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KIP WILLIAMS In the lead-up to the Broadway debut of The Picture of Dorian Gray, former Sydney Theatre Company artistic director Kip Williams was spending six days a week in rehearsals with his star Sarah Snook. But he still leapt at the opportunity to interview her for our April cover story, from page 118. “It was really special,” he shares. “An experience like this gives us an amazing opportunity, mid-process, to step back a bit and see the big picture.” Taking this Australian production to Broadway has been “a dream”, he adds. “New York is one of the great theatre cities in the world.” ISABELLA ELORDI It’s the first time shooting for Vogue Australia for Isabella Elordi, who photographed her brother, actor Jacob Elordi, on set in Australia while making…

Emmy Award-winning actor Sarah Snook’s second Vogue Australia cover shoot took place at a scenic wooded estate in Mount Macedon, a charming town an hour outside of Melbourne. It was here that photographer Jesse Lizotte captured the Adelaide-born talent in a series of silhouettes styled by senior fashion and market director Kalia Matthews, who also dressed Snook for her November 2021 cover. Head visuals producer and bookings editor Charlotte Rose managed the production from start to finish, taking care of logistics and scouting the location. “We wanted somewhere lush, green and overgrown,” she says, admitting that this proved difficult given the region in Victoria where they planned to shoot had been hit by a particularly dry summer. “After a long search, I found a location that seemed more like a…

Layer low Once dismissed as a style faux pas, the trousers-undereverything look is making a comeback. With the embrace of individuality, there’s permission to pair pants or capris underneath it all. Let it rain Raincoats have long been a necessity, but between Burberry’s sweetly printed version and The North Face’s streamlined structure, they claim their place as a worthy foil. Scan the QR code to shop Vogue’s edit of the best of the trend. Strong hold Take note of roundthe-clock clutches. Overblown in size with roomy interiors and covetable shapes, they’re designed to be held close from daytime well into the night. Scan the QR code to shop Vogue’s edit of the best of the trend. Peak performer Left-of-field but central to the new mood of elevated athleticism, sporty underpinnings…

Vintage is now everywhere. More accurately, given its pre-existing nature, it has of late exploded from wardrobes and auction houses, red carpets and social media, and into the psyches of designers at the world’s top fashion houses, who are increasingly mining their own archives. Call it a response to a fashion ennui, an understandable reaction to a period of subdued minimalism or a concerted search for individuality, but the preloved, vintage and past-season market is growing at breakneck speed. A 2025 report by Businesswire pegged the global second-hand luxury market value to grow from US$34 billion two years ago to US$60 billion by 2029. “There’s a greater understanding that clothing doesn’t have to be fast, disposable or mass-produced,” says Juno Francis of Berlin- and Gothenburg-based vintage boutique Juno Juno. She’s…

Mastering scent is a little like capturing the essence of being alive. It’s a product without a tangible form, yet a beautifully crafted fragrance can capture memories and moments in a way that feels entirely natural. For Byredo founder Ben Gorham, giving life to new perfumes and creating worlds through scent is where he finds joy. “Fragrance really is a universe of itself and possesses limitless creative possibilities,” he says of his brand, which now includes make-up, and, under the name Byproduct, homewares and fine jewellery. Gorham’s upbringing in Sweden and Toronto mixed with his Indian, Scottish and French-Canadian heritage lends itself to his skill in melding cultures and bottling a moment in time. “The smell of people and culture is very interesting to me,” he says. Travel is a…

Natalie Miller’s creative process begins in the understorey of the eucalyptus trees in East Kangaloon in the storybook hills of the Southern Highlands, New South Wales. After collecting fallen leaves and bark from the scribbly gums around her home, she then, like a grand alfresco cook, immerses unravelled skeins of 100 per cent Australian merino wool into vast metal pots containing her foraged matter and water. Next, she loops the yarn over fence posts to dry, like multicoloured spaghetti. The results of her hand-dyeing technique are varied – the foibles, or pleasant surprises, of working so directly with nature. “It is quite extraordinary how the colour can differ,” she says, pointing to a shocking hot pink she concocted from a potent dose of the madder root. “I thought, ‘Wow, amazing,’…

In 2012, Miuccia Prada sent a pair of Mary Janes down the runway so sweetly perverse that they sent a chill up my 21-year-old spine. While the design of the shoe itself – shiny black leather, with a heel arched like a back – was both elegant and exquisite, it was the final touch that thrilled me: the toe box appeared to be dipped in red latex. Late last year, when I travelled to Milan for Prada’s spring ’25 show to cover the beauty backstage, my eyes began to wander during the encore walk, and ecco, my dream shoes, last seen on the autumn/winter ’12 ready-to-wear runway, were reborn. In fact, five different designs from the house (aside from my beloved Mary Janes, there were geek-chic sandals, pointy-toe heels, zippy…

In a crowded hotel bar in London’s Mayfair, Joanna Hogg recounts the story of her lifelong fascination with fashion. “Clothes say a lot about our character,” begins the director, whose films are all connected by their close observation of the power of fashion: a deep-pocketed, tweedy men’s overcoat (The Souvenir, Hogg’s 2019 semiautobiographical tale of her consequential first love). Or a skin-skimming halter dress the colour of dry earth, as seen in Unrelated, her 2007 debut feature about the unmooring of a family holiday. Hogg’s 1986 graduate film, Caprice, starring her childhood friend, a bright-eyed drama student called Matilda Swinton, follows a young woman whose magazine obsession leads her to wake one morning trapped within its glossy pages. There is something both “fundamental” about fashion, she explains, but anxiety-inducing, too.…

When Francesco Risso sent models down the spring/ summer ’25 runway, a beguiling, theatrical mood took hold. It wasn’t the pencilled-on exaggerated eyebrows, the wiggle skirts or the opera coats, but an unexpected accessory taking surprising command of late: the dramatic hat. Securing their perch as the apogee of accessories, Risso’s creations came as exaggerated sailor hats in origami-like gargantuan paper sou’westers and a tilting Audrey Hepburn topper with sweeping brim. Elsewhere, Alessandro Michele – fashion’s accoutre-er in chief – adorned sun hats with elegant pheasant feathers, transforming them into supersized aigrettes for Valentino. Chloé and Conner Ives resurrected subversive takes on the pillbox, while at Ludovic de Saint Sernin’s debut for Jean Paul Gaultier’s spring ’25 haute couture, a frayed, skeletal ghost ship sailed onto the runway atop a…