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ISSUE 1 - FI R E U P [10.] Contributors [14.] Editor’s Letter [16.] Fierce Jewels [20.] New Frontier SS 09/10 Report [38.] All Ears for Georges Antoni [52.] Liesl Gaffney-Dawson: Watch This Space [58.] Laughing Lanarch

FASHIO N [64.] [84.] [102.] [110.] [118.]

Clean & Press Hey, Nature Boy, Are You Looking at Me? Forbidden Faces The Logic of Alice Something About Klimt Fire Up!

[128.] [132.] [134.] [136.]

POW! BAM! BIFF! Botox for Life To Chop or Not to Chop 80’s Electric



OPINI O N [142.] BEATS [150.] [154.] [156.]


[3164] [3166]

Disposable The Vignettes: Sex Attack! Tokyo A Go Go Daniel Boud follows... Tangent Yourself Tangent Red Carpet

- is Editor-in-Chief Heather Cairns

Director Emmanuel Giraud

Marketing/Beauty Editor Emma Giammarco Advertising Director Fiona Susanto Art Designer LLoyd McAlister Web Designer Marcel Cohrs

- with Photographic Contributors Yann Audic Daniel Boud Oscar Bravo David Cummings Emmanuel Giraud Sebastian Kriete Bec Lorrimer Cybele Malinowski Katie Nolan Daniel Nadel

Styling Contributors Divya Bala Beth Buxton Emma Coteril Rebecca Doyle Lucy Edmonds Writing Contributors Yann Audic Ravi Glasser-Vora Emma Giammarco Daniel Boud Special Contributors Sarah Larnach

Studio 3, 144 Cleveland St Chippendale NSW 2008 Sydney, Australia Cover Image: Photography Emmanuel Giraud at MissBossyBoots Styling Heather Cairns Model Liesl Gaffney-Dawson at Chic Management Hair Chad Drinkwater for Suki Hairdressing Makeup Cassie Sobel at Reload




UTORS WHO’S TRASH IS YOUR TREASURE? The rejected shots of ‘Dogging’ from Steven Meisel WHAT GETS YOU UP IN THE MORNING? The dreams of a new impossible image to create and my Tangent to do list! WHICH WORDS SUM UP YOUR MOOD RIGHT NOW? Human after all! WHAT DOES TOMORROW HOLD? That stresses me out… I don’t really want to know but I’m working on it! WHEN AND WHY DO YOU FEEL EUPHORIA? The first seconds of something/someone new in your life…! WHAT TANGENT ARE YOU ON? Tangent Issue 1 is out of my dreams now! WHO’S TRASH IS YOUR TREASURE? I don’t know if it’s trash, but I really enjoy picking up on little details of things or people that are usually overlooked. Or disregarded. Like the way someone uses chopsticks, or some good typography. WHAT GETS YOU UP IN THE MORNING? The knowledge that in exactly 14 hours I get to be back in bed. WHICH WORDS SUM UP YOUR MOOD RIGHT NOW? I really like “Mum words” like snappy, snazzy, groovy. So cute. WHAT DOES TOMORROW HOLD? Getting up ludicrously early, hitting my mark at about 10 in the morning. It’s kinda all downhill from there. WHEN AND WHY DO YOU FEEL EUPHORIA? On only a few occasions have I been to the moon with satisfaction and re-entered the earths atmosphere surrounded by a glowing field of pleasure. But its usually when I finish something that leaves me with blisters. Metaphorically speaking of course. WHAT TANGENT ARE YOU ON? Apparently quite a significant one. How did we get to blisters and pleasure in the same answer? Jesus. WHO’S TRASH IS YOUR TREASURE? I still wear t-shirts I went to highschool with. I guess by now they would be in everybodies trash, but I am going to keep wearing them until they fall off. WHAT GETS YOU UP IN THE MORNING? Coffee & music. WHICH WORDS SUM UP YOUR MOOD RIGHT NOW? One step back, two steps forward. WHAT DOES TOMORROW HOLD? They say every picture has been taken already. I see a picture as a trophy, like a book that you’ve read and then it sits on your bookshelf. Tomorrow, I’ll probably take another one. WHEN AND WHY DO YOU FEEL EUPHORIA? I think photography is generally not “made to happen”. Too many things can go wrong. Bad weather, moodswings, individual interpretations of call-times, people tripping over things… and so on. So it feels pretty good when it all works out and beautiful pictures do happen. WHAT TANGENT ARE YOU ON? Don’t know. Sometimes it feels more like walking in circles.




UTORS WHO’S TRASH IS YOUR TREASURE? My mums old woolly sweater... and my boyfriend’s ipod. WHAT GETS YOU UP IN THE MORNING? My Toby’s coffee of course! WHICH WORDS SUM UP YOUR MOOD RIGHT NOW? Creatively exhausted ..... (but in a good way) WHAT DOES TOMORROW HOLD? A test shoot then a yummy gin Martini @ La Strada. WHEN AND WHY DO YOU FEEL EUPHORIA? When I am put out of my comfort zone and my skills are put to the test and the final result comes out better than expected ...... why you ask??... Because who doesn’t like getting a pat on the back from their peers WHAT TANGENT ARE YOU ON? Creative WHO’S TRASH IS YOUR TREASURE? I’d like to say my two sisters… but it’s usually my own treasure, buried deep under the X in their cupboards, that they have “borrowed” and “forgotten” to return. WHAT GETS YOU UP IN THE MORNING? I would be lying if I didn’t say the kookaburras who live right outside my window. Otherwise it’s the tempting memories from yesterday morning of chai tea and yoga. WHICH WORDS SUM UP YOUR MOOD RIGHT NOW? Right now I’m feeling bold. Content. And looking forward to tomorrow (read: chai tea and yoga). WHAT DOES TOMORROW HOLD? Chai tea and yoga?! And… days spent travelling and reading and cooking, working on beautiful shoots with beautiful people. Preferably working with beautiful people on a beautiful shoot in a beautiful country… a girl can dream right? WHEN AND WHY DO YOU FEEL EUPHORIA? I feel euphoric when it all comes together. When I stop working towards “one day” and stop thinking so much. It comes randomly, and fills me up until the next time. WHAT TANGENT ARE YOU ON? A very special one. Watch this space.

WHO’S TRASH IS YOUR TREASURE? Bad 80’s movies… trashy story lines and bad acting are always a treasure! WHAT GETS YOU UP IN THE MORNING? Usually the sunshine, sometimes the moonlight, but always the boogie. WHICH WORDS SUM UP YOUR MOOD RIGHT NOW? Serenity now. WHAT DOES TOMORROW HOLD? Another day… of doing today’s to do lists. WHEN AND WHY DO YOU FEEL EUPHORIA? Warm summer days and Sunday sessions, need I say more! WHAT TANGENT ARE YOU ON? The equalling of the ratio’s of adjacent and opposite sides on a right angle triangle.

EDITOR’S FIRE UP. Welcome to the first issue of Tangent Magazine. Have you ever looked through the bottom of a glass and watched the world in distortion? It is Tangent’s mission to take that glass, and put it over the world of fashion for you. At Tangent we celebrate fashion as art. We want our opulent underground aesthetic to bend your mind. It is our mission to make you discover every secret corner of fashion. We are not high brow or low brow, if it’s fabulous, we’ll dish it up and serve it with a cherry on top. The first issue has been a journey. Over a coffee, the Director Emmanuel Giraud and I, came up with concept for Tangent Magazine.

Months later, a team of two had developed into a magazine with over 30 contributors producing amazing content. This issue is ignited by; an exclusive interview with fashion photographer Georges Antoni (p38), Ravi Glasser-Vora’s insights on the modern face of fame in ‘Disposable’ (p142) and Sarah Larnach’s sketches for Fierce Jewel’s (p16) to name but a few. The fashion editorials (p64) have been handpicked based on their creativity and ability to inspire your wardrobes. The beauty section champions the use of Botox as not just a superficial deed, and, get ready for The Vignettes ‘Sex Attack’ on (p150) I’d like to thank every contributor for their

LETTER brilliant work. Special thanks goes to our Art Designer Lloyd McAlister and our Web Designer Marcel Cohrs, for the all the late nights and hard work. So welcome to our Tangent world, it’s time to strike it up. Heather Cairns

fierce JEWELS

We got artist Sarah Larnach to draw some of her fierce animals to pa Styling. Heather Cairns

Bear wears Cerrone necklace

air with even fiercer jewels. These jewels roar.

Jaguar wears Giorgio Armani necklace

Gorilla wears Dior necklace

Wolf wears Cerrone necklace

N E W- F R SPRING SUM REP Tangent feels the tectonic plates of Australian fashion have shifted into a new position. We feel there are four distinct groups of designers who are shaping and developing this exciting era of Australian fashion. A new agenda is being set. Australia is no longer governed directly by what is happening in our sister hemisphere. THE POWER PLAYERSRepresented by Akira & Kirrily Johnston. These are the designers who headline Australian fashion. Their unique designs define our nationalistic style both overseas and in our own backyards. Their signature aesthetic, and high quality design give us reason to justify investment pieces. These are the designers who make us proud. THE MONOCHROMATIC TAILORISTS – represented by Saint Augustine Academy & Fernando Frisoni. These designers have produced entire collections with bespoke tailoring and monochromatic tones. Jeans and

ONTIER MMER 09/10 ORT T-shirts are no longer excusable as a staple Aussie wardrobe. Svelte and formal sophistication has never been more Australian. Ladies and Gentlemen it’s time to dress up. THE INNOVATORSRepresented by Master/Slave & An Ode To No One. Boundless creativity and wearable avant-garde designs are what these designers are recognisable for. Their wild imaginations and complex designs give Australians the chance to dress with flair and add wearable pieces to their wardrobe that are truly one of a kind. THE PAVEMENT CRUSADERSRepresented by Strummer & Pop Issue. Welcome the new underground chic, the street is becoming stylised. These designers are putting their signature on the street and their designs are permeating the wardrobes of the early fashion adapters and trend setters. Get ready for the quake. Heather Cairns


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WHAT WAS YOUR INSPIRATION FOR YOUR ‘RESORT 10’ COLLECTION? I had been reviewing my archive collection and thought the  drapery and asymmetry were kinds of things that might be worth re-visiting.  As  the collection is for summer there is a gentle airy-feel to it.  The collection also  has an  unexpected combination of colours. WHAT DO YOUR ABOUT FASHION?  Timeless.



WHO IS WEARING AKIRA THIS SEASON? Anyone from   friends and family to the women on the other side of the planet.




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WHAT ARE THE KEY PIECES IN YOUR COLLECTION? Styles that are multi-functional. WHAT FASHION TANGENT ARE YOU ON? A particular aesthetic which is recognizable. WHAT MAKES THE PERFECT OUTFIT?  When you aim for imperfection -You might reach perfection accidentally. FAVOURITE SUMMER PAST TIME? Ice tea and afternoon sleep. WHAT DOES SUMMER SMELL LIKE TO YOU?  The sea.


K I R R I LY J -KIRRILYJ WHAT WAS YOUR INSPIRATION FOR SPRING SUMMER 09-10? The concept of time and two things coming together. Mainly being my first time menswear collection coming together on the catwalk with the women’s range. I am also heavily into clocks and watches at the moment so when I found the old clock belt in Tokyo it seemed to pull my themes together. WHAT DO YOUR DESIGNS SAY ABOUT FASHION? That it doesn’t have to be cheap to be easy. WHO IS WEARING YOUR LABEL THIS SEASON? Quite literally Miranda Otto, Toni Colette, Miranda Kerr, Megan Gale, Gracie Otto, Rachael Taylor & all of my ridiculously hot girl friends, oh and my mum!


O H N S T O N OHNSTONWHAT ARE THE KEY PIECES IN YOUR COLLECTION? The entanglement knits. All hand patched together and full holes on purpose. They are the ultimate in edgy boho and are unisex. WHAT FASHION TANGENT ARE YOU ON? Unisex, easy but elegant. Affordable investment pieces. WHAT MAKES THE PERFECT OUTFIT? Lot’s of luxe droopy layers and a pair of killer heels. FAVOURITE SUMMER TIME? Swimming in the ocean.




SAINT AUGUST A L V I N WHAT WAS YOUR INSPIRATION FOR SPRING SUMMER 09-10? A song by Danish band the Raveonettes, – it fuses the sounds of mod rock, 60s girl groups and surf rock. That song is called ‘Do You Believe Her?’. In the 60s (prepsychedelia) men always looked so sharp in skinny tailoring and women were so graceful in their lace and ruffles. I wanted to bring this kind of sophistication to a market that is increasingly getting taken over by the overt casualness of jersey and draping. WHAT DO YOUR DESIGNS SAY ABOUT FASHION? Saint Augustine Academy is classic enough for a broad audience, but with unique detailing, fit and flair for the fashionconscious to really appreciate. WHO IS WEARING SAINT AUGUSTINE ACADEMY THIS SEASON? Men who are wearing SAA are looking for a stylish alternative. Women wearing SAA are after something more structured and tailored but with a delicately feminine edge. WHAT ARE THE KEY PIECES IN YOUR


TIN E AC ADEMY M A NAL O COLLECTION? Every girl will want the tuxedo jacket, for its sultry take on what is traditionally masculine. The lace dress with bell sleeves is already in demand as well. For menswear, the tuxedo shirts with contrast panel bib detail and tailored fine wool shorts will be off the heezy! WHAT FASHION TANGENT ARE YOU ON? My inspiration is always where the collection starts, and not derived from overseas trends. WHAT MAKES THE PERFECT OUTFIT? The perfect outfit is always anchored by something unexpected – for example, wearing a shirt with tails under a cropped jacket or wearing tough boots with a delicate lace dress. FAVOURITE SUMMER PAST TIME? Climbing rocks in Gordon’s Bay, summer festivals, and getting drunk in parks. WHAT DOES SUMMER SMELL LIKE TO YOU? Salt water, sweat, sunshine and ….


F E R N A N D O -FERNAND WHAT WAS YOUR INSPIRATION FOR SPRING SUMMER 09-10? Purity tribal, a new world where people don’t have to worry about others. WHAT DO YOUR DESIGNS SAY ABOUT FASHION? I like comfortable and luxurious that’s what I think when I design. WHO IS WEARING YOUR LABEL THIS SEASON? Unpretentious good looking with taste kind of people. WHAT ARE THE KEY PIECES IN YOUR COLLECTION? Media and buyers favourite is the robe, is actually my piece of the season too.


O F R I S O N I OFRISONIWHAT FASHION TANGENT ARE YOU ON? I don’t look on when I’m designing I follow my inspiration! WHAT MAKES THE PERFECT OUTFIT? Confidence and individuality. FAVOURITE SUMMER PAST TIME? On a boat from Monaco to St Tropez. WHAT DOES SUMMER SMELL LIKE TO YOU? Sea salted skin, wet hair … sex.


M A S T E R - RODERICK NG & WHAT WAS YOUR INSPIRATION FOR SPRING SUMMER 09-10? The Inspiration for every collection goes back to the core values of Master/Slave’s philosophy on design. We need to look at the big picture on the greater social culture and psychosocial consciousness to interpret in fashion what people want to wear and what the public wants to see other people wearing. Fashion is both inspirational and aspirational. Every season we start from scratch. We source for fabrics offshore. And start designing the heart of the collection. In the process of designing the core centre pieces we continue to develop and re evaluate our fashion on a weekly basis. There is no set timeline for our collection. We strongly believe that the idea of fashion being sold on a seasonal basis is becoming obsolete. It is not abnormal to come into our boutique in Darlinghurst one week to find a garment gone, only to see it manifested into something else the next. It is our own way of tackling eco- change. WHAT DO YOUR DESIGNS SAY ABOUT FASHION? Fashion is art to Master/Slave. Every garment has to be as good on the inside as it is on the outside. High street fashion will always have a place in the public domain of fashion but our designs are here because there is a demand. Clothes are an expression of creativity and art. We try to encapsulate


/ S L A V E & ELEN I KONDOS that in our fashion and everything we do. WHO IS WEARING MASTER/SLAVE THIS SEASON? Gin Wigmore amongst other artistes and TV personalities. WHAT ARE THE KEY PIECES IN YOUR COLLECTION? We are loving sculptural and stiff amoebic shapes at the moment. WHAT FASHION TANGENT ARE YOU ON? Master/Slave cares about people. Our fashion is about empowering individuals. Whether simple or intricate, our fashion seeks to inspire our clients. WHAT MAKES THE PERFECT OUTFIT? The person who is wearing it. FAVOURITE SUMMER PAST TIME? Finding new ways to keep fashion significant through the summer heart. WHAT DOES SUMMER SMELL LIKE TO YOU? Lilies of the valley.


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WHAT WAS YOUR INSPIRATION FOR SPRING SUMMER 09-10? My inspiration in general is and has always been from 19th century era. WHAT DO YOUR DESIGNS SAY ABOUT FASHION? I intend to encourage people to create self-image. I’m not exactly sure if that translates in my designs yet but I’m working on it. WHO IS WEARING YOUR LABEL THIS SEASON? The Veronicas, Ruby Rose, Duffy, Bridezilla. WHAT ARE THE KEY PIECES IN YOUR COLLECTION? Construction and deconstruction of garments have always an inspiration. Key pieces from my collection would



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have to be cropped tuxedo jacket with sharp pointed shoulder from AW09 collection and armour inspired jacket from SS0910 collection which both I constructed myself. And all draped pieces. WHAT FASHION TANGENT ARE YOU ON? Every piece in my collection is a reflection of how I feel. There’s a masculine side of me and there’s a feminine side of me. My collection is a part of who I am. WHAT MAKES THE PERFECT OUTFIT? The wearer. WHAT DOES SUMMER SMELL LIKE TO YOU? My bedroom. I stay in, take drugs and write songs during summer.


S T R U - GINA COLE & E WHAT WAS YOUR INSPIRATION FOR SPRING SUMMER 09-10? Each collection is guided by a narrative that we put in writing before designing. Our SS09/10 collection was inspired by a ‘Beautiful Place in the Sun’ where a group of people find themselves stranded. This odd bunch includes an Artist, A Sailor, a Disco Queen and a young, nerdy boy. When you put them all together, combining their personal style and personalities you get the overall blend that is our Strummer Summer. WHAT DO YOUR DESIGNS SAY ABOUT FASHION? We skip to our own beat and follow our own vision when it comes to fashion. It is about putting together a mix of classic silhouettes and projecting a look which is comfortable and clean. Our designs show that fashion is a happy marriage of past and present influences. WHO IS WEARING STRUMMER THIS SEASON? YOU ARE! The girl who is wearing Strummer this season is a girl who is curious and alert to what is new in Aussie Fashion. Kat from Cassette Kids will be wearing the striped bodysuit this season. And of course all of our


M M E R DWINA HAGON gorgeous friends! WHAT ARE THE KEY PIECES IN YOUR COLLECTION? The crochet styles, the Beautiful Place Dresses and Blouses as well as the Basket weave Booties and Stack Heels. The mini suit shorts are our personal pick. WHAT FASHION TANGENT ARE YOU ON? Our label can dress the Strummer girl for any occasion. When we design it is key that all of the pieces can be styled back together. We do like to throw around the phrase ‘boho chic’which gives the idea of a relaxed casual fashion that sits on the higher shelf. WHAT MAKES THE PERFECT OUTFIT? Layering clothes together in your own way that really reflects your style. A vintage hat is always a great accessory. FAVOURITE SUMMER PAST TIME? PING PONG AND BEERS IN OUR studio back yard. The beach of courselove Nelson Park and skating down lighthouse rd in Byron. WHAT DOES SUMMER SMELL LIKE TO YOU? Sunscreen, jasmine, smoothies and salt water.


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WHAT WAS YOUR INSPIRATION FOR SPRING SUMMER 09-10? For Pop Issue, this season is called ‘Feel Born Again’, I have taken inspiration from the eighties music and movies and fused it with a European aesthetic. WHAT DO YOUR DESIGNS SAY ABOUT FASHION? My designs are for the fashionably brave, my designs are rebellious. WHO IS WEARING SAINT AUGUSTINE ACADEMY THIS SEASON? Creative people. People who are passionate about their personal style. WHAT ARE THE KEY PIECES IN YOUR COLLECTION? For women; Razor sharp tuxedo jackets, and body-conscious lace mini dresses. For men; electric blue Miami Vice inspired suit, transparent biker jackets, acid wash distressed denim.




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WHAT FASHION TANGENT ARE YOU ON? I am obsessed with quality and finish. I make everything here in Australia. I also love the extravagance of Europe and I portray this in my designs. WHAT MAKES THE PERFECT OUTFIT? At the moment I am, loving tailored jackets with distressed slim fitting denim. FAVOURITE SUMMER PAST TIME? Taking a holiday. WHAT DOES SUMMER SMELL LIKE TO YOU? I work near the beach, so salt water.


segroeG rof s raE llA

eorges Antoni has as much to say about fashion as his photography. The man responsible for photographing models on the top of the Sydney Harbour Bridge in haute couture, will be taking an evening out of his demanding schedule to share his knowledge and insights on the Australian fashion industry, from his perspective as a fashion photographer. On 22nd August, he will be speaking at the Australian Centre for Photography in Paddington for the Rosemount Sydney Fashion Festival. Tangent magazine was fortunate enough to have an exclusive interview with Georges leading up to the event. We revelled in his wisdom and were inspired by his thoughts and opinions on fashion and photography. It is Friday afternoon and the Tangent offices are phoning Georges. We consider him a vital role model in the Australian fashion industry, although Georges modestly rejects this idea. He creates fashion as art, with his unique way of seeing and concept driven work. He pushes boundaries and celebrates and challenges all that Australian fashion has to offer. Georges answers, and, we are immediately drawn into his charismatic warmth, which stems from his organic upbringing in far rural Queensland. ‘I had an amazing upbringing…. but a very culturally different upbringing. I grew up in a country town with Lebanese parents. The closest traffic light was 7.5 hours away. My world

was flooded with strong light and space and country people, a lot of happiness.’ We ask how a country boy ended up being in demand to shoot for the likes of Vogue and Harpers Bazaar? Georges attributes it to an accident. His educational background is in commerce and law. He had been working in Singapore as a consultant for the Coca Cola Company and Price Waterhouse Coopers and returned to Australia to start a business with his family. After the business was set up he was unable to return to Singapore due to the SARS epidemic. Photography came as

distinctly Georges Antoni. Recurring components in his work are a strong narrative, powerful heroines, fashion worn in overt ways and locations which juxtapose the beauty and extravagance of his subjects. ‘I don’t deliberately try to put a signature on my work I guess it’s something that’s quite innate . . . a lot of it probably comes from my history and from my upbringing. The other thing that probably gives my work a signature is the fact that I haven’t assisted anyone and I haven’t studied photography. I don’t really know the right and wrong ways of doing things I just do it according to an instinct that I’ve got, and looking at what makes an image look good and what makes an image look bad. I think because of that I might be doing things that are unconventional and it’s probably not as deliberate a stand as people are expecting.’

a result of finding work to tide him through this period. ‘I had taken a few pictures, because I used to live with a photographer. I took them to a modelling agency in Brisbane and asked if they would like to use me. I haven’t stopped shooting since. I feel very lucky that I have fallen into (photography) because I want to do it for the rest of my life.’ This beginning of a ‘few pictures’ has progressed into a burgeoning body of work with a strong aesthetic, recognisable as

Georges’ unconventional approach to photography also comes through in his use of concept, which is responsible for the strong narrative in his work. He’s confronted us with a voyeuristic exposé of provocative house wives in ‘Disparate Housewives’(Cream Magazine #44). He has made models trek through outback Australian deserts in metallic fashion garb, posing as aliens in ‘Australiens’ (Cream magazine #42). He has also aroused us with a steamy all female bath house editorial ‘Girls on Film’(Cream Magazine #45). We get him talking on the importance of narrative in his work. ‘Concept to me is the be all and end

all. What a concept does is it aligns everyone’s vision. One of the biggest difficulties in Fashion photography is that you’re basically conducting an orchestra. One of the best analogies I’ve heard, is that, it’s like trying to herd cats, creative people run around in all different directions. To be able to align peoples’ visions and creative techniques into one idea you need to have a very strong concept and that concept needs to be very clear and unequivocally up front.’ ‘I hope that my work does have a narrative. Every time I shoot, I ask everyone in the crew, “Who’s our woman? What is she today? What’s she doing? Where does she come from what major issues does she face?’’ This approach seems directorial, but Georges assures us he has no intentions of moving into film. ‘It’s really a means to get the type of photo that I want to achieve. To be a photographer you only have to assume the moment for 1 /25th of a second. For a film you have to assume the moment for minutes.’ With his dedication to concept, we wonder what role improvisation plays in Georges’ work. He replies; “The best impromptu speech is very well prepared.” ‘You need to be well prepared conceptually. You need to understand what you’re going into to shoot and the feeling of what you want to shoot . Where improvisation comes in is the bits and pieces that make a shoot fantastic, like “throw a headpiece on that!” or,” I don’t like that lighting. I’ll underexpose that a stop on a half, now that looks fantastic- lets shoot that.” Everything needs to be constantly adaptable on the shoot because nothing goes according to plan. I have never gone into a shoot and achieved exactly what I thought I would. Something is always different, a curve ball is always thrown. Photographers are in my opinion fundamentally problem solvers, especially in a commercial sense.’ Georges’ unique way of seeing also gives his work distinction. We ask if he feels one can learn a way of seeing? His answer is poignant and a must for all budding photographers to note. ‘That’s the ultimate question. There are two elements to photography that make an exceptional photographer and exceptional picture. I look at them as content and context. What I mean by that is content is the physicality of taking a picture. The

type of camera you use, the type of film, the lighting technique, the styling, the model, the hair and makeup, your technical skills, all those physical elements. I think you have to have exceptional content to take a good picture but the other thing that tends to be overlooked is the context. And I think that’s fundamentally what you are trying to get at with learning a way of seeing.

Context is about the feeling, the mood and the emotion. What you’re trying to communicate to the world. It’s the art that goes behind the picture and content is the science that goes behind the picture. Both are equally important but to be an exceptional fashion photographer you need to lean towards the context. It’s more about how you see the picture than how

you create the picture. An example is Terry Richardson who used a very small film camera no lighting just took great pictures because he understands clearly what he wants to communicate.’ He feels that learning a way of seeing must be self developed; ‘The only person who can teach someone how to see is the person that’s trying to see it. I think you need to significantly draw from your background your experiences on every element that makes you an individual. I see the world based upon my youth. I also grew up in a matriarchal family. My mother is very much the strongest person of my family. In my work what I try to communicate is that every woman in my shoots is the one holding the photographic power. If there’s a girl in my shoots and she’s topless, she wants to be photographed topless. She holds the power, she’s in control. Strong women are what I try and communicate in my work and draw on in my models.’ These empowered subjects are the perfect vehicles for fashion with their otherworldliness and purposeful poses, however they have also been the source of some criticism as being cold and alienesque. ‘I don’t know where the otherworldliness comes from, because my mother and my three sisters were all very loving, very warm. I think it’s an escape from reality. A lot of criticism I come up against is that people say my women look unattainable or alien, inaccessible and too retouched.” The irony is that I hardly retouch them, it’s all in the

hair, makeup and the lighting. It’s true I don’t want them to be everyday women. I believe fashion photography is as much entertainment, as it is commercial realism. I play more the entertainment game and give women escapism from their everyday life, as opposed to another documentary depiction of their life.’ Georges shed some light on his casting approach for models; ‘It’s actually nothing to do with how they look anymore (laughs). To take a great picture you need a great model. You need someone who knows what they’re doing, knows how to work, knows how to move. Typically right now I like shooting more (mature) women, by mature I mean women in their twenties which is old for fashion models! They understand how to take in emotion on to their faces. They understand how to give a photo an amazing mood, because they have experienced more in life.’

‘You one mo window some coming th a camera of jeans shirt. You be able twenty d types fantastic imag

In addition to understanding what makes a great model his intuition also extends to understanding fashion. We spent time discussing the Australian fashion industry- the good, the bad and the future prospects he foresees. He feels that the Australian fashion industry has progressed a lot faster and more aesthetically than anywhere in the world in the last ten years, and he loves being part of helping drive that.

‘I think that the Australian fashion industry, whilst being quite young is one of the most significant and most ethnocentric fashion industries in the world. What I mean by that, is the designers try to design for Australian people. The best examples of that are people like Josh Goot, who does really beautiful soft cotton jersey ranges ,that suit the Australian women, the Australian environment. Then you’ve got your Willow’s that do beautiful layers and your Sass & Bides that do really soft, feminine, but still very Australian designs.’

need odel, a w with light hrough it, a, a pair and a tu should to take different s of c fashion ges.’

He notes that now, there is a sense of what it means to be Australian. Designers are honing in on our national aesthetic. ‘No one is trying to be French, no one is trying to be Italian, no one is trying to be American. At the end of the day, no one does French better than the French, no one does Italian better than the Italians. I think in the eighties we tried to be Parisian, we tried to be American. And it never worked.’

‘We can’t be Yves Saint Laurent. Those people are just fantastic and amazing and unbelievable at what they do. Because they are drawing on their heritage and the culture of their art venues and of their ancestors, that’s what makes their art so amazing.’ Where Georges sees a need for improvement, is in the support for

avant-garde fashion images in the media. ‘What I’m very disappointed in Australian fashion is that I don’t believe we have a sophisticated art buying market in Australia. I don’t believe the magazines truly understand how to build Australian photos in an editorial content to be able to really hone in on the great Australian fashion that we have. I believe we are still trying to copy too much what happens overseas.’ He believes the Australian women as an audience are ready for more sophisticated art; ‘I do believe that the Australian woman is under rated by most Australian magazines. I believe Australian magazines always say “but that’s not what the Australian woman would wear out that’s not how she would wear her hair, her makeup.” Very true, it’s not, but I think if we believed in the intelligence of the Australian women and credited her a little bit, they know that what we’re trying to do as fashion photographers, or fashion magazines, is create an opinion of what could be happening, or what should be happening, in the most extreme way. That’s the way fashion is pushed and how change occurs in the fashion environment.’ As for the future, Georges predicts two directions the Australian fashion industry could move in. One is the possibility of becoming a more significant player globally in the fashion stakes and the other is the challenges we face supporting our home grown talent with a small population.

‘At the end of the day if you look at the Spring/Summer collections around the world they are never as fantastic as the Autumn/Winter collections. A lot of the fashion capitals; New York, Milan, Paris, London, have very strong winters, therefore 7/8 months of the year they are thinking winter clothes. Australia has the opposite. Australia has the opportunity to help influence the spring summer collections globally. People are looking at the smaller Australian designers. The bigger labels are starting to really change the way they do their summer fashion labels and looking at Australian labels.’ My biggest fear is that the Australian domestic market is not big enough to support a much bigger Australian fashion industry because there’s only 20 million people in Australia and geographically they are very spread out and of that population very small percentage are fashion orientated.’ He also fears Australia is not set up effectively export Australian talent to the fashion industry overseas. ‘I don’t mean to be pessimistic. We have so much talent and so much potential here, who we are very ready to discredit because they are Australian. ‘ After listening to his didactic words and experienced position on the fashion and photography world we wanted to know his advice for aspiring fashion photographers. ‘I have a lot of advice. The most important one would be, If you want to start out in fashion photography get

yourself one lens, get a 50ml lens, get a small cheap camera, whether it’s digital or film it doesn’t really matter. And don’t stop shooting. Don’t complicate anything. Don’t use lighting, don’t use a tripod. . . . just shoot. At the end of the day all you’re doing is trying to get a feeling for what makes an amazing picture. As time goes by you’ll realise, ok I need more of this, I need more of that, you’ll buy a tripod, you’ll buy a reflector board, you’ll buy a second lens, you’ll begin to develop a style. I think people get overwhelmed in what they perceive the complexity of a good fashion image is. You need one model, a window with some light coming through it a camera

seem boundless. ‘I have a real problem because I don’t like anything that I’ve shot. I’m always focused on the shoot that I’m doing next. I’m very excited (about the future) I have about four of those spiral pads full of ideas that I want to shoot.’ Whatever those ideas are you can guarantee they will be provocative, conceptual and show fashion blending with art. You can hear Georges in person on the 22nd of August at 1pm at The Australian Centre for Photography for the Rosemount Sydney Fashion Festival. We’ll be there with all ears open. Also we asked Georges to ask our readership anything he desired. Head to Tangent mag blog to answer this question from Georges;

a pair of jeans and a t shirt. You should be able to take twenty different types of fantastic fashion images. Keep it simple and don’t stop shooting.’ On that note we feel inspired, and decide to take a wrap. We ask what he has been working on lately and any future projects he can tell us about. ‘I have just shot the first birthday issue of Grazia, which was a fantastic shoot with an amazing team. I have also just shot for the 50th anniversary issue of Australian Vogue.’ As for future projects Georges limits

‘What do you think is more important? Taking a picture of an important event in your life or taking the time to be in that moment to remember it?’ Heather Cairns

Images courtesy of The Artists Group. Rosemount Sydney Fashion festival Australian Centre of Photography Saturday 22nd of August 2009 (Lee Chin in converation with Georges Antoni at The Australian Centre for Photography, Paddington NSW.)

Wa t c h T h i s s p a c e LIESL GAFFNEY DAWSON


iesl Gaffney Dawson has that unattainable x-factor. Tangent magazine was fortunate enough to have a chat with the model of the moment before she jets off to conquer New York. Liesl has already gained international success, with campaigns for Vichy, L’oreal and J Lo Perfumes. She’s graced the pages of ID Magazine, Harper’s Bazaar, Marie Claire, RUSSH and Frankie, to name a few. And you may have seen her enigmatic face in Australian campaigns for Myer, Bonds, Lovable, Marcs Metallicus and Sportsgirl. he strolled into the Tangent offices with her chameleon look, eccentric style, feline eyes, and vivacious laugh- and we thought damn, this girl is HOT!!! Tangent discovers her spiritual side and finds out this is one model with her head firmly on her shoulders . . . And she sure knows how to work a wire corset!



ow did your career in modelling begin? I enrolled for uni in Brisbane but I knew I wanted to model, so I moved to Sydney. I saw Ursula at Chic Management and we really connected. I’m really happy at Chic. What do you like most about your job? I love to be able to travel to beautiful places all over the world. It’s wonderful to suddenly be on a plane to exotic places and to not have had to arrange it. And I love being able to live in all around the world. So far I’ve lived in London, Paris, New York, LA and Sydney. I also love all the great people I get to meet. It really opens up your mind to meet so many new people. What gets you up in the morning? My yorkie, the sun and meditating. How do you like to relax in between jobs? I love facials and I love massages. I go to the Korean Baths, because as soon as you enter you leave everything at the door and you have to relax. I also love Kundalini yoga. Kundalini yoga is based on energy as opposed to stretching out the body. It’s a lot of repetitive movements based on chakras to release energy. Sometimes they do crazy things where everyone dances with their eyes shut like no one’s watching- it’s a lot of fun. What are the toughest challenges in the modelling industry? Definitely weight. The challenge is not to get sucked into being unhealthy - to stay

thin and eat healthily, and to tone with exercise. It takes will power to do it the right way. How do you keep in shape for your modelling career? I think, largely, it’s eating. No soft drink or fast food. Eat lots of fruit and vegetables and not too many processed foods. Learn how to cook so you’re making really yummy but really healthy food. Also doing sport that you love makes a big difference. Whether it’s horse riding or tennis, whatever it is that you enjoy so that you go out and do it regularly. What have been your most memorable career highlights? The Vichy campaign in Paris and the J LO fragrance campaign. The J Lo campaign had three castings, my book had to be rushed over night to be approved by Jennifer. I guess also, shooting with different magazines. I did a 20 Page editorial in New York for D Magazine which is an Italian magazine. I’ve also did an editorial for ID Magazine- sitting in the gutter in London in crazy clothes! Who has been inspirational to work with? Anyone who is creative and loves what they are doing. Ellen Von Unwerth was really cool, I shot with her in London we did a lingerie shoot. I did a campaign for L’oreal in Paris with Greg Kadel. Last week, I shot with Chris Coles for UK Grazia which was awesome. I wore this amazing auburn fringed wig, and I really want this haircut now!

Do you try to ‘bring’ something to each picture? Absolutely. Modelling is about selling something but it’s also about inspiring people. I try to be really present in all my pictures. Especially for an editorial where you have to portray the story. I did one shoot for Harpers which was all inspired by a book on the brothels in New Orleans. They wanted me to be the Mama. I had to give this Mama look and then in the next image they wanted me to be a young prostitute. (laughs) What do you love about Australian fashion? I love that we are kind of ahead of the program. There always seems to be things I want to buy here. We do great swimsuits. We are very leisure conscious. There is a classic comfort ability to Australian clothing. Do you have some favourite Aussie labels? I have a great red trench from Lover and they have cool bodices, Kirrily Johnston has some cool stuff, I have some gorgeous Zimmerman swim suits and I like Scanlan & Theodore. My favourite jeans are from Nobody, I have at least six pairs. How would you describe your style? It’s classic yet eclectic. I love long vintage dresses. And I’ll experiment, I’m not afraid of looking dorky if I feel like it! Do you have any style icons? I find inspiration from different people. Kate Moss is someone who often has great style. Do you have a modelling or beauty icons?

I love all the Natalia Vodianova shots for I love all the Natalia Vodianova shots for Calvin Klein, I think she’s really present in all her photos. And Bridget Bardot in And God Created Woman, I love her makeup, she’s very sexy. I also like a bit of Audrey Hepburn. Have you got any beauty secrets? I love a thick black liner along the top of the eye. I always wear sunscreen. There’s a new cosmetic brand from Rosemary Swift called RMS Beauty, she has great lip colours. I recommend a book called ‘Don’t Go To The Cosmetic Counter Without Me’ (Paula Begoun), you’ll find out what’s good for your skin and it doesn’t have to be expensive. Previously I was buying all the one line and it was really expensive, half the products weren’t even good for my skin! You are heading off to work in New York soon, can you tell us about that? It’s going to be fun. I’ve only spent a few months there previously. I’m living with best friend so I’m really looking forward to it. What would be your ultimate modelling job? A Chanel fragrance TVC and modelling in a campaign for Calvin Klein. Also long editorials for magazines like Numero. Photographer Emmanuel Giraud at MissBossyBoots Stylist Heather Cairns Hair Chad Drinkwater at Suki Hairdressing Makeup Cassie Sobel at Reload

Laughing LARNACH Sarah Larnach likes to laugh. Whether she’s putting a Nintendo gun down Ladyhawke’s underwear or drawing pastel dinosaurs pretending to be ghosts, humour always plays a part in her work. We chat to the Sydney based Kiwi artist who has managed to meld her talent for art with her passion for music, and in doing so, has created some absolutely wicked images. TM: When did putting paint to paper become a career for you? SL: Two years ago I quit my 9-5 job just to become an artist. I would say it was brave move, but it wasn’t, I hated the job so much I was going crazy!

TM: What are you trying to say with your work? SL: I’m trying to be funny. I find all sexual things pretty hilarious. I don’t want to portray any kind of softness or anything void of attitude. When I paint women they are usually in a powerful, but not over thought position of power. If you could refer to it as a sort of feminism, it’s not

a first wave of feminism, or even second wave. It’s more like; we don’t care, we’re women and everything we do is hot, if we say it is, or not, because, if it isn’t, we don’t really care. But I don’t want to be thought of as someone deliberately creating feminist art that’s not my intention. TM: What is different about your work?

SL: It’s more my subject matter that has a difference. I paint things that are hot, cute, funny or just gross. A really homogenised prettiness that I see around pisses me off, I hate it. My subjects are not fresh from the shower, there’s grittiness to them.

TM: Is there something you search for in your work? SL: A charisma in my characters, that works for people and animals. And humour, always. Everything I do is done a little bit tongue in cheek.

TM: What are the other common threads to your work? SL: There’s a strength to my characters presented in a really accessible way. Also a little bit of darkness, but not in a gothic way. There are stylistic and technical things that I do because I know that they are recognisable. I use a lot of splats in my paintings because I’m clumsy, and then I kind of ham them up. I also use a really limited palette of colours, so, people might recognise it without knowing why. TM: Why do you work with that limited colour palette? SL: The colour palette I’m working from at the moment is the collection of colours I used for the

first Ladyhawke artwork two years ago. All the colours reference a 1970’s California surf culture or skate culture. The only blue I use is an aqua colour from swimming pools, I don’t use a straight red - I use a fuchsia pink, and I use a brown that makes a really soft tans. They work because, where I picked them from was the ‘Dog Town’ movies. So there were all these hot pretty colours on these young heroic boys and girls. For me my colour palette doesn’t feel wimpy because in the film they are used on all these tough gritty group of people. TM: You’ve made watercolours cool again in a time where digital art is dominant. Will there always be a place for your watercolour?

SL: I don’t think it’s threatened at all by digital art. There will always be a place for traditional handmade art because of the blood, sweat and tears that goes into it. It’s almost tangible. I can only imagine that there would be a back lash against, at least poorly made, digital images. But

there’s no beef between me and the rest of the digital art world!

TM: You also DJ under the name, DJ Spandex, how does your passion for music influences your artwork? SL: They do influence each other a great deal. Not so much the act of DJ’ing but taking an interest in music. When I was in art school I was having a really tough time reconciling my two areas of interest which were music and art. Straight out of art school I spent a year and a half DJ’ing and working in a record store, trying to figure out what the fuck to do next. When I started to make the album cover and the single covers for Ladyhawke, it all fell into place. I’d spent years studying album covers and had a good knowledge of music history. This combination really changed my approach to how I make art. TM: What’s your approach now?

SL: I’m not crazy about exhibiting, for me it’s the bummer of art. I hate exhibiting. I love making art and I love all the processes involved in making it, and I love having a finished piece. I love making art and then the files being prepared for it to go on an album cover. Then so many copies get produced, and so many people see it, so many more than are ever going to walk into a gallery and look at my pictures. I don’t feel any guilt that people are forced to look at (my art) without choosing to go into a gallery. If I’m going to make it why wouldn’t I want it to be seen by as many people as possible? It’s my contribution. I’m trying to put my passion and my interests out there. I’m not saying, look at me, I’m an amazing artist, I’m making a picture, I’m trying to say, look at this picture!

TM: After doing the album and single covers for Ladyhawke, you were then asked to draw an animated video clip for her ‘My Delirium’ single. It’s amazing. It looks like a hell of a lot of work, how did you manage that? All those frames! SL: I worked solidly for 5 weeks. I painted shit

loads of backgrounds and the action of zooming in (on the backgrounds) gave the illusion of movement. In the animated shots of Ladyhawke I worked alongside a rotorscoper. The rotorscoper came in to make my sketches animated. I worked with her to keep the animation true to my sketches. TM: How did you feel working with moving pictures as opposed to still pictures?

I really liked it. I felt that I went into it without reservations or habits of being a still artist. When I finished my studies, I actually got into a time based art course. So it was already an interest. I had been day dreaming about doing a video one day and when they called me, I was ecstatic!

TM: What has the response been like to your Ladyhawke work? SL: It’s polar- in Europe and America I’ve had interviews in good magazines, in Australia, I still feel like a loser! Overseas people are like, “you’re so fancy” and here people are like nothing. Maybe I’m not exotic because I live here. I get this feeling in England that people are more excited for you. TM: You’re just about to go to London to promote the limited edition Becks bottles you drew of Ladyhawke. How did you end up collaborating with Becks?

SL: Every year Becks does an artist series that has been going since the 90’s. In the past they’ve had Damien Hurst and Tracy Emin. This year they wanted to showcase emerging artists where there was a musician and artist who already had an existing collaboration. TM: How do you feel from a creative point of view working with music artists and companies like Becks?

SL: Working for Ladyhawke, I’m given a great deal of freedom. I’ve been collaborating with Pip for ages and it feels natural. Working for Becks I know they have another set of considerations. I did make the background the colour of a Becks bottle, because I don’t want my work to look shit

on their bottles! They gave me their set of criteria; what they are trying to uphold and represent, who they are trying to sell it to, and who they are not trying to sell it to, which is kids (laughs)! And, it was nice; I agreed with them and could see where they were coming from. TM: Is that because you like beer? SL: I think so!

TM: Is it sometimes better to work inside the box? SL: It whittles down the creative process for you. It puts you a few steps further along already. I don’t mind being told what someone’s criteria is. I usually have so many ideas that I want to work on at once that I am fighting with myself for what should come to the fore. I’m not passive, but criteria can definitely be good. TM: What about your collaboration on Amanda Maxwell’s book ‘Nobody Told Me there’d be days like these?

SL: The book is a series of short stories that are young adult years orientated. We were looking for a way to make an art that evoked those years, so we came up with a ‘fan art’ theme. All of the images were of a celebrity that suited the story or a photograph that we obsessed over. It wasn’t hard for us to read the stories or and think of the image that we already knew that was evocative of the story. I then drew the fan art. TM: Do you get inspired by fan art?

SL: I think it’s hilarious and I love it. Ladyhawke gets a lot of fan art from young teenage girls. It really came full circle when someone did some fan art of me! TM: Where you proud that someone did fan art of you?

SL: Fuck yeah totally. The rare thing is she took a picture of me from My Space and then drew the picture of me- it doesn’t get more honest than that. TM: What does the future involve for Sarah

Larnach, any dream creative projects? SL: For ages my most amazing project would be to be a Rolling Stone contributing artist. I wanted to make a music video my whole life and now that I’ve done it I want to do it more. Maybe even directing. I would really like to get into a more documentary style painting, which hasn’t really been touched on in the last century. Portrait painting comes from the need to document who these people were. I’d love to get into documenting a scene but it wouldn’t be photographs it would be painting. I have a project that I am working on with a documentary film maker and a musical score writer that is along those lines. Whatever Sarah will work on next, you can rest assure it will continue to fuse music and art and she’ll be smirking from behind her easel. Heather Cairns

Head to the Tangent Magazine Blog to answer this question from Sarah TM: If you could ask the Tangent readership a question, what would you ask?

SL: Did you use your best manners today? Because it’s really important that you did.


Clean and Press Hey, Nature Boy, Are You Looking at Me? Forbidden Faces The Logic of Alice Something about Klimt Fire Up!


Rebecca Dawson corset, Peter Lang necklace around neck and in chop sticks, Orsini gloves, Illionaire gold armbands, Najo ring, vintage jewellery in bowl.

(L-R) Sterling wears; Master/ Slave shirt, Alannah Hill corsage. Beth wears; Wayne Cooper dress.

Beth wears; Wayne Cooper dress, Nicola Finetti Shoes, Peter Lang necklace, Najo silver cuffs , Najo ring, Peter Lang cuff with pearls, vintage gloves, stylists own socks.

Irma wears; Nicola Finetti dress, Alannah Hill gloves, Peter Lang jewellery.

(L-R) Marine wears; Andrew McDonald shoes, stockings from Paddy’s markets. Sterling wears; Illionaire dress, Andrea & Joen shoes, Master/Slave bow belt, Cervin Paris stockings. Irma wears; Wayne Cooper dress, Master/Slave shoes, Peter Lang necklace. Beth wears; Wayne Cooper dress.

Necklace by

Sterling wears; Amar dress, Alannah Hill capelet, Wayne Copper shoes, Peter Lane earings.

Marine wears; Anon silk trench, Alannah Hill dress, Peter Lang belt.

Photography Emmanuel Giraud At MissBossyBoots Styling Heather Cairns Hair Director Luana Coscia Assistance Tom Hanley Makeup Natasha Kruzycki Photograhic Assistant Alan Hart Stylist Assistant Katarina Osadchuk Models Sterling Knight, Stacy-Beth Lobb, Irma, Marine Le Gouvello. All at Chic Management Special thanks Euro Star Dry Cleaning & Laundry Darlinghurst

(L-R) Sterling wears; Nicola Finetti dress and shoes, U-Tech gloves, Cervin Paris stockings. Beth wears; Nicola Finetti dress, Andrea & Joen shoes, Peter Lang cuff. Marine wears; Illionaire dress, Wayne Cooper shoes, Peter Lang jewellery. Irma wears; Master/Slave dress, stylist’s own corsage.

Hey, nature boy, ARE YOU LOOKING AT ME? Photography Cybele Malinowski Styling Divya Bala

Headpiece the Costume Shop, jacket and jeans - St Augustine Academy, crochet necklace and bracelet - Mimco, sequinned suspenders stylist’s own

Leather jacket and jeans St Augustine Academy, tassle chain belt worn as necklace the Wardrobe

Jewelled neckpiece Mimco, chains and tassle belt worn as necklace The Wardrobe

Headpiece The Costume Shop, feathered capelet Lucette, bone necklace Deadly Ponies, chains The Wardrobe

Multiple-strand necklace French connection, Double headed fox necklace Deadly Ponies, single strand chains The Wardrobe, vintage fur jacket, sequin tank Stylist’s own, Jeans and brogues from St Augustine Academy

Photographer: Cybele Malinowski Stylist: Divya Bala Hair and makeup: Lili Hopkins Models: Vincent P and Danny P at Priscilla’s

Forbidden Faces Photography Emmanuel Giraud at MissBossyBoots

Styling Heather Cairns

Sophomore dress, Willow boots, Dents gloves, Dinosaur Designs cuffs, Peter Lang necklace, stylist’s own black rose handcuffs.

Master/Slave dress, Kirrily Johnston shoes, Platinum tights, Dinosaur Designs cuffs, Peter Lang earrings.

Master/Slave vest, Bowie pants, Samantha Wills necklace, stylist’s own corsage.

Lauren wears; Kirrily Johnston jumpsuit, Peter Lang necklaces, Patricia Field gloves, vintage belt. Raphael wears; Master/Slave jacket, Master/Slave pants, Saint Augustine Academy tuxedo shirt.

Bracewell caplet, Reactor Rubber latex gloves, Samantha Wills ring and Peter Lang earrings & necklace.

(L-R) Shaun wears; Master/Slave vest, Bowie pants, Pop Issue shoes, Samantha Wills necklace, stylist’s own corsage. Zanita wears; Leona Edmiston dress, Bracewell caplet, G&L Handmade Leather shoes, Reactor Rubber latex gloves and stayup leggings, Samantha Wills ring and Peter Lang earrings & necklace. Zac wears; Master/Slave vest, Bowie pants, Kirrily Johnston shoes, Hatmaker headpiece, Evil Genius necklace, stylist’s own corsage.

Master/Slave jacket, Saint Augustine Academy tuxedo shirt

Bowie jacket

Jenna wears; Willow top, CC’s Flashback skirt, Reactor Rubber gloves, Orsini London hat.

(L-R) Jenna wears; Carla Zampatti Dress, Master/ Slave shoes, Hatmaker hat, Reactor Rubber gloves, Dinosaur Designs necklace, Samantha Wills ring, Voodoo tights. Sasha wears; Carla Zampatti dress, Christian Louboutin shoes, House of Priscilla hat, Dents gloves.

(L-R) Jenna wears; Willow top, CC’s Flashback skirt, Reactor Rubber gloves, Orsini London hat. Sasha wears; Master/Slave top, Mister Stinky bodysuit (worn underneath), Strummer shorts, Hatmaker fascinator, Samantha Wills earrings, Voodoo Tights. Hans wears; Master/ Slave top, Pop Issue pants, CC’s Flashback elephant necklace. Tess wears; Willow jacket, Kirrily Johnston mesh dress and bra, Peter Lang belt and necklace, U-Tech gloves.

Hans wears; Bowie jacket, Kirrily Johnston pants. Tess wears; Master/Slave dress, Kirrily, Platinum tights, Dinosaur Designs cuffs, Peter Lang earrings.

Photography Emmanuel Giraud At MissBossyBoots Styling Heather Cairns Hair Director Chad Drinkwater For Suki Hairdressing Assistance Julia McGrath, Leona Robinson, Jackie Ryan Makeup Natasha Kruzycki Photograhic Assistant Yann Audic, Elin Paulson Stylist Assistant Mercy-Jo Sumner Models Jenna Newman, Sasha Dimitrevic, Tess Haubrich, Zanita Whittington, Lauren Brown, Zac Robson, Hans Christopher, Shaun Casey, Raphael Walker. All at Priscilla’s Management





Photography Katie Nolan at Reload Styling Emma Cotterill

Sretsis velvet dress with peter pan collar, Sretsis gem print chiffon puff sleeve top, Dinosaur Designs bangles, vintage scarf around neck.

Gucci blue spot top under Kloset bejewelled red strapy top, PAM ‘jeannie’ printed denim pants, Dinosaur Designs bangles and rings, Kloset game ring and brooch in hair, Kathryn Wilson purple cross over heels.

Romance Was Born Clam shell bikini top, Nana floral print leggings and cone shell necklace, Sretsis pink skirt,

Theresa Rawsthorne white spotted bodysuit, Kathryn Wilson yellow strapy heels.

Romance Was Born fish scale leggings, Sretsis cape, gem print top and black twirly skirt, Seed Of Scarlet blue gathered corset dress, Millicent Darling black tulle cuffs, Dinosaur Designs coloured resin rings, silver bow ring by Stolen Girlfriend Club, Kathryn Wilson purple cross over heel

Motel floral bodysuit, Romance Was Born pink sea monster dress, Make Believe pink resin rose neck piece

Nicola Finetti white frou-frou sleeve dress over Camilla floral print chiffon sarong, Dinosaur Designs rings, Kloset gold ring, Sretsis neck piece, rose in hair by Make Believe

PhotographerKatie Nolan at Reload StylingEmma Cotterill Make UpCassie Sobel at Reload HairNatasha Kruzycki ModelLuca Aimee at Chadwicks Management


about KLIMT Photography Daniel Nadel Styling Beth Buxton

Earrings worn in hair and ears by Erickson Beamon, scarfs from Beyond Retro.

Blue floor length dress by Julien MacDonald, gold jacket by D&G, shoes by (opp.) Bronze necklace by Burberry, black chiffon jacket by Natasha Stolle, silver bracelet by Frickson Beamon, gold bangles by Kirt Holmes, gold trousers stylist own, shoes by Prada.

Gold and blue dress by D&G, yellow and black neck scarf by Paul Smith, black bangle by Kirt Holmes.

Earrings and necklace by Erickson Beamon, pink komono from Beyond retro, purple knit pant suit by Basso & Brooke, bangles by Kirt Holmes.

Photographer: Daniel Nadel Stylist: Beth Buxton Make Up: Nicola Hamilton Hair: Benedicte Cazau BeyretPhotographer Assistants: Carl Mazzarella & Benji Terranova Model: Ashleigh at Profile Model Management


Photographer Bec Lorrimer Stylist Lucy Edmonds

Kornerd mesh singlet

Zambesi burgundy knit top, Yoto black cardigan stylists own, Alphaville black pants from Alpha60

Kornerd purple t-shirt, Fifth Avenue Shoe Repair black pants from Somedays, Vintage Bally black shoes from Shag

Mason wears Zambesi leather bomber jacket, Kornerd mesh singlet, Zanerobe black shorts. Sen wears Athletic black singlet from Saunders and Co PR, Kornerd jean shorts, Phosphor jacket by Spencer Webber (opp.) Zac wears Self-Help silver jacket from Somedays, Skinny Nelson and Friends white t shirt, Zambesi black pants. Mason wears Yoto cardigan, Cheap Mondays black singlet, Lui Hon olive shorts Saunders and Co PR, Gram black suede shoes.

Resterods white shirt and singlet from Somedays, Kornerd tights, Gram shoes from Somedays.

Photographer Bec Lorrimer Stylist Lucy Edmonds Grooming Natasha Kruzycki Models Mason at Chadwicks, Zac at Scoop, Sen at Priscilla’s

World black trench, Resterods shirt from Somedays.


POW! BAM! BIFF! Botox for Life To Chop or Not to Chop 80’s Electric


Mr Stinky bodysuit, stylists own sunglasses, Diva bangles. (opp.) Stylists own sunglasses, Zoo Emporium glasses chain.


Sebastian Kriete Heather Cairns Rachael Brook using MAC Michael Kleinman

Vintage Versace jacket, Zoo Emporium sunglasses.

Vintage leather top, Cream on Crown vintage sunglasses, Zoo Emporium earrings.

BOTOXFORLIFE Photographer. Emmanuel Giraud at MissBossyBoots Stylist. Heather Cairns Grooming. Rachael Brook Model. BJ Jarrett at Viven’s Management.

t TANGENT’S BEAUTY EDITOR, EMMA GIAMMARCO, DECIDED TO DISH UP THE TRUTH ON OUR SUPERFICIAL BEST FRIEND, BOTOX. IN DOING SO, SHE DISCOVERED THAT THIS FACE FREEZING WONDER FLUID HAS A LOT MORE SUBSTANCE THAN WE GIVE IT CREDIT FOR. Whether you worship, detest or couldn’t care less about injections known to tighten and brighten the skin –we’re going to talk about Botox. There is just no ignoring the multitude of benefits the drug has. After doing a little bit of ‘forensic’, this is what I found... AUSTRALIA USES MORE OF IT (PER CAPITA) THAN ANY OTHER COUNTRY. Botox continues to be the cosmetic craze that sweeps the nation. Last year we spent an estimated $300 million on non-surgical cosmetic procedures, much of which was blown on Botox. According to the Cosmetic Physicians Society of Australasia that’s a 30 per cent increase over the last few years, with another 10 per cent increase expected over the next 12 months. “I believe the Australian lifestyle and climate contributes to this” says owner of MD Cosmedical Solutions, Dr Buddy Paul Beaini. “Besides the sun’s ageing effect on skin, sunlight also makes us squint, causing premature creasing around the eyes”, says Dr Buddy Paul Beaini. “This is why even women in their 20s - often comparing themselves to their northern European sisters, seek out Botox treatment”, he says. IT CAN BANISH PERIOD PAIN. Sydney’s Royal Hospital for Women has conducted a number of trials into the use of Botox to treat those who suffer from severe and prolonged monthly cramps and chronic pelvic pain. By injecting it into the pelvic floor muscles, it treats the problem at the source of the pain rather than suppressing it with medication. Clinical effects have been seen within one to two weeks of injection and benefits last from three to six months! IT CAN STOP YOU GRINDING YOUR TEETH. If you consider how often we talk, eat and swallow the temporo-mandibular joint, which connects Hatmaker veil

the lower jaw to the skull, gets used excessively. If it’s overworked through teeth grinding, it can be the source of much tension and pain. “Botox can offer great relief for teeth grinders and for those who suffer from tension headaches due to clenching,” explains Dr Buddy Paul Beaini. Injecting the area with Botox can help relieve, if not eliminate, clenching and grinding, the resulting headaches and in extreme cases lockjaw. IT CAN GIVE YOU GREAT LEGS. Injecting Botox into the calf muscles is apparently the biggest craze in Korea! Chunky calves, a genetic condition, are a concern for an increasing number of Korean women who are lining up for ultrasound-guided Botox injections into their gastrocnemius muscle. Once the muscle is paralysed, in time it wastes and shrinks, resulting in a more refined contour and a more slender leg. IT CAN STRENGTHEN YOUR PELVIC FLOOR. Botox is being used by urologists to correct “urge incontinence”: the urge to frequently “go pee” courtesy of an overactive bladder. It’s a curse endured by millions and was very hard to treat without surgery prior to Botox. IT CAN BE USED IN PLACES YOU’D NEVER IMAGINE. Such as the anal muscles, for example. For those who suffer from chronic anal tears or cracks – a not uncommon side effect of childbirth – a hit of Botox in the derriere, relaxes the muscles enough to alleviate the discomfort and allow the skin to heal. (Thankfully, you still have some control – if that’s what you’re wondering!) So before you make quick judgements on the increasing use of Botox, it’s good to know the vast benefits of this wonder drug.

© Dior



f the recent Dior Campaign featuring Gisele Bundchen is anything to go by – Short fringes are in. The short fringe is daring. It oozes confidence. However, it’s not the easiest look to wear. There has been some debate about how to pull it off convincingly.

I asked hair stylist, Ivan Chircop of Christopher Hanna Platinum Stylists, what he thought of this campaign, “ I do love the look if worn by the appropriate person – I’ve even made a wig that imitates the fringe of Gisele! But the fringe on Gisele made her face look longer” he said. “If you are thinking of making a fashion statement, such as this fringe, consider your face shape and features; if it’s slightly round or heart-shaped and your features more petite, then it should suit you; think Kate Moss.”

CHOP If you decide to be an early adapter of this trend, consider the hair stylist that will be attempting this cut, you want it to look fashionable and now. I have ghastly images of either a nerdy ugly betty or a quirky Amelie, should it go wrong! Here at Tangent we admire those fashionistas who will try anything to be ahead of the pack. With so many different styles of fringes to come to the fore in the latest bangs bonanza, we cannot wait to see this look take off. Last word of advice if you go the chop, own it. Emma Giammarco

Hot fuchsia, ultra violet, canary yellows, peacock blues and viridescent greens – dust off the legwarmers and crimping irons, it’s time to make a scene! Eighties makeup is back in a big way. The spring/summer runway shows at Marc Jacobs, Prada and Yves Saint Laurent had a splash of 80’s glamour, showing you don’t necessarily have to channel David Bowie, Madonna or Debbie Harry to look the part of an 80’s rock star... but who are we to stop you?!

Dior Kiss in Lime Glacé $42 Dior lipstick Pink $50 Shu Uemura Rouge Unlimited Lipstick $42 Lancôme L’Absolu Rouge OrangeSacree $49 Bloom Lip Plump Colour Lottie Le Brock $22 Mode Cosmetics lipstick Vixen $3.95 Kit Cosmetics Lipstick Queen Glossy Pencil Crime $34.95

Jemma Kidd Hi-Design Eye Colour, Dramatic $34.95 Shu Uemura pressed eye shadow in My green $39 Bloom Shadow Liner in Emerald Green $24 Dior 5 Couleur Iridescent in Petal Shine $99 Bloom Eye Colour Cream in Moss $20 Kit Cosmetics Too Faced Starry Eyed Eyeliner $34.95 Bloom Shadow Liner in Electric Blue $24

Photography David Cummings Styling Rebecca Doyle Article Emma Giammarco Special thanks Studio Go, Waterloo

Australis nail colour in citrus $7.95 Kit Nail Polish in Big Bang $15.95 Mode Cosmetics Nail Enamel in glitter, fluro pink, and fluro green $2.45


e are taught to organise our lives by managing our waste: sorting and washing out the recycling, servicing and wiping our gear before we ebay it, bagging the garbage and the all important burning and shredding our personal documents- so the twin boogie men of the paparazzi and identity thieves don’t feast on our garbage. We are taught that the perfect trash is clean, without a trace of ourselves.

Our governments dream of a final solution for waste, proposing burying things for 10 000 years like the planned nuclear waste repository 1000 feet below the ground at Yucca Mountain. Yet in 10 000 years even the earth moves, and what was below might come back to light. Maintaining that space becomes a whole production of land care, tunnel maintenance and geopolitical security.

Photography - Emmanuel Giraud Styling - Heather Cairns Hair -Natasha Kruzycki Make-up - Cassie Sobel at Reload Models - Johnathan at The Mens Division, Tegan at Chic, Lindsey at Chadwicks, Demelza at Priscilla’s

The point isn’t an anti-nuclear, green, make sure you recycle message. Recycling is mundane enough to stretch to sex toys, with dedicated startups in the US wanting boxfuls and an online adult shoppe in the UK trading in used rabbits. It maybe planet friendly but it is still just a way of disposing without leaving a trace of the history of the object or ourselves. If you recycle that glass dildo with touchingly sordid back-story or that book that kept you sane on the train between London and Wick, it becomes only so much weight of paper or glass. All this social effort to blank out ourselves and what we treasure. Yet there are other ways that preserve the object itself. The back streets of Surry Hills through to Newtown are full of the exchange of couches, cupboards and bookshelves, as they are passed from one share house to another. Or on a global scale, movements like bookcrossing where people can tag their old books, release them into the wild and follow where they travel. But sometimes in these grim days you need the cash, not the pretty-making glow of these anonymous gift economies. And the solution seems like it has to be ebay, the 24 hour car boot sale of the 21st century. There, if you grit your teeth and shine the stuff up you might find close to a market price, like spickitty492 does. But while spickitty492 might be making this month’s rent, her fledgling fashion label isn’t any closer to paying next month’s. Nobody’s a wage slave anymore. (Or is it just that wage slaves are nobodies?)As Soderbergh’s Girlfriend Experience explores, in some way we’re all working independently, from escorts to personal trainers, and the biggest investment

We are dispo disposals - what w stories that attac we do it modern fac

osed by our we get rid of, the ch to it, and how t, is the ce of fame.

we’re looking at is a little bit of fame. We’re looking to leave a mark, a trace, to give ourselves away. Doing that literally in some cases has been enough to make the BBC. Or even just little pieces like Anthony Gardiner who transformed heartbreak and a cheap engagement ring into international media coverage by giving the ring away on a twitter hunt. But how you give yourself away matters. Do you cash it in for management like a Corey Delaney or Clare Werbeloff, or can you funnel it into your own networks of aesthetics and distribution? Take Amanda Fucking Palmer, ex-Dresden Dolls, who uses her, relatively small, 37 000 odd twitter army to host auction house parties to get rid of excess stuff and pay her rent, invent twitchhiking to get strangers to drive her across cities when she doesn’t have cash for cabs, and generally use fanagement to fund her punk chic lifestyle. We are disposed by our disposals - what we get rid of, the stories that attach to it, and how we do it, is the modern face of fame. a whole production of land care, tunnel maintenance and geopolitical security. The point isn’t an anti-nuclear, green, make sure you recycle message. Recycling is mundane enough to stretch to sex toys, with dedicated startups in the US wanting boxfuls and an online adult shoppe in the UK trading in used rabbits. It maybe planet friendly but it is still just a way of disposing without leaving a trace of the history of the object or ourselves. If you recycle that glass dildo with touchingly sordid back-story or that book that kept you sane on the train between London and Wick, it becomes only so much weight

of paper or glass. All this social effort to blank out ourselves and what we treasure. Yet there are other ways that preserve the object itself. The backstreets of Surry Hills through to Newtown are full of the exchange of couches, cupboards and bookshelves, as they are passed from one share house to another. Or on a global scale, movements like bookcrossing where people can tag their old books, release them into the wild and follow where they travel. But sometimes in these grim days you need the cash, not the pretty-making glow of these anonymous gift economies. And the solution seems like it has to be ebay, the 24 hour car boot sale of the 21st century. There, if you grit your teeth and shine the stuff up you might find close to a market price, like spickitty492 does. But while spickitty492 might be making this month’s rent, her fledgling fashion label isn’t any closer to paying next month’s. Nobody’s a wage slave anymore. (Or is it just that wage slaves are nobodies?) As Soderbergh’s Girlfriend Experience explores, in some way we’re all working independently, from escorts to personal trainers, and the biggest investment we’re looking at is a little bit of

fame. We’re looking to leave a mark, a trace, to give ourselves away. Doing that literally in some cases has been enough to make the BBC. Or even just little pieces like Anthony Gardiner who transformed heartbreak and a cheap engagement ring into international media coverage by giving the ring away on a twitter hunt. But how you give yourself away matters. Do you cash it in for management like a Corey Delaney or Clare Werbeloff, or can you funnel it into your own networks of aesthetics and distribution? Take Amanda Fucking Palmer, ex-Dresden Dolls, who uses her, relatively small, 37 000 odd twitter army to host auction house parties to get rid of excess stuff and pay her rent, invent twitchhiking to get strangers to drive her across cities when she doesn’t have cash for cabs, and generally use fanagement to fund her punk chic lifestyle. We are disposed by our disposals what we get rid of, the stories that attach to it, and how we do it, is the modern face of fame. Ravi Glasser-Vora. July 2009


The Vignettes: Sex Attack! Tokyo A Go Go Daniel Boud follows Bluejuice & The Scare


VIGNETTES Photography Emmanuel Giraud/Interview & Styling Heather Cairns

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he Vignettes Myspace site claims they are fighting better music. With ammunition in the form of an epic garage rock explosion, we’d say this duo is well equipped for their battle. Joel Murray and Katie Bragg make up are The Vignettes. The band originated with several musicians changing instruments from song to song, so each line up was a different sound, creating different vignettes of music. One day they were down to two;

JM: Eventually the only person I could rely on was my partner Katie, so I left it with just the two of us and kept the arty name. The couple describe their sound as a ‘big riff sound of the 70’s with a modern feel.’ Katie rocks the drums and Joel multi-tasks with guitar, bass and vocals. Joel picked up a guitar at 19 after seeing AC/DC on the television. Katie on the other hand grew up with music, but only recently started her love

affair with the drums. KB: I started playing guitar when I was 14, and continued until I was 21. When I sat in on a rehearsal of Joel and a friend, I ended up getting on the drums & found I had a natural affinity for it.’ We asked Joel to explain his ability to play guitar and bass simultaneously. JM: To put it simply, it’s a detuned guitar. To put it technically, I use different string gauges, splitters, multiple amps and a specific playing style. I took the double tapping technique and sort of shifted it so I can play a guitar solo and a separate bass line. Similar things have been done before, just look on you tube for wankers playing Bach on their guitars and tapping two different melodies at once. I’ve just taken that and applied it in a new way.’ Live, these two make serious noise. And it’s not just through their instruments. Their loud aesthetic and Joel’s potty mouth also aid their combat.

Photographer. Emmanuel Giraud at MissBossyBoots. Stylist. Heather Cairns. Hair. Jenny Kim Makeup. Fern Madden. Special thanks to Natalie-Jane Miller & Saint Augustine Academy and My Boudoir for wardrobe.

JM: Our look is very dark but with hints of glam rock in there. . . . like we’re a little bit insane, like we’re unleashing something that we can barely control. That something could perhaps be Joel’s mouth. His rude address on stage has earned a notorious reputation in Sydney’s underground music scene. He says their mid song banter is to test the audience. JM: Most bands are ridiculously boring between songs, “that was our song called blah blah, and this is our new song called blah blah. I wrote this when blah blah blah”, no one cares. I like to say things that shock people and keep them paying attention. His commentary on the music industry extends to The Vignettes uncensored blog. In particular, his attacks on Lady Gaga and Kanye West. We ask what pisses him off about the music industry.

JM: It’s not really the industry that annoys me; it’s just giving the people what they want. The problem is the stupid people that create demand for shallow narcissistic music. Their new EP will be released this year in October. It is a revolt against shallow narcissistic music. The EP contains four new tracks of epic drumming and big dirty riffs. As for the subject matter? Expect lyrics on transvestites, disappointing relationships and the media’s obsession with fear mongering. For The Vignettes future, Joel prepares us for total domination. He predicts, ‘nude photo shoots on the cover of NME, leaked porn tapes, musical world domination, fights with various celebrities and collaborations with symphony orchestras and rappers, public drunkenness and 20 separate reunion tours.

But, for now, the lovers will continue their battle plan by writing better music and letting everyone know who to avoid.

Heather Cairns -


YOU MAY KNOW TOKYO PINK from when she rocked the catwalk for Ant!podium at Australian Fashion Week this year. Tangent magazine is lucky enough to have this inked up lady spinning the decks at our official launch party at Q Bar on August 18. We took five minutes of Tokyo’s time and discovered there’s a few more feathers to her cap!

WHAT INSPIRES YOUR LOOK? I look for the oddities in things. Bizarre objects tend to capture my attention as well as art history. Essentially though my look comes from how I feel. I like to express myself with an aesthetic.

TATTOO ARTIST, MODEL, PERFORMER & DJ? CAN YOU TELL US HOW YOU SPEND YOUR DAYS? My days are spent managing a clothing store (every artist needs a day job). Outside of business hours I am kept very busy with my art, writing, and music. Recently my days have mostly been filled with organising events that I run and planning trips for international artists to come to Sydney. WHERE CAN WE CATCH YOU IN THE NEXT FEW MONTHS? Well catch me if you can! I will be doing a few Dj gigs and mainly organising my next event, which is a ‘Homoerotic 90’s House Party’. You may also catch a glimpse of me at ‘Miss Tattoo Australia’! August is a pretty busy month

A GO GO ! with photo shoots and auditions but I dare say you will be seeing more of me.

couldn’t ask for more than hot women in skates getting nasty!

WHY SHOULD WE GO TO YOUR ‘90’S HOUSE PARTY’ NIGHT IN SEPTEMBER? Why come? Because it’s the party of the year. Due to the sell out crowd at my last event ‘Queer 80’s Prom’ we are expecting huge numbers to the next party. Everyone loves a dress up, a daggy dance and to hear those old classics from their youth. AND WHAT IS THIS WE HEAR ABOUT ‘ROLLER DERBY’? Ahhhh roller derby is a passion of mine. The Sydney Roller Derby League is a relatively new concept and it is really exciting to see women getting out and playing dirty. You

WHICH ARTISTS CAN WE EXPECT TO BE DOMINATING YOUR SET AT THE LAUNCH OF TANGENT MAGAZINE? I am pretty in love with The Gossip’s new album right now so expect some of that plus my favourites like Ladyhawke, CSS, Santogold, Le Tigre, Peaches, Van She and some classics from INXS, Bowie and Blondie. LASTLY, CAN YOU TELL US A SECRET? Secrets are for the secretive! Tokyo’s Blog: Sydney Roller Derby League: Homoerotic 90s Party: php?eid=236283350299&ref=ts


DANIEL follows BOUD & The Scare For this first issue of Tangent I’m taking a trawl through my photo archives of two Sydney bands who are just about to release second albums. First is Bluejuice, the genre-defying band fronted by two eccentric and just plain weird frontmen, Jake and Stav. I first remember seeing them play years ago with Kid Confucius, back when they were a more traditional skip-hop act. They’re a must-see live, with Jake and Stav bounding around the stage getting into a sweaty mess, and always finishing wearing far less clothes than when they walked on stage. The Scare are dark, punk rock band, originally from the Sunshine Coast, who spent a year in the UK and now call Sydney home. They’re fronted by Kiss Reid, who can appear quite deranged on stage, and is often fond of launching himself into the crowd. They’ve got a loud, menacing sound and with Kiss’s unpredictable stage antics are exciting to photograph.

Jake gracefully dancing in a tutu and tighty whiteys. This was taken on the day I shot the pictures for their first album cover.

The Scare perform at the Australian Music Prize ceremony in March 2009.

Jake backstage at The Metro after performing the FBi benefit concert. Onstage performers are like superheroes, singing their hearts out and leaping around the stage, revelling in the crowds affirmation. But backstage their just normal folk, exhausted and self conscious; down on themselves for all the little faults no one in the audience noticed. The ‘broken leg’ photos. The first is from Splendor in the Grass in 2008 and the latter at Luna Park a couple of weeks later. Jake’s experience of hobbling around on a broken leg (or ankle i think it was) inspired their new single, Broken Leg.

Jake crowdsurfing at Sydney’s Big Day Out 2008. Jake on stage at the Come Together Festival in 2008. It’s always a very energetic, sweaty performance.

Kiss at Homebake 2007, crowdsurfing with a bleeding mouth. Lead singer of The Scare, Kiss, screams down the mic and in my face at Homebake 2005.

At Phoenix Bar in November 2006, just before The Scare left Sydney to play live in Birmingham. Daniel Boud is a Sydney photographer with a passion and eye for music. He currently works as Chief Photographer for Time Out Sydney magazine and is regularly published in the music press. He’s documented Sydney’s music scene since 2003 on his website Boudist.



TANGENT YOURSELF THE SECOND SKIN. The Body is a blind page. The easy way to write on that blind page is to use clothes and accessories. Styling is writing on ourselves to describe ourselves. Paragraph after paragraph, that style become sharper as we know more and more who we are, where we come from, which community, tribe or subculture we (pretend to) belong to. We can scream it with colours and fabrics. And scream also our existence, our uniqueness in that social group. It is an obvious indicator of our mood. In our specific look, we have a wide choice of outfits. We select an outfit so that, at a point, the outside becomes a precise reflection of our deeper emotional state of the day.


At the end, we all look for clothes that fit, not just to wear, but to keep us comfortable on the inside as well. So be aware, your clothes act as an open book to the street! Yann Audic, August 2009


SIENNA SPOTTED IN PADDINGTON How do you spent your time? I am musician, I am singing … kind of foxyquirky-pop Who is your style icon? The designers themselves : Vivienne Westwood, Rick Owens Who are your favourites designers? Ann Demeulemeester or Marjan Pejoski. Define your fashion style? It really depends how I feel … today I feel like a little girl. What fashion rules do you like to break? All of them, no rules … no double-denim? - today I’m wearing double-denim ! ALICE SPOTTED IN THE NATIONAL ART SCHOOL OF SYDNEY How do you spend your time? Skip around with a parasol.

Who is your style icon? Marlène Dietrich, Edith Piaf that innocent time when smoking was good for the throat. Who are your favourites designers? I like the second hand shop! Define your fashion style? Silver screens, Hollywood movies of the 30’s. Things that express nostalgia. What fashion rules do you like to break? Wear my hat backwards, making a dress into a skirt, clashing periods. NATHAN SPOTTED IN PADDINGTON How do you spent your time? I run my PR event company: Dialogue Who is your style icon? Karl Lagerfeld, he keeps surprising me… Adam Ant, a singer of the 80’s Who are your favourites designers? Christopher Bailey, Marc Jacobs, Rick Owens Define your fashion style? Eccentric, fun, OTT! Close to a costume in fact. What fashion rules do you like to break? I don’t like all the mass production clothes. And I can’t stand bum bags.



JEREMY SPOTTED IN NEWTON How do you spend your time? I am doing a Bachelor of Arts in Theatre and I spend a lot of time chatting I am very good for table conversation. Who is your style icon? Michael Jackson, Lady Gaga and Rihanna for her military look. Who are your favourite designers? Master/Slave, Saint Augustine Academy.Versace, Dolce & Gabbana internationally. Define your fashion style? Clothes are like a costume for me, I like that they provoke a reaction in others. What fashion rules do you like to break? Wearing black and brown and buying girls clothes, sometimes it fits better [-eg Today Jeremy is wearing girls jeans and gloves]. JOHN SPOTTED IN DARLINGHURST How do you spend your time? Sales in IT. Who is your style icon? The designers themselves, like Vivienne Westwood or Rick Owens. Who are your favourites designers? Ksubi, Rick Owens. Dolce & Gabbana, Dior Define your fashion style? I like reinventing and creating a different styles. I want to reference all different types of people. What fashion rules do you like to break? Some of them exist for good reason. But we can push those rules. LUCY SPOTTED IN SURRY HILLS How do you spend your time? I’m studying fashion at The White House and I’m taking an internship in a magazine: Shop Till You Drop Who is your style icon? I’m influenced by the street and its’ people. Who are your favourite designers? Luella, Richard Nicoll, Alannah Hill. And overseas Chanel and John Galliano. Define your fashion style? Very feminine. I like layering clothes and subtle and small details. What fashion rules do you like to break? The rule that you can’t clash patterns or wear unusual colours together.




Kate Waterhouse - Sun Herald

Kym Ellery - Ellery

Tangent Red Carpet - DAVID JONES Spring Pip Edwards and Tulia Wilson - Stylists

George Gorrow - Ksubi

Elyse Taylor

Sarah-Jane Clarke & Heidi Middleton - Sass & Bide

g/Summer 2009 Season Launch

Photography Oscar Bravo

Megan Gale

Miranda Kerr

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STOCKISTS [] Prada [] Reactor Rubber [+ 44 (0) 207 375 3864107] Rokit [] Romance Was Born [] Saint Augustine Academy [] Samantha Wills [(02) 8399 2988] Saunders and Co PR [] Seed Of Scarlet [(02) 9357 2475] Shag [(02) 9931 8888] Shu Uemura [(02) 9319 4599] Skinny Nelson and Friends [(02) 9331 6637] Somedays [(02) 8060 3006] Sophomore [(] Spencer Webber [] Sretsis [] Stolen Girlfriend Club [] Strummer [(02) 9318 2511] The Costume Shop [(02) 9417 3499] The Wardrobe [(02) 9261 2333] U-Tech [1800 252 681] Voodoo [] Wayne Cooper [] Willow [(02) 9368 0442] World [] Zambesi [(02) 9319 4599] Zanerobe [(02) 9 380 5990] Zoo Emporium


Profile for Tangent mag

Tangent Magazine 01  

Fashion to bend your mind. Tangent magazine is fierce, online and ready to rock your fashion world

Tangent Magazine 01  

Fashion to bend your mind. Tangent magazine is fierce, online and ready to rock your fashion world