Wednesday, 4 December 2013



Sunseeker women’s fashion swimwear has been responsible for making the world a brighter place since 1970. 

Their colourful prints would become a hallmark of the international swim category, established on the salutary beaches of Western Australia. 

Fast forward to present day, and form and fit take pride of place, encapsulating the Australian beach culture and women’s bodies.

Sunseeker C.E.O, John Zylstra recalls, “the quality of our fabrics fast became a selling point and still is today.”

Today, handpicked media and tastemakers were graciously introduced to the Sunseeker brands latest collection, an awe-inspiring presentation of models backed-up by none other than a Sunseeker motor boat, a handsome pairing.

This season’s floral prints made a resounding splash while an electrifying house print, exclusive to Sunseeker, caught the eyes of many. Underpinned by its popular shapewear in classic black, Sunseeker SS13-14 is most certain to be the hot favourite this summer.

The impact of Sunseeker’s hyper-modern vision for the Australian woman cannot be understated and has rightfully become an integral part of the Australian fashion landscape.

Wednesday, 21 August 2013


Theirs was a love story waiting to be written. Lauded eyewear authority and independent designer, Graeme Mulcahy spoke candidly over cheeseburgers at Paris’ famed Le Castiglione restaurant, rue St Honore, with RUSSH editor in chief, Jess Blanch. Somewhere between entering the U.S market and “hold the cheese”, a formidable friendship was born. “In search of a unicorn, among other things: Gareme Mulcahy - Graz, to most - takes us in behind the muse of his new collection.” writes Blanch of her nod to late night burgers with fries, aptly titled Follow Your Bliss. Read the full article in the August/September issue of RUSSH.

Jess Blanch
Source: RUSSH, August/September, 53, 2013
Illustration: Esra Rosie, Copenhagen
Photography: Mitchell McLennan

Monday, 5 August 2013



It's like a multiple motorway collision seen in slow motion. What is happening is appalling. How it happens has a hideous, spellbinding grace. Nicolas Winding Refn’s Only God Forgives is magisterially deranged. A Danish filmmaker already halfway to abstract expressionism (Valhalla RisingDrive) now all but completes his journey. This Zen reverie of violence, virtually devoid of cogent narrative, has a western drug dealer in Bangkok (Ryan Gosling) going up against a brutalising black-clad cop (Vithaya Pansringarm), known to friends and foes as the Angel of Vengeance, who has abetted the murder of Gosling’s brother.

That brother has already beaten, raped and killed a prostitute in scene one. No one in this story is a sweetie pie. Perhaps that is its appalling appeal. The scenes march by, near-wordless tableaux drenched in red or gold, ablaze with street neon or jewelled with nightclub lights, sometimes punctuated by song – the cop takes the concept of “singing detective” to a new surreal level – and usually climaxing in an act of visceral, vivid violence.

Don’t get me wrong: I’m not offering reverence. Part of the film’s spell is its close skirmishing with bad-in-all-senses art. A blonde-coiffed Kristin Scott Thomas, as Gosling’s avenger mum deplaned from America, is a hair away from hilarity. Comparing your sons’ cock sizes aloud to a prospective daughter-in-law in a posh restaurant is not the stuff of Aeschylus, even an Aeschylus dragged kicking and screaming to Thailand. Scott Thomas is so cast-against-type you admire her audacity. In her scarified pallor and bleached-pale hair she resembles Ingrid Thulin, Ingmar Bergman’s former muse of doom. Meanwhile her mannish walk and butch haute couture wardrobe say “Eff you” to memories of The English Patient, never mind Four Weddings and a Funeral.

Many characters get impaled in many ways: ways which, twice seen, will surely risk a hyperbole-induced giggle. But there are still seeds of seriousness in Only God Forgives: a sporadic beauty, like lightning flashes across oriental scroll paintings, and a laconic voltage in the life-or-death confrontations. Refn has at least set the bar high for his aesthetic future. After this, any Refn thriller will be some kind of event.

Nigel Andrews

Thursday, 1 August 2013

Wallpaper* HANDMADE 2013

TRAVEL BIKE by Explorateur and Rapha

COPPER BARWARE by Tomas Alonso, Lobmeyr and Absolut Vodka

CURTAIN by Simon Heijdens and The Woolmark Company

FELT LIGHTS by Snarkitecture and The Woolmark Company

LAMP SHADE by Øyvind Wyller and Magnor


TASTING CABINET by Christian Haas, Marquis de Montesquiou and Theresienthal

'VIRGULE' WALL LAMPS by Thierry Dreyfus

Source: Wallpaper*

Thursday, 25 July 2013



“This is my studio space,” photographer and artist Stephen Iles told me as we stood outside the former Carlsberg-Tetley Brewery headquarters on Hunslet Road in Leeds, which is currently being up-cycled to house Project Space Leeds, a new space for the contemporary art and culture organisation. The new gallery and learning space has acquired the Tetley namesake in remembrance of this robust heritage site. The Tetley will open this November as one of the few buildings remaining on the brewery site. Photographer Peter Mitchell described the structure as “Northern Sober”, fitting with the building’s dependable craftsmanship.
In 2011, conversations began talking place about turning the Carlsberg-Tetley headquarters into a new locus of independent contemporary art in Leeds. Carlsberg, who bought the Tetley building in 1993, ceased production mid-June of 2012. Following this, construction began at the site for Project Space Leeds’ new home, called simply The Tetley. After closing Project Space Leeds last year, directors Kerry Harker and Pippa Hale have been working closely with Simon Baker, manager of Chetwoods Architects’ Leeds office, to develop a gallery space, learning centre and a café and bar in the heritage site.

Source: PORT
Photography © Stephen Isles

Monday, 22 July 2013


The ever-innovative Aesop proves once again that it is no average beauty brand with the release of its first short film today. As part of its continued support for innovative design and art, the Australian label has collaborated with Amsterdam-based artist Lucy McRae to create a visual delight that examines their shared interest in the collision of science and nature. Inspired by the physiological principles of 19th century scientist and philosopher Herman von Helmholtz, who once wrote that 'everything is an assault on the skin', McRae's mystifying film portrays a scientist meticulously administering a series of beauty treatments to his sleeping muse. Filmed within a church in Amsterdam, refashioned to resemble a fictitious Aesop laboratory, the three and a half minute piece poetically discusses the brand's unique union of technology and nature in McRae's captivating trademark aesthetic. The Amsterdam-based McRae has long possessed a predilection for the human body, which can be traced back to her time as a ballet dancer and has more recently manifested in the development of her Swallowable Perfume.

Sunday, 21 July 2013



Despite labels such as ‘anti-fashion’ and ‘avant-garde’, the gritty elegance of Rick Owens’ restrained, highly personal designs has given him a fanatical following among fashion mavericks, a certain kind of celeb and rock stars, not to mention a Cooper-Hewitt National Design Award. His edgy, asymmetrical and dramatic fashion designs often feature sculptural lines and draping, so the Californian’s move in to designing muscular gallery furniture was eminently logical. Featuring marble and bronze, antler, wood and bone, his beds, chairs and loungers are as brutally honest in construction as his clothing.

Photography © Rick Owens