Page 1




Editors GRANT FELL & RACHAEL CHURCHWARD Creative Director RACHAEL CHURCHWARD Fashion/Beauty Director RACHAEL CHURCHWARD Art Director/Designer GLENN HUNT Deputy Fashion Editor ETHAN BUTLER International Editor-at-large PAUL EMPSON Australasian Editor-at-large DAVID K SHIELDS New Zealand Hair Editor GREG MURRELL Australian Senior Hair & Beauty Editor JUSTIN HENRY Australian Fashion & Features Editor CHRIS LORIMER Australian Fashion Editor SARAH M BIRCHLEY

>> PEOPLE BLKonBLK is published bi-annually by BLK NZ LTD

P.O.Box 68-259, Newton Auckland, New Zealand Phone + 64 9 817 9601 www.blackmagazine.co.nz Real View digital management by Stuart Shepherd at Soar Print Subscriptions managed by iSubscribe Print Edition of Black Magazine printed by McCollams Ltd Distribution in NZ and Australia by Gordon & Gotch Ltd. International distribution by 8 Point Media. The views expressed in BLKonBLK are not necessarily those of the publishers and editors. No part of this digital publication may be reproduced in any way without permission. Thank you. We do not accept unsolicited submissions. ISSN number: ISSN 1177-2603



© BLK NZ LTD, 2017

/blackmagazine /blackmagazine




























cover stars AWILLO at Vivien’s and NDENG photographed by TINTIN HEDBERG at Hell Studios hair & makeup JUSTIN HENRY at Vivien’s Creative using using Make Up For Ever fashion BRITTNI MORRISON Awillo wears top by ELIZABETH HUTCHINSON Adeng wears top by MARY KATRANTZOU


S E RV I C E D E N I M . C O M








for her cool, pared down Paris vibe, ISABEL MARANT pushes the print whilst paying homage to the great continent from which humanity itself sprang forth with this fab ‘Dabney Varsity’ jacket and ‘Janelle’ printed trouser, both available now from WORKSHOP.

THE N EW BLACK BLK ON BLK we might be, but that doesn’t mean we’re adverse to a splash of colour, done in the right way of course. So here, just to prove the point, we examine the full spectrum with seven of our favorite new season designer CLR ON CLR picks. And FYI, black is a colour too! words GRANT FELL photography VERONIKA GULYAYEVA fashion RACHAEL CHURCHWARD and ETHAN BUTLER hair BENJAMIN JAMES at Ryder using R+CO makeup ABBIE GARDINER using M.A.C Cosmetics models LILA at Clyne, MIKA at 62



If there was such a place as Scandiralia, that’s where you would most likely find fans of two of the world’s finest (and most interesting) denim brands. NEUW DENIM created by Swedish denim aficionado Par Lundqvist in 2009 and ROLLA’S founded by Andy Paltos and Sarah Gilsenan have been making Australian bums look great for several years now and despite geographical differences are closely linked as brands sharing many of the same (high) qualities. Featured here are the NEUW ‘‘Soho’ oversized jacket in clover and ROLLA’S ‘East Coast’ cropped flare in fraser blue. ‘Insider Two frames’ opticals by DITA EYEWEAR from MORTIMER HIRST, studded ‘Antonia’ heel by ALEXANDER WANG from WORKSHOP, belt stylist’s own

ZAMBESI Nice and cosy

does it! Does it, every time…. In winter at least! Liz Findlay and the ZAMBESI team have merged cosy with cool for this AW 17 mastepiece. ‘The Sleeper’ – seen here in platinum, melds the brand’s panache and design flair with a practicality and street funk which forges new comfy territory for the label just in time for winter.

bodysuit and high-waisted briefs by KAY GOSS



The Velvet Underground, Lou Reed and the Cult all wrote songs about her. She was muse to Andy Warhol in the 1960s and almost single-handedly defined the term ‘it girl’ for generations to come. Now, New Zealand designer also pays tribute to the immortal Edie Sedgwick with her ‘Edie’ dress (shown opposite) as part of her AW 17 collection Mrs Mia Wallace. This page features the ‘Vincent Vega’ coat - a trench no doubt inspired by Mia Wallace’s gangster buddy Vincent Vega - over the ‘Magda’ and ‘Edie’ dresses. LILA wears opticals by STARCK from MORTIMER HIRST


the worlds’ leading luxury eyewear brands have several very simple maxims applied to their frames which put them in the same league as the world’s great jewellery companies.Their artisans employ up to 50 year’s experience in eyewear craftsmanship in creating the brands optical frames and sunglasses. Maxim No1, Design: “an artwork’s design is measured by its simplicity and honesty,” and “Good craftsmanship stands the test of time.” There’s little doubt then that the brand’s relentless quest for perfection and lasting quality in the handmade works of art they create will see them pass that test with ease.

MIKA wears Insider Two Frames opticals by DITA from MORTIMER HIRST, top by NOM*D


The synergy here is obvious. Designer Chris Cherry of WORKSHOP DENIM explores vibrant red in this super cosy WORKSHOP DENIM crewneck sweatshirt whilst partner HELEN CHERRY masters the ultimate pussybow blouse. Paired with the HELEN CHERRY ‘Zip Cigarette’ pant the combo is red, red, ready!

28 BLK STAR CLR ON CLR NOM*D Not mellow but

definitely yellow! NOM*D’s AW 17 collection samples the label’s rock sensibility whilst showcasing Margi Robertson’s signature shapes and silhouettes without blinking. Influenced by music and subculture from late 70’s and 80’s post-punk through to subversive 90’s grunge, this celebratory collection marks thirty years for the iconic Dunedin label. The statement acid ‘Rain Coat’ in waterproof nylon wraps up a combo of sleeveless ‘Skinny Rib’, ‘Chord Jacket’ and ‘Compression Sweater’ showing here that after three decades they are still kicking ass!



A FRAME OF MIND ZAMBESI No need to stare,

farewell that glare with these shiny black beauties from the founding royalty of New Zealand’s sharp, dark fashion look ZAMBESI. The ‘Hexagon’ frame in shiny black featured here is a hero piece from ZAMBESI’s first collaboration with legendary London-based eyewear designer LINDA FARROW. This collaboration is no small partnership considering Farrow has previously worked in with Christian Dior, Yves Saint Laurent, Balenciaga and Sonia Rykiel.

photography CHARLES HOWELLS fashion RACHAEL CHURCHWARD makeup RICHARD SYMONS using M.A.C Cosmetics

hair CARLOS ELIAS at Helmut model TAYLAH at Red 11 fashion assist ETHAN BUTLER, production assist BELLA IVOŠ


HOT DOG! KAY GOSS “Woof, I’m ready for my

snap” says Serge the wonder dog. Luckily KAY GOSS model Liv O’Driscoll at 62 Models is ready too. Liv wears KAY GOSS mesh polo and body suit.








With his name attached to a number of a high-profile films releasing over the coming months, anyone could be excused from assuming that 27-year-old actor THOMAS COCQUEREL has had a classic “overnight” arrival as a leading man. But they’d be wrong. Through an early commitment to acting, a dedication to the craft and a healthy dose of luck, Cocquerel is working hard to hoist his own rising star. Whilst sitting in the Sydney rushhour gridlock Cocquerel spoke to Chris Lorimer about his early Errol Flynn fascination, trans-Pacific commuting, and what makes a good actor. portraits DAVID K SHIELDS fashion CHRIS LORIMER

"I’m pinching myself Errol Flynn is definitely my perfect role. Every day I’m discovering more and more and I feel so lucky to be playing him"

Hey Thomas, this seems like the perfect time to chat… What are you working on at the moment? Well, I’m currently based in the Gold Coast shooting In Like Flynn. I play the young Errol Flynn and the film is based on a book he wrote called “Beam Ends” about a sailing trip he did when he was 21 years old. He got a group of three mates together and they sailed from Sydney to Papua New Guinea in search of gold. And so, it’s their adventure as they sail up the coast. What an amazing role for you – did you know much about Errol Flynn going in? The cool thing is for me is that I’ve always been so fascinated (I don’t want to say obsessed, but…) with him ever since I was in high school. We actually went to the same school, Shore [Sydney Church of England Grammar School], and that’s where I first heard about him. It’s really sports-driven and known for producing businessmen and doctors. With me wanting to be an actor, he was the only man from there I’d heard of that did anything like that that, so I always knew of him. I’d studied him a bit more and did projects on him at drama school. And when this project came around, the script really spoke to me – it’s the first time I felt like I could really do a part better than anyone else. I just knew I was so right for it. We’re the same height; I knew his back-story. I fought for the role, pushed hard and luckily got it. And now you’re there in his boots - How’s filming going? And how have you got inside this character? I was so nervous before starting but we just finished up the first week and I’m having a ball, having so much fun. I’ve worked so hard to find as much detail and play with the character as much as I can. I watched a lot of his movies. I started finding his voice and his posture and physicality and then from that go in find my own way to embody him. I think I sound like him and walk like him but for a role like this where it’s young Flynn, where it’s before we knew him, before Captain Blood and before he broke into Hollywood. There is some creative license as to who he was and how he became the man that he eventually became. I didn’t want to do just an impression I’m trying to merge the two of us. His early life is so interesting: he worked there on plantation farms, lied about what he could do and found himself in the middle of the jungle working for tribesmen that he couldn’t fully understand and on something that he had no idea how to run but just because of his charm and his wit he got through. He actually got expelled from school when he was 17, didn’t want to tell his mum and dad and fled the country in search of gold and money… quick riches I guess. Warner Brothers sent a crew to Papua New Guinea to film, get some landscape shots that they could use in Hollywood and Errol was their tour guide. Taking them around the island they filmed a bit of him and his interaction with the locals after a while he got to really know the place, the language, the dangers of it, the rivers - he took this crew up the Sepik River which is incredibly dangerous and not many white people had really been up it that far. So they filmed him with the natives and with the wildlife, on this crocodile infested river and Jack Warner saw that footage. Flynn was just such a man’s man, incredibly good looking and charming and that’s how he got himself first noticed – and he was plucked out of the jungle.

Incredible story and to go back to your own high school days previously mentioned, how did you get into acting? I was born here, but then we moved to LA, where we lived for a few years, then to Paris, France, then to Houston, Texas and then back to Sydney when I was 12. Dad was an ex-pat and moved around a fair bit for work so we followed him as a family. I got the acting bug really early – I was always obsessed in particular with film. Mum loved home videos and would shoot us kids as we travelled around all these places, and I eventually took that over and used the home camera to make my own movies. That started young, I think I was around 10 or 11 and I was making films. It’s been my thing ever since. It just stuck? Once I started high school I did every single drama class I could and play I could. Then I went to study film and theatre at UNSW for two years before auditioning for NIDA and getting through on my first shot. I attempted an audition at the end of my second year of Uni because I wanted to do a practice run and maybe get to go there after my degree, but I was so relaxed going in, that it worked out – I think really as I wasn’t actually worried about getting in at all! How did your decision to go to NIDA affect your career path? The most valuable takeaway from my time at NIDA is learning about myself. I think being a good actor comes from selfhonesty. Being able to spend three years looking in the mirror, being ok with who you are and then using your flaws, your positives and your virtues as your tools is what I think makes good actors great. I was spoilt to have that time to do it, >

> I think. It’s quite selfish in a way too, to spend three years just working on yourself. But it’s incredibly valuable. Being a NIDA graduate definitely got me some attention from overseas, and I was encouraged to go over to the U.S. and meet with some agents. From there things happened very very quickly and I just began to work… it’s my luckiest break of all I think. And auditioning is still a necessary part of your profession – do you ever get used to that process? I never really get too worried about the audition itself, but I do think about what could happen if I get a big job. I’ve tested for some big films like X-Men and Terminator, and the stress of those auditions is “What happens if I get it?” and “How could it affect my life?” can turn into an issue itself. I just try to always focus on the character, so by the time I’m in the room I don’t actually see anyone else but the character and the other actor reading with me. That said sometimes I have only 2-3 hours before the read: I’ll get a call in the morning and I have to be there in the afternoon, and then sometimes I get to prepare for as much as two weeks in advance. Is feeling out of your comfort zone a good thing? Something you can use? If I ever get scared about an audition – then I know I have to do it. The Divorce Party audition, for instance, was certainly something that scared me a little bit. This guy is from the MidWest, really insecure, he’s physically hunched over, he wears baggy high-waist pant. His wife has left him, he’s made his whole life about her and he doesn’t really have the tools, he

doesn’t really have much going for him, as he’s never really worked on himself as a man, to deal with being single. So it’s about him going out and finding those missing things. It was very different to the roles I normally get sent and yet I knew I could do it and I wanted to get it done. I fought for it; I love the story. There’s a part of me from high school that connected to him – I was not a sporty guy and I didn’t fit in to the macho masculine world of the typical all-boys high school that I went to – and that’s what I tapped into. You’ve been connected to some very famous names in the past through the projects you’ve done, what are your thoughts on the fame game? I love stories and I love film and that’s always been it. If anything where I get nervous in auditioning for a big project, it’s me worrying that my life could change and I love my life right now. I love acting for acting – I don’t do it for anything else. Is there another actor who’s given you great advice or help on your journey Jim Sturgess was amazing on the first film I did, Kidnapping Mr ––. Sir Anthony Hopkins was in that film too, of course - he blew my mind and that was one of the coolest experiences ever but I only had a day and a half with him. Jim was on set the whole time and the care and detail he put into his work was inspiring to see. Going from drama school and theatre-based work to actually being on a live film set is very different and camera training wasn’t something that I had much of. At that stage I’d only had two guest roles on TV, so I was a bit out of my depth and Jim took me under his wing and helped me a lot there. It was really cool of him to do that, a beautiful thing. When I work with someone who’s fresh now, I’ll go out of my way to help newer actors that are a bit worried. I guess I can see a bit of myself in the innocence of other people. There’s one on set at the moment, he’s 16 and it’s his first movie - he’s full on into sport and not done much acting and he’s landed this role and feeling a bit out of his depth. I do everything I can to calm him and help him out – ‘cos I know how helpful it was for me with Jim on Heineken. Lastly, lets touch on the future, what do you see happening for you next? Well, currently I’m pinching myself - Errol Flynn is definitely my perfect role. Every day I’m discovering more and more and I feel so lucky to be playing him. The dream was always to work overseas, especially in LA and to able to juggle that with working back home, and now I’m actually pulling that off. Although it’s sometimes difficult juggling cities and countries, I’m always following the work and later I’ll figure out if I want to base in one place specifically. For now I’ll just stay true to me and focus on the work... and let’s see what happens. COCQUEREL ON FILM: in cinemas now - TABLE 19, his comedy turn for the Duplass Brothers alongside Anna Kendrick; for imminent release BILLIONAIRE BOYS CLUB with Kevin Spacey and Aussie sci-fi OTHER LIFE; in production - indie rom-com THE DIVORCE PARTY; and just announced of course - IN LIKE FLYNN opening page: Thomas wears denim parka by ZAMBESI; prevous page: shirt and jacket by G-STAR; this page: bomber jacket by ZAMBESI, jeans by LEVI’S; opposite page: lace tee by ZAMBESI


CATHERINE BODDY doesn’t mess

around. This 17-year-old fashion designer from Auckland began her eponymous brand while still at high school, winning the YMCA/Raise Up’s Walk The Line competition at New Zealand Fashion Week. Two weeks later she launched her full collection with a self-produced fifteen look show presented in a loading bay off Auckland’s notorious K’Rd. All this propelled her into early acceptance to AUT’s fashion department, where she is currently working towards her design degree. She talks to Chris Lorimer about always loving winter, ‘90s movie star muses, and her dislike of body-con.


When did your brand begin? I suppose my brand started at my launch last September, or a little before the show. I have produced one season only, and am currently working on for A/W ‘17, which will come out later in the season when I feel warmer garments are necessary. I feel I can release it when I want to and when I think it is right because again, it’ll be released as a show, and used after that for projects that I choose, but not actually stocked. My first collection is called Katana. This one can’t really be categorised - it wasn’t seasonal, or gendered, and wasn’t very structured. It was closest to an S/S collection but also included a huge puffer coat and pairs of multiple layered woollen pants. I don’t know where that really leaves it. I wanted to start by doing and making whatever I wanted. Now I think about it, I can’t really leave winter alone. How would you describe your design aesthetic? I find this quite hard; as I’ve been given a lot of opinions about my clothing - it‘s been called “very fun”, and also “very sophisticated”. I like to think it is both. It is kind of art, kind of business. I don’t think my pieces are limited in terms of where or how they can be worn. An important thing for me to include is puffiness or volume. I enjoy creating things with a lot of mass and don’t like the idea of things that hug the body too tightly.  What’s inspiring you right now? This season it’s a serious focus on staying away from the

"I’ve always been quite anti-fashion, in fact I don’t like 'fashion', so my influences never really lie in the industry" human form. I have been playing around with textiles a lot lately - laser cutting, painting and damaging fabrics, and using less conventional fabrics like durasealing some beautiful old wartime newspapers Grant gave me while we were shooting for this article. This will be an enjoyable change from the block colours I stuck to last collection. I’ve always been quite antifashion, in fact I don’t like fashion, so my influences never really lie in the industry. I don’t pay a lot of attention to what is going on when I design, I don’t want someone else’s creations to get stuck in my mind. What are your favourite fabrics to use? Denim, although not in a completely traditional sense, wool, and things that have some shine to them. I tend to use a lot of PVC and leather, which work well with my laser cutting techniques. 

Although your label is so new, do you have any signatures developing? My signatures are really hard to recognise yet, if there are any. I will always create something large and puffy though, that’s for sure. I also love covering the head. Headwear is here to stay. Who is your archetypal girl and guy and how do you know what to design for them? She’s stubborn and fierce and clashes the tackiest costume jewellery. He is very feminine and soft as well as having a very fiery Year of the Dragon side to him. To know how to design for them, I can look and analyse Ethan my boyfriend (who is modelling my clothes in the shoot) and myself. I know us both well. I also like to imagine 1995-era Liv Tyler, or maybe Sarah Michelle Gellar, and Ryan Phillipe in my clothes.  Why did you start your own brand? Before really thinking about it as my own “brand”, I thought, “I want to have a beautiful show, done my way, with all the beautiful clothes I feel like making”. From there a brand was I suppose necessary. Plus it gave me something to do through Year 12 at high school, and I loved it. I didn’t do Year 13 as I had proved to myself that this is what I wanted to do, and am now I’m at AUT and I am enjoying it! What are your thoughts on the pros and cons are of having a fashion education before starting a brand? There are so many people right now debating whether it is better to have a degree or instead just work experience in almost any creative industry. I think I would feel very anxious being chucked in the deep end without all the knowledge education brings. Which is why I think both are just as important. Even working in retail like I also am now has taught me first hand so much about the commercial side of things, such as how to design for a demographic, what people like to wear and what people don’t etc. This is going to seriously help my work when I do decide to go a bit more commercial. So many people are insecure about their arms.  What are some of the opportunities provided by showing at NZ Fashion Week?  At NZFW I showed just one look, in the Walk the Line competition show. I won the show and that made me happy. It exposed me to how a show is actually run; there were some aspects I didn’t realize [I’d have to deal with]. However, I was already planning my solo runway presentation for two weeks later and I wanted my own to be very, very different. How do you feel about breaking into the established NZ fashion scene?  There is always going to be a tremendous amount of competition, it can be a little overwhelming and fierce. Some people think they’re very important also. Humble is good.   What direction do you see you and your work taking in the next five years? I want to go overseas, and I definitely will, but as a 17-yearold I think New Zealand is teaching me a lot right now. Who knows where it will go, but I’ll continue creating.  Catherine and Ethan wear clothing throughout by CATHERINE BODDY


MAYNARD PEEL is a champion.

Aged sixteen, he became the first New Zealand man to win a world BMX title, first to cross the finish line in the Junior Elite final of the World Championships in Medellin, Colombia. It was a nailbiter. Peel waited till the very last turn to make his move, but that’s the kind of guy he is - a hard worker, and not to be underestimated. Back home with his family in Auckland’s Papakura he took some time out of his intense training schedule to chat with Chris Lorimer about staying calm under pressure, walking with giants and when he feels free.

portraits and fashion DAVID K SHIELDS

“I’ve had many broken bones and crashes while racing but then again that’s the price you pay” When did you start getting interested in BMX? I always loved riding bikes as a kid, even before I started BMX. My older brother had rugby practice near the local track. While he was training I went for a walk and spotted it. I was amazed straight away and after a few moments watching the older guys ride I ran back to my dad and told him all about it. From there on I fell in love with the sport and have never looked back. Did you play any other sports when you were younger? Yes! I was an all-rounder, I always played many sports and was fairly good at them. I played Rep sides in Rugby and League. In school I played softball, field hockey, basketball, swimming, and volleyball too. How long have you been focused on BMX as your one of choice? Approximately nine years now. I started when I was seven but got serious at the age of eight. For those of us who don’t know much about BMX, what can you tell us about it? What’s different about it to other sports?  BMX is fast, fun and different to the usual “well known” options (Rugby, Soccer, Basketball). It’s an individual sport and basically you start racing at the top of an eight-metre ramp. Only eight riders can come off the start hill at a time and you race to complete the course the fastest with jumps along the way. What are the best and worst things about it? The best is how much skill and speed you can develop riding a bike. I also never thought my bike would take me to see the world. The worst is the injury that can come with the sport; I’ve had many broken bones and crashes while racing but then again that’s the price you pay. How do you train? What’s the schedule like? My schedule changes every month but what is always consistent is that I train seven days a week. It varies from gym work to sprint training on a flat road, to stretching and yoga... I train twice a day, morning and afternoon, for at least four days of that seven too. You’re the current World Junior Elite BMX Champion what did you have to do to claim that title and how did it feel when you won? I stayed calm, put trust in my training and thought about each of the steps needed to complete the race. I didn’t worry about the outcome, as those thoughts can be your

enemy. I focused on giving my best performance and not worrying about how fast others can be because at the end of the day the only thing you control is you. The moment I shut it all out I felt unstoppable, relaxed and confident in myself. I followed the process and the outcome took care of itself. Everyone there wants the same place... number one! Every man wants to win as badly as the other. How do you feel when you’re riding? It’s my passion, riding my bike on the track. It’s something I love doing and I feel like it’s my second home when I jump on to shred for an hour or two. I feel free. What do you do in your spare time? I love spending time with my family and friends. I get my head out of the game by hanging out with family and going on trips to the beach or down to the local basketball courts to play with the cuzzys. I listen to music, dance in my own time... always looking for something to do and ways to entertain myself. I’m never doing nothing. You were a finalist in this year’s emerging talent section of the Halberg Awards (which recognise NZ’s top sporting achievements) - tell us about how that went. From the initial group of nominated athletes, I qualified top four. [At the Awards] it did feel great being amongst other such talented athletes and to realise I was one of them too. I got to meet a few idols of mine. What was best about that night is that I didn’t feel out of place, I felt like it’s exactly where I’m meant to be... amongst the greats, walking with giants. I also know that things like this are just a bonus - my real prize is going out there and giving it my best shot. Who are your biggest supporters? Mum and Dad, big bro and sis, Nana & Papa and the rest of my whanau. They have all been there since day one and have only ever done what they can to help my career escalate to its full potential. Do you have any advice for any other young people wanting to get into BMX or a sport in general? Give it your best shot. Always find the fun in the sport if you want to make it a living! Find a passion for it and don’t look back.  Where do you see yourself in the next five years? My goal is to be an Olympic gold medallist and current world champion, living my dream big in the States. Maynard wears clothing throughout by ZAMBESI


For our fashion story with redhead beauty GRACE SIMMONS in this issue we had the privilege of shooting at her family property in Pullenvale, Brisbane, where amongst a menagerie of farm animals we were also graced with an insight into her stellar career, straight from the horses mouth! words and fashion SARAH BIRCHLEY portrait CARA O’DOWD at Work Agency After two years working out of New York stacking up an impressive resume with high profile runway appearances and global campaigns, Grace has returned to Queensland to pursue her academic studies. She is living with her mum, and younger siblings Annie and Joe, along with an impressive menagerie of animals - 13 horses, 3 mini Angus cows, 5 chickens, 2 dogs, 1 cat and a goose. A connection to the land is something that was instilled in Grace from a young age; her mother’s love for equestrian meant that ‘ as soon as I could walk I was put on a horse.’ Grace pursued show jumping and dressage at a competitive level throughout her school years and dreamt of going to the Olympics for Equestrian. The transition from horse riding to modelling started with a deportment course at Dally’s Models, before then winning the Girlfriend Model Search in 2012 which landed her a contract with Dally’s and their sister agency Chic Management. “I’d stopped riding as much because I was in my final year of school and was focused on my results,” she says, “I just didn’t have the time required to train the horses and care for them in the same way as when I was younger. School was my priority and it was always important to me to do well academically, but I started doing some modelling work on weekends and school holidays whilst in Grade 12. “One of my first big shoots was for Black Magazine actually, I remember I had just got my license and was so excited to drive myself to the shoot.” Photographer Thom Kerr and I had cast Grace as a ‘new face’ in a group story of boys and girls from Queensland who were all stars in their own right; Angus Low, Joel Meacock, Nicole Pollard, Rui Dalton, Josh Cocks, Sapphire de Goede and Shannikah Doherty. After graduating from school, Grace took a gap year and started modelling full time. Her first overseas contract was in Japan: “I ended up staying an extra month because I was working well and having so much fun. When I got back,

my agency Chic had sent my digitals to Paris and they had requested I leave for my first show season 6 days later. That was such a surreal moment, it felt like everything was really happening.” Having arrived in Paris, Grace walked semi exclusive for Saint Laurent as well as for Valentino and Dries Van Noten. “Dries was my first show with Russell Marsh, the casting director who I love working with - overall it was a really great team and nice working environment.” That season was the beginning of a consistent relationship with Valentino, and Grace describes the team there as ‘family’, “I love working for them, it’s intimate and very personal from the designers right through to the team that dress you backstage. They are the brand that I worked with the most when I was living overseas and they have really done a lot for my career.” Grace then moved to New York, living in a model apartment at first before eventually getting her own place and staying for two years. During that time she walked for both the Ready-towear and Haute Couture show circuits, shot editorial for CR Fashion Book, Elle, Harper’s Bazaar and Love Magazine to name a few, and worked on campaigns for Valentino, Victoria Beckham and Marc Jacobs. Grace remembers the last runway show that she did for Marc Jacobs before leaving New York: “Marc had designed a dress with me in mind - that was the coolest moment of my career! I couldn’t believe it - I’m just a little girl from Brisbane.” “New York still feels like home now though,” she reflects, “I miss it and the lifestyle. I’ve come back to Australia to complete the first year of my degree - I’ve been away for two years and that was the longest that I could defer before before losing my spot at uni. I’m studying law, commerce and economics - keeping my options open. I’ll be moving back to New York again later this year to pursue modelling but will continue my studies via correspondence. Grace wears blouse, pants and shoes by GUCCI, belt by PRADA


Previous, current and future loves, internet strangers, want-to-be models and sensitive moments... Take a look at the Instagram account of @burtkanks and you’ll read these words, before viewing a stream of often poignant, seductive and sometimes stoic portraits of his subjects, shot mostly in bed. BURT KANKS (aka Kurt Banks) is a 25-year-old artist originally from Newcastle, currently calling the inner west of Sydney home. He spoke to Chris Lorimer about bad break-ups, Grindr, likes and using the word muse. portraits DAVID K SHIELDS fashion CHRIS LORIMER

clockwise from top left: JAMES 2017, SCOTT 2016, AIDEN 2016, DANIEL 2015, LIAM 2016

How did you first discover photography? After quite a tragic break-up I had begun to lose quite a substantial amount of weight and I started taking pictures of myself, using my camera phone and posting them online as a sort of documentation, which has become kind of therapeutic practice for me. Capturing myself when I feel defeated or introverted. So, that was my discovery… Retrospectively, I am quite grateful for that break-up. When did you take the first picture you liked? What was it? I was actually given my first camera by someone [a guy] that I had met on Grindr. I was so desperately infatuated by him and that feeling definitely wasn’t mutual. Similarly, I think I’ve had some sort of desperate infatuation with just about every image I’ve taken, and just like a lot of past love interests I end up questioning why I was ever interested in the first place. Which I think is definitely a sign of growth. Why use a pseudonym? Why not your real name? I got drunk and changed my name on a few social media platforms to ‘Burt Kanks’ as a laugh. Lots of my previous Instagram accounts have been shut down for nudity so I had to keep coming up with new usernames. I’ve been using that username as a pseudonym for some time now, it just stuck.

“I feel it’s important to identify as gay. But, I don’t call myself a ‘queer artist’, or a ‘gay artist’ for that matter” Why use Instagram as your main forum? What drew you to that particular platform? Are likes important? Until recently I would have said “No, ‘likes’ are not important” but lately, it’s been informing my work. I’ve been manipulating and changing my practice to either buffer against and also feed off the ‘likes’ and feedback I’ve been getting through comments. So, yes, it’s been informing the direction of my work and letting me push unfinished works to a place of editing, through online exposure. What draws you to an image when you’re editing? I’ve only just started experimenting with digital editing and Photoshop. Until this point I almost felt that it was somewhat sacrilegious to my cause, distorting and changing my images, but I feel that I have recently gained a level of ownership with my own work and that has definitely been a freeing thought. But, what draws me to an image is the telling of what could be perceived as an ‘in-between’ moment. Where the subject lets their guard down for that second and there is a pause of being unaware of the camera. I also like idea that they don’t have to be perfect or beautiful and they are just themselves. That’s essentially what I aim for when image selecting.

You always create each work as a diptych – why do you do this? How did you come up with this format? It started as a way to create something that wasn’t completely contrived and also, to storyboard my thought process. Exploring what happens to an image when something of a similar or completely different nature is placed next to it, and why does this happen? Essentially, for me, it’s just storytelling and whether that is the true story or a fabrication doesn’t matter. Quite often the series becomes mixed because I want to show a glimpse of what happens after an hour of photographing an individual compared to the first or second shot I’ve taken. How do you find your subjects? I have found most of my subjects on Grindr. That started as a way of not knowing where to look, and I knew that I wanted to take portraits but I had no idea how to start. I never took myself too seriously, and truthfully it started by the offer that whoever I photographed would have a new Grindr display picture as payment. Humble beginnings, I suppose… Recently an Instagram follower commented that you “represent the male body in a non-sexual way” – do you agree with that statement? Why? Or are your images very sexy after all? Yes, I saw that comment. It’s definitely flattering. Even if it’s only one person’s view, [and] that they can see past the nudity, for me, makes taking the images worthwhile. Social commentary is part of the life of the images. What are some of your favourite stories that models have shared with you? I believe the stories are in the photographs, I think it’s always interesting to see what the subject let’s us see without their intention. However, every model has a different reason for being photographed and agreeing to open up in the way that I almost expect them too. But I feel their stories are best displayed in the way I choose to represent them. You shoot your boyfriend Liam a lot. What part does he play in your work? Do you consider him your muse? I photograph him a lot because I find it engaging to document our relationship; which has been tumultuous at times, but, I find it’s all very interesting to capture. Photographing him right after sex, or during the middle of a fight, when he’s upset with me because I’m being unbearably facetious, or photographing him naked in my childhood bedroom. It’s all just common relationship things that everyone goes through, not just a same sex couple, these are normative traits that any relationship has. I’m just documenting all of the aspects, not just the ‘good times’. But, I don’t know about the word ‘muse’, it’s a bit pretentious, maybe suggesting that he has more power over my work than he does. I think my work is bigger than one person. Yet, I feel comfortable in saying he plays quite a large role in my work. I also have the pleasure of watching and capturing him while he performs his music at various venues. He performs under ‘Liam Gale and the Ponytails’, and it’s nice to have equal creative outlets. He writes about me in his music. Do you feel it’s important to identify as queer? I feel it’s important to identify as gay. But, I don’t call myself a ‘queer artist’, or a ‘gay artist’ for that matter. Truthfully, I believe that I would be boxing myself in. Although I haven’t yet been

driven to create work outside the confines and expression of my own sexuality or the sexuality of others. I believe that by representing myself in that way might not be conducive to my practice. So, yes, I’m gay and I’m also an artist. Neither one coming first, they are both equal to who I am. So, is what you’re doing creating a gay or queer visibility? I think what I’m expressing and creating could be seen as manufacturing a sense of visibility for the queer community, but that has not essentially been my aim. I don’t necessarily have an agenda or a goal that I’m working towards, to create anything specific or appeal to a certain audience. I simply believe that my work is just a reflection of my life and currently represents my creative ability at the time I’ve created it. You’re exploring a new style currently utilising digital collage and obscurity of your subjects - can you tell me how you began this new look, how you discovered it and why it’s working for you? I am exploring new avenues of self-expression through collage, but I also think it’s a process of admittance that this concept may never have a definite form or a final end. I started it in attempts to hide the figure, you know? I spoke before about gaining a sense of ownership over my images. I feel that has come from the realisation that people also

have a right to comment or judge whatever I present. It just so happens that feedback for quite some time had been that I’m only photographing ‘attractive men’ and nothing else. So, of course my reaction was to take away the figure, but then reacting to my own work again by collaging only what could be defined as the most attractive parts of the male form. It’s all still for me an exploration process and experimenting with my own capabilities as a young artist. Is anyone in the art world is inspiring to you and why? I take my inspiration from a huge range of artists. But, I think it’s important to pick and choose what you see in an artist’s self-expression to make your own views and opinions on or to use as an influence. Last year I had the opportunity to study under Sarah Mosca. Actually, I knew a lot about her work before we’d even met. I don’t think I’ve ever met anyone that has made me care so much for my own practice as she did. I remember, in the beginning, I didn’t feel entirely comfortable with what I had been presenting or creating until she told me that whatever I deem to be art, is art, because I say it is. That’s something that I’ve had to keep reminding myself over and over. Kurt wears sweater by BOTTEGA VENETA from MATCHESFASHION.COM


SONY BLACK EYE The first issue of

Black Magazine 2006, we introduced a concept in partnership with Sony to support emerging photographers and stimulate creative photography. Called Sony Black Eye we featured developing and emerging photographers using the new-at-the-time Sony Alpha. This issue, once again we have partnered with Sony using the new range of Alphas to create these images using the new Sony A7R Mark 11 and Profoto B1 lights. This story was a live shoot that featured as part of the ‘Hyperreal’ exhibition, produced by the AIPA in order to showcase and celebrate the skill and creativity of their fashion photography members. AIPA is a not-for-profit organisation that was founded in 1978 to represent the interests of commercial photographers in New Zealand.

photography FRANCES CARTER fashion ETHAN BUTLER hair FLEUR COVICH at Ryder using R+Co makeup PHOEBE WATT using Mecca Cosmetics model BECKY at Clyne

opening spread: sweater by ZAMBESI over top by NOM*D, pants by HELEN CHERRY, suspenders by ZAMBESI, bag by PRADA; this spread: top by NOM*D, skirt by KATE SYLVESTER, shoes by BERNHARD WILLHELM from THE SHELTER

this page: jacket by BARBARA I GONGINI, belt by MM6 MARTIN MARGIELA from THE SHELTER; opposite page: coat by HELEN CHERRY, jumpsuit by ISABEL MARANT from WORKSHOP, belts by ZAMBESI

this page: hoodie by NOM*D, pants by HELEN CHERRY, shoes by HARMAN GRUBISA; opposite page: dress by HELEN CHERRY, bag by ZAMBESI

opposite page: coat by ZAMBESI; this page: coat by HELMUT LANG from WORKSHOP, dress and belt by KATE SYLVESTER, pants by BARBARA I GONGINI, shoes by KAREN WALKER; photo assist JAMES YANG: thanks to WHITE STUDIOS for lighting



LK/ Y T U A >>

PARDON, I’M GETTING MY SCREAM ON photography TINTIN HEDBERG at Hell Studios beauty JUSTIN HENRY at Vivien’s Creative using Make Up For Ever fashion BRITTNI MORRISON models AWILLO at Vivien’s and NDENG NAIYA

opening spread: Awillo wears vest by NESSIE CROFT, jewellery stylist’s own; opposite page: Ndeng wears dress by GEORGIA ALICE, belt worn as necklace by MAJE; Awillo wears jacket by STEELE, earrings by VINTAGE GARAGE; this page: Awillo wears gloves by ELIZABETH HUTCHINSON, jewellery stylist’s own

previous spread: Awillo wears top by ELIZABETH HUTCHINSON; Adeng wears top by MARY KATRANTZOU; opposite page: Ndeng wears coat by NESSIE CROFT; this page: fur coat by YESTERYEAR, diamonte choker and hat stylist’s own; story title from ‘Black Skinhead’ by KANYE WEST


R E T S I S T OU photography DAVID K SHIELDS fashion CHRIS LORIMER makeup WAYNE CHICK (Hannah and Lizzie) at The Artist Group using M.A.C Cosmetics and CHRIS COONROD (Caro and Pien) hair CHRIS COONROD at Union using Sachajuan models LIZZIE MAWSON at Priscillas HANNAH, PIEN and CARO at IMG

previous spread: Hannah wears top by ÉUGENIE, earrings by STUDIO ELKE this page: Caro wears top by ZHIVAGO, bra by BOOHOO, necklace by JY JEWELS; opposite page: Pien wears top by BY JOHNNY, ring by RELIQUIA, earrings by JY JEWELS

opposite page: Hannah wears top by TRELISE COOPER, earrings by EMMA JANE DONALD, bag by COACH; this page: Lizzie wears top by PAGEANT, earrings by JY JEWELS

this page: Pien wears top and bra by SERPENT AND THE SWAN, necklace by JY JEWELS; opposite page: Caro wears bodysuit by NUDE LUCY, necklaces by SOLLIS

Lizzie wears top by MARYSIA , earrings by JY JEWELS

opposite page: Caro wears jacket and tie by ZAMBESI; this page: Pien wears dress by LONELY, earrings by SOLLIS

this page: Hannah wears top by MAX MARA, earrings by LUCY FOLK; opposite page: Lizzie wears top by FENTY PUMA, bangles by STUDIO ELKE

BEAT THE BLUES photography CAROLYN HASLETT fashion RACHAEL CHURCHWARD hair GREG MURRELL at Ryder using Oribe makeup ABBIE GARDINER using M.A.C Cosmetics

models TEGAN & LEAH at Unique BIANCA at N Management MEIKE at 62

opening spread: shirt by CURRENT/ELLIOTT from WORKSHOP, jeans and neck scarf by NEUW; this spread: jacket by ROLLAS, jeans by NEUW

this spread: jacket by ACNE DENIM from WORKSHOP, jeans by NEUW

this spread: overalls by NEUW, shirt stylist’s own; hair assists BENJAMIN JAMES, FLEUR COVICH; photo assist CHARLAINE CROGUENNEC

AN EYE FOR AN EYE photography TINTIN HEDBERG beauty JUSTIN HENRY at Vivien’s Creative using Make Up For Ever and O&M hairstyling products

fashion SARAH BIRCHLEY model ELODIE RUSSELL at Chadwick

this page and previous: dress by STRATEAS CARLUCCI;; production Hell Studios: story title from ‘Mercy Seat’ by NICK CAVE

I DON’T GIVE A BAD REPUTATIO photography MARISSA FINDLAY hair CHERYL FAFEITA using Kevin Murphy makeup ABBIE AHMED models DILLYN at Unique, EMMA at The Others, HOLLY at Red 11


opening spread left page: jacket by STOLEN GIRLFRIENDS CLUB, pants by ZAMBESI, swimsuit by ZAMBESI ARCHIVES; right page: shawl by ZAMBESI, vintage turtle neck; this page: dress by STOLEN GIRLFRIENDS CLUB: opposite page: top, jacket and boots by STOLEN GIRLFRIENDS CLUB

this page: coat by ZAMBESI; opposite page: top, jacket and boots by STOLEN GIRLFRIENDS CLUB; photo assist FRANCES CARTER; story title by JOAN JETT








previous spread: Lila wears earrings by LUCILLA GRAY, shirt by HOLLY MARBECK, sweater by J.W ANDERSON at ZAMBESI, trousers by GEORGIA ALICE, vintage sunglasses stylists own, trench by STOLEN GIRLFRIENDS CLUB, shoes by HELMUT LANG at WORKSHOP, coat on chair by BRIAR TURNER; this spread: Jack wears shirt by NEUW DENIM, polo by WYNN HAMLYN at EUGENIE, coat by CHERRY KIM, earring by FLASH JEWELLERY, sandals by DR MARTENS

this page: Emily wears T by ALEXANDER WANG tee at WORKSHOP, shirt by TOPSHOP, jacket by LEVI’S , jeans from K-MART; opposite page: Elliot wears earrings by LUCILLA GRAY, striped shirt by HOLLY MARBECK, white shirt by TOPSHOP, tunic shirt worn as dress by EUGENIE, sweater by GOSHA RUBCHINSKIY at FABRIC, shoes ROMANCE WAS BORN x BEAU COOPS at EUGENIE, jackets on chair by LEVI’S

this spread: Bianca wears sweater by WORKSHOP, shirt and jacket by GEORGIA ALICE, earring by LUCILLA GRAY

this page: Jack wears earrings by LUCILLA GRAY, shirt by NEUW DENIM, polo and jacket by WYNN HAMLYN at EUGENIE, trousers by TOPSHOP UNIQUE, sandals by DR MARTENS; opposite page: Zoe wears glasses by RETROSUPERFUTURE shirt by TOPSHOP, jacket by J.W ANDERSON at ZAMBESI, corset and trousers by GEORGIA ALICE, wrap jacket by HARMAN GRUBISA, socks by EUGENIE, sandals by ZARA MAN; Lila (behind) wears coat by ZAMBESI

opposite page: Elliot wears earrings by LUCILLA GRAY, striped shirt by HOLLY MARBECK, shirt by TOPSHOP, sweater by GOSHA RUBCHINSKIY at FABRIC, dress by EUGENIE, coat by NOM-D, shoes ROMANCE WAS BORN X BEAU COOPS at EUGENIE, jackets on chair by LEVI’S; this page: Emily wears earring by FLASH JEWELLERY, T by ALEXANDER WANG t-shirt at WORKSHOP, shirt by TOPSHOP, jacket by LEVI’S, jeans from K-MART, boots ROMANCE WAS BORN x BEAU COOPS at EUGENIE

opposite page: Zoe wears shirt by TOPSHOP, jacket by J.W ANDERSON at ZAMBESI, corset and trousers by GEORGIA ALICE; this page: Bianca wears shirt and jacket by GEORGIA ALICE, jeans by J.W ANDERSON at ZAMBESI, slides by ACNE at WORKSHOP, socks by PAN AND THE DREAM hair assist PIP GRUNDY thanks to WHITE STUDIOS story title THE SMITHS

LIFE’S RICH TAPESTRY photography DAVID K SHIELDS fashion CHRIS LORIMER hair CHRIS COONROD at Union using Sachajuan makeup MICHAEL ASHTON for Marc Jacobs Beauty model ELLA HOPE at Priscillas

this page and previous: coat, top, skirt and belt by PRADA, shoes by MIU MIU; opposite page: hat by MIU MIU, shirt, top, shorts and belt by PRADA

opposite page: top by KATE SYLVESTER, bodice by RACHEL GILBERT, shorts by ELLERY; this page: coat by ‘S MAXMARA, bodice by KATE SYLVESTER, dress by RACHEL GILBERT

this page: top and skirt by PRADA, bag and heels by MIU MIU; opposite page: all by PRADA

opposite page: dress by ZHIVAGO, boots by BEAU COOPS X ROMANCE WAS BORN; this page: all by MIU MIU; story title MODERN ENGLISH

this page: shirt by TRELISE COOPER, dress by AJE:;opposite page: dress by ELLERY


previous spread: Gisele wears bra by LONELY, jeans by BASSIKE, jacket by TRELISE COOPER, necklace by COMPANY OF STRANGERS; Fergus wears shirt and pants by BALLY, necklace by SKULLS BY SOFIA FITZPATRICK; this spread: Aline wears bra by LONELY, skirt by IRO, necklace by RECREATIONAL STUDIO

this page: Aline wears swimsuit by LONELY, vintage hat; opposite page: top by TRELISE COOPER, vintage shorts and jacket from ROUTE 66, shoes by BALLY, tights by AGENT PROVOCATEUR

Fergus wears shirt and pants by BALLY, necklace by SKULLS BY SOFIA FITZPATRICK ; Gisele wears bra by LONELY, jeans by BASSIKE, jacket by TRELISE COOPER, necklace by COMPANY OF STRANGERS

this spread: Fergus wears jacket by BALLY, singlet by BONDS, trousers from ROUTE 66, cowboy hat stylist’s own; Gisele wears jacket by BALLY jacket, bra by LONELY, jeans by IRO, jewellery by COMPANY OF STRANGERS

Gisele wears shirt by BALLY

opposite page: Gisele wears bra by LONELY, shirt by BALLY, tights by AGENT PROVOCATEUR, necklace by COMPANY OF STRANGERS; this page: Aline wears fur by TRELISE COOPER, bra by LONELY, vintage skirt and belt from ROUTE 66, tights by AGENT PROVOCATEUR, ring and necklace by RECREATIONAL STUDIO

this page: Gisele wears vintage t-shirt, denim shorts and belt from ROUTE 66, tights by AGENT PROVOCATEUR; opposite page: Fergus wears jacket by BALLY, vintage trousers and shirt from ROUTE 66, singlet by BONDS, ball chain by MARTIN MARGIELA; photo assist RICCARDO RAITI, thanks to Comfort Inn West Ryde, Tex Automotives, Vivien’s Model Management, THE.mgmt, Kult Models and Scott Cavanough

GRACE’S GOING PLACES photography CARA O’DOWD at Work Agency fashion SARAH BIRCHLEY makeup GEMMA ELAINE using MAC Cosmetics hair SHANNON JJ WILLIAMS using Kevin.Murphy & Manhattan Couture Extensions

model GRACE SIMMONS at Chic

this page and previous: jacket by GUCCI, knickers by MIU MIU, hat by LACK OF COLOR; opposite page: blouse, pants and shoes by GUCCI, belt by PRADA

dress by MAX MARA, hat by LACK OF COLOUR

this spread: camisole by MAX MARA, coat by PRADA, necklace by GUCCI

opposite page: shirt by STRATEAS CARLUCCI, skirt by PRADA; this page: turtleneck and skirt by PRADA

blouse, and skirt by MIU MIU; photo assist ANNE PEETERS and CIERAN MURPHY, fashion assists JESSINTA JONES. LUCINDA KENT


photography CHARLES HOWELLS fashion RACHAEL CHURCHWARD makeup RICHARD SYMONS using M.A.C Cosmetics hair CARLOS ELIAS at Helmut models TAYLAH and HOLLY at Red11


this page: shirt by KAY GOSS, pants and boots by ZAMBESI, belt by WORKSHOP; opposite page: shirt and briefs by KAY GOSS

jacket by ZAMBESI, body stockings worn throughout by stylist

opposite page: skirt by KAY GOSS; this page: top by KAY GOSS


opposite page: body suit and coat by KAY GOSS;, boots by ZAMBESI; this page: dress by ZAMBESI

top by HELEN CHERRY, skirt by KAY GOSS

opposite page: pants and jacket worn around waist by ZAMBESI; this page: dress by HELEN CHERRY, heels by ACNE from WORKSHOP

fashion assist ETHAN BUTLER, production assist BELLA IVOS, thanks to WHITE STUDIOS story title THE VELVET UNDERGROUND

ONLY THE YOUN photography DAVID K SHIELDS fashion MARIANNE MALAFOSSE makeup CORINNA WILMSHURST hair CHRIS COONROD at Union using Sachajuan model CODY YOUNG at Priscillas


previous spread: coat by CHRISTIAN DIOR, sleeves by MATICEVSKI, medals stylists own; opposite page: coat, skirt, and bag all by PRADA; this page: jacket and brooches by ELLERY, pants by G-STAR RAW

this page: coat by MAX MARA, dress, shoes, bag and belt by LOUIS VUITTON; opposite page: shirt, swimsuit and shoes by MIUMIU, socks and hat stylists own

jacket and top by SASS & BIDE, pants by ROMANCE WAS BORN, boots by CALVIN KLEIN, earring by ELLERY

opposite page: top by PRADA; this page: jacket by TOMMY HILFIGER, skirt by ZIMMERMANN, t-shirt by IRO, boots by CHRISTIAN LOUBOUTIN, bangles by DINOSAUR DESIGNS.

this page: jacket by PAIGE, top by ZIMMERMANN, pants by AG JEANS; opposite page: dress by CHRISTIAN DIOR, boots by CALVIN KLEIN, sleeves stylists own; fashion assist IRENE MATTEUCCI story title JOURNEY

JUST A MOMENT photography TINTIN HEDBERG at Hell Studios fashion SARAH BIRCHLEY hair & makeup JUSTIN HENRY at Vivien’s Creative using Clarins Cosmetics and Kevin Murphy

model ALANA MIA at Chadwick

previous spread: t-shirt by GUCCI, pants by ELLERY, earrings (worn throughout) by NATASHA SCHWEITZER, shoes by ADIDAS

this spread: top by BY JOHNNY, jeans by GUCCI, jacket by DEADLY PONIES

this spread: dress by GAIL SORRONDA, vest by BRONTE ARMSTRONG

top by BY JOHNNY, skirt by BRONTE ARMSTRONG, vintage hat stylist’s own

top by GAIL SORRONDA, tights by GUCCI, shorts by SPORTMAX production HELL STUDIOS, story title NAS

WALKING ON SUNSHIN photography DAVID K SHIELDS fashion MARIANNE MALAFOSSE hair & makeup WAYNE CHICK at Artist Group using Bobbi Brown & De Lorenzo


opening spread: dress by SASS & BIDE; opposite page: dress by MATICEVSKI; this page: dress by CHRISTIAN DIOR, hat by SARAH J CURTIS

this page: layered sheer dresses by S.E BY SANT ELIA, necklace by SASS & BIDE; opposite page: top, shorts and trench by MIU MIU

dress by ZIMMERMANN top by SPORTSGIRL belt by R.M. WILLIAMS parasol: stylist’s own

this page: skirt by MATICEVSKI, top by WILD HORSES, belt, hat and Akubra boots all by R.M. WILLIAMS. opposite page: dress by RACHEL GILBERT story title KATRINA & THE WAVES

Profile for Black Magazine

BLKonBLK Issue 8  

This issue of BLKONBLK #8, diversity is us. This is the 21st century. Now we live as world citizens, so how do we relate to a President of...

BLKonBLK Issue 8  

This issue of BLKONBLK #8, diversity is us. This is the 21st century. Now we live as world citizens, so how do we relate to a President of...

Profile for blkonblk

Recommendations could not be loaded

Recommendations could not be loaded

Recommendations could not be loaded

Recommendations could not be loaded