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Bondi Icebergs Pool12. VISIONARIES
Our portfolio of forwardthinking, boundary-breaking people who are changing the world.
28. NEW, NOW, NEXT
The latest brands and collections on our radar.
33. TREND REPORT
From quiet luxury to highimpact colour, this is your guide to spring’s biggest trends.
46. JOY! ENERGY! IMAGINATION!
As David Jones celebrates 185 years, unwrap a wardrobe of festive, spirited pieces.
66. A VISIONARY RETURNS
Iconic supermodel Lauren Hutton chats to JONES
76. SPRING REVIVAL
Refresh your beauty routine with a bold red pout, shimmering gold shades and flirty curls.
82. BEAUTY NEWS
What’s hot and happening on the counters at David Jones.
88. AFTER GLOW
Radiance-boosting, mood-lifting buys to take your skin, hair and self-care to the next level.
ALÉMAIS top, $245, skirt, $595, and earrings, $420. EDWARD MELLER heels, $319.96. SMELLS DIVINE
New fragrances to try and faces to know.
100. THE ANTI ANTIAGEING REVOLUTION
The conversation around ageing has shifted – and the result couldn’t be more powerful.
104. COLOUR BURST
There’s a sense of optimism in the air, as statement shades and playful prints take centre stage.
118. A FRESH PERSPECTIVE
New season, new attitude: this is how we want to dress now.
130. BRIGHT FUTURE
Spring’s key pieces are as bold as they are beautiful.
143. STYLE GUIDE: PARTY DRESSING
Rebecca Vallance’s masterclass in making an entrance.
144. BEHIND THE BRAND: MARGIE WOODS
Viktoria & Woods’ creative director is committed to manufacturing in Australia.
145. 10 MINUTES WITH: DYLAN BEST
The award-winning designer is bringing an Australian sense of humour to his streetwearinspired label.
146. GOOD VIBES ONLY
Brazilian label Farm Rio is brightening up our wardrobes with its refreshing take on resortwear.
149. NEW ENERGY
Delicate, detail-driven lingerie that’s guaranteed to spark joy.
156. 10 MINUTES WITH: DACRE MONTGOMERY
The Stranger Things actor talks style, sensitivity and self-expression.
157. BOOK CLUB
Author Diana Reid curates a list of her all-time favourite reads.
159. MEET THE MUSE
Tina star Ruva Ngwenya on her portrayal of rock royalty.
160. THE VOICE; YOUR VOTE
Thought leaders weigh in on the Indigenous Voice to Parliament.
PHOTOGRAPHY
Hannah Scott-Stevenson
STYLING Philippa
Moroney and Claudia Jukic
HAIR Daren Borthwick at Artist Group
MAKE-UP Linda Je eryes at Artist Group
Lauren Hutton wears: JAC + JACK shirt, $300. BIANCA SPENDER skirt, $545. AEYDE shoes, $499.
For a full list of home products and prices, turn to page 3 in JONES Home.
For those of you playing at home, you’ll remember that the autumn 2023 issue of JONES was a celebration of icons and heritage as we heralded David Jones’ 185th birthday. Now, for our spring issue, we collectively open our eyes and take in the new. With a fresh perspective and a sense of joy and optimism, we continue the 185th birthday celebrations with a spotlight on the visionaries of our time – those who echo the visionary spirit of David Jones himself.
Our cover star is the inimitable Lauren Hutton, an original David Jones ambassador in the late ’90s. At the time, she even appeared in a now-iconic TV commercial, singing the signature “There’s no other store like David Jones” jingle (go on, google it – you won’t be disappointed!).
To me, Lauren is the ultimate visionary: she famously kept her gap-toothed smile at a time when modelling agencies told her she should close it up. Of course, she had the last laugh, becoming one of the biggest models and actresses of the time, securing multiple lucrative beauty and fashion advertising campaigns. She returned to modelling in her late 40s and became a trailblazer yet again, proving then and now that she well and truly has ‘it’.
Working with Lauren on our JONES cover was a blast. She had the best stories – like how she managed to save herself when a baboon entered her tent one evening during a trip to Africa, and how she came o her motorcycle one day while she was following Jeremy Irons along a winding road. She has the sort of energy and outlook on life that makes you forget she is almost 80.
Indeed, one of the things I love most about my job is the interesting people I meet and get to work with. When I first started at JONES, my vision was for each issue to be a melting pot of the best in fashion, beauty, arts and culture, tapping into the zeitgeist all the while profiling individuals who challenge the way we think and feel. So what are you waiting for? Jump into this issue. It’s a goodie.
Design Director Carly Roberts
Content Director Rebecca Tay
Managing Editor Rochelle Rudd
ART
Art Director Jamie Richards
Creative Producer Ada May
Art Assistant Hannah Dukes
Contributing Senior Designer Katerina Tsompanis
FASHION
Fashion Director Claudia Jukic
Fashion Campaign Manager Isabella Highfield
Fashion Assistant Portia Lauchlan
COPY
Copy Director Laura Culbert
Content Editor Alex Du y
PRODUCTION
Production Director Rebecca Moore
Junior Producer William Hutton
Workflow Manager Jess Larmer-Barallon
Product Manager Camila Whaite
CONTRIBUTORS
Sevak Babakhani, Oliver Begg, Daren Borthwick, Manolo Campion, Kate Darvill, Charles Dennington, Jordan Drysdale, Lisa Featherby, Joseph Gardner, Adam Gibson, Jordan Gogos, Rob Hookey, Linda Je eryes, Emma Mulholland, Rory Rice, Yeong Sassall, Isabella Schimid, Hannah ScottStevenson, Teneille Sorgiovanni, Darren Summors, Edward Urrutia, Molly Warkentin, Dave Wheeler, Alan White, Victoria Zschommler.
MEDIUM RARE CONTENT AGENCY
Managing Director Nick Smith
Chief Commercial O cer Fiorella di Santo
Head of Audience Intelligence Catherine Ross
Head of Content, Fashion, Prestige & Beauty Philippa Moroney
Finance Manager Leslie To
Head of Sales, Travel & Luxury Tony Trovato, 0404 093 472
National Sales & Partnerships Manager Isabella Severino, 0459 999 715
DAVID JONES
Chief Marketing O cer James Holloman
Senior Brand & Content Manager Shadiya Nusrat Brand Manager Lucy Dodd
JONES magazine is published for DAVID JONES (ABN 75000074573) by Medium Rare Content Agency (ABN 83169879921), Level 1, 83 Bowman Street, Pyrmont, NSW 2009. © 2023. All rights reserved. Printed by IVE, Australia. Paper fibre is from sustainably managed forests and controlled sources. Arrival dates of items featured in the magazine may vary. Prices correct at the time of publication. Not all brands and styles available at all stores or online. Subject to stock availability. Full range of furniture available in selected stores, except Western Australia and New Zealand. Limited range available online. Not all brands and styles available in all stores, but can be ordered. Prices may vary for other cover options. Rugs and accessories may vary between stores. Some items featured are display items only. No responsibility is accepted for unsolicited material. Articles express the opinions of the authors and not necessarily those of David Jones or Medium Rare Content Agency. For a copy of Medium Rare Content Agency’s
BOUNDARY-PUSHING, BARRIER-BREAKING, FORWARD-THINKING. THERE ARE MANY WAYS TO DEFINE
BUT WHAT THEY ALL HAVE IN COMMON IS A DRIVE TO SWIM AGAINST THE CURRENT. AS DAVID JONES CELEBRATES 185 YEARS OF INSPIRATION, WE TAKE A LOOK AT THE MODERN-DAY VISIONARIES WHO HAVE BEEN INSPIRED TO ACHIEVE
She had moved to New York to study dance at the Martha Graham School, but when Bhenji Ra discovered the city’s ballroom scene – a Black and Latinx transgender community where members are divided into ‘houses’ and compete in pageant events – she knew she’d found her calling. “Seeing Black and Brown trans women on the streets and involved in the public, just being unapologetic and really owning their existence, was such a vision of the future for me,” recalls Ra. “Even if they didn’t know it at the time, they were creating a pathway for me –a pathway of possibility for me to be in that space, to also be unapologetic and disruptive in the world.”
Ra, who is of Filipino descent, brought the fi rst ball to Australia in 2018 and is now the ‘mother’ of western Sydney’s House of Slé. As an artist, working with choreography, video and illustration, Ra explores themes of community and colonialism, and regards ballroom events as key to her work.
How does it feel to be called a visionary?
“In a way, I do feel a responsibility to be part of shaping our future, but I also feel like everyone’s a visionary. I feel that we are all collectively shaping our future together, and that’s really what my work is about: how do we as a community engage to envision the future together?”
What is your proudest achievement so far?
“To look around the community right now and see young trans people who I mentor be so self-determined. To see so many queer people of colour, especially young trans girls of colour. When I came back from New York, there was absolutely nothing, and now there’s a community, there are families, there are homes and houses. This ecosystem feels so strong – my proudest moment is that I don’t have to be the one that’s facilitating or holding it down. Our vision for the future can be protected.”
What would you tell your 13-year-old self?
“Girl, get ready! Brace yourself for a wild ride. Everything you’re doing to shape the world is going to expand, so keep working and fighting for it. Keep your heart open, move with love and don’t let the wounds of the world damage you.”
Since its Australian Fashion Week debut in 2021, Gogos’ label, Iordanes Spyridon Gogos, which takes his Greek name, has been making headlines for its bright, sculptural designs. It comes as no surprise: Gogos got his start as a furniture designer and also works as a set designer, bringing his eye and knack for creating unique, interactive spaces to JONES ’ portfolio of Visionaries. “I always wanted to be good at something, but I realised I’m better at doing lots of di erent things,” he says. “I don’t have a business model; I don’t have a 12-month plan. People who started a practice during COVID realised that having a 12-month plan didn’t work. Not having a plan is the new plan.” Gogos’ approach is refreshing, but also reflects the times we’re living in, the strength of his inner creative drive and his commitment to unearthing the potential of existing resources. “Each project buys me time to resolve what I’m doing in the future,” he says. “I have so many catalogued ideas in my mind, and they don’t always come to fruition, but they fi lter through sometimes unintentionally.” The props he brought to the set of this shoot, for instance, included chairs from his studio alongside bits and bobs he had been accumulating, simply because he saw their untapped, as-yet-undefi ned potential. “Some of this stu , I’ve had for years,” he says. “If you look at my work, there are things that recirculate until they find a home, or are continuously revisited. You never know when you’re going to use it, but you just know it’s right for something. I have 50 ‘aha’ moments a day.” According to Gogos, creativity is the key to a future in which resourcefulness and circularity are the norm.
“The whole problem with sustainability and waste is figuring out where things go,” he explains. “In their heads, people hit a dead end and that’s when something ends up in landfi ll – it’s just easy to go there. But if you think creatively about how things can circulate, or if you’re less linear and more open to the scope of things and how you can use them, or how you can share what you have – that’s where it becomes an opportunity.”
GOGOS
HIS SIGHTS ON THE RUNWAY, THE CREATIVE KNEW HE WANTED TO DO IT HIS WAY: ZERO-WASTE, INCLUSIVE AND MADE IN AUSTRALIA.
Author of The Sex Ed You Never Had and host of the new podcast Sex Therapy: Sessions with Chantelle Otten, Chantelle Otten wants to get Australians talking about sex. Having trained in the Netherlands (Otten’s family is Dutch), she believes we could all do with a more open – more European –approach to sex, pleasure and relationships, citing Esther Perel, the Belgian-American psychotherapist and sex and relationship expert, as a key influence. “She’s my idol,” says Otten. “She’s the reason I became a sexologist.”
Like Perel, Otten is dramatically changing how and where we talk about sex – doing so through advocacy work and ambassador roles, running the Australian Institute of Sexology and Sexual Medicine, and maintaining a private practice in Melbourne, where she sees most patients on a pro bono basis. “There were people that were coming in that couldn’t a ord services, and you know, I’ve also been a person that couldn’t a ord certain therapies at certain times,” explains Otten, whose partner is former Australian of the Year Dylan Alcott. “The whole reason I became a sexologist was to help people, and I just never wanted anyone to feel like they had to spend so much money to reach their goals. There’s no point doing a job where you cannot help people because they can’t a ord it.”
Julie Bishop is a woman of fi rsts: Australia’s fi rst female foreign minister, the fi rst female deputy leader of the Liberal Party and the fi rst woman to contest a leadership ballot in Liberal history. A true trailblazer, despite retiring from politics in 2019, she’s still focused on making a positive impact through her work as chancellor of the Australian National University and chair of both the Telethon Kids Institute and Prince’s Trust Australia – “My third career,” the former lawyer calls it. So what keeps her focused?
“I’m motivated to make a di erence,” she says. “My late mother, Isabel, encouraged me to aim high. She always said, ‘You go this way but once,’ and that motivates me.”
Former US Secretaries of State Madeleine Albright, Condoleezza Rice and Hillary Clinton have also served as inspiration. “These women were chief diplomats of the United States. They each faced daunting challenges daily and I was inspired by the way they responded.”
What’s your advice for others wanting to make a di erence?
“Don’t let others defi ne what you can achieve. Set your own benchmarks and then work hard to achieve them.”
Cleola (left) wears: CARLA ZAMPATTI shirt, $699, and pants, $599. TONY BIANCO shoes, $199.95. AMBER SCEATS earrings, $199.
Clare wears: MAJE jacket, $695. COMMONRY pants*, $179.95. ALIAS MAE shoes*, $249.95. KIRSTIN ASH earrings, $189.
Since its inception in 1994, the National Breast Cancer Foundation (NBCF) has invested $216 million to support 662 world-class breast cancer research projects across Australia. It’s thanks to this investment that the mortality rate from breast cancer in Australia has improved by 43 per cent. One example of an innovative NBCF-funded project is led by Dr Clare Slaney, who is examining whether using COVID-19 specific T-cells can improve the e ectiveness of a type of immunotherapy (CAR T-cell therapy) that could be used to treat breast cancer. (The answer: it’s too early to tell, but preliminary indications have been promising.) As a founding partner, David Jones has proudly supported the NBCF for the past 29 years.
“Our vision at NBCF is zero deaths from breast cancer,” says associate professor Cleola Anderiesz, the foundation’s CEO. “Almost all of us know someone who has had a diagnosis of breast cancer, and that’s because breast cancer is the most commonly diagnosed cancer among women in Australia,” she continues. “Every single day in Australia, nine people lose their lives to this disease. Through research, we are determined to create a future where we end deaths from breast cancer.”
“My grandma was one of the earliest pharmacists in China,” says Dr Slaney. “She was born in a village and her mother tried to bind her feet, as was the tradition of that generation, but my grandma ran away and eventually became a pharmacist. She was tough and had her own ideas on what her life should be like. Since I was a child, she told me that as a woman, I would need a job and that only by doing so, would I gain respect from people around me and have a good life.”
CAR T-cell therapy is a powerful cancer treatment in which a patient’s blood is extracted and immune system T-cells are harvested and re-engineered in a lab to produce proteins on their surface called CARs, or chimeric antigen receptors. (Side note: Dr Slaney’s supervisor, associate professor Michael Kershaw, carried out the first reported CAR T-cell clinical trials in the US before bringing the technology back to Australia.) When the T-cells are then returned to the body, the CAR on the T-cells helps them stick to the cancer cells, enabling them to kill the cancer cells. This treatment has generated fantastic results in some blood cancers (such as lymphomas), resulting in long-term improvements in overall survival for many patients, but hasn’t been as successful for solid tumours such as breast cancer.
During the pandemic, the Pfizer and Moderna COVID-19 vaccines, as well as the virus itself, were shown to be extremely powerful in boosting COVID-specific T-cells. This provided the foundations for Dr Slaney to develop the idea that if we could insert a CAR into COVID-specific T-cells, then we could use the mRNA COVID-19 vaccines to boost the COVIDspecific CAR T-cells, essentially redirecting COVID-19 immunity to target cancer cells and destroy them.
DIAGNOSED AS AUTISTIC AT 13, CHLOÉ HAYDEN NEVER SAW PEOPLE LIKE HERSELF ON TV. SO SHE SET ABOUT CHANGING THAT. NOW AN AUTHOR, PODCASTER AND ACTOR, HAYDEN STARS AS QUINNI – ONE OF THE WORLD’S FIRST AUTISTIC CHARACTERS – ON NETFLIX’S HEARTBREAK HIGH
Why is it so important to have autistic characters on TV?
“Correct and truthful representation is genuinely world-changing. Young people see themselves in movies, TV, podcasts and books, and they realise that if that person exists, then perhaps they are allowed to as well. If I had seen one person with a disability, one autistic person in media growing up, it would have changed my entire perception of myself. Correct representation means we can start erasing those ‘but you’re nothing like Rain Man!’ stigmas.”
You have boundless energy when it comes to disability rights. What motivates you?
“I grew up hearing that I’d never amount to much, that I needed to learn to conform, which, quite frankly, is wrong. I’ve travelled the world as a professional cowgirl, as a motivational speaker, as an author. I’ve created my dream career (nominated for a Logie? What the holy guacamole?!), I’ve bought my dream house and I’m getting married. I’ve created a fairytale life, not in spite of being di erent, but because of it.”
Look at Richard Parker today and you’d never guess the cosmetic chemist once struggled with skin conditions. His complexion is flawless and radiant – a combination his brand refers to as the ‘Rationale glow’ – but that was not always the case. As a teen, Parker had a pigmentation issue resulting from sun damage and, in his 20s, he also dealt with acne. Knowing the frustration that comes with skin problems, he set out to create products that would combine insights from cosmetic science with dermal research. He studied cosmetic chemistry in the UK and became fascinated by the relationship between skin genetics and epigenetic influences (factors such as sun exposure that influence the way a person’s genes work).
“Thirty years ago, I discovered that 80 per cent of facial ageing is caused by the sun,” Parker recounts. “Now, that’s mainstream scientific medical fact, but back then, it was revolutionary.” In 1992, after working for several years with a research team of dermatologists, he began to see that sun damage was preventable –and also reversible. And so began Rationale, a range of formulations that treat the skin using antioxidants, vitamins, minerals, proteins and lipids that naturally occur in the body. Once exclusive to dermatologists and plastic surgeons, Rationale is now sold around the world, acknowledged as a global authority in solar protection and solar repair skincare. “My proudest achievements are discovering and raising awareness that so much of facial ageing is caused by the sun, followed by our zinc fusion superfluid technology, which took over 30 years to develop but created an entirely new natural perspective on sun protection,” he says.
Factor these steps into your routine to help prevent and reverse sun damage, no matter your skin type:
1. Immune protection
2. Antioxidant protection
3. Solar protection
4. Barrier repair
5. PH repair
6. DNA repair
Success didn’t come overnight for Amy Shark, who cycled through several stage names and spent years singing covers at venues on the Gold Coast before fi nally getting her big break at age 30. Shark was working as a video editor for the Gold Coast Titans when her 2016 single ‘Adore’ was picked up by Triple J. Months later, the track came in at No.2 in the station’s annual Hottest 100 competition. Then, in 2018, her debut album, Love Monster, won Album of the Year at the ARIA Awards. “That’s one of my proudest achievements,” she says. “As a solo female pop artist, I’m really proud of that body of work and how my manager and I handled all the pressures that came with such a massive life change. It was a very big time of my life and I feel like we grabbed it with both hands and really went for it.”
Since then, Shark has made a name for herself on the world stage. Her most recent album, 2021’s Cry Forever, features collaborations with Ed Sheeran, Keith Urban and Travis Barker. Her vision for the future is simple: to keep writing good music. “Writing a good song is like a drug to me,” she says. “I’ve been lucky enough to have a few songs do really well, so that feeling keeps me motivated to write and create, because I never know when that lightning is going to strike while I’m playing guitar. What also inspires me is watching people do things they love and seeing them stick to their guns and succeed.”
Having been diagnosed with an aggressive cancer at age 21, Parr, a proud Wiradjuri man, grew tired of being told what his body could and couldn’t do, so he took matters into his own hands: six months after the amputation, he competed in his first triathlon (and has been in remission ever since). “When I acquired my disability,” Parr recalls, “the thing that was the hardest wasn’t the disability, it was identifying myself as someone with a disability because there’s such shame and sadness and negativity attached to that. I had to unlearn all of it myself.”
There’s no doubt that his journey has given Parr extraordinary maturity and self-awareness, but one gets the sense he’s also a kind, sensitive soul – someone with incredible intuition who has learnt to listen to his gut feeling. At age eight, the night before his mother passed away from a battle with cancer, Parr woke up and ventured to her room, sensing something was about to change. At 20, after nearly a year of unbearable pain from a tumour that had been misdiagnosed as an osteoid osteoma, he was admitted to a private hospital for treatment – and by the time the additional test results came back, he had already googled prosthetics. “I just felt stuck, like I wasn’t in the right place,” says Parr, explaining his gut feeling. “So when I was finally diagnosed, it felt like it was meant to happen.”
Today, in addition to training (he hopes to qualify for the Paralympic Games), Parr has become a familiar face on the runways, walking for the likes of Erik Yvon and Xi Wu Studio. He was also recently appointed an ambassador for Calvin Klein underwear, a role that brings up an anecdote in which he realised, walking home with a date, that he hadn’t yet mentioned his prosthetic. “It didn’t change things,” he laughs.
While that relationship didn’t last, it was his date’s attitude that perhaps best sums up his vision: increased, more authentic representation that dismantles stigmas around disability. “I want to be able to walk into a room and not feel like anyone cares or that there’s an elephant in the room. I want disability to be normalised.”
A BELOW-THE-KNEE AMPUTATION NOT ONLY SAVED JAMES PARR’S LIFE, IT WAS THE MOTIVATION HE NEEDED TO COMPETE IN HIS FIRST TRIATHLON.COMMAS shirt, $695. ACADEMY BRAND shorts, $59.95. COMMON PROJECTS sneakers, $690.
Originally a florist, Dutch-born Bakker launched his own business in the 1990s and, in the years since, has applied his knowledge of horticulture far beyond just plants. He has operated the world’s fi rst zero-waste eatery, Silo; built a self-sustaining, food-producing, no-waste home in Melbourne’s Federation Square; been the subject of a documentary, Greenhouse by Joost ; and created a living, breathing ecosystem and installation for the 2022 Spring Flower Show at David Jones’ Bourke Street store. “I’m a practical person and I’m very observant,” says Bakker of his ability to envision a brighter, less wasteful future. “It’s so inspiring to me to try to visualise what the future can be. When an idea becomes mainstream and is taken up as part of the culture, it’s really, really exciting.”
What is your vision for the future?
“I believe that if we don’t embrace zero waste, we’re doomed. It’s that simple. In the past 100 years, our system has utilised a linear approach: we use and don’t think about the end of life. And our food is no longer nourishing us – we’ve got an epidemic of malnourishment and it’s showing through degenerative diseases, and it’s simply because we aren’t returning back to our soils and our nutrients. In the future, all our homes and living systems will be more than just shelter; they can be food systems and productive habitats for wildlife. I don’t think many people have thought about the potential of our homes, and that’s why I believe in physical examples of ideas. When you actually build something and let people interact with it, it’s so powerful.”
How do you stay focused on this vision?
“Naysayers are an occupational hazard of the innovator. I’ve been threatened to be put in jail; I’ve been fi ned tens of thousands of dollars. The fields that I’m in are food and building systems, and they are some of the oldest occupations on earth, which means they are some of the most heavily regulated. You just need to be unbelievably persistent and believe that, ultimately, those ideas will be realised.”
DESCRIBED BY THE NEW YORK TIMES AS “THE POSTER BOY FOR ZERO-WASTE LIVING”, JOOST BAKKER’S FIRST MEDIA STUNT CAME ABOUT IN 2018, WHEN THE ACTIVIST HIT MELBOURNE’S HOSIER LANE AT 4AM TO INSTALL 35,000 TULIPS FROM HIS BROTHER’S FARM – FLOWERS THAT WERE DESTINED FOR THE BIN – TO RALLY SUPPORT FOR LOCAL GROWERS.Additional photography: Mark Fergus, Yarra Magazine
For those experiencing homelessness, seeing a GP can be fraught with challenges. For some, the problem is a lack of ID or transport; for others, it’s the stigma they face. Enter Dr Daniel Nour, a full-time medic at Sydney’s Royal North Shore Hospital, who spends his spare time in a van, delivering free healthcare to those who need it most.
Supported by 250 volunteers, including doctors, nurses and allied health professionals, Dr Nour’s mobile medical service, Street Side Medics, is now in its fourth year of operation, has clinics throughout Sydney and in Wollongong, and will launch in Melbourne later this year. The idea was born when Dr Nour, who was studying in London, happened upon a homeless man having a seizure. After assisting, he learnt that the man had been having seizures for months without receiving medical care. Dr Nour returned to Australia and, within one year, Street Side Medics was up and running, supported by corporate donations and Dr Nour’s own funds.
“My vision is to provide healthcare to vulnerable people – that they deserve better. But it’s a vision that’s not just mine; I only recognised that people experiencing homelessness didn’t have that. So my vision is the vision of every doctor: that people deserve equal, outstanding access to healthcare, and the end goal is that we are everywhere we need to be.”
“I would say, dream big. Be overly ambitious. One thing we lose as adults is our naivety and our curiosity – we’re met with bureaucracy, challenges and roadblocks, so we end up conforming. I would also say keep the people around who push you along and use the Negative Nancies as fuel. No one would have thought I would become a doctor – I was a cheeky kid, I got kicked out of school – but that fuelled me. Dream big and aim for the stars.”
TARYN BRUMFITT, A PHOTOGRAPHER AND MOTHER OF FOUR, MADE HEADLINES IN 2013 WHEN SHE GAVE UP TRYING TO SUSTAIN AN UNSUSTAINABLE BODY. SHE’D POSTED A 'BEFORE AND AFTER' ON FACEBOOK – BUT A NON-TRADITIONAL ONE: THE 'BEFORE' TAKEN AT A BODY-BUILDING CONTEST, FOLLOWING THE BIRTH OF HER THIRD CHILD; THE 'AFTER' A NUDE SHOT, SHOWING A HAPPY, CURVY BRUMFITT. THE POST WENT VIRAL.
In the decade since, Brumfitt has gone global with her message, thanks to her organisations the Body Image Movement and The Embrace Collective. She’s also written four books and directed two documentaries on the issue. The first, Embrace, became the subject of a research study spearheaded by associate professor Zali Yager, Dr Ivanka Prichard and Dr Laura Hart – they found that of the women in the study who had seen the feature-length film, a large proportion (44 per cent) felt they had higher levels of body appreciation and body confidence, engaged less in dieting (19.6 per cent) and reported lowered disordered eating (2.8 per cent). They also reported significantly lower levels of internalisation of body ideals, self-objectification and body shame than women who had not seen the film. “Science is everything,” says Brumfitt, on how it felt to have her documentary validated by this research. “People are losing their lives when it comes to eating disorders and everything related to body image,” she continues. “We can’t just go on our feelings or fly blind on these issues – they’re too important and are destroying people’s lives.”
In a nod to just how crucial the topic is, Brumfitt’s organisation The Embrace Collective recently secured $6.2 million in government funding to spread her message to young people. “When we talk about our youth, 77 per cent of Aussie kids are in body image distress, and adolescents who experience body image distress are 24 times more likely to have or develop depression,” explains Brumfitt, who was named 2023 Australian of the Year. Her goal this year is to reach one million Australian kids through nine di erent Embrace Collective initiatives, which reach them where they live, learn and play. “We are here to change the world. This is a pretty good start for us to do that.”
LA-based jeweller Spinelli Kilcollin is renowned for its intricate linked rings and chic layering pieces. Founded by Yves Spinelli and his wife Dwyer Kilcollin in 2010 and now launching at David Jones, the brand’s tradition of handcrafted pieces that feel timeless yet contemporary continues: the same artisans who created the label’s fi rst pieces are behind the collections today.
continues: pieces choose,
Anyone well-versed in the world of silver and sequins will know Paco Rabanne, the brilliant Spanish designer who introduced chainmail and metal paillettes to our party-wear vocabulary. Although the designer passed away earlier this year, his legacy lives on, with creative director Julien Dossena continuing to create extravagant, unforgettable styles for Rabanne’s ready-to-wear and accessories lines, coming soon to David Jones. Whichever look you choose, fi nish with a spritz of Fame, Rabanne’s irresistible scent that’s an ode to the chic Parisienne.
WORDS JESS LARMERBARALLON & REBECCA TAY
In good news for wardrobes everywhere, David Jones now stocks Bassike’s range of premium denim. Each garment is handmade in Japan, which is renowned for its exceptional denim construction. Expect a mix of timeless cuts in classic washes combined with more fashionforward silhouettes – the perfect pieces to see you through spring and beyond.
Rabanne
To some, she’ll always be a Spice Girl, but for an increasing number, Victoria Beckham is the face and name behind a chic fashion label that’s equal parts classic and covetable. Founded in 2008, the brand is known for its e ortlessly refi ned tailoring, fluid dresses and pieces that somehow both defy and define trends. Versatile and elegant, with flawless cuts and fits, each collection includes the ultimate building blocks of the modern capsule wardrobe: transitional pieces to take you stylishly from the school run to the
you o ce to cocktail hour.
Future-focused innovation meets stylish essentials at Pangaia, which calls itself a ‘materials science company’ that exists ‘at the intersection of science, purpose and design’ – not a bad mission, if you ask us. Founded in London in 2018, the brand is known for its colourful yet minimalist loungewear, but it’s the textiles used that make Pangaia truly worth talking about. (It’s the reason they pronounce the materiality of each piece in a short paragraph of black text on their garments.) From bio-based alternatives to animal down, crafted using a combination of wildflowers, biopolymer and aerogel, to denim made using wild Himalayan nettle and organic cotton, the brand continues to disrupt the materials innovation space.
Think Hamilton is just the name of an award-winning musical? Think again. It’s also a Swatch Group-owned watch brand that was founded in Pennsylvania in 1892 and has had cameos in more than 500 movies, including Indiana Jones and the Dial of Destiny. A new addition to the David Jones stable, styles include classics (look to the Khaki Field Mechanical watch) and more unique erings (the Ventura Quartz is one-of-a-kind).
Sculptural bags, luxe footwear and bespoke leather goods are at the top of our summer wish lists, and the designer o erings from By Far, A-ESQUE, Ganni and Gianvito Rossi are leading the charge. While each brand has di erent origins – A-ESQUE was founded in Melbourne; By Far was developed between London, Sydney and Sofia, Bulgaria; Ganni calls Copenhagen home; and footwear favourite Gianvito Rossi hails from Italy – each is making a strong case for versatile, everyday designs.
Aje’s resort 2024 collection, Element, is a stunning showcase of the brand’s signature feminine appeal – and a beautiful way to mark its 15th anniversary. Created by best friends Edwina Forest and Adrian Norris, the collection mixes floating silhouettes and a cascade of vibrant colour with e ortlessly cool denim pieces, meaning all bases are covered for your summer wardrobe.
Camilla and Marc, founded by brother-sister duo Camilla FreemanTopper and Marc Freeman, has been bringing impeccable tailoring, modern silhouettes and bold, well-made simplicity – our very own take on quiet luxury, if you will – to the fore for 20 years. Here’s to two decades... and counting.
Ganni
Beloved Australian label Anna Quan celebrates 10 years of minimalist design and wearable wardrobe staples this year. “Conversations about longevity, re-wearing, investment dressing and sustainability were not part of the discourse when we fi rst started in 2013, but I was committed to creating everyday clothes that weren’t as readily available in the market back then,” reflects designer Anna Hoang, who named her label for her fi rst and middle names. “I am grateful to have come this far with so much more still ahead.”
Summer is calling, and Bondi-born swimwear label It’s Now Cool has answered, landing at David Jones with a collection of bikinis and one-pieces that draw on the label’s trademark tongue-in-cheek, bold motifs. Inspired by the sun-soaked ’90s and founder Josephine Clough’s global experience as a swimwear photographer, each piece is an ode to female empowerment – and a whole lot of fun.
Whether you’re a sneaker freak or like your jeans with a side of sportswear, the menswear floor at David Jones now includes the latest launches from P.E Nation, Reebok, BOSS Green and performance running shoe brand Hoka. We’ve got our eye on the Reebok Classics range, a collection of timeless pieces that capture the brand’s distinctive vintage look, while P.E Nation and BOSS Green’s new collections are the perfect way to incorporate athleisure into your wardrobe.
Founded in 2016 by sisters Rosanna and Christie Wollenberg, London-based fi ne and demi-fi ne jewellery brand Otiumberg has partnered with stylish labels ranging from Alex Eagle to Camilla and Marc, and the brand’s collections are now launching at David Jones. Its most popular pieces include classic name bracelets, cool huggie hoops and delicate rings, all at a price point that’s moderate, not exorbitant.
While the reign of the Roy family has come to an end, the fashion of Succession proved once again that money speaks louder than words, logos and ludicrously capacious bags. Quiet luxury favours simple tailoring, tactile textures and a muted colour palette – we’re talking whisper-thin knits, pared-back resortwear, straight-leg denim and simple column dresses. Styled with a classic bag and loafers, this trend is understated but unforgettable.
simple is
“LUXURY IS THE EASE OF A T-SHIRT IN A VERY EXPENSIVE
– Karl LagerfeldLOEWE bag, $2250. HAMILTON watch, $1200. MISHA shirt, $195. VERSACE jeans, $1085.
CARGO PANTS ARE BIG NEWS. TAKE THE EDGE OFF THE MILITARY LOOK WITH SOFT FABRICS AND A FLASH OF SKIN.
“THE BAGGY TREND ISN’T GOING ANYWHERE – AND PARACHUTE PANTS ARE THE PINNACLE.” – Bridget Veals, General Manager of Womenswear, David Jones
ENA PELLY pants*, $249.
COMMONRY shirt, $139.95.
GANNI sandals,
A-ESQUE bag, $600.
J.W. Anderson
MILITARY AND $159. $699. *Coming soon.
GUCCI sunglasses, $780.
FOR THE NEW TAKE ON NAUTICAL, SKIP THE SAILING MOTIFS AND FOCUS ON A PALETTE OF SKY BLUE, FRENCH NAVY AND CRISP WHITE.
EMPORIO ARMANI loafers, $470.
SCOTCH & SODA pants, $259.95.
POLO RALPH LAUREN shirt*, $279.
After-hours attire is making a fashionable appearance outside the bedroom – think sheer panels, fine mesh and corseted silhouettes, as well as bralettes and high-waisted briefs for those who dare. For a more demure take, a simple rose adornment or flirty scent will do the trick.
This season, traditional suiting and streetwear are remixed with high-impact colour. To make it wearable, start with white, black and denim basics, then add hits of lilac, orange and butter yellow.CROCS clogs, POLO RALPH LAUREN pants*, $359. COUNTRY ROAD polo shirt*, $140. POLO RALPH LAUREN shirt*, $189. POLO RALPH LAUREN shirt*, $209. Jil Sander
DO AWAY WITH THE RULEBOOK: UNTUCK THAT SHIRT AND EMBRACE UNFUSSY, LIVED-IN SUITING.
In the daily debate between flats and heels, the latest buys don’t compromise on comfort or style. With delicate bows and buckles, ballet flats add old-school charm, while block-heel sandals and glitzy mules are an e ortless finishing touch for cocktail hour.
HUGO BOSS suit, $1399, and shirt, $279. DOLCE & GABBANA sneakers, $1150.
SELF-PORTRAIT dress, $779. GEORG JENSEN earring, $315. SPINELLI KILCOLLIN ring, $750. ALTEA blazer, $899, pants, $449, and shirt, $329.
BALMAIN jumper, $1720. J.W. ANDERSON jeans, $809.95. JUUN.J T-shirt, $309.95.
BEAUTY NOTE: Bring a futuristic feel to your make-up with a surprisingly wearable silver eyeshadow. Try: Sisley Les PhytoOmbres in Glow Silver, $72.
MATICEVSKI top, $995, and skirt, $2700. GUCCI mules, $2,135. KIRSTIN ASH earrings, $98. NAJO ring (right hand), $149. GEORG JENSEN ring, $265.
BEC + BRIDGE dress, $380. NAJO earrings, $119.
CALIBRE top, $259, and pants, $299. VEJA sneakers, $240.
HAIR Rory Rice at M.A.P
MAKE-UP Isabella Schimid at Assembly Agency; Molly Warkentin at AP–Reps
MODELS Kate Bell at Scoop Management; Hanan Ibrahim at IMG; Nathan McGuire at IMG
David Jones is proud to o er BeautyCycle, a specialised program that recycles the beauty packaging that can’t be put into your kerbside recycling bin. Between May 2021 and March 2022, more than 56,000 units were collected from our stores across Australia. To find your nearest BeautyCycle drop-o location, head to davidjones.com/beauty-cycle.
September
Join David Jones to help those with cancer feel more like themselves. The Look Good Feel Better initiative teaches beauty techniques to assist with the appearancerelated side e ects of cancer treatment. $1 from every lipstick and lip gloss sold online or instore at David Jones in September will go towards this program.
Trying to envision a perfect gift for that special someone? Check out the brand new David Jones Styling Experience Gift Card. Available at selected stores, these gift cards feature a QR code that allows the recipient to make an appointment with the stylist of their choice at one of David Jones’ luxury instore suites. Each one-hour session is complimentary, and the value of the gift card can be put towards any purchases made.
IN ALL THEIR FORMS WITH ITS ICONIC SPRING FLOWER SHOW, AN INNOVATIVE RECYCLING PROGRAM AND A CLEVER NEW WAY TO GIVE THE PERFECT GIFT.
davidjones.com
October
In support of the National Breast Cancer Foundation (NBCF), $1 from the sale of selected bras this October will be donated to the foundation. Since 2001, David Jones has proudly donated more than $6 million to the NBCF and will be celebrating 30 years of the partnership next year.
6-17 September
For this year’s David Jones Spring Flower Show, the work of bold new talents (the Colourblind Florist, Acid.Flwrs and Bess) will appear alongside established names in a vibrant display dedicated to visionaries of all kinds. George Low of Seed Flora will return for his 34th year, having created instore installations and window displays since the show’s early days in the 1980s. Held annually at the Elizabeth Street store, it’s a spectacle like no other.
Your StylingExperience Awaits
AS DAVID JONES TURNS 185, ONE OF ITS ORIGINAL AMBASSADORS, SUPERMODEL
HUTTON, REFLECTS ON BEAUTY, MILLION-DOLLAR CONTRACTS AND KNOWING YOUR WORTH.
It’s not every day that you meet a name like Lauren Hutton. Because that’s what she is: a name. A big name. Massive. Someone whose moniker arrives days, weeks and, in the case of JONES, months before she’s stepped into the room. Months of fi ngers crossed (full disclosure: the JONES o ce even created a ‘Lauren Hutton vision board’, hoping a print-out of her golden curls and gap-toothed grin would align the stars to bring her to our shores). Months of schedules checked, flights confi rmed, fittings booked.
And then, in she walks. She’s wearing a vintage red baseball cap – a signature, according to the dozens of articles I read before we meet – and box-fresh white canvas sneakers, a navy sweater tied over her shoulders. She is just so cool.
So cool, in fact, that she and Morthyn, her assistant of six years, think it’s amusing that some of her interviews for media and magazines get censored. (They confi rm that she never says anything inappropriate.) So cool that she knows exactly what she wants to wear (button-down shirts, floor-length skirts, a pop of colour here and there) and what she doesn’t (earrings – after all, her ears aren’t pierced –and a blazer so oversized the shoulder pads nearly reach her elbows). And so cool that the minute she’s in front of the camera, she’s on: flashing those teeth, working her collar, swaying in time to a soundtrack of bangers by Aretha Franklin, Frank Sinatra and the Spice Girls.
Maybe it’s the three espressos she’s had, but by the time we sit down for a chat, Hutton is candidly doling out sage advice, tales of her travels and juicy anecdotes. Timelines are a blur – but you quickly realise that doesn’t matter. What does matter? She’s nearly 80 years old and has been modelling since the 1960s. You do the math. Or forget the math: when she mentions people like Dick (Richard) Avedon, Veruschka, Twiggy and Jean Shrimpton, just sit back and listen. Keeping up with dates just interferes with getting your head around much more interesting things, like the fact that she partied with Andy Warhol and was a regular at Studio 54.
BIANCA SPENDER jacket, $595, and skirt, $395. KHAITE heels, $1499. CAMILLA sunglasses, $350.
“I’M HERE BECAUSE IT’S THE 185TH YEAR OF DAVID JONES, AND THAT’S A PHENOMENON... AN 80-YEAROLD MODEL: THAT’S ANOTHER PHENOMENON”
Co ee or tea? ESPRESSO.
What are the three things you never leave home without?
PHONE, KEYS, MONEY... WALLET!
When do you feel most beautiful? IN BED WITH MY SWEETHEART.
Morning bird or night owl? A LITTLE OF BOTH.
Favourite vacation spot?
110 FEET UNDER IN THE SOUTH SEAS – THERE ARE THESE BANDED SEA SNAKES AND YOU CAN GET THEM TOGETHER AND THEY DON’T POISON YOU. I ALSO LIKE THE BUSH IN TANZANIA.
How do you switch o ? I GET INTO BED WITH MY LOVER.
What did you want to be when you were a kid? FREE.
If you hadn’t become a model, what would you have done? AN -OLOGY, LIKE ARCHAEOLOGY.
What books are on your bedside table right now? Favourite author?
MY FAVOURITE AUTHOR IS CORMAC MCCARTHY. I’VE BEEN AWAKE SINCE 4 THIS MORNING SO I CAN’T REMEMBER EVERYBODY, BUT I HAVE 4000 BOOKS AT HOME. Go-to karaoke song?
I DON’T THINK I’VE EVER DONE IT – NOT ONCE.
Favourite hangout in LA? MY BED.
Born in South Carolina and raised in Florida – “the swamp”, she calls it – Hutton moved to New York in the 1960s, becoming a model to make money to travel the world. Africa is a favourite destination; Sumatra, New Guinea, Finland and the Solomon Islands also come up in our conversation. “It’s a big, good world out there,” she says excitedly. “I was in Afghanistan once for three days, but there are six other -stans that I want to visit.”
For Hutton, modelling has always been a way to fund her true passion – travel – but as she approached her 30s, she realised that her career had an expiry date. “I saw a story on the front page of The New York Times, about a baseball guy called Catfish Hunter, who wouldn’t play without a contract for a million dollars,” she recalls. In fact, Hunter made history for being baseball’s first free agent, starting a bidding war before finally signing a five-year contract with the New York Yankees that made him the highest-paid player at the time. Hutton continues: “I started reading because of the word ‘catfish’, which I used to fish back in the swamp, but I continued reading because Catfish Hunter said he was in a youth-oriented business, and I thought to myself, ‘I’m the only 30-year-old model out there now’ – Twiggy, Veruschka, all the big stars were doing other things. So I thought, I need a contract.”
The year was 1973, and Hutton made history, signing a US$250,000 cosmetics contract with Revlon, the first of its kind. It’s the deal that cemented her as a visionary. “I’m proud to be described as an inspiration or a visionary,” she says slowly, before continuing: “I was a visionary to go back to modelling at 47 –to stop making four or five really bad movies a year.” Hutton had starred in a number of box-o ce releases, including American Gigolo opposite Richard Gere, before realising she couldn’t even stand watching her own films. It’s just as well she went back to modelling: she now holds the record for the highest number of US Vogue covers (27), plus 13 more worldwide.
Along the way, she landed a role as an ambassador for David Jones. In a 1998 TV commercial for the retailer, she even sang the iconic jingle, “There’s no other store like David Jones” – and she happily does it again on our cover shoot, giving a handful of renditions before the crew can’t help but break out in a cheer. “I’m here because it’s the 185th year of David Jones, and that’s a phenomenon,” she continues to hum quietly. “An 80-year-old model: that’s another phenomenon.”
There’s no denying Hutton is a phenomenon. She’s magnetic. And it’s not just that glint in her eye, her o -the-cu comments, the way she links her arm in yours as you walk o set or even the fact that everything she tries on hangs perfectly on her frame. It’s something else entirely – something that she herself describes best.
“I think beauty is around us all the time, just like ugly,” she says.
“You’ve got to figure out what you’re going to wear – what you’re going to wear in your mind, wear for the day or for the time –whether you’re going to be happy or unhappy. That’s beauty.”
BEAUTY NOTE:
Give lips a sheer dose of colour with a tinted balm.
Try: CLINIQUE
Almost Lipstick in Black Honey, $46.
ANINE BING coat, $1290. SPINELLI KILCOLLIN ring, $12,500.
REFRESH ON YOUR BEAUTY REGIMEN WITH THESE MUST-TRY SKIN, MAKE-UP AND HAIR TRENDS.
Matte pigments give this lipstick a light-as-air feeling and full coverage in a single swipe.
Tom Ford’s new liquid lipstick smooths onto lips with pigmented, transfer-resistant colour and moisturising black rose extract.
4. TOM FORD Liquid Lip Luxe Matte in Scarlet Rouge, $91. This brick-red lipstick boasts 90 per cent natural-origin ingredients as well as 24-hour hydration.
5. DIOR Addict in Dior 8, $66. This water-weight stain lasts just as long as its high-impact counterparts, but with an understated, bitten e ect that’s perfect for everyday wear.
6.
A true red that’s creamy to wear, matte on the lips and unapologetically iconic.
High-shine, dazzling colour that conditions the lips (and imparts a delicious mango scent).
With a range of shades to suit various skin tones,
Featuring microspheres of hyaluronic acid, this skincare-spiked lipstick hydrates,
CHERRY LIPS ARE HEATING UP.CLARINS Lip Water Stain in Red Water, $43. 7. M.A.C Retro Matte Lipstick in Ruby Woo, $37.
A wide-tooth comb will break up (and amp up) natural or heat-styled curls.
This shine-boosting cream brings back moisture to delicate curls and keeps frizz and flyaways in check.
With a few pumps of this passionfruit, shea and moringa oil, Sisley creates an ultra-glossy, almost-wet look with a lightweight fi nish.
With silk proteins and a summery scent, a spritz of this conditioning hair perfume will create shiny, head-turning hair.
Twist this superfoodpowered gel through waves for added moisture, flexible hold and natural bounce.
This beloved texture spray gives curls wind-blown volume and lasting hold.
A game-changing defi ning cream that calls on avocado and jojoba oils and mango butter to unlock natural, dreamy curls and fend o frizz-inducing humidity.
A TUMBLE OF FULL, FLIRTATIOUS WAVES DIALS UP THE ROMANCE.5. BALMAIN PARIS Hair Couture Silk Perfume, $70. 6. ORIBE Dry Texturizing Spray, $75.
For beautifully defined curls, apply styling products to wet hair.
HAIR RITUEL BY SISLEY Precious Hair Care Oil, $145. DE LA VALI dress, $719. KIRSTIN ASH earrings, $169.
Glossy lips are back –and more nourishing and pigmented than ever before.
BOBBI BROWN Crushed Creamy Color for Cheeks & Lips in Pink Punch, $58. MIMCO earrings, $89.95.
HAIR Darren Summors at AP–Reps MAKE-UP Linda Je eryes at Artist Group MODEL Ling at IMG
A plumping tinted gloss that delivers shine without the stickiness.
Intensely pigmented, it glides on smoothly and lasts all day.
5. MAKE UP FOR EVER Aqua Resist Smoky Shadow in Quartz, $37.
Impart a dewy, pinky hue on the go with this potent little tube of colour.
6. BOBBI BROWN Crushed Creamy Color for Cheeks & Lips in Pink Punch, $58.
A dose of shimmery pink-gold eyeshadow helps to highlight and defi ne the eyes –no brush required.
7. BOBBI BROWN LongWear Cream Shadow Stick in Incandescent, $57.
Don’t be intimidated by
WORDS ALEX DUFFY
Chanel’s new Le Lift Pro collection takes anti-ageing skincare to new heights. Powered by melipona enzymatic honey – sourced from the surplus honey of melipona bees in Costa Rica – the concentrate and cream target the ‘youth triangle’, from the tops of the cheekbones to the chin, where signs of ageing are most pronounced. By focusing on the areas of the face prone to volume loss and creping, the formulas plump deeper wrinkles and smooth the complexion. Finished with the sculpting chrome tool, the three-step regimen lifts the skin, defi nes facial features and optimises skincare absorption for next-level results.
If a spritz of dry shampoo is the only attention your itchy, oily or flake-prone scalp is getting, give it some added TLC in three streamlined steps:
This cult-favourite scrub lathers up to exfoliate product build-up for fresh, voluminous hair.
CHRISTOPHE ROBIN
Cleansing Purifying Scrub with Sea Salt, $71
When you’re fresh out of the shower, reach for this rebalancing product to soothe an itchy scalp and care for hair as it grows.
HAIR RITUEL BY SISLEY Soothing
Rebalancing Cure, $165.
Between washes, Aveda’s dry shampoo alternative will help to soak up excess oil to refresh and add volume with a light, invisible finish.
AVEDA Scalp Solutions
Refreshing Protective Mist, $80.
FROM STATE-OFTHE-ART SKINCARE TO TIMELESS HAIR AND A NATURAL GLOW, STAY AHEAD OF THE CURVE WITH THESE EMERGING TRENDS AND NEXT-GEN INNOVATIONS.From top: CHANEL Le Lift Pro Accessoire de Massage, $105, Concentré Contours 30ml, $265, and Crème Volume, $265.
Go into the night with the ultimate skincare multi-tasker: a night cream. While each of these formulas deliver the targeted actives and visible results of a serum, they’re also boosted with hydrators like hyaluronic acid, niacinamide and squalane, so you can wake up to refreshed skin after just one easy step.
step.
Kickstart skin’s overnight regeneration with DNA repair enzymes and retinoids.
RATIONALE #6 The Night Crème, $206.
This nutrient-rich, PITERA-powered cream revitalises lacklustre skin.
SK-II Skinpower Advanced Cream 80ml, $289.
An all-in-one for signs of ageing, with more than 300 peptides working to plump, firm and brighten the complexion.
LANCÔME Rénergie H.P.N.
300-Peptide Cream, $178.
There are three things this summer’s mane muses have in common: a great cut, high-shine hair and Larry King. The celebrity stylist is behind a host of must-try looks, including Karlie Kloss’ glossy chocolate waves and Gigi Hadid’s creamy blonde. “My philosophy is to create great hair that lasts,” says King. “Healthy and bouncy hair never goes out of fashion.” Here, he shares the trends to try and the haircare to enlist this season.
“I’ve always been an ambassador of embracing natural texture,” says King. “Your hair will always look its best if you embrace its natural texture and keep it super healthy.” He recommends carefully applied colour, regular trims and minimising the use of hot tools. If you’re blessed with a head of waves or ringlets, King counts ’90s curl crushes like Julia Roberts and Mariah Carey as his summer hair inspiration. “I’m loving longer curls that are flipped forward and have movement,” he says. To get the best out of your curls, his advice is to put as much care into washing them as you would your favourite silk shirt: “Wash carefully in the best possible sulphate-free shampoo, and gently condition so you don’t disrupt the natural curl pattern.” Out of the shower, King applies his Nourishing Curl Enhancer to defi ne and soften tendrils.
For the brave, King suggests a Haircut with a capital H. From Mick Jagger’s ’70s bob to Winona Ryder’s super-short ’90s crop or Paris Hilton’s noughties mullet with ‘flicky’ ends, King says these short styles are soft, messy and totally unexpected.
King says summer can wreak havoc with our hair. “The sun, sea and pool are your hair’s worst enemies – they mess with your colour and strip out hair’s natural oils.” He suggests popping on a swimming cap before entering the water, and using a nourishing hair mask and leave-in cream to replenish dry hair.
“Mousse got a bad rep in the ’80s and ’90s because the formulations weren’t great,” says King. While old-school mousse was sticky and crunchy, King’s own My Nanna’s Mousse plumps and adds shine with a weightless feel. “A mousse acts as a foundation for your style, giving it structure and softness. Without one, you won’t get the longevity or maximum amount of volume you’re looking for.” This season, King suggests putting mousse to the test with an undone blow-dry. “I love creating a centre part and soft waves around the face,” he says. Start by priming hair with his shine-boosting mousse, then blow-dry any haphazard bends to achieve natural body and movement. Finish with his Flyaway Kit’s satin fi nishing cream and smoothing tool to keep hair looking polished. “The cream is light and won’t weigh down your style,” says King.
From left: LARRY KING Liquid Hairbrush Conditioner, $76, Good Life Shampoo, $72, Nourishing Curl Enhancer, $47, and My Nanna’s Mousse, $35.
“I don’t like to put too much on my skin in summer. In the humidity, skin sweats a lot, lets go of more sebum and catches dirt, so it’s a good time to leave the skin alone,” says Violette, who sometimes opts for just a sweep of Guerlain’s Terracotta Bronzing Powder in summer.
“You want to make sure your skin is moisturised and hydrated – but not too greasy – before you apply foundation,” says Violette. Start your routine with a day cream, then try Guerlain’s new Terracotta Le Teint. “The foundation combines the benefits of the Terracotta powder, which subtly evens out the complexion, with the illuminating, imperfection-blurring and long-lasting wear of a foundation. It gives you smooth skin and a radiant complexion.”
Stress can zap skin of its clarity and strength, leaving you with a damaged skin barrier, sensitivity and breakouts. If this sounds familiar, try treating it from the inside out. Vida Glow’s new Women’s Health De-Stress o ers a daily dose of support. The supplement has been shown to help reduce mild anxiety by 39 per cent in six weeks and stress-related tension by 59 per cent in 12 weeks. Then look to skincare with anti-inflammatory antioxidants and adaptogens to help skin adapt to stress. In Sisley’s new Ecological Compound Advanced Formula, adaptogenic ginseng and anti-inflammatory burdock extract combine to hydrate and restore optimal skin function. The result: a clearer state of mind and a clearer complexion.
BEHIND HER
When it comes to make-up application, Violette takes a hands-on approach.“I like using my hands because you have a natural softness and warmth, which helps the foundation melt into the skin,” she says.
“I love the KissKiss Bee Glow tinted lip balm for summer. It’s so moisturising, brings a pop of colour to make you look fresh and luminous, and it’s easy to put on. I wear it with the Terracotta bronzer, a little bit of highlighter and mascara. It’s my go-to make-up look when it’s hot.” A classic swipe of red lipstick never goes astray either. “I feel confident when wearing red lipstick,” adds Violette.
SPF isn’t one size fits all. That’s why Ultra Violette’s range of skincare-inspired sunscreens – a ectionately named ‘Skinscreens’
– is a godsend. From the make-up-priming SPF serum to a refreshing gel for breakout-prone complexions, there’s a formula to suit everyone. So there’s no reason to dislike sunscreen – or to forget topping it up with the new reapplication mist, which makes it easy to spritz and go throughout the day.
ULTRA VIOLETTE
Queen Screen SPF 50+ Lightweight
Preen Screen SPF
Skinscreen, $47, and
50 Reapplication Mist, $42.
THE MODERN FRENCH BEAUTY ICON – AND GUERLAIN’S CREATIVE DIRECTOR OF MAKE-UP –SHARES THE PRINCIPLES BEHIND HER EFFORTLESS BEAUTY LOOK.From left: VIDA GLOW Women’s Health De-Stress, $50. SISLEY Ecological Compound Advanced Formula 60ml, $210.
Home fragrance winner: JO MALONE English Pear & Freesia Home Candle.
Complexion winner: GIORGIO ARMANI
Luminous Silk Foundation.
SPF winner: ULTRA VIOLETTE
Queen Screen SPF 50+
Lightweight Skinscreen.
Hair winner: DYSON Corrale
Cordless Hair Straightener.
Niche fragrance winner: PARFUMS DE MARLY
Valaya Eau de Parfum.
Serum winner: LANCÔME
Absolue The Serum.
MAKE-UP, SKINCARE, FRAGRANCE, HAIR AND WELLNESS, AS VOTED BY THE EXPERTS IN THE 2023 DAVID JONES BEAUTY
From cult favourites to clever new releases, the winners of the 2023 David Jones Beauty Awards have been revealed. Our panel of beauty experts – Eleanor Pendleton, Max May, Victoria Baron, Ingrid Seaburn and Dr Shammi
Theesan – have crowned the best in skincare, fragrance, make-up and more. Here are just some of the esteemed winners – discover the full line-up instore and online now.
Nothing creates a lit-from-within radiance like this cult-favourite foundation.
GIORGIO ARMANI
Luminous Silk Foundation, $105 each.
Available in 40 shades.
Prioritise self-care with a dreamy candle that’ll transport you to another world.
GLASSHOUSE FRAGRANCES
Fireside in Queenstown Triple Scented Soy Candle 380g, $59.95, and Last Run in Aspen Triple Scented Soy Candle 380g, $59.95.
For sleek, shiny hair with less heat damage.
DYSON Supersonic Hair Dryer in nickel/copper, $649, and Airwrap Complete Long MultiStyler in nickel/copper, $949.
From mild to intense, Ultraceuticals has a retinolpowered serum to plump and refine every skin type.
ULTRACEUTICALS
Ultra A Perfecting Intense Booster, $162, Ultra A Perfecting Serum Mild, $118, and Ultra A Perfecting Serum, $145.
Pretty in pink, Spring Flower is a playful and unapologetic celebration of femininity.
Fight dull, dry skin with products designed to hydrate, protect and deeply nourish.
ELLA BACHÉ Superfluid Great SPF 50+, $59, and Glow Serum Drops*, $79. DERMALOGICA Super Rich Repair 50ml, $149.
Like spring in a bottle, this floral fragrance is an instant mood booster.
CIRCA Jasmine & Magnolia Hand Care Duo Set, $64.95, and Fragrance Di user 250ml, $49.95.
He’s the perfumer behind a suite of iconic scents – including his beloved, Baccarat crystal-inspired fragrance – and now Francis Kurkdjian is writing a new chapter as perfume creation director for Parfums Christian Dior. For his fi rst release, Kurkdjian takes his sophisticated and non-gendered signature to the south of France to create Dioriviera. “The southern sun was shining, the may roses were in bloom and a warm breeze was blowing through the leaves of a majestic fig tree, my sole companion,” Kurkdjian says of his inspiration. Following in the footsteps of Christian Dior himself, the perfumer returned to Paris to capture the sun-soaked fig and rose scent in a bottle. So while most of us won’t know a summer of relaxation at the late designer’s elusive Château de la Colle Noire, Dioriviera serves as a sensory escape to keep us dreaming.
“Everyone starts life developing a unique and individual olfactive platform,” explains Marzano. “As we learn to understand and link smells to objects and memories, it influences whether we’re drawn to or repelled by certain smells.” Think of loved ones, travel memories and cherished belongings to harness your nostalgia.
STEP 2: Play the
If you’re truly starting from scratch, Marzano’s advice is to experiment with the three fragrance families: fresh, floral and woody. First up, a light, citrus scent such as Millésime Impérial by Creed has universal appeal. “With its aquatic, iris and sandalwood signature, it’s a great everyday, any-occasion fragrance for any gender,” explains Marzano.
For an unexpected floral, Marzano likes Matiere Premiere Radical Rose. “An evocative blend of rose, sa ron and incense elevates this classic floral note to a distinctively sensual, head-turning and confidenceboosting fragrance.”
And Marzano turns to Town & Country by Clive Christian as his own distinctive, woody fragrance. With clary sage, grey amber and sandalwood, it’s a warming scent that “takes me on a journey to the hallowed streets of London and the English countryside,” he shares.
STEP 3: Invest in the best As you draw closer to fi nding The One, Marzano suggests committing to an eau de parfum. The di erence? Eau de toilettes are light and refreshing, while eau de parfums are traditionally formulated with 15-20 per cent oil concentration for day-to-night longevity and versatility. “With life becoming faster and time seeming to slide through our fi ngers, a one-stop option of EDP is best,” says Marzano.
“THE SOUTHERN SUN, MAY ROSES IN BLOOM, THE WARM BREEZE THROUGH THE LEAVES OF A FIG TREE... A LOVE AFFAIR BETWEEN DIOR AND THE FRENCH RIVIERA”
Refi llable fragrances are on the rise. Leading the charge is noted French perfumer Kilian, whose entire collection of scents are designed as objets d’art, able to be refi lled and admired for generations. Guerlain’s nature-inspired Aqua Allegoria collection and Giorgio Armani’s My Way are both ripe for refi lling, too. Meanwhile, in an innovative step forward, Gucci is also reimagining the future of scent. Where My Heart Beats is the fi rst of the house’s fragrances to be crafted with alcohol made from 100 per cent recycled carbon emissions. By capturing, recycling and purifying carbon from industrial emissions, the perfume reduces water consumption – leaving behind a violet leaf, peony and white musk accord, and more of the planet’s precious resources.
Sisley’s new Les Eaux Rêvées (‘The Dream Waters’) collection plays into the transportive powers of fragrance. Featuring six di erent scents, the collection – like our dreams – is designed to take you into another world, a place that only lives in your imagination. From the citrus-filled garden of L’Eau Rêvée d’Hubert to the daring spiced nature of L’Eau Rêvée d’Aria, there’s a scent to capture your wildest dreams.
The Alchemist’s Garden Where My Heart Beats Eau de Parfum 100ml, $545.
The fragrances of Chanel are synonymous with romance. Think back to Keira Knightley’s glittering dress in a crowded room and her flirtatious disappearing act; Nicole Kidman’s escape from New York’s flashing lights and glaring billboards to the rooftops of the city with the one man who doesn’t know who she is; or Marion Cotillard’s dalliance on the moon for the 100th anniversary of N°5. Now, as the newest face of Coco Mademoiselle, actor Whitney Peak represents a fresh new chapter for the fragrance – and modern womanhood – in all its complexities.
Much like the perfume itself, the Canadian-Ugandan star embodies duality. At face value, Peak mirrors the radiant, elegant energy of Coco Mademoiselle with its Turkish rose, jasmine and ylang-ylang heart. But the 20-year-old reveals, “I love to be unpredictable.”
As smoky vetiver and tonka bean base notes clash against the traditions of feminine fragrance, Peak is similarly unafraid to break the mould. “Freedom to me is no fear,” says the Gossip Girl actor, citing singer, songwriter and civil rights activist Nina Simone as pivotal to her own journey. “When I discovered her, I was very much trying to be someone else. But then I listened to her music, saw her interviews, saw her documentaries and saw the way she was proud to be who she is.”
As she joins a legacy of Chanel faces, Peak is reminded of Gabrielle ‘Coco’ Chanel’s own rise to the top of her game. “She came up in a time when women didn’t really have any freedom, and yet she found a way through a society that was limiting for women,” says Peak. “She continued to persevere, to work on her craft, to create things.” Expressing her admiration with
a refreshingly gen Z quip, Peak adds: “Coco Chanel is that girl. She is unconventional.”
For Peak, a self-confessed tomboy, Coco Chanel’s tweed suit-wearing rebellion resonates. “I love that she made these choices because that’s what she wanted to do. It was her way of making a statement,” she says. In a moment that feels like kismet, Peak says it’s powerful “to know that [Coco Chanel] kind of went through that same cycle, that sense of ‘I don’t want to be all prissy and uncomfortable, I want to be free to roam and be free to run.’”
Embodying this fearlessness in the fi lm Who Are You Coco Mademoiselle?, Peak presents modern femininity as powerful and playful; sophisticated and spirited; considered yet uninhibited. Like Peak, today’s Chanel woman is completely herself – complemented only by a spritz of Coco Mademoiselle.
OF COCO MADEMOISELLE, WHITNEY PEAK IS USHERING IN A NEW ERA FOR THE MUCH-LOVED SCENT.CHANEL Coco Mademoiselle Eau de Parfum Spray 50ml, $190.
Not so long ago, ‘anti-ageing’ was the ‘It’ term of the beauty world. All manner of potions, procedures and practitioners were promising to ‘take years o ’ and ‘turn back the clock’. But ‘anti-ageing’ is a fl awed concept. Not only is getting older inevitable, but the term is fi lled with negative connotations, implying that fi ne lines and grey hairs – all those unavoidable parts of getting older – are something to be ashamed of. In truth, it’s just another unrealistic beauty standard women have had to adhere to. But not anymore. Finally, the narrative is being fl ipped, spearheaded by a growing number of high-profi le women who are embracing ageing and encouraging others to do the same.
THE CONVERSATION AROUND AGEING IS FINALLY SHIFTING, WITH A STRING OF HIGHPROFILE WOMEN CHALLENGING WHAT IT MEANS TO AGE ‘GRACEFULLY’.
Take Andie MacDowell. The Hollywood darling has been outspoken about how she had a longstanding desire to show o her salt-and-pepper strands – even if her management team were against the idea in the beginning. While it happened by chance (MacDowell’s dyed hair started to grow out during the pandemic), she says she liked the way she looked and the way it made her feel. “I’ve never felt more powerful,” she told Vogue magazine. “I feel more honest. I feel like I’m not pretending. I feel like I’m embracing right where I am. I feel really comfortable. And in a lot of ways, I think it’s more striking on my face. I just feel like it suits me.”
Former supermodel Paulina Porizkova is another supporter of the movement, taking to Instagram regularly to go bare-faced and filter-free (hashtagged #greypride). “Ageing gracefully? In our culture, for women, this means preserving your youth. Or at least, look like it. Or remove yourself from the world to sit and ponder the
past while you serve those in need. Well, so, yeah. F*** that,” she posted earlier this year. “Ageing is the privilege of living a long life. You can fight it or accept it. But there is a third choice. Embrace it. Embracing it means both acceptance and battle. Accepting there are inevitable changes on the inside and the outside. And both are valuable. As your inner power grows, your wrinkles reflect the time you’ve spent getting more powerful. Fighting is better spent not on the denial of age, but rather putting it to work. Fight to keep your body healthy. Fight to stay curious and flexible. Fight the shame that’s heaped on you to tell you you no longer matter. Fight to be seen and valued for the person you have become. Here’s to embracing age – for both the good and the bad, because that’s living!”
Even Sarah Jessica Parker has fought back against those who called her ‘brave’ for letting her grey hair peek through. “It became months and months of conversation about how brave I am for having grey hair,” she told Allure. “I was like, please, please applaud someone else’s courage on something!”
Of course, the movement isn’t about letting yourself go completely. Rather, it’s about looking and feeling your best without feeling a pressure to succumb to those unrealistic societal standards. Whether that means going au naturel or embracing a few cosmetic procedures along the way, the key is to embrace ageing on your own terms.
Perhaps what we can all aspire to is to one day be like Apo Whang-Od, a traditional tattoo artist from the Kalinga region of the Philippines who became the oldest-ever person to appear on the cover of Vogue when she fronted Vogue Philippines in April. At 106, her eyes are tender but wise, her skin is inscribed with the stories of her past and her attitude, we learn in the accompanying story, is as bold and badass as ever.
“FIGHTING IS BETTER SPENT NOT ON THE DENIAL OF AGE, BUT... TO BE VALUED FOR THE PERSON YOU HAVE BECOME“Apo Whang-Od displays her tattoos. Andie MacDowell walks the red carpet at Cannes earlier this year.
ANNA QUAN ‘Antonella’ top, $550, and ‘Nico’ pants, $480. ALIAS MAE ‘Valli’ heels, $229.95. GEORG JENSEN ‘Moonlight Grapes’ earrings, $315 each, ‘Infinity’ necklace, $1500, (from left) ‘Curve’ ring, $570, ‘Reflect’ ring (large), $375, ‘Reflect’ ring, $325, and ‘Moonlight Grapes’ ring (medium), $375.
UBERSTONE ‘Tyson’ blazer, $295, ‘Joe’ pants, $155, and ‘Kemba’ shirt, $109. VEJA ‘V-10’ sneakers, $240.
JAC + JACK ‘Blume’ top, $300, and ‘Seta’ pants, $450. CHLOÉ X TEVA Recycled polyester sandals, $720. ALÉMAIS ‘E e’ earrings, $450, and cu , $420, and ‘Florentina’ ring, $270. ANINE BING ‘Grace’ bag (mini), $490.
AJE ‘Adelia’ ru e midi dress, $595, ‘Acacia’ strappy mules, $245, ‘Etta’ drop earrings, $145, ‘Alina’ clamshell earrings, $145, and ‘Rhoda’ wave clutch bag, $195.
EMPORIO ARMANI Drop 7 tuxedo jacket, $2000, and pants, $890, dinner shirt, $760, ‘EA Zinos’ loafers, $470, and briefcase, $800.
BEAUTY NOTE: Give skin the golden-hour treatment with a bronzing illuminator. Try: TOM FORD Shade and Illuminate Highlighting Duo, $154.
VIKTORIA & WOODS ‘Anthology’ blazer*, $850. HELEN KAMINSKI ‘Jetta’ hat*, $450. GAS BIJOUX ‘Bo Bonnie’ earrings, $240, and ‘Wave’ ring (pinky finger), $155. KIRSTIN ASH ‘Shift’ stacking ring, $149.
CAMILLA Shirred-cu blouse, $499, wide-leg pants, $649, and canvas clutch (small)*, $110. LOEFFLER RANDALL ‘Penny’ mules, $599. KIRSTIN ASH ‘Shift’ earrings, $199, and ‘Tresor’ hoops (small), $149.
HAIR Alan White at M.A.P MAKE-UP Molly Warkentin at AP–Reps MODELS Steph Carta at Silverfox; Francis Kamara at IMG
CUE dress, $650. LEVI’S jeans, $149.95.
PHOTOGRAPHY OLIVER BEGG STYLING CLAUDIA JUKIC
IT’S A STYLE REBOOT! LEAN INTO THE INNOVATIVE CUTS AND COLOURS OF THE SEASON.
A hyaluronic acidinfused skin tint lets healthy, glowing skin shine. Try: M.A.C Strobe Dewy Skin Tint,
$64.
CAMILLA AND MARC dress, $750. NAJO cu , $759, and ring, $179.
COMMAS polo shirt, $415, and pants, $525.
JAG shirt, $120, and pants, $140. AXEL ARIGATO sneakers, $385.
UBERSTONE blazer, $295, and pants, $155. JAG top, $100. VERSACE belt wallet, $1019.
BEAUTY NOTE:
Soften, revive and define delicate waves with a lightweight curl cream. Try: LARRY KING Nourishing Curl Enhancer, $47.
JAC + JACK top, $300, and pants, $570. EMPORIO ARMANI loafers, $760, and bag, $420.
HAIR Alan White at M.A.P MAKE-UP Teneille Sorgiovanni at After Winter MODELS
Warm, fresh and uplifting, just like the spring days ahead.
PENHALIGON’S
The Inimitable William Penhaligon Eau De Parfum 75ml, $445.
The classic locket gets an irresistible upgrade. ALÉMAIS necklace, $530.
It’s easy being green with a watch this chic. VERSACE Swiss-made watch, $1910.
Unleash your skin’s radiance with this supercharged new formula.
Let Gucci’s signature whimsy inspire your own playfulness this season. GUCCI sunglasses, $620.
These rainbow sandals put the fun in functional. CHLOÉ X TEVA sandals, $880.
KNOWN FOR HER STATEMENT-MAKING SILHOUETTES AND
THE DESIGNER GIVES US A MASTERCLASS IN MAKING AN ENTRANCE.
“When it comes to party dressing, always check if there is a dress code. It’s respectful to the host and shows consideration for the special occasion.”
“Party dressing is about having fun. It allows for some playfulness, but it’s important to ensure the outfit remains elegant. Sophisticated tailoring and luxurious fabrics are always a safe bet.”
“You can never go wrong with a little black dress –it’s a wardrobe staple that is stylish season after season, never going out of fashion.”
“Suits are not only fantastic for event dressing, but they also o er remarkable versatility. When I’m rushing from work meetings to evening drinks, I can trust a beautifully tailored suit to make me feel fabulous.”
“For my everyday style, I often opt for minimal and classic accessories. However, when it comes to party dressing, I like to be more extravagant. Think about incorporating chunky gold
necklaces and a chic, elegant purse to elevate your look. I also suggest investing in quality garments and fabrics that will withstand the test of time. This ensures your party outfits not only look great, but will last for years to come. Additionally, don’t underestimate the power of shoes to transform your entire look. The right shoes can truly make a di erence in your overall appearance.”
“When exploring beyond black, seek inspiration from places and people. I fi nd endless inspiration in the vibrant energy of New York City. The city that never sleeps o ers a unique freedom to dress up and indulge in late-night dinners any day of the week. It’s a place where you can confidently wear sequins or feathers and nobody looks twice. I adore the fabulous and unapologetic nature of it all.”
When you launched Viktoria & Woods, did you always set out to manufacture in Australia?
From natural textiles to the timeless design of our first merino cardigan, being Australianmade has been part of our brand DNA since we started in 2004. Today, we continue to focus on textiles and designs that are ageless and eternally modern. While there are limitations with machinery and skills locally for our expanding collections, we embrace the challenges of manufacturing in Australia; it informs our laid-back aesthetic and point of di erence. Scale can be challenging to achieve in Australia. To help improve this, we’ve invested in a knitwear machine to increase our local production by 50 per cent, creating an additional 4000 units per annum locally.
Can you explain the environmental impact of our wardrobes? Even if we’re mindful of overconsumption, what else do we need to consider?
The impact and whole life-cycle journey of a garment is very complex – from where the fabric originates, to its spinning, weaving and dyeing, then manufacturing and transit, all before it ends up in our wardrobe. As consumers, we also need to consider the care and end of life of our garments. Almost everything we do and buy has an impact on the planet, so it’s about learning how we can make positive changes along the way.
What challenges do brands that want to address their impact face?
For brands wanting to lessen their impact and do the right thing, it can be overwhelming to know where to start. However, that also means there are lots of opportunities; there are so
many places to grow from. As a brand, we are focusing on using a range of certified fibres to help us better understand our impact and help build trust with our customers. Expanding our knowledge allows us to learn and try more so we can continually evolve in this space.
Do you have any other tips for building a timeless, lasting wardrobe?
Invest in high-quality pieces, classic silhouettes and neutral colours to ensure garments can be worn for years. Look for styles that are easily interchangeable to maximise the number of outfits you can create from one garment – and can mix, match and evolve from season to season. If you get the staples right, small updates are all you need to keep it modern. Purchasing meaningfully will encourage you to treat your garments with more care. Try to wash items only when you have to, hand wash special pieces and let them air dry. Anything that helps extend a garment’s lifespan means you can enjoy it for longer, and even pass it down to family and friends.
VIKTORIA & WOODS cardigan, $390.
VIKTORIA & WOODS vest, $450.
VIKTORIA & WOODS dress, $550.
VIKTORIA & WOODS pants, $300.
Margie Woods, founder and creative director of Viktoria & Woods.
WORDS ALEX DUFFY
What drove you to pursue elevated casualwear?
Growing up, I always liked streetwear and casualwear, then studying at Parsons [School of Design] in New York gave me my interest in fashion and street culture. After interning and working at Ralph Lauren, my personal aesthetic naturally evolved to be casual but with elevated pieces.
Where do you find inspiration?
My inspiration comes from America and Europe. I’ve just been to New York and there is definitely that streetwear culture there –you walk past menswear and streetwear stores and they all have lines out front. People go crazy for it.
Does Melbourne manufacturing influence your designs?
MEET THE 2023 NATIONAL DESIGNER AWARD WINNER
WHOSE MELBOURNE LABEL, BEST JUMPERS, COMBINES NEW YORKINSPIRED STREETAND KNITWEAR WITH AN AUSTRALIAN SENSE OF HUMOUR.
Almost all of our pieces are made in Melbourne. Details, quality and craftsmanship are all the things I love, especially because we’re more on the minimal side. When we’re making T-shirts, the details are just as important as when you’re making a dress. For me, that comes down to fabrication and workmanship. We’ve found a network of production in Melbourne and have very skilled workers and factories, and people who are perhaps the best in the industry. So being a Melbourne brand and making things locally is very important. As a business starting out, I’ve also learnt a lot and grown my aesthetic by working with factories close by. It’s helped define what the brand is now, and what it’s going to be going forward.
Your designs feature embroidered wombats and tongue-in-cheek slogans – what inspired your Australiana references?
When I was living in New York, I saw how much people overseas appreciate the Australian sense of humour. Thinking about it, a lot of Italian or French brands –or even Ralph Lauren – embraced their heritage and often in fun, eclectic ways. So when I came back home I thought, “What’s uniquely Australian?” and came at it from an outside perspective. I wanted to do something really over-the-top, with Australian typography and logos, and do it on beautifully made things. It brings a sense of fun, and I think fashion should be fun.
How did it feel to win the National Designer Award this year?
It was a great feeling; I was honoured to have won. To be nominated and go through that interview process was really exciting – it gave me a sense of confidence, so the win was just the cherry on top! It was rewarding to have built the brand and for my concept to get that industry approval.
Long before wearing bright, happy clothes was widely considered a way to not only boost your outfit but your mood, Brazilian label Farm Rio was leading the way with feel-good fashion thanks to its penchant for resortwear-inspired pieces that are bursting with vibrant colour and playful prints.
For founders Katia Barros and Marcello Bostos, who started Farm Rio as a booth at an independent fashion market in Rio de Janeiro in 1997 and have since expanded it to include more than 90 stores across Brazil and the US (and now available in Australia via David Jones), their fun collections are all about self-expression. “We build our collections around the concept of ‘dressing in happiness’ and the idea that the use of print, colour and style can empower our customers to express themselves and their joy,” says Barros. “We’ve seen this resonate through the pandemic, where wearing brights helped lift our moods, and even now that we’ve emerged from it, it seems like the creativity and playfulness of getting dressed keep being a powerful tool of self-expression.”
WORDS LAURA CULBERTresponsible environmental choices means it’s fashion that makes you feel good in every sense of the term. One standout initiative is its partnership with One Tree Planted, which sees the brand’s sales directly help with reforestation e orts throughout Brazil. For every three pieces ordered by David Jones through the brand’s wholesale channel, one tree is donated.
“Right now, we have projects organised by four main pillars: nature, culture, people and circularity, and our progress can be tracked on our sustainability reports,” says Barros. “The [biggest] project is focused on the reforestation of Brazilian biomes, such as the Atlantic Forest and Amazon Rainforest. We have already planted one million trees so far.”
It’s not just Farm Rio’s spirited designs that bring joy to its customers –the brand’s commitment to making
With summer fast approaching, there’s never been a better time to incorporate Farm Rio’s cheerful, detaildriven creations into your wardrobe. And the best bit? There are no rules and no single way to get the aesthetic ‘right’. “I think the best way to wear our pieces is in the way that makes you feel the best,” says Barros. “We truly believe that clothes are tools to empower people to express themselves, so our collections are designed to be as versatile as possible, allowing the customer to wear them from the bar to the beach, from work to parties.”
AND DELICATE DETAILS BRING A SENSE OF JOY AND FRESHNESS TO THIS SEASON’S TOP-DRAWER STAPLES.
COCO DE MER ‘Athena’ triangle bra, $225, and Brazilian briefs, $175. NAJO ‘Cloudland’ earrings, $119, and ‘Waterfall’ ring, $179. KIRSTIN ASH ‘Fold bangle, $249.
150 JONES spring 2023
WACOAL ‘Embrace’ plunge underwire bra, $89.95, and boy shorts, $54.95. NAJO ‘Sunshower’ necklace, $139. KIRSTIN ASH ‘Tidal’ pearl bracelet, $149.
HAIR Darren Summors at AP–Reps
MAKE-UP Linda Je eryes at Artist Group MODEL
Antonia El Ghali at Vivien’s
What does being a ‘modern man’ mean to you? Modern masculinity is being open to self-acceptance and sensitivity. I’ve found that has helped me in my life: embracing my sensitivity and who I am rather than coming in with a prescribed understanding of the typical man.
Is embracing your sensitivity something you’ve had to learn?
Over the past 10 years, I’ve come to accept that I am sensitive and that it can help me rather than hinder me. My mum was always a great advocate for that, and now as an adult, I’m willing to challenge the norms of masculinity. Coming into adulthood, it was a journey of self-acceptance. I was anxious and very unhappy in high school; I was in a box that I didn’t fit in, but I didn’t have another box to put myself in, or have a way out of the box I was in. So with the support of great friends and my mum, I challenged those things to fi nd happiness and a sense of normalcy in my life.
Do you have any advice for young men on a similar journey?
Break out of the box. Search for answers outside of whatever society is telling you about what it means to be masculine. We’re heading in a fantastic direction, to be accepting of so many di erent things in our zeitgeist, so I challenge other men to live their truth.
Do you find it challenging to switch between playing a character and being your true self?
Sometimes I don’t wear a mask when I’m acting, which is the ironic thing about it. To have the catharsis that comes with that craft, you have to be open and you have to have the mask o . But we all have our
public and private selves, and I guess that’s just my defence mechanism. It’s my way of figuring out how to engage with other people without being too self-conscious.
When the public mask comes o , how do you centre yourself?
Food is a big one. I really value cooking with my partner and having our community around to break bread. It’s important to me to have that routine of touching base with people who mean so much to me.
How would you describe your personal style? It’s pretty monochromatic, with pastels added in. Fabric is paramount to me and my wardrobe – I’m a big linen person. So it’s great to be working with Politix, which values quality fabrications like Australian wool and French linen.
What role does fashion play in your life? For me, style is self-expression more than it is armour. I’ve never shied away from my own sense of style, even when I was younger. Whether it’s for press tours or events, everything is true to me. When I’m on shoots, I like to be barefoot and keep my feet on the ground, or undo a couple of buttons on a collared shirt. It’s just who I am.
What daily rituals help you feel like yourself?
I wear a lot of scents that have heavier, more ‘masculine’ and smoky qualities alongside floral components. I love the crossover between the masculine and feminine.
Tartt’s awe-inspiring debut is the ultimate page-turner, so propulsive that I’m envious of people who are yet to read it for the fi rst time. It follows a charismatic and eccentric clique of ancient-Greek students at an elite university as they plot, execute and live with the consequences of a murder.
Told from the perspective of an English butler reflecting on his career in the early 1900s, this historical novel is sensitive, funny and deeply insightful about how our values and choices are shaped by the times in which we live.
McEwan is probably most famous for his historical epic Atonement, but this more restrained novel is my favourite of his. It’s about love and regret, and the complexity of moral choices – how our decisions are influenced by historical contingency as much as by ordinary human frailty.
A beautifully crafted novel by an underrated Australian writer – every sentence reads like a line of poetry and the plot contains one of the most masterfully executed twists you’re likely to encounter in literary fiction.
By
E.M. ForsterAlthough he’s an established canonical English author, reading Forster never feels like eating your cultural vegetables. In Howards End, he achieves everything a novelist can hope to: the dialogue is a delight, the plot motors along and the author gently impresses upon us a new way of looking at the world.
By Curtis Sittenfeld
25903128, RRPµ $32.99. She’s already adapted Pride and Prejudice into the hilarious and very contemporary Eligible, so Sittenfeld is no stranger to rom-coms. I can’t wait to see how she plays with the genre’s tropes in this novel, which is sure to balance wit and sincerity.
By Gabrielle Zevin
26056052, RRPµ $22.99.
One of the big literary successes of the past year, every person who reads this book seems to rave about it. I need to read it so people can stop recommending it to me!
26173339, RRPµ $34.99.
Smith is one of my favourite authors, not just because her work is unfailingly funny, wise and beautifully written, but because she is always experimenting and expanding her capabilities. Now she’s trying her hand at historical fiction – I can’t wait to read it.
DIANA REID, AUTHOR OF THE AWARDWINNING NOVEL LOVE & VIRTUE AND NOW SEEING OTHER PEOPLE, REVEALS HER ALL-TIME FAVOURITE BOOKS, PLUS THE NEW RELEASES SHE’S LOOKING FORWARD TO.
CURRENTLY PLAYING THE TITLE ROLE IN TINA: THE TINA TURNER MUSICAL, RUVA NGWENYA CHATS TO JONES ABOUT HER PORTRAYAL OF ROCK ROYALTY AND HOW THEIR PERSONAL STYLES ALIGN.
WORDS
JESS LARMERBARALLON
How would you describe your personal style? Do you take inspiration from the visionaries you’ve portrayed on stage? I gravitate towards clothing with silhouettes that accentuate my body, and I’m not afraid to mix high-fashion pieces with streetwear. I don’t tend to follow trends – just like Tina Turner, how clothes make me feel is the most important. My style evolves daily: there’s a strong connection between my emotions and my personal style.
Do you have a favourite Australian designer? Lately I’ve been loving Aje, and I own a lot of Camilla as the bright prints make me happy.
Who inspires you most in your everyday life? Viola Davis’ confidence and her approach to her life and craft is really motivating. She inspires me to be the best actor I can be on stage every night. And it goes without saying that Tina Turner and her musical talent is something I try to harness on a daily basis. Her fearless and powerful voice is so special to me; I love to try to channel that energy.
How has stepping into the role of Tina Turner a ected the way you view yourself?
It’s shown me what I’m capable of! Performing her catalogue of music is a true marathon and certainly not easy. Tina has shown me how strong, gifted and talented I really am.
AHEAD OF THE INDIGENOUS VOICE TO PARLIAMENT REFERENDUM THIS YEAR, AND AS DAVID JONES REFRESHES ITS OWN RECONCILIATION ACTION PLAN, JONES HOSTS A ROUNDTABLE WITH KEY THOUGHT LEADERS AND VISIONARY VOICES.
Over her 25 years of community engagement and advocacy campaigns, Karen Mundine has been a driving force behind some of Australia’s most significant steps towards reconciliation, including the Centenary of Federation commemorations, the Apology to the Stolen Generations and the upcoming Voice referendum.
CEO of David Jones
As David Jones celebrates its 185th anniversary, Scott Fyfe leads a retailer committed to honouring 65,000 years of Indigenous Australian history. Through storytelling and events, partnering with Aboriginalled organisations and providing practical collaborations and pathway programs, David Jones celebrates the unique and diverse perspectives of Australia’s First Peoples.
Federal Member for Wentworth
Allegra Spender is co-chair of the Parliamentary Friends of the Uluru Statement from the Heart as well as a strong supporter of constitutional change for the Voice to recognise the unique place of Indigenous Australians in our history and make a practical di erence to people’s lives.
This conversation is happening against the backdrop of an upcoming referendum on an Indigenous Voice to Parliament, which was part of an invitation that was issued to Australians in 2017 in the form of the Uluru Statement from the Heart. We’re keen to talk about this pivotal moment in Australia’s history, and we thought we might start with you, Karen. What is the Voice?
KAREN MUNDINE: The Voice in its latest incarnation is about First Nations Peoples having a say in the policies and laws that are created about us. But what is the actual Voice? It is a body that will advise government and parliament on issues that a ect Aboriginal and Torres Strait Islander people, and it will be written into and protected by the constitution. That’s a really important point to make, as it’s why we’re having a referendum: the only way we can change our constitution, our rulebook, is that the majority of Australians, in a majority of states, must agree to this.
I love learning about the constitution and I think it’s important to remember that back in 1901 when it was created, the only reference to Aboriginal people – we didn’t even acknowledge Torres Strait Islanders at that point – was to exclude us, to say that we weren’t to be counted in the census and that this new federal government couldn’t make laws on our behalf. Our institutions – the things that govern who we are as Australians – have consistently excluded us as First Nations Peoples, so this is why this is important to us. This is
Friend of David Jones and co-founder of the GO Foundation
Following his AFL retirement, the former Australian of the Year embraced his role as a change-maker by supporting an evergrowing list of Indigenous initiatives. He is a hero for the next generation of trailblazers and has published three children’s books.
Founder of Australian Indigenous Fashion and GM of Cox Inall Ridgeway
An advocate for First Nations fashion, Yatu Widders Hunt draws on Indigenous storytelling and her knack for relationship building to establish Reconciliation Action Plans (RAPs) and cultivate change in corporations and communities.
why we see this as an opportunity: how do we bring together the oldest living culture and one of the oldest democracies in the Western world?
The idea of the Voice is that it is an advisory group. It will be determined and decided by First Nations Peoples in consultation with the government and the parliament of the day. In that sense, it’s not this massively scary thing. It’s not a whole heap of things that people are assuming or inferring that it might be. The principle that we’re asking of people through the referendum is: do you believe that there should be a representative body of First Nations Peoples and that this body is protected in the constitution? Yes or no. It’s very simple.
Although we’re the ones that are most a ected by this, this has a benefit and opportunity for all Australians. As the solicitor-general said during the last parliamentary process, this is about how we strengthen our democracy. We know that when we have a say – when we have more inclusive voices at the table – we get better innovation; better outcomes. So all of this is coalescing about how do we become a better nation. And that includes how do we put First Nations Peoples at the centre of our thinking of what it means to be Australian.
YATU WIDDERS HUNT: It’s great to get that context that this is not something that’s just happened in the past few years. This has been an ongoing process to reach this point for this invitation to be issued through very robust processes in consultation with our communities. Allegra, what will happen between now and the referendum?
ALLEGRA SPENDER: What happens now that the legislation has passed is that we’ve got between two and six months before there needs to be a referendum. Most people are expecting that the referendum will happen in October. From a political point of view, politicians who have voted either ‘yes’ or ‘no’ in that legislation will come together to write a pamphlet that will be circulated to all Australian households with an argument for ‘yes’ or ‘no’. Then it’s going to be run pretty much like a normal election in the sense that there’ll be pre-polling for two weeks beforehand – longer for those in remote communities – the electoral roll will close several weeks before the elect referendum date and then people will vote, and we’ll likely know the answer a couple of days afterwards. This now really hands it over to the Australian Electoral Commission. The other positive piece is that it gets it out of the hands of politicians, like me, and into the community, which is where it really needs to be.
YWH: I love the poetry of what you just mentioned, Allegra – this is now in the hands of the Australian people. It’s a good reminder that the invitation of the Uluru Statement from the Heart was actually issued to the Australian people, and now we have that opportunity to continue to have these conversations and raise awareness. The First Nations population is just under four per cent in Australia, so we are hoping to influence, reach and inspire a broader Australia. Adam, in your view, why is it so important that Australian communities are engaged on this issue?
ADAM GOODES: I think if we look at the Australian population at the moment, you can say there’s a lot of people who have had zero to little engagement with Indigenous people and culture and places, and that’s really unfortunate. We need to change that, but we need to change that at a community level first and recognise that the trauma of past injustices is still a ecting us today.
People keep asking me, “But what’s the di erence with the Voice?” The di erence for me is that if you vote ‘no’, that tells me and all Indigenous Australians that you don’t want us to have a voice and you want to continue on the trauma and continue on the disadvantage that my people have had for the past 250-odd years. That really flips it on to individuals in Australia that you have a really great opportunity to change history. A big percentage of our communities weren’t a part of that history, but we can start to right the wrongs of our past.
YWH: It’s an incredibly significant moment: a once-in-a-generation opportunity to improve outcomes and ensure recognition. Scott, you work for a business that has accepted the Uluru Statement from the Heart and is actively working to drive that change. What inspired David Jones to accept that invitation so early on?
SCOTT FYFE: I think more generally, there is an increasing expectation from various stakeholders – sta , customers, investors –for companies to take a position on big-ticket social and environmental issues, and we are seeing more businesses engaging in topics that touch all Australians such as climate change and reconciliation with First Nations Peoples. From David Jones’ perspective, as the world’s longest continuously operating department store, we recognise that we have much to learn from the world’s oldest living cultures. Being aware of the challenges that Australia’s First Peoples face, we understand that we have a role and an opportunity to push for positive social change. We continue to work hard to establish a diverse and inclusive company culture and see our support for the Uluru Statement and the development of our second Reconciliation Action Plan as a natural extension of our values and our commitment to inclusivity.
YWH: You’ve touched on the impact that businesses can have in driving outcomes and also showing leadership and positive influence. Allegra, you have a strong connection to the business community. What do you say to businesses about this issue and why they should consider participating in driving a positive outcome for the referendum?
AS: I think a lot of people are expecting businesses to stand up for their values and to be clear what those values are. Australians are very connected to a number of businesses and feel very strongly and warmly about them – but also want to make sure they’re connected to the issues that are important to them. But honestly, another reason is that this is about the future of our whole country, and the business community is an important part of our country, so it should have an important voice here.
AG: To me, it doesn’t matter where businesses are on their journey in engaging Aboriginal people and cultures either. I think people really need to get o the fence and have a say in this conversation. As a business, you can support the Uluru Statement from the Heart and you can support the Voice, but I think you need to then have conversations internally, with your employees and stakeholders, asking, “Can we as a business provide information so they can make an educated decision come referendum time?”
YWH: And certainly we are seeing a lot more Australian businesses stand up and support a more inclusive Australia. Karen, I know many businesses show their commitment to reconciliation through Reconciliation Action Plans. How does something like support of the referendum align with the values in these plans?
KM: This whole process is very much aligned to what reconciliation is about – it’s about asking, “How do we place First Nations Peoples at
“THE VOICE WILL ADVISE GOVERNMENT ON ISSUES THAT AFFECT ABORIGINAL AND TORRES STRAIT ISLANDERS”
the centre of our thinking?” And that’s really what Reconciliation Action Plans are: a business plan for how institutions, organisations and businesses can think about their role in reconciliation.
We have a saying that ‘reconciliation is everyone’s business’. It’s about relationships, it’s about respect, and when we get those two key ingredients right, we create opportunities – not just for First Nations Peoples, but for the organisations themselves. How do we make that table bigger? How do we invite more people into the conversation? How do we work together to learn to think di erently? How do we compete in the 21st century? We’ve got about 2400 organisations: that’s nearly 4.1 million Australians who either work or study in an organisation that has a Reconciliation Action Plan. And increasingly, what we’re seeing is people aren’t just thinking within their own businesses, but across industries and regions. We think about it as a giant jigsaw puzzle, and every organisation is a piece of that puzzle.
SF: Just to add to that, from a corporate perspective and on a practical level, we’ve been able to lean into the Reconciliation Action Plan
framework to help us shape real-life actions that we can take to build relationships and opportunities. It provides helpful tools and a clear guide for businesses that are wanting to contribute to reconciliation.
YWH: We have spoken about how working in partnership with First Nations Peoples actually strengthens outcomes and impacts for all Australians. Scott, what are some of the outcomes at David Jones that you feel have been enriched through that level of partnership?
SF: Our partnerships have helped us to build an understanding of the challenges faced by First Nations Peoples as well as the role we can play in creating opportunities. For example, the Pathways Program – an initiative from David Jones and Darwin Aboriginal Art Fair Foundation’s Indigenous Fashion Projects – o ers a platform to engage in the sharing of First Nations stories and culture, and promotes a collaborative environment where industry partners listen and learn, as well as share their own knowledge, skills and experience with First Nations emerging designers. It’s a two-way learning experience. Our
work with Adam has also had a significant impact on the direction of our business and reconciliation journey – we have worked with Adam since 2015, and the GO Foundation since 2018, and it’s this longstanding friendship that has led to inspiring opportunities and meaningful change.
YWH: I think that’s a great example of positive storytelling. It’s important for us to acknowledge the devastating impact of invasion on our communities, but equally important to celebrate the resilience and generous o erings that First Nations Peoples continue to give and contribute to Australia. It’s quite a landmark time to put a line in the sand around who we are as a nation. Allegra, what has the mood been like in parliament these past few weeks?
AS: I think there is a lot of hope and excitement. Look, there are people who don’t agree, and I think there have been times when the debate hasn’t been where you would want it to be, but I think, overwhelmingly, for myself and others, there’s been a lot of hope, excitement and recognition of the hard work.
YWH: What about you, Adam? I know you’re always talking to community members and young people. What has the sentiment been in the community?
AG: I was up at the Lowitja health and wellbeing conference in Cairns and there was 1200 mob up there from all over Australia, and health is obviously a really key area for our people. There was a lot of concern at the conference around mental health through this process and the voting process – what’s happening on social media, the negative conversations and how young people are drawing a line in the sand and really fighting back at the comments. And I think that’s what we’re seeing from our young people: they don’t have a platform to be able to talk about the change that is required, but they do use their social media platforms to do that.
What we learnt from the [same-sex marriage] plebiscite is that there will be, unfortunately, community members who do continue to feel hopeless and need to be supported. Listening to those conversations in Cairns, there needs to be a lot of work for our community around what is coming. That if it is a ‘no’ vote, that it really doesn’t change anything for us as black fellas: we’re used to getting slapped in the face and being told no. This isn’t the first time we’ve put this in front of the Prime Minister. We put this in front of Malcolm Turnbull because he asked us what Indigenous Australians really think is the best way forward. And we gave him the beautifully written Statement from the Heart, and he and his constituents said, “No, you’ll never get that.” But here we are, in 2023, having a referendum finally, albeit under a Labor government. We finally have this opportunity.
What I’m finding is that there’s so much misinformation, and it just needs conversations like this to be published and heard so that
people can really understand what it is we’re asking, and understand where they are on the voting scale. It’s about giving people the right information to make an educated decision. And in every meeting that I’m having, I’ve always got five minutes at the end where I’m going, “Okay. No eggshells. How’s everyone feeling about the Voice?” You need to create these opportunities for non-Indigenous people to ask questions. When you start to do that, they can cut out [misinformed] conversations when they hear them in their organisations. It’s about using the power we have as individuals and in the community.
AS: Parliament’s very politicised; you just want a di erent group of people who you can ask, “What’s going to be the impact on you? How do you see it?” So, I see it as a useful resource to parliament. When you look at the history, we’ve had bodies like this, but they come and go with the whim of the government of the day, and that’s why it’s so critical that it’s in the constitution – so that it doesn’t become politicised; it just helps us in government do better.
AG: Yeah, I was part of an advisory, the National Indigenous Council for John Howard’s government for five years, and what I learnt in that process was that the government did not have to do anything that we said – 98 per cent of the things we suggested and they asked advice on, they didn’t go with. The same thing can happen with the Voice, and that’s okay. The most important thing is that it’s community-driven and elected. Indigenous Australians will select the people and we want to be part of that.
YWH: Scott, you mentioned you’re engaging your sta in these kinds of conversations. How will you ensure that these conversations can happen within the business and people can be connected to credible sources of information to make this very important decision?
SF: As a company, David Jones is committed to the Uluru Statement from the Heart, which calls for the establishment of a Voice, because it aligns with our company values and our commitment to inclusivity. In the lead-up to the referendum this year, we’ll be focused on educating team members and encouraging our community to listen and learn so they can make an informed vote. In September, for example, we’re planning to host an internal conversation with First Nations panelists to discuss the Voice, what it means and why it’s an important milestone in Australia’s history.
AG: I’m encouraging CEOs to be strong on what their position is. Most of them are non-Indigenous Australians, and I say the message you can give as a leader can sometimes be more powerful than any Indigenous Australian’s voice because you’re coming from a di erent perspective that they can understand. Non-Indigenous brothers and sisters, we need you to dig deep. Yes, it is the right thing to do. But why is it the right thing to do for you and your journey? Make it personal.
“WHEN WE HAVE MORE INCLUSIVE VOICES AT THE TABLE, WE GET BETTER OUTCOMES”
KM: There are lots of examples of organisations that have had Reconciliation Action Plans and advisory councils and committees and created really positive outcomes. Our experience is that this kind of modelling works – it’s made our business better – so why wouldn’t we want to elevate that into a national conversation?
YWH: That’s a great point, that the principle of the Voice and involving First Nations Peoples in decision-making is already happening in many organisations. What are some of the other areas that you hope the Voice will positively drive outcomes for Australia?
AG: Education is power; it’s the way forward. I look at sovereignty and treaty across the ditch and how Maori culture is instilled in every New Zealand person who goes to school there; for me, it’s about continuing the Uluru Statement from the Heart. Once we get the Voice and the impact of that, then treaty and what that looks like for our states, but also the truth-telling of our shared history – because it makes me then reflect on my stories and gives me this opportunity to live the life I’m living now and pass that on to the next generation.
AS: There are two examples for me. One came out when I was talking to the land councils from the Northern Territory, who talked about the Northern Territory intervention in 2007 and who were not consulted, and it had a profound impact on people’s lives. When government makes choices, it needs to be listening first, and I think you make better policy when you listen.
I also very much echo Adam’s words on education, but also in terms of the social services that the federal government provides. We have a lot of social services with the purpose of enabling and empowering people to have better lives. But when they’re not working in the way that people want to, that’s where we have to come back to the Voice, saying, “Why isn’t it working? How can we make this better?” If you’re trying to do things to people without understanding what is important to them and what’s going to make the di erence, don’t be surprised when it doesn’t work.
KM: [It’s] the ability to raise the voices, particularly of those who are potentially most marginalised and vulnerable, and those in remote areas, to make sure that we’re taking our resources and applying them and getting the best outcomes, and that we are basing it on people and people’s needs rather than a one size fits all.
We do a lot of work in Indigenous governance at Reconciliation
Australia, and what’s interesting is that Western models of corporate governance haven’t always adapted well. When we look at Indigenous communities, we’ve been here for tens of thousands of years and we’re still governing. What we know is that those community organisations
Established in 2001, Reconciliation
Australia is an independent, not-for-profit organisation that promotes and facilitates reconciliation by building relationships, respect and trust between First Nations Peoples and the wider Australian community. Its vision of national reconciliation is based on five interrelated dimensions and the belief that we can only achieve full reconciliation if we achieve progress across all of them. These dimensions are:
Race relations
Equality and equity
Institutional integrity
Unity
Historical acceptance
A vital component of Reconciliation Australia’s work has been to develop a framework for organisations to support the national reconciliation movement. The framework describes four RAP types, each designed to suit an organisation at di erent stages of their reconciliation journey and to allow them to continuously develop their reconciliation commitments.
The same type of RAP can be repeated if appropriate.
The four types are:
Reflect
Innovate
Stretch
Elevate
AS DAVID JONES PREPARES FOR THE SEPTEMBER LAUNCH OF A NEW RECONCILIATION ACTION PLAN, WE TAKE A LOOK AT THE GUIDING PRINCIPLES FOR A SUCCESSFUL RAP.
“THE AUSTRALIA THAT I HOPE TO SEE AT THE END OF THIS IS AN AUSTRALIA THAT’S UNITED”
that put people at the heart of their thinking and governing are better equipped to deal with the community’s needs; they have better outcomes in the programs they implement.
AG: One thing I’m hoping for is that it’s like the 1967 referendum, with an overwhelming ‘yes’ vote, so that I have hope and faith that this country that I live in is going to be the country I want it to be for my daughter and my two sons. If it’s the flip side, it’s just another hurdle in our journey, and it’s a missed opportunity for a majority of non-Indigenous Australians to really rewrite history.
YWH: Adam, you just touched on what might happen after the referendum and what this year means to Australia. What will be the story of Australia after this referendum?
AG: I’m really looking to build communities and that’s through the sporting clubs, the childcare centres where my children are, the schools they’re going to; I can always a ect and create change there. I know that in anything I’m going to be around, I’m going to use my voice. But what the Voice is really going to do is give every Indigenous person a voice no matter where they are in the country, to talk about what they’re passionate about, the changes they need, the injustices that are happening, the trauma they’re facing. The Australia I hope to see at the end of this is an Australia that’s united, that supports Indigenous people, that is engaged and wanting to create sovereignty and treaty opportunities for First Nations Peoples.
AS: I have to say it’s been an absolute honour to be part of this and to be working with the Aboriginal and Torres Strait Islander community and the broader community on something that’s so important to our country. For the people out there, if you feel strongly about how important this is, you’ve got to take action to convert others. It is in the hands of the community now, but there is a lot to learn to be across a referendum, so this is one where the community really needs to mobilise. Our responsibility as Australians is to get informed, so whatever happens on referendum day, you make a decision based on what you have really gone out of your way to actually learn.
YWH: A huge congratulations to David Jones as well for showing leadership on this issue. We need more Australian businesses showing up, providing their communities with credible information, inspiring people and connecting them to First Nations stories.
AS: Jean, an Aboriginal person who lives near me, recently said at one of our events: there’s 65,000 years and there’s almost 250 years. Let’s add those together. That’s 65,250 years – and it is that combination that makes Australia such a unique, wonderful place.
For more information about the Voice to Parliament, read Thomas Mayo and Kerry O’Brien’s The Voice to Parliament Handbook or Uluru Statement from the Heart’s Voice Design Principles.
David Jones launched its first RAP in 2018, and has been building on this work ever since through creative partnerships, education programs, procurement and cross-cultural learning. The business is now rea rming its commitment to reconciliation by launching its second Innovate RAP.
Key themes include:
At David Jones, relationships are key to being able to drive meaningful change. Building strong relationships with First Nations Peoples and other partners gives the business opportunities to listen and learn, to co-create initiatives and to develop cultural capability. Two-way learning is crucial to the work David Jones does, and building relationships facilitates respectful learning opportunities that drive social impact. David Jones is proud of its expertise but acknowledges that collaboration is essential for growth.
As an iconic Australian brand, David Jones believes that First Nations Peoples, cultures and storytelling are a critical part of the business and will have an ongoing influence. David Jones operates on Aboriginal lands and it’s important that it
demonstrates respect for that while allowing First Nations stories and ways of thinking to shape the company’s approach to business and advocacy. It’s also important that David Jones demonstrates respect for First Nations cultures proudly and publicly, that it drives more open and positive conversations and creates deeper respect and understanding within the business and broader community.
David Jones has a significant workforce and national reach. It will be further strengthened by increasing the number of First Nations Peoples in the business and the number of First Nations organisations that the company partners with and procures services from. As a leader in the retail and lifestyle industry, David Jones can support direct and practical pathways for First Nations fashion creatives and others who aim to work in the industry. David Jones will be guided by First Nations partners and communities as it increases inclusivity within the industry.
David Jones can play a role by:
Providing practical support to emerging and established First Nations fashion creatives through collaborations and pathway programs.
Demonstrating respect for First Nations leaders in our industry through storytelling and strengthened marketing support. Creating direct employment pathways into the retail industry for young First Nations Peoples. Being visible and engaged on issues that matter to all Australians, including the Voice to Parliament.
For Hannah Lange, being chosen to create the artwork to accompany David Jones’ new RAP was a special moment. “I feel really honoured,” she says of creating ‘Weaving Knowledge’ – an homage to both nature’s woven patterns and the cultural practice of weaving, representing the healing of our interwoven pasts moving forward in reconciliation. “I’ve been following the work David Jones has been doing in the Indigenous fashion space for some time and admire the way they showcase the incredible work of First Nations creatives, without it feeling shallow or tokenistic.”
Three words that describe my art are... Nature, detailed, meditative. My go-to colour combination is... At the moment, I love any kind of reddy brown teamed with a beige. My favourite sound to paint to is... The birds singing. I feel my happiest when... I’m camping on Country with no reception – just the bush and my family. My studio is... My sacred space.
The proud Wiradjuri woman is relatively new to the professional art scene, having started during the COVID lockdowns to maintain her connection to her culture after she moved away from her community. “When the pandemic hit, I realised how disconnected I was feeling,” she says. “Away from my mob and family, I just felt the strong urge to start painting to keep myself connected. It gave me a purpose and has continued to help me feel more and more connected to my Country and ancestors.”
Born and raised in the NSW Blue Mountains and now living in Byron Bay, Lange uses her art to tell the stories of our natural surroundings. “Country is my biggest inspiration, whether that be on my ancestors’ Wiradjuri Country, on the Darug and Gundungurra Country I grew up on, or the Bundjalung Country I now live on,” she says. “I spend hours on Country looking at the most minuscule details of nature for my inspiration. I want to highlight that Country does not belong to us – we belong to Country.”
Like other visionaries, Lange has strong opinions about the future she wants her children Bobby, seven, and Ochre, four, to be a part of. “We still have so far to come as a ‘nation’ in respecting the traditional owners of this land –stamping out racism and stereotyping is a good place to start,” she says. “I’d also like to see changes in our schooling system to include the true history of this country and much more education around our culture, as our children are the future and they can have the knowledge to make great change.”
“WE STILL HAVE SO FAR TO COME AS A ‘NATION’ IN RESPECTING THE TRADITIONAL OWNERS OF THIS LAND”Photography: Anna Green Studio.
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5. HOME & FOOD NEWS
Be seduced by gourmet chocolates, designer bedding and candles to spark your wanderlust.
9. 185 YEARS OF INSPIRATION WITH GORDON RAMSAY
The iconic chef celebrates David Jones’ birthday with an exclusive sweet treat.
10. GOURMET GIFTING WITH LUCY FEAGINS
The founder of The Design Files shares her tips for delicious gifting.
13. PERFECT PAIRINGS
Toast spring with Prince Wine Store’s top drops of the season.
15. BEHIND THE BRAND: FENTON & FENTON
Founder Lucy Fenton on not taking interiors too seriously.
17. 10 MINUTES WITH: TOM DIXON
Twenty years on, the British brand is still going strong.
18. A SLICE OF SUNSHINE
Let the warmer weather inspire you to jump headfirst into statement-making homewares.
32. HOUSE OF FLEX
Creative powerhouse Lillian Ahenkan (aka Flex Mami) invites us inside her personality-filled home.
38. FUTURE VISION
How the Darwin Aboriginal Art Fair Foundation is helping to preserve and promote First Nations art.
42. THE FUTURE
What’s next for our homes, food and everyday lives? The experts consult their crystal balls.
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This August sees the launch of bedding from Finnish design house Marimekko, featuring the best of the brand’s prints in a rainbow of colourways. The collection includes signature styles as well as more abstract designs by extraordinary Finnish printmaker Maija Isola, who’s responsible for more than 500 of Marimekko’s designs and has made the brand what it is today.
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Famous for its bestselling travel books, Assouline is introducing the Travel From Home collection: a range of six covetable scented candles designed to add an element of the exotic to your living space. Created by renowned perfumer Jérôme Epinette, the candles span the globe from Mykonos to Marrakech – and look as beautiful on co ee tables and shelves as the books.
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At-home entertaining gets an upgrade with Simon Johnson’s sought-after deli counters now open at the David Jones Food Hall in Elizabeth Street and Bondi Junction. On the menu: a curated range of deli meats, premium cheeses and mouth-watering caviar – the perfect ingredients for a stylish summer soirée.
We may (fi nally) be heading into the warmer months, but the benefits of manuka honey extend beyond sore throats and cough relief – it’s also used by many for its supposed ability to heal wounds, protect against ulcers and even aid digestion. In honour of David Jones’ 185th birthday, New Zealand’s The True Honey Co. has released 185 jars of its limited-edition Rare Harvest manuka honey, which boasts an ultra high 1838+ MGO – meaning it’s believed to have high antibacterial properties. Available instore and online.
For decor with a twist of decadence, look no further than Italian designer brand Missoni and its range of luxe bedding, new to David Jones this summer. Inspired by the crochet knitwear that the fashion house is renowned for, the latest range of bed linen boasts bold geometric prints and the brand’s signature multicoloured zigzag. Your bedroom has never looked better.
As if we needed any reason to pop the bubbly, Chandon has gone and released Étoile – a new, multi-vintage, ‘super cuvée’ sparkling wine created from a blend of eight vintages of Chandon Vintage Brut, spanning from 2005 to 2016. Fresh and fruity, the wine is available in a limited release, including at select David Jones stores from August.
Waterford has plenty to celebrate this year with the release of ‘Luther 81 X’, a limited-edition collection in collaboration with the Luther Vandross Foundation. The late American singer-songwriter is honoured with a decanter and pair of tumblers, each hand-cut with a graphic pattern plus an etched Luther Vandross signature, collaboration logo and single karo kiss-cut on the base. Only 81 pieces of each design are available – a few of those coming soon to David Jones.
Britain’s fi rst and fi nest luxury chocolatier Charbonnel et Walker is launching exclusively at David Jones with a range of delicious tru es and sumptuous chocolates. The fi ne chocolates are each presented in beautiful gift boxes, which you’ll treasure long after you’ve indulged in the very last morsel.
Founded in Audun-le-Tiche, France, in 1748, Villeroy & Boch is commemorating a momentous 275 years of creativity and craftsmanship with the limited-edition ‘Jubilee’ collection of premium porcelain homewares. Designed to reflect the brand’s rich history and ongoing legacy, ‘Jubilee’ combines traditional rococo motifs in the brand’s signature blue – a nod to the company’s earliest ceramic pieces – contrasted by a vibrant hit of orange.
Samsonite is revolutionising the way we travel with its industryleading Recyclex material, which is made from 100 per cent recycled plastic waste and is the fabrication behind the ‘Magnum Eco’ suitcase, launching at David Jones this season. Each ‘Magnum Eco’ suitcase uses the equivalent of up to 483 yoghurt cups and 14 plastic bottles – perhaps not enough to neutralise a trip overseas but at least making a dent in the problem.
DAVID JONES’ 185TH BIRTHDAY.
For the meringue
Sunflower or vegetable oil, for greasing
6 egg whites
340g caster sugar
2 tbsp plain flour
60g ground almonds
1 tbsp cold espresso or very strong black co ee Cocoa powder or icing sugar, for dusting
For the co ee cream
200ml double cream
40g icing sugar
On a low speed, whisk in the sugar, a little at a time, then add flour, ground almonds and espresso. Whisk until just combined.
3 Spread the meringue evenly into the tin. Bake for 8 minutes, then reduce the oven to 160°C/140°C fan-forced and cook for 20-25 minutes.
4 Lift the meringue from the tin on its paper and cool for 10 minutes on a wire rack. Lay another piece of baking paper next to the rack and lift the meringue on the paper and fl ip it over onto the clean paper. Leave to cool then gently peel o the top paper.
Since 2005, Royal Doulton has partnered with Gordon Ramsay to launch a number of casualmeets-classic collections. Among them is ‘Maze’, a functional and stylish range that features timeless design elements that hero all kinds of dishes – including this espresso martini roulade, created by Ramsay to commemorate David Jones’ 185th anniversary.
“My perfect celebration dessert is an oozy chocolate roulade,” he says. “I always say [that] even before you taste, you eat with your eyes, so to add to the celebratory feel, perfectly plate your roulade on my stunning Royal Doulton ‘Maze’ collection, before fi nishing with a dusting of icing sugar.”
1 tbsp cold espresso or very strong black co ee
2 tbsp Kahlúa or co ee liqueur
For the chocolate filling
200g dark chocolate (70% cocoa solids), chopped into chunks
50g unsalted butter
120ml double cream
½ tsp sea salt
1 Preheat the oven to 200°C/180°C fan-forced. Line a 23x33cm Swiss roll tin or deep baking tray with baking paper, then lightly oil the paper.
2 Whisk the egg whites with a hand mixer until glossy and holding medium peaks.
5 For the co ee cream, whisk the cream, icing sugar, espresso and Kahlúa until it just starts to thicken to soft peaks. Spread evenly over the cooled meringue, leaving a small border. Chill in the fridge while you make the chocolate fi lling.
6 Melt the chocolate in a heatproof bowl over a pan of simmering water, being careful not to let the bowl touch the water. Stir in the butter gently, then leave to cool for 15 minutes. Add the cream slowly, whisking until thick, then mix in the salt.
7 Spread the chocolate over the co ee cream. Starting with a short edge, roll up the meringue, using the baking paper to help. Don’t worry if it cracks – it’ll be beautifully rustic! Chill until ready to serve, dusted with icing sugar or cocoa powder.
What about for foodie friends?
Foodie friends are so easy to buy for, because they really appreciate simple, great-quality ingredients. It doesn’t have to be a complicated gift: an excellent-quality olive oil or a fancy ingredient such as tru e oil will be so appreciated by anyone who loves cooking.
What are your thoughts on gifting tea?
What is your approach to host and hostess gifts?
WORDS REBECCA TAY
A bottle of wine is often people’s go-to gift for hosts, however I stopped drinking alcohol a couple of years ago so this has changed my approach! These days, I think it’s more creative and inclusive to gift a tasty treat such as after-dinner chocolates or some beautiful biscuits in a lovely package.
Do you have a go-to item?
I like gifts that are easily shareable. A sweet treat such as chocolate-covered almonds, shortbread or biscotti is usually my go-to. I fi nd gifts like this are really easy and useful for the host, as it doesn’t detract from the meal they’ve prepared –everyone usually has room for a little treat at the end of a meal.
I love gifting loose leaf teas because it’s a gift that lasts a long time in the pantry and keeps on giving! Fortnum & Mason is an institution, and its teas are famous in the UK – well worth the splurge. When gifting either chocolates or tea, I’m always drawn to beautiful packaging. It just makes the gift feel extra special and so nice to share.
AS THE WEATHER WARMS UP AND WE EMBRACE ALFRESCO DINING ONCE AGAIN, THE FOUNDER OF THE DESIGN FILES AND FRIEND OF DAVID JONES SHARES HER TIPS FOR
person under
WINE MERCHANT PRINCE WINE STORE HAS PARTNERED UP WITH DAVID JONES TO CURATE AN ECLECTIC SELECTION OF MUST-TRY WINES. HERE, FOUNDERS MICHAEL MCNAMARA AND ALEX WILCOX SHARE THEIR TOP FIVE PICKS FOR SPRING ENTERTAINING.
2014 VILMART GRAND CELLIER NV, $140.
Based in Montagne de Reims, this high-class Champagne is made from chardonnay and pinot noir from premier cru sites. It’s complex, complete and one for the ages – a perfect way to dazzle your guests and instantly impress.
PAIRS WELL WITH: Oysters and caviar.
2022 CHÂTEAU DU ROUËT CUVÉE RÉSERVÉE PROVENCE ROSÉ, $45.
A palate-cleansing wedge to keep your guests satisfied while you prepare for the next course. Don’t be fooled by the colour; this is not your usual rosé. High-quality fruit and structure welcome a ripe soft cheese to sustain everyone’s appetite.
PAIRS WELL WITH: A French cheese platter.
From the mineral-rich limestone soils of Tufo, this powerful dry white wine from Campania is made to accompany food. A rich white sauce in particular will do wonders to the stone fruit ripeness in the wine, with driving acidity leaving the palate wanting more.
PAIRS WELL WITH:
Poultry or seafood.
$58.
A friendly white Burgundy is sure to please. This chardonnay’s freshness and precise tension cut through a dish that has some richness, while its mid-weight delicacy won’t overpower.
PAIRS WELL WITH:
Sashimi or crudo with a zingy
A high-class Burgundy from Savigny-lès-Beaune, this pinot noir is made from prestigious premier cru vineyards. Calibre as such deserves more complex dishes – the full palate weight from concentrated, well-farmed vineyards will shine when matched with food of the same intensity.
PAIRS WELL WITH:
inspired the Fenton & Fenton journey over the past 15 years, and it has a strong Sicilian influence as I was there when the concept was born. The range includes tableware, napery, plates, glassware, cushions, sarongs, totes and towels. We’ll also have some really beautiful faceted glass vases and candlesticks, sculptures, throw rugs, a lighting collection, some bone-inlay pieces, super cool ‘stumps’ and some other surprises.
What’s your favourite texture or material to use? I love all di erent materials – when you style them together, it’s the mixing of textures that excites me most. I can’t say I have a favourite, but I’m loving our new ‘Utopia’ cushions. They are a really luxe crushed-silk velvet with contrasting fringing on the edge. They’re irresistible... if you can say that about a cushion!
How does it feel when you spot your pieces in someone’s home?
What prompted you to start Fenton & Fenton more than 15 years ago?
It was during a trip to India. In the bustling markets, I was struck by the realisation that I wanted to immerse myself in colourful cultures and inspiring craftsmanship on a daily basis. I had been thinking of ways to turn my love for travel into a business –and in that moment, I knew this was what I wanted to do.
How would you describe your approach to colour? I’m drawn to vibrant colours because they evoke a sense of joy in me. I’ve always wanted to encourage others to embrace living with colour. Once you take that leap and surround yourself with colour, it can be really addictive.
How do you go about producing so many di erent types of homewares?
What about your approach to design more generally? I don’t take interiors too seriously; it’s all about having fun, sparking joy and living a life less ordinary. My approach is to be brave and push the boundaries, but also create pieces that are timeless and that you’ll have forever. I believe in surrounding yourself with things you love and staying true to your individual style.
We approach each category similarly, but when we are designing furniture, we want to create pieces that are the foundation of a room: [using] iconic shapes and materials that will really stand the test of time. For soft furnishings, decor and tabletop, we love having a bit more fun and o ering things you won’t find anywhere else. They’re pieces you can use to bring your space to life and move around the home to change the mood.
Tell us about the Life In Colour collection, which marks your launch at David Jones. We are super excited! This collection was really inspired by my travels. It’s a celebration of the colours, places and cultures that have
I always love seeing our products in people’s homes. I also love hearing how it makes them feel. I often have people tell me how happy a certain piece makes them every time they look at it, and some of these clients have pieces from more than 10 years ago. I always feel honoured that a Fenton & Fenton piece has been part of someone’s life in that way for such a long time.
WITH FENTON & FENTON BRINGING ITS COLOURSATURATED HOMEWARES TO DAVID JONES IN SEPTEMBER, WE CHAT TO ITS MELBOURNEBASED FOUNDER, LUCY FENTON, ON THE ROLE INTERIORS PLAY IN SPARKING JOY.
You launched your brand 20 years ago. How does it feel to be celebrating such a milestone?
You know, I resisted it. I don’t really want to look backwards, because ultimately, it’s just a day. But in the end, I used it as a way to look at some of the things we’ve done, upgrade them for the future and talk about some important topics.
Topics like sustainability?
Yes – I mean, we still have things in our collection that are 15 years old and are still going strong, so there’s a longevity about it, which makes it slow moving, and probably sustainable in a way. What’s interesting is that some of those things are even turning up in antique shops and sales now. In our discussions around sustainability, you can talk about recycling and carbon neutrality in our trade, but the thing that really works is to have things that have a sense of permanence and build quality, which allows them to be used and reused and handed down. That’s really an authentic way of talking about sustainability.
How do you approach your smaller accessories versus your furniture?
I love the juggling of the three typologies [furniture, hard accessories and fragrances]: it drives everybody else insane, but for me, for instance, fragrance is very important in my observation of design. You can spend a lot of time talking about working on the shape and the piece, but often your impression is intangible. Your fi rst impression of a hotel room is often the smell that comes from the cleaning fluids, and it can ruin your experience. The intangibles in a space are also much harder to communicate, and they’re bought in a di erent way. If you like a smell, you might come and buy it four or five times a year, whereas with a table, we’re lucky if we get a returning customer in 20 years. It’s interesting for me to be in a position where we have some things which work on the fashion side, and some things that work much slower and are more predictable and old-fashioned.
You’ve been known for working with all di types of metals or using metallics in your work. Where did this focus originate?
When I found welding, it was a way of making things really quickly without too much planning. When you do woodwork or ceramics or plastics, there’s a lot of preparation and you need to know what you’re setting up to do. Metal has been really important, fi rst as a material that suited my impatience – at the time, I was using scrap metal, so it was free as well! – and then it’s also allowed us to become fashionable. The di erent metals used in di erent ways became a library of possibilities.
How did you approach your limited-edition anniversary collection, TWENTY, which is characterised by handpainted brushstrokes? It was quite hard to get people who are used to being extremely precise, for decorations that are very demanding, to be a little scru er. But now that everything is industrially produced, it’s nice to see a little bit of handwriting.
MEET THE BRITISH DESIGNER KNOWN FOR ICONIC HOME FRAGRANCES AND ELEVATED ACCESSORIES AS HE CELEBRATES 20 YEARS OF ECCENTRIC DESIGN.TOM DIXON ‘Bash’ Vessel (small) 23305380, $625. TOM DIXON ‘Bone’ Bowl (extra large) 23573826, $750. TOM DIXON ‘Tank’ Decanter 22330298, $365.
‘Brodie’ Queen Quilt Cover Set 26058865, $279.99, and European Pillowcases 26058968, $59.99 for two, Washed Linen European Pillowcase 26074305, $54.99 for two, and Standard Pillowcases 26074304, $49.99 for two, 300TC Egyptian Cotton Queen Sheet Set 23739512, $249.95, and ‘Brighton’ Ribbed Glass Tumbler 25338290, $39.95 for four. MAISON BALZAC ‘Lou Lou’ Vase (extra large) in amber 25160591, $179.
Clockwise from bottom left: COUNTRY ROAD ‘Lucy’ Tumblers 25763698, $44.95 for two, and Highballs 25763700, $49.95 for two, ‘Souk’ Dinner Plates 23725058, $19.95 each, Bowls 23725056, $19.95 each, and Side Plates 23725052, $17.95 each, ‘Nolan’ 16-Piece Cutlery Set 22381332, $129, ‘Dana’ Napkins 23146189, $49.95 for four, ‘Vivi’ Tumblers 23843966, $17.95 each, and ‘Nero’ Decorator Bowl in amber 25800987, $99.95.
YVES DELORME ‘Bahamas’ King Duvet Cover 25299668, $799.95, Standard Pillowcases 25299670, $159.95 each, European Pillowcases 25299671, $159.95 each, King Flat Sheet 25299673, $549.95, Quilted Bedspread 25299681, $1349.95, and Counterpane 25299682, $1599.95, and Pigment Laurier Square Cushion 25299678, $179.95. DINOSAUR DESIGNS ‘Lotus Seed’ Vase 24973451, $179. Colour Is Home by Charlotte Coote 25000268, RRPµ $59.99.
μ RRP refers to the supplier’s recommended retail price for Australian book retailers.
26024816,
LA CAFETIÈRE ‘Pisa’ 8 Cup
$79.95, and 3 Cup
DESIGNS ‘Rock’ Jug (large) in mint 24223681, $280, and ‘Earth’ Bowl (large) in honeycomb 25659310, $300. APOSTLE HOT SAUCE Saint Phillip Roasted Capsicum & Chilli 150ml 24411152, $16.95.
Clockwise from left: ECOLOGY ‘Camille’ Carafe 1.3L 26150501, $59.95, and Tumblers 250ml 26150498, $69.95 for four, ‘Tide’ Dinner Plate 27cm in lilac 26150486, $19.95, ‘Belle’ Shallow Dip Bowl 13.5cm 26150493, $26.95 for two, ‘Fray’ Placemats in lilac 26150515, $49.95 for four, ‘Solis’ Dinner Plates 27.5cm in milk 26145575, $79.95 each, ‘Arco’ Side Plates 24cm 26150475, $79.95 for four, ‘Aveline’ Champagne Saucers 280ml in amethyst 26150502, $79.95 for four, ‘Arlette’ Vase 16cm in lilac 26150512, $49.95, ‘Gateaux’ Cake Plate 20cm in pink/blue 26150509, $49.95, and ‘Gateaux’ Cake Plate 32cm in tan/rust 26150507, $79.95. LAGUIOLE BY JEAN DUBOST ‘Simplicite’ 7-Piece Cake Set 22908126, $134.95.
SHERIDAN ‘Anteo’ Queen Quilt Cover 26053484, $599.99, Standard Pillowcases 26053480, $149.99 for pair, and European Pillowcases 26053482, $119.99 each, and ‘Abbotson’ Ticking Stripe Queen Flat Sheet 26053448, $349.99, and Standard Pillowcase 26053442, $149.99 for pair. GREG NATALE ‘Polar’ Marble Bowl 24363879, $195.
THE WILDLY IMAGINATIVE HOBART HOME OF MULTIHYPHENATE INFLUENCER AND MEDIA PERSONALITY LILLIAN AHENKAN – AKA FLEX MAMI – IS AN EXERCISE IN FINDING JOY AND IRREVERENCE IN EVERY SPACE.
I“have a hyper individuality complex,” confesses Lillian Ahenkan, better known as Flex Mami, with a laugh. She’s chatting to me in Sydney, hours away from boarding a flight to Melbourne – a trip she makes weekly, alongside frequent jaunts to her Hobart home. It’s a schedule that would exhaust anybody, but then again, Ahenkan isn’t your average 20-something. For starters, she’s astute, self-aware and astonishingly articulate. She’s also disarmingly open, which perhaps isn’t so surprising given she has 169K Instagram followers. But unlike other media-savvy, soundbite-spouting influencers of her ilk, Ahenkan makes it all look rather chill and easy. Which it isn’t.
A life in the public eye takes a certain disposition, and Ahenkan is highly motivated, which is also to say she’s busy. An awardwinning influencer, author, CEO, TV presenter, radio host, podcaster, DJ and TV Week Logie nominee (for Most Popular New Talent), Ahenkan has crammed a lifetime’s worth of roles into her 29 years. Born and raised in Sydney to Ghanaian immigrant parents, Ahenkan credits much of her flair to her upbringing. “Everybody says Ghana is the ‘flexing country’ – [people are] always dressed up, always accessorised. It’s always a moment,” she says. “I feel like this idea of living a very accessorised and embellished lifestyle is cultural and contextual as well, because I definitely learnt it from my mum.”
And yet, you get the impression everything has evolved organically, including the decision to turn her Hobart property into an Airbnb. “I remember there was someone who followed me online who was like, ‘Do you think it’d be possible if I stayed here for my hen’s night?’” she recalls. “I was like, ‘Why not?’ I’d love the space to serve a purpose outside of just sitting there, gathering dust, especially because I put so much care and intention into creating it.” And so, Casa De Flex was born. Located in Dodges Ferry, half an hour outside of Hobart – “where the beach meets farmland” – it is Ahenkan’s passion project, a distillation of her singular taste, style and e ervescent personality.
“I would say it’s refined maximalism,” she says of the pastel-hued interiors. “I have to
“I LIKE THE IDEA OF A HOUSE BEING A COLOURFUL SANCTUARY –A PLACE TO CREATIVELY EXCITE YOU AND NOT JUST NUMB YOU OUT WITH NEUTRAL BEAUTY”
punctuate it with ‘refined’ because people think maximalism is just colour and clown collage caked with no rhyme or reason, but that’s not how I feel about it at all.”
In fact, Ahenkan admits that neutrals have their merits. “I like the minimalist ethos of ensuring things in the house have an intention and a purpose,” she says. “Designing with a sense of flow and oneness, so everything that’s in there is meant to be. But I like the idea of a house being a colourful sanctuary –a place to creatively excite you and not just numb you out with neutral beauty.”
Ahenkan also has a penchant for the Memphis Milano design movement, which took hold in 1980s Italy. She describes it as a form of “aesthetic charisma – what would a room look like if it was outgoing?” But there are limitations to decking your house out in vintage Memphis paraphernalia, so Ahenkan had to compromise. “I wanted to find that middle ground between a space that’s creatively satiating, but also calming and relaxing.”
Luckily, the property has in-built serenity, owing to the house’s bucolic surroundings:
“It’s surrounded by trees and foliage and fruits and vegetables, and you can hear goats and cows constantly.” If Hobart seems an unlikely choice for the self-described city slicker, it wasn’t. Influenced by a friend’s move to the Tassie capital, Ahenkan found herself visiting frequently and fell in love with the community. “Being in an environment where the culture and art is so threaded into the fabric of the city as opposed to being dropped in and dropped out, I was just so excited by it,” she says. Despite her spontaneous persona on Instagram and TikTok, Ahenkan places a lot of thought into every project. She spent time refining the bones of the place, working closely with Tasmanian-based construction firm Roberts & Rogers to actualise her vision. The mint and lilac colour palette in the bedroom and living area took inspiration from a Peter Pilotto pop-up at London Design Festival in 2017, and Ahenkan chose colours and patterns that have resonated with her in various rental homes. From the bespoke cloud-shaped bedhead to the curvaceous handmade bookshelves that serve as a recurring motif,
Well planned and executed, the home shows a real confidence with colour.every piece is deeply considered and went through a process of moodboarding and streamlining to ensure it was functional.
Ahenkan’s love for bold design is exemplified by the perfectly tablescaped Kelly-green dining table by Fearon and dusty pink Faye Toogood ‘Roly Poly’ chair, which pops against the lime green walls. Above it hangs a work by Sydney artist Miranda Lorikeet, while a neon pink ‘Barb’ cushion by Shy Talaga sits proudly on the lounge. To keep things fresh, Ahenkan gravitates towards joy-inducing homewares in vibrant colours from Australian brands. Think plates and dishware from In the Roundhouse and martini glasses from Maison Balzac. “T2 does amazing glassware, and a lot of the candles and coasters are from my own store Shop Flex,” she adds. “Bed Threads, Kip & Co and Country Road do great linen, and I love Dinosaur Designs for resin plateware.”
But if there’s one piece of decorating advice Ahenkan has, it’s to trust your gut. “To be honest, never ask for advice,” she laughs. “Everybody had opinions [on my house]: ‘You’re not going to like that... That’s going to date... Whatever, whatever.’ Every single thing in this house can be changed eventually. So [try] not to get stuck in this idea that it needs to be timeless. It literally doesn’t have to be, but it has to feel good.”
“I WANTED TO FIND THAT MIDDLE GROUND BETWEEN A SPACE THAT’S CREATIVELY SATIATING, BUT ALSO CALMING AND RELAXING”
ASSOULINE Ibiza Bohemia 21312398 and Bay 26102516, RRPμ $185 each.
LE CREUSET Signature Round Casserole 20cm in bamboo 24814488, $480.
STATUS ANXIETY ‘Phenomena’ bag, $229.95.
COUNTRY ROAD ‘Lani’ European Pillowcase 25592702, $69.95.
MAISON BALZAC ‘Volute’ Platter 24009401, $129.
SMEG ‘ TSF01PBAU’
2-Slice Toaster 20249461, $269.
MAISON BALZAC ‘Grande Pauline’ Candleholder 23801139, $79.
DINOSAUR DESIGNS ‘Earth’ Bowl (large) in shell pink 23165212, $300.
IN THE ROUNDHOUSE ‘Octopus’ Plate 25cm by Daimon Downey 23453668, $29.
MENU Salt and Pepper Bottle Grinders 22307427, $164.95 for set.
DINOSAUR DESIGNS ‘Dew’ Servers (long) in mint 25542730, $125.
DINOSAUR DESIGNS ‘Bow’ Vase in sky 25407602, $450.
When it comes to Aboriginal art, there’s more to each piece than meets the eye. Yes, the artworks are intricate and mesmerising, but they also o er a link to history and an important connection to Country for the artists. Keen to promote and preserve such an integral part of our nation’s cultural foundation, the Darwin Aboriginal Art Fair Foundation was established as a not-for-profit organisation that’s owned and governed by the Aboriginal and Torres Strait Islander Art Centres it represents. Executive director Claire Summers says each Art Centre is vital to the community it’s a part of. “Art Centres play an important role in maintaining cultural practices. They operate as meeting places and o er opportunities for training, education, career pathways and enterprise. They also play an economic role that’s crucial not only to the Indigenous art and craft industry, but also to the health of the communities generally.” With the foundation currently having more than 70 Art Centres from all around Australia as members, JONES takes a look at a couple of the groups involved.
One of the biggest and longest-running Art Centres in central Australia, Warlukurlangu Artists has been supporting the community of Yuendumu, about 290km north-west of Alice Springs, since 1985. The main aim of the Art Centre has always been to maintain culture, making it a valuable part of the community. “Warlukurlangu Artists has been the primary cultural organisation in Yuendumu for 38 years,” says manager Cecilia Alfonso. “From its inception, Warlukurlangu’s art became recognised for its bold use of colour through an unrestricted palette. The paintings tell the story of the artists’ connection to their Country, the features of the landscape, the plants and animals that are found there and the ancestral narratives from the Jukurrpa [creation period].”
Warlukurlangu Artists works with up to 800 artists every year, with their colourful paintings now in collections all over the world. “Art Centres provide meaningful activities and employment opportunities to people of all ages,” explains Alfonso. “Working as an artist is one of the only forms of non-government income in the community. Art Centres are also vital cultural institutions that support community member participation in the creation and sharing of culture and Country.”
THE PRODUCTION OF FIRST NATIONS ART, THE DARWIN ABORIGINAL ART FAIR FOUNDATION IS HELPING TO ENSURE THE LONGEVITY OF INDIGENOUS CULTURAL WORKS. WARLUKURLANGUWORDS LAURA CULBERT
Artist Wilma Napangardi Poulson at work in Yuendumu.
Designer Nat Dann creates swimwear that tells a story, with her inspiration coming from the natural colours and landscapes of the Kimberley and Pilbara regions.
After Naomi Collings was diagnosed with melanoma, she decided to create a stylish range of long-sleeve one-pieces and swim tops with her sister Kirsty – think bold prints, unique designs and rich, protective fabrics.
Playful yet meaningful, designer Tahnee Edwards’ typography-driven label speaks to pride, women’s empowerment and community.
Located in the remote Ramingining community in Central Arnhem Land, about 400km east of Darwin, Bula’bula Arts supports approximately 150 artists from the region. For each artwork, 60 per cent of the retail price goes directly to the artist, with the rest going towards keeping the centre running. “Art Centres are local businesses – they’re owned by the people, for the people – so they’re a place of self-determination; a culturally appropriate place to create income,” explains Bula’bula Arts executive director Mel George.
The art created at the centre ranges from paintings and weavings to sculptures and ceremonial objects, with each piece telling a traditional story in a contemporary way. George says she’s blown away by the diversity of Aboriginal art being produced –something that becomes particularly clear at the annual Darwin Aboriginal Art Fair. Her advice for choosing a piece? Educate yourself, meet the artist if you can and don’t forget the role you’re playing in supporting Indigenous culture. “When you buy a piece of art, you’re not just supporting that artist – you are also supporting their family, their clan family and who they represent, and the whole community. It’s bigger than just buying a piece of art.”
Each year, David Jones joins forces with Darwin Aboriginal Art Fair Foundation’s Indigenous Fashion Projects to stage a runway show at Australian Fashion Week. It’s a chance to tell the stories of First Nations designers and showcase their skills to the world. Here, we get to know the labels involved in the 2023 show, Future Dreaming.
Designed by David Leslie, Gali is a men’s swimwear brand that collaborates with First Nations artists and communities.
A sophisticated menswear label founded by Juanita Page, a Gooreng Gooreng and South Sea Islander woman, and her husband Ashford.
Cassandra Pons, a proud descendant of the Waanyi people, creates made-to-order lingerie for all shapes, sizes, colours and ages.
A range of art, homewares, textiles and fashion created by designer Melissa Greenwood and her mother (miimi) Lauren Jarrett, an accomplished traditional craftsperson.
WHEN IT COMES TO OUR HOMES, FOOD AND EVERYDAY LIVES?
ACCOMPANIED BY IMAGES CREATED BY AI GENERATOR ADOBE FIREFLY, THREE EXPERTS IN THEIR FIELDS ENVISION OUR FUTURE WORLD.
What will be the biggest changes to music in the next 20 years in terms of how we make it, listen to it and enjoy it?
We will have all the music we currently have, as well as new human artists and hybrids (humans and AI), and finally, a new, ever-evolving stream of music that’s glittering and startlingly beautiful. The weaving of pure harmony, complex patterns and unique melodies and sounds never imagined on this earth; it will respond to the listener, communicate musically with them and sing throughout their souls. Not everyone will want to listen to this! It will be like witnessing the birth of new universes.
What will this music sound like?
The future of sound will surely be a fusion of acoustic-sounding instruments blended with electronic, which shall produce literally an infinite variety of textures and timbres. The human voice will most likely remain a central figure in popular music, but could well be manipulated beyond the realms of human. We will have full reloaded avatar artists controlled in part with humans, as well as entirely artificial artists. My personal role in this will be to own and operate a reverb farm, but that’s another story for another day!
“WE WILL HAVE A NEW, EVEREVOLVING STREAM OF MUSIC THAT’S GLITTERING AND STARTLINGLY BEAUTIFUL”
What will the home look like in 50 years? Maybe think about that home like a 500-year-old eucalypt. Many bird species rely on really old, ancient trees to nest, and some trees that are 400 or 500 years old can have up to 100 di erent nesting opportunities for a red-crested cockatoo or little honeyeaters or native bees. In the past 250 years, we’ve removed almost all of those really old trees, removed the opportunity for so many species to thrive and reproduce. I see our buildings as a perfect opportunity to learn from that and design our buildings so they can be a habitat for so many things. A building I’m working on for my mum has 45 nesting boxes; each solar panel on the roof has a di erent nesting box and one is designed specifically for the helmeted honeyeater, which is critcally endangered. But we’re also planting species that allow endangered butterflies and other things to thrive. The roof is designed so that it’s vermin-, cat- and fox-proof, so you’ve got this safe haven.
Now, imagine if a million houses around Australia were designed that way, then suddenly we would have an opportunity for all these endangered birds and insects to thrive and flourish. I just see our homes as a potential to be an unbelievable, biodiverse ecosystem, and it’s exciting that people are recognising that potential. I’m being asked to design buildings in the UK and the US and all over the world because people really feel that this is a great approach. Every time I see a conventional building, I just see a lost opportunity.
The big power stations of the past – the coal-fired power stations – and the nuclearfired power stations that we have today, they’ll be replaced by our homes; our homes will become our power stations and we will diversify and decentralise, and that makes for much more resilient places. It makes for not only biodiversity – the plant and insect and bird point of view – but also for people. It means that people who are unable to participate in society through work because they might be getting to a retirement age or they have some kind of disability, these kind of changes to our infrastructure and our buildings allow them to participate through the growing of food or through maintenance or just by being surrounded by nature. I think it’s primal and I think it’s something that will happen – even without me – because it just makes so much sense. It’s really exciting to see the world embrace this idea and get excited by it.
“WE CAN DESIGN OUR BUILDINGS SO THEY CAN BE A HABITAT FOR SO MANY THINGS”
In 100 years, what will be the biggest changes in terms of what we eat?
In 100 years, every aspect of our lives will be personalised. Food will not be immune to this trend and personalisation will be the dominant driver of what consumers choose to eat. Having our DNA sequenced and our microbiome analysed will be an everyday event. We’ll be eating not just for tasty fuel,
insect farmers, mycoprotein (from fungi) farmers, even ‘food from air’ farmers and many more. Growing our own meat on the kitchen counter could become reality.
What do you think will be the biggest change in terms of how we prepare our food? Will we still cook it?
We’ll still appreciate the act of selecting, preparing and cooking our food. However, our level of involvement and our tools may change. We could possibly have fully robotised kitchens – slicing, dicing and sautéing to our personal specification – and perhaps personalised 3D printer/cookers will be commonplace. The choice of how involved we are in our food preparation will be ours.
Do you think our palates will change as a result of all this, or will we still favour the flavours that we currently do?
The only thing constant is change, and the rate of change will never be slower than it is today. The rapidly changing technologies a ecting the food and agriculture industries mean that the supermarkets and restaurants of 2123 will be selling products that don’t exist today with flavours we can’t even imagine. Just as the flavours we favour today would be unimaginable to the consumers of 1923. but for our health, based on data. Data from our genome and microbiome, combined with real-time nutritional data from sensors tattooed on or placed in our bodies; all analysed by our personal, quantum-powered AIs. Food will be a source of wellness, not illness.
Where will our food come from?
We’ll have more than 11 billion people on the planet by 2123 and not enough arable land and freshwater to feed them using the current food system. So we’ll need new technologies so we can grow food in a more resource-e cient way. But whatever the food available in supermarkets and restaurants, we’ll undoubtedly still have farmers – but our definition of a farmer will have to expand. We’ll have algae farmers,
“WE’LL BE EATING NOT JUST FOR FUEL, BUT FOR OUR HEALTH, BASED ON DATA FROM OUR GENOME AND MICROBIOME”