Canvas 7 Diy

THE DIY ISSUE ALL OF THE ABOVE
D-I-Y. Do It Yourself. The idea of
self-reliance, of championing
knowledge and expertise. It’s an
attitude, an ideology. It’s how this
magazine started. We needed a
creative outlet for our ideas so
we made an online mag. And we
made it our own way, rejecting
the prevailing norms of printed
media and distribution.
Whenever we put together any
Canvas content, whether it be
for our issues, daily write ups or
features, it’s an intuitive feeling.
We tend to gravitate towards
certain ideas, whether they be
fashion or graphic, visual or
aural. And it was pure coincidence
that the bulk of the designers
and artists featured in this issue
are Melbourne-based. There’s
a camaraderie that inhabits the
city’s creative scene that seems
to make ideas possible. Maybe
CONTRIBUTING PHOTOGRAPHERS
Suryanty thoeng
tanya Kechichian
Petter KarlStrøm
Jo DucK
lyuba Sautina
COVER
PhotograPhy lyuba Sautina
Melbourne sums up the Aussie DIY
attitude. The city certainly proves
that creative folk can be nice.
This issue is also about new
discoveries. We’re including a lot
of ‘fringe dwellers’ - designers who
are cultivating niche, underground
followings; musicians who are
forming an army of loyal punk/
prog-rock listeners from a base
in Europe; photographers who
are visualising a new fashion
identity; all with expectations of
bigger things for themselves.
So enjoy this issue of D-I-Y spirit,
and we’ll see you online soon with
more!
CATHERINE MCPHEE
EDITOR
PAGE 3
SREET STYLE
PAGE 7
CAN I BE YOUR SHADOW?
PAGE 10
ESTELLE DEVE
PAGE 18
VALENTINA
PAGE 24
CIVIL CIVIC
PAGE 28
WRAP IT UP
PAGE 29
LIMEDROP
PAGE 2
coPyright & DiSclaimer
reproduction in whole or in part without written permission by canvas is strictly prohibited.
all information and credits are accurate at the time of publication, but are subject to change.
httP://canVaSmagaZine.net
© 2010 canVaS magaZine

PhotograPher Jo DucK
Styling JaDe leung
hair & MakeuP megain harriSon
Model meloDy @ chaDwicK moDelS
Jewellery ott by lia t.
how DiD Six inDiViDually creatiVe PeoPle
come together to form all of the aboVe?
our first set up was very different to what it has now
become. we started out as just a group of friends looking
for a shared space with the retail element designed to
support our creative pursuits. over the years we’ve had a
few changes in studio residents. the hammer & tong guys
moved into their own studio down the road and Johnny and
glenn [from who am eye] moved in. all the while elliot was
building up his screen printing business and nyssa was
working as a freelance pattern maker and machinist. about
two years ago i asked nyssa to work on a range of clothes
to be sold just through our own store and above. grew out
of that.
So the all of the aboVe umbrella iS really
about Different artiStS anD buSineSSeS
Sharing the one SPace? that’S intereSting,
becauSe i haD the imPreSSion you were all
Sort of oPerating collectiVely.
yeah, it is separate businesses but i guess the collective
part comes in when it comes to the support and shared
contacts/ideas. having another label [who am eye] in the
studio means that we have that many more eyes looking
for fabrics or makers and they are going through the same
kinds of issues and might have advice. Practically speaking
with the screen printing side of it, our labels both use print
and it’s great to be able to do it in house. for above., we
would never have been able to develop the devoré print in
[part of the winter 2010 collection] without it. the amount
of testing alone would have cost a fortune.
anD you oPen the SPace to the Public. for
what PurPoSe?
because of our beginnings, retail shop at the front and
studio at the back, our space is set up with a semi public
gallery already. granted the studio is slowly eating into
the front floor space we may not always be able to have
people come through because of work [out the back], but
the move is towards having something like a showroom.
Somewhere that the public can come and look through the
selection of prints or come and check out the above. stuff
and still have a connection to where it all happens.
what waS your role before aboVe began?
DiD you StuDy faShion?
nah, i have a degree in english literature. nyssa has
studied fashion at rmit and worked for 4 years as a
patternmaker. growing up in canada i never thought
about having my own anything. the plan was to get a good
job. when i moved to new Zealand in 1996 i saw just how
possible it is to start something from the ground up so
my plan started to change. i’ve worked retail for about 12
years now with labels like Kate Sylvester and Zambesi so
i’ve always had an interest in fashion.
i’ve never been the creative one, my strengths are in
the other areas needed to have a label. So when i met
nyssa, who is this force of her own, with so many ideas
and such drive, it just felt inevitable. i remember saying
to my mum after we met, and she was in her last year of
high school, that one day we’d have a label together. So
in the time before above. i learned a lot of things about
how to sell a collection, consumer perceptions, production
management. we’d also started all of the above and i was
taking care of the retail aspects and just generally getting
some practice as a business owner.
you both haVe Very DefineD roleS with
the buSineSS. it’S intereSting you Don’t
conSiDer yourSelf creatiVe, Seeing aS
though you were an inStigator in the initial
concePt.
FROM SMALL BEgINNINgS IN A COLLECTIVE STUDIO SPACE, ABOVE. HAVE BECOME ONE OF THOSE LABELS THAT DEFINE
WHAT IS gREAT ABOUT MELBOURNE’S FASHION. MULTI-LAYERED AND WITH A FASHION-FORWARD EDgE, ABOVE
CENTRES UPON THE RELATIONSHIP BETWEEN FORM AND FUNCTION, gARMENT AND WEARER. IT’S A PRESCRIPTIVE
STYLE, WHERE EACH PIECE IS IMBUED WITH A SARTORIAL SENSE OF FREEDOM.
IN THE LEAD UP TO ABOVE’S SUMMER PRESENTATION AT ROSEMOUNT FASHION WEEk, CANVAS CAUgHT UP WITH
kERRY, ONE HALF OF THE ABOVE DESIgN DUO, TO DISCUSS DESIgN.
it’s like that ‘too many cooks in the kitchen’ saying,
everything will always work better if you have one person
specialising in an area. on a basic level nyssa makes the
clothes and i develop the brand. we’ve always said that
neither one of us could do it without the other. it’s just
about trying to be pragmatic. if nyssa is better at sewing
(since i can’t really sew at all) then i cut out the garments
while she sews.
what DoeS aboVe. mean to you? iS it a
reflection of your own StyleS?
essentially above. is a personal body of work; ideas that
nyssa has been investigating since she was a teenager.
usually there’s a concept or a small element that gets

touched on in a previous season and she’ll want to explore what about the colour Palette for the we’ve worked with Jo Duck (photographer) and Jade leung
it in a larger sense. She’ll often show me sketches or SeaSon? DoeS colour Define or Direct the (stylist) 3 times now and we’ve got a rhythm that gets
talk through fabrics or treatments but it’s not until she collection in any way?
us some beautiful, candid moments that in a way are the
makes some first samples and toiles that it then becomes
foundations for the more intimate feelings we’ll want when
collaborative. once we’re at that point it really does colour has been important to us from the start and we’ve we have a show at rafw.
become about our own different sense of styles, but even used it to help focus the collections. generally we stick
more importantly i think it’s about our own different body to three colours; two conservative and one that is more what Do you hoPe will haPPen for aboVe.
shapes. Partly why we think our clothes are so wearable is unusual. then we use the combinations to emphasise at rafw?
because we often meet somewhere in the middle.
the cut or construction in a garment. we always want to
provide a clear choice within a style, so for winter it was truthfully we just want to get some more stockists. we’ve
about a more subdued all-black shirt versus the two tone been really fortunate to get in with some great stores from
what elementS haVe been carrieD oVer from tan/navy.
the early days and it’s given us a chance to really find our
winter for your Summer 2011 collection?
feet with the brand. now it’s at a point where we know what
for our next summer we started to think about how certain we’re doing with it and the focus can be about broadening
well in winter we had the scarf pants, which depend on a colours can be a bit of a trap, so we’ve offered alternatives that customer base. beyond that, rafw is always a crazy
body to give them a context. it’s not until you put them on to those classic colours of black, white and red with a week and with news that Susie bubble will be in town we’ll
and tie them that they make sense as a pair of pants. while charcoal, cream and orange, which has given it a much be vying for a meet just like everyone else.
we were sampling those we came up with a few ways of softer feel. whatever we end up using it’s often a starting
wearing them but when we shot the look book and handed point for the season. i think because of the way we work it,
them over to our incredible stylist, Jade leung, she came it starts to give me a framework for what nyssa is thinking
up with a whole new set of options. So it was this idea of
adaptability and the way people customise their clothing
about before she’s made anything in 3D.
that we focused on for summer. there are a lots of options
in the garments, so while they are designed with something
woulD you eVer conSiDer Print?
in mind the way that you can twist a tie or roll a sleeve to we’ve always previously used print as more of a textile
suit your own shape is an important element. in fact, a few element, because we have elliot in the studio we get to
seasons in and we’re starting to see that idea as a common see a lot of different techniques and can test out different
thread since the early days.
things and see what we can come up with that isn’t a logo
graphic. with what little experience we’ve had so far with
iS there a concePt that grounDS the things like print and dyeing we’ve been really happy with
collection?
i suppose the initial concept was about the different ways in
the finishing aspects that allow us to take a plain fabric and
customise it to some degree.
which people manipulate their clothing to suit themselves. let’S talK about faShion weeK. you’ll be
So you might twist and tie an oversized cardigan or cuff PreSenting Something off-Site During the
and roll a hem of a pant. we’re thinking about how you
might find a piece of clothing, say at an op shop or a hand
weeK?
me down, and what you might do to make it fit you. it’s really we will definitely be heading to rafw for the summer
just looking at the interaction we all have with our clothes. collections. we’re not quite at the stage for a full
on one level a cardigan is just a cardigan but i might flip it presentation yet but we will create a mini showroom with
upside down and wear it cropped, or nyssa might cross it the guys from mens label who am eye and jewellery from
over her body. Summer was about building some of those ott by lia t. for now, without doing a full scale presentation
possibilities into the garments themselves.
we do rely heavily on a good outcome from the lookbooks.

logs are the social phenomenon
of the late noughties. A core
fashion reference for editors,
stylists, designers and readers
alike, thanks to the likes of The
Sartorialist and Street Peeper.
the truth is, though, street style standards really aren’t that
different. it’s almost as if there’s a pre-requisite for being papped.
good looking? check. alexander wang fashion reference? check.
the more you look, the more the pictures start to look the same;
a homogenised “street style” that is replicated and copied across
the world.
it’s easy to take pictures of pretty people in interesting clothes
but for a style blog to have relevance it needs to scratch below
the surface, below the often superficial level of fashion. So many
blogs cater these days to the whims of current trends and celebrity
sightings. but there’s a lot a blog can say, if only with a picture,
about the culture that exists within a city.
considering the reputation Denmark has for interesting fashion,
fashion blogs are only starting to flourish in copenhagen, despite
the popularity of the medium in neighbouring country, Sweden.
but two young, technologically and culturally-minded people - who
also happen to be in love - share a similar ideal of subverting the
traditional stereotypes of style blogs. what makes their perspective
interesting is a sharp eye for style, and a slick way of capturing their
subjects. it’s an artistic approach to blogging that happens to follow
fashion. Just not the current trends.
YOU’VE BEEN RUNNING COPENHAGEN STREET STYlE SINCE
2008. IS THAT RIGHT?
Søren: i think it was 2007.
Jenny: yeah, like february or march, or something.
WERE YOU THE fIRST Of YOUR kIND, IN TERMS Of BEING A
STREET STYlE BlOG, IN DENMARk?
Jenny: in copenhagen, yes. i think there was actually one trying to
do street style pictures but it was mixed with a lot of different kinds
of posts, like regular fashion posts, that made it not so [typically]
street style.
SO ARE THERE ANY OTHER SITES SIMIlAR TO COPENHAGEN
STREET STYlE?
Jenny: well there’s one, i don’t know if you’ve heard of it, “the
guarda mooda”, that’s based in arhus (Denmark’s second largest
city) but they also take the same approach, where it’s a lot of fashion
pictures as well as well as street stuff.
WHAT IS IT ABOUT STREET STYlE THAT APPEAlS TO YOU?
Jenny: we got the idea when we went to the States and went to all
these different cities and saw how different people were in terms
of style.
Søren: yeah, and then we went back we found all these freestyle
blogs from each city, which kind of shows...how do you say it?
{referring to Jenny}
Jenny: almost like the essence of the city, and the culture. you
could actually see what kind of culture existed from the way people
dressed.
Søren: i mean we were both kind of tired of looking at all these high
fashion blogs and we thought [Street Style] was a good way to show
different fashion on people, and in a different way.
Jenny: yeah, because i’d seen, for so many years, from reading
all these fashion magazines, Danish fashion magazines, where the
focus of fashion was on models and on celebrities [and what they
were wearing]. and it had no base in reality.
DO YOU READ OTHER BlOGS?
Jenny: yeah, a lot. we follow a lot of the other street style blogs.
Søren: i mostly follow photography blogs, but you {referring to
Jenny} read a lot of fashion blogs.
ARE THESE DANISH BlOGS, OR DO YOU lOOk TOWARDS THE
POPUlAR ONES, lIkE STYlEBUBBlE AND TAVI?
Jenny: yeah, i do follow both, as well as cherry blossom girl, and
live in berlin, which is from the States, and ones that tend to be
more vintage based. i also read a lot of the Swedish blogs, because
that’s where i’m from.
PhiliP

eleonore ChriStine

Sara
BlOGGING’S A RElATIVElY NEW PHENOMENON IN
AUSTRAlIA. DESIGNERS AND PR COMPANIES ARE ONlY
REAllY STARTING TO UNDERSTAND THE POWER THAT
COMES WITH BlOGGING, AT lEAST GOOD BlOGGING. DO YOU
ATTEND COPENHAGEN fASHION WEEk AS PART Of THE NEW
MEDIA CONTINGENT? OR IS THE SITE RElATIVElY SEPARATE
fROM THAT STRICT, TREND-DRIVEN SIDE Of fASHION?
Jenny: we [copenhagen Street Style], have tried to remove ourselves
from all the fashion week stuff. a lot of street style blogs now travel
to all the fashion shows so all the same bloggers are always at the
same shows. we’ve only ever wanted to focus on the Danish style
and the spirit of copenhagen. we’ll take the odd pictures when we’re
travelling, but with fashion, it’s always on copenhagen.
WERE YOU BlOGGERS WITH AN INTEREST IN
PHOTOGRAPHY, OR PHOTOGRAPHERS THAT BECAME
BlOGGERS? OR NEITHER!
Jenny: [laughs] well you’re the photographer {referring to Søren}
so...
Søren: for me, i was only interested in the photography. in the
beginning. and you {referring to Jenny} were the one who knew all
the fashion stuff. but now i kind of like the fashion scene.
Jenny: yeah, you’re really starting to enjoy it [the fashion].
Søren: So what started as an interest just in photography turned
out to be a fun new role.
SEEING AS THOUGH YOU’RE A STREET STYlE BlOG, HOW
WOUlD YOU DESCRIBE THE COPENHAGEN STREET STYlE?
IS THERE SOMETHING EASIlY IDENTIfIABlE AS “DANISH
STYlE”?
Jenny: yeah, there is. i mean, there’s the oversized silhouette
and there’s a lot more colour, compared with the other nordic
countries.
Søren: but in the last year it’s changed a lot. it’s much more current,
in terms of trends.
DO YOU THINk THE CHANGE IS AN EffECT Of
ANYTHING?
Jenny: have you heard of the anywho girls? they run one of
Denmark’s bigger fashion blogs. they started a couple of years ago
and became famous quite quickly because they were really blown up
by the [local] media as being “the first fashion blog”.
SO THEY PRECEDED COPENHAGEN STREET STYlE AS
BEING ONE Of THE fIRST BlOGS?
Jenny: no, they came after us.
Søren: it’s funny though, because our blog gets little attention in
Denmark. when the media started writing about blogs were never
got a mention. but we’re recognised in other blogs and published in
international magazines.
Jenny: Just not in Denmark!
Søren: and i don’t know if it’s because we don’t focus on current
fashion, we don’t capture trends. with our blog it’s more about
lifestyle.
CITY?
ARE THERE ANY SUBCUlTURES THAT ExIST WITHIN THE
Jenny: no.
Søren: and that’s what makes it really hard for us because it’s almost
as if there’s one style but we want to show something different to
what everyone seems to be wearing.
Jenny: yeah, it’s important for us to show something else.
ARE A lOT Of YOUR ‘SUBjECTS’ fRIENDS, OR ARE THERE
DAYS WHERE YOU lITERAllY STAkE OUT THE CITY TO fIND
THE RIGHT STYlE?
Søren: not at all. our friends always complain about that, “why am i
never on the site?”. we try to stay objective.
Jenny: although we’ve become friends with some of the people we
photograph.
Søren: because copenhagen is so small it becomes that little bit
more difficult, to not photograph the same people.
GOING THROUGH THE PAGES Of YOUR SITE, THERE
TENDS TO BE MORE WOMEN fEATURED THAN MEN, WHICH IS
SURPRISING. I fIND MEN ARE MUCH BETTER DRESSERS HERE
IN COPENHAGEN. THERE’S A REAl DANDY AESTHETIC THAT
I lOVE. ARE YOU CONSCIOUS Of WHETHER YOU CHOOSE TO
PHOTOGRAPH MEN OVER WOMEN?
Jenny: well men tend to say ‘no’ to us more often, maybe because
they don’t see themselves as being fashionable, or something.
Søren: i don’t think we really think about. it’s not really important
[whether it’s a guy or girl] as long as they look interesting.
DO YOU fIGHT ABOUT WHAT DESERVES TO BE SHOWN
ON THE SITE?
Søren: not really.
Jenny: we tend to agree on what good style is. there’s only ever
been one disagreement. Søren didn’t think a person i liked was
stylish but it turned out to be a really big blogger from Sweden and
she looked amazing in the picture.
SO WHAT DO YOU DO WHEN YOU’RE NOT SHOOTING fOR
COPENHAGEN STREET STYlE?
Søren: i work as a photography assistant and as a photo retoucher.
Jenny: and i work
DO YOU fIND IT HARD TO jUGGlE THE TWO ROlES?
Jenny: yes!
AND THERE YOU HAVE IT. WHEREAS SOME MIGHT
BEGIN A BlOG WITH BIGGER THINGS IN MIND, HOPING TO
BECOME THE NExT BRYAN BOY OR TAVI, COPENHAGEN
STREET STYlE’S INTENT IS PURE. jUST A COUPlE
Of kIDS WITH AN IDEA Of BRINGING A DIffERENT
PERSPECTIVE Of fASHION INTO THE [ONlINE] WORlD.

CAN I BE YOUR SHADOW?
PHOTOGRAPHER Petter KarlStrøm
STYlIST leigh Dalton
MAkEUP & HAIR Danielle hamPton
ASSISTANT STYlIST caSSi Polgar
MODElS aShleigh @ chaDwicKS
chelSea @ ViVienS
PRODUCTION roxaS

PreViouS JacKet thiS iS geneViVe, DreSS KhrySaliS couture.
thiS Page aShleigh blacK toP Saxone, KhrySaliS couture SwimSuit. ChelSea SKirt wore aS necK Piece minK PinK, boDy Suit minK PinK, ShoeS acne, SocKS StyliSt’S own.

aShleigh JacKet thiS iS geneViVe, DreSS KhrySaliS couture, unDerwear target. ChelSea JacKet minK PinK, JumPSuit SaSS & biDe.
oPPoSite necK Piece StyliSt’S own ( maDe by StyliSt ), SwimSuit KhrySaliS couture.

SKirt wore aS necK Piece minK PinK, boDy Suit minK PinK, ShoeS acne, SocKS StyliSt own.

PreViouS aShleigh JacKet thiS iS geneVieVe, DreSS KhrySaliS couture, bra thiS iS geneVieVe, hooD little blacK roSe. ChelSea JacKet anon, toP anon, JacKet regina garDe, hooD little blacK roSe.
thiS Page aShleigh JacKet thiS iS geneVieVe, DreSS KhrySaliS couture, unDerwear target. ChelSea JacKet minK PinK, unDer JacKet anon, JumPSuit SaSS & biDe.

JacKet minK PinK, white toP anon, JumPSuit SaSS & biDe.
oPPoSite JacKet thiS iS geneVieVe, DreSS KhrySaliS couture, unDerwear target, caPe little blacK roSe, ShoeS Dr marten´S.

ChelSea DreSS StyliSt’S own. aShleigh necK Piece StyliSt’S own, SwimSuit KhrySaliS couture.

SINCE ESTELLE DéVé’S DEBUT jEWELLERY COLLECTION, FOR j.D, WITH LOVE AND SqUALOR, CANVAS HAS BEEN A STAUNCH
SUPPORTER OF THE DESIgNER. FROM DELICATE, PEWTER-CAST CHAINS TO STATEMENT PIECES OF LEATHER AND RESIN, ESTELLE’S
VISION IS BOTH INNOVATIVE AND INTERESTINg. IN ONLY THREE SEASONS HER jEWELLERY HAS BEEN WORN (REPEATEDLY) BY
SUSIE BUBBLE, HAS BEEN FEATURED IN SINgAPORE VOgUE, AND PICkED UP BY SOME OF THIS COUNTRY’S MORE FORWARD-
THINkINg BOUTIqUE BUYERS. AND WHAT’S MORE, ESTELLE IS COMPLETELY SELF-TAUgHT WHEN IT COMES TO jEWELLERY DESIgN.
S o t h i S i S o u r D i y i S S u e a n D e S t e l l e ,
you’re a Perfect SubJect becauSe your
Jewellery range iS eSSentially Self
taught. you StarteD in a traDitional
‘white collar’ inDuStry (buSineSS) anD
moVeD into Something more creatiVe, yet
you’re quite young. what motiVateD the
change?
i guess in a way i had always known i wanted to do
something creative. as a kid i would spend hours drawing
and making things. [but] every time i tried to explain
something, i would get confused with my words so instead,
i would grab a pencil and start drawing it. that would drive
my mum completely insane! She would always say: “explain
with words estelle”.
the main reason i didn’t choose this path [jewellery
design] initially was probably due to a lack of confidence.
when i finished high school i wasn’t exactly sure what it
was that i wanted to do. i was interested in fashion but i
didn’t see myself going to a fashion school. i just thought
there would be people better at it than i was.
i was also very stubborn. i came from an art and
literature background, and in france, when you’ve studied
this in high school you can’t enter any business school.
there were so many jobs that seemed appealing that i had
been told i couldn’t get growing up because i was really bad
at maths, but i wanted to prove to my parents that i could
do it. So i tried the entry exam of a big business school and
passed it and it kind of seemed logical to go study there.
within three months of study i knew for a fact i didn’t
belong there at all. but when i start something i like to finish
it. So i did. Six years, a double degree and months of work
experience later, i guess nothing had changed. i still didn’t
like business! when i moved to australia last year i took this
as an opportunity and decided to start my label. i guess it
had always been obvious that’s what i wanted to do, it just
took me a lot of time to come to this realisation!
haVing a marKeting bacKgrounD haS
been gooD for helPing to eStabliSh a
buSineSS, becauSe often that’S where a
lot of labelS fail. but what’S been the
harDeSt Part of getting your label uP
anD running?
it is true that i feel like a lot of creative people, have
trouble figuring out how to get my work out there in the
world. i guess i always had a vision of what my goals
were. i knew what i wanted my label to be like, what shops
i wanted to sell. i am also very organised. the biggest
problem was the design itself. i haven’t studied jewellery
design so sometimes i’d encounter a problem [in the design
process] but i would lose about 3 weeks trying to figure
it out. Someone that has studied jewellery would probably
have a solution in five minutes, but i would lose so much
time! it could be really frustrating, but in a way, it was also
a positive thing because instead of fixing something the
way it should have been done, i would have to come up with
replacement ideas which would sometimes lead to things
i wouldn’t have considered in the first place. it’s all about
trial and error.
Do you thinK you woulD haVe realiSeD
your label if you were Still liVing in
france?
well, last time i was in france i had been considering it
[starting a label] but the thought was a little bit too scary.
People are very competitive [in france] and i am not like
that by nature. So many people move to Paris thinking that
they will make it in the fashion world so it seemed like a bit
of a lost dream. here, the circles and cities are smaller and
they have a different way of looking at things so it seemed
more feasible, less scary. i would love to sell my designs
in france. that would feel like a huge achievement. i am
actually going home for a few months over summer to see
how the industry works there, if i can find new suppliers
and stockists. we’ll see how i go from there.
how Do you finD your new life here in
melbourne comPareD with home?
i moved from Paris to melbourne to follow my boyfriend
at the end of 2008, although i had previously done a
university exchange then moved to Sydney to work for over
a year, so it wasn’t my first time in australia. i guess right
now, i have lived overseas for so long (estelle also lived in
london) that i am not really sure what “normal” french life
is like anymore.
australia is a bit of a weird one because life here is
really similar to life in europe but at the same time it is so
far away and recluse from everything. it doesn’t seem
like much, but this factor [distance] influences a lot of
the way people look at things. when i first moved here,
it felt different than being back home but i couldn’t really
pinpoint what it was. i guess people here are more relaxed,
the spaces and the sky is bigger, they spend more time
outdoors. it’s just a different lifestyle.
you moVeD to melbourne for loVe. iS
there any romance or oPtimiSm that you
thinK tranSlateS into your collection?
that’s a good question. i guess in a way, being in love
will always translate into my work. i am not sure that it is
an obvious translation, i am not designing love hearts or
anything, but my designs are pretty light and optimistic. i
guess this is probably a reflection of the way i feel. i would
actually love to collaborate with my boyfriend on some kind
of project in the future. maybe someday, when we find the
right idea.
with the new collection, a fall to
earth, inStinctiVely you thinK, “it’S DarKer”
becauSe of the introDuction of blacK into
the range. but you’Ve balanceD it with
Delicate PieceS. how DiD the iDeaS ProgreSS
from lunar mare to thiS range?
regarding the “darker side” of the new collection, i
think it just evolved naturally from lunar mare. i wanted
to keep the same spirit but play around with colour and
add something different from resin. i liked the idea of
something to be crystallized, hence the use of fluorite and
calcite crystals and silver plating for a frozen look. if lunar
mare was golden and rich and inspired by warm countries,
a fall to earth is its opposite with cold, iced tones found in
northern lands.

the introduction of smaller, more detailed pieces
comes from the fact that i wanted to challenge myself doing
something that was both sci-fi inspired but also delicate
and pretty. i wanted to develop the futuristic hybrid theme
on a different canvas. big statement necklaces are actually
much easier to design than smaller things. you can go
crazy quite easily. but designing tiny, intricate bracelets
and necklaces and still keeping them interesting is a much
harder thing to do.
Do you KinD of feel your confiDence
growing with each collection anD the
challenge of creating Something you’Ve
not Done before?
i’m not sure i could say my confidence grows with
each collection. it is always a little bit of a gamble and i am
always full of doubts. but i can say the confidence in
my technique does. things that i had
no idea how to do
somehow seem easier. it is always challenging, yes,
[because] i always want to do better and i always want to
try new things. hopefully it will always stay this way or i
guess it could become boring.
much haS been maDe about the
influence of bloggerS anD miSS bubble
haS been a big SuPPorter of your lunar
mare collection. haS it haD a Direct
influence on SaleS or getting exPoSure
i n o t h e r m a r K e t S ?
yes, she’s been wearing the Somni necklace a lot. it’s
actually quite incredible to see my designs on someone
like her who is so omnipresent on the world wide web! i
am not sure if it has influenced the sales, i’m in between
seasons, but i guess we will see when i start selling next
season. what it made me realise though, is the number of
people who actually read her blog. every time she wore the
necklace, i had dozens of e-mails from people. it’s great!
Publicity is always good and i guess it can’t be a bad thing if
people start to become aware of my work.
DiD you haVe a chance to meet SuSie at
faShion weeK?
unfortunately i didn’t. it was a crazy busy week with a
lot of meetings and such and i didn’t hang around the rafw
spots much. i saw her from afar at the arsndorf show
but she was really busy and i didn’t want to interrupt. it’s
probably silly of me but i always feel uncomfortable when
it comes to approaching strangers, especially if it involves
selling myself.
melbourne’S faShion inDuStry iS Very
SuPPortiVe anD i gueSS your collaboration
with arnSDorf iS a great examPle. Do you
tenD to moVe in the Same Social circleS?
how DiD the Pairing come about?
compared to france, where people are really
competitive, australians tend to be very supportive and
helpful.

i guess most of my friends here are creative people.
i feel like we’re all evolving in this little creative hub and
everyone is helping each other out, and that’s a great
feeling.
Jade’s label arnsdorf had been one of the brands
that had stroked me as quite interesting. the shapes,
colours and materials she uses are so much to my liking
that it almost seemed like she was designing for me. we
happened to have friends in common that introduced us
and we soon became friends. when she opened her pop-up
store she offered to stock my jewellery. the space there
was beautiful and it made me realise how well my designs
worked with hers. the idea of a collaboration came to my
mind but i was too shy to ask. So when she offered to work
together on her summer collection i was happily surprised!
we have very similar tastes. it’s actually really funny,
when she sent me the inspiration for her new collection we
realised that it was already exactly what i had been working
on. i literally had the pictures she sent me nicely arranged
in a folder on my desktop. i guess it’s a case of when great
minds meet. the collection is still a work in progress but
hopefully it will all turn out for the best!
now that you haVe Seen that way
arnSDorf worKS in creating a reaDy-towear
collection, haVe you conSiDereD
moVing your label beyonD Jewellery?
it is something that i have considered, yes, but i don’t
want to rush anything. when i start something, i mean to do
it well. i’m only in the beginnings of my business and i want
to make sure it grows and matures properly before i risk
anything else. but who knows, i like challenges, so maybe in
a few years i’ll start developing something else.
with faShion weeK oVer, what’S your
hoPe for the label come Summer?
in terms of stockists, i am really happy because i have
picked up quite a few new stores that will be stocking the
“a fall to earth” collection. also, most of the arnsdorf
stockists have picked [up] the collaboration range so it’s
looking really good in terms of presence in stores.
Press-wise i am hoping that both the collaboration and
my namesake collection will get appreciated and used in
editorials. i have already lent out my range to quite a few
magazines and so far, people seem to like it, so i’m excited.
it’s difficult, you know, knowing if what you do is good or
not. it is hard to have enough distance from it [my designs]
to perceive [objectively] what is really going on. in the end,
when i realise someone likes my designs i always feel a
combination of mixed sensations, a combination between
happiness, surprise and relief. that’s when all the work
[i’ve done] ends up really rewarding.
So what next for the label? i
gueSS you’re alreaDy on to the next
collection?
i am currently halfway through designing the next
range. i have most of the concepts figured out but now
need to start physically creating the samples, so i can
play around a bit more with the different items and come
up with some new ideas. in a way, it will be very different
but still somewhat similar to my last designs. i think i have
found my ‘thing’; what i like, who i am, yet i am realising that
there are so many directions to go into, so many branches
that can be developed in order to always create something
new. it’s exciting!

PhotograPher lyuba Sautina httP://cargocollectiVe.com/Sautina

PhotograPher lyuba Sautina httP://cargocollectiVe.com/Sautina

PHOTOGRAPHER tanya Kechichian
STYlIST DaViS carraSquillo
HAIR alexanDer tome
MAkEUP Jenny KanaVaroS
MODEl Valentina @ q management
SHOT at m.a.c. Pro coSmeticS ny
blacK turtle necK toP by bcbg max aZria. blacK tanK toP with elaStic by lia KeS. blacK caP SleeVe Shirt by general iDea. beige meSh
tanK toP by Society for rational DreSS. beige armoreD ShoulDer with blacK aSymmetric embelliShmentS by Victor De SouZa. mint
girDle SKirt by Victor De SouZa. blacK heelS with rhineStoneS by giuSePPe Zanotti.

lacK turtle necK toP by bcbg max aZria. blacK SculPtural Vinyl girDleS by Victor De SouZa. blacK tanK toP with elaStic by lia KeS.
royal blue Vinyl heelS with leather StraPS by giuSePPe Zanotti.
blacK turtle necK toP by bcbg max aZria. blacK tanK toP with elaStic by lia KeS. blacK SculPtural acceSSory by Victor De SouZa.
blacK girDle SKirt with PaDS by Victor De SouZa.

lacK turtle necK toP by bcbg max aZria. blacK Vinyl PointeD bra by Victor De SouZa. blacK quilteD StraPleSS DreSS by Kimberly oVitZ.
white quilteD StraPleSS DreSS by Kimberly oVitZ. white StuDDeD heelS by giuSePPe Zanotti.
blacK Vinyl armoreD ShoulDerS acceSSory by Victor De SouZa. naVy blue DreSS by reVerie. white leather VeSt with blacK StriPS of
leather by haleh nematZaDeh.

lacK turtle necK toP by bcbg max aZria. beige SilK taffeta Pointy Short SleeVe JacKet with SmoocheD ruffleS Detailing at waiSt,
front hooK anD eye cloSureS by Victor De SouZa. beige SKirt by Society for rational DreSS.
blacK turtle necK toP by bcbg max aZria. blacK tanK toP with elaStic by lia KeS. brown leather anD braSS chain harneSS by Society
for rational DreSS. blacK Vinyl PointeD bra by Victor De SouZa. blacK ruffleD SKirt with PaDS anD buttonS by Victor De SouZa.

CHANCES ARE YOU HAVE HEARD OF CIVIL CIVIC, IF NOT THE BAND, THEN AT LEAST
T H E I R M U S I C . T H E I R D E B U T S I N g L E , L E S S U N L E S S , H A S B E E N g E N E R ATI N g T H E
U B I q U I TO U S B U z z B Y M U S I C P R E S S . E N TI R E LY I N ST R U M E N TA L , C I V I L C I V I C I S
A N E x P E R I M E N T O F S O U N D A N D N O I S E . T H E Y M A k E T H E k I N D O F M U S I C T H AT W I L L
H AV E Y O U P U L L I N g S H A P E S O N T H E D A N C E F LO O R . W E C A U g H T U P W I T H B E N , O N E
HALF OF CIVIL CIVIC’S SOUND, IN-BETWEEN PINTS AT THE PUB, BEFORE THEIR
H.S THOMPSON-INSPIRED TOUR OF EUROPE.
THE fIRST IS AN EASY qUESTION: WHO IS
CIVIl CIVIC? I READ THAT YOU’RE BOTH lIVING ON
DIffERENT COUNTRIES. WAS THE BAND fORMED
OVERSEAS OR BACk HOME IS AUSTRAlIA?
thanks a lot for taking an interest in the band. both
aaron and i were very active in the live music scene in
melbourne throughout the late 90’s and early 00s’. we
never met, but we were aware of each other. i knew of
aaron mostly because he mixed almost every record that
came out of the nu-Dark-country thing which was very
big around the time i left, in 2003. i was friends with a
band called the Drones, and aaron did some production
for them. that’s the main reason i knew his name. the
melbourne rock scene was great for me, for many years,
but eventually it started to feel like i’d done it to death. So
i went to live in Prague for a year, then berlin for 2 years,
and eventually barcelona, where i have stayed. in berlin and
in the first two years of living in barcelona i was working in
a production crew called one watt Sun. in five years we
produced one record (the return of Dr octagon) for oldschool
bronx nut Kool Keith. the album had some great
tracks, but some turkeys as well, and it didn’t sell for shit.
we spent the other 4 years fighting and cursing each
other, and working feverishly on a masterpiece album that
was never finished, because we were too busy fighting
and rejecting each others ideas. a couple of big labels took
an interest in us early on, but i think they saw how much
trouble we would be and backed off. it completely ruined
me, musically and psychologically. my heart was so full
of hate and defeat at the end of it i thought i’d never play
music again, and i didn’t care.
meanwhile aaron had come to the end of his own
personal melbourne rock journey and bailed to london in
search of broader horizons. he had a very solid idea of
the kind of act he wanted to put together there. he’d been
brooding over it for years but when he moved to london
and decided to put it together he had trouble finding
anyone decent to work with. it’s an old story. anyone worth
recruiting is usually already in 3 different bands. in the end
i think gareth and mike from the Drones were the ones
who ended up recommending me to aaron as a possible
collaborator, even though i was in Spain. aaron’s take was
‘it’s closer than melbourne’, so he got in touch. i was still
pretty lost and disillusioned when aaron emailed me asking
if i was interested in getting a new project going, but the
demo version of less unless was impossible to ignore or
deny and i got the fever. i had to be in on it. otherwise
someone else would be. no way. a few months later he
came to live with me in barcelona for a month and a band
was born, so to speak. we’d jam in the afternoons after i
finished work, and then go out and get hammered in one
of the 26 bars on my block, and rattle on about bands and
production styles and old tour stories until the bars closed.
every fucking night. it was brutal. but it made me a true
believer, and a civil civic soldier.
YOU kNOW, I AlWAYS SAY THERE’S A REAl
SENSE Of CAMARADERIE IN MElBOURNE, IN
MUSIC, IN fASHION. DO YOU fIND IT EASIER
MAkING MUSIC WHERE YOU’RE lIVING NOW
COMPARED WITH HOME, EVEN THOUGH MUSICAllY
YOU’RE MAkING A DIffERENT SOUND?
i can’t say enough good things about the melbourne
music scene. i’ve never encountered anything like it
anywhere. the people, the venues, the sounds. fucking
awesome. when i left it was a low point in terms of venue
closures and general apathy, but when i went back in 2008
it was all cooking again. love that place.
as far as barcelona goes, and i might get lynched for
saying this, the music scene is bad. really bad. Primavera
is an excellent festival. always an interesting line-up, well
organised, you name it. but it’s like a big circus that comes
to town and then leaves nothing behind. Same with Sonar.
where are all the inspired 20 year-olds forming bands in
the aftermath? who knows. all i know is if i hear one more
brasilero-style folky-funky soul act wearing cargo-shorts
and dreadlocks i will Kill eVeryone i can get my hanDS
on. anD then mySelf!
WE WENT TO BARCElONA fOR PRIMAVERA
SOUND. fRIENDS ADVISED Of THE PARTY SCENE
BUT WE WERE SAfE, ONlY BEING THERE fOR
fOUR DAYS. ARE YOU EVER AfRAID Of BECOMING
AN AlCOHOlIC RATHER THAN A MUSICIAN? OR DO
ONlY DRINk WHEN YOU’RE WORkING?
yes, i live in constant fear of becoming an alcoholic.
Summer here is a very difficult time to focus on anything
except getting a tan and drinking. the cheap cocaine
doesn’t help much either. but i manage to be productive
and keep my head pretty straight, considering.
SO BEING IN SEPARATE CITIES, DO YOU HAVE
THAT kIND Of AlISON MOSSHART/jAMIE HINCE
WAY Of WORkING ON MUSIC, WHERE YOU MAkE
SOME MUSIC, THEN SEND IT BACk AND fORTH
fOR fEEDBACk?
that’s pretty much it, the mosshart-hince method.
because we both have production experience, we’re pretty
used to the process of up/downloading files, working back
and forth. it’s far from ideal, and can be pretty frustrating,
but neither of us see it as a deal-breaker.
in some ways the file-trading keeps our sound pretty
pure. our feedback on each other’s output tends to be
pretty thought through. it’s easier to be truly critical when
you have sat with something for a day or two, rather than
just mouthing off in the rehearsal room because you’ve had
a bad day.
but with that said, we’ve both travelled back and
forth a bunch of times to write and jam together. with the
cheap flights it’s really not that big a hassle. i’ll probably be
spending a lot more time in the u.K this year, because that’s
pretty much where we are based (in terms of management
and gigs etc).
AND THIS IS YOUR fIRST TOUR AS CIVIl CIVIC?
yep, the band is a fresh-faced kid, even though aaron
and i are cynical veterans. frankly, when i said goodbye to
the “get-in-the-Van” lifestyle back in ‘03 my overwhelming
emotion was “good riddance”. i’m sure aaron felt some
version of the same sentiment. but now with a small but
meaty little tour coming up, i can’t fucking wait.
HAVE YOU BEEN ABlE TO SUSS OUT ANY
Of THE VENUES? HAlf THE fUN/DANGER Of
TOURING HAS TO BE PlAYING AT SOME HAlf-
ASSED VENUES.
you’re totally right about the exhilarating randomness
of small-venue tours. Some of the most hilarious nights
of my life have been in weird little bars in small towns on
a tuesday night, where the locals heckle and cajole you
mercilessly and the Pa shits itself after 3 songs. it looks
like most of the venues we’re playing in on this tour are
solid, no nonsense indy-rock joints, which is good. finding
yourself in a sports-bar competing with the soccer is funny
for, like, five minutes.
fOR A YOUNG BAND IT SEEMS lIkE YOU’VE
GOT A fAR-REACHING fAN BASE. THAT’S GOT TO
BE A BOOST fOR CONfIDENCE, GOING IN TO THE
TOUR.
we pretty much have less unless to thank for any
following we have. that song is a really strange piece
of work, but like i said before, when i heard the demo
version i had no doubts at-all about signing up for the
ride, just on the strength of that one tune. but having
a healthily-blogged single makes me nervous. a lot of
music people are instantly suspicious of anything that
smells like hype, and they are the ones who tend to fill
the small venues.
fortunately the rest of the set has a lot of shape
and drama to it, there’s some real gold in there. So i
don’t think we’ll be accused of just peddling a single with
nothing to back it up. we have never wanted this to be
a slick electro production-based thing. we want to be a
tight, punchy band that can tear your head clean off in a
200 capacity venue. that’s why we’ve been super strict
about limiting overdubbing and editing tricks on the
recordings. but the only real way to get to that feverpitch
of live awesome-ness is to play a lot, a lot, a lot.
that’s what this tour is about, sharpening the axe, so to
speak. i hope the punters don’t mind playing guinea-pig.
I SEE CIVIl CIVIC’S TOUR WIll MISS
COPENHAGEN, BUT WE’ll TRY AND CATCH YOU
IN MAlMö. DO YOU THINk THE BAND WIll EVER
MAkE IT BACk TO AUSTRAlIA fOR A TOUR?
yep, it’s a shame we’re not going to get to copenhagen.
it’s widely praised as a sane and decent place to live. if the
other Scandinavian shows go well we’ll definitely be back,
so beware! australia, on the other hand, is a difficult one.
the cost of getting there and back is the first hurdle, and
then once you’re there the cost of touring in australia is
pretty high because of the distance between cities. we’d
rather concentrate on getting something happening in
europe first. but at some point we have to go back to the
home soil and punish friends and relatives with our noise.
SO IT’S jUST THE TWO Of YOU PlAYING
INSTRUMENTS lIVE. HAVE YOU GIVEN ANY
THOUGHT TO HOW TOURING WOUlD HAPPEN
If YOUR SOUND BECAME MORE PROGRESSIVE
BY WAY Of OTHER INSTRUMENTS? WOUlD YOU
MAkE THE BAND BIGGER OR ARE YOU HAPPY AS
A DUET?
well, only the good lord knows what we’ll want to do
in the future, in terms of the Sound, but for now we want
to work inside the format we’ve created. there’s a hell of
a lot of scope with the guitar/bass/synths/drum-machine
set-up, so i can’t see us going on a recruiting drive anytime
soon.
DO YOU CONSIDER CIVIl CIVIC AS AN
AUSTRAlIAN BAND? WHAT WORkS fOR THE
MARkETERS Of YOUR MANAGEMENT COMPANY?
i can’t speak for aaron...no wait, fuck that, i’m going to
speak for aaron. we haven’t really thought about the bands’
nationality, but if people want to call us an australian act,
that’s fine. we don’t want to confuse people, just want to
damage them with sound! as far as our management goes,
it’s a company called 5000, run by the eccentric genius
andy inglis. he also runs a great venue in london called the
luminaire and he’s had a lot of experience booking venues
and festivals and whatnot, and in addition he’s what we call
a “top bloke”. i don’t think he sees us as an australian band.
i think he sees us as, well, aussie c*nts. (he’s Scottish, so
he uses some very bad language). we also have a great
independent publicist, called hannah gould. She’s done
some sterling work, which accounts for a pretty big chunk
of the buzz around the first single.
SO IS THERE ANYTHING HANNAH WOUlD
WANT OMITTED fROM THIS INTERVIEW? OR IS IT
All PART Of THE CIVIl CIVIC CHARM?
um, shit. now you’ve got me worried. i have no
confidence in our charm. well, aaron’s pretty charming.
maybe i should let him do the talking next time. okay, just
delete the parts where i talked about his ketamine addiction
and how i’m planning to sell him into slavery after the tour.
httP://ciVilciVic.blogSPot.com/

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LIMEDROP
L i m e d r o p a r e a f a s h i o n l a b e l t h a t h i t
t h e D I Y n a i l o n t h e h e a d . N a t h a n P r i c e
and Clea Garrick started Limedrop,
a f a s h i o n / l o v e s t o r y t h a t b e g a n m a n y
y e a r s a g o , “ b e c a u s e w e l i k e m a k i n g
t h i n g s ” . E a s y a s t h a t. O r a t l e a s t
i t s e e m s . D o n ’ t l e t t h e i r m a n t r a
f o o l y o u t h o u g h , b e c a u s e t h i s d u o i s
r u n n i n g a s u c c e s s f u l n i c h e l a b e l i n
the outskirts of Melbourne city.
let’S Start our interView at the So how Do you worK together then
beginning of the limeDroP Story. DiD the when you’re creating a collection? are
label begin before or after you both you excluSiVely reSPonSible for the
graDuateD from qut?
limedrop began when we were studying in queensland
DeSign, anD nathan with the marKeting/
buSineSS SiDe?
and would travel to melbourne and Sydney with a rucksack nathan and i cross over in our roles, especially
of designs to sell into stores. it was a small start, but there during [the] designing [process]. we both dream up the
was a good response. we count our real beginnings of the designs, colours, concept and make decisions on the end
label when we moved to melbourne after graduation. garments and overall direction [of the collection]. i will
make the process from patterns to finished garments, and
why moVe to melbourne rather than collection campaign. nathan will direct the concept, work
SyDney? waS the reSPonSe from buyerS on marketing, pricing, catalogues and selling the collection,
better?
as well as help cut samples. it’s a busy time and we improve
our systems with each collection. we’re just about to start
we really liked the melbourne vibe. it is really creative designing again for our autumn/winter ‘11 collection. it’s
and european. the coffee is amazing and surprisingly, we
wanted to move somewhere colder (after growing up in
never easy but it is definitely the fun part.
tropical Darwin). Sydney is great and inspiring. we like to the firSt time i came acroSS limeDroP
visit. buyers are more open in melbourne and our Sydney waS Via your Jewellery. DiD DeSigning
market has been a slow building, but we’ve got some great Jewellery PreceDe the collectionS? anD
retailers there now.
wow, So there’S a hiStory between
were the collectionS alwayS balanceD
between menS anD womenS from the Start?
you, nathan anD limeDroP that Pre-DateS our jewellery started after the collections. we made
uniVerSity, all the way from Darwin? two mobiles out of cherrywood and a couple of extra
pendants that we made into necklaces. they were received
yep, nathan and i met in Darwin and it was love at so well that we’ve continued ever since. the styles used to
first sight. we’re now married. we moved to brisbane to be the same graphics as our t-shirt prints, but now they
study marketing together and he convinced me to apply for are jewellery specific. we’ve been making the jewellery
fashion. we have fun together.
since 2007.

our collections are always more women’s wear,
as they get their own women’s section plus unisex. our
menswear has always been part of our overall concept too,
but we find that we can refine it down to key pieces.
S o l o o K i n g a t y o u r S u m m e r 2011
collection, what Do you Define aS your
Key PieceS?
the key pieces in the SS10/11 collection are the silk
twill and silk mesh pieces that feature our own prints on
them, such as the colour burst silk mesh croissant crop
top, Summerlake and colour burst assam singlet and
tuxedo Park jackets. the stripe cotton linen story is one of
my favourites and the shorts in both sexes have a perfect
fit. nathan loves tuxedo park pants in linen as well. oh,
there is just too much good stuff! it’s hard to choose.
what inSPireD limeDroP’S Summer?
limedrop’s Spring/Summer far from home collection
delivers a packed travel trunk of men’s and women’s
casual tailoring. we’ve taken a twist on the traditional
prep style by infusing its ‘tongue and cheek’ sensibility.
the collection offers a mix of summer holiday must haves.
there’s nothing you’ll want to leave at home when you’re
on your next adventure. the prep palette of neutral tans,
creams, soft blues and stripes has been updated with
giant sheer rope devoré, pastel colour burst and summer
mountainsides prints. the fabrics provide a comfortable,
limp feel with tencil/silk jerseys, silk mesh, cotton stripes
& textured linens.
anD what are future PlanS for the
label, beyonD next SeaSon?
we plan to build on our australian base and then expand
into international markets. we are very excited about how
the brand has been received overseas, with our stockists
in new Zealand, Singapore, indonesia, Japan and uK.
limeDroP.com.au

STOCkISTS
Above
Ground floor, 109 Victoria Street, fitzroy VIC 3065
+61 3 8415 0461
http://www.abovelabel.com/
Acne
Acne Studio Melbourne
G02 Melbourne GPO, 50 Bourke Street , Melbourne VIC 3000
+61 3 9650 0201
Anon
http://www.anonwomen.com
BCBG Max Azria
1450 Broadway, 17th floor, New York NY 10018
+ 1212 382 1880
http://www.bcbg.com/
Candy Spender
http://www.candyspender.com.au/
Dr Martens
http://www.drmartens.com/
Estelle Dêvê
http://www.estelledevejewellery.com/
General Idea By Bumsuk
http://www.generalidea.co.kr/
Guiseppe Zanotti
for PR enquiries
730 fifth Avenue, Suite 1804, New York NY 10019
+1212 245 3674
http://www.giuseppezanottidesign.com/
joyce
26 Regent Street, Richmond VIC 3121
+61 3 9417 5666
kimberly Ovitz
for PR enquiries contact Annelise Peterson Inc
http://www.kimberlyovitz.com/
khrysalis Couture
for PR enquiries contact RAW fashion Agency
Suite 4.13.77 Dunning Avenue, Roseberry NSW 2018
+61 2 8212 8500
http://khrysaliscouture.com/
leethal fashion Accessories
56 Down Street , Collingwood VIC 3066
http://www.leethal.com.au/
lia kes
3024 fillmore Street, San francisco CA 94123
+1415 829 2225
http://www.liakes.com/
Haleh Nematzadeh
http://halehnematzadeh.com/
Mink Pink
for PR enquiries contact Sweaty Betty PR
Ground floor, 52 queen Street, Beaconsfield NSW 2015
+61 2 8399 3599
http://www.minkpink.com/
Regina Garde
292 Crown Street, Surry Hills
NSW 2010
+61 2 9357 7709
http://www.reginagarde.com/
Reverie
for PR enquiries contact Edité Showroom
134 W 29th Street, Studio 807, New York NY 10001
+1212 967 0202
http://www.reverieny.com/
Sass & Bide
http://www.sassandbide.com/
Saxonne
+61 3 9585 4535
http://www.saxonne.com/
Society for Rational Dress
for PR enquiries contact Williamson PR
119 Mercer Street # 25, New York NY 10012
+1212 226 5507
http://www.societyforrationaldress.com/
Sophie kyron
146 Railway Street, Swanbourne WA 6010
+61 8 9384 4975
http://www.sophiekyron.com.au/
This Is Geniveve
for PR enquiries contact Angela khoudair
+61 2 8399 3599
http://www.thisisgenevieve.com/
Tribu
92 Albert Street, Brunswick East VIC 3057
+61 9381 1153
http://www.tribu.com.au/
Victor De Souza
http://www.victordesouzany.com/