Con AMORE ISSUE #2

6 7
SHOP.KATESYLVESTER.COM
NOMDSTORE.COM NOMD.CO.NZ
 servicedenim.co.nz

12 13
14 15
www.beaucoops.com - ph +61 2 9319 3199
Dana & Sam, August 2014
 kia ora! /
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What is Black on Black? Multiple igneous

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rock headlands repeating and reclining

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against each other on our West Coast

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beaches? The hit on the chest of a Maori

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All Black’s hands, mid Haka? Zambesi

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layered over NOM*d layered over Helen

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Cherry or a little black Kate Sylvester

i l p
dress? Perhaps it is all of these things

a n d a i d

r i c E o f t h i s l i p
and many more yet BLKONBLK to us
is quite simply Black Magazine doing
Black Magazine online. It is everything

b y h i v
we love in fashion, beauty, arts, culture,
fashion film, new faces, features, profiles,
products, personalities, design, online,

E d
good living and better fun. We hope you

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enjoy this free digital version of Black

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Magazine and BLKONBLK, the home of

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Black Magazine online....feel free to share

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all content and run your cursor over text

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and credits for loads of links, shop now or

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pre-order items...

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Grant, Rachael and the Black Whanau
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h E l p i n g w

20 B L KO N B L K I s s u e # 2
 ON THE

cover

matilda
Photography: Thom Kerr at Independent Artist Management
Fashion Editor: Sarah Birchley
Hair & make-up: Justin Henry at Viviens Creative using
Chanel Cosmetics and L’Oreal Professional Paris styling products
Model: Matilda Dods at IMG Worldwide
el odie
Photography: Ribal & Gil at Superteam
Fashion Editors: Ribal Swang and Justin Henry
Hair & make-up: Justin Henry at Vivien’s
Creative Melbourne using Kiehl’s BB
Cream in Fair and She Uemura Art of Hair
Sheer Lacquer Finishing Spray
Model: Elodie Russell at Chadwick Models

22 B L KO N B L K I s s u e # 2
B L KO N B L K I S S U E # 1
Publishers, Editors-in-Chief
Grant Fell & Rachael Churchward
grant@blackmagazine.co.nz
rachael@blackmagazine.co.nz
Creative Director/Fashion Director
Rachael Churchward
Art Director
Ian Fraser Ferguson
ian@friendsofdesign.com
Hair Editor
Greg Murrell @ Ryder Salon
NZ Beauty Editor
Stefan Knight
Fashion Editors
Thistle Brown
Jessica Grubisa
New York Editor
Valery Gherman @ Defactoinc.com
UK Editor
Sara Dunn @ Clicks & Contacts
Australian Editor, Sydney
Thom Kerr @ Independent
Artist Management
Australian Editor, Melbourne
Justin Henry @justinhenrybeauty.com
Editor-at-large
Paul Empson
Online Editor
Grant Fell
Sub Editors
Anaru Taura
Te Ana Mahupuku
Advertising
Grant Fell: +64 21 407 248
E: grant@blackmagazine.co.nz
Rachael Churchward
+64 21 373 330
E: rachael@blackmagazine.co.nz
24
brando.com.au - ph +61 2 9319 3199
Writers
Grant Fell, Thom Kerr, Stefan Knight, Rachael Churchward
Photographers
Paul Empson, Thom Kerr, Ophelia Wynne, Jessie Sara English, Luke
Dickey, Ribal & Gil, Tintin Hedberg, Charles Howells, Russ Flatt,
David K.Shields, Marissa Findlay, Damien Nikora, Frances Carter,
Lula Cucchiara, Julie Huang, Luca Sorrentino, ITC EFI,
Contributing Fashion Editors
Rachael Churchward, Sara Dunn, Sam Ranger, Sarah Birchley, Katrina
Shieles, Bex Sheers, Gabriella Langone, Justin Henry, Ribal Swang,
Lindsay Rose, Dayne Johnston, Michael Whittaker, Team Zambesi
Contributing Beauty/Hair Editors & Artists
Greg Murrell, Justin Henry, Stefan Knight, Amber D, Becca Gilmartin,
Lauren McCowan, Kuni, Mark Edio, Mikey Lorenzano, Megumi Asai,
Miguel Lledo, Taichi Saito, Carolyn Haslett, Sharlene Cassidy, Jason
Chong-Li, Matt Benns, KieKie Stanners, Iggy, Caitlin Lomas, Gemma
Elaine, Tommy Stayton, Jannine Jones, Fraser Folagi, Lydia Mahon,
Lochlain Stonehouse, Josephine
Thanks to: Heta Hudson, Catriona Knapp, Zora Bell Boyd, Marcus
Ringrose
BLKONBLK is published by:
BLK NZ LTD
P.O.Box 68-259
Newton,
Auckland,
New Zealand
Ph: + 64 9 817 9601
www.blackmagazine.co.nz
www.facebook.com/Blackmagnz
www.twitter.com/blackmagazine
Instagram: @black_mag
The views expressed in BLKONBLK are not necessarily those of the
publishers and editors. No part of this publication may be reproduced
in any way without permission. Thank you.
We do NOT accept unsolicited submissions.
© BLK NZ LTD, 2014


B L KO N B L K I s s u e # 2
26 27
 photographer: ross brown kingsize studios
studio 4
14:25
june 14th
2014

k
28 29
 BLK MARKET
NOM*d / RUE DE SEINE / MOSCOT / WORKSHOP
IMPORTS / VANISHING ELEPHANT
/ KSUBI EYEWEAR / SOL SANA

Fresh goodies (and links) from the Black Market to brighten up your day - in fact
more links than Titirangi Golf Club or maybe a Mr T necklace. Get clicking!

30 31
 B L K M A R K E T

NM*d NO*sense
It may be called NO*Sense but
NOM*d’s powerful SS 14/15
collection is in fact making quite
a lot of sense. Built around a
fantastic world where newfound
friends Captain Kirk and Jabba
The Hutt could both be beamed
up by Scotty, the collection
punches into a new universe with
bold oranges and reds mixing
it with neoprene, printed nylon
and cotton mesh. So Stay on the
Leader and shop the collection
here. Photo: Frances Carter Styling:
Rachael Churchward Hair: Jason
Chong-Li and Tommy Stayton at
Stephen Marr using O&M Make-up:
Sharlene Cassidy using M.A.C Assist:
Lochlain Stonehouse. Model: Kizzie at
62 models. Shot at: White Studios

32 33
 B L K M A R K E T

SO IN
SEINE

If fashion could be applied, then

Michele Corty quite simply,
makes beauty at Rue de Seine.
Her pieces not only make women
look beautiful but clearly make
them feel beautiful too. Like
Stella McCartney she names many
of her dresses and gowns after
women; Helena, Libby, Grace,
Sophia, Chloe, Bella and more,
which is surely indicative of the
personality and personal nature of
the designs, and designer herself.
Shop her latest collection, Young
Love, here. Photo: Frances Carter
Styling: Rachael Churchward Hair:
Jason Chong-Li and Tommy Stayton at
Stephen Marr using O&M Make-up:
Sharlene Cassidy using M.A.C Assist:
Lochlain Stonehouse. Model: Lydia
Grace at Red 11. Knickers by Bendon
Shot at: White Studios

34
 B L K M A R K E T

MOS
You don’t need to be
Johnny Depp to wear
the Moscot Lemtosh, in
fact we think Moira here
is doing just fine. The

def.
frame is however a classic;
representative of generations
of free-thinking and spirited
intellectuals from Buddy
Holly to Truman Capote, it’s
the Hep Cat of sunnies and
looks finger-clicking good in
the Flesh/Green seen here.
Shop this pair now using
the code: BLACKMAGAZINE
at check out to receive 15%
off, right here, right now

BRIDAL

Photo: Frances
Carter Styling:
Rachael Churchward
Hair & make-up:
Carolyn Haslett
using M.A.C
Model: Moira at
Clyne Sailor stripe
tee by Vanishing
Elephant Thanks
to: Kingsize Studios

36 WWW.RUEDESEINE.COM 37
 B L K M A R K E T

IMPORT
Whilst a number of luxury
and international brands are
about to open doors to stores
in Auckland, there are also
an increasing number of fine
international labels being
housed in the burgeoning
stores of our big local brands.
Take Workshop for example;
Marc by Marc Jacobs,
Alexander Wang, Isabel
Marant, T by Alexander
Wang, Acne, Helmut Lang
and more can now be found
in-store. We think that is an
Import-Ant development!
Photo: Frances Carter Styling:
Rachael Churchward Hair: Jason
Chong-Li and Tommy Stayton
at Stephen Marr using O&M
Make-up: Sharlene Cassidy
using M.A.C Assist: Lochlain
Stonehouse. Model: Georgie at
Red 11 wears: Alexander Wang
2-in-1 Reversible coat, Acne
Red Leather pant and Metallic
Sneaker by Marc by Marc Jacobs
all in store now at Workshop
Shot at: White Studios

38 39
 Photo: Frances Carter Styling:
Rachael Churchward Hair:
Jason Chong-Li and Tommy
Stayton at Stephen Marr using
O&M Make-up: Sharlene
Cassidy using M.A.C Nail art:
Ashley Hoyt at Ryder Salon
Assist: Lochlain Stonehouse at
M.A.C. Model: Hannah at Red
11 wears: Cosmo Night playsuit Abrand Jeans
by Marc by Marc Jacobs and
Workshop cap both available in
store at Workshop now.
Shot at: White Studios

-ANT

Workshop & Helen

Cherry website

40 41
servicedenim.co.nz
 B L K M A R K E T

GONE
BABY
No need to study this outfit from
Vanishing Elephant; the Chunky
Varsity knit and tailored short combo
so perfectly matching the climatic
fluctuations of Spring - whether at
Varsity or not. Shop this now using the
code: BLACKMAGAZINE at checkout to
receive 15% off, right here, right now.

Photo: Frances
Carter Styling:
Rachael Churchward
Hair & make-up:
Carolyn Haslett
using M.A.C
Model: Moira at
Clyne Thanks
to: Kingsize

42 43
B L K M A R K E T

EYE
SITE
You don’t necessarily
need to be an all-powerful
female lion to appreciate
these Lyonesse sunnies
by Ksubi Eyewear. A
quick look at the feline
frames suggests you will
surely stand out from the
pack, or pride as it were.
Available at Black Box
Boutique very soon. Pre-
order! Purchase using the
code: BLACKMAGAZINE
at check out to receive
15% off!

Photo: Frances Carter

Styling: Rachael
Churchward Hair &
make-up: Carolyn Haslett
using M.A.C Model:
Moira at Clyne wears
Lyonesse sunnies by Ksubi
and Out of Sight sweater
by Vanishing Elephant h a r m a n g ru b i s a .co m
Thanks to: Kingsize
Enquires: + 64 27 443 7937 sales@gosslingerie.com www.gossclothing.co.nz
B L K M A R K E T
B L K M A R K E T

GOT
SOL
With warmer weather on
its way it is time to think
about getting some air
between your toes and a
spring in your step. What
better way than with these
Sol Sana Tula sandals;
sleek, chic and hard-
wearing as a good sandal
should be. Available at
Black Box very soon. Pre-
order! Purchase using the
code: BLACKMAGAZINE at
check out to receive 15%
off!

Photo: Frances
Carter Styling:
Rachael Churchward
Hair & make-up:
Carolyn Haslett
using M.A.C
Model: Moira at
Clyne Thanks
to: Kingsize
Enquires: + 64 27 443 7937 sales@gosslingerie.com www.gossclothing.co.nz
46
 BL K LI S T
HARMAN GRUBISA/GLEN PRENTICE/PENNY SAGE/GEOR-
GIA ALICE/EUGENIE/BLUE BLANK/BELBEL/SHERPA/HE
KAAKANO AHAU/JULIE ANDERSON/TO ROME WITH LOVE

From the Marr Factory Gatecrashers to the city of Rome, this is Blacklist...

48 49
 B L K L I S T

T HE NEW
DAW N
Here we are right in the middle of another
great season of fashion in Auckland, this last
week with the Marr Factory - five of New
Zealand’s finest: Karen Walker, Nom D,
Zambesi, Workshop & Helen Cherry and Kate
Sylvester once again showing, followed by
NZ Fashion week, this week! This year saw a
new dawn at the Golden Dawn, a new day -
Saturday, August 23 to be exact - a day when
a brood of fresh, young NZ designers showed
their wares: Georgia Alice, Eugenie, Glen
Prentice, Penny Sage and Harman Grubisa
represent a strong edit of local emerging
design talent - curated and overseen by Black
fashion editor Thistle Brown. A month ago,
we had already interviewed Jessica Grubisa and
Madeliene Harman as we had been privy to
the development of the new label (disclosure:
Jessica is also a fashion editor at Black) and we
felt their story was a good story already, with
lessons learnt, and lessons for others to learn.
Then the Stephen Marr Gatecrashers night was
announced and we felt compelled to at least
photograph the other ‘crashers and conduct a
few simple interviews! So call the cops, here
come the Stephen Marr Gatecrashers!

Photography: Russ Flatt

Hair: Matt Benns at Stephen Marr using O&M
Make-up: Stefan Knight using M.A.C Cosmetics
Model: Liv O’Driscoll at Red 11

Pure shirt and

Royal pant
by Harman
Grubisa

50 51
B L K L I S T
H arma n
One day whilst working late
at whitecliffe school of
design, jessica grubisa and
madeleine harman looked
at each other and knew; “We
should do this together”
And so Harman grubisa was
born. Grant Fell and rachael
Churchward investigate
Space Mesh bomber, Space
Mesh bell skirt, Shine
skivvy and Afternoon
Mule in nude, all by
Harman Grubisa
/ gr u bisa
Grant Fell: Let’s start at the beginning, where
did you two meet? Jessica Grubisa: We met
at Whitecliffe. I was at Whitecliffes a year
before Madeleine…Madeleine Harman:
Yeah that’s right…JG: She was the hot new
kid on the block when we met! GF: So you
were in different years? JG: No, we were in the
same year but I had already done my first year
at Whitecliffes and Madi had done a year at
Elam Art School. GF: Ah, I see. So you formed a
friendship, you were buddies? MH: Pretty swiftly,
yeah…JG: I thought, “You look alright!” and
she thought, “You look alright!” MH: Our
friendship really happened in our fourth year.
JG: We were always the ones still there at like
4 o’clock in the morning. GF: Still working? JG:
Yeah, suckers for punishment, I think.GF:
Did you start collaborating on projects while you were
still there? MH: No, we were polar opposites
really; Jess was wild and out there and I was
all neutral tones…Rachael Churchward: I
remember thinking that then. JG: You did make
clothes out of paint, though.MH: I made
clothes out of paint. Which was crazy…GF:
How did you do that? MH: Basically I poured
it so it becomes like a film and paint has a
lot of elasticity, which became the whole idea
– I was looking at the concept of skin and
wearing skin. GF: Like tights that you could slip
into type of thing? RC: I remember hearing about that
and thinking I should get a skirt or something for a
shoot but I was worried about tearing or breaking
it. MH: I did pants and a shirt you didn’t so
much need to slip into them, you could pull
them up and put them on like normal. GF: So
you were friends but not collaborators, what made you
hook up then to do this, to do Harman Grubisa? JG:
The way I remember it, is that literally I had
been thinking about it for a while, the idea
of having a partner because fashion design
and everything that surrounds it is actually
intense so I always thought that two would
be better than one. It is an intense process so
you need someone else to balance it – all the
greatest hits have two writers! Then one day
I literally looked over at Maddy and thought,
“I could do that with her!” MH: Same, it was
like an ‘a ha’ moment! JG: Then one night we
were working late again, I had my computer
at school and we were watching something
like Sex & The City or Gossip Girl, it was
about 2am and we were like ‘shall we do this
together?’ MH: It was like, if we were going
to do this then we should do this together.
GF: Yeah, Jess I remember you talking about the
potential partnership before it happened as well. And
then Maddy you went to New York? MH: I went
to New York…GF: Why did you go there? MH:
I got a scholarship, I won an award which
was a scholarship through university here.
It wasn’t like a year of study, it consisted
of an overseas trip. So I went to the Sates
and I was there for over two months so I
decided to get a visa - effectively I went from
Auckland to New Jersey where the university
is. Then I went to Paris and Antwerp and a
bunch of places with the fashion group at the
university and then moved into New York
city and worked in the city until the end of
that year. GF: And then you went over there to meet
up with Maddy if I recall Jess? JG: I went over
for a holiday and to see Maddy and was there
for a whirlwind two weeks. She was working
at a place called Trend Union. MH: When I
was in Paris I met a woman called Lidewij
Edelkoort who is a world-renowned trend
forecaster and ended up working in the New
York office. She is very abstract, not like
research or commercial…GF: That sounds like
a good place to learn about fashion? MH: Yeah, it
was really interesting! She would work with
really important people so I was meeting with
people like the Macy’s design team, Kenneth
Cole, all of the big conglomerates, it really
was quite fascinating…JG: Actually, here’s a
story for you. I went in to one of the trend
forecasting sessions while I was there and
they were showing a bunch of images and
a Black Magazine photo came up! I think it
was the Thom Kerr shoot of Codie Young
in the graveyard, that kinda gothic looking
shoot. MH: We felt proud, images from
53
B L K L I S T
half way around the world there in a trend
session…GF: Trendsetters! Ha ha…so while
the two of you were in New York did the concept of
Harman Grubisa grow? JG: We tried to think
of a name…HM: We actually talked about
the possibility of doing it there, of doing
it in New York. JG: Yeah, we talked about
that really seriously. But it would have been
a big decision to make. GF: So why did you come
home Madi? MH: Ummm…I got married…
(laughs) GF: That’s a pretty good reason…MH:
Yeah, I came home and got married and Jess
was going to take a job at…JG: Alice McCall
in Bali…RC: Oh, that one…MH: There was
total turmoil at that time, between coming
home, Jess maybe going to Bali, I was offered
a great job in New York and we just talked
and thought, we are in our twenties, we are
never going to do it unless we do it now and
we had even talked about getting funding
that we felt sure we could get if we did it
right so I just packed up and came home.
RC: I think it is probably much better that you are
doing it from here. You have family, friends and a
huge support network right here whereas if you are
doing it in New York you don’t have that at your
fingertips. MH: Yeah, and when you start out
like this you have to pour everything into it.
We have no money, neither of us are taking a
wage, literally everything is this for us at the
moment and we’ve made a lot of sacrifices.
We are at a huge point of risk in terms of
debt but at the same time, if we were in New
York it would be a lot scarier and probably
a lot more difficult. There would be no fall
back. RC: There would be no Jess’ Nana to help
you with production. JG: And hopefully this
doesn’t sound big-headed but there is a
groundswell of new, exciting young designers
here so if people like us don’t stay here and
do it, what is the future of NZ fashion? GF:
Exactly, love that viewpoint! JG: It’s really hard,
though. Sometimes you just get so stressed
out and tired. You just want to go out into
the street where there is no one and just
scream you know? GF: So where did the brand
start, you were both back here, what did you come
up with first, the name? MH: We actually did an
intense business plan that took us months
and months and months, a cash flow and all
of the stuff you should do first. JG: Yeah,
we started there…MH: And, we got super
duper challenged by people, mentors and
advisors – on our name, on our marketing,
on our retail plan. To get the money to start
this business we had to justify every single
thing, every detail, everything we are going to
make for the next three years. GF: Perfect! JG:
We were heavily challenged on our original
business model. It was pretty exhausting. GF:
So obviously you got your business model into a place
that you felt good about it? MH: Yeah, totally.
JG: We were pushed into a better idea to
be honest. MH: A harder idea. JG: Basically
biting off a lot more than we had anticipated.
GF: Did that include reappraising your target
54
market, I think we were quite surprised when you
told us about that. RC: Oh no, I was actually really
pleased that you are going for an older market than we
thought you would. A younger market doesn’t always
have the spend and they can move quickly from trend
to trend but an older woman is a different story. JG:
We would be happy if a mother and daughter
came in and both bought pieces, there are
pieces a daughter could wear for sure. GF: So
you got your business plan finalised and got approval
for investment, and congratulations on that, not that
many young designers go down that path to start.
So your business foundations are laid, what’s next,
did you start sketching designs, concepts? MH: We
finalised the name, lots of people didn’t like
the name. RC: I think the name is brilliant, it
sounds like a fashion label. Why did people not like
the name? MH: Umm, I think some people just
felt is wasn’t very user friendly, like “ I can’t
pronounce it, I don’t understand it…GF: And
Ann Demeulemeester or Alexandre Herchcovitch
are easy? JG: I think fashion followers pride
themselves on learning how to pronounce
names. Like the first time I pronounced
Proenza Schouler I think I said Shoaler
or something, I die…but now I am never
going to say that wrong again. GF: Exactly,
it is actually a small but not insignificant part of
fashion, foreign languages, names and pronunciation!
MH: When it came down to it, that is who
we are, those are our names. Some people
felt it was egotistical, like we want our names
above the door but it wasn’t like that at all.
Like our design process, everything we do
is very much a collaboration so it feels like
the right name. GF: With the name sorted was
it into design? Sketches? MH: Yeah, sketches
and moodboards – images, inspiration. JG:
We kind of got the general flow of what
we wanted. Colouring, palette was really
important. We both knew we wanted to do
a print. MH: I think because you had been
so involved in the industry here from an
editorial perspective with Black and I having
been in New York we have been constantly
surrounded by images, so we had a good
idea about the more directional pieces we
wanted to do, like a midi length skirt…RC:
Yes, which I have had my eye on. I keep staring at
it and thinking that I want it, purely form a styling
point of view there is so much I could do with it. MH:
I think Jess and I both had pieces that we
kind of, had to do…GF: Then you went to Hong
Kong together…mainly to source fabrics? JG: Yeah,
we went to Hong Kong and Guangzhou in
mainland China, mainly to source the fabrics
for the collection but also to find a handbag
manufacturer, and leather supplier. GF: How
did you sources these people and places, were you cold
calling from NZ? JG: Before we left, anyone
who knew anything about this; fabrics, mills,
suppliers in Hong Kong or China we had
a meeting with, we just asked everybody
we knew who might know! We did a lot of
research online as well. We went over there,
got straight off the plane and went straight to
the Hong Kong convention centre which was
huge and then we just gung-hoed it around
and tried to create some sort of order and
organisation to what we were doing. It was
pretty amazing. MH: The only thing we want
to manufacture in China or even overseas at
the moment is handbags and shoes. I worked
for Andrea Moore when I first came home.
She put me in charge of her accessories and
it was pretty clear that there is really no one
left in New Zealand who can manufacture
beautiful leather goods and accessories
from scratch…and who wants to do fashion
rather than say upholstery. We put ourselves
in a position where, we pretty much knew
“when you start out
we weren’t going to find a manufacturer
because the minimums we were looking
like this you have
for were pretty small numbers and they
had limits of like 5000 (laughs) so we went to pour everything
there looking for the hardware suppliers,
the leather suppliers we knew we could get into it. We are yet
them put together in New Zealand. We went
to Hong Kong and sourced some fabrics to take any money
there and then went to mainland China to
this fabric fair, a massive fabric fair… JG: I (personally) away
think it is the biggest one in Asia. GF: Did
you source all of the fabrics for this collection then,
in Hong Kong and China? HM: Most of it, the
from the business,
majority. The print we are getting made up in
India probably and there are a few different
everything is this for
silks from local suppliers but we also want
to ensure the print we get done is actually
us at the moment and
ours and doesn’t start appearing somewhere
else, you know? Because it is our first season
we’ve made a lot of
it is very important to us. GF: A killer print
can define a range quite easily…so the next part of
sacrifices”
the process, pattern-making, cutting, getting samples
done? A machinist…was that when it became more
real, a fun part? Did you feel that you had enough
knowledge to over see that? JG: Yeah, definitely…
MH: We were fine with that part of it. We kept
it simple and worked with one patternmaker
and one machinist. We were pretty
comfortable with it all but I think production
is a new game! I think with production both
Jess and I…well, neither of us really want to
put our hand up for production (laughs) it
takes a special kind of person but at the same
time as designers you need to be very aware
of this part of it. RC: I have met quite a few of
the production managers, production people who work cheque for us at the end of the day and we we can experiment, see who likes what and product is great, we love the clothes we are
with Helen Cherry and Workshop, Zambesi, Karen, want wholesale relationship where there are what they don’t like, and see income earlier making but we have thought a lot about the
Kate etc and they are usually really amazing women. exclusives – so you could only buy a particular – rather than being limited by an order and online experience, how we are going to work
They know how to get you there, it’s their job. MH: bag at a particular store. Right now online, then scrambling to make it happen. RC: Yes, in retail in future, engaging our audience and
We will be fine we definitely have enough our own online store and then following that system is based upon having so many stockists I think there is already an experience there
knowledge of the process and we are starting on from that our own store, our own retail that you have to have an order and production system from start to finish…GF: For sure, I am aware
off quite small. RC: Exactly it is not like you have space. MH: I think it’s also about controlling further and further ahead. This way, you can make of a couple of those projects bubbling away in the
to produce hundreds and hundreds of pieces straight your own stock so that we can put something some samples and stocks and if no one orders a look background! Do you have a brand statement?
away. GF: I’m impressed at how organised you have into store when we want because it is going or whatever, you don’t have to waste money making MH & JG: We decided on ‘beautiful above
been in terms of imaging the collection; a look book into our own store. Plus, Jess and I have it up. JG: Going through the business plan all else’…GF & RC: Beautiful! Thanks Jess and
with a quality team, a campaign at the same time, decided to go straight to season. Everyone process we were challenged a lot about this Madi!!
that’s good planning. What about retail, how far else is on winter right now, and we are just sort of thing; “Yes, your product is great, you
down the track are you with that? JG: Originally getting to winter, we will go straight into are fabulous, it all looks good but what are
we thought we were going to be wholesaling summer. Otherwise, we started in February, you going to change, what are you going to
to start but it is not the ultimate route we but it would be a whole year before we saw offer that is different?” And we said we could
want to take, it is not going to be the biggest any money coming in the door. It just means change the experience. We do think our
55
 gle n pe n n y
pre n tice sage
D esigner glen D esigner K ate
prentice is M egaw ’ s label
f ocused on penny sage is
creating re f ined , created f or f ans
understated o f structure and
womenswear f orm and those
using classic that appreciate
materials with natural f abrics
contemporary that ‘ f eel good
details . on the body ’ .
H is brand K ate , tell us
‘ represents the about your . . . .
modern woman ’ .
G len , tell us S h o e s : leather slides

about your . . . . S k i n : spring collective

H a i r : S anseuticals
D r i n k : old fashioned
S t y l e : tina chow
T u n e : california dreamin ’ -
S h o e s : particular
mamas & papas
S k i n : fresh
D a y o f f : bush walk
H a i r : effortless
F r u i t : gooseberry
D r i n k : reviver # 2
T V : true detective
T u n e : rhythm & blues
L i p s : spring collective
F r u i t : pommegranate
treatment balm
T V : physically defunct
W e b s i t e : www. anyonegirl . com
L i p s : balm
B e a c h : any
W e b s i t e : researching &
V i t a m i n : S leep
reference
S c e n t : van cleef & arpels -
C a r : 8 0 ’ s e x otics
B ois d ’ iris
B o o k : nonfiction
F i l m : sleepaway camp
Vitamin: D
S c e n t : standard
Penny Sage website
F i l m : cinematic
J e w e l : stone & rock

Glen Prentice website

Photography: Russ Flatt

Fashion Editor: Rachael Churchward
Hair: Jason Chong-li and Tommy Stayton
at Stephen Marr using O&M
Make-up: Sharlene Cassidy using M.A.C Cosmetics
Models: Saveja at Clyne, Lydia Grace and
Georgie at Red 11, Kizzie at 62 Models
Saveja wears:
Duster in Silk Canvas Lydia Grace
and Straight Pant in wears: Sleepaway
Silk Satin by Glen trench worn over
Prentice, sandals by Gamine jumpsuit by
Alexander Wang Penny Sage, sandals
from Workshop by Birkenstock
56 57
 G e o rgia E u g é n ie
A lice D esigner
E li z abeth E ug é nie
W ilson combines a
D esigner G eorgia
alice C urrie ’ s re f ined cut with
semi - eponymous a sharp eye f or
label georgia detail , impeccable
alice is dedicated construction and
to creating f ine f abrics . the
‘ cool , classic and label recently
wearable lu x ury ’ opened a f lagship
and providing bouti q ue at 5 1 a
strong silhouettes M ac K elvie S treet ,
and ‘ manstyle P onsonby . L i z tell
aesthetic ’ . us about your . . . .
G eorgia , tell us
about your . . . . S h o e s : maketh the man
H a i r : lauren bacall
S t y l e : modern , D r i n k : whiskey sour
monochromatic , denim T u n e : beck x philip glass
S k i n : origins - V italizing - spf 1 5 D a y o f f : not likely
energy- boosting moisturizer T V : the metalocalypse
H a i r : disheveled L i p s : nars
D r i n k : peppermint tea W e b s i t e : eugenie . co . nz
T u n e : mos d C a r : C itro ë n K arin
D a y o f f : ocean B o o k : pie paper
F r u i t : banana B e a c h : san sebastian
L i p s : nude S c e n t : 3 4 dipty q ue
W e b s i t e : www. georgiaalice . com F i l m : beyond the black
B o o k : helmut newton - polaroids rainbow
B e a c h : too many
V i t a m i n : zinc + magnesium Eugenie website
S c e n t : narcisco rodriguez
F i l m : a single man

Georgia Alice website

Kizzie wears: Georgie wears: Merino

Dress by Georgia sweat, tuxedo front shirt
Alice, shoes and two tone trouser by
by Acne from Eugénie, heels by Isabel
Workshop Marant from Workshop
58 CONTENTS COVER 59 B L K O N B L K I S S UE # 1 59
B L K L I S T
you blankin’ me?
With a name like Blue Blank and a propensity to work
in leather and chain you could be forgiven for thinking
that Clara Chon’s Auckland-based label is made largely
for the dungeon, or at least the dungeon set. Yet, the
accessory label has quickly become a favourite with
forward thinking young fashionistas around town and
perhaps it is the brand’s underlying sense of humour
which appeals as well as the well-constructed pieces.
Blue Blank grew out of a series of wearable artworks
made during Clara’s time earning a Master of Fine Arts
degree at Elam School of Fine Arts. That they were
then photographed and appeared shortly thereafter
60
on The Fashionisto, one of the world’s premier online Photo: Frances Carter Styling: Rachael Churchward
fashion sites suggests that the pieces were more fashion Hair: Jason Chong-Li and Tommy Stayton at
than wearable art, although that first series of intricate
leather body harnesses were the seed for the direction Stephen Marr using O&M Make-up: Sharlene
of the brand. Blue Blank has grown quickly into a Cassidy using M.A.C Assist: Lochlain Stonehouse
respected accessories brand with representation at at M.A.C. Model: Hannah at Red 11
Auckland’s Ciel PR, numerous editorial appearances
and a showing at this week’s Underground installation Blue Blank website
at New Zealand Fashion Week. Blue Blank is available
at Children of Vision in St Kevin’s Arcade, Auckland,
the Service Depot in Wellington and Company of
Strangers in Dunedin.
61

BE LB EL
Photography and story: Thom Kerr
Styling: Lindsay Rose
Hair: Iggy using Kevin.Murphy
Make-up: Becca Gilmartin using M.A.C Cosmetics
62
On the release of
Melbourne-based
Belbel’s new single
thom kerr interviews
the 18 year- old singer
about her roots,
inspirations and her
identity as an artist.
Belbel’s natural
artistic flair and
passionate drive
has taken her to L A
where she concoted
“violets’, a dark yet
catchy dramatic pop
moment.
Thom: Where does the name Belbel come from?
From an early age, many people have called
me Belbel as a nickname, and it stuck. As I
moved into music as a career, it just seemed
fitting to use it as it has sentimental value
as well as having a nice ring to it – no pun
intended! How would you describe your style of
music? I like to think that my music bridges
the gaps between some of the different
worlds in music. I draw inspiration from
many different genres ranging from minimal
to electronica, indie to pop; therefore it’s hard
to put a label on my work. I’ll let the listeners
decide. When did you decide to pursue music? My
entire life I wanted to pursue music, however
I only put this desire into action a few years
ago. I have always been a writer, and I spent
a lot of my down time writing poetry and
prose. Singing came less naturally to me, I
was very shy about my voice and only sung
in private locked behind my bedroom door.
I was extremely scared of people hearing
me because truthfully, I didn’t think I could
sing. It became apparent around the age of
16 that I could not go on and live a ‘normal’
life that was expected of me. I knew I had to
live in a way that fulfilled me creatively. What
is the name of the first single and why did you choose
it? The song I have chosen to debut with is
called ‘Violets’. I chose this particular song
because it reflects my current emotional and
physical landscape. For me, writing music is
like writing in a journal. If it’s truly honest,
it comes out in a matter of minutes like this
one did. With the help of Richard Harris, an
LA based producer, the sonic landscape I
dreamed of was birthed. I want to be real with
my listeners from the start about how I feel
and think. No game of charades. This song is
the most honest depiction of me one could
get. What is the concept of the clip? Who worked
on it? The sense of separation and difference
that I have experienced growing up caused
a feeling of dislocation and confusion. The
dilemma about where and how do I fit in,
and whether I really want too anyway, is
at the core of the video. In parallel to my
journey, we have what I call the ‘No-name
people’. I envisioned lifeless men searching
for vitality in a wasteland of emptiness
they knew as home. I took this concept to
Blake Farber, a New York based director.
I worked closely with the producer, Emma
Haarburger who creatively and logistically
brought my vision to life. Matt Wood, an
Australian cinematographer, filmed the clip.
Additionally, fashion has always been an
integral part of my life. I consider that the way
we dress – our personal style – tells a story.
Julian Burak or Yan (his cool nickname), the
stylist, understood this sensibility and brought
it together in an authentic way. What do you
think is the main message you wish to convey with
your music? I wish to give many messages, but
one’s reaction to music is entirely personal.
I hope that listeners will find meaning in my
music for themselves. However, if people
can feel somewhat comforted in my lyrics,
and feel hopeful, then I will have done what
I set out to do. Which artists are inspiring your
journey? There are so many artists that are
absolutely killing it right now. This is such
a tough question because many artists from
different eras and demographics inspire me. I
can’t stop listening to BANKS, James Blake
and Lykke Li right now, but then I play some
Simon and Garfunkel and I am transported
to an alternate world. I then look at someone
like Lorde, who is not only releasing exciting
music, but she is setting an example for young
girls and boys, and that is just as important as
the music. What advice would you have to anyone
about to embark on a journey in music? Be your
own boss. Nothing is more important then
trusting yourself, and your own intuition.
Where do you see yourself this time next year?
Ultimately, I would like to have a lot more
music out in the open to be enjoyed by the
public. I want to focus on the longevity of my
career, and that means constantly developing
my craft. I hope that a lot of people will listen
and respond to my work. That’s all I could
ask for. This page: Belbel wears: Neoprene cape
by Phoenix Keating Opposite: “I am Fake’ coat by
Sand, Calypso Crop top by Nookie and wideleg pant
by T-Luxe
63
 follow us When Sherpa opened the 2012 Auckland L aneway
festival thier performance ensured a mountain
quickly became a molehill . Grant Fell talks
to Sherpa’s daniel barrett about vince and his
van, brian wilson and todd rundgren, flamingos
(greater and Lesser) and becoming more
like an animal . Photos: Frances carter

64 65
BL ACKLIST
“The album was
recorded with
a lot of vintage
analogue gear
which gives it a
very warm sound,
but the songs are
also quite sad, like
having the blues”
Grant Fell: How long have you been together,
tell us about the genesis of the band, how you met...
Daniel Barrett: Sherpa as a band have been
together since we were in high school, and
we’re all in our early 20’s now, so quite a
while. The core of the band has stayed the
same with Earl Ho singing and playing guitar
and Vince McMillan playing drums. Our
other guitarist, Ben Jack, met Earl and Vince
through their various bands playing together.
I met Earl at a music festival in Wellington
and it turned out we were both going on to
study Music at the University of Auckland.
We spent three years playing music together.
When we finished our degrees I got asked to
join the band, which was great. Why did you
decide on the name Sherpa? The name Sherpa is
actually a reference to a van that Vince and
the original bass player had a running joke
about. The band needed a name to enter
Rockquest so they used ‘Sherpa’, and it just
stuck. Who plays what in the band? Earl Ho -
vocals, guitar, sampler. Ben Jack - guitar,
vocals. Daniel Barrett - bass, sampler. Vince
McMillan - drums, sampler. It’s a common band
question but I am fascinated to know, (I’m hearing
Nuggets, elements of Flying Nun, Brian Wilson,
even Todd Rundgren) - who and what are you
influenced by? Sherpa are definitely influenced
by Brian Wilson and Todd Rundgren. Many
of the local bands we grew up listening to
66
such as The Mint Chicks and Die! Die! Die!
are influenced by the Flying Nun scene so
that probably comes out in our music quite a
lot. We’re influenced from a whole range of
stuff from classics like The Beatles, Chic or
David Bowie to newer bands like The Strokes
or Tame Impala and even electronic acts like
Daft Punk. A lot of the themes in our songs
or the way we think about our art is influenced
by novels and films especially those related to
the Surrealist or Dada movements. I suppose
the biggest influence on us are our peers.
Partys, the nightlife, whatever we can get our
hands on. I really like some of your titles, can you
explain why you called your latest album “Blues &
Oranges?” ‘Blues and Oranges’ is a title with
many layers of meaning to us. The album
is a concept album about life and death. It
follows the story of a protagonist through
their final days on Earth from trivial everyday
life developing into something bizarre as
they drift into insanity and finally a death and
rebirth experience. A prominent idea we had
for the album cover was to have a picture of
an orange covered in blue mould symbolising
how even the sweetest things will succumb to
rot and decay, and the inevitability of death.
At the same time Earl’s girlfriend had painted
and gifted him a portrait of a very striking
orange and blue face. We liked both images
so much that we decided to superimpose a
mouldy orange over the portrait, giving the
face an amazing porous texture. The title we
were working with at this point was a line
from a poem, “buzzing dawn’s blueings”. We
decided to simplify it to ‘Blues & Oranges’.
Blue and orange are complimentary colours
so they’re aesthetically pleasing, it sounds
interesting when said aloud, as well as
looking good written down. It is also a
reference to the ocean (blue) which is a
prominent lyrical theme throughout the
album, as is sunrise and sunset (orange),
which is also an image we saw a lot during
the writing and recording process, most of
which took place at Ben’s bach. The album
was recorded with a lot of vintage analogue
gear which gives it a very warm sound, but
the songs are also quite sad, like having the
blues. What an answer Dan! How about your last
album “Lesser Flamingo?” ‘Lesser Flamingo’
was inspired by questioning what we value
and ideas of beauty. Flamingos are beautiful
and amazing animals but the full name of
the pink species we commonly think of is
“Lesser Flamingo”, as opposed to another
quite plain looking species of flamingo which
scientists identify as the “Greater Flamingo”.
The plainer species of flamingo is greater
in size, hence “Greater Flamingo” but is
the Pink Flamingo really “lesser” because
it’s smaller? Many prefer it because of its
bright pink feathers. If it was up to an artist
to name the species instead of a scientist
would they have been named differently?
They are also extremely flamboyant which
definitely represented the in-your-face
maximalist approach of songwriting on
that album. There are continuous themes
surrounding animals on the album with the
songs ‘Lunar Bats’, ‘Turtles’, ‘In Dolphins
He Trusts’ and ‘I’m Becoming More Like An
Animal’. That’s definitely an interesting one,“I’m
Becoming More Like An Animal?” The song
‘I’m Becoming More Like An Animal’ was
written by Earl as he was observing a cat
which lived at a house he was housesitting. It
is self-reflection on how his own hedonistic
tendencies were beginning to have more and
more control of his behaviour. It’s about a
slow erosion of society and cultural norms
into animalism, which is commonly seen
as a bad thing though it is arguably more
honest and therefore pure. How do you go about
“Eclipsing The Night Away?” ‘Eclipsing The
Night Away’ is less about what you do and
more about what you choose not to do. It’s
a call from people who care about you not to
indulge yourself in night time’s entertaining
yet harmful habits. “Eclipse the night away”,
she said. “Leave the colours in the day.” Nice.
How would you describe your songwriting process,
if there is one?! Earl will typically come to
band practice with the skeletons of a song.
Either just the chords and lyrics to a section
or sometimes something fully structured,
usually in the form a demo recording with
some basic drums and bass outlined. We’ll all
work together to make the song as good as
we can. We pay lots of attention to the way
the guitars are working with or against each
other and how the bass and drums are locking
in and carrying the momentum of the song.
I love your album artwork, who is responsible for
that. The artwork for ‘Lesser Flamingo’ was
a collaboration by two high school friends
of the band, Ben Metge and Ben Carroll. I
believe the picture is a photo of vivid inks
on glass with a light shining on it from
underneath. The original portrait for ‘Blues &
Oranges’ was by Earl’s girlfriend Dieuwertje
Hehewerth who is currently studying art in
Amsterdam. Our drummer Vince McMillan
superimposed a photo he took of a mouldy
orange over the top. Similarly, the video for ‘Love
Film’ is great, who directed it? The video for Love
Film was directed and shot by Marc Swadel.
He is a very talented film maker and was great
to work with. What does the next 6 months hold
for Sherpa, where are you playing next? Earl is
currently in Europe seeing his girlfriend and
passing on our music to industry people so
we have no gigs lined up for the immediate
future. We do however have two new singles
and videos we recorded before he left which
we’re going to release soon, both of which
are so new they didn’t appear on the album.
When he gets back it’ll be straight back into
touring.
Sherpa website
67
 He
Kaakano
ahau2 ( seeds growing )

He Kaakano Ahau (I am a seed) is an

ongoing collaboration of works by
husband and wife duo Jason Nathan
(Carver-pounamu)(Ngapuhi, Ngati Whatua),
Kiri Nathan (weaving,fashion) (Ngapuhi,
Tainui) and acclaimed photographer
David K Shields. we ran a series of early
images from the colab in the first
issue of BLKonBLK and will happily do
it again, we love this project! Each
photographic subject is of Maori descent
and each image represents a perfect
synergy between designer , carver and
photographer . We asked Kiri for her
thoughts on the beautiful people in Ruanui - A quiet
determination behind
these images by David k Shields... the face of a god!...
respectful and
humble.. You can
see the aroha of his
whanau through his
inner strength and
knowing...

68 69
 Erin - Subtle, gentle A stley - Well ,
and shy...It was easy what can I say
to admire her way... l ol!! this guy ha!!
she is dreamy and My golden child!!
mysterious..internal
and beautiful

70 71
 Devon - Fire wrapped
in cl ouds of warmth,
laughter and life, her
strength and focus is
equaled by her stunning
natural beauty...
must be from her Toi
genes (yup shes my
whanaungatanga)

Maia - Quiet and

graceful , I could tell
she was a dancer just by
watching her move...how
she held herself....she
possesses a special kind
of beauty, internal and
external ...timeless...

Kiri Nathan website

Jason Nathan
David K Shields

72 73
B L K L I S T

C OLLEC T IV E
FORCE
in a whirlwind six months,
17-year- old Julie Anderson went
from her restrictive home life
as a central florida teen to
the cover of cosmopolitan. In
the ensuing years she would go
on to a further 30- odd covers,
become the incumbent L a perla
girl , shoot with some of the
greats, have children and travel
the globe with said children.
then she met black mag editor-
at-large and photographer
paul empson, and the rest is
history. julie talks to grant
fell and rachael churchward
about models, moms, feminine
collective, our rach and tyra

Photography: Paul Empson

Fashion Editor: Sam Ranger
Hair: Kuni at See Management NY
Make-up: Mark Edio at See Management NY
Model: Julie Anderson at LA Models

74 B L K O N B L K I S S UE # 1 75
B L K L I S T
Grant Fell: Let’s start at the beginning Julie, when
and where did your modelling career start? Julie
Anderson: It started in Central Florida in
1987, and it’s actually a miracle that it started
at all. I was raised as a Jehovah’s Witness.
I don’t know if you are familiar with that
religion, but it’s pretty restrictive. Anything
that involved the outside world, relationships
with non members of the church, listening
to certain music, going on a date without
the intention of marriage, or being involved
in after school activities were frowned upon
by the elders of the church—not a normal
childhood filled with relatively harmless
experiences. Right? GF: For sure…When I
entered high school, in 9th grade, I crawled
into a shell. I had two or three good friends.
One of my friends would always bring in
fashion magazines. One day she brought
in Cosmopolitan magazine with Paulina
on the cover …Paulina Porizkova? Exactly.
I remember looking at her and thinking,
my eyes are kind of like hers, and my neck
is kind of like hers. I always felt awkward,
ugly, and didn’t fit in anywhere. Then, I
heard on the radio about an Elite Modeling
competition happening in Orlando. My
parents took me to that competition—a
bold move. The universe stepped in, and
my destiny was changed forever. I was
courted by agencies around the world, but
I had never been away from home before. I
decided to go to Chicago first. It seemed less
daunting than New York or Europe. I was
only seventeen. When I arrived in Chicago, I
was lucky enough to work straight away with
the great Victor Skrebneski. He launched
Cindy Crawford’s career. His photographs
are iconic, old school—fabulous. Shortly
thereafter I secured my first major booking
with American Vogue. I went from small town
America to Vogue magazine. Wayne Maser
was the photographer for that shoot. Kara
Young, a supermodel in my eyes was my
buddy on the shoot. I remember walking in
and seeing Polly Mellen, do you know who
Polly Mellen is? Rachael Churchward:
Absolutely! She was the stylist on that shoot.
RC: Wow, my hero! …She took one look at
my arms and said “Her arms are too hairy!”
I was immediately shuttled off to get my
arms waxed. It was hysterical. I was this
76
doe-eyed kid. I remember Wayne Maser
suggesting that Kara and I act like lesbians,
and I actually had no idea what a lesbian was!
GF & RC: Ha ha ha…Shortly after my career
took off in NYC, I met a man who rocked
my world. However, the indoctrination of
my youth was still ingrained in my head, and
being in a serious relationship without the
seal of a marriage certificate bothered me. I
ended up getting married at a very early age,
already pregnant with my first child. The
industry frowned upon both my union and
the impending birth of my child. They said it
would ruin my career …GF: It obviously didn’t
…No. But I was always very stubborn and
headstrong, I did what I wanted to do, which
definitely made it harder, but I had an epic
adventure. Even though my marriage didn’t
last, I was blessed with an incredible son who
travelled all over the world with me. GF: It
seems the fashion industry views things a bit differently
now. Karl Lagerfeld made a feature of NZ model
Ashleigh Good’s pregnancy in the latest Chanel show
…When I was pregnant, Tyen photographed
me before and after for British Vogue. I am
pretty sure I was one of the first people
ever to be published in a major magazine
completely nude and pregnant. I just covered
my nipples. After that, Demi Moore famous
Vanity Fair cover hit the stands. GF: I was
going to ask if that was pre the famous Demi Moore
cover…Oh, she probably got the idea from
us …(laughs) … so anyway, yes, that’s how
I started. GF: We have been through a bit of a
list of photographers you have worked with and
the list is outrageous; Patrick Demarchelier, Irving
Penn, Avedon, Gilles Bensimon, Helmut Newton,
Arthur Elgort, Bert Stern, Albert Watson, Tyen
… legendary names … any anecdotes? I have one
that just popped into my mind with Albert
Watson. His photographic eye is exquisite,
and his studio was something else. At the
entrance to his studie, a 20 foot high angel
floated in his courtyard. It had been brought
in with a crane. That Angel always had our
backs. Albert was very kind … intense. I
remember him showing me images as they
came out of the darkroom—those were the
days when you actually had a dark room!
Everything has changed so much … I loved
that about Albert, he was inclusive. GF: What
about Avedon? Avedon shot Estelle Lefevre
and me on the same day for a Vogue cover
try. That was so intimidating. Being in the
same room as Estelle was surreal, she was
one of my idols. Me, a kid from nowhere
who found herself in this creative genius
atmosphere—Avedon’s world—was too
much to bear! I remember feeling like I
was under a microscope. Frankly, I did not
feel like I belonged. Avedon struck me as
someone who was very mathematical in his
approach to capturing an image. Clinical
almost. He was focused. GF: Was Irving Penn
similar? That was intense. He was such an
unassuming man, very gentle. Someone told
me once that he didn’t sleep more than four
hours in a night. He was insanely creative
with a great team around him who supported
and protected him. You could certainly never
question anything he asked you to do. If he
wanted you to put dog poo on your face for
a photo you had to do it (laughs). Inevitably,
the photo was always a masterpiece. GF: On
your personal website you have around 30 covers, do
you have a favourite cover or one that stands out for
you? I think the Cosmopolitan cover, my first
cover. Me, the geek that was never invited
anywhere, leaves town without farewell and
turns up six months later on the cover of
Cosmopolitan - that was pretty special. Things
moved pretty quickly once that cover came
out. There were a lot of invitations to the
high school prom after that! GF & RC: Ha “The geek that
ha, we bet there was! You worked with legendary
make-up artist Kevyn Aucoin as well, right? Yes.
was never invited
After Kevyn Aucoin did my make-up, I anywhere leaves
would keep it on for as long as possible. I
once did a shoot with him in NYC and I
town and six months
said, make sure it sticks because I am going later is on the cover
to a party tonight, in Los Angeles! When I
got off that airplane in Los Angeles, some 6
of Cosmopolitan, that
hours later, my face was still on! RC: Ha ha was pretty special .
that’s brilliant…Looking back though, at that
Cosmopolitan cover, I was way too thin, But
Things changed
now, the girls in the industry, look at them … pretty quickly when
can you believe the girls on the runway now?
RC: One of the problems is that half of them are about
that cover came out,
12-years-old…GF: And shipped, en masse, from there were lots of
Russia …RC: … and physically underdeveloped … invitations to the
and, unfortunately, in those fashion capitals there is
an element of being encouraged to be far too thin … prom!”
It’s ridiculous. When Paul and I were in New
York, last fashion week, I was gobsmacked… Opening page: Jumper by
Margaret Howell This
page: Jumper by Cacherel,
trousers by Maison Martin
Margiela, slippers by
Robert Clergerie
77
 B L K L I S T
RC: We are quite lucky here in New Zealand, where
body shape, in general, is a little more healthy. We
have a healthy lifestyle here: the food and exercise
is part of life and, generally speaking, we prefer
healthier looking girls. Sometimes girls come through
here, en route to Australia or even to do a stint
in New Zealand, and they have just done fashion
week up there and they are quite often just skin and
bones …The pressure is insane, these girls are
swallowing cotton balls. RC: I think it is mainly
built around runway, the girls that get to your level
have to be healthier, they can’t be super skinny. The
girls we have on our covers, for example, they can be
lean, but they have to be healthier than the runway
girls you are talking about … those are the jobbing
models, the ones that are neither here nor there. They
book shows sometimes but are not really getting
much attention …Yes, that’s the curse of the
industry. Even somebody like myself that has
enjoyed quite a few highs in my career, I still
suffered extreme self-worth issues. I never
really felt that good about myself right up
until I would say about two years ago. Even
with the campaigns and everything, I still
had huge doubts. My confidence was very
low. You are right when you say that it takes
a little more to be successful nowadays in
fashion. There are a lot of models at the top
right now who look great but who do not live
healthy lifestyles. They have a team of people
“I arrived for the telling them they look phenomenal, but in
the long run they are not really interested in
go see with my their actual health and well being. Models are
young son, a nanny a commodity. I find it remarkably sad and
really heart-wrenching. RC: I do feel lucky being
and a menagerie of here in NZ. It is a small place and Grant and I and
animals. I stepped our Black teams, we really, really nurture the models.
They are the kids we never had, and we see it as really
out of the cab, important that they feel safe and secure…There is
looked up and locked stress on the models throughout the high
fashion capitals, but the worst place, in my
eyes with Paul . We opinion, in terms of stress placed on models,
both swear that is Japan. The Japanese aesthetic for beauty
is extreme. I agree with you about New
cupid shot his arrow Zealand. A phenomenal country where its
that day. L ove at citizens are loving, family-oriented and truly
human—embracing life and all its glory. In
first sight” all my travels, it’s just so rare. GF: One of the
highlights of your modeling career must have been your
role as the global face and body of La Perla, for five
years. What an incredible brand with a rich history
Shirt by Turnbull
and Asser, jumper
by Berthold
78 B L K O N B L K I S S UE # 1
… five years in a row. They kept coming back to
you …They were the best. I was working with
a man named Nadir and his wife Alexandra
and for some reason they just loved me. I
was constantly booked for La Perla. We did
shoots in Lake Como, Milano and Paris. It
was off-the-charts fabulous. I mean that’s an
investment you want to make! Every woman
should buy herself some La Perla underwear
(laughs). With my career skyrocketing, I think,
at that point, I turned into a bit of a diva.
I began requesting to be flown to Paris via
the Concorde, and they obliged. They were
dream clients. GF: Wow, the Concorde, what a
plane! It was insane! The Concorde, first of
all, was a majestic bird wasn’t it? Being able to
cross the Atlantic in 3-and-a-half hours was
a dream! GF: In the nineties, at one point you were
officially designated as a supermodel …Apparently,
I was. I don’t really like that term; I think
it’s kind of cheesy. The real supermodels
are obviously Kate Moss, Naomi Campbell,
Christy Turlington, Cindy Crawford, Linda
Evangelista—we know who they are. I find it
embarrassing when I am called a supermodel.
The title does not belong to me. GF: You had
this huge modelling career, which tapered off a little
around the millennium, that was when you came
to Australia. In 2001, we gave America the
big flick because of political reasons and our
addiction to travel, next stop, Australia. In
the early 2000s, I was raising three kids, living
in Sydney. I really just didn’t worry about my
career anymore. I was focused on being a
mom. After having my youngest child Jalen, I
realized that I missed the fashion business. I
missed meeting people from different walks
of life, and traveling to exotic locations. I
LOVE it! RC: I do too …GF: Same …And
that spiritual connection thing, you meet
someone and think “my God, we must have
been separated at birth, you must be a distant
relative.” GF: What about your husband Paul,
who is the photographer in this story. Tell us about
the time when you met Paul …Okay. Well, as you
know, you are only as good as your last tear
sheet in this business. It’s brutal. When Kate
Moss came on the scene—all of a sudden
people had to lose a thousand pounds, cut
their hair and embrace grunge. I jumped
on that bandwagon as well. Cut my hair off
and dyed it various colors. Doing anything
it took to look grunge. I needed new photos
for my portfolio, and fast! Fortunately, I ran
into my friend Alexander Becker, a make
up artist. He showed me his portfolio and
some of his pictures blew my mind. I asked
him who shot those images and he said Paul
Empson. So I said, (adopts diva voice) “Tell
Paul I would like him to take my picture.”
(laughs). It turns out Paul knew who I was.
… Apparently, he had seen me at parties and
thought I was a diva. He told Alexander that
he was not interested in shooting me. As
luck would have it, shortly thereafter, he had
a shoot where the lead model was based on
John Travolta in Saturday Night Fever. At the
last minute, the model that was booked for
the shoot pulled out. Paul remembered that
I wanted to work with him. He thought my
face structure would fit the androgyny look
that the shoot required. He took a chance
and arranged a meeting with me. I arrived
for the go see with my young son, a nanny
and a menagerie of animals. I stepped out of
the cab, looked up and locked eyes with Paul.
We both swear that cupid shot his arrow that
day. Love at first sight …G&R: Awwww …
GF: Let’s talk about where you are at now and
Feminine Collective, your website. We really like the
site …Really? You are not just saying that?
RC: No. Really, we like it a lot …good messages!
Just yesterday, I was talking to a successful
Australian model and she said to me, “Julie,
I’m 36 years old, and it’s hard to work. I
don’t understand, we’re not old!” Personally
speaking, we are just now feeling better
about ourselves, but the industry tells us we
are not sexy anymore. Like you mentioned
earlier Rachel, most media for women over
35 is boring as hell. Resigning ourselves to
a matronly persona, at this point, is really all
that is available to us, in my opinion. That’s
just not where I am at. Forget it! RC: It’s not
over. Just because you hit 30, 40 or 50, there are a
whole bunch of new things to be excited about! In
Australia I started working again, I did a few
commercials, a few spreads and campaigns
there. I had fun, but mainly I was still just
a mom. I think in the Southern Hemisphere
being a mother is very important. It’s valued
and respected. You don’t feel like a loser.
79
BL ACKLIST
In America, motherhood is not deemed as
important as having a high profile career.
The bar is set incredibly high. As I emerged
from being just a mom, I started searching
for my passion. I thought about going back
to school but then it dawned on me that by
the time I would have finished and paid off
the student loans, I would have been 75, you
know?! (laughs). So, when we returned to the
Northern Hemisphere, I reconnected with all
of the people I had lost contact with. All of
a sudden, after all of these years, I had this
network, this incredible network, of insanely
fabulous women and men. There where a
handful who helped bring me back to my
former courageous self, helped me conquer
my inner demons if you will. They said “Julie,
c’mon, you feel like that? Look at you, you
look amazing!” And then I thought to myself,
“Jeez, if I feel like this, there must be other
women out there who feel just like I do.”
GF: Was that the genesis for Feminine Collective?
Yeah. I started thinking that it would be great
to tap into this amazing group of women
that I know, from the fashion, music, and
entertainment industries. People with their
experiences, their backgrounds, who have
something positive to give back, whether it
be a little make-up tip here or there. People
who could be brutally honest about beauty,
about life, about experiences and tell their
stories. For example, being honest about
always having a belly issue until they realized,
“Wait a minute, I have been sucking in my
belly all my life, right up until I was 50. I’m
letting it go man, I’m in my bathing suit and
I feel hot!” People need to hear real stories,
like the unsung hero, a little Chinese lady who
lives up the road and is always passing food
out to the homeless – maybe it would be nice
to know about her … all we know about, it
seems … are the Kardashians (pauses) RC:
Oh God…I mean, c’mon, it makes me wonder
what is wrong with society and why the world
is going to hell in a handbag. So, I reached
out to perhaps my closest, and perhaps first
friend in the industry, Marla Carlton. She was
an early model buddy in Chicago. When I
told her about the Feminine Collective idea,
she jumped onboard immediately. She is
an award-winning graphic designer and art
director. My partner in crime, we are both
80
fulfilling our dreams, writing and curating for
Feminine Collective. We launched at the end
of January, since then it’s been a wild ride,
meeting incredible people along the way.
Like Michelle Rigby, a brilliant mind, and
the author of our first column, Inspired Intel
is ex-CIA, working undercover for 10 years
in the Middle East. She was like me, raised
with a religious, conservative background.
In the CIA she literally had to go up against
terrorists. As an agent in the middle east,
she was a woman in a man’s world, one
of the CIA’s secret weapons. She has just
finished her book, and will be a published
novelist soon. Her takeaway after a decade
in the CIA, is with her knowledge she can
help to empower both women and girls. She
writes bi-monthly, in her exclusive column
for Feminine Collective about self-defense,
career skills and relevant news. The CIA
reviews and approves all of her articles before
they are published on Feminine Collective. I
think that that is so cool! GF: I like the way
you write on the site Julie, you write with a concise,
open voice. It is easy to follow and understand
what you are saying and thinking. Thank you! I
love what you guys are doing too. Black is
not your average fashion mag is it?! With
Feminine Collective, we have had some
remarkable moments already that have just
blown our minds. We have jumped on this
massive wave of female empowerment, not
so much feminist, but rather empowerment
that comes from embracing all of our gifts,
feminine notwithstanding. GF: Ok, now the
near future. Can you tell us about the TV show you
are going to be doing with New Zealand’s sweetheart,
Rachel Hunter? You know, I had not seen her
in over twenty something years! My new agent
in LA suggested I might want to consider
doing a reality TV show—namely one that
was casting at that very moment. Being the
new kid on the block in Los Angeles, I am
always up for a new adventure, and by now,
my skin is pretty thick! I soon found myself
at Lions Gate, which is, of course, a huge
entertainment corporation. The guy I met
there for this casting was the creator of wildly
successful reality shows like Jersey Shore. He’s
a great guy and at 31 years old, he is hot shit
in this town. Last year, he sold something like
30 television shows. Anyway, this particular
show is still under construction. I can’t say
too much about it … other than it involves
modeling and motherhood. And that is how
I was able to rekindle my relationship with
Rachel. She too was tapped to be in the
cast. Whatever happens happens, meaning,
if could be wildly popular and run forever,
once launched, or not at all. I can say that
going into that meeting and finding my old
friend again, the one and only Rachel Hunter
was a gift from the gods! Rachel and I have
all kinds of ideas about other potential
projects and daydreams of what life should
be like. She is a celebrity, a true celebrity
that is for sure! The last time I saw her we
met at the Chateau Marmont, had a bite to
eat and called it a night. Leaving the Chateau
heading to my car, she whispers “Run!”
All of a sudden Paparazzi appear scuttling
around her. I had my handbag. I didn’t know
if I was supposed to protect her, but I am
swinging it around (much laughing) to cover
her face, or to wave it like a weapon in the
paps face … it was really odd. I don’t know
how I would deal with that celebrity stuff.
RC: Oh, I think you would have fun … GF: With
your positive attitude to life, I am sure you will …
Before we go, I loved the Tyra Banks cover
on the last issue of Black, can I tell you a Tyra
story? RC: Please do! …I remember Tyra when
“I started thinking
she first started. We did the Chanel show that it would be
together, Tyra was 15 years-old. Her mother
was there. She was the prettiest girl in the
great to tap into
room. The sweetest, well-mannered model this ama zing group
around. I remember how the divine Miss
Naomi Campbell, was not happy about Tyra
of women that I
being there. In fact, she was very unpleasant know, from the
to Tyra. How Tyra handled herself during
what was an uncomfortable exchange was
fashion, music, and
remarkable. She was incredible. Look at her entertainment
now! What a role model. What a remarkable
success story. Girl does know how to smize
industries.
doesn’t she? People with their
experiences, their
Feminine Collective website backgrounds, who
The Julie Anderson.com have something
positive to give back
Coat by
Umit Benan
81
 Top row left-right: UK Elle 1990
cover, Spanish Harpers Bazaar
cover by Paul Empson, Harpers
Jumper by Lou & Queen cover by Mario Testino
Dalton, trousers by
Maison Martin This row left-right: Images from
Margiela, shoes Paul and Julie’s first shoot together
by Max Mara for Italian Harpers Bazaar
82 83
B L K L I S T

to
ro me
with
l ov e
B lack Magazine editors Grant
Fell and R achael Churchward
travelled to the eternal cit y of
Rome to at tend Alt aroma and
witness the ITC Ethical Fashion
Iniative’s work in three part
harmony. Marching to the B eat
of Africa were four designers:
Stella Jean, duaba ser wa, Mina
Evans and Lisa Folawiyo. Room
Ser vice housed Anit a Quansah
L ondon, Christie B rown and
MO SAÏQUE. Meet Stella Jean
the Initiative’s designer success
stor y, a further five like -minded
African designers and Alaria
Venturini Fendi, founder of
Carmina Campus a prominent
champion of the cause...

Stella Jean SS15 at Beat of Africa

Photo: Luca Sorrentino
84 85
B L K L I S T
stella
v isi o n
Haitian-It alian designer
Stella Jean is the future
of fashion according to
Giorgio Armani. With her
expansive vision, vivacious
search for new fabrics,
classic European t ailoring
and artisanal production
spread across several of
the ITC Ethical Fashion
Initiative’s hubs, he may
well be right . Grant Fell
and R achael Churchward
meet her for an espresso
near the Complesso
Monument ale, Santo
Spirito in Sassia, Rome.
Images by ITC EFI, unless
other wise credited
Grant Fell: Kia ora Stella, tell us a little bit about
yourself. You were born here in Rome? Stella Jean:
Yes, I was born here in Rome. My mother is
from Haiti, my father is Italian he is from
Turin, the city of Fiat. Growing up in Italy in
the 80s wasn’t that easy for me, it is a
wonderful country but back then it wasn’t
really that ready for a multi-racial family. It is
much more ready for that now but as you can
imagine in the 80s it wasn’t. So, through my
childhood and then my teenage years, I have
been through some…I would say…struggles
because I had a huge problem with my
identity…GF: In what sense? For instance, my
school, which is now my son’s school, I
wasn’t the only black girl in the school but at
the same time I was Italian like all of the
others weren’t. I didn’t have the opportunity
to go into a community or group like say
Haitian, because I am not just Haitian, I am
Haitian-Italian. So at 16 I started pretending
that I was just Haitian but the Haitian kids
didn’t really accept me because I was also
Italian! So I started looking for an opportunity
to create something, I started looking to see
if I had the skills to paint or write, and then I
discovered I had the capacity to work with
fabrics, I liked clothes and found it was my
86
way to communicate so that is what I started
to do. It wasn’t about aesthetic at all, I didn’t
start for an aesthetic reason. It wasn’t a link
to the fashion mainstream, trends, it wasn’t
about that at all. It was just to show that I can
put in the same styling, the same outfits,
Italian structures that I would see – which is
typical of my collections because it represents
my father’s side, 99% of Italian men wear
these shirts and most of the time they are
striped! GF: Were either of your parents in fashion
Stella? No, no. They use fashion in their lives
but in a very easy way, they do not follow
trends, it is not about that, I used to go with
my father to the tailor who hand-made all of
the men’s clothes and my mother, in fact my
grandmother, too, liked all of the French
designers of the time but with a Caribbean
twist. Chic with something a little extra…GF:
More colour? Yes…so I started making clothes
using the wax fabric, which looks African but
is not, it is in fact from Java… GF: In
Indonesia? Yes but now most of the wax
fabrics are produced in Holland. So that was
the first lesson for me that you don’t need to
trust appearances so easily. The first thing
people say when they see my clothes is: “Ah
that is so African,” but, maybe it can be so
Holland! (laughs). Really the only truly
African fabrics we have are the ones from
Burkina Faso. For example in this latest
collection there is the Bogolan, a fabric and
print created using a mud technique, it is all
hand-made. If we can put Haiti, Italy, Mali,
Burkina Faso, Japan into an outfit it can all
work so easily and I see that mix of fabrics as
like real life, the same kind of communication
between people can work in real life if we just
begin to be less scared. I think people here at
least get scared of different textiles, prints
and colours. We have always had a lot of
African influences in European fashion, in
the 60s and 70s there were designers like
Yves Saint Laurent, particularly in spring/
summer collections so it is nothing new. It is
the approach and the point of view that has
to change now. It can be a caricature and a
parody and has been for a long time to almost
look at African culture and say, “Oh, nice, oh
cute…” but we don’t have the right to do
that or say that but if you just take a few
minutes to understand those techniques like
Bogolan are very sophisticated. It is not easy
at all or simple, these are sophisticated
techniques, just like the Italian ones, like lace
or embroidery that we respect a lot. We
should also start to respect these African
fabrics, because in the fabrics you find the
culture of a country. So, I think it is the
approach and point of view that needs to
change. Rachael Churchward: Absolutely, these
artisans are good! GF: Yes, it is just a perception
really… Yes. It’s not just the aesthetic. The
world is full of beautiful things, beautiful
clothes. There are all those high street stores
producing a beautiful collection each week!
But it can’t be just that anymore, just beautiful
clothes, we need something more, something
different. RC: There is definitely a story in your
clothing Stella. Your show yesterday was a complete
styling story. I loved it. The way you mixed your
textures and patterns, the girls wearing brogues with
that, you were telling a story all the way through it. I
loved that fabric, the one made with mud? Yes, the
Bogolan…it’s incredible you can find out
more about a country than you can if you go
on Wikipedia if you just take time to
understand their fabrics and the culture
behind them. That print is a like a giraffe
skin, each single line is made by hand…RC:
By painting? No, not painting. They use a kind
of sand, which is the white lines and then fill
it in between with a layer of mud, just mud.
GF: And it just soaks in? Yes. And with that
outfit, the fabric was produced in Burkina
Faso so it is African but the bag with that
outfit was produced in Kenya, with Simone
and the ITC Ethical Fashion Initiative. I
think, though, it doesn’t help to try and look
ethnic anymore. Some labels use this concept
a lot. Ethnic - the idea that because it is
African, you are helping people by buying
this, even if you don’t really like it! No, you
have to buy it because you like it. Fashion
works like that, it can’t be a charity purchase.
There is no point in buying fashion for your
conscience. RC: I can think of many people back
in New Zealand who would love your clothes and buy
them because they are great, not because they represent
Africa or anything. Grant, I am thinking of Jessica
for a start. GF: Absolutely. And Thistle…Africa
is a lot more advanced than people think,
Opposite: Stella in
Haiti This page:
Clockwise from
top left: Stella’s
Bogolan print for
SS15 (photo: Luca
Sorrentino), Stella
Jean SS14 look
book, working in
Burkina Faso,
warping of yarn
for SS14 fabric,
Stella & Simonetta
Gianfeleci working
in Burkina Faso
they are not kids - they are a centre of culture.
I am always impressed with how sophisticated
they are, the people we work with and meet.
People have the impression that everything
happens in villages and yes the techniques
come from century-old knowledge but it is
not mud huts, there are big buildings and
factories and cities. RC: I think for us as New
Zealanders, this resonates with us too as there is a
strong Polynesian culture there. We are Maori and
Pacific Island, there is a strong Asian culture – it is
very multi-cultural so there are fabrics which are part
of the wider society, like Tapa cloth from the
islands…What is it called? GF: Tapa, it is made
from bark, a type of cloth and it is used traditionally
in most of the islands: Samoa, Tonga, Fiji, Cook
Islands, Niue…Tapa? RC: Yes, T-A-P-A…I
am always looking for new things like this, I
will have to research it! GF: There are many
things I think you would find interesting in our
Polynesian cultures; weaving, weaving is an art form
used by almost all Polynesian cultures, there are
many different types of dyes and techniques used,
87
B L K L I S T
This page: Stella
Jean SS15 and
SS14 (both photos:
Luca Sorrentino)
Opposite page:
Left-right: duaba
serwa, Mina Evans
and Lisa Folawiyo
aAl photos: Luca
Sorrentino
different textiles…RC: I think there are a lot of
New Zealanders who would love Stella Jean, your
style is quite suited to us! GF: So how did your
connection with Simone and ITC Ethical Fashion
Initiative happen? Simonetta Gianfelici, I think
you met her, yes? She is the talent scout for
Altaroma (Rome Fashion Week). Twice I
entered into ‘Who Is On Next’, which is the
new designer contest and twice I was rejected
(laughs) and the third time I got in and won!
Afterward I developed a special relationship
with Simonetta and she introduced me to
Simone. Before we met she said, “You have
to meet this man because he is just about
what you do. I was always doing research
about other cultures, which is why I am now
interested in Tapa, and then I met Simone
and it was love at first sight. It was incredible,
he started talking about Burkina and then he
showed me some fabrics from Burkina. If
someone else had shown me those fabrics I
would never have imagined that it was from
Africa. From that moment on we started this
journey and together we have been through
Burkina Faso, Mali and the last one was to
Haiti so I was able to come back to my own
roots (because ITC Ethical Fashion Initiative
have a hub there). Yesterday was just a little
sample of the whole collection we will be
showing at Milan Fashion Week in September.
In that collection you will see another point
of view of Haiti, which is an island that many
people know just for the earthquake or being
a really poor island. But, it has its own artistic
wave, a style of painting called Naïve. In the
show yesterday you would have seen some of
those paintings in the last dress. GF: Yes! That
88
was a beautiful dress…and it absolutely reminded
me of the Caribbean. We also made those
bracelets there in Haiti, the metal ones and
there were other Naïve elements, like the
market and then also the Papier-mâché…you
see people will talk about Haiti but never talk
about this, like the Naïve paintings and yet it
is all typical of Haiti. We think about
everything in the design and styling, it is so
linked to so many cultural aspects. GF: When
you show in Milan in September is that the first time
you have shown on schedule? No, it is the third
time. The first time was with Armani, when
Giorgio Armani invited me to show…RC:
That’s a big honour, to have been invited by him. Of
course, and being invited into his temple, the
Teatro Armani! GF: Where do you retail Stella, is
it worldwide? Yes…RC: Except in New Zealand
as far as I know. How about Australia? Yes, in
Australia we definitely do , in fact we have
had a lot of requests from Australian
magazines for samples just in the last month,
Vogue Australia, Elle Australia…GF: Great,
hopefully we will see you in New Zealand soon! So
the ITC Ethical Fashion Initiative is it more of a
mentoring, guidance thing or are they more like a
partner, a business partner? I hope…that they
consider me as a business partner because it
is not a…trend, for me. It is part of the DNA
of the collection, together we are always
looking for new surprises, new culture. We
are on a constant search together. We can’t
stop! It is really interesting working with
Simone, you wonder what will be the next
country for us to work with, you never know.
Maybe New Zealand! (laughs) GF: Hell yeah!
At this point the ITC Ethical Fashion
Initiative’s Chloe Mukai joins the
conversation and summarises the partnership.
Chloe Mukai: I think Stella Jean perfectly
encapsulates what the ITC Ethical Fashion
Initiative is trying to do. When we met her
she was already doing this, she was doing this
anyway. It was not like we approached
another brand and said, “Do you want to
produce a collection in Africa,” she was
already designing with that level of aesthetic.
In so many ways, she is the perfect match for
us. Stella Jean: I think this is something that
could happen in New Zealand. Why can’t
you take a designer from New Zealand and
mix them with a Russian designer or fabric,
or Greece? I think the world will change in
that direction, we are travelling so much and
so easily now, races are melding together
much more. I am Haitian-Italian but in a few
years there will be many, many more racial
mixes, much more than mine…but it doesn’t
have to be patchwork as I like to say. I don’t
mix my own cultures; Italian, Haitian or even
African as a patchwork, one over the other,
they have to communicate in an equal way.
Like my fabrics, I treat all of my fabrics in an
equal way. That is the change…GF: Fantastic,
the fashion world can do with this sort of change…
RC: Thanks Stella, see you next time!
Stella Jean Australian stockists: Brisbane -
Carmargue Melbourne - Christine Barro
Stella Jean website
a f rica n beat
Altaroma is in its 25th year. The venerable
event is more than a fashion week, it fuses
high quality artists (this year US street artist
DAIN headed up a substantial list), fashion
(from Italian couture houses to African
designers), launches new talent (Who Is
On Next and A View On Talents - both in
partnership with Vogue Italia) and pairs artists
with designers (A.I - Artisanal Intelligence)
among many more events, exhibitions and
shows. Beat of Africa was the ITC Ethical
Fashion Initiative’s opportunity to showcase
not only the increasingly fabulous work of
Stella Jean but three of Africa’s rising stars
in Nelly Hagan Aboagye (duaba serwa) of
Ghana, Nigeria’s Lisa Folawiyo and Mina
Evans, also of Ghana. A shared vision
between all of the designers at Beat of Africa
emerged; a colour palette of earthy, yet vivid
hues; fantastic prints that often verged on
pictorial; and an absolute sense of the infusion
of culture into garments, accessorising and
even styling. Nelly Hagan Aboagye has
designed from an early age when she began
resizing her mother’s clothes to fit herself
and despite studing in the medical field at the
University of Ghana in Legon she returned to
her first passion, fashion, in 2007 when she
launched a jewellery line. She named it duaba
serwa (Serwa, the daughter of a tree) and by
2011 had expanded into making dresses and
that year won the British Council’s Young
Creative Entrepreneur Award. This year’s
Altaroma marked her 6th international
fashion week. Mina Evans graduated from
the London Centre for Fashion Studies at
Johannesburg Design School in South Africa
before working under the premier fashion
designer in Ghana, Mr Kofi Ansah to learn
her craft. Mina Evans-Ansform describes her
style as a love of “fusing luxurious fabrics with
Ankara to produce feminine, stylish pieces
that are wearable time after time.” Ankara
is often called African print, was originally a
Dutch wax print but now very clearly gives
the impression of African culture. Mina
Evans also has a range of menswear dress
shirts which she says are “carefree and cool
with a hint of afrocentricity.” In addition
to Altaroma, Mina has just shown at Glitz
Africa Fashion Week held in Accra, Ghana.
Lisa Folawiyo launched her first label, Jewel
By Lisa in 2005. Like Mina Evans she had
always had a love of Ankara but felt it had
been worn and used for ever. She decided
to create something new by embellishing
the fabric with Swarovski crystals, sequins
and beads and Jewel By Lisa was born. More
recently the label became the eponymous
Lisa Folawiyo and has enjoyed considerable
success, not just in Nigeria but further afield.
Shows at Lagos Fashion & Design Week have
been joined by Johannesburg, London, Paris,
Milan (Vogue talent) and New York Fashion
Week (twice). She retails online through
Moda Operandi, has collaborated with
Blackberry and L’Oreal and has even sold
her line in a pop-up store inside Selfridges.
All three designers already have solid local
and international followings and like Stella
Jean are making their mark in many places.
The Beat of Africa show itself was fantastic.
Held in the Sala Lancisi, a hall inside the
magnificent Complesso Monumentale, Santo
Spirito in Sassia, a stones throw from the
Vatican, attendees included Suzy Menkes
- Vogue’s International Fashion Editor,
Altaroma’s Simonetta Gianfeleci and movie
star Rosario Dawson who is co-designer with
Abrima Erwiah of Studio One Eighty Nine.
It is pertinent that seven of the ten fastest
growing economies in the world are in Africa,
these designers are well poised to grow their
businesses. The exciting thing is that, with
supporters like the ITC Ethical Fashion
Initiative, they are also growing the chance to
incorporate and spread their cultures to the
world.
duaba serwa website
Mina Evans website
Lisa Foliwayo website
89
B L K L I S T
roo m t o m ove
Ghana was also well represented at the third
event associated with the ITC Ethical Fashion
Initiative, Room Service. Christie Brown, MO
SAÏQUE and Anita Quansah London, are all
of Ghanian descent, although London is
now a base for two of them. The event was
held on the Sunday night we arrived in Roma
and as we had been travelling for 35 hours
or so our visit was shortish but the quality
of design, fashion, footwear and accessories
on show set the tone for the rest of the
week. Christie Brown is based in Ghana but
aims to satisfy the urge of modern women
anywhere who “seeks a true taste of Africa.”
Founded in 2008 in Accra by creative
director Aisha Obuobi she named the label
after her grandmother Christie Brown, a
seamstress that created “rich and vibrant
garments.” Like all of the designers we saw
in Roma, Aisha infuses large amounts of her
own culture into her collections and offers
a broad range from a full bespoke gown to
statement pieces and innovative accessories.
In 2009 she won the Emerging Designer of
90
the Year award at the inaugural Arise Africa
Fashion Week in Johannesburg, has shown at
Paris Fashion Week and has been a panelist
at the Africa Economic Forum to discuss
“African Fashion Going Global.” A banker
with a love of footwear, MO SAÏQUE’s Afua
Dabanka left the financial industry to study at
the London College of Fashion and go on to
launch this footwear brand in 2011. Known
to friends as ‘Mo’ Afua is of Ghanaian and
German heritage, the former being present
in the rich, bold selection of colours and
the latter in the clean Germanic silhouettes
in her designs. At London Fashion Week
in February this year, former head designer
at Michiko Koshino, Jasper Garvida paired
Afua’s heels with his AW 14 show and MO
SAÏQUE has become popular with celebs and
musos, from the Noisettes’ Shingai Shoniwa
to Angela Simmons. UK-based jewellery and
accessories brand Anita Quansah London
grew up in Nigeria where her art-loving family
were quick to encourage her to make her
own creations and experiment with different
techniques. The result is a label rich with
fabulous, expressive, one-of-a-kind hand-
made pieces. Of all the designers we saw
Anita’s design perhaps felt the most African
due to the handicraft, intricate beading,
mix of materials and traditional, almost
aristocratic way in which her pieces should be
worn. Several of the pieces we were shown
were in fact inspired by her grandfather, a
chief. Room Service offered a glimpse into
the vast potential African designers can tap
into quite readily - their own culture - much
of which is contemporaneously existing and
very much alive. Top left: Christie Brown at Room
Service Bottom left: MO SAÏQUE designer Afua
Dabanka at Room Service Both images: Gianni
Catani, Ariel Gabriel La Rosa, Luca Sorrentino
Above: Anita Quansah London Photo: Asiko Fine
Art Photography
Christie Brown website
MO SAÏQUE website
Anita Quansah London website
chant of lif e
Fendi. All fashion followers know the name,
an Italian luxury dynasty started by Edoardo
and Adele Fendi in 1925 as a fur and leather
shop in Via del Plebiscito in Rome. The
‘baguette,” sale to LVMH and of course
a creative director called Karl Lagerfeld
are fashion legend. It is a global yet oh-so-
very-Italian brand perhaps best illustrated
by Fendi’s 2 million euro invesment into
upgrading that most famous of Roman places,
the Trevi Fountain. “It’s about tying us with
a city that makes millions of people dream,”
says CEO Pietro Beccari. Yes, the Fendi’s
are more Roman than just about anyone. So,
when the chance came to visit Ilaria Venturini
Fendi, youngest daughter of Anna Fendi at
her farm on ancient Etruscan land outside of
Rome we jumped at the chance. It is there
Ilaria and her dedicated crew have based
her own upcycled and evironmentally smart
label, Carmina Campus. Almost a decade ago
Ilaria turned her back on fashion and her role
as a designer at Fendi, leaving much of that
to her sister Sylvia and purchased the magical
farm I Casali Del Pino with the aim of living
a slower, more organic life. Ilaria has always
been resourceful and a hater of waste so after
several years working on the farm, she began
playing around with the concept of upcycling
and began creating bags and accessories
out of end-of-line scraps from Fendi and
elsewhere. Thus was born Carmina Campus,
which is a Latin citation meaning “Chants
of the Fields.” The company makes bags,
accessories and even furniture - all with
Fendi style, culture and heritage applied - but
which uses and reuses materials that others
pass over or discard. This is not “ecofashion”
more beautifully-made products finished in a
Fendi way. I Casali Del Pino is a vast farm
that includes many different sources of food,
including bees. As an apiarist, the University
of Rome asked her in 2007 to share some
of her knowledge with beekeepers from
Cameroon in Africa. They gifted her a hat
which she promptly turned over to create a
bag and her fashion flame and consequently,
fashion journey was reignited. She set up her
initial Carmina Campus team and travelled
to Cameroon to investigate potential
production of the bags, a trip which in
turn led to a meeting with Simone Cipriani
and the ITC Ethical Fashion Initiative.
It is a relationship that has blossomed as
handsomely as the flowers on show at the
annual Floracult festival held on the farm
with Carmina Campus now emploing 70
Kenyans full time. Clearly Ilaria’s vision and
willingness to work with the ITC Ethical
Fashion Initiative has opened the door
for the collaborations to follow: Vivienne
Westwood, Stella McCartney, Sass & Bide,
Karen Walker and Corso Como among them.
Like Stella Jean and all of the designers we
met in Rome, Ilaria has a strong vision for the
future of fashion. A place where fashion can
initiate change, provide work and enrich and
empower culture and people. Not charity,
just work! Carmina Campus website
91
B L K L I S T

LORDE X M.A.C COSMETICS/A GIRL CALLED JOHNNY/THE GREAT SING-

ERS OF SELVES/THE LUCKY ONE IS ME/AND THEN SHE IS DARKNESS

BLK B EA U T Y
Beauty, it is in the eye of the beholder, and then you smize’ - Tyra Banks

92 92 93 93
B L K L I S T
l o r de KNOW S
Photography: Charles Howells
Fashion Editor: Rachael Churchward
Make-up: Amber D for M.A.C
Cosmetics using Pure Heroine range
Hair: Stefan Knight using O&M
Model: Jessica Thompson at Red 11
94
Stefan Knight
catches up with
Ella Marija Lani
Yelich-O’Connor
about her make-
up journey from
black eyes to
pure heroine. her
friend and make-
up artist Amber
D recreates the
lorde look
Stefan Knight: Hi Ella, how are you? Ella
Yelich-O’Connor: I’m great thanks, how
are you! Excellent thank you. It’s great to get
the chance to chat in amongst your busy schedule. I
know, it’s been crazy busy. First up, I wanted to
ask you about your earliest beauty memories. I don’t
know if you can call it beauty, because I don’t
think it looked very good. I was quite young
when I started wearing eyeliner to school and
I would buy $2 shop eyeliners, I used pencils
for a long time and then my friend said have
you tried liquid eyeliner and I thought it had
to go in your eye so I went into my eye and
then shut the lid…Under the lash?!! Yeah, I
opened my eye and I could see with this eye
that the other one was completely black…The
whole eye?! All over the white and everything!
Wow, quite cool. But it was burning. Wow,
not cool. It was cool for one second, so I
had to rinse it out pretty fast. Ouch, crazy
experimentation! Yeah, but I did do a pretty
heavy black eyeliner for a long time, so I
guess that’s my first beauty memory. Nice.
Where did you get the idea to do that black liner
from, was there a picture you saw or someone whose
style you were inspired by? I don’t know. I was
thinking about that the other day, because
at the time everyone was into lipgloss and
like very little eye make-up and I just kind of
went straight for a crazy eye. I mean I had my
friend’s sisters and stuff that were quite cool,
I guess we were influenced by them, but I
don’t know, I’ve kind of always gone straight
95
 l o r de KNOW S
for stuff like that. For the extreme? Yeah. How
about your first makeup purchases, so it started with
the $2 shop purchases but has it progressed from
there? I still totally rate $2 shop make-up,
you get a little burn sometimes but nothing
that bad, ha ha ha... I used to get a lot of
great lipsticks from there, like zinc lipsticks
in crazy colours, you can get greens and blues
and stuff. Would you wear those colours? Yeah,
yeah all the time. The blue, I still have my
blue zinc. Fab, are they the type of zinc that you
wear on your nose to protect you from the sun? Well
I think so, but these ones really just look
like lipsticks, you can get glow-in-the-dark
ones, you can get all different sorts. They
sound cool. I remember when I was a kid they used
to have this fluoro zinc in a stick that you’d wear as
a sun protector on the beach…Yeah I think this
is like that but a bit weirder…Right, I used to
wear mine as a lipstick and tell my parents that I
had to wear it to stop getting burnt, but really it was
an early form of getting away with wearing makeup
as a boy, ha ha….That’s awesome ha ha…Do
you have any advice for girls who are getting started
with experimenting with make-up? Just do what
makes you feel pretty and feel cool. I don’t
think there are any rules or any limits, just
try stuff out. People will tell you if it looks
weird and you can try something else. I used
to do all sorts, like glitter and little cell phone
gems that I used to stick to my eyes and to
my face and stuff. It was super weird and
probably didn’t look that good, but…They’re
all just different forms of ornamentation though aren’t
they…Yeah, and it was about experimenting
and just figuring it out. So just try it, you
know, Just Do It #NIKE…I really love that
picture that you did with KieKie where you stuck all
of those $2 shop fake tattoos to your hands, that was
a great example of experimentation going really well.
Yeah, that was so cool. I wish we’d used
that for something but it didn’t end up
happening…You should totally do that for
something sometime, it was a really cool look. Thank
you. Yeah I loved that. Is there anyone you
admire as a beauty icon, from modern time or even
ancient history? Right now someone who I’m
really inspired by is FKA Twigs, she’s just got
what I think is a really distinct look that no
one is doing right now, she looks beautiful.
I love her! That picture of her with the LOVE
kiss-curl on her forehead….Amazing! Another
person that I’m inspired by, for a different
reason at the moment is Brooke Candy…Oh
my GOD that ‘Opulence’ video…Oh man, she’s
just amazing and everyday is just a completely
new look, new hair new makeup, completely
new styling, she’s just so versatile. I love her!
She’s just about putting the whole thing on, there’s
no rule of taking one thing off before you leave the
house, she puts 10 more on, it’s more, more, more.
she’s totally about everything!! Yeah, it’s hard to
pull off, but I think that to me is true style
and true beauty, just being so many different
96
characters like she is. She’s very cool. She’s
started working closely with Nicola Formichetti
who had previously been creative director for Gaga.
It feels as though he took it to a certain level with
Gaga and now he has this new more extreme girl
who is willing to go so much further… Totally,
she’s part futuristic, part 20s glamour…
Part cyborg robotic beauty queen, when I first saw
that ‘Opulence’ video I almost completely lost my
shit. I just remember thinking this has just changed
everything. She’s great. I read somewhere that when
you were creating the Pure Heroine lipstick you spent
a lot of time trialing and testing the formulation as
much as the colour. You said the kids who would end
up buying and wearing it wouldn’t have a make-up
artist on hand to help them so you wanted it to be
really wearable and versatile. What tips do you have
for using these products? The good thing about
these products is that you can basically use
them even if you aren’t that good. It was
important to me that it was this way and
that’s why they have the finish that they have.
I find that if a lipstick is too matte, or too
dry, it can be hard to pull across your skin
because theres not that much friction and
if you make a mistake with those lipsticks
then it’s hard to fix. But because this is quite
moveable it’s easy to put on and if you screw
up then it’s easy to fix it with your hand or a
tissue. The other thing that was important to
me about this, because a lot of the lipsticks
I wear in my time off are stains, I wanted to
make it so that you can dab it on for a light
colour and keep it wearable and youthful. I
wanted there to be the option of being able
to wear it as a stain or being able to do the
full lip. Amazing! It makes a big difference having
such a strong pigment to use as a stain because you
still get such a good strength of colour without having
to layer it up too much. Exactly. So I wanted ask
you about how creating these products physically
happens. I mean are you in a laboratory? Are there
scientists in white coats? Paint the picture for us.
Ha ha… No, so I basically sent a really long,
really specific email about the colour that I
wanted and about the finish that I wanted
and I referenced other MAC lipsticks for
both colour and texture. Then MAC made
up a bunch of samples which I would try
on my nights off, on my days off, applying
by myself, so I could figure out if they were
the right finish, if they were the right colour.
So no white coats I’m sorry. Ohhh… I was
imagining some kind of Willy Wonka lab fun. No,
just the delivery of lip-bullets. Ha ha… How
long did the process take, from beginning to end? I
would say it was a couple of months, it was a
while ago now. I kind of knew that one stood
out from the rest, the colour was perfect and
once we got the finish sorted it was all good.
So would you like to do other shades of lipstick
for MAC? I would like to make more, but
I definitely like it how this is my shade. So
this MAC collab is such a great fit for you, I mean
with Amber D being your personal artist and beauty
sidekick. Are there other things that you would like
to create product-wise though, is there more you want
to say as far as beauty products go? While I was
doing this I tried to think of other products
that I’d want to do but, because a) I wanted
them to be products that people could apply
really easily, you know the felt tip eyeliner
is so straight-forward and I wanted them to
be about highlighting features that you like,
rather than covering up things that you don’t
like. I mean I don’t have the best skin and
it’s been a struggle for me for a long time,
so it wouldn’t be right if I was selling young
girls things to make them perfect. Find the
features that you love and accentuate them,
so I guess that’s why I kept it simple, but it
would be cool to do more, I want to do nail
polishes, I love crazy nail polishes. Sounds cool,
you should totally do that. So you have had the chance
to work with some pretty stellar makeup artists,
including the fabulous Amber D who we all love here
at BLACK. What have you learned from having
such amazing people do your face, has this changed
the way you use makeup and apply it? I definitely
have, though I am on the amatuer end of
the scale in terms of applying make-up, with
me it’s better to keep it simple than to try
something crazy because I probably wouldn’t
do a great job. Also when I’m not working I
like to wear as little make-up as possible to let
my skin breathe. I think a big thing, though,
is before I started working with make-up
artists regularly I would approach make-up
by thinking powder, powder, keep it as matte
as possible, because I didn’t want to look oily.
But now I’ve learned that it’s about balance
and looking moisturised as opposed to just
looking super-dry. Do you mean choosing the right
products to use in the right areas and layering things
in a sheer way to get the best effects? Rather than
going straight for the full coverage mask look. Yes
and I’ve found a great tinted moisturiser that
I love that’s light enough to make it work.
It’s all about finding what works for you personally
really isn’t it. It is yes. So finally, I wanted to ask
you about clothes and style, you’ve been wearing
some pretty killer European designer clothes lately
while you’ve been travelling. Thanks. Has this trip
home given you the chance to re-stock on NZ labels?
I definitely need to do that. But I’ve been
wearing this amazing Karen Walker green
long coat everyday when I’ve been away,
which is great. But I want to get some more
Miss Crabb dresses while I’m home. The
now S
other thing I always wear is Lonely Hearts
Lingerie, Lonely Hearts is my favourite NZ
brand, I think they are going to conquer
the world. I haven’t seen stuff as beautiful
anywhere else, I might need to re-stock with
them. Cool, thanks so much my darling, it’s been
great chatting with you and best of luck with the tour!
Thank YOU, it’s been cool.
The M.A.C Official site
97
 A girl
calle d
johnny
Photography: Julie Huang
Fashion Editor: Rachael Churchward
Hair: Jason Chong-Li at Stephen Marr using O&M
Make-up: Stefan Knight using M.A.C Cosmetics Shirt (worn
underneath) by
Model: Jessica Thompson at Red 11 Workshop Denim,
top by NOM*d

98 99
 Dress by
Thistle
Brown

100 101
 Shirt (worn underneath)
by Kate Sylvester,
top by Thistle Brown

102 103
 T he great
singers
o f selves
Photography: Frances Carter
Fashion Editor: Rachael Churchward
Hair & Make-up: Stefan Knight using
O&M & M.A.C Cosmetics
Model: Raina Masters at Clyne

104 105
 Opening page: Jacket
(left) by Neuw, jacket
(right) by Rolla’s, bleached
jeans (worn as turban) by
Wrangler This page:
Vintage distressed Levi’s
jacket, stylist’s own Opposite
page: Jacket by Neuw,
denim eye mask created
by Stefan Knight

106 107
 Opposite page: T-shirt
by Lab This page:
Vintage denim jacket
by Wrangler, stylist’s
own. Eye patch made
by stylist from bleached
Wrangler jeans

108 109
 the LU C KY
o ne is me
Photography: Tintin Hedberg at Hell Studios
Fashion Editor: Justin Henry at Vivien’s Creative
Grooming: Justin Henry at Vivien’s Creative
using American Crew & Nivea
Model: Jonathan Woodward at Scene Models Opposite page:
Sunglasses by Versace,
Swarovski crystal
baseball cap by 59Fifty,
Weezy print singlet from
ASOS This page:
T-shirt by Acne, beads
by Brass Heishi
110 111
 Opposite page: Cotton
brief by Emporio
Armani, singlet from
Asos This page: Cap
by 59Fifty, sunglasses
by Celine, quilted
jacket by Jaupon

112 113
 Opposite page:
Cashmere cardigan
by Unconditional
Knit This page:
Distressed cotton
t-shirt by Bleeker,
street belt by Diesel,
Strangler Potion Blue
jeans by Wrangler,
diamond ring by
Zora Bell Boyd

114 115
 Opposite page: Pants by
Helmut Lang, wool scarf
from Zara This page: Cap
by KTAGclothingnyc,
sunglasses by ByWP,
sweater by Criminal
Damage at Love Victory,
jeans by Helmut Lang,
belt by Loop Leather Co.

Photo Assist: Angus Gibbs

116 B l a c k M a g a z i n e I ss u e XX 117
 a n d then,
she is
dark n ess
Photography: Charles Howells
Fashion Editor: Rachael Churchward
Hair: Greg Murrell and team Ryder Salon;
Stylists: Janine Jones, Fraser Folagi
Assistants: Lydia Mahon, Josephine
Models: Courtney at Unique Model Management, Natarsha
and Ashleigh at Red 11, Mariah at Clyne

118 119
 Opening page: Courtney
wears: Top by Goss This
page: Natarsha wears:
Corset by Goss Opposite page:
120 Mariah wears: Top by Goss 121
 This page:
Courtney wears:
Top by Goss
Opposite page:
Ashleigh wears:
Dress by Kate
Sylvester, corset
(worn over top) by
Goss Thanks to:
White Studios
122 123
 SAVE ME FROM WHAT I WANT/WHERE DO I BEGIN/OUT ON THE
WEEKEND/INHERIT THE WIND/IF I RULED THE WORLD/ICE DRUM-
MER/SHAKESHIFTER/VICARIOUS BLISS/DO YOU FEEL LIKE WE
DO/EVERYBODY’S WEIRD EXCEPT ME

BLK FA S H ION
“The only real elegance is in the mind; if you’ve got that, the rest really comes from it” -
Diana Vreeland . Click live links to shop now!

124 125
 save me f r om what I wa n t
Photography: Ribal & Gil at Superteam Studios
Fashion Editor: Ribal Swang & Justin Henry
Hair & Make-up: Justin Henry Beauty at Vivien’s Creative
using Kiehl’s & She Uemera Art of Hair
Model: Elodie Russell at Chadwick Models
126 127
Opening page, Left &
Right: Suit by Jean Paul
Gaultier, bag by Dolce &
Gabbana This page and
opposite: Top by Comme
Des Garcons, skirt by
Junya Watanabe, ring by
Julia DeVille
128 129
 This page: Shirt by
Issey Miyake, pants by
Christina Exie, eyepiece
by RiRi Tokyo Opposite
page: Necklace by Chanel

130 131
This page &
Opposite: Bra top by
Azzedine Alaia, skirt
by Christina Exie

132 B l a c k M a g a z i n e I ss u e XX 133
 This page &
Opposite: Coat by
Strateas Carlucci

134 BBl laacckk MMaaggaazzi ni nee I Issssuuee XX

19 135
 Necklace by Julia
DeVille, neck brace by
Christina Exie

Photo Assist:
Elliott Lauren
Special thanks to:
Archive Melbourne

136 137
 where d o i
begi n ?
Photography: Thom Kerr at Independent Artist Management
Fashion Editor: Sarah Birchley
H&M: Justin Henry at Vivien’s Creative
using Chanel & L’Oreal Professional
Model: Matilda Dods at IMG Worldwide

138 139
 Opening page left:
Dress by Prada, bag and
belt by Louis Vuitton,
rings by Paula Walden,
heels by Maison Martin
Margiela from Maryon’s
Shoes Opening page
right: Trenchcoat by
Burberry Prorsum,
rings by Holly Ryan
Opposite page: Dress by
Jacquemus from Blonde
Venus, cuffs by Louis
Vuitton, earrings by
Holly Ryan, heels by
Nicholas Kirkwood
from Maryon’s Shoes
This page: Dress by
Gail Sorronda, scarf by
Karen Walker, earrings
by Holly Ryan

140 141
 Opposite page: Dress
by Soot, bracelets by
Holly Ryan, bag by
Louis Vuitton, boots
by Robert Clergerie
from Maryon’s Shoes
This page: Coat by
Miu Miu, belt by Louis
Vuitton, tights, stylist’s
own, boots by Prada

142 143
 Leather jacket by The Sway

Opposite page:
Jumpsuit by Foxton
Danger, cuff by
Paula Walden,
heels by Celine from
Maryon’s Shoes
This page: Jumper by
Jacquemus at Blonde
Venus, neckpiece by
Sabrina Dehoff,
skirt by Miu Miu
Hair Assist:
Keelan McGill
Fashion Assist:
Brigitte Hill
Photo Assist:
Brooke James
Shot at: GC Studios

144 145
 out
on
the
week-
end
Photography: Ophelia Wynne
Fashion Editor: Sara Dunn
Hair: Mikey Lorenzano
Make-up: Megumi Asai
Models: Lili Sumner and Chrystal
Copland at Fusion Models NYC

146 147
 This page: Lili wears:
Vintage leather jacket from
Stella Dallas Brooklyn,
jeans by Levi’s, sunglasses
by Karen Walker
Eyewear Opposite
page: Chrystal wears:
Shirt by Levi’s, skirt by
American Apparel,
sunglasses by Karen
Walker Eyewear

Opening page: Lili

wears: Dungarees by
American Apparel, hat by
Stetson, cuff (right arm)
by Anndra Neen, feather
cuff (left arm) by CC Skye
Chrystal wears: Fringe
t-shirt dress by Raquel
Allegra, shirt Levi’s, skirt
by American Apparel

148 149
Lili wears: Bathers by
American Apparel,
jeans by Levi’s, sunglasses
by Karen Walker
Eyewear, earring and
ring (right hand, worn
throughout) by A Peace
Treaty, bangle and
ring (left hand, worn
throughout), model’s own
Opposite page: Lili
wears: Bandeau by
American Apparel,
leather trousers by Sonia
Rykiel, hat by Stetson,
cuff by Anndra Neen
Chrystal wears:
Poloneck by Pepe
Jeans, shorts by Levi’s,
sunglasses by Karen
Walker Eyewear, belt
by Stetson, ring by A
Peace Treaty
150 151
This page: Lili wears:
Bomber jacket by Levi’s,
bikini bottom by Red
Carter, vintage top
and bandanna from
Stella Dallas, Brooklyn
Chrystal wears:
Vintage jumper from
Beyond Retro, leather skirt
by American Apparel,
boots by Dr Martens,
ring by A Peace Treaty
Opposite page: Lili
wears: Bandeau by
American Apparel,
leather trousers by Sonia
Rykiel, hat by Stetson,
cuff by Anndra Neen

152 153
Opposite page:
Chrystal wears:
Jumper by Sonia by
Sonia Rykiel, skirt
by Gianfranco
Ferre from Stella
Dallas, Brooklyn, belt
from Beyond Retro and
ring by CC Skye
This page: Lili
wears: Denim jacket
by Levi’s, silk print
trousers by Sonia by
Sonia Rykiel
154 155
 Opposite page: Lili
wears: White bikini
top by Leg Avenue,
denim shorts by True
Religion, fringe gilet
and boots, stylist’s own,
socks by American
Apparel, bracelets by
Iwona Ludyga
This page: Chrystal
wears: Dress by
Just Cavalli, hat
by Stetson, boots by
Dr Martens, braclet
(right arm) by Iwona
Ludyga, diamond finger
bracelet (left arm) by
Jacquie Alche
156 157
 e veryb o dy ’ s
weird except me

Photography: Lula Cucchiara

Fashion Editor: Rachael Churchward
Hair: Greg Murrell at Ryder Salon for KMS California
Grooming: Caitlin Lomas for M.A.C Cosmetics
Body Art: India Wray Murane
Models: Nick, Charlie, Will, Ross, Dane, Ngaru,
Jessie and David all at Red 11 Models
158 159
 Opening page Left: Ross
wears: Sweatshirt by adidas,
overalls by Rolla’s Opening page
right: Nick wears: Leather jacket
by Death Suite, pendant by Zora
Bell Boyd. This page: Charlie
wears: Overalls by Rolla’s,
tank by Lab Opposite page:
Will wears: Jacket by Strateas
Carlucci, pants by Zambesi,
all jewellery by Zora Bell Boyd

160 161
 This page: David wears:
Sweatshirt by Stolen
Girlfriends Club, cap by
Workshop Denim,
track pants by adidas
Opposite page: Jessie
wears: Shirt & waistcoat
by Zambesi, shorts by
Workshop Denim

162 163
 This page: Dane wears: Shorts
and sweater (around waist) by
Workshop Denim, chains and
nose piece by Zora Bell Boyd
Opposite page: Ngaru wears:
Tracksuit by Jeremy Scott for
adidas, pendants by Zora Bell
Boyd

164 165
 inherit
the win d

Photography: Jessie Sara English

Fashion Editor: Bex Sheers
H&M: Lauren McCowan using Cloud Nine and Evo
Model: Maria Senko at Wilhelmina NY

166 167
 Opening page: Knit dress
by Yigal Azrouel, ring
by Repossi This page:
Turtleneck, knit dress and
trousers by Edun, rings and
ear cuff by Repossi, shoes
by A.F Vandervorst
Opposite page: Pony fur
coat by Theory, skirt
by Ports 1961, socks by
Falke, shoes by Stan
Smith for adidas for
Edun, ring by Repossi

168 169
 Jacket by Dries Van
Noten, dress by 10
Crosby Derek Lam,
pants by Philosophy,
sneakers by Stan Smith
for adidas for Edun,
rings by Repossi

170 171
 Opposite page:
Dress by Helmut
Lang, turtleneck by
A.F Vandervorst,
ring by Repossi
This page: Dress
by Victoria
Beckham, ear cuff
by Repossi

173
 Opposite page: Dress
by Theory, coat by
Lacoste, shoes by
A.F Vandervorst
This page: Dress by
Charles Warren, ear
cuff by Repossi, sneakers
by Stan Smith for
adidas for Edun

174 175
 Opposite page: Coat by A.F
Vandervorst, trousers by
Dries Van Noten, ear cuff by
Repossi. This page: Jacket by
Dries Van Noten, dress by 10
Crosby Derek Lam, pants by
Philosophy, sneakers by Stan
Smith for adidas for Edun,
rings by Repossi Shot at:
Brookyln Studio
176 177
 vicario us
bliss

Photography: Marissa Findlay

Fashion Editors: Dayne Johnston, Michael Whittaker and Team Zambesi
Hair: Jason Chong-Li at Stephen Marr using O&M
Make-up: KieKie Stanners for M.A.C Cosmetics
Models: Michael Whittaker and Marie Everth at Clyne Models

178 179
 Opening page - Stylist:
Sam at Zambesi tyler st:
Jacket by Maison Martin
Margiela, jeans by Acne,
high tops by Rick Owens
This page - Stylists:
Terzann & Baden at
Zambesi melbourne:
Dress and shoes by Rick
Owens, clutch by Maison
Martin Margiela and
socks by Zambesi Opposite
page - Stylist: Vivien at
Zambesi tyler st: Dress
and shoes by Rick Owens,
clutch by Maison Martin
Margiela and socks
by Zambesi
180 181
 This page - Stylists:
Nicola & Luke at
Zambesi wellington:
Top by Maison Martin
Margiela, jeans by Acne,
heels by Helmut Lang
Opposite page - Stylist:
Vivien at Zambesi tyler
st: Dress by Bernhard
Willhelm, clutch, boots
and jewellery by Maison
Martin Margiela

182 183
 This page - Stylists:
Terzann & Baden at
Zambesi melbourne:
Jacket by Rick Owens,
vest, skirt and boots
by Maison Martin
Margiela Opposite
page - Stylists:
Dayne & Michael
available at Zambesi
stores: Jacket, vest, belt
and cravat by Zambesi,
jeans by Acne, boots by
Dr Martens

184 185
 This page - Stylists:
Julia & Jo at
Zambesi ponsonby:
Jacket, trousers and
belt by Zambesi, heels
by Helmut Lang
Opposite page -
Stylists: Dayne &
Michael available at
Zambesi tyler st:
Jumper by Acne, shirt by
Zambesi, laptop case by
Raf Simons

186 187
 This page - Stylists:
Dayne & Michael
available at Zambesi
stores: Vest by Maison
Martin Margiela,
shirt and shoes by Raf
Simons, track pants
and socks by Zambesi
Opposite page -
Stylists: Julia & Jo
at Zambesi ponsonby:
Jacket and trainers by
Rick Owens, jeans by
Acne, top and collar
by Zambesi

188 189
 This page - Stylists:
Laurel & Sean at
Zambesi newmarket:
Jumpsuit by Gareth
Pugh Opposite page
- Stylist: Vivien at
Zambesi tyler st:
Shirt and jacket by
Bernhard Willhelm,
cap by Rick Owens

190 191
 This page - Stylists:
Dayne & Michael
available at Zambesi
stores: Jacket and cap by
Zambesi, jeans by Acne,
boots by Rick Owens
Opposite page - Stylists:
Terzann & Baden at
Zambesi melbourne:
Dress and shoes by Rick
Owens, clutch by Maison
Martin Margiela and
socks by Zambesi

192 193
This page - Stylist:
Sam at Zambesi
tyler st: Top, shorts
and boots by Rick
Owens

Photo Assist:
Andrea Bednarak
Special thanks to the
other model in the
shoot: Angus

194 195
 i f I r uled
the world

Photography: Thom Kerr at Independent Artist Management

Fashion Editor: Sarah Birchley
Hair Sculptures: Iggy using Kevin.Murphy
Make-up: Gemma Elaine using M.A.C Cosmetics
Model: Talisa Quirk at IMG Australia

196 197
 Opening page: Hand-
beaded dress by Tung Vu,
earrings by Chelsea de
Luca, vintage rings, stylist’s
own This page: Dress
by Toni Maticevski,
jacket and skirt by Gail
Sorronda, neckpiece
by Chelsea de Luca
Opposite page: Hand-
beaded gown by Tung Vu,
earrings by Holly Ryan

198 199
 Hand-beaded gown by
Darb Couture, ring by
Chelsea de Luca, vintage
crystal brooch (worn as
headpiece), stylist’s own

200 201
 This page: Tulle gown by
Darb Couture, top by
Phoenix Keating, earrings
by Holly Ryan Opposite
page: Beaded silk top by
Gail Sorronda, skirt by
Phoenix Keating, tulle
and lace overlay (worn as cape)
by Grace Loves Lace,
earrings by Holly Ryan

202 203
 This page: Lace dress
by Grace Loves Lace,
sequin skirt and top by Gail
Sorronda, broaches (worn
as headband) by Chelsea
de Luca, earrings by Holly
Ryan Opposite page: Tulle
gown by Darb Couture,
top by Phoenix Keating,
earrings by Holly Ryan
204
Beauty notes: All products by
M.A.C Cosmetics: Face & Body
Foundation, Cream Colour Base in
‘Pearl’ to highlight, ‘Groundwork’
Paint Pot to contour and shape eye
sockets and cheekbones, Pigment in
‘Pure White’ for powdery accents
Fashion Assist: Paige Lee
Photo Assist: Cieran Murphy
205
shakeshif ter

Photography: Luke Dickey

Fashion Editor: Gabriella Langone
Hair: Taichi Saito
Make-up: Miguel Lledo using M.A.C Cosmetics
Model: Anastasia Lagune at MC2

206 207
 Opening page left: Top
by Linie NYC, dress by
Clover Canyon, bracelets
by Maiyet This page:
Bathing suit by Tomas
Maier, top by Isabel
Marant, trousers by Saint
Laurent, shoes by Dr.
Martens, bracelet by Pilar
Olaverri, belt by Roger
Vivier Opposite page:
Dress by Tomas Maier,
boots by Maison Martin
Mangiela, bracelet by
Pamela Love

208 209
 This page: Jacket by
Linie NYC, top by
Alexander Wang,
trousers by Balmain, heels
by Christian Dior, bracelet
by Pamela Love, vintage
belt by YSL Opposite
page: Bomber jacket by
Rick Owens, mesh top by
Alexander Wang,
pants by Harare

210 211
 This page: Jumpsuit by
Stella McCartney, biker
jacket by Balenciaga,
rings: Maiyet and Pilar
Olaverri Opposite page:
Knit and jacket by Dusen
Dusen, high socks by
Missoni, boots by Acne

212 213
 ice
d rummer
Photography: Tintin Hedberg at Hell Studios
Fashion Editor: Katrina Shieles at 2C
Hair & Make-up: Justin Henry at Vivien’s Creative
using Make Up For Ever and René Furterer
Model: Reuben Ramacher at The Agency Models

214 B L K O N B L K I S S UE # 1 215
 Opening page: Shirt
by Prada, hood by
Daniela Stephanie
This page: Jacket by
Emma Mulholland
Opposite page: Shirt by
Gucci, scarf by Acne

216 217
 This page: Shirt and
trousers by Prada,
necklace by 2 By
Lynn & Tony
Opposite page: Suit
by Sand, shoes by
Dolce & Gabbana

218 219
 This page: Jacket,
top and trousers by
Louis Vuitton
Opposite page:
Jacket by Emma
Mulholland

220 221
 This page: Vintage shirt, stylist’s own,
trousers by Zambesi Man
Photo Assist: Nick Parkinson
Production: Hell Studios

222 223
 d o yo u
f eel like
we do?
Photography: Damien Nikora
Fashion Editor: Rachael Churchward
Hair &Make-up: Carolyn Haslett using
Kevin.Murphy and M.A.C Cosmetics
Model: Zach at Clyne Models, Siannon, Thom
and Ngaru at Red 11, Helena at 62 Models

224 225
 Opening page and this page:
Zach wears: Circle logo tee and
Tradie shirt by Rolla’s, Ray
Tapered-Studio Pasadena jeans by
Neuw Denim Ngaru wears:
Trade Overall in Beaten Stone
by Rolla’s Opposite page:
Siannon wears: Rosario top
by Neuw Denim, Scorpian jean
by Rolla’s, heels by Topshop,
Celine Marais bracelet from
Love & Object

226 227
 this page: Siannon wears:
Hutchence jacket by Rolla’s and
Salty short by Abrand, Celine
‘Triomphe’ bracelet from Love &
Object Opposite page: Thom
wears: Enkel Tee by Neuw
Denim, pendant and ring by
Zora Bell Boyd, wristband,
model’s own

228 229
 this page: Ngaru wears:
Trade Overall - Beaten Stone
by Rolla’s, rings by Zora
Bell Boyd Opposite page:
Helena wears: Denim
jacket in True Blue by Neuw
Denim, A.Boyfriend jean in
White Out by Abrand,
heels by Pedro Garcia

230 231
 this page: Helena wears:
Rosebowl shirt in Bleach by
Neuw Denim, Eastcoast flare
in Thrift Bleach by Rolla’s
Opposite page: Thom wears:
Coaster in Beaten Stone jeans by
Rolla’s, rings and pendant by
Zora Bell Boyd

232 233
 this page: Siannon
wears: Rosario top by Neuw
Denim, Scorpian jean by
Rolla’s, heels by Topshop,
Couture Christian Lacroix
“Inimitable” Necklace and
Celine ‘Marais’ bracelet
both from Love & Object
Opposite page: Siannon
wears: Customs Crown tank by
Neuw Denim and Salty short
by Abrand, Celine ‘Marais’
bracelet from Love & Object
Zach wears: Surf ’s Up t-shirt
by Rolla’s and Ray Tapered
jeans by Neuw Denim

234 235
 This page: Zach wears:
Ray Tapered jeans in Punk
Black by Neuw Denim Thom
wears: Ray Tapered jeans in
Black Bleach by Neuw Denim
Opposite page: Siannon
wears: Tamara t-shirt and
Dusters jeans by Rolla’s

236 237
238 239
 this page: Siannon wears: Assistants: Nazareth &
Customs Crown tank by Neuw Opal Nikora Mustang
Denim and Salty short by wranglers: James & Annaliese
Abrand, Celine ‘Marais’ and Special thanks to: Gene &
‘Triomphe’ bracelets from Love Becky, Orewa Sea Scouts,
& Object Helena wears: D’s neighbours
Classic Rib tee by Rolla’s and
A.Short La Blues by Abrand
Opposite page: Helena
wears: Classic Rib tee by
Rolla’s and A.Short La Blues
by Abrand

240 241
242