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DARIO CATELLANI Dario Catellani, the photographer tasked with capturing Lila Moss's first Vogue Australia cover, sees his chosen medium as a means for translating how he views others. “My work has grown into a balance between intuition and structure, always chasing the tension between intimacy and form,” he tells Vogue. For this shoot, Catellani pursued a similar concept grounded in contrasts. “Fluid shapes, restrained styling, emotional quiet,” is how he describes the brief. “Lila shaped the shoot through her presence. She doesn't force the image, she listens to it.” EMMA SUMMERTON Celebrated photographer Emma Summerton reflects on her alternative career path, stating, “I would paint,” had she not pursued photography during her studies at Sydney's National Art School. “I probably will one day just paint, collage, maybe sculpt,” she says.…

British fashion model Lila Moss's Vogue Australia debut shoot was photographed in New York City, where the 22-year-old has been residing for the past three years. Contributing fashion editor, Harriet Crawford, flew from Paris to the US to assist editor-in-chief Christine Centenera on set. “Dario Catellani is known for beautiful portraiture and strong fashion imagery,” she says of the photographer. “His direction really came through in the creative and was perfectly suited to Lila's youthful energy.” For Catellani, Moss delivered something special in front of the camera. “There was a moment where Lila melted into the fabric – no direction, just presence,” he says. “The room shifted.” Crawford has worked alongside Centenera for three back-to-back covers over the course of just a few weeks, and prepared for this one by…

Flow state The length for a winter coat now is long and floor-grazing. Versions like Hermès's lightweight wool and silk iteration are meant to be thrown over anything to envelop in comfort and protect. Scan the QR code to shop Vogue's edit. Zip code The bomber's continued appeal is in its undone, understated feel, which meets a witty youthful take in a new abbreviated and boxy shape. Scan the QR code to shop Vogue's edit. Scan the QR code to shop Vogue's edit. High life Knee-high boots receive a sumptuous and elaborate makeover this season in Chanel's classic suede or made-to-thrill versions from Bottega Veneta and Saint Laurent. Go figure Nipped, cinched and precisely skimming the waist, an hourglass blazer telegraphs both femininity and sculptural strength. It's the new mood…

Some songs have the dappled levity of sunlight falling through leaves. Others carry a sonorous potency that can come only from Jessica Pratt's unique airy vocals. For her critically acclaimed fourth album, 2024's Here in the Pitch, the Californian musician returned to the zeitgeist, reinstating a honed version of a dreamy fugue state. The 38-year-old has collaborated with A$AP Rocky and lent samples to our own Troye Sivan ahead of a tour that began at the end of May with a performance at the Sydney Opera House. This month, she continues with shows at Melbourne's Rising and Tasmania's Dark Mofo, before heading to the Roskilde Festival. There is, however, a vitality lurking beneath the languid sounds. “I write as soon as I can after waking up, before much can cloud…

Worth its weight To perfect the all-in look, balance the daring volumes of bold jewellery with the latest statement metal accents dominating runways including Chanel and Miu Miu.…

Google the name Connor O'Grady and old articles will surface about a talented Queensland teenager who began hand-sewing when he was seven years old and went on to win design competitions before accepting a position at the London College of Fashion. O'Grady, now 24, can pinpoint the moment in his childhood when he received a quintessentially Australian introduction to the fashion world. While watching a current affairs program aged six, he saw something otherworldly, a long way from his life in suburban Brisbane. “The Madame Butterfly Christian Dior show,” he recalls of seeing John Galliano's spring/summer '07 haute couture collection on television. Its ninth look – a multi-tiered blue-green dress with a swing skirt – was a formative inspiration for O'Grady, whose line now encompasses custom and demi-couture gowns, as…

When Prada sent oversized bowling bags down the men's autumn/winter '25/'26 runway – one in a jammy shade of wine, another in a luscious tri-tone of cognac, chocolate and cream – it set an early 00s memory whirring. That piping, the 70s curve of their tops and the deliberately worn patina was straight from Prada's spring/summer 2000 show, one I hadn't thought had made any special impact at the time but had sealed a latent desire deep in my fashion memory. Suddenly, I wanted to find one. In black with piping. Not yet armed with the correct season but prepared for nights of serious sleuthing on the internet, I entered the search term ‘Prada Bowling Bag early 2000s’. One similar style appeared, but alas, a re-edition from resort 2020 rather…

To be a producer, says Jodi Matterson, is to be a gambler. Producers are always taking risks, both on the people they work with and the stories they tell. Producers gamble on whether they can sort out the visas necessary for a plane full of actors in the 15 hours it takes for the flight from Los Angeles to Sydney. Matterson did this in 2020, on Nine Perfect Strangers. “That is just the kind of stuff that happens,” she says, shrugging easily, as if she were commenting on an adverse weather report. Producers gamble on those, too. On Force of Nature, the sequel to The Dry – “we should have called it The Wet,” Matterson says, deadpan – she gambled on how long she could pick leeches out of director…

When Sofia Coppola was digging through her files to collate Archive, her 2023 bestselling book of photographs and ephemera, she came across a box overflowing with negatives and contact sheets belonging to the artist Corinne Day. Twenty-five years previously, Coppola had invited the late British photographer to the set of her debut film, The Virgin Suicides, to capture the atmosphere over four hot and humid weeks. Coppola was a fan of Day's unvarnished, un-posed imagery. “Her photos didn't look like the glossy 80s fashion images I had grown up with: tall girls with shoulder pads, bright lights, make-up and big hair,” Coppola writes in the introduction to her new book The Virgin Suicides. “I could relate to these undone, slight girls and loved seeing the in-between moments, the photos that…