Vogue Australia magazine subscription

Campbell Addy “I didn’t even know I was going to be a photographer yet. I was a model agent, that’s how different the world was,” says BritishGhanaian photographer Campbell Addy of his professional introduction to Adut Akech Bior on the set of a 2018 i-D magazine shoot. Fast forward seven years, and Addy finds himself responsible for capturing the new mother’s ninth cover for Vogue Australia. In town for his Ballarat International Foto Biennale exhibition, I ♥ Campbell, the photographer drew inspiration from his own body of work for the images of the model and her daughter Kiki on location in Sydney. Ibby Njoya “The creative brief was anchored in the concept of surrealism,” says London-based set stylist Ibby Njoya, who was tasked with sourcing the head-turning props featured throughout…

This time last year, Adut Akech Bior appeared on the cover of Vogue Australia’s November 2024 issue. For the shoot, she wore a two-piece Chanel look, styled by fashion director Kaila Matthews to highlight her impending motherhood. Now she returns to the cover for the ninth time, with baby Kiki in her arms. “The last time we worked with Adut, she was seven months pregnant,” says head visuals producer and bookings editor Charlotte Rose. “This time, her daughter joined us on set, which changed the energy completely. We also had [her husband] Sam and Adut’s sister Kimmy with us, making the shoot feel like a family gathering. “One highlight was when Campbell painted on a perspex sheet positioned in front of Adut,” she continues. “It brought an interesting visual element…

SHOULDER SEASON Slightly undone, the just-slipped-off-the-shoulder look of dresses and tops is the way to do dressed-up déshabillé. It’s all about looking undone but still elegant. Keep the rest covered up with trousers or coats. SHORT CUTS Micro-shorts hold strong claim as the replacement for miniskirts in 2025. The most style mileage comes from a tailored version that can read outdoorsy with a riding boot, off-duty with a loose blouse, or perfectly polished with a matching jacket. Scan the QR code to shop Vogue's edit. Scan the QR code to shop Vogue's edit. FUNNEL VISION Eighties-style oversized jackets with clipped storm-collar necks are the outerwear item of the moment. Graphic in silhouette, they have surprising transformability tempered with feminine skirts – pleated, or long and languid. GAUGE INTEREST The woolly…

THE ARRIVAL MAISON MARGIELA X GLENN MARTENS This was the grand entrance: Glenn Martens ascending to designer at Maison Margiela hot on the heels of John Galliano’s departure. The Artisanal collection he presented during couture had all the highly strung energy of the house yet was a wonderful leap into the future. Masks, made from fabric and crushed metal plates, obscured models’ faces. A peeling decay in rich textures beautifully draped the body, while upcycled paper, junk jewels and handpainting added to the sense of layered richness. Fluttering lace-trimmed dresses and the fabulously veiled sheer gowns were terrific. This is what it looks like when there is no holding back, no half measures and no tentativeness. The collection demonstrated that Margiela’s complex legacy is in good hands with Martens. We…

The National Indigenous Fashion Awards (NIFA) is as much a celebration of resilience as it is creative excellence. At this year’s ceremony, held in August on Larrakia Country in Darwin, designer Cleonie Quayle was honoured with the Wearable Art award, for a flower pod-adorned dress with significance that extends beyond its ornate embellishment. Quayle, a Maljangapa woman, was removed from her family in the 1960s, the later years of Australia’s Stolen Generations. Creativity became a reprieve during her traumatic childhood, and later in her career as a paralegal, pursuing justice for First Nations communities. Quayle launched her own line of handmade jewellery 12 years ago, incorporating Australian flora like gumnuts and quandongs. She is the mother of ARIA-nominated Australian rapper Barkaa, or Chloe Quayle, whose early years were also marked…

To know Atong Atem’s practice is to know art that is visually beautiful but also has a deep personal and cultural significance. The Ethiopian-born South Sudanese artist, who is based in Melbourne, began her artistic career as a photographer, creating portrait-like imagery informed by her heritage and reclaiming photography from its historical use as a colonial tool in Africa. Some of her images are euphoric and others contemplative, but all share the same sublime qualities. Atem was the recipient of the La Prairie Art Award in 2022 and showed at Sydney Contemporary this September. This month, she will take her large-scale works to the Paris Photo 2025, the global art fair dedicated to photography. Like many image-makers (she also creates videos), fashion is vital in Atong’s work and plays a…

In fashion, centimetres can make all the difference. It was 10 of them that did it one baking 34-degree Melbourne day in 1965, when Jean Shrimpton unwittingly brought a tidal wave of change that began in Australia and emanated around the world. The 22-year-old set the fashion world spinning from Flemington Racecourse in a slender bone-white shift, and not much else. “I had no hat or gloves with me, for the very good reason that I owned neither,” said the surprisingly reluctant fashion plate, and perhaps world’s first supermodel – with a capital S, fitting for ‘The Shrimp’. “I went downstairs cheerfully from my hotel room, all regardless of what was to come.” The missing 10 centimetres of her hemline, which left her signature gamine, sun-kissed legs exposed above the…

For Esber, eyewear is one of the most sentimental accessories. “I’ve always collected frames when I travel – they set the tone for each trip,” he shares. “Reaching for a pair brings back the memory of where they came from.” The intention behind this collection, Esber says, was to create pieces that would “naturally fold into your daily routine, no matter the occasion”, like these lightweight oval shades with silver accents. Much of his work is a paean to the Australian beachside lifestyle and, as such, Esber’s eyewear incorporates “a palette drawn from nature – smooth browns, olive greens, and subtle greys”. “I want people to feel free to choose the frames they love, not just what they think suits them,” Esber says of the collection, his first with Specsavers.…

A Woolworths run for replacement china, a long night at the studio and a symphony of light and shadow. Such were the elements that produced Teacup Ballet (1935), one of Australian artist Olive Cotton’s most iconic photographs. The gift of a Kodak camera from two beloved aunts first sparked her interest in photography, and a childhood friendship, which later blossomed into love, marriage and divorce, with fellow photographer Max Dupain fanned the artistic flames. By the mid 1930s, the pair were working side by side in Dupain’s Bond Street studio in Sydney, where Teacup Ballet was taken, starring a set of cheap cups purchased with functionality, not creativity, in mind. But, after hours and lit by studio lights, the then-24-year-old noticed the elegant shadows cast by the china, with their…