BALLY

VOGUE Australia - - News -

Ev­ery in­dus­try has been dis­rupted by tech­nol­ogy and our rapidly chang­ing world – and the fash­ion in­dus­try is no ex­cep­tion. At Vogue we know disruption de­mands adap­ta­tion, which re­quires in­no­va­tion. The abil­ity to adapt re­quires cre­ative think­ing, and I am lucky enough to be sur­rounded by in­cred­i­bly driven and cre­ative peo­ple who have em­braced change and rev­elled in the chance to grow and try new things. Disruption breeds op­por­tu­nity. A sim­ple ex­am­ple of this is what now oc­curs on a mag­a­zine cover shoot: fash­ion as­sis­tants and ed­i­tors can Snapchat on set, cre­ate be­hind-the-scenes In­sta­gram images of the in­cred­i­ble clothes, and are in­volved with the video con­tent made on the day. The cover shoot is no longer just a re­flec­tion of the fash­ion di­rec­tor who chose the clothes, or the pho­tog­ra­pher who took the pic­tures. To­day it is an op­por­tu­nity for ev­ery­one on set to cre­ate their own con­tent for Vogue, in its many dif­fer­ent guises. Disruption has given voices and a cre­ative out­let to many, rather than just a few at the top.

As Sarah Mower points out in “The great disruption” (see page 134), the for­mer de­signer of Saint Lau­rent, Hedi Sli­mane, would be hailed as a dis­rupter in the tech world, some­one whose ideas were so blindly pop­u­lar oth­ers have been forced to re­con­fig­ure them­selves around him to sur­vive. Kim Kar­dashian West is cer­tainly a dis­rupter whose fam­ily has changed our views on fame. Those who re­main be­mused by the Kar­dashi­ans’ pop­u­lar­ity must find their con­tin­u­ing al­lure mind-bog­gling. We fea­tured Kim on her first solo Vogue cover in Fe­bru­ary 2015. She sold an ex­tra­or­di­nary num­ber of mag­a­zines, which tells me that the pub­lic fas­ci­na­tion with her isn’t wan­ing, and that the haters on so­cial me­dia don’t buy mag­a­zines.

For this cover we wanted to rein­vent Kim, which is a dif­fi­cult thing to do when you are work­ing with one of the most pho­tographed women in the world – add her self­ies and she must be num­ber one. I love Christine Cen­ten­era’s fresh in­ter­pre­ta­tion of Kim’s im­age, ac­cen­tu­at­ing her curves with corsetry worn over cool T-shirts; her bare face dis­plays her true beauty. Kim’s friend Olivier Rousteing is also a dis­rup­tive force. As a de­signer he runs his own race, speak­ing di­rectly to his cus­tomers and de­fy­ing the crit­ics with his con­tin­ued suc­cess at Bal­main (see page 124). As his 2.9 mil­lion In­sta­gram fol­low­ers would at­test, he is a true celebrity de­signer as fa­mous as those he dresses.

I first met Mercedes-Benz For­mula One driver Lewis Hamil­ton (10 mil­lion fol­low­ers and count­ing) fol­low­ing the 2015 Grand Prix. Christine Cen­ten­era and I were ut­terly charmed by his re­laxed de­meanour and I was fas­ci­nated by his love of fash­ion and mu­sic. De­spite be­ing a rac­ing car driver, Lewis is a minted mem­ber of the mil­len­nial fash­ion-pack set, count­ing the likes of Gigi Ha­did and Ken­dall Jen­ner as friends, and is a front row reg­u­lar at Paris fash­ion week. He chal­lenges the idea that a rac­ing su­per­star should be only that, a very dis­rup­tive no­tion to fans of For­mula One world cham­pi­onships – see our story from page 128.

Closer to home, we will be dis­rupt­ing the way fash­ion is shown in the south­ern hemi­sphere when Syd­ney hosts the first MercedesBenz Fash­ion Week Aus­tralia (MBFWA) to fo­cus on the re­sort sea­son. As the rest of the world grap­ples with the pur­pose and tim­ings of fash­ion weeks, I be­lieve MBFWA may have come up with a so­lu­tion. The new tim­ing and fo­cus will align us with an in­ter­na­tional buy­ing sea­son and also shows that col­lec­tively our de­sign­ers have some­thing unique to say. What bet­ter story to tell from Aus­tralia than that of re­sort dress­ing? Bring on the disruption.

Kim Kar­dashian West in cus­tom-made corsetry – see story start­ing page 112.

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