Brisbane indie band The Jungle
Giants (pictured), says that with the Brisbane music scene booming,
that his style came from an eclectic mix of his stylish lover Anita
“we are moving towards a quasi-Melbourne creative hub, and
Pallenberg’s wardrobe and whatever was thrown at him on stage
fashion is definitely included in that”.
and “happened to fit”.
Dooris, who cites the eccentric and
So, is it a conscious decision for musicians
psychedelic fashions of late sixties Jimi “Musicians are always in need to style themselves in a way that reflects their
Hendrix as an inspiration for his ‘loud shirts’,
genre?
says that he always looked up to his favourite of cool clothes and fashionable
“I definitely dress to match my on-stage
bands for fashion advice when growing up. He
persona and style of music rather than myself
friends. Look at The Velvet
also notes that with the music boom, so too
as an individual,” explains Boyce, who employs
Underground and Andy
has there been a lot of new boutiques that
wearing outrageous and over-the-top stage
Warhol – fashion and music makeup as a performance tool, though she
have opened up, listing the Valley, Paddington,
Wynnum and West End as vintage hotspots.
does not usually wear makeup in day-to-day
are meant to be.”
Dooris believes that the Brisbane music
life.
and fashion scenes easily go hand-in-hand. “Musicians are always
“I feel like it’s a bit more about expressing your own personality,
in need of cool clothes and fashionable friends. Look at The Velvet
while keeping in mind how you look as a group,” notes Dooris, who
Underground and Andy Warhol – fashion and music are meant to
continues that, “It’s okay to have a variety in looks, but no one wants
be.”
to see Jerry Seinfeld playing bass for Jared Leto… or do they?”.
Jennifer Boyce, bass player for Brisbane indie-pop band Ball
McQueenie says that in some cases certain “sounds” will
Park Music, explains that “…there is a definite correlation between
translate to certain “looks”, so like-minded people sometimes end
some of the music styles in Brisbane and the fashion that goes along
up dressing alike. “I think people who love music will be influenced
with their fans. If you go to a show by a certain band, you can expect
by what musicians wear, and people tend to emulate people they
to see a certain style there”.
look up to, even if it is just subconsciously,” she says.
Boyce notes that although there are many genres present in the
This includes designers themselves. Most recently for Spring
Brisbane scene at the moment there are often similar styles that are
2013, Parisian Queen-of-Cool Isabel Marant sent her bare-faced,
the current inspiration of the time. “There is a strong sixties feel
sleek-haired girls sashaying down the runway in rock ‘n’ roll spirited
going on with some of the bands and the fashion that goes along
designs entirely reminiscent of Elvis Presley holidaying in Hawaii or
with it is incredible.”
hip-shaking in rhinestone-embellished white leather in Las Vegas.
“I think a lot of the bands around Brisbane are really well
Music partners fashion to create a way to express, to identify
dressed…that probably stems from having to consciously think
yourself as part of a group, to be a rebel or to stand out. It speaks for
about how you present yourself to the public,” notes Bridie
the zeitgeist, together music and fashion can define a time. Perhaps,
McQueenie, drummer for up-and-coming Brisbane pop band
this is Brisbane’s time.
Johnny and the Fembots.
37
a retail renaissance
The metamorphosis of Brisbane’s retail makeup is seeing the city uniquely transform like no
other Australian capital.
words Carmody Sutton
a decline in popularity with Brisbane shoppers. However, due to
there is no reason to believe that the exercise of evolution has
contemporary refurbishments, the spread of luxury brands and a
come to a standstill. Indeed, a competitive marketplace, advancing
re-kindled identity and hype, these strips are beginning to revive
technology and shifting consumer trends shepherd our everdemand. Part of this retail renaissance includes the establishment
evolving Australian retail environment. These influences are
of large centralised flagship stores acting as global players. And yes,
powerful drivers in a cycle of a significant reshaping of the retail
this includes the eagerly anticipated launch of British fashion giant,
landscape. Inevitably, Brisbane has begun a retail resurrection
Topshop; strategically framed to reinvigorate the Brisbane retail
with shopping centres and strip malls capitalising on these notable
market. Megan Barron, Director of CBD and Strategic Development
opportunities while still keeping true to its historical foundations.
Brisbane Marketing, says, “In the CBD where you have the highest
What is the secret to Brisbane’s distinct prosperity? Leigh
number of flagship stores in Queensland, it becomes a real
Warner, in The Evolution of Brisbane Retailing, said “Brisbane’s
destination.” Highlighting Topshop’s anticipated impact of the
strong economic and population growth over recent decades
CBD, Barron also says, “Topshop adds to that destination creation.
has seen its retail market mature, but historical development
It is a unique store to Australia. The Topshop that is being opened
patterns mean the profile of Brisbane’s retail market differs to other
in our mall will be the largest in Australia as well and I think that
Australian markets, such as Sydney or Melbourne.” So, does this
is very important in looking at Brisbane as a destination, especially
mean that Brisbane’s retail future lies inherently in its past?
in the CBD”.
Historically, the Brisbane market remained
With these retail advancements come
very much shopping centre-based, while strip
“...the CBD and Fortitude
higher expectations from consumers in terms
location retailing continues to occupy only
Valley strips are beginning
of the service and product they are being
a small portion. Taking past precedent into
offered. Retail businesses must now offer
consideration, Warner said “major shopping
to reveal a revived sense of
their consumer a unique and contemporary
centres will look to connect with Brisbane’s
demand.”
experience through innovative avenues like
community a lot more,” while “strip precincts
integrated technology and interactivity that creates theatre inhave the opportunity to create a strong identity through the
store. Jade Mackie, a Myer Brisbane City cosmetic brand manager
combination of ‘eat-streets’ and high-end retailing”.
says, “With the market becoming more and more competitive,
While strip locations occupy a modest part of Brisbane’s
Myer brands as local, national and global players must go above and
retail sector, some localities such as James Street, Grey Street and
beyond with their client. They are now at the centre of all business
Oxford Street have gained significant traction over the years due
processes, we want them to experience something extremely
to a fostered identity amongst its community. This was achieved
positive in-store”. In this respect, shopping centre-based retail is
through each location offering a distinct and personalised
connecting more with their surrounding community by offering
experience for the consumer. Largely, these booming locations can
up communication and interaction at a grass-roots level. Warner
be attributed to successful eat streets, while also offsetting from
said, “This embracing of local identity and engagement with the
the downtrend of other retail strips such as Queen Street Mall and
community is a way of differentiating a centre at a time when many
the once buzzing Ann Street in Fortitude Valley. Brisbane’s evolved
centres have become homogenous.”
eat streets include locations such as Paddington, West End, South
Through a retail renaissance that highlights the old and
Bank, New Farm and Rosalie, while Woolloongabba’s Logan Road
embraces the new, Brisbane is raising the bar. The fashion shopper
precinct is a work in process, enthusiastically waiting in the wings.
is hoping to witness and personally experience what Brisbane’s
Due to the explosion of shopping centre based retail, the
unique retail make-up can dish up next.
beloved Queen Street Mall in the CBD and Fortitude Valley saw
38
Collective Advice
for Entrepreneurs
The Renegade Collective’s Lisa Messenger is not afraid of failure; one key
element she believes to be the secret to her success.
words Sabra Manttan
deciding to publish your
articles spanning from profiles
own magazine is a pretty gutsy
on fashion designers and
decision. From writing articles
gamers to humanitarians and
and sourcing interviews, to
fellow entrepreneurs. All bases
pitching to potential investors,
are covered and it would be a
advertising and negotiating with
challenge to find someone that
printers, it is no easy feat. Not
was not interested in, or could
to mention setting off on this
relate to, one of the inspiring
endeavour during an age where
articles within its pages.
critics have been screaming
Messenger and her team have
“print media is dead”. But that is
created a magazine more than
exactly what entrepreneur and
worth its newsstand price.
businesswoman Lisa Messenger
So what does it take to reach
did. She took the jump and there
this level of accomplishment?
is no doubt that leap of faith has
“I write a lot about it in the
paid off.
magazine, that my whole mantra
Messenger already had quite
is about failing fast. I think that
a few eggs in her basket, from
this [ Renegade Collective ] is
author to publisher to owner of
working so far because I failed
a Byron Bay holiday rental. But
so many times at so many things
after noticing a significant gap
before. And I think that’s what a
in the market for intelligent,
lot of people don’t do,” she says.
thought-provoking journalism,
“You just have to come up with
she saw an opportunity too good
an idea but be able to fail fast and
to miss. So in April 2013 the first
let it go quickly which mostly
edition of Renegade Collective
I’ve had the foresight to do and
photo courtesy of The Messenger Group
know when something’s actually
was published. Now, in only its
going to work. I’ve been a big risk taker and I’ve probably tried to
fourth edition, the magazine has spanned its reach to 19 countries
get 200 plus ideas off the ground in the last 12 years of having my
worldwide. Clearly Messenger has her head screwed on when it
own business. But you know, the Renegade Collective is just one of
comes to the business of what people want.
“As an avid consumer of media and an entrepreneur, I just got
those, it just happens to be that’s the one that’s really stuck.”
so sick of seeing magazines filled with fallacious gossip and vacuous
Failure at the best of times is scary, but it can be potentially
content, and things that were some of the same content indicated
crippling when it surrounds someone’s passion and income. But
from overseas and had already been run somewhere else, rehashed
Messenger persists, “Just do it. Seriously, you’ve just got to jump in.
and straight from a media release,” she says.
“It’s funny; people get so stuck and paralysed. I think too many
“As an entrepreneur I’m always asking ‘But how? But how?
people labour over getting it right; you’ve just got to jump and
But why? But why?’ I always want to know how everyone does
actually do it,” she says. “I do that all day, everyday day, every hour.”
something. I think so often we just hear part of the story, we just
With a trail of success longer than most could ever dream and
see the surface and so I’m always wanting to know, ‘But how did
covering areas so vast, Messenger’s advice is something to follow.
they start that business’ and ‘I don’t understand, how did they cash
So get going budding entrepreneurs, your business is not going to
flow that’ [and] ‘what’s really the story behind that’?”
start itself.
The Renegade Collective is a true reflection of this, with
39
scent from
downunder
Perfume: Australian Beauty’s New Frontier
words Alessia Maruca
illustration I-Man Yin
if you asked a person on the street to name an Australian perfume
house, they would struggle. It is difficult for Australian perfumers to
gain a place in an industry dominated by marketing resraints, strict
regulations and commercial brands. English and French perfumes
express their nation’s identity and culture. Unfortunately there is
no such equivalent here. There has never been an ‘Aussie moment’
in the perfume world.
Luckily, there is a small band of artisan, independent and niche
perfumers slowly making their way into the market. One such
artisan is South Australia’s Mark Evans from Evocative Perfumes.
Evans works in a small lab surrounded by “hundreds of small bottles
of exotic materials”, where he experiments with scents such as
sandalwood oil from fresh plantations in Western Australia, Oudh
oil from Indonesia and Attar Mitti – the smell extracted from Indian
soil after the first rains of the monsoon.
Evans believes that overall, Australia does not have a perfume
culture. “It depends where you live and who you mix with. I take
close notice of the smells around me and particularly if a person
I walk past is wearing a fragrance. In the suburbs it simply never
happens- there may be a school girl with the latest fruity, sweet
celebrity fragrance, but that’s about it,” he says.
According to Evans, there is a higher prevalence of “wonderfully
smelling” people in professional and artistic circles in Australia, but
still nothing like you would experience in the streets of France
or the Middle East, where perfume is an essential part of life and
their culture. “Australians generally view perfume as an elitist and
unnecessary luxury,” he says.
It is an assessment that One Seed founder and head perfumer
Liz Cook agrees with, though she believes a perfume culture is
beginning to emerge in Australia. “People have started to take an
interest in niche products generally, which also opens the door for
a greater appreciation of niche perfume culture. At the moment, the
perfume culture in Australia revolves around probably 1,000-2,000
people. It’s emerging but fairly slowly,” she says.
Another man who spends his days in a lab surrounded by
perfume is Brisbane’s Jonathan Midgley from Damask Perfumery.
Midgley is possibly Australia’s longest surviving artisan perfumer
after moving his lab from Auckland in 1978. He says making fine
fragrances is an elite art.
“It is easy to make a fragrance for cosmetics but it’s very different
to create a Fine Fragrance. They need to smell appealing on the skin
and have to also be unique,” he says.
In 1982 Damask created the fragrance Lyre, named after the
Lyrebird, which is described as a “bouquet of the flowers that line
Brisbane’s streets; wattle, frangipani and bauhinia, blended together
with Australian essential oils Tasmanian lavender, Western
non-flammable, oil-based perfumes for overseas customers. We will
Australian sandalwood, and the heavenly boronia”. One hundred
all just have to get used to the idea.”
bottles were released in blown-glass flacons with bottle number one
Cook adds that legislative change is still a decade away.
presented to Queen Elizabeth II when she visited Brisbane for the
“The laws in regard to the shipping of perfume internationally
Commonwealth Games that year. Lyre is the closest example we
make Australia seem like an isolated island, and at the moment
have of an ‘ultimate’ quintessential Australian fragrance.
the scope for expanding a perfume business beyond its borders are
One thing all our perfumers agree on is the complex set of
completely limited. It’s really hard to get international recognition
challenges standing between them and breaking into the global
because of this,” she says.
fragrance market. For Evans, Cook and
The other challenge for Australian
Midgley the biggest barrier is not Australia’s
“Australians generally view
perfumers is marketing, as department stores
geographical isolation but rather the stringent
perfume as an elitist and
prove to be an expensive and exclusive route
national and international regulations
to the consumer.
governing how perfume is produced, exported
unnecessary luxury.”
Despite the hard work involved, Cook says
and mailed.
that being a niche perfumer in Australia is a very rewarding career.
“This is an ‘elephant in the room’ situation that nobody seems
“The global perfume industry is enormous and lucrative but
to have realised yet. Alcohol-based perfumes are not legal to send
it’s not wise to go into niche perfumery and expect [only] a chunk
in the regular post as they are considered ‘dangerous goods’. So now
of that. You have to do it because you love it, not for the money.”
the race is on for us small guys who can’t afford to use specialised
Perhaps the last word should be given to Mark Evans, who
courier services to come up with an alternative to alcohol for use in
hopes “the beauty, artistic merit and safety of Australian perfumes
perfumes,” says Evans.
could become more widely recognised along with the skill, patience,
He says that a paradigm shift away from alcoholic fragrances
love and devotion that the perfumer has put into their creations”.
needs to happen for non-commercial perfumery to succeed in
That is the best rallying call heard yet to support the local
moving forward.
beauty industry and to advance Australia fair.
“Evocative Perfumes was one of the first worldwide to only offer
41
native beauty
Native Australian Flora inspires raw, natural beauty. frock shows us how to work the upcoming
seasonal beauty trends.
styling Carmody Sutton assistant styling Kate Conway photography Freya Lamont
model Madilyn Wolens makeup Darian Michaud hair Angi Malicki floral Styling Alexandra Lorking-Tanner
Winter Blues - reinvent a traditional smokey eye with a sophisticated navy tone.
opposite page Autumn Nudes - highlight your natural features and bare it all this season.
Spring Fever - wash the lids, lips and cheeks with cotton candy hues.
Summer is a total white wash - try a modern white liner with a pop of colour.
THE
KIDS
ARE
ALRight
styling Tahlia Hays & Edwina Sinclair
photography Chloe Gard
models Jessie @ Vivien’s & Brad Jakins
makeup Yazzi Williams @ Love Yaz
vest & shirt Brendan O’Farrell
pants Lyn Marionette
beanie Stylist’s own
jacket Bianca Pohlman
top Tahlia Hays
shorts Krizelle Fundano
hat Edwina Sinclair
socks Stylist’s own
vest Bianca Pohlman
top Lyn Marionette
skirt Edwina Sinclair
visor AW
dress AW
top Krizelle Fundano
earrings Gemma Colledge-Kelly
dress Tess Gard
top Bianca Pohlman
beanie Edwina Sinclair
girl
jacket Bianca Pohlman
top Tahlia Hays
shorts Krizelle Fundano
hat Edwina Sinclair
boy
jacket Lyn Marionette
shirt Brendan O’Farrell
CReative Spaces
They say two heads are better than one, and some of Brisbane’s creative
professionals are discovering the perks of collaborative workplaces.
words Darcy Gee
workplace environment away from home.
creative co-working environments are popular throughout the
Co-organiser of the Thought Fort, Peter Chappell, says, “The coworld today and in Brisbane, a number of collaborative approaches
working approach seems to be working really well in Brisbane. It’s
are fostering the development of creative businesses – eradicating
like having an office environment but with no boss and with people
loneliness for good.
who are only there because they want to be. You still have flexibility
According to Monocle magazine, Brisbane is one of the world’s
but you also get a chance to socialise and share ideas with people
top business start-up friendly cities, with an increase in shared
who are doing similar, but usually completely separate work”.
workspaces popping up across the city. Anna Rooke is the CEO of
Collaboration is all part of the process. “For many people this is
QUT Creative Enterprise Australia (CEA), an organisation dedicated
a real advantage over working from home – having a diverse set of
to the growth and development of emerging creative industries
people that you can ask for feedback and opinions,” Chappell says.
companies through investment, mentoring and collaboration.
This just may be the business approach of the future. Over a
CEA has developed the Creative Industries Incubator, as well
16-year study, Idea Champions, a consulting
as Brisbane’s only Fashion Incubator – two
and training company, found that only three
hubs of collaborative creation, purposefully
“It’s like having an office
per cent of the 10,000 people they interviewed
designed to provide resources for small
environment but with no boss said that they come up with their best ideas
businesses to grow.
Rooke says it is all about the support and with people who are only at work. The other 97 per cent said their best
system. “Setting up any business venture there because they want to be... ideas come to them while they are in the
shower, on holidays, taking walks, enjoying a
requires passion, commitment and dedicated
you get a chance to socialise glass of wine, or just doing nothing.
execution. Accessing business development
While a highly-structured, tightlysupport from experienced industry
and share ideas with people.”
scheduled workplace may foster productivity,
professionals and peer-to-peer networks, in
a more relaxed, unstructured environment unlocks creativity; and
our experience, can greatly value-add to the growth of a creative
business leaders are beginning to realise this.
business.”
The working style of the world is undoubtedly changing. From
And the creative space makes all the difference. Rooke adds,
Google’s Googleplex of video games, nap pods and swimming
“One of the reasons we are looking at building a new collaborative
pools, to a collaborative environment like Brisbane’s Thought Fort,
environment is the opportunity to work with early stage ventures
it is clear that businesses are moving towards a more creative and
and creative practitioners who are currently home-based, with a
connected workplace.
view to expand our ecosystem and build new company connections.”
With support from the CEA, and a number of other creative coEstablished small businesses are using the co-working model
working environments operating in Brisbane (including Salt House,
as well. The Thought Fort in Fortitude Valley was set up as one
River City Labs, Silicon Lakes and Water Street Studio) it is not hard
of the first collaborative spaces in Brisbane, designed specifically
to see why.
for independent entrepreneurs and small businesses to operate in a
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in another dimension
Technology has well and truly hit its stride with 3D printing opening new
avenues for fashion production.
words Charlotte Launder
Perfect fit, personalised design, pocket-friendly price. It sounds
when burlesque icon Dita Von Teese stepped out in the world’s
too good to be true, and for now, it is. While Von Teese’s futuristic
first fully articulated three-dimensionally printed gown in February
gown looks spectacular, its lacquered nylon fabric is not particularly
2013, the fashion world took note. Her black nylon gown, featuring
breathable or wearable. The materials currently available for 3D
3,000 independently movable joints and 12,000 Swarovski crystals,
printing include powdered nylon, sandstone, brass, stainless steel,
was the result of a collaboration between designer Michael Schmidt
ceramics, gold and silver. These materials are not practical for
and architect Francis Bitonti. While designers dabble with the craft,
clothing but lend themselves perfectly to jewellery and accessories.
fashion lovers ask: what exactly is three-dimensional (3D) printing
The affordability and ease of ordering small 3D printed items
and when will it hit the high street?
online has inspired a raft of jewellery and accessories designers
Also known as ‘additive manufacturing’, 3D printing is unlike
to try the technology. Brisbane-based designers Caroline Kaup
other manufacturing processes that cut or mold materials to create
and Michel Cornielje began dabbling in 3D printed jewellery after
desired shapes. Three-dimensional printers work by depositing
Caroline trialled 3D printing at university. Their business Mutating
and solidifying powdered, molten, or liquid material into a specific
flat pattern, layer by layer. The printer is fed a detailed electronic
Creatures sells a range of 3D printed earrings, rings, bracelets,
blueprint, which dictates where the materials are to be placed.
cufflinks and necklaces made from a vibrantly coloured nylon
According to Rebekah Waite from The Edge, Queensland’s
material, as well as stainless steel, silver and gold.
digital cultural centre, the additive technique makes possible a
Three-dimensional printing has undoubtedly come a long
broader range of options, such as movable parts, hollow and linked
way since its origins in building models and prototypes. Such is
designs.
the quality and precision of some 3D printers
Touted the modern equivalent of the
that no human touch is required. According to
“This technology holds the
sewing machine, 3D printers can solve many
Kaup, “products can be shipped directly from
promise of a world where
of the problems of traditional manufacturing
the printer to the customer, eliminating a lot
methods. London-based designer Catherine imagination has no boundaries of steps in between. A prototype can now be a
Wales recently praised the ability of 3D
finished product.”
and in time there won’t be
printing to solve sizing issues and cut down
So what does the future hold for 3D printing
a material that cannot be
on waste. When creating her Project DNA
in the fashion industry? Manufacturers are
collection, Wales scanned the bodies of her
working in overdrive to construct synthetic
reproduced as a 3D object.”
models and created accessories based on their
fabrics suitable for everyday wear. Designers
exact proportions. Because each piece was made-to-order, there
are developing ways for 3D printing to be used alongside popular,
was no unwanted stock being turned into landfill.
non-synthetic materials such as cotton, silk and leather. Patents
As the cost of body scanning technology drops rapidly, retailers
covering the ‘laser sintering’ technology used to create Von Teese’s
are taking it to the shop floor. Menswear retailer Brooks Brothers
gown will expire in 2014, opening up the market to competition.
and lingerie giant Victoria’s Secret both provide a body scanning
Wales recently told The Business of Fashion, “This technology
service free of charge in select stores. While the technology is
holds the promise of a world where imagination has no boundaries
currently used to suggest products from the shelf, the detailed
and in time there won’t be a material that cannot be reproduced as
information collected could easily be used to create a custom
a 3D object”. It is only a matter of time before 3D printed fashion
garment.
becomes ubiquitous.
‘Mass customisation’ is the term used to identify a production
Three-dimensional printers could one day enable consumers
process combining the economic benefits of mass production with
to download a design, customise its measurements, and print a
personalised elements such as a garment’s fit, fabric and colour. Dr
perfectly tailored garment in a matter of hours. According to Payne,
Alice Payne, a lecturer in Fashion at the Queensland University of
“In the future it could be a case of popping down to an equivalent
Technology purports that co-creation of fashion items is becoming
of Officeworks and having a garment printed for you.” For now
more popular. Mass customisation “allows for collaboration with
though, we will have to admire Von Teese’s custom-made gown
customers and designers, which has been a growing trend in recent
from afar. We are already dreaming of the day when we can get our
years,” Payne says.
hands on our very own computer couture.
All About the image
Fashion and photography unite to create powerful lifestyle branding.
words Catherine Keating
it is no secret that the worlds
of fashion and photography
have long been entwined. Only
recently, have designers and
brands needed to rethink their
photographic strategy in order to
set themselves apart. People are
now saturated by images thanks
to evolving digital and social
media outlets and user-generated
content. Photo editing apps such
as Instagram allow anyone, not
just professionals, to produce
high-quality imagery. It is because
of this ‘amateur’ photography in
a highly visual generation that
brands now need to differentiate
imagery presented to consumers
from a marketing and branding
perspective.
A handful of young creative
heavyweights are leading the way
when it comes to innovation in
Australian photography. Luxury
women’s basics brand First Base,
has used photography to become
one of Australia’s most highly
photography Jody Pachniuk
anticipated label launches. The
brand had a thousands-strong Instagram following before it even hit
the stores. Now, it is stocked in some of Australia’s most reputable
boutiques and frequently appears in the wardrobes of high-profile
bloggers like Elle Ferguson of They All Hate Us.
Alison Cotton, the mastermind behind First Base, says the
photography was all about making people want it. “Really, we’re a
basics brand - we’re not reinventing the wheel,” she says. “We need
to give people a reason to get on board and buy into the culture.”
Reinvent the wheel however is exactly what Cotton has done.
Her collaboration with renowned Australian fashion photographer
Jody Pachniuk, binds high fashion and artistic photography
seamlessly. Shot exclusively in black and white, the portfolio
encompasses imagery that according to Pachniuk is “more about
creating a beautiful picture than anything else”.
Having been part of Australia’s photographic elite for over 20
years, Pachniuk has seen fashion photography transition from film
to digital and credits this trend to a need to stand out from the
crowd. “People are so saturated
by pictures these days. What’s
actually grabbing them is craft –
where you get a sense of narrative
and imagination,” he says of the
shoot. “We spent a lot of time
looking at the First Base woman...
I think when you approach
photography from the idea of
character it leads to a more
cinematic and artistic shoot.”
Cotton agrees, saying the
label’s watertight marketing
strategy has had a lot to do with
its early success. “In the past 10
years, the whole landscape of
fashion has changed... branding
is the most powerful tool we have
right now,” she says. Cotton used
this photography to establish her
brand and credits Instagram as
the most effective way to share it
with the world.
The Business of Fashion
describes Instagram as “perfect
for small businesses as it is
highly visual and enables you
image courtesy of First Base
to demonstrate the essence of
your brand”. Like First Base, Queensland-based wholesale fashion
agency, Sticks and Stones has taken Instagram’s marketing powers
to new heights with their use of artistic photography and styled
shoots. Ainsley Hutchence, the face behind Sticks and Stones
has transformed the idea of a sales agency – usually faceless to
the average consumer - into an ongoing collaboration of styling,
photography and imagination.
Her use of creative photography has set Sticks and Stones apart
from the crowd, with an Instagram follower-count pushing through
the tens of thousands. Unlike the meticulous planning behind the
First Base strategy, Hutchence says this was largely unplanned.
“There was never a moment when we said ‘this is what we have to
do’ we just realised photoshoots are a lot of fun,” she says.
The continual innovation in digital and social platforms will
amplify the need for fashion brands to deliver craftsmanship and
innovation through photography, in turn establishing strong brand
awareness, engagement and brand longevity.
58
Let’s get physical
Physical vs Chemical sunscreens, which one is right for you?
words Kate Conway
“Chemical sunscreens, for example, tend to have a finer texture
by now the message to ‘slip, slop and slap’ heralding the dangers
which makes them better suited to water or sporting activities,” she
of skin cancer has well and truly been drummed into the minds of
says.
Australians. As a nation we know that we have the highest rate of
A far cry from the thick, difficult-to-spread zincs of yesteryear;
skin cancer in the world and that the perks of living ‘down under’
modern day physical sunscreens are thinner and easier to apply.
(the great weather, surf and not to mention those bronzed Aussie
More importantly, they are comprised of just two active UV filters;
gods) come at a price. What we are not so aware of are the multiple
Zinc Oxide and Titanium Dioxide, so you know exactly what you
variations in sunscreen formulas, how they work and which is best
are putting on your skin.
for what purpose.
Naturopath and physical sunscreen devotee Rebecca Wicker
How do they work? You just slop it on right? Wrong. It is no
recommends staying away from some of the
longer enough to squeeze out some thick,
chemical sunscreens due to growing
white gloop from a tube, covering your body
“Just like the rest of the beauty newer
concern surrounding their link with nanoseconds before heading out the door. Just like
industry, sunscreens have
particles and free radical generators.
the rest of the beauty industry, sunscreens
“While they are protecting your skin, the
have benefited from extensive research and
benefited from extensive
chemicals themselves in chemical sunscreens
technological developments and the amount of
research and technological
do get absorbed through your skin and can end
variations on the market can be overwhelming.
developments.”
up circulating in your blood stream,” Wicker
A starting point for consumers feeling
explains.
daunted is to be aware that sunscreens can
“As a naturopath, I’m all too aware of the many toxins we all
be divided into two general categories; physical and chemical. The
interact with on a day-to-day basis. Using a physical sunscreen is an
terms refer to the difference between how they actually work to
easy way to limit the toxins absorbed by the skin.”
protect your skin. Physical sunscreens work by sitting on top of the
It is a sentiment that is echoed by Gray. “No Clinique sunscreens
skin and deflecting or blocking the sun’s rays before they hit the
use nano-technology but all are oil-free, allergy tested, and one
skin. Chemical sunscreens protect your skin by absorbing the UVB
hundred per cent fragrance-free, making them an effective and
and UVA rays and deactivating them before they have a chance to
skin-friendly choice for even the most sensitive of skins,” she says.
harm your skin.
Whatever your sun protection needs, there are pros and cons
Kristy Gray, Education Manager for Clinique Queensland,
related to each category and it is up to you to decide what is best
explains that not all sunscreens are created equal and the different
for your skin and lifestyle.
variations have different purposes.
59
dress Alexis Dawn
earrings, bracelet and clutch Sistaco
pillows and rug Village
HERE COMES THE SUN
styling Bridget Taylor
photography Elizabeth Butner
model Sapphire @ Dally’s Models
hair and makeup Sheri Vegas
top Alexis Dawn
skirt Village
necklace and earrings Sistaco
dress Alexis Dawn
necklace Sistaco
swimsuit Talulah
necklace Sistaco
top Alexis Dawn
skirt Village
necklace and earrings Sistaco
shoes Wittner
Thinking responsibly
In a new era of heightened sensitivity to the consequences of fashion production, where
do Australian fashion companies stand?
words Hayley Thompson
photography Caleb Halkett
it has come to a point in today’s society where simply a halfhearted contribution of social consciousness is hardly realistic in
obtaining a substantial and ongoing level of positive progression.
Corporate social responsibility (CSR) is beyond a trend, it is a
necessity for fashion companies and one which consumers are
becoming increasingly wary of. The values of Australian society
have transformed, and expectations elevated.
Recently, Baptist World Aid Australia, an organisation
supporting overseas communities in poverty, released The
Australian Fashion Report, noting the growing appeal of acquiring
knowledge on how garments are made and how workers are treated.
CSR has broken the boundaries of the corporate world and entered
the public realm, with consumers asking critical questions and
peering beyond the illusionary veil that once sheltered consumers
from the unspoken, tragic realities.
The saddening truth is that it has taken a tremendous disaster,
with the collapse of the Rana Plaza garment factory killing over a
1,000 workers in Bangladesh, to engage the fashion industry and
the public in rectifying existing issues and instigating preventative
actions.
Dr Alice Payne, Fashion and Sustainability researcher at
Queensland University of Technology says, “The garment industry
is notoriously opaque, with suppliers commonly outsourcing to
other suppliers, forging documents relating to workers’ pay or
rights, forcing workers to say the right thing when the auditors visit
the factory and blocking fire escapes to ensure that workers meet
the factory deadlines.”
Cameron James Dixon, creator of Ethical Clothing Australia
accredited menswear brand Cameron & James says, “Unfortunately
to my knowledge I don’t believe fair-trade and current working
conditions are spoken about much within the industry let alone
in public. Today there are still many businesses using home-based
sweat-shops that exploit people out of minimum wages.”
Co-owner of sustainable fashion company Rant Clothing, Jason
Hodoniczky says, “Working towards more responsible business
practices is vital to preserving the systems we need for healthy living
and it is becoming unacceptable to ignore the impacts we have on
countries outside of our own.”
We can take comfort in the fact that a strong, enduring
commitment to CSR is growing within the Australian fashion
community, with a selection of businesses adopting CSR objectives
as overarching business approaches. Australian labels, 3Fish, Etiko,
66
frock also likes
frock’s csr top performers
Nico Underwear
Rant Clothing Jason Hodoniczky
(Brisbane, Queensland)
“As we manufacture all our clothing in Australia, we are committed to
upholding the conditions set out under Fair Work Australia for the sewing
of our clothes. Under the award for the Textile & Clothing Industry,
Australia preserves some of the highest standards and wages in the world.”
Ethical Clothing Australia Accreditation
Etiko
Forest Stewardship Council Certification
Fairtrade Label Organisation Certification
Buoy
User of 100% organic cotton
User of recycled material (post-consumer)
Garments produced in W.R.A.P certified factories
Cameron and James Cameron James Dixon
(Melbourne, Victoria)
“As a small business, C&J where possible always likes to know the details of
where items are coming from, where they’re produced and the conditions
they’re produced in. Being part of Ethical Clothing Australia makes this
easier as all manufacturers are audited and comply with the terms and
conditions set out by ECA.”
ish
3Fish Natalie Dillon
(Woodend, Victoria)
“By establishing our company ethos as ‘Do The Right Thing’; every
internal system, every decision, every goal we set, our entire business
planning process, every improvement we make in our systems is geared
toward creating the most sustainable company we can, minimising our
footprint and maximising the benefit we can create with every single item
we produce.”
Cameron and James, Nico Underwear, Buoy, and Rant Clothing
are devoted supporters of ethical clothing, ethical sourcing and
fair-trade. The companies embody the opinion presented by JustStyle, a market and business resource for the textile and apparel
industry. The Just-Style Green Report suggests CSR extends beyond
the implementation of a series of guidelines or ethical deeds and is
essentially an all-encompassing business mind set.
Baptist World Aid Australia outlines the beginnings of a
transition towards strong corporate social responsibility actions,
after decades of companies refusing to hold accountability for
the treatment of workers their suppliers employ. Their findings
rated companies such as 3Fish and Etiko very high in the areas of
policies, transparency and traceability, monitoring and training and
workers’ rights. The report also presents a call to action for fashion
companies to show evidence of positive influence from their CSR
behaviour.
A selection of large, established Australian fashion companies
are responding to the importance of CSR practices and the
documentation of such efforts. “Big brands such as Billabong,
Country Road and Target (Wesfarmers) all release detailed CSR
reports,” says Payne. “In recent years more companies have
published CSR reports on their websites or at the very least a code
of conduct for suppliers.”
Pacific Brands is one such company that adopts a code of
conduct in regards to suppliers and manufacturers. Label Sass and
Bide maintain a connection with the Ethical Fashion Initiative,
a liaison organisation connecting businesses with Haitian and
African craftspeople and supporting the workmanship of those
living in underprivileged communities.
Australian brands Cue Clothing Company and Ginger & Smart,
among a host of others, have gained an Ethical Clothing Australia
accreditation, achieved by applying for authorisation to feature the
organisation’s logos on Australian made products. The trademark
verifies the active implementation of ethical practices by clothing
and footwear producers.
But is this enough? Is the practice of ethicality effectively
instilled in the minds of Australian fashion company leaders as a
vital priority for longevity as an industry?
“There is still a way to go in ensuring that garments are made
ethically,” says Payne. “And there is even further to go in reducing
the environmental damage associated with garment production.”
Payne points out that in a global consideration of CSR,
Australian labels fall significantly short of the standards set by
international brands in the US, Europe and the UK, such as H&M.
The Swedish fashion giant, an industry leader in CSR behaviour
application, addresses a multitude of matters from sustainable
fashion practices to transparent supplier information. “I think the
momentum for change has started to pick up in Australia this year,”
says Hodoniczky. “It will only become more important for larger
companies with the continuing awareness from consumers.”
Oxfam Australia recently released findings revealing nearly 70
per cent of Australian consumers are willing to pay a higher price
for clothing produced with fair-trade practices implemented to
protect garment workers. So what should companies be striving
towards to establish an ethical Australian fashion industry for the
future and respond to growing consumer commitment?
“There are a number of popular Australian brands (Supré and
Rivers spring to mind) that display no CSR policy at all publicly,”
said Payne. “It would certainly be the first step in demonstrating
that they have at least some concern about the issue.”
As seen on ABC program 7:30 Report, in the recent broadcast
Bangladesh factory disasters ask questions of Australian companies,
Karen Webster from the Australian Fashion Council said, “Every
company is reassessing how they’re getting their garments produced
at the moment. Anyone who’s producing off shore would have to be
looking at how their garments are being produced”.
Also featured in the broadcast, Textile Union National Secretary,
Michelle O’Neil said, “They need to be completely transparent about
their supply chain. If companies aren’t disclosing to the public their
supply chain and every one of their suppliers there’s a reason for it.”
Dr Helen Szoke, Chief Executive for Oxfam Australia, indicates
in a recent media release, a company’s word no longer holds
adequate value, the public demands actions and documented
evidence over words of assurance.
Transparency and traceability in supply chains is a clear and
collectively relevant goal, uniting consumers, fashion companies
and ethical production facilities in an integrated effort towards
establishing an ethical Australian fashion industry for the future.
Although the process of implementing this concept is rife with
difficulty, requiring enduring commitment and a collective effort
from companies, Payne says, “Paying a living wage to workers is a
vital first step”.
67
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Fashion goes
walkabout
Look out Australian fashion, make room for the newest and the
oldest fashionisitas on the block.
words Claudia Jambor
photography Grace Spicer-Brown
one of Australia’s best kept fashion secrets was revealed at the
L’Oreal Melbourne Fashion Festival this year. Collections from
Indigenous Australian and New Zealand designers were showcased,
fusing thousands of years of tradition with contemporary fashions
in the festival’s first ever all-Indigenous runway event.
The event was the result of a series of collaborations by the
Indigenous initiative and global enterprise, Global Indigenous
Fashion (GIF). The initiative seeks to fill a gap in the Australian
fashion industry by providing a platform to showcase and support
the growth of Indigenous fashion talent.
“There is nothing out there within the [fashion] industry that
is there for Indigenous designers. Why not create a platform that is
there to inspire them but for them to aspire to as well?” says Tina
Waru, one of the founders of GIF.
One designer who showcased her collections at the event was
Byron Bay’s Mia Brennan, of Mimi Designs. Brennan relished the
opportunity to express her culture through design at the prestigious
fashion festival. “It was a celebration of 60,000 years of culture
saying, ‘here we are!’ It was a great experience, and a really beautiful
opportunity to work with Maori designers,” says Brennan.
The designers take great pride in infusing their contemporary
designs with their cultural backgrounds, as it gives them the ability
to carve their own path within the Australian fashion industry.
“It’s fresh, cutting-edge talent, but it’s still this old practice,”
Brennan says. “It’s like walking between worlds with all the
designers, you can see exactly where they come from in their
designs.”
Natalie Cunningham of Emu Designs creates swimwear and
beachwear that beautifully portray her cultural background. She
uses “bright and vibrant colours” and indigenous art works in her
pieces to represent the Australian coast. “My designs are wearable
pieces of art that represent my tribe and brings confidence to my
people,” she says.
The L’Oreal Melbourne Fashion Festival and other collaborations
amongst Indigenous designers have ignited an Indigenous fashion
dialogue across the globe. An invite to Monaco Fashion Week in
2014 and talks regarding a piece forVogue Japan are just some of the
expressions of international interest received by GIF. In addition
GIF is currently persuing a prospective tour around the United
States in 2015 in colloboration with a Native American
69
fashion initiative, Tribal American Nations.
“They have contacted us about taking our Global Indigenous
runway on tour and have invited us to actually look at taking it
around to all the tribal nations in the states,” Waru says.
Indigenous fashion is turning heads in all corners of the world,
which according to Brennan, provides “a beautiful way for the rest
of the world to see our story, our culture”. As it develops a larger
presence, staying true to the purpose of the initiative keeps GIF
grounded and focused.
“For myself especially and for Wayne (co-founder of GIF) it’s
how we stay grounded- we don’t think of it as a business. It’s not
about personal gain, it’s about empowering other Indigenous
communites and building a strong Indigenous peoples,” Waru says.
A strong sense of community as the foundation of their business
model is what Waru believes is driving the initiative’s success. “An
elder, my Grandfather actually, did a lot of passionate work with
his people and he told me, “one day you will understand that life
is no longer about you, it’s about your people”. We always come
from those belief systems in terms of ‘it’s not about the I or the
individual’ and I guess that’s why it is growing so fast. It’s about
creating pathways, it’s about creating these opportunities that your
people may never have,” Waru says.
The value of community nourishment translates through
the business models of the Indigenous designers themselves.
Cunningham sees her swimwear and beachwear range as more than
just fashion and as a ‘confidence booster’ for Indigenous women,
particularly mothers.
“It’s not just about my swimwear, it’s about helping my
community and helping people break down barriers to achieve their
own goals,” she says.
How will Indigenous fashion evolve in the next ten years? As
far as Brennan is concerned, “the sky is the limit, we’ll see what
happens”. Contemporary fashion underpinned by a strong sense of
cultural identity, Indigenous fashion has begun to weave a unique
and authentic fabric through the Australian fashion aesthetic.
To watch our interview with Mia Brennan in Byron Bay, head to
The Frock Channel on YouTube.
70
A BEAUTIFUL FUTURE
FROCK’s Beauty Editor discusses the changing face of the beauty retail industry.
words Carmody Sutton
illustration Jin Gao
you are rushing out the door on a Saturday night, manicure and
pedicure non-existent. With the taxi out the front beeping its horn,
you grab a small wand-like device from your drawer. With a tap on
each finger and toe, and presto, your nails are perfectly painted in
that superb colour that tops off the outfit you spent hours planning.
This all might sound a bit far-fetched and sci-fi to materialise in our
lifetime, but according to beauty industry experts, this type of miracle
contraption will one day become a reality. I’ve got you all excited
haven’t I? You are now probably wondering what is in store for the
more immediate future – the next decade of beauty.
Unfortunately for us beauty lovers,
we will not be getting our manicured
little hands on any James Bond or
Men In Black- like gadgets. What
we will see over the next decade is
superior customisation; an advanced
combination of beauty and wellness,
as well as the overall ideals of beauty,
and what is considered to be beautiful,
challenged by the consumer. Yes
you! The woman of 2020 will be
shepherding the conversation between
brand and consumer. Instead of being
the recipient of being told what to
look like, she will be dictating her own
epitome of beauty.
Darlene Wilkie, Clinique State
Manager says, “Time is poor and choices
are vast, so many clients are looking for
targeted shopping experiences that are
convenient and service-focused.” With
new technology transpiring everyday,
breakthroughs in cosmetic treatments,
and the progressive marriage of
wellness and beauty, bores greater
customer expectations.
“Every client is different, has
different expectations and therefore
wants to be provided with service that
fits their needs. Overall, the most important thing that a client wants
is friendly, efficient service from a consultant that is knowledgeable
about the brand and its product solutions,” Wilkie says.
A beauty brand that is paving the way in regards to listening
to their client is independent British makeup house Illamasqua.
Determined to make a lasting change to the Australian beauty
industry, Illamasqua introduced a campaign called “A Fair Price for
Beauty”. Darian Michaud, Brisbane City Illamasqua manager says,
“This campaign is all about making a stand against the ruthless
global giants of cosmetics, who exploit the beauty establishment in
Australia. Australian consumers need to realise that they have a right
to lower prices.”
In response to Illamasqua’s active crusade against inflated prices,
other beauty brands, one by one, have begun to react and reciprocate
by lowering their prices.
The beauty consumer is also changing. You are smarter, sharper,
and more perceptive. You do your own research and you know exactly
what you want. You are not going unrecognised by beauty brands,
who now realise they must tailor their product and service around a
more astute client.
“Currently we have seen a tendency in clients researching their
beauty queries prior to entering stores
and purchasing,” Wilkie says.
The Future of Beauty , an article
f ro m T h e Fa s h i o n I n s t i t u t e o f
Technology has given insight into what
the beauty industry and its consumer
will look like in 2020. It will all be based
around realness, reciprocation and
responsibility.
“Between building a career,
managing a home and being a parent,
women’s lists of responsibilities will
have increasingly grown by 2020,” says
Marta Cammarano, author of The
Future of Beauty. To respond to this,
brands must shift from instructing
women to ‘facilitating’ them with real
beauty needs. The conversation will
therefore be redefined; brands will
communicate more authentically as the
2020 consumer is looking for genuine
beauty aspirations. Cammarano said,
“This reciprocal relationship and new
form of interaction will enhance her
shopping experience and abide by her
practical rules.” Finally, there will be a
newfound responsibility surrounding
self-image and social image.
“By 2020, it will come time for
the beauty industry to communicate its position and commitment
towards a safe, more socially responsible and sustainable tomorrow.
The social implications surrounding beauty will be looked at and
addressed head on over the next decade,” says Cammarano.
Overall, we, the consumer, have and will be given the power
to dictate what we want. What we want is realness, an authentic
relationship between brand and consumer, and a responsible
projected self and social image to pave the way for our sons and
daughters. Given these findings, I think it is safe to say that the future
will be a beautiful one for you and I.
71
risky business
The importing and exporting of cosmetics… not as black and white as you may think.
words Kate Conway
photography Lauren Payne
In most cases parallel imports are legitimate, simply imported
have you ever bought a bottle of perfume that smelt more like
from another country where the original price of the product is
water than waterlily? Less like a rose and more like a bitter, 10 dollar
lower. It is due to the means of importing and the lowered attention
bottle of rosé from your local liquor store? Or your favourite brand
to quality control that counterfeit products are more common
of eyeliner that looked exactly the same on the outside, but did
on the grey market. As the authenticity of the product cannot
not quite measure up to the consistency of your previous, beloved
be guaranteed, you might be buying a fake perfume, a genuine
version?
perfume that has been diluted, or a genuine perfume that has been
We all love the hunt for a bargain, but it can come at a cost.
sitting in a warehouse for the last 10 years.
Discount cosmetics and fragrances may seem like a good idea
Guy Launder, director at the Australian Competition and
at the time, but how much do we actually know about them? Do
Consumer Commission (ACCC) says the ACCC does not necessarily
you know where the product has been sourced from or why it is
encourage nor discourage parallel importing.
so cheap?
“At the ACCC we see parallel importing as another form of
When goods are sourced from outside registered channels of
competition,” he says. “Competition is a good thing because it can
distribution and sold on at drastically reduced prices it is referred
drive down the price for consumers.”
to as parallel importing, or the grey market. The practice is alive and
Launder says that once parallel imports
well in Australia and you may be surprised at
“Every time there is an ‘A
arrive in Australia, consumers are protected
some of the big name retailers taking part. If
by sections 18 and 29 of Consumer Law,
you look past the carefully made-up facade and
Current Affair’ story about
in addition to guidelines set out by the
sweet smelling fragrance, it is happening right
fake perfumes we get another Therapeutic Goods Administration (TGA).
under our noses.
“Under Australian Consumer Law
In 2012, Target Australia found itself in influx of people saying, ‘but it’s
advertising
cannot be false or misleading, and
hot water with Estée Lauder in the US after
so cheap? Is it real?’”
products cannot be sold if they are not ‘fit for
the retailer sourced Makeup Art Cosmetics
purpose’,” he explains. “In Australia we see goods being marked up
(MAC) via parallel importing. Target believed the MAC products
by as much as 30 per cent to 50 per cent. As long as they are the
supplied to them were sourced lawfully by a domestic supplier from
same product and appropriate steps have been taken to ensure a
a legitimate MAC wholesaler overseas, and they were assured of the
product is not fake, if parallel importing is a way to cut these costs
authenticity and quality of the makeup by the supplier.
then it can only be a good thing for the consumer.”
The cosmetics and fragrance giant conducted independent
Despite the fact that parallel importing is a-ok in the land down
testing and launched legal proceedings against Target after
under, not all retailers are prepared to take the risk. Desiree Hinze,
they claimed the products sourced from the grey market were
Retail Operations Manager for Cosmetics Fragrance Direct (CFD)
counterfeit.*
says while she is constantly approached by grey market distributors,
How is it that incidents like this can occur? In Australia parallel
it is not what the company believes in.
importing is not illegal. Not to be confused with the black market,
“Our mission statement is ‘genuine people, genuine products at
the grey market differs in that the products crossing Australian
genuinely discounted prices’. Everything is real,” she says.
borders are completely legal, and not restricted in terms of
CFD guarantees one hundred per cent the authenticity and
importing and reselling. The black market is illegal because it trades
quality of their perfumes and cosmetics. They can only do this
and sells illegal or restricted products.
72
because the company cuts out the middle man, avoiding grey
market distributors, by dealing directly with the brands themselves.
Hinze says that it is important to CFD that customers know
their products come from a genuine source, but it is a constant
battle for the retailer to get the message across.
“Every time there is an A Current Affair story about fake
perfumes we get another influx of people saying, ‘but it’s so cheap,
is it real?’. There is always going to be an element of people that
think that just because it is discounted it is counterfeit,” she says.
Often a bargain basement price is not a reliable indicator that a
product has been sourced from an unorthodox supply channel. In
some cases, the very presence of a luxury brand name can set off
alarm bells for a clued-in consumer.
“Brands like Dior and Chanel do not discount their products,”
Hinze explains. “When customers see that we don’t sell Dior or
Chanel, in a way it can cement in their minds that we deal directly
with the companies that we do business with because those high
end companies would not let their product be in other stores. If you
see those brands in other retailers you have got to question where
they source their stock from,” she says.
Hinze and CFD recognise the potential risks associated with
grey market perfume and cosmetics but for the company it extends
beyond bodily harm.
“Yes there are skin reactions and the fragrance might not last as
long as it should but it’s more the fact that they have been had. They
thought they were buying something real and it’s not,” she says.
Regardless of the legality of the practice, it appears that parallel
importing is not without its faults. The grey market is a complicated
issue, so what is frock’s advice? Tread with caution. If something
seems too good to be true, then it probably is.
*At the time of writing, the court case against Target is ongoing, after Estée Lauder
rejected the retailer’s offer of a settlement in June 2013.
73
how to spot a fake
• Check the cardboard of the perfume or cosmetics box, it
should be thick and good quality.
• The label can often be the first sign something is amok. Is
the label applied straight on the bottle? Is it symmetrical?
• Check the label has the correct spelling, an obvious
one but it is often the simplest things that will give
counterfeits away.
• Designer perfumes are as much about the bottle it
comes in as the liquid inside the bottle. Counterfeits and
replicas will come in sub-par bottles. Inspect for flaws
such as loose crystals or missing entire features of the
design itself. Fake bottles often feature plastic that starts
to peel off instead of actual coloured glass.
• The colour of the perfume liquid should not appear oily
or mottled and should be clear and consistent in colour.
• Sniff – test your toilette for any notes of bitterness or
sourness.
• Take extra care when shopping for perfume and
cosmetics online, and if you can, only buy from authorised
retailers.
• If you are unsure, contact the PR Company locally that
represents the brand. They will be able to tell you if a
retailer is an authorised stockist.
Consuming Local
Ever experienced the deflated feeling after leaving a shopping centre discovering the “wow” dress
you envisioned does not actually exist inside the doors? Perhaps you were simply searching in the
wrong place.
words Teagan West
consumer experience”. TVM provide food, beverages and live music
a trend towards consuming fashion in appreciation of locality
alongside designer to consumer interactions.
and lifestyle is gaining momentum around the country, as quality“Shoppers want a laid back atmosphere, entertainment and the
conscious fashionistas head toward local craft markets in search of
chance to interact with the designer or stallholder who is passionate
something unique.
about their products,” she says. “When you shop at TVM you can
In a recent fashion trend forecast, Worth Global Style Network
ask the designer where the garment has been made and who made
(WGSN) reported that independent craft markets are on the rise in
it. Something that’s not always possible in a chain or department
Australia, ultimately defining the local design scene and modern
store.”
consumption trends through the market lifestyle and its “nostalgic
Zelensky agrees, saying market days are increasingly becoming
celebration of neighbourhood and community” that is a “refreshing
a family event for many consumers as the shopping experience is
alternative to mass-produced goods and commercialised highfar removed from the normal retail format and the sell, sell, sell
street environments”. Consequently, a local consumer movement
attitude. “It’s just a more relaxed environment and I think the
is on the horizon in South-East Queensland as lifestyle markets
customers really love that,” she says.
continue to gain popularity.
Stallholders at TVM said that the market
Rachael Zelensky, owner of Mathilda’s
is growing as shoppers become more quality
Market and Boutique Markets, says both of
“It’s just a more relaxed conscious and are looking for something that is
the nation-wide market events have been
environment and I think unique rather than succumbing to fast fashion
growing and expanding to new locations due
mass production.
to increased popularity in the market lifestyle
the customers really love andKim
Hurst, designer and solo producer
and the unique consumer experience.
of statement jewellery label Jewellery by Kim,
Z e l e n s k y s a y s B o u t i q u e M a r ke t s ,
that.”
said the market lifestyle allows her to create
established for women aged between 24 and
uniquely original pieces that are produced entirely from her Gold
45, originally operated only in some capital cities, however as the
Coast studio.
market continued to gain national popularity more locations have
Hurst says people love that she has made everything herself and
been added to the event schedule. “Essentially we just got so much
that she can say to them “you are the only person in the world with
interest in Boutique Markets that it’s now gone to all the major
that particular necklace”. She said customers keep coming back
capital cities, and halfway through last year we launched into the
because they know they can find something uniquely original at
regional cities so we’re doing Toowoomba, Townsville, Newcastle,
Jewellery by Kim.
Geelong and Launceston because there is that growing need.”
Schoeller says, “I think mostly, shoppers are looking for unique
Zelensky says the market scene is becoming more popular
items. They don’t want to have the same dress as a million others,
because of its ability to provide consumers with an array of unique
that’s why they’re turning to the markets.”
products presented in an atmosphere that rivals traditional retail
More so than ever before, shoppers are craving something
formats.
unique and lifestyle markets are becoming ‘the’ place to satisfy that
Sarah Schoeller, co-founder of The Village Markets (TVM)
demand.
on the Gold Coast says, “Markets are thriving due to the unique
74
bugs alive
Looking for a new restaurant with exotic dishes to tickle your fancy? Brisbane’s Public Bar and
Restaurant may have just the meal you are looking for.
words Amber Kassman
photography Keagan Elder
we are always on the hunt for that new recipe, restaurant, or
special ingredient to add the ‘kapow!’ our taste buds are craving…
So why not try adding a can of worms, scorpions or crickets?
Public Bar and Restaurant have done just that, adding all three
intriguing treats to their menu in September 2013. And surprisingly
it has taken off. “Scorpions are on high demand,” says shared owner
Bonnie Shearston.
Passionate Chef Damon Amos was the man behind the menu’s
unique addition, however he says it is nothing new. “It’s not me
being creative, just an old idea with the dust blown off it.” Amos
describes crickets as “having an omega 3 taste”, while cockroaches
have a “nutty almond flavour” and the meal worms are “quite plain,
like noodles”. Unfortunately, cockroaches will never make the menu
at Public as people have negative connotations to them.
Shearston and Tom Sanceau have owned the restaurant for
nearly two years, creating a classy atmosphere for winers and
diners, and adding this original element.
When presented with two specialty dishes, I found the
experience surprisingly exciting; an unexpected delight. The first
dish, ‘Can of Worms’, was very crunchy with Asian-like flavours and
spices – the perfect combination. The second dish was a special
creation from Amos; salted crickets which added a nice crunch
against the puree and Wagyu beef.
The presentation of the dishes intrigued a visiting couple who
were very interested in what was happening on my plate. There
were many questions of “what do they taste like?” as well as queries
on texture and their combination with the other, more ‘normal’
foods.
Public receive their produce from Sydney-based Skye Blackburn,
owner of the Edible Bug Shop. Blackburn offers a range of bug lolly
pops, chocolate, choc-chip cookies and much more.
It is safe to say Public is creating a definite hype around their
newly formed dishes. Bugs on plates is something the Australian
culture is not yet accustomed to. The question is, are you game
enough to try a creepy crawly?
Check out Public Bar and Restaurant at www.lovepublic.com.au
or e-mail at [email protected]
Check out Skye and her Edible Bug Shop at
www.ediblebugshop.com.au or e-mail at [email protected]
75
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76
Feeding your inner
Caveman
Wind your clocks back to around ten thousand years ago and you too will be a
part of the fashionable food trend that is sweeping Brisbane.
words Georgie Humphries
photography Alessia Maruca
“When people learn that the food is filling, wholesome and
from the tame to the insane, there is certainly no shortage of
tasty - and that it doesn’t make you feel bloated or entice you to
diets telling you what you should and should not be eating. From
have a nanna nap, they tend to make it a habit,” says Paleo Café
cauliflower soup diets to slurping through a straw, these diets have
owner, Jackie-Lou Astill. “Before they know it, they can consider
come, gone and certainly will not be visiting again - but no need to
themselves living a Paleo lifestyle, just because that is the way they
throw in the towel just yet. There is now a way to get healthy by
enjoy to eat.”
having your cake and eating it too, quite literally.
Astill believes that as more health food cafés and stores open,
The Caveman Diet, also referred to as the Paleo Diet, is based
the community is further provided with support and education.
on the idea that our bodies are better adapted to what our human
“When the marketing is done the right way people can be
ancestors ate during the Palaeolithic era. As a lifestyle, it draws
comfortably encouraged to begin a healthy lifestyle journey for
its principles from our early ancestors; people who ate whole,
themselves and to learn of the benefits of eating nutritiously first
unprocessed foods, lived a more active life, slept better and stressed
hand,” she says.
less. But don’t go finding a cosy rock to live behind just yet - the
Senior nutritionist Aloysa Hourigan from Nutrition Australia
caveman ways have been adopted and advanced to suit the modern
says the Paleo approach has become a food
man.
This food frenzy and all its fortune has
“When people learn that the culture and the trend is on the rise. “The Paleo
is not one thing – it varies depending
made its way to Brisbane with Paleo cafés,
food is filling, wholesome and lifestyle
on people’s interpretation. Businesses are
grocers, and education classes becoming the
tasty, they tend to make it a buying into this consumer trend and that will
new rage. Primal Pantry, located in Teneriffe,
encourage it to increase in popularity.”
was one of Brisbane’s first cafés to provide an
habit.”
It is safe to say goodbye to all things
all-Paleo menu, sharing not only their delicious
cauliflower and switch the straw for a knife and fork, because those
recipes but also their knowledge on the healthy way of life. Offering
‘fashionable’ food fads have failed to impress anyone in the past, and
trendy treats like key lime tarts, brownies and cakes, this café makes
will only leave you hungry in the future.
dieting sound easy.
Brisbane is leading the way to happier and healthier foodPrimal Pantry’s owner Mark Rockley, was first introduced to
conscious locals with the trend of health cafés and stores popping
the Paleo lifestyle two years ago and says it was something that
up throughout the city. Whether you like your coffee with soy,
instantly made sense to him.
almond, oat, coconut or goats’ milk, or if you fancy eating organic,
“This diet is most compatible with the way our bodies are
gluten free or caveman-style, there is no shortage of places to visit
innately programmed to process food and leads to improved health
in Brisbane, all of which cater for various dietary needs.
outcomes, increased energy, and a reduction in blood sugars that
It has only taken a few thousand years to realise it, but maybe
can cause cardiovascular disease and diabetes,” he says.
the caveman had it right the first time and we should not mess with
Not long after, Paddington also decided to share a taste for
what Mother Nature intended.
the trend. Paleo Café’s opening attracted extensive attention from
locals wanting to know about the healthy lifestyle.
77
Out of this World
Travelling to space is no longer a fantasy.
words Charlotte Launder
after many small steps in space exploration, the rich and famous
are preparing to take a giant leap into space. Extraplanetary
entrepreneur Richard Branson’s Virgin Galactic journeys are set to
take off, as a host of celebrities step into stylish spacesuits. With the
race to be the pioneer of commercial space travel well underway,
Branson has the world questioning the efficacy of the mantra “the
sky is the limit”.
The latest travel trend to hit Australia will have holidaymakers
trading in their shorts and sandals for spacesuits and their life
savings. The space tourism revolution has well and truly touched
down. Earthlings will soon be able to venture into territory reserved
only for astronauts. According to QantasLink pilot Luke Johnston,
space tourism is the final frontier. “No longer will people see the
stars as something completely unattainable,” Johnston says. “All of
a sudden, travelling into space is a real possibility for the average
person.”
From superstar to supersonic, celebrities are lining up to splash
their cash on a space voyage. Justin Bieber, Leonardo DiCaprio,
and Kate Winslet are among the host of celebritynauts who have
elected to eject themselves from Earth. Katy Perry thought outside
the box when she bought then-fiancé Russell Brand a ticket to space
as a 35th birthday present. It remains to be seen whether the pop
princess and British comedian will step aboard Virgin Galactic’s
SpaceShipTwo following their split, but the fact that celebrity space
cadets have started a trend is undisputable.
It is reported that over 700 people have already signed up to
take Branson’s groundbreaking space voyage, including a handful
of Australians. This number is sure to increase as the space travel
campaign gains publicity and momentum. At around $250,000
each, the tickets come with a hefty price tag. It is a seemingly large
price to pay to experience weightlessness that lasts the duration of
your average pop song.
Brisbane-based travel agent Felise Vicary believes that for some
Australians, the opportunity to be among the first to step aboard a
spaceship justifies the exorbitant cost. “People want bragging rights
and the ability to say ‘I was on the first voyage to space’,” Vicary
explains. So what does a cool quarter of a million dollars get the
lucky ticket owners?
Membership to Branson’s self-proclaimed “greatest club in the
world” comes with many benefits, including and aside from, the
actual voyage. The space trip itself involves pre-departure health
checks and simulated flight training before would-be astronauts are
ready to be space-suited up.
On departure day, guests will be strapped into the 18-metre
long SpaceShipTwo along with two pilots and five fellow
travellers. Anticipation will build as a carrier vessel, known as
WhiteKnightTwo, lifts the ship to a height of 15.5 kilometres. At
this point, the carrier vessel will detach and rockets will propel the
ship upwards at more than three times the speed of sound. As the
ship nears apogee, the rockets will be switched off and passengers
will experience five minutes of weightlessness, with breathtaking
views of space and Earth’s curvature before returning to their seats
for re-entry into the atmosphere.
The journey, which takes two and a half hours in total, is
not all that is offered to members of this exclusive club. Future
astronauts have already been treated with visits to California to see
the spaceships being built, and New Mexico to watch test flights in
action. Some have visited Branson’s private island in the Caribbean
and others his estate in Morocco’s Atlas Mountains.
Branson’s Virgin Galactic trips will redefine commercial space
travel if they blast off in December 2013 as planned. However, there
are other companies hot on Branson’s heels. United Kingdom-based
company Excalibur Almaz recently announced bold plans for the
first manned moon mission in over 40 years. At 100 million pounds
or roughly 170 million Australian dollars each, tickets on this space
trip make Virgin Galactic’s pricing look like loose change. Also
buying into the space travel trend is United States-based company
Space Adventures. Space Adventures has sent seven clients on eight
successful space missions, including the world’s first space tourist,
businessman Dennis Tito, in 2001.
It may be some time before Virgin Galactic fulfills its bold goal
of “democratising space”, as most people would need to win the
lottery to get their hands on a golden ticket. Comparing space travel
to the early days of air travel, Johnston believes it is something we
can realistically expect to experience in our lifetime. “Initially, it will
be very expensive and only open to the elite,” Johnston says. “But as
technology progresses and competition increases, prices will fall.”
Queensland University of Technology Professor Ted Steinberg
agrees that the space travel trend will be sticking around. “The
future is very bright for space tourism. As [it] becomes more
affordable and accessible, I have no doubt that it will become a
must-have experience,” he says. It could be only a matter of time
before we hear the highly anticipated phrase “strap yourselves in
and prepare for takeoff”.
THE COST
A ticket to outer space will set you back $250,000.
THE EXPERIENCE
Be propelled into the atmosphere at three times the speed of sound, before
experiencing around five minutes of absolute weightlessness. See Earth’s
stunning curvature and breathtaking views of the stars.
THE FASHION
Pilot Luke Johnston predicts space travel companies like Virgin Galactic will
be seeking to project a professional brand image, and will use space suit
design to facilitate this. “I imagine companies will use designs and colours
that appear sleek and futuristic to excite and intrigue prospective clients,”
he says.
THE WAIT
The earlier you buy, the earlier you fly. Virgin Galactic is set to take off
in December 2013, but since about 700 people have already bought their
tickets, there is a waiting list. Only six passengers and two pilots can fit
inside SpaceShipTwo. Once onboard, the journey will last approximately
two and a half hours.
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