August 2011 Issue 242

1 Fashion and Art: Critical Crossovers: ADAM GECZY & VICKI KARAMINASYVES SAINT LAURENT, ‘MONDRIAN’ DAY DRESS, AUTUMN 1965, wool jersey in color blocks of white, red, blue, black, and yellow. Gift of Mrs. William Rand, 1969. Collection: Metropoli… — **1 Fashion and Art: Critical Crossovers: ADAM GECZY & VICKI KARAMINAS**
YVES SAINT LAURENT, ‘*MONDRIAN’ DAY DRESS*, AUTUMN 1965, wool jersey in color blocks of white, red, blue, black, and yellow. Gift of Mrs. William Rand, 1969. Collection: Metropolitan Museum of Art, New York. Image courtesy Metropolitan Museum of Art

2 Parallel lives: Art Meets Fashion again and again and everywhere: ELEANOR WEBERINSTALLATION VIEWS, FACE OF FASHION, 2007, 15 FEBRUARY TO 28 MAY 2007. © National Portrait Gallery, London. www.npg.org.uk/fashion — **2 Parallel lives: Art Meets Fashion again and again and everywhere: ELEANOR WEBER**
INSTALLATION VIEWS, *FACE OF FASHION*, 2007, 15 FEBRUARY TO 28 MAY 2007. © National Portrait Gallery, London. www.npg.org.uk/fashion

3 Up Close and Personal: Art and Fashion in the Museum: NADIA BUICKCecil Beaton standing in front of an Ascot costume for My Fair Lady (1963) at his exhibition Fashion: An Anthology at the V&A, 1971 — **3 Up Close and Personal: Art and Fashion in the Museum: NADIA BUICK**
Cecil Beaton standing in front of an Ascot costume for *My Fair Lady* (1963) at his exhibition *Fashion: An Anthology at the V&A*, 1971

4 Natural Distinction Unnatural Selection: Alexander McQueen: Savage Beauty: DAVID HANSENEnsemble, The Girl Who Lived in the Tree, Autumn/Winter 2008–9. images of work by Alexander McQueen, from the exhibition catalogue for Alexander McQueen: Savage… — **4 Natural Distinction Unnatural Selection: Alexander McQueen: Savage Beauty: DAVID HANSEN**
Ensemble, *The Girl Who Lived in the Tree*, Autumn/Winter 2008–9. images of work by Alexander McQueen, from the exhibition catalogue for *Alexander McQueen: Savage Beauty*, The Metropolitan Museum of Art, New York. Images courtesy The Metropolitan Museum of Art. Photographs © Sølve Sundsbø / Art + Commerce

5 How artists changed fashion: ‘back-story’: PETER McNEILJoseph Willems, after François Boucher, The music lesson, c. 1765, porcelain (soft-paste), 39.5 x 30.3 x 21.3cm; manufacturer: Chelsea Porcelain Factory. Collection: National Gallery of Victor… — **5 How artists changed fashion: ‘back-story’: PETER McNEIL**
Joseph Willems, *after François Boucher, The music lesson*, c. 1765, porcelain (soft-paste), 39.5 x 30.3 x 21.3cm; manufacturer: Chelsea Porcelain Factory. Collection: National Gallery of Victoria, Melbourne; Felton Bequest, 1990

6 Fash in the food aisles: HUNI MANCINIImage from Stolen Girlfriends Club show at New World Supermarket, Victoria Park, Auckland, as part of the 2011 NZ Fashion Festival. Photograph by Petrice Rhodes. Image courtesy Stolen Girlfriends Club. http://s… — **6 Fash in the food aisles: HUNI MANCINI**
Image from Stolen Girlfriends Club show at New World Supermarket, Victoria Park, Auckland, as part of the 2011 NZ Fashion Festival. Photograph by Petrice Rhodes. Image courtesy Stolen Girlfriends Club. http://stolengirlfriendsclub.com

7 From practicality to spirituality: WA Indigenous fashion design: CHRISTIANE KELLERRon Gidgup, Gown, yellow satin, silk jacket with beaded pattern; worn by Roseanne Gillespie, Kwobinyan Bokka fashion parade, Wes tern Australian Museum, 1993. Image … — **7 From practicality to spirituality: WA Indigenous fashion design: CHRISTIANE KELLER**
Ron Gidgup, *Gown*, yellow satin, silk jacket with beaded pattern; worn by Roseanne Gillespie, Kwobinyan Bokka fashion parade, Wes tern Australian Museum, 1993. Image courtesy Western Australian Museum

8 Somewhere between meringue and ivory: the White Wedding Dress: SUZANNE SPUNNERSilk wedding dress, over-sleeves and pelerine, trimmed with blond silk lace (detail), British, 1828. Worn by Eliza Larken for her marriage to William (later 6th Bar on) … — **8 Somewhere between meringue and ivory: the White Wedding Dress: SUZANNE SPUNNER**
Silk wedding dress, over-sleeves and pelerine, trimmed with blond silk lace (detail), British, 1828. Worn by Eliza Larken for her marriage to William (later 6th Bar on) Monson. ©Victoria & Albert Museum / V&A Images

9 Nalda Searles: Drifting in My Own Land: NIEN SCHWARZGrass Skull 2, 2008, common fodder (meadow hay), poly thread, rough stitching, 12 x 22 x 16cm. All images of work by Nalda Searles from the exhibition catalogue for NALDA SEARLES, drifting in my … — **9 Nalda Searles: Drifting in My Own Land: NIEN SCHWARZ**
*Grass Skull 2*, 2008, common fodder (meadow hay), poly thread, rough stitching, 12 x 22 x 16cm. All images of work by Nalda Searles from the exhibition catalogue for *NALDA SEARLES, drifting in my own land*. Images courtesy the artist

10 The Black Wedding Dress: MICHELLE MURRAYAnnabelle Collette, Abandoned Dress, 2011, cotton, bones, rusted metal, shell and buttons, installation view, South Coast Regional Arts Centre (the former Old Goolwa Police Station), Goolwa, SA — **10 The Black Wedding Dress: MICHELLE MURRAY**
Annabelle Collette, *Abandoned Dress*, 2011, cotton, bones, rusted metal, shell and buttons, installation view, South Coast Regional Arts Centre (the former Old Goolwa Police Station), Goolwa, SA

11 Liz Ham: postwar to punk: MITCHELL OAKLEY SMITHLiz Ham, Sandra hanging her washing, Newtown, 1996. Images courtesy the artist — **11 Liz Ham: postwar to punk: MITCHELL OAKLEY SMITH**
Liz Ham, *Sandra hanging her washing*, Newtown, 1996. Images courtesy the artist

12 Making it up as we went: MERRYN GATES(l-r) Paul Schutze, Jane Joyce, Dean Richards, Robert Pearce, Merryn Gates, Ian Russell, Timothy Newsome; centre: Jillian Burt, 1981. Photograph by Julie Purvis — **12 Making it up as we went: MERRYN GATES**
(l-r) Paul Schutze, Jane Joyce, Dean Richards, Robert Pearce, Merryn Gates, Ian Russell, Timothy Newsome; centre: Jillian Burt, 1981. Photograph by Julie Purvis

13 Queering Sydney - The ‘art and fashion queens’: SALLY GRAYClarence Chai, photograph of Peter Tully (right) as Minnie Mouse dressed for the annual Arts Ball, Melbourne, 1966 — **13 Queering Sydney - The ‘art and fashion queens’: SALLY GRAY**
Clarence Chai, photograph of Peter Tully (right) as Minnie Mouse dressed for the annual Arts Ball, Melbourne, 1966

14 Lost in the Masquerade: ManStyle / Men + Fashion: ANDREW MONTANAJean Paul Gaultier, Shirt, 1996, Spring/Summer 1996, silk, shell buttons, 79cm (centre back), 64cm (sleeve length). National Gallery of Victoria, Melbourne. Gift of Ron Ramsey, 1998 — **14 Lost in the Masquerade: ManStyle / Men + Fashion: ANDREW MONTANA**
Jean Paul Gaultier, *Shirt*, 1996, Spring/Summer 1996, silk, shell buttons, 79cm (centre back), 64cm (sleeve length). National Gallery of Victoria, Melbourne. Gift of Ron Ramsey, 1998

15 Dress Code: Greg Leong’s ‘Makeover extravaganza’: COURTENAY SMITH & SEAN TOPHAMFlannelette Carmen, 2003, flannelette, lace, brocade, Australian badges, Australian buttons and Chinese frogs, 143 x 60 x 30cm. IMAGES OF WORK BY GREG LEONG; COURT… — **15 Dress Code: Greg Leong’s ‘Makeover extravaganza’: COURTENAY SMITH & SEAN TOPHAM**
*Flannelette Carmen*, 2003, flannelette, lace, brocade, Australian badges, Australian buttons and Chinese frogs, 143 x 60 x 30cm. IMAGES OF WORK BY GREG LEONG; COURTESY THE ARTIST

16 Suzanne Tamaki’s Treaty of Why Tangi MEGAN: TAMATI-QUENNELLAotearoa. Land of the wrong white crowd, 2005, Lambda photographic print. Photographer Greg Semu. Work by Suzanne Tamaki; image courtesy the artist — **16 Suzanne Tamaki’s Treaty of Why Tangi MEGAN: TAMATI-QUENNELL**
*Aotearoa. Land of the wrong white crowd*, 2005, Lambda photographic print. Photographer Greg Semu. Work by Suzanne Tamaki; image courtesy the artist

17 Martyn Thompson’s interior cinema: JAN JONESCurtain, Anna Sui, New York. All images of work by Martyn Thompson — **17 Martyn Thompson’s interior cinema: JAN JONES**
*Curtain*, Anna Sui, New York. All images of work by Martyn Thompson

18 ‘Zones-in-Between’: the creation of new fashion: praxis MARCO PECORARIDysfashional exhibition, Luxembourg, 2007; 3/a Raf Simons, Repeat, 1995-2005 © Courtesy Fondazione Pitti Immagine, Firenze; 3/b Maison Martin Margiela, Création Luxembourg, … — **18 ‘Zones-in-Between’: the creation of new fashion: praxis MARCO PECORARI**
*Dysfashional* exhibition, Luxembourg, 2007;
3/a Raf Simons, Repeat, 1995-2005
© Courtesy Fondazione Pitti Immagine, Firenze;
3/b Maison Martin Margiela, Création Luxembourg, 2007 © A. Morin

19 Dr Lakra’s art of the flesh: MANAMI OKAZAKIUntitled (retrato de mujer con calaca), 2007, ink on vintage magazine page, 28.4 x 22cm. IMAGE OF WORK BY DR LAKRA; IMAGE COURTESY THE ARTIST AND KURIMANZUTTO GALLERY, MEXICO — **19 Dr Lakra’s art of the flesh: MANAMI OKAZAKI**
*Untitled (retrato de mujer con calaca),* 2007, ink on vintage magazine page, 28.4 x 22cm. IMAGE OF WORK BY DR LAKRA; IMAGE COURTESY THE ARTIST AND KURIMANZUTTO GALLERY, MEXICO

20 BioElectric Beauty: MELINDA RACKHAMEmily Crane, Micro-Nutrient Couture, 2010, made through a process involving gelatines, kappa –carrageenan (gel), water, natural flavour extracts, glyc erine, food colouring, lustres — **20 BioElectric Beauty: MELINDA RACKHAM**
Emily Crane, *Micro-Nutrient Couture*, 2010, made through a process involving gelatines, kappa –carrageenan (gel), water, natural flavour extracts, glyc erine, food colouring, lustres

21 Paper Crane over Sydney: Bowie at RAFW: MAURICE O'RIORDANBowie Wong in his atelier/studio in Chippendale, Sydney, holding a skirt which incorporates a fabric he sourced through a lamp designer. A copy of this skirt was gifted to Lady Gaga when he… — **21 Paper Crane over Sydney: Bowie at RAFW: MAURICE O'RIORDAN**
Bowie Wong in his atelier/studio in Chippendale, Sydney, holding a skirt which incorporates a fabric he sourced through a lamp designer. A copy of this skirt was gifted to Lady Gaga when he met her by chance in a Tokyo hotel. PHOTOGRAPH BY GARY LEE

22 Art, love and life: Ethel Carrick and E. Phillips Fox: SASHA GRISHINEthel Carrick Fox, Market, under trees, 1919, oil on canvas, 73 x 98.5cm. PRIVATE COLLECTION. COURTESY: SOTHEBY’S AUSTRALIA — **22 Art, love and life: Ethel Carrick and E. Phillips Fox: SASHA GRISHIN**
Ethel Carrick Fox, *Market, under trees*, 1919,
oil on canvas, 73 x 98.5cm. PRIVATE COLLECTION. COURTESY: SOTHEBY’S AUSTRALIA

23 Kim Thomson: MAURICE O'RIORDANDada deco, 2011, recycled anodized aluminium. All images of work by Kim Thomson; images courtesy the artist — **23 Kim Thomson: MAURICE O'RIORDAN**
*Dada deco*, 2011, recycled anodized aluminium. All images of work by Kim Thomson; images courtesy the artist

24 Fashionable Pride in Madrid: JUSTINE BAYOD ESPOZScene from the Madrid Pride Parade, 2011. Photographs by Justi ne Bayod Espoz. — **24 Fashionable Pride in Madrid: JUSTINE BAYOD ESPOZ**
Scene from the Madrid Pride Parade, 2011. Photographs by Justi ne Bayod Espoz.

Art Monthly Australasia

Art Monthly Australasia is Australasia’s flagship visual arts publication, providing a critical platform for its artists. Published since 1987 under six full-time editors (Peter Townsend, Peter Timms, Philippa Kelly, Deborah Clark, Maurice O’Riordan and, from 2014, Michael Fitzgerald), it is Australasia’s only monthly visual arts magazine placing visual arts in a contemporary, historical and regional context.

Based at the ANU School of Art in Canberra since 1992, Art Monthly Australasia is a non-profit charitable organisation whose income is derived from sales of the magazine, advertising, sponsorship and government funding. Its board comprises leaders in their fields of visual arts scholarship, practice and curating, along with business and finance.

Since 2015, Art Monthly has also fostered critical discourse across the Asia-Pacific region with a new International Council, which, along with increased participation at international art fairs and biennales, is helping to provide a meaningful new context for its artists.