Page 1

LUXRUG


Contents

04

From the Editor

05 08

Beauty Queen

Interview with Dale Cornell of NMBQ

10 13

The New Model

Reading in the days of COVID-19

Shadia Design Secrets to Longevity


16

The Three Fundamentals of Fashion Design

19 24

Sisterworks

Album Review Parallel Lines

30

Business Book Review The Art of Non Conformity

ACKNOWLEDGMENTS Magazine Chiara Stranges Graphic Design Denise Picton Contributor Jack Lynch Contributor Victor Stranges Contributor

Venue Raymond Tunks Chef Marc Scollo Sound Engineer Lexi Ukosich Service Jack Lynch Host and Service


From the Editor If I watch anything on the “box” it’s generally business related. The odd movie might sneak in, but generally I look for stories, competitions or documentaries that are business related or about entrepreneurs. I know what you’re thinking … “tragic!” Agreed. During Melbourne’s last lockdown, I watched the “Halston” series, based on the life of fashion designer Roy Halston Frowick. I have a fascination with the Brand aspect of products and marketing, and Halston had both vision and clarity when it came to his. I was riveted! My personal take home message from watching the series; it doesn't matter how good I might be, or think I am, as a creative director, I need to work with other creatives more talented than I. Surrounding himself with fabulous people was paramount to the success of this iconic designer. It does conger up questions like; at what point does the influence of other creatives dilute the brand? At what point does “letting go” become an adverse strategy? Is it just a matter of keeping everyone in their own lane? I think a strong Brand is almost like a gut feeling. You can see, hear or feel something wonderful, but instinctively know it’s not a good fit. This can of course be seen as resistance for the sake of saving face or challenged ego, but the great moguls were able to stick to their guns, and listen to their inner Brand voice. Given the impact of COVID-19 on my business, there's a rush to diversify. This means moving the brand from entertainment and hospitality, into media and retail. Delegation is absolutely imperative and so finding the right crew and directing them to grow the Brand is exactly where I sit. Do these notes resonate with you? Let’s start a conversation. anthea@jimmyhornet.com

Anthea Palmer


I met Dale Cornell 3 years ago in 2018 when I walked into the ‘NMBQ’ store on Sydney Road, after partying all night somewhere in Brunswick… I stumbled into the shop, lured inside by the wonderful patterns and designs beckoning me from the shop window. Each of the clothes told a different story: some by their colour, some by their pattern, and the most eye-catching to me: a dress with Donald Trump’s angry mug on it! Dale greeted me and I exclaimed to him how I loved all the clothes in the store and wanted to buy EVERYTHING, however, I was a poor music student working in hospitality amid a mental breakdown with barely a penny to my name, so of course, funds were limited.


Dale told me that I could put aside anything that I was interested in and he would do me a deal as long as I posted some photos to my social media - seemed like a great deal to me! I put aside my ‘collection', paid my price, and walked out of the store as happy as Larry. I told Dale that I was doing a cabaret showcase based around the work of Sylvia Plath - a famous writer and poet who infamously showed her head in an oven at the age of 30, leaving behind an immense amount of valuable literary work. One thing led to another, and before I knew it - Dale and his partner Sharmaine had created a dress for my first showcase! This dress was a couture piece, and had the privilege of catching its own Uber to Chapel off Chapel theatre in Prahran right before I quickly changed and went on stage to perform my first showcase “Confessions from the Bell Jar.”


Ever since this night in 2018, Dale and Sharmaine have faithfully supported my work, and I theirs. They are both work-horses with hearts of gold, and style to boot!

By Jack Lynch

Visit New Model Beauty Queen


Interview with Dale Cornell NMBQ Owner, and Designer. rWhy did you decide to pursue a career in Fashion?

Where do you see the future of fashion going?

I was interested in fashion as the transmitter of an idea.

I think the gender differentiation within fashion is becoming more blurred and more comfort-focused. Consumption behaviour is becoming defined by online shopping: garments are becoming looser and less restrictive.

What does the word ‘Fashion’ mean to you? The concept of a mass belief.

What role do you believe gender/sex has to play in the world of Fashion? The role of fashion, on the whole, is used as a way to differentiate the male and female gender.

What changes would you like to see in the Fashion industry? I’d like a broader acceptance of what the fashion industry defines as ‘acceptable shape and form. For example, I would like to see a broader showcasing of the shapes and sizes for woman of colour… This aspect of fashion is better than it used to be, but it needs to be better

Knits are becoming more dominant than wovens, and the sportswear industry is becoming progressively mainstream.


How would you like to contribute to the future of the Fashion industry? We are building a new facility in Thomastown - which we think will have a major impact on the local fashion industry. This factory will offer more creative resources in one space than any other fashion facility in Melbourne. We hope to build a community and create a bit of a renaissance.

What has been your most important/meaningful moment in the fashion industry to date? The television program on ABC featured our brand and our collaboration with the Barking Spider theatre company a few years back. These were meaningful moments because both collaborations provided opportunities to explore and discover our true creative potential.

Visit New Model Beauty Queen


By Denise Picton

According to @booksandpublishing, for the first eight months of 2020, adult fiction sales were up 12%. For book lovers, this is a happy number because it means the industry is alive and well in these daft days. But here’s a very sad number. If you read 50 books a year between the time you are 20 and 80, you will only read 3,000 books in your lifetime. For avid readers, this is enough to send you to the bathroom for antidepressants, or the kitchen for a packet of Tim Tams. So, with so many books and so little time, what to read? Here are a few personal recommendations to ensure you use your word-gobbling opportunities to the max.

Back in the Day If you love a bit of history and a murder or two, here’s an author to put on the list. My number one recommendation is the Shardlake series of historical novels by C J Sansom, set from the time of Henry v111 through to the Elizabethan era. Shardlake is a hunchbacked lawyer who is assisted by two doughty assistants Mark Poer and Jack Barak.


A reader can tell when the author knows what they’re talking about, and Sansom is a Scot with a Ph.D. in history and experience as a lawyer. I loved every one of his seven novels in the series, and feel sad that Tombland might be the last we’ll hear of Shardlake.

Australian Crime It’s hard to go past Garry Disher, originally from the Burra region in

South Australia, and now, with a PhD in writing no doubt celebrated in a frame on his wall, a resident of regional Victoria. A prolific writer of crime and children’s books, my favourite series has been the one that tells the story of Paul Hirschhausen, a police officer working in the dusty north of South Australia. Bitter Wash Road is a great place to start. My favourite stand-alone Disher novel is Her, a book about a girl purchased by a scrap man from her father for nine shillings and sixpence. She joins Wife and Big Girl to form the closest thing to family she has experienced. I thought about this book long after I closed the back cover.


Booker Prize winners And now for something with serious literary cred. I aim to read as many of the Booker Prize long list each year as I can. From the last few years, my favourites included the following. Lincoln in the Bardot by George Saunders (Bloomsbury, 2017). I suspect this will remain in my top ten books of all time. I return to it in my mind often. It is about many things including Abraham Lincoln’s response to losing his young son Willie. Most of the novel takes place over the course of a single evening, as Lincoln grieves and Willie exists for a time in the bardot – the space between life and rebirth. Saunders won the Booker for this, his first full-length novel. Lanny by Max Porter (Faber and Faber, 2019). This is a beautiful, dark fable and a joyous celebration of childhood and family with an unconventional, almost poetic style. I would have awarded this the Booker for 2019, but the judges forgot to ask me. Night Boat to Tangier by Kevin Barry (Canongate Books, 2019). Two men sit in a transit lounge, hoping to spot a lost daughter. This is a slow, powerful story that peels back and exposes the layered lives of two reprobates and the people they loved. Well, now there are 14 more books to add to your list if you’ve not met them before. But given my warning about the likely 3,000 book life limit, my advice is to hurry to your favourite (preferably indie) bookstore now.

Visit Denise Picton


How many people can say they’ve been in the same business for over 30 years, let alone declare they still love it? Shadia has been creating with “Design at Heart” since 1985. This designer's continued passion and energy still evident in her work, as she continues to create fresh, relevant visual communication. Continually impressed with the product AND the woman, we jumped at the chance to gain insight into her multi-award-winning business.

Where do you go for inspiration?

What gets you out of bed in the morning?

It generally comes from a focus on understanding the essence of the client business. The translation of this into captivating and communicative visual solutions inspires.

The opportunity to be different, exciting, and thoughtprovoking. New approaches. New interpretations. New executions. To ignite interest and create memorable designs.


Communicating with clients to extract their vision must at times be challenging. Do you have any tips on how to manage the design conversation? If they are passionate about their business/industry/trade it is very easy to chat openly in the discovery of the essence or the "WHY" of what they do. This briefing in turn offers me an insight into the design work to come. From there I can capture the essence of the business vision.

If you had a magic wand, what would you wave it over to change or fix in your business or industry? No carbon copies - dare to be different! This is the only way to make a statement and move the industry forward, by offering the unexpected. Not computergenerated design, but thoughtprovoking work with powerful meaning that captivates the audience demographic.

Do you have a personal creative outlet? Yes. I love to paint, although I haven’t had much opportunity to do so lately. Abstract is my preferred style in mixed media. Plus, I am enjoying our restaurant Hoosegow Charcoal Restaurant adding a spark of creativity wherever I can. For example, I recently completed a series of staff photographs called CHILLI HEADS.


Perhaps a difficult question, given your immense body of work, but are you able to identify three of your favourite jobs? Very difficult, so I'm going with four favourites. My very first important job in the late 80s was to design a suite of items for “The Family Planning Association” which won me two AADC SILVER Awards. The award certificates were designed by my hero, Barry Tucker. My second (many years later) was my own new logo, brand, and website … and I’m the most difficult of clients. This work achieved an International 2014 GOLD GRAPHIS Award - my first! My third was reconnecting with Denise Picton to refresh/design the “OzTrain” logo. Denise took a ‘ design leap of faith’ and chose to go with a new logo. In addition, a branding change flowed onto an extensive suite of items including her website. This was awarded an International GOLD GRAPHIS in 2016. My Fourth was a more recent design for “One Fork Short” restaurant which captures my love for design, painting, and 3D interiors. This was the highlight of my Career winning an International PLATINUM GRAPHIS Award in 2019, and my name on the cover - my first!

Visit Shadia Design


THE THREE FUNDAMENTALS OF FASHION DESIGN Our love for design extends to fashion, and we noticed that many articles give aspiring designers do-it-yourself information on building a label, but few tackle fashion design itself. To run a successful fashion design business, even if you out-source work, you must understand these three fundamentals; Technical Design, Garment Construction, and Pattern-making.

1. Technical Design If you already have a passion for fashion, you probably have many sketches of the clothing you aspire to design, but do you know what each apparel item will look like when laid flat? If the answer is no, you will need to practice looking at basic garments such as t-shirts, skirts, and plain pants. Spread each item out on a flat surface. Pay attention to where both the structural seams and the style seams lie. A seam is a method of binding two or more pieces of fabric together, usually using thread to form stitches. You can also use glue and other forms of adhesive. Seams can be stitched by hand or sewn by machine.


Structural Seams include side seams, armhole seams, sleeve seams, shoulder seams, crotch seams, and centre seams. Design Seams - pockets, zippers, darts, princess seams, or any seam other than structural seams. Practice creating a sketch of each garment the way it looks lying flat, showing details like pockets, zippers, waistband, darts, etc. These sketches are known as flat sketches. They provide a two-dimensional view of what a garment looks like when laid flat. These flat sketches help you when it comes time to make the garment pattern before construction.

2. Pattern making A three-dimensional garment requires a pattern, which is the garment broken down into pieces. Garment building blocks are called slopers. A sloper is a 2D version of a 3D form. It represents the basic measurements of your body, almost like a second skin. A bodice sloper, for example, shows the length, width, and shape of your torso, as well as the bust points and length of darts. Any garment imaginable can be made from four basic slopers. These are the basic bodice (two pieces, front and back), basic fitted sleeves, basic straight skirt (front and back), and basic straight-leg pant (front and back). Additional slopers can be made for style features like collars, cuffs, flounces, inserts, and pockets. These slopers are modified to create the style of garment detailed in the technical sketch. For mass retail garments, pattern making takes an additional step called grading in which each piece of the garment is increased or decreased to create multiple sizes.


3. Garment Construction The technical design of a garment helps to illustrate the way it will look once created. However, you will need to know how to construct or sew the garment. There is a specific order to garment construction. Each piece of the garment fits together like pieces of a puzzle. You must know which parts to complete and in what order. There are essentially 17 steps in the order of garment construction, starting with the sewing of any darts, tucks, and pleats in the material and ending with buttonholes and buttons. For example, a skirt or pair of pants with a waistband and zipper closure must have the zipper sewn first, then the waistband. This is because the waistband hides the raw edges of the zipper.

Working Knowledge Essential These three aspects of fashion design are essential for every budding fashion designer to know. As a designer, you need not be proficient at all three, but you must have a working knowledge of each process to troubleshoot where a design may have gone wrong. Study these three fundamentals to ensure your designs come out the way you envisioned them.


Living in Richmond, Melbourne, I often find myself strolling down Bridge Road, each time thinking I really must engage with the shop that displays Work Empowers Women signage on the window. A magazine feature provided the perfect opportunity to connect with this worthy, charitable organisation. Background Behind SisterWorks is a remarkable woman. Luz Restrepo arrived in Australia in 2010 seeking political asylum. Luz was 45 years old, a medical doctor and communication expert. She did not speak English, felt isolated, frightened, and disempowered. Uniting with a group of 25 other women who were in a similar situation, Luz began to make and sell handcrafts in Melbourne. Understanding the difference that working and earning money makes to personal development, Luz was instrumental in founding this wonderful program.


SisterWorks Inc is a not-for-profit social enterprise. It was formalised in May 2013 when a committee of volunteers joined Luz with legal, fundraising, marketing, and administrative skills. Together they gave support and structure to the project.

The Shop The shopfront and retail section displays a wide range of items for

sale including toys, jewellery, clothing and accessories, homewares, and even preserved foods.

Empowerment Hub The rear and upstairs rooms are set up as a space for various workshops.This is a child-friendly space that provides a supportive environment to empower women. SisterWorks brings women together to learn, experience, share, support, and grow through face-to-face and safe digital platform education.


Their Empowerment Hub has Four Pillars supported by an integrated program of social, design, and business mentors: Design Lab – a workshop program run by professional volunteers designed to help women learn the skills to develop their high-quality products. Cooking Lab – a commercial kitchen provides women with end-toend food production knowledge, transferable business skills, and mentoring support. Work Lab – helps women learn the fundamentals of retail sales and supply chain distribution channels. Business Hub – assisting women with the navigation of pathways to education, productive employment, entrepreneurship, and leadership in Australia.


Interview with Maria Chindris Community Relations Leader How has founder Luz Restrepo inspired or influenced you as an employee? Luz Restrepo has inspired the work ethic of all involved in SisterWorks through her model of ‘learning by doing.' When she was recently migrated into Australia, she grew a community of women around her in which they all shared and taught each other craft skills. Through this support network, they started selling the products they made in markets. This is where the idea for SisterWorks was born. This is how we all work at SisterWorks. We lean on and support each other through the goals and achievements that need to be fulfilled. Each team is interconnected and always learning from each other.

What are the biggest hurdles or challenges Sisterworks currently faces? The biggest need that SisterWorks has is maintaining constant engagement from partners, donors, and the wider community. Having broad networks and connections are essential to maintain sales of our products and developing the entrepreneurial skills of the women we support. These relationships are also crucial for our wider goal of expanding SisterWorks all around Victoria and interstate. This is in the best interest of our migrant, refugee, and asylum seeker sisters, so instead of them coming to us, we can come to them.


Of the vacant volunteer roles, which are most critical to fill? All of our volunteer positions are important for the functioning of SisterWorks as the teams are interconnected. When a volunteer begins a position, they can change and rotate around depending on their interests, passions, and skills base. We have positions that cater to a diverse range of skills including our retail team that works in our store, engagement team that rosters our skills development workshops for the sisters and communicates with them about their personal needs, marketing team, donors team, and volunteering to support our skill development workshops whether that is supervising or teaching creative skills like knitting, sewing, and crochet.

What impact do you think "creativity" has on your clients, or can you make some comment on the relevance of creativity in your role or department? Creativity is important across the board in our organisation. It is needed in the production of the items we sell. Our products inspire clients and customers in their fashionable design and the ethical and sustainable way that they are made. We value creativity and arts as we hone these skills in the women we support to bolster and develop these talents into sellable products with which they can launch their entrepreneurial careers. Creativity is also needed in our marketing and donors team to engage with our networks, communicating the essence of SisterWorks while sustaining their interest in our organisation.

Visit Sisterworks


PARALLEL LINES, Blondie (Recorded 1978) Who would have thought that disco combined with punk and pop would provide a bona fide, yet credible, smash hit across the world? By late 1978 disco had almost outworn its welcome and the ghosts of Saturday Night Fever (1977) were still being felt in the pop mainstream. Within twelve months of Blondie releasing “Parallel Lines,” the declaration that ‘disco is dead’ was picking up steam from disgruntled rock fans. Disco Demolition Night was a Major League Baseball promotion held in Chicago which actually ended in a riot. It sounds laughable today, but a crate filled with disco records was blown up on the field between games for the twi- night doubleheader between the Chicago White Sox and the Detroit Tigers. Many had only come to witness the detonation instead of the sporting attraction for the night. Musical tribalism in the 1970s was alive and well but Blondie had cleverly seized the opportunity to catapult its status from a modest selling band to shifting over 20 million units. The song that made this possible was “Heart Of Glass.”


The effect of the workshop environment in the studio created by Australian-born UK producer, Mike Chapman, cannot be underestimated. “Heart Of Glass was a nightmare to record. It was an idea beyond the technology at the time,” said the band’s keyboardist, Jimmy Destri. In one of the earliest attempts at creating a click track in the pre-digital era, Chapman used a tiny Roland Rhythm box which was the basis for building the recording of “Heart Of Glass.” Starting with the drum machine beat, Clem Burke’s drums were first added starting with only the bass drum. Then a separate recording was made for the snare drum and another again for the high hats. Following that, it was the tomtoms and then the cymbals. Nigel Harrison somewhat reluctantly added the funky disco octave bass lines and was encouraged to play right on the beat like a clock. Frank Infante added the “hooky” guitar parts that made the track swing and Chris Stein’s jungle-like guitar effect overdubs were achieved through the use of a Roland Space/Chorus Echo pedal.


The Kraftwerk influence on the track could be felt with Destri’s rhythmic monotone keyboard lines and to top it off, Deborah Harry added an almost lullaby falsetto throughout the track. An earlier version recorded in 1975 by the band called “Once I Had A Love (AKA The Disco Song)” shows the stark difference in vision that Chapman and the band had created on Parallel Lines. Though some mistake the lead singer, Deborah Harry, as “Blondie,” it was actually the name of the band who had its humble beginnings in Hilly Kristal’s music club, CBGBs in New York City. Blondie had more in common with The Ramones, Television, Patti Smith Group, and Talking Heads than they did with Donna Summer. The edginess of “Heart Of Glass” which was executed perfectly in a pop format was a revelation. The Nerves’ song, “Hanging On The Telephone” kicks off the album and is distinct from Harry’s vocals compared to the new wave original. “One Way Or Another” is a meditative track and was so good that One Direction had to cover it. Thankfully we still have the original to listen to for posterity. “Fade Away And Radiate” is bold and starts off slow and breathy with Harry close-up and personal in the mix. The song travels along a roller-coaster of emotions and ends in an almost punk-like reggae jam. A truly unique track worth checking out.


“Pretty Baby” could fit alongside the band’s earlier song, “In The Flesh” (1976), with its early 1960s influence. The song’s speaking parts pay homage to The Angels’ 1963 hit, “My Boyfriend’s Back” and the track has an endearing quality with its sincerity. Infante’s song, “I Know But I Don’t Know”, is a cool track with equal vocal parts from Stein and Harry. The song’s drony vocals give it a street cred that cascades with Burke’s wonderful beats and fills. An unusual bird, but fantastic. There are no fillers on this album and that’s why it is so easy to listen to. The rest of the tracks, “11:59”, “Will Anything Happen?”, “Sunday Girl”, “I’m Gonna Love You Too” (a Buddy Holly cover), and “Just Go Away” have a new wave urgency but were more polished which gave the album its cross-over appeal. The studio at the time was filled with tension, marrying a punk ethos with a successful pop producer gave rise to some ill feeling between Chapman and the band at the time.


Chapman later said, “I didn’t make a punk album or a New Wave album with Blondie. I made a pop album.” Years after writing for The Village Voice, Robert Christgau commented in the publication, Blender, that it was “a perfect album in 1978” and remained so with “every song memorable, distinct, well-shaped and over before you get antsy. Never again did singer Deborah Harry, mastermind Chris Stein and their able four-man cohort nail the band’s signature paradoxes with such unfailing flair: lowbrow class, tender sarcasm, pop-rock.” I agree wholeheartedly.

thehornetpress.com

Visit Pop Preservation Society


Six Learnings from The Art of Non-Conformity I heard about this book many moons ago at a networking event. A vibrant and self-proclaimed successful young man announced that this reading changed his life. I don’t profess to remember the entrepreneur, but the book title stayed with me, and on his recommendation, I consequently purchased it. There are ideas a-plenty in this book, and different lessons will resonate with people differently. To follow are my favourite points made in The Art of Non-Conformity by Chris Guillebeau.

1. Do you meet the Criteria? Firstly, the author is bold enough to list the criteria he would like you to meet to ensure that reading the book won’t waste your time:Must be open to new ideas. Must be dissatisfied with the status quo. You must be willing to take personal responsibility. You must be willing to work hard. Do you want to continue reading?


2. Tell me what you want, what you really, really want. Most useful is the “Design Your Ideal World" exercise. It entails writing down what your ideal day would look like, in as much detail as you can fathom, and even from hour to hour. Once this step is complete, you can plan and set goals according to what needs to change to achieve that ideal. I found this a great way to list the tasks I would like to delegate rather than continue doing myself, resulting in a “To Stop Doing List.”

3. Radical Goal Setting The book subscribes to the idea of creating a “Life List," often referred to as a bucket list. Once made, break it down into categories, such as work, travel, family, leisure, etc. After breaking it into categories, go ahead and divide it into annual goals. The annual audit of the List will keep you on track to prioritising and achieving your life’s purpose. 4. Characteristics of Good and Bad Business Don’t be put off by this section if you find your business plan has some attributes that sit in the Bad column. The hope is that you’ll have enough in Good for your idea to be worthy of continuation.

BAD • Trades time for money. • Dependent on the economic climate. • Fixed location. • Fixed hours, for instance, as with a shop or service where customers drop in. • Someone else owns the intellectual property.


GOOD • Creates assets that sell on their own. • Independent of the economic climate. • Location-independent and can be operated from anywhere. • Flexible hours, so the owner can decide when to put in the time. • High-Profit margin and regular cash flow • The business founder owns the intellectual property.

5. The Power of Your Own Small Army No-one achieves greatness alone, and the book provides information on how to build a team, broken down into the following steps:Step 1:

Recruit Your Small Army

Step 2:

Train and Reward Your Army

Step 3: Ask Your Army for Help The Take-home lesson from this section is that you want people to feel encouraged by participating in something greater than themselves or in something that connects them with others.

6. Changing the world is not always practical Finally, in keeping with the “non-conformity” title of the book comes a reminder that critics who want to marginalise your freedom are often the endorsees of practicality. The pioneers who made fundamental shifts in our world were once regarded as impractical. Once you’re clear on what you want to achieve and start doing it, not everyone will understand. That is ok.


Conclusion Reading this book did not provide any epiphany or the level of inspiration gained by the referrer, but it was an easy read and generally uplifting book, with practical application and real-life example stories. Particularly useful if you are planning a change or find yourself at a crossroads in your business or career.

Visit Chris Guilliebeau


Profile for The Hornet Press

Issue 4 June 2021  

The Hornet Press Magazine. The Business of Music, Art,, and Design. In this issue, you'll meet the owner and designer of the fashion label "...

Issue 4 June 2021  

The Hornet Press Magazine. The Business of Music, Art,, and Design. In this issue, you'll meet the owner and designer of the fashion label "...

Recommendations could not be loaded

Recommendations could not be loaded

Recommendations could not be loaded

Recommendations could not be loaded