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Before it's in fashion, it's in Vogue.
Vogue Australia epitomises the finest in fashion, design and journalism. It enlightens, entertains and inspires by focusing on its position as the authoritative voice in Australian fashion. Vogue Australia combines a modern mix of glamour, style and intelligence presenting the ultimate in fashion, beauty, health, and the arts.
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In This Issue:
Editor's letter
In the lead-up to the Olympics, the Australian team (and the country) is buzzing with anticipation and hope. This issue is dedicated to their collective endeavours and offers a window into members of team Australia.
Each athlete in our portfolio, from page 83, embodies the Aussie spirit of doing their best and giving everything. Among them, Emma McKeon stands as a beacon of excellence. With her focus and relentless drive, she has already secured her place as one of the greatest Olympians. Her calm demeanor in the pool and her ability to stay grounded under pressure inspire her teammates and us alike. Jessica Fox is a powerhouse in the canoeing world. Her journey has been one of overcoming obstacles and defying expectations. With each stroke, she pushes herself to the limit…
Contributors
CHARLOTTE ROSE
“It was a massive feat of organisation,” Vogue Australia's senior producer Charlotte Rose says of pulling together this issue's momentous Olympic cover shoot, which took place over four different days. “Having four shoot dates doesn't mean each date is one quarter of the work, it was actually four times the work,” she explains. “There are a bunch of logistics involved in shooting athletes, including scheduling around their training hours and prior commitments.” Nevertheless, Rose shares she's honoured to have been involved in such an exciting project ahead of the Paris Games. “Working on a Vogue cover is always a privilege,” she concludes.
BRONTE CAMPBELL
“I first approached Vogue at the end of 2023, after becoming interested in the 1924 Olympic Games in Paris and how they compare to the 2024 Olympics,”…
Ready, set
This July, Vogue Australia joins each of the magazine's international editions in heralding the Paris 2024 Olympic Games with a cover dedicated to the country's greatest athletes. “There is such a depth of amazing talent representing us and we wanted to celebrate them,” says executive editor Jessica Montague, who will be travelling to Paris this month to cover the Games. “We've never had a Vogue representative working on the ground,” she reveals. “Like this historic cover, it's another first.”
Pulling together Vogue Australia's Olympic portfolio, pictured from page 83, proved no easy feat. “Everyone who worked on this project is incredibly proud of the result,” says Montague, who is often referred to in jest as the resident sports editor. “We shot the 12 athletes over a four-month period across multiple states,”…
Got game
Flight path
The bomber has transcended its origins in aviation to become a functional everyday hero. The kind to secure now is elevated in form and fabrication, a counterpoint to its utilitarian edge.
Scan the QR code to shop Vogue's edit of the best bomber jackets.
Active interest
Make the astute investment of a two-for-one style star: a tracksuit. Swap out a blazer for a windbreaker, or tailored trousers for sporting slacks for style mileage as an option on top of wearing it head to toe.
Scan the QR code to shop Vogue's edit of the best winter trends.
Soft launch
Channel the golden age of après-ski and cosy up to piled-on knits and tactile textures in a polished palette of black and white. Keep the feeling going in accessories; the woollier the better.
Drill seeker
The functional credentials…
The new players
Alexandra Hackett
Thirty-one-year-old Alexandra Hackett's creative sensibility borrows from disparate influences not unlike one of her upcycled creations – from spliced and sewn together sportswear turned into clothing, furniture and design objects. It began as a teenager, with hand-beading bridal dresses with a local designer, but she was equally “fascinated by branding and logos, which was really fuelled by working years in sneaker retail”. Then to bring it full circle, “I'm quite an avid runner, so performance-wear and this idea of functiondriven design has always been central to my process.”
Many may know her by her social media moniker Miniswoosh, in reference to the Nike logo emblazoned on many of her creations, which earned her official approval when the American giant invited her to host workshops and develop products for them. Trained…
Flying the flag
I love pop culture,” Tommy Hilfiger says – and it's hard to downplay the potency of that statement. The designer sits on a leather sofa in a wood-panelled showroom at his offices in Manhattan, where walls are covered with iconic ephemera: from pictures of Beyoncé, Kate Moss and David Bowie wearing Hilfiger's famous red, white and blue flag logo, to those black-and-white ad campaigns from the 1990s that exported his idea of sporty prep to millions around the world. “I've always used cultural icons as either collaborators or as ambassadors for the brand … [pop culture] moves the needle in society,” he says.
Indeed, Hilfiger, who started his label in 1985 and was inspired by Andy Warhol, mastered the union of fashion and celebrity ahead of the pack. Raised middle-class in…
Ride on
It may come as a surprise, given its roots, that Hermès's first-ever version of a riding boot was produced in the 1970s, a kind of city boot with equestrian details. That is because, though founder Thierry Hermès set up shop crafting equestrian harnesses in 1837, he concentrated on producing products of the highest quality for horses first and foremost.
As ready-to-wear and accessories were slowly introduced – beginning in 1925 with intention and clear function (the original piece being a golf jacket) – Hermès never abandoned its roots, nor hurried unthinkingly forward. Today, it famously still sells equestrian accessories, and for its non-equine clients shod in leather, not metal, gleaming, handcrafted jumping boots.
With a direct connection to its past, the boots carry traditional leather garters used to hold them in place…
Giorgio on my mind
Milan, summer 1975. A 41-year-old Giorgio Armani has sold his blue Volkswagen Beetle to finance a new fashion business. He rents a tiny office and hires two members of staff: a young secretarial student, Irene Pantone, and an irrepressible showman from Tuscany, Sergio Galeotti, who is in charge of sales.
In what passed back then for a showroom, the three brought out a menswear collection, followed by one for women. Both debuted to great acclaim, the buying public entranced by the deceptive simplicity and elegance of Armani's clothes. In time, a new glossary would be coined for his palette: ‘greige’, ‘sand’, ‘mushroom’, ‘biscuit’. American critic Dodie Kazanjian would write in Vogue that Armani was “doing for the jacket what others were doing for philosophy, architecture and art”.
“I have always looked forward…
Grace Wales Bonner
Her ready-to-wear is pared back in sensibility, but beyond the tailoring, camel-hair coats and elevated separates, a layered cerebralism is at work in Grace Wales Bonner's clothing. It is why men – she began as a menswear label, before adding womenswear – and women around the world respond to her clothing beyond the immediate exterior. Rich with symbolism, the 32-year-old London-born, British-Jamaican designer's work intersects art, music, literature and film, a fact on display with her recent curation of a show at MoMA entitled Spirit Movers.
Her approach, unlike a workaday fashion designer, is a mutable clash of these intersecting spheres, converging and blurring: photographer Tyler Mitchell might walk in a show, soundtracked by Yasiin Bey, the rapper formerly known as Mos Def, while at another, the work of Ghanaian artist…
Shining legacy
Paris, in the late 1870s. A young man, around 22 years old, is poised above one of the most significant diamonds to have ever been unearthed, supervising its cutting from rough stone to polished gem. The moment must be tense; a culmination of a year spent scrutinising the gargantuan 287-carat yellow diamond that fills a whole fist, then the largest ever found, deciding on the best shape. Slowly it emerges: a pioneering 82 facets, at 128.5 carats. Dr George Frederick Kunz has been tasked by Tiffany & Co.'s founder, Charles Lewis Tiffany, to cut what we now know as the Tiffany Diamond, and remarkably, he is self-taught. “There was no gemmology degree back then,” says Tiffany & Co.'s current chief gemmologist Victoria Reynolds of the young man who corralled the…
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