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Collette Dinnigan, Downunder Designer of Bold, Elegant and Playful Clothes, Impresses the World with Her Creative and Business Talent
n a high-pressure industry that prizes aesthetics and uniqueness, Collette Dinnigan, arguably Australia’s most successful fashion designer, retains the fundamental vision she had for her business when she started it 21 years ago: “I hope that anyone who wears my clothes feels special in them, and that the clothes give them the confidence to feel good about themselves.” It’s fair to say confidence oozes from Dinnigan’s collections, whether it’s bridal, lingerie or ready-to-wear. Her designs are forthrightly feminine, yet Iat the same time comfortable and sassy. Dinnigan’s recently released Resort 2012 collection is a sophisticated progression from last year’s campaign, with fitted and flowing shapes and glamorous touches such as lace and jewels. Her Seaside Escapes theme “focuses on clean and relaxed silhouettes and are offset by summer prints and structured shoulders. Beaded pineapples, tonal hibiscus and palm prints sit alongside the new seaside scarf print, complete with seahorses and palm trees – perfect for summertime!” Indeed, Resort 2012 was “inspired by the colours of the deep sea, sunsets, tropical flowers and seaside treasures” – from coral and sand-coloured day dresses in satin georgette with flirty shoulder ties or bustiers to pretty eveningwear in royal blue, black and silver (choose from above the knee, on the knee or full length). Details include ruffle sleeves, scallop lace and beaded epaulets. “The collection is very much about escaping and island adventures, and holidaying at all those wonderful feel-good places,” says Dinnigan. The designer’s southern hemisphere upbringing can attest to her affinity with the sea. -
The Australian Ballet 1 2 Swan Lake Melbourne 23 September– 1 October
THE AUSTRALIAN BALLET 1 2 SWAN LAKE MELBOURNE 23 SEPTEMBER– 1 OCTOBER SYDNEY 2–21 DECEMBER Cover: Dimity Azoury. Photography Justin Rider Above: Leanne Stojmenov. Photography Branco Gaica Luke Ingham and Miwako Kubota. Photography Branco Gaica 4 COPPÉLIA NOTE FROM THE ARTISTIC DIRECTOR Dame Peggy van Praagh’s fingerprints are on everything we do at The Australian Ballet. How lucky we are to have been founded by such a visionary woman, and to live with the bounty of her legacy every day. Nowhere is this legacy more evident than in her glorious production of Coppélia, which she created for the company in 1979 with two other magnificent artists: director George Ogilvie and designer Kristian Fredrikson. It was her parting gift to the company and it remains a jewel in the crown of our classical repertoire. Dame Peggy was a renowned Swanilda, and this was her second production of Coppélia. Her first was for the Borovansky Ballet in 1960; it was performed as part of The Australian Ballet’s first season in 1962, and was revived in subsequent years. When Dame Peggy returned to The Australian Ballet from retirement in 1978 she began to prepare this new production, which was to be her last. It is a timeless classic, and I am sure it will be performed well into the company’s future. Dame Peggy and Kristian are no longer with us, but in 2016 we had the great pleasure of welcoming George Ogilvie back to the company to oversee the staging of this production. George and Dame Peggy delved into the original Hoffmann story, layering this production with such depth of character and theatricality. -
The Legal Protection of Personal Images Shared on Social Networks in Australia
The Legal Protection of Personal Images Shared on Social Networks in Australia Author Georgiades, Eugenia Published 2017 Thesis Type Thesis (PhD Doctorate) School Griffith Law School DOI https://doi.org/10.25904/1912/3656 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/367723 Griffith Research Online https://research-repository.griffith.edu.au The Legal Protection of Personal Images Shared on Social Networks in Australia Eugenia Georgiades Bachelor of Arts (Hons), Bachelor of Laws, Graduate Diploma Legal Practice, Master of Laws School of Law, Griffith University This thesis is submitted in fulfilment of the requirements of the degree of Doctor of Philosophy December 2016 ii Abstract Social networks have changed the nature of communication in the modern world: they have changed how people communicate, the frequency and mode of communication, and how people relate to those communications. Social networks have also changed the type of information that is communicated. One of the notable developments has been a proliferation of the sharing of images that people have taken themselves. From the ubiquitous selfie through to group shots, personal images are now a key part of modern social communication. A number of problems have arisen as a consequence of the rapid increase in the sharing of personal images online. This is because personal images uploaded online are, more now than ever, prone to misuse. Third parties are easily able to reuse, distort and alter images that are uploaded on social networks. As a result, people are at risk of losing control over the images that they upload online. -
Lucire August 2004 on the Web Read the Full Story and Reviews At
Gabriel Scarvelli One designer can change the world august 2004 American idol The true idol look A light exists in spring Bronzing The gap Regardless of the between seasons season The circuit Cocktails Hot o\ the in London catwalks at The trendiest Sydney, Toronto, Los Angeles, Miami bars in town Hilary Permanent Rowland make-up Model We expose the businesswoman dangers juicy style 0 8 GST The global fashion magazine | www.lucire.com incl. http://lucire.com 1175-7515 1 $9·45 NZ ISSN 9 7 7 1 1 7 5 5 7 5 1 0 0 FASHION THE CIRCUIT Australian teenager Abbey Lee, 16, pictured here at the Lisa Ho (right) and Willow (above) shows made her modelling debut at Mercedes Australian Fashion Week 2004. Until then she had never worn make- up or high heels, yet she not only carried off the whole week with aplomb, but dealt with a broken heel at the Sunjoo Moon show without so much as a wobble. above left: One Teaspoon staged a lavish “Alannah Hill rip-off- style show” to promote its tank tops and tiny frocks. above: Surprise of the week: Wayne Cooper took his inspiration from ’50s Hollywood, while the Beckhams’ hairdresser Tyler Johnson for Schwarzkopf did the coiffs. above right and right: It seems the waistline is rising according to many designers, including Jayson Brunsdon. left: Sass in Bide dominated the front papers of the Sydney dailies with an unofficial off-schedule show the day before MAFW. Not the way of all flesh Gwendolynne designer Gwendolynne Burkin obviously had a hard time trying to edit her favourite Fortunately, enough of the local designers steered clear of “tits garments, staging an hour-long show. -
Annual Report 2016 Isobelle Dashwood in Ballet Under the Stars, Penrith NSW
Annual Report 2016 Isobelle Dashwood in Ballet Under the Stars, Penrith NSW. Photo Kate Longley CONTENTS 6 MESSAGE FROM THE CHAIRMAN AND EXECUTIVE DIRECTOR 8 ARTISTIC DIRECTOR’S REPORT 10 BOARD OF DIRECTORS 15 2016 OVERVIEW 20 PRODUCTIONS 36 KEY PERFORMANCE INDICATORS 40 ORCHESTRA VICTORIA 47 FINANCIAL REPORT 78 FINANCIAL SUPPORTERS 86 PARTNERS 92 DIRECTORS, ARTISTS AND EMPLOYEE STATISTICS 3 Richard House's Scent of Love. Photo Daniel Boud MESSAGE FROM THE CHAIRMAN AND EXECUTIVE DIRECTOR 2016 was an exciting year for The Australian Ballet and one in which As Australia’s national company, presenting ballet across the country, the company achieved significant success both on and off the stage. we work with many venue partners. We particularly value the close working relationships with our hometown venues, in which we are the In its 55th year the company demonstrated its commitment to “caring resident ballet company: the Sydney Opera House and Arts Centre for tradition, daring to be different” and realised important, ambitious Melbourne. We also acknowledge the support of venues which goals. Our seasons featured productions ranging from an exhilarating welcomed us during 2016: Melbourne’s Palais Theatre in St Kilda, showcase, including new works from The Australian Ballet’s emerging Canberra Theatre Centre, the Adelaide Festival Centre and many more choreographic talent, to productions featuring the luminous beauty in outer metropolitan and regional locations across Australia. Our of classical repertoire and a spectacularly moving tribute to a ballet orchestra colleagues across the country – notably Orchestra Victoria, legend, Nijinsky. Our performances showcased the artistry, talent and the Australian Opera and Ballet Orchestra, the Queensland Symphony commitment of our exceptional artists and achieved success across Orchestra and the Adelaide Symphony Orchestra – are also essential our key measures including artistic vibrancy, audience response, box- performance partners. -
Factors Affecting the Australian Position in International Fashion Design
FACTORS AFFECTING THE AUSTRALIAN POSITION IN INTERNATIONAL FASHION DESIGN Mieke Leppens A thesis submitted to the Faculty of Design, Architecture and Building, University of Technology, Sydney, in fulfilment of the requirements for the degree of Doctor of Philosophy Sydney, 2000 CERTIFICATE OF ORIGINALITY I certify that the work in this thesis has not previously been submitted for a degree nor has it been submitted as part of requirements for a degree except as fully acknowledged within the text. I also certify that the thesis has been written by me. Any help that I have received in my research work and the preparation of the thesis itself has been acknowledged. In addition, I certify that all information sources and literature used are indicated in the thesis. Mieke Leppens \) 11 ACKNOWLEDGMENTS My supervisor Associate Professor Peter van Sommers gave me the education I was looking for. His depth and breadth of knowledge has been a constant inspiration for which I am most grateful. Apart from his intellectual guidance I thank him for his dependable support. There are many who assisted me in my search for relevant material but I would like to thank University librarian Joy Slater especially, for finding so many relevant works and for taking such an interest in my research. For the same reasons I also thank Peter Kreitals, Norma Martyn, Michael Agiapitos, Paul Rider and George Hardwick. I acknowledge the advice given me by statistician Narelle Smith, Department of Mathematics, UTS, for which I am most grateful. I also thank my colleagues and post-graduate friends at UTS, especially Jacqueline and those in the Fashion and Textile Department: Eric Hagen, Rhys Cumpstone and Maureen Lazarus and many students for endless discussion and debate which has been most productive for me. -
874M $562M $367M $186.5M
Style Some people flaunt their wealth, others like to hide it.In Grazia’s first-ever rich list, Emily Chantiri and Annabelle McGregor reveal the highest earners in Aussie fashion and beauty 1 2 3 $367M Rich$874M $562M NAOMI MILGROM, GORDON PASPALEY FAMILY SUSSAN MERCHANT, The fortunes of the family CEO to one of Australia’s FORMERLY OF began when the late Nicholas largest privately-owned BILLABONG Paspaley fled Greece after retailers, the Sussan Group, When Gordon Merchant WW1 and started a pearling Naomi Milgrom is the 4 struggled to find comfortable business in the Northern country’s fifth-wealthiest list M board shorts, he decided to Territory in 1932. woman with an estimated $186.5 make his own. He formed the Today, Paspaley Pearls are worth of $367 million. KARIN ADCOCK, Pandora as a fashion brand Billabong surfwear company in one of the world’s largest pearl Milgrom joined the company PANDORA that follows fashion trends.” 1973 with his former wife Rena, producers and his children run in 1988 as strategic planning Danish jewellery brand The company’s next step is taking the brand to the US the business operations. His manager and bought the group Pandora is sold in more than to expand into mix-and-match in the early 80s. son Nicholas (pictured) is the from her family in 2003. She 40 countries and, despite watches with interchangeable The label now has a $1.7 executive chairman and his has 100 per cent equity in the only launching here in 2004, accessories. “We have a billion global annual turnover. -
Love Desire & Riches
The magazine from the National Trust of Australia (Victoria) August 2014 Love Desire & Riches Mulberry Hill Reopens Steampunk at Tasma www.nationaltrust.org.au/vic Message from the Chairman Dr Graeme L. Blackman OAM Welcome to the August edition of Vic News. In this latest issue, I am pleased to be able to bring you more detailed information about the 2014–18 Strategic Plan now adopted by our Board. Building on our commitment to clearly and transparently articulate the Trust’s direction and vision for the future, the Strategic Plan articulates the values of Leadership and Inspiration, Celebration and Inclusion, Innovation and Learning, Trust, Responsibility and Resourcefulness. The plan can be viewed on our website at www.nationaltrust. org.au/vic. The past quarter has been a blockbuster period for visitation to our properties. It was a singular pleasure to open Love, Desire and Riches in July, the biggest exhibition ever produced by the National Trust, which has transformed Rippon Lea into a showcase for wedding fashion from around the globe. Recognising our commitment to promoting conservation in both metropolitan and regional communities, Victoria’s Heritage Restoration Fund, administered Gowns from Love Desire & Riches exhibition by the Trust with funding from the State Government, has provided $900,000 (National Trust of Australia (Victoria) collection) in funding to heritage places across Victoria, including Como House, with the second round of applications closing in August. I would like to extend a special thanks to those who generously contributed Contents to our Annual Appeal, and as always, I thank you for your ongoing support. -
China Fashion Week
lifestyle SUNDAY, NOVEMBER 3, 2013 China Fashion Week This file photo shows South Africa-born Australian fashion designer Collette Dinnigan (right) acknowledging the public following her ready-to-wear collection show in Paris. — AFP Australian designer Dinnigan calls it quits ustralian fashion designer Collette in 1995. She will shut her Sydney, Dinnigan has called it quits after 24 Melbourne and London boutiques, wind up Ayears in the business, closing her her bridal business and cease showing in global boutiques to devote more time to Paris, though two department store lines her young family. Dinnigan, so far the only “Collette by Collette Dinnigan” and “Collette Australian designer to be invited to show Dinnigan Enfant”-will continue production. on the exclusive Paris ready-to-wear circuit, “I could have sold the brands and made a made the announcement in a handwritten lot of money but that is not what I believe letter to her supporters late Tuesday. “After in, that is not what I envisioned for the 24 years of design, countless collections brands I created. I wanted to maintain the and shows I have decided to take a break integrity of the brands and I believe this is and be with my family,” said Dinnigan, 48, the best way to do that,” Dinnigan told adding that it was a decision taken with a Australian media. “heavy heart”. She made the announcement on her “Over the past 12 months I have been late mother’s birthday, saying she did not thinking very deeply about all the time and want to miss any more “special moments” effort that goes into running a brand like with her own two children due to the Collette Dinnigan and I have decided to “relentless” global fashion business. -
Translating Transphobia: Portrayals of Transgender Australians in the Press 2016 - 2017
Translating Transphobia: Portrayals of Transgender Australians in the Press 2016 - 2017 ** Warning: Report contains transphobic slurs, vilifying language, prejudicial language, and expressions of violence towards transgender people ** © 2018 1 In Memory of Tyra Hunter and Mayang Prasetyo “Denigrated in Death as Well as in Life” 2 Table of Contents 1.0 Key Findings ............................................................................................................................................................................................................................ 4 2.0 Executive Summary ............................................................................................................................................................................................................. 5 3.0 Recommendations ................................................................................................................................................................................................................ 8 4.0 Background Information ................................................................................................................................................................................................. 11 4.1 Gender Diversity ............................................................................................................................................................................................................ 11 4.2 Gender Dysphoria ........................................................................................................................................................................................................ -
6.3-Walsh:Layout 1 4/9/07 11:30 Page 416
6.3-Walsh:Layout 1 4/9/07 11:30 Page 416 Extreme fashion: Pushing the boundaries of design, technology and business 416 Pushing design boundaries – Australian extremes, mainstream fashion limits Sylvia Walsh Abstract The Australian cultural and historical context provides a fashion evolution influenced by extremes. Fashion transportation, commencing with the eighteenth century convicts and colonists, took little note of the new environment and its clothing requirements. Originally, occasion designated, complex outfits were imported and characterised early Australian fashion as copying the United Kingdom styles. Over the years fashion has been adjusted by Australians in response to the new continent’s extremes of climate and lifestyle. Initially Australians suffered daily discomfort when wearing imported fashions because the detailed, tailored styling and heavy fabrications restricted the colonists. As Australian society established, specific requirements for every day garments and special dress were identified and creative, practical, local adjustments to clothing were made. Nevertheless, the fashion transplantation movement remained and was welcomed nostalgically by the settlers. Fashion imports continued to be promoted until the mid- twentieth century. The opening of debate about the creation of a national identity, together with Australian design ingenuity and the maturing of design confidence, have allowed for the gradual emergence of a lifestyle-specific Australian fashion. This paper considers design boundaries and fashion extremes -
This May Be the Author's Version of a Work That Was Submitted/Accepted for Publication in the Following Source: Craik, Jennife
This may be the author’s version of a work that was submitted/accepted for publication in the following source: Craik, Jennifer (2017) Fashioning Australian: Recent reflections on the Australian style in con- temporary fashion. Journal of Asia-Pacific Pop Culture, 2(1), pp. 30-52. This file was downloaded from: https://eprints.qut.edu.au/112173/ c Consult author(s) regarding copyright matters This work is covered by copyright. Unless the document is being made available under a Creative Commons Licence, you must assume that re-use is limited to personal use and that permission from the copyright owner must be obtained for all other uses. If the docu- ment is available under a Creative Commons License (or other specified license) then refer to the Licence for details of permitted re-use. It is a condition of access that users recog- nise and abide by the legal requirements associated with these rights. If you believe that this work infringes copyright please provide details by email to [email protected] Notice: Please note that this document may not be the Version of Record (i.e. published version) of the work. Author manuscript versions (as Sub- mitted for peer review or as Accepted for publication after peer review) can be identified by an absence of publisher branding and/or typeset appear- ance. If there is any doubt, please refer to the published source. https://doi.org/10.5325/jasiapacipopcult.2.1.0030 Manuscript (in Word format) Fashioning Australian: Recent Reflections on the Australian style in Contemporary Fashion1 1 Abstract The concept of Australian fashion as a distinctive style and cultural preoccupation has been long contested.