PHOTOGRAPHER: Ellie Coker
MOTION DIRECTOR/EDITOR: Gemma De Maria
STYLIST: Emma Kalfus
HAIR STYLIST: Graeme Cumming @ Vivien’s Creative
MAKEUP ARTIST: Nisha Van Berkel @ Assembly Agency
TALENT: Nora van der Tuin @ Chic
CELINE by Hedi Slimane blazer, vest and pants, shirt (includes neck bow), shoes and headband
Two days before Christmas, when the tease of summer was upon us, we took a small crew of creatives and Chanel's Cruise 2021 collection to South Cronulla beach to capture what we hoped would be the essence of a time year that now seems too often sentimentalised. We are so very lucky that on this island in the sun, 2021 is already bright - creative pursuit is possible, and across a plethora of industries, abundant. Daniel Goode captures Australian model Georgia Fowler in the clothes we want most.
"She is both, hell fire and holy water. And the flavor you taste depends on how you treat her." - Sneha Pal.
Celine’s Fall/Winter ’24 collection – an expression of the founding spirit of the house and an homage to the 1960s.
When we catch Nathalie Morris and Carlos Sanson—breakout stars of the breakout Australian dramedy Bump—they’re on the Pacific Highway, headed back from a four-day short film shoot on New South Wales’ South Coast. In person, the pair mirror the same easy chemistry that has made Bump such a blockbuster success. The series—a Stan original created by Australian TV veteran Claudia Karvan—broke viewing records within days of its January release. It was quickly renewed for a second season. The story hinges around a ‘will-they won’t-they’ love story between teenagers Oly and Santi (Morris and Sanson), who are in their final year of high school when their lives are upended by Oly’s cryptic pregnant—a phenomena in which women don’t know they are pregnant until they give birth.
When Deborah Sams and Mary Lou Ryan co-founded Bassike in 2006 their intention was pure and without precedent - high-quality basics, honestly made. The brand name’s creative play on ‘basic’ would set the tone for the product; an offering that added interest, and integrity, to everyday essentials.
It’s an intimate act, an unsung one of self- preservation, and one of the rare moments the female form can find comfort in nudity without being scrutinised or sexualised.
Make up, and the beauty industry when subtracted from narratives of both mass consumerism, and oppressive beauty standards, contains the potential for rebellious lightheartedness. The personal is political, but that does not mean that either can’t be fun. The new identity of the beauty industry is fun, embracing its inherent frivolity and its revolutionary potential as a political force.
There’s a universe of otherworldly sources that fuel Ottolinger’s creativity. From urban imagery to mythical undertones, theirs is a space in which disparate elements find communion.
