Escolar Documentos
Profissional Documentos
Cultura Documentos
POWERHOUSE
MUSEUM
PRESENTS
‘Tell me a
story, and
tell it from
your heart.’
3
Powerhouse Museum
500 Harris Street Ultimo
Opening hours 10am–5pm
Adult $10
Child (4–15 years) $5 (under four) free
Family pass $25
NSW Seniors Card holders, pensioners, concessions $6
Student card holders $5
Powerhouse Members free
S y d n e y De s i g n p a s s $ 2 0
Buy your Sydney Design pass online and visit the Museum as many
times as you like from 31 July to 15 August 2010.
DOWNl o a d OUR F R E E S y d n e y d e s i g n i p h o n e a p p
For easy reference to maps, favourites,
the latest updates and more. For details visit
sydneydesign.com.au/iphone
Part 1:
{ At t h e P o w e r h o u s e M u s e u m } . . . . . . . . . 9
Essay: Through the lens of Benini
by Anne-Marie Van De Ven . . . . . . . . . . . . . . . . . . . . . . . 10
Part 2:
{ c i t y - w i d e } . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
KEY
TElling Stories
Storytelling is a human act. Stories have always been told through a
multitude of means and devices. Whether it is the faint scratchings on
an ancient terracotta vessel, or the biblical stories told stitch by stitch in
a 17th century needle lace panel or the powerful war imagery depicted
in a Afghani rug, the intense narrative power is the same.
The Powerhouse Museum’s broad range of disciplines and collecting
areas reveal rich stories behind the many objects in the collection. But
there is also a focus on the stories which surround the Museum; the hub
of people who participate, visit, contribute and are connected in some
way to the many threads of thought and ideas that converge within.
What is important is the deeply personal stories and the unfailing hu-
man connections that these stories bring to light. The information and
knowledge form an immense puzzle. And it doesn’t matter where you
come from, who you are or what you do—there is an entry point for
everyone. Stories have the power to move, to inspire change and acti-
vate thinking.
As the museum of applied art and sciences, the Powerhouse Museum
collects objects from the fields of industrial, graphic, fashion and inte-
rior design, decorative and functional art. Elements of architecture and
photography are also represented. Ceramics, textiles, jewellery, glass,
furniture, children’s toys, cars, electric guitars, as well as film posters
and old advertisements are all amassed in the curiosity chamber that
is the Museum.
9
Sydney design
10
‘To be a
person is to
have a story
to tell.’
Isak Dinesen
Part one:
{At the Powerhouse Museum}
11
Sydney design
This mounted gelatine silver photographic print is one of Bruno Benini’s earli-
est nude male portraits. It shows Antonio Rodrigues a dancer who originally
came to Australia with the Katherine Dunham dance company, an early New
York-based African-American modern dance troop. It is one of many photo-
graphic portraits from an archive dominated by fashion photography in print,
negative, transparency and proof print or contact formats. Taken during the
1960s, the photograph features a textured, wall surface with peeling paint as a
key background element. Bruno’s widow Hazel Benini recalls that Bruno always
‘loved a peely’. Anne-Marie Van de Ven, Curator. Photography by Bruno Benini
© Estate of Bruno Benini.
12
F E A T UR E
Through
the lens of Benini
‘It’s ok for you.’ said Bruno Benini’s sister who worked for the Ital-
ian Consulate in Melbourne, earnestly to her younger brother one day
when she was struggling to come to terms with the world in which her
young brother and his artist wife Hazel Benini had decided to make
their life and living, ‘You guys live in fantasy land’. The following
morning, out of hearing range of his sister and with arms flung wide
overhead in a Italianate gesture of joyful defiance, Benini retorted as
he and Hazel Benini entered the studio to begin another day’s work,
‘Fantasy land—here we come!’ In some ways, it’s not surprising that at
times, Ilda Benini struggled to come to terms with her brother’s career
choice, as she would have been fully aware that Hazel and Bruno spent
their days concocting fun stories, meeting and shooting beautiful peo-
ple, and generally immersing themselves enthusiastically into a won-
derfully fanciful, weird and creative craft. Interestingly, like her, they
too were very much a part of Melbourne’s post-WWII cosmopolitan
inner-city scene.
With her other brother a medical doctor, it’s maybe not surprising
that Ilda Benini was concerned about her brother’s choice of occupa-
tion. The world of fashion photography was generally not well known
13
Sydney design
A Linhof bellow camera which used single 4x5inch colour and black
and white negatives was the camera of preference when Benini began
working in the mid-1950s. He then moved on to shoot with a Rollei-
flex twin lens camera, a Hasselblad rangefinder camera (around 1958),
and then 2¼cm or 6x6 inch and 2¼x 2¾ or 6x7 inch Mamiya cam-
eras from the mid-1960s. He also began experimenting with a 35mm
film Cannon camera around the same time. Each different format film
stock survives in the archive, each with its own distinctive look and
characteristics. The detail found on the original negatives and prints, in
comparison to the graininess of the original tear sheets and newspaper
cuttings, is breathtaking.
Benini met Hazel Craig around 1959 or 1960 and they married in 1962.
They went on to live and work closely together for four decades, genu-
inely complementing, supporting and nurturing each other’s creativity.
‘When I first met Bruno I was working at a big store called Hicks
Atkinson, which ran from Collins Street through to Bourke Street
14
F E A T UR E
Finding and making suitable props, backdrops and locations was al-
ways a challenge for both of them, and deciding whether to use natu-
ral or artificial light a daily dilemma, but careful thought and forward
planning ensured most shoots went smoothly. There was no accounting
for bad weather however, and as grey overcast Melbourne days were
common, reflector boards were frequently carried in the back of the
cab or model’s car when venturing out on location. Benini loved work-
ing on location, but he never drove a car, so it’s perhaps not surprising
that many of his outdoor shots have been taken in close proximity to
Melbourne’s CBD, on the streets, in the Carlton Gardens, along the
bayside, in Melbourne’s immediate hinterland, especially at Monsalvat,
or down by the Yarra River in Kew. In these shots Benini often achieves
beautiful low contrast images in which the subject and backgrounds
merge and interact with each other to create romantic and surprising
moods and atmosphere. Today, Bruno is fondly remembered by almost
everyone who knew or worked with him.
I have a lot of respect for Bruno not just as a person. He had a fantastic
personality, extremely generous, kind and soft. He was also a very good
photographer who never really got the accolades he deserved. Athol
Shmith was an absolutely fantastic character too, the Max Dupain of
Melbourne, a chain smoker. For him, everything was always gracious,
a bit like Bruno. They were a certain style of people, which maybe you
don’t see so much these days. The first thing you know about them is
that they’re gentlemen. Bruno with a huge amount of style, probably
Athol a little less, but at the same time, with a huge personality. Bruno’s
personality was softer and quieter. (Phil Quirk, photographer, interview
with author and Jean-Francois Lanzarone, April, 2010. Worked in Be-
nini’s studio, 1969–1970s)
Benini had the ability to look through his lens and find beauty in every
detail. It might be the edge of concrete steps, the site line of a sky-
scraper, a pile of leaves or rubble on the ground, or even paint peeling
off a wall. On the other hand, making, sourcing or recycling props and
inventing stories for the press was Hazel Benini’s forte. At the same
time, both frequently referred to international sources for inspiration
in much the same way all Australian creative designers did at the time,
and still do today. Today their inspiration, Benini’s amazing eye for
composing frames and Hazel’s creativity and inventiveness, provide
a rich and enduring legacy which not only documents the fashion of
the day, but also takes the viewer into a land of fashion, fantasy, fic-
tion and storytelling. Urban and rural locations are documented, so is
the process and behind-the-scenes workings of the fashion photogra-
phy studio. Lights, fans, props and other studio devices are revealed
around the edges of some negatives. Uncropped, and many never be-
fore published, these negatives and transparencies remain as little gems
of a past era.
16
F E A T UR E
Haute couture gowns, niche labels and ready-to-wear brands are repre-
sented including Norma Tullo (perhaps the only Australian label with
its own outlet in the Isetan Department store in Tokyo in the 1970s),
Philippa Gowns, Theo Haskin’s Salon Milano, Hall Ludlow, Simona,
Solo, Prue Acton, Mike Treloar, Ninette and its related youth brand
Nutmeg, Gala and its youth label Emma, Sportscraft and Sportsgirl.
17
Sydney design
Publicity shot for Ninette’s youth label Nutmeg featuring model Jackie Holmes.
Photo by Bruno Benini, Melbourne, 1968. © Estate of Bruno Benini. Part of the ex-
hibition Creating the look: Benini and fashion photography. Collection: Powerhouse
Museum. Benini archive purchased with the assistance of the Australian Government
through the National Cultural Heritage Account in 2009.
18
Exhibition
Creating the look unpicks the ideas, props, backdrops, tricks and tech-
nical devices used by Bruno Benini and his wife, stylist Hazel Benini. It
reveals how designers, models, make-up artists, hair stylists and fashion
editors work together. Interviews with Benini's collaborators including
Hazel Benini, former models Jan Stewart, Janice Wakely and others,
help bring the photographs to life.
19
In this 1956 photograph, one of Bruno Benini’s first and favorite fashion shots,
model Pauline Kiernan wears a strapless sheath evening gown by Theo Haskin of
Salon Milano, Melbourne. Pauline Kiernan was a very successful Australian model.
Originally from Armidale in rural northern New South Wales, she worked as a
nurse before being encouraged by Sydney photographer John Hearder to pursue a
modelling career. After attending June Dally-Watkin’s school, Kiernan travelled to
London in October 1956 to model Australian clothes. She then spent the next two
years in Paris, during which time she modelled for Chanel. However, it was in New
York with the Ford Modeling Agency that Kiernan achieved her greatest success,
becoming one of Ford’s most sought after models. Eileen Ford said of Kiernan, ‘In a
world where beauty is just a commonplace, this Australian stands out as having the
quality and elegance that women all over the world ever seek—and can’t buy’. (The
Australian Women’s Weekly, 1960) Alysha Buss, Curatorial intern. Photography by
Bruno Benini. © Estate of Bruno Benini.
20
This photograph was taken by Bruno Benini in 1957 in the grounds of the Univer-
sity of Melbourne. Model Patricia Tuckwell, known at this time as Bambi Shmith,
wears a Hall Ludlow designed black and white ‘Magpie’ tweed tunic with black
bows adorning the sides. Described as Australia’s ‘first true couturier’, Ludlow
was known for his fine stitching, high technical skill and unique designs, despite
having no formal training. Prior to her successful career as a model, Patricia Tuck-
well was a violinist with the Sydney Symphony Orchestra. Here she was given the
moniker Bambi and reportedly attracted concert-goers wanting to see her great
beauty. On 7 July 1948 Tuckwell married fashion photographer Athol Shmith and
in 1951 founded the Mannequin’s Association of Victoria along with other promi-
nent models of the time. After the end of her marriage to Shmith in 1957, Tuckwell
moved to England and in 1967 amidst scandal, married George Lascelles, 7th Earl
of Harewood, becoming Countess of Harewood. Alysha Buss, Curatorial intern.
Photography by Bruno Benini. © Estate of Bruno Benini.
21
This striking, dramatically lit portrait photograph is of Lillian Wightman, the found-
er of Melbourne high-class, Parisian-style fashion house Le Louvre. It was taken in
1974 by the distinguished fashion photographer Bruno Benini; at that time Lillian
Wightman was 71 years old. The image stands out from the extensive collection of
Benini’s photographs acquired by the Museum last year, with the vast majority of
them dedicated to capturing models’ youth and beauty. Iwona Hetherington, Rights
and Permissions Officer. Photography by Bruno Benini © Estate of Bruno Benini.
22
Australia was the third country in the world (after the UK and the USA) to produce
The Rocky Horror Show play which was adapted into the movie The Rocky Hor-
ror Picture Show in 1975. The model in this photograph is actor Max Phipps who
played the lead role of Dr Frank N. Furter for the play’s 18 month run in Melbourne
from 1975 to 1977. Phipps is also known for playing The Toadie in the Mad Max 2
film released in 1981. The dense black backdrop of this image, used by Bruno Benini
in many of his photographic portraits, is a perfect contrast to the bright spotlight
framing of the actor. This combination, along with the upward angle of the camera,
effectively displays the power and drama of the moment, appropriate for a public-
ity shot for the opening of the play in Melbourne in October 1975. Clare Plascow,
Intern. Photography by Bruno Benini © Estate of Bruno Benini.
23
Italian model Carla Baldaracchi wears a bold Post-WWII modernist summer frock
by Ninette of Melbourne. The photograph presents an ambitious scenario, captur-
ing both the fashion, and the orchestra pit and the elaborate operatic stage set of
the Baths of Caracalla, ancient Roman ruins of the lavish thermal baths built for
Emperor Caracalla between AD 212 and 217 which were used for outdoor oper-
atic performances during Spring and Summer. Here Bruno Benini places Australian
fashion centre stage! It’s a remarkable shot as it not only evokes the globetrotting or
‘vacation’ style that became popular in fashion photography during the 1950s, but
also captures the photographer’s Italian heritage and his interest in history and opera.
Furthermore, it hints at the cinematic influence of fashionable films like Funny Face
(1957) and Roman Holiday (1953). Interestingly, Benini’s maternal grandfather was
an Etruscan archaeologist. Perhaps he left a binding youthful impression on Benini
as a boy, as many of the negatives in the Benini photography archive show Australian
fashion shot against ancient settings. This particular shot was taken during Benini’s
‘round the world’ trip in 1958 when he travelled to New York and London, visiting
family in Italy and shooting photographs of Australian fashion in and around Rome
on both Italian and Australian models. Anne-Marie Van de Ven, Curator. Photogra-
phy by Bruno Benini © Estate of Bruno Benini.
24
A theme that emerges from the archive Bruno Benini is his use of artworks as back-
drops. In this photograph, used by Henry Haskin on his showroom display card,
we see Catherine Patchell modelling Haskin’s ‘Gown of the Year’ of 1956 in the
National Gallery of Victoria. Italian artist Giambattista Tiepolo’s ‘The banquet of
Cleopatra’ (1743–44) serves as an ideal backdrop here, as it is large in scale and
was hung close to the floor at this time. The scene depicted is from Roman historian
Pliny’s Natural History, where Cleopatra takes one of her priceless pearls, dissolves
it in a glass of vinegar and then drinks it, thus proving to Mark Antony that she
could hold the most extravagant and expensive of banquets. The painting’s sumptu-
ous subject and atmosphere echo the rich embroidered texture and ornate beadwork
(approx. 10,000 beads were used!) of Haskin’s gown, now held in the collection of
the Jewish Museum of Australia. Alysha Buss, Assistant Curator. Photography by
Bruno Benini ©Estate of Bruno Benini.
25
26
Exhibition
Also on show are works by the finalists of the James Dyson Award for
concepts designed by Australian university students. Among the short-
listed entries is a heart transplant storage unit, a fire reconnaissance
vehicle and a wireless speaker unit for listening to televised sport
in pubs.
Left: Emotive Epoc. Photo: 4design Pty Ltd and Emotiv Systems Pty Ltd.
Above: AMATOYA, a Fire Reconnaissance Vehicle (model) by Liam Ferguson.
27
EVENT
Iron Designer
6 August, Friday 6pm for 6.30pm
Powerhouse Museum, $30 adults/$26 Powerhouse Museum
and students + groups of eight or more
Bookings essential sydneydesign.com.au
Scissors and set-squares at the ready, contenders receive the key ingre-
dient and a range of materials to create a work in 20 minutes! Four
teams compete over two rounds. The winners of each round progress
to the grand final.
28
29
Exhibition
Re-loved—Designer Stories
31 July–10 October, daily 10am–5pm
Powerhouse Museum, free with Museum entry
30
31
Sydney design
‘…Dress borrowed from Miu Miu, old curtain made by my mom, miraculously
looking really cool with the naked people print.’
Image: Tavi from thestylerookie.com Photo: Spencer at spencertweedy.com
32
Feature
The opinion
junkies
During the short history of the internet, ‘opinion junkies’ have metas-
tasised across the planet. Their blogs are popularity contests, driven
by consumer desire and marketplace obsessions. The big question is
whether the opinions of bloggers exert influence or whether it’s just a
lot of narcissistic hot gas blowing about in cyberspace.
Mike Walsh, author of Futuretainment says on his web site, ‘the world
has been transformed by consumer connectedness.’ We have moved
away from broadcast networks to audience and social networks for
sharing and popularising ideas. Melbourne blogger Patty Huntington
of Frockwriter who has a background in newspaper journalism says,
‘I find blogging cathartic and there are no restrictions. I consider it art.
But does blog traffic equal authority? No. For a small niche market of
opinion, there is a small dedicated audience.’
and Hudson. Judging from Face Hunter’s blog, Rodic’s life as a fash-
ion stakeholder has escalated, with book signings and many a model
competition to judge.
But nothing is as cute as now fourteen year old Tavi whose blog The
style rookie offers a surprisingly sophisticated standard of quirky style
and teenage angst. Tavi was twelve when she began her blog which has
exploded among young audiences (not to mention thousands of curi-
ous fashion leaders searching for future design tips). This angelic-faced,
gamin-haired girl points to favourite fashion mag pages or dresses up
in her bedroom in downtown Chicago. She also rails against the lunch-
room politics of being a middle-schooler in the US, having to watch
schoolmates ‘grinding’ at the yearly dance and the cruelty of a nasty
pimple on her cheek or grimy glasses. She exudes not so geek-chic, vin-
tage-loving flair and uses her Canon Powershot A590IS with Bogan tri-
pod and self timer to capture her home-spun blog images.
Lucy Feagins of The design files updates her information daily and is
highly respected for that dedication. Her blog receives 140 000 page-
views a month. Feagins says, ‘emerging designers now have an incred-
ible opportunity to reach a huge international audience cheaply and eas-
ily. An article posted by The Coolhunter late last year was the launching
pad for Melbourne lighting designer Volker Haug’s current success.’ She
also says her motivation is, ‘keeping an Australian voice out there in the
mix of incredible UK based and US based design blogs.’
Another advantage of blogs is that each one tells a story, with a distinc-
tive voice and point of view. Blogs are vignettes of lives—personal and
emotional expressions. The edgy voice of fashion blogs such as Fresh
Fruits and Gothic Lolita offer a view of Japanese aesthetic preoccupa-
tions. The industry/news blogs such as stylecourt.blogspot.com, design-
boom.com share photos and information and offer thoughtful, serious
writing and images of strong design. These various stories or mytholo-
gies contribute to a more accessible anti-elitist world, a space of shared
experience, where new artists can find their way to the surface. As Lucy
Feagins says, ‘blogs democratise design commentary.’ PG
35
sydney design
36
F ASHION IN AC T ION
Make sure you tag your photos straightup. The images should incor-
porate a short message or story responding to the Sydney Design theme
‘Tell us a Story’. Be creative, impulsive and edgy. By recording the street
trends of your neighbourhood, Straight up: on the streets in Sydney will
be a snapshot of urban style from all corners of our exciting city.
37
SYDN E Y D E SIGN
38
FAshion in action
39
40
41
F a s h i o n i n A c t i o n Wee k e n d
Fashion photography was once shot at bespoke studios, but with the
proliferation of digital cameras in the 21st century, street style photog-
raphy has become de rigueur. With the emergence of social media and
technological advances, under-the-radar photographers now produce
their works in style blogs—offering instant media to the streetwise
audience. Influential, celebrity bloggers such as Scott Schuman of The
Sartorialist score front-row seats at runway shows.
Meanwhile, the controlled atmosphere of the studio remains the pho-
tographer’s best chance of capturing ‘The Look’ of the fashion portrait.
Sheer beauty and edgy designs may set the scene but it’s the intangible
elements that transform a photographic shoot from unique to unforget-
table. During this special weekend, visitors can experience the stylised
settings of a studio shoot and the spur-of-the-moment immediacy of a
street-style fashion blog.
Framed!
7 August, Saturday 10am–12pm and 12.30pm–3.30pm
Powerhouse Museum, free with Museum entry
Wondering why it takes a full day to get one brilliant photograph?
This all-day shoot explores how to create ‘The Look’. On set are the
photographer, wardrobe stylist, set designers, hair stylist, make-up art-
ist and model. While the model is primped and preened to make her
camera-ready, an unforgettable atmosphere needs to be created in the
studio. Stylist-to-the-stars Megan Morton and designer Benja Harney
of Paperform will create sets using whimsical props. Renowned Syd-
ney-based fashion photographer Hamish Ta-mé will direct proceedings.
Experts in post-production will bring out the full potential of the im-
ages with their creative digital darkroom techniques. Hamish will then
stream his images to large screens and direct to your iPhone.
42
Sydney design
An all-day, live photo shoot reveals the many layers involved in creating ‘the look’
in fashion photography Photo: Hamish Ta mé
43
44
F a s h i o n i n A c t i o n Wee k e n d
Captured!
8 August, Sunday hourly 10am–12.30pm and 1.30pm–4pm
Powerhouse Museum, $80
Limited places, bookings essential sydneydesign.com.au
Lights, camera, lipstick—dress to kill and be ready to pose! Become
an instant supermodel, taking part in a high-end photographic shoot.
You’ll be styled at a hair and make-up bar. Surrounded by props by
celebrity interior specialist Megan Morton and designer Benja Harney,
your every pose, pout and position will be guided by Powerhouse Mu-
seum photographers. Captured! will embrace a more edgy look; this
will be a portrait like no other! These lucky and fearless models can
also select a free favourite image to order. To guarantee your place,
remember to book early.
Screening Fashion
7 August, Saturday 2pm–3pm
Powerhouse Museum, free with Museum entry
Bookings essential sydneydesign.com.au
In less than five years, bloggers like The Sartorialist, Susie Bubble and
Garance Doré have changed how fashion is captured and critiqued.
Harnessing the DIY charm of new media technologies, the new guard
is documenting ‘the street’. Karl Lagerfeld shows his wit on Twitter;
Marc Jacobs snubs front-row celebrities for live internet streaming of
the catwalk; Chanel woos Scorsese for a new TV commercial; Tom
Ford takes on Hollywood with A Single Man; while Anna Wintour
(The September Issue) and Valentino (The Last Emperor) let the cam-
eras in behind closed doors.
This talk, by Dr Alex Munt and Dr Susie Khamis both lecturers in the
Department of Media, Music and Cultural Studies at Macquarie Uni-
versity, considers how new media technologies are making fashion far
more accessible and voyeuristic.
45
Sydney design
46
F a s h i o n i n A c t i o n Wee k e n d
47
E XHIBI T ION
Upon entering, visitors are transported into the exclusive world of Aus-
tralian Fashion Week, where the catwalk comes alive. On the runway,
an array of outfits by über-designers Akira Isogawa, Collette Dinnigan,
Michelle Jank, Easton Pearson, Zimmermann and Ksubi are show-
cased. From the vantage point of the front row, visitors also experience
the inside machinations—where buyers and media commentators can
make or break fashion collections.
Visitors then go backstage to see how models, hair and make-up art-
ists, stylists and show producers collaborate to keep this fast-paced
event running smoothly. In the VIP lounge, watch footage from various
shows and exclusive interviews with designers, models and industry
insiders, and see celebrity snaps from legendary social photographer
Robert Rosen.
Full of lavish gowns and avant-garde creations, Frock stars reveals the
backstage buzz and runway thrills at Powerhouse Museum’s fashion
spectacular.
48
Sydney design
49
INDUS T RY T A L KS
Industry talks
Powerhouse Museum, free with Museum entry
Limited numbers, bookings essential on sydneydesign.com.au
50
SSy
y ddne
n e y yd edesign
sign
51
De s i g n u n d e r g r o u n d
Design underground
Powerhouse Museum, $30 adult/$26 Powerhouse Members/students/
groups of 8 or more. 12 participants in each tour.
Bookings essential sydneydesign.com.au
Take an exclusive peek at the Powerhouse Museum’s extraordinary
fashion collection in storage.
52
Sydney design
Bootilicious
9 August, Monday 2pm–3pm
The Powerhouse Museum’s collection of footwear is so large and var-
ied it would turn Imelda Marcos green with envy. Join curator Rebecca
Bower on this quirky tour of the collection as she looks at shoes worn
by strippers, signed by legends, decorated by artists, and worn by ordi-
nary people doing extraordinary things. From the tiny shoes made for
Chinese women’s bound feet to the towering platforms of Australia’s
glam-rocker William Shakespeare in the 1970s, this is a journey reveal-
ing the fascinating stories behind the footwear.
Dressing in Lace
11 August, Wednesday 2pm–3pm
Dressing in Lace looks at rare lace garments from the basement of
the Powerhouse Museum. Curator Lindie Ward reveals various tac-
tile treats, including an 18th-century silver lace petticoat, a 1940s Irish
crocheted wedding dress and millinery nets used in the 1950s. With
more than 300 pieces of handmade lace stored in the Museum, this
tour embraces the history of lace, uncovering the 19th-century revolu-
tion when manufactured lace overtook bespoke work. Join Lindie to
explore an array of designs that rarely see the light of day.
53
54
fe a t u r e
Clusters of tactility,
threads of warmth and
a return to the senses
The vintage and the hand-made are experiencing increased popularity.
This playful, positivist attitude towards life may reflect an emergence
from the bleak years of conservative government but it also reflects a
need to be liberated from the anxieties of the world, where natural and
unnatural disasters are affecting the environment, resources and collec-
tive well-being.
A fascination with brutal, mass-produced, machinist aesthetics in archi-
tecture, design and fashion are morphing into a wish for the authentic,
the adaptive, the sustainable and the natural. Warm tones and tactile
surfaces, carved wood and hand-thrown ceramics, recycled and sustain-
able materials, emotional and adaptive creativity: these concepts are
creating new joy.
In direct response to the global super-brands which everyone and an-
yone can access and own, many designers are creating quirky, craft-
inspired, nostalgic works of art. This desire for individualism is a psy-
cho-emotional defence against a mass mentality. Australian designer
Cindy-Lee Davies’ use of old car wheels with macramé or crochet for
seating is the perfect example. She applies the hand-made to the off-cuts
of industry. However, as Karen McCartney author and editor of Inside
Out says, ‘even the manufactured pieces of design are being given an
old-style quality, made to feel like an original.’
A model showcases the Iced VoVo inspired dress by Romance Was Born at Rose-
mount Australian Fashion Week 2009, featured in Frock stars at the Powerhouse.
Photo: Lisa Maree Williams/ Getty Images Entertainment.
55
F E A T UR E
Cloth designer Julie Paterson is nostalgic but is not one to cling to any
one object. She has no heirlooms but her sense of history and of pass-
ing time is crucial to her wallpaper and fabric design. ‘My designs are
a sum of the past and the future,’ she says. For Paterson, her designs
might be as prosaic as visual stimuli gleaned from the everyday activity
of walking to the shops or noticing the lines of electricity wires. ‘I am
interested in a sense of inclusion: designs for everyone, there is some-
thing from everyone’s experience. My designs are very much about or-
dinary life.’
She recently was given bales of knitted natural wool from a greengrocer
friend, who had bought a farm in the Southern Highlands. Paterson
used this pre-loved, pre-knitted wool to make new pieces of upholstered
bespoke furniture. This tale tells the true story of fabric design in
Australia because it is a story of recycling, of a shared history and a
community experience.
Sydney author and stylist Megan Morton says, ‘I believe that this craft-
ier, hand-made look is something that lets a non-art buying customer
in - when everything looks a little more hand-done and familiar, we
are more likely to covet it, rather than fear it.’ Designers Third Drawer
Down responded to this yearning with their range of collectible, edi-
tioned appliquéd tea towels. Designer Nikki Gabriel also creates hand-
dyed garments in fine silk and hand-knitted linen, referencing the craft
of complex lacy knitting techniques.
Megan Morton also understands the idea of saving resources. She says,
‘At this year’s Milan Furniture Fair, the necessity of producing new work
each and every year was questioned. One of the major players, UK de-
signer Tom Dixon, set up a workshop where his team made the lights
with their own hands and then sold them at the end of the show. This
reduced their footprint and saved on freight carting. It was a complete
directive and a message that I am sure all will follow at next year’s fair.’
Fashion designers are leading the pack in finding the ‘special collectible’
in a sea of the mass-produced. Some are collaborating with artists to
create the effect of ‘the artist’s hand.’ Romance Was Born has consist-
ently used macramé and pom poms in their imagery. They worked with
visual artist Del Kathryn Barton on their ‘Garden of Eden’ series. This
highlighted the urgent need to create a new paradise, a new landscape
to populate. Zimmerman’s unique prints adhere to the cottage industry
concept and Greek designer Mary Katrantzou’s original printed dresses
also mirror individualisation.
In visual art, artists have recently chosen imagery from the wilderness
and the forest, and populated them with cute animals and strange new
animal hybrids (Sharon Green, Kate Rohde, Patricia Piccinini) in order
to filter out harmful signifiers of death and replace them with utopian
57
F E A T UR E
visions for the future. But as Melbourne design curator Kate Rhodes says,
‘these forests and landscapes are benign fairy tale forests.’
This raises an interesting point regarding the reality of these utopian crav-
ings, which are a reaction against the subversive and sceptical satire of
the most modern idiom. The trend towards the warmth of hand-formed
tactile rudiments in art and architecture is part of an urgent and positive
desire for a perfect world in the future which doesn’t (yet) exist. Is it really
possible to achieve a slower, more personal and meaningful experience of
life and art? What is certain is that the collective will is there. PG
Above: Cloth by Julie Paterson. Right: Confetti Systems, by Third Drawer Down.
Following pages: Reticella Lace series by Cecilia Heffer. Photo: Paul Pavlou.
58
59
60
61
Sydney design
65
WORKSHOP & E x h i b i t i o n
Make Lounge Workshop #3: Craving cross stitch with Tamara Maynes
14 or 15 August, Saturday or Sunday 11am–3pm
Powerhouse Museum, $80 Adults/$76 Powerhouse Members
(includes cross stitch kit) Bookings essential sydneydesign.com.au
One of Sydney’s most respected craft specialists, Tamara Maynes,
blends cutting-edge design and homespun techniques to produce
homeware products, ranging from patchwork cushions to cross-stitch
letters and macramé wall hangings. In this workshop, Tamara teaches
you cross-stitch techniques using one of her original kits included. She
also reveals a simple, inexpensive way to create your own cross-stitch
design charts using graph paper.
66
SYDN E Y D E SIGN
67
m a r k et s
Designboom mart
13, 14 and 15 August, Friday 10am–9pm, weekend 10am–5pm
Powerhouse Museum
$5 entry to both markets; includes Museum entry
Bookings essential sydneydesign.com.au
Meet and buy direct from the best new design talent in the country.
Featuring fashion, furniture, jewellery, graphics, industrial design and
more, this curated market is a glimpse into the future, a critical launch
pad for Australia’s talented young designers, as well as a vibrant mar-
ket for the design-savvy shopper. First staged in 2005, Young Blood is
the place to experience the buzz, crave the creativity, spot the trends
and snap up bespoke works at a reasonable price.
Right: Popular designer markets Young Blood and designboom mart return to the
Powerhouse Museum for Sydney Design 2010.
68
69
St u d e n t De s i g n C h a lle n g e
A basic water bottle may be an everyday product but once this item
has been reworked by a group of Design & Technology students, it
could become a future designer item in the not-too-distant future.
Students work in groups and will receive various design examples to
stimulate ideas. Students will generate various design improvements
to their water bottle, eventually choosing and sketching a solution to
present to the group. SCAMPER is a design activity, aimed at helping
students generate a multitude of ideas for design improvements to an
everyday product. This workshop is a great preparation for Year 9–12
students before later exploring the various design displays as part
of Sydney Design. This activity will encourage them to think about
ways they can make improvements to the world of design that exists
around them.
70
Sydney design
fastBREAK
30 July, Friday 8am–9am, arrive at 7.45am
Powerhouse Museum, Boiler Mezzanine, $8 (includes breakfast)
Bookings powerhousemuseum.com/bookings/fastbreak.php
The 2010 fastBREAK innovation series is an exciting addition to Sydney’s
event calendar that has sent a buzz through local creative and entrepre-
neurial communities. At each fastBREAK session, five sharp young in-
dustry leaders from various sectors tackle big questions with five-minute
responses around themes of creativity, commercialisation, collaboration,
connections and conversation. Innovation is the staple of the fastBREAK
menu. This month’s presenters, responding to the question ‘What’s your
story?’, are Suzanne Boccalatte, Boccalatte design and publishing; Troy
Lum, Hopscotch Films; Faye Maramara, Paro Paro; Kelly Robson, Gaffa;
and Nic Moore, Peter Stutchbury Architects. Produced by Vibewire in
partnership with the Powerhouse Museum.
Beta_Space
Powerhouse Museum and Creativity & Cognition Studios at UTS
31 July–15 August
The Creativity and Cognition Studios at UTS presents selected artists
showing their interactive and time-based work during the international
2010 Computer Graphics, Interaction and Visualisation (CGIV10)
conference. Works selected explore interactive narrative through cut-
ting edge-research. betaspace.org.au and creativityandcognition.com
71
Sydney design
Above: Paper engineer Benja Harney hosts a Pop-Up Book workshop for kids
during Sydney Design 2010.
72
K i d s d e s i g n w ee k e n d
Mini tours
31 July and 1 August, 11am, 12noon, 1pm and 2pm
Powerhouse Museum, free with Museum entry
Bookings essential sydneydesign.com.au
Illustrated by Sonny Day from We Buy Your Kids, these little design
tales are based on the Japanese Kamishibai form of storytelling and
linked to the origins of manga and anime. Take a family tour over
three levels of the Museum considering three objects on display from
a design perspective for children. Listen for the sound of the Kam-
ishibai’s two wooden clappers at the entrance to Inspired! exhibition
announcing the arrival of the storyteller. Best for ages 3+.
73
K i d s d e s i g n w ee k e n d
Hands-on activity where participants can let their imagination run wild
to create surrealist images by cutting up, mounting and reframing Bru-
no and Hazel Benini’s photographs to create new looks. This workshop
will also include an introductory talk about the new exhibition, Creat-
ing the look: Benini and fashion photography. Best for ages 10–15.
74
Sydney design
75
Above: Achille Castiglioni in his studio. Photo: Hugh Findletar
76
F E A T UR E
Castiglioni:
a designed life
The origin of a design, its impact on the environment, and the social
conditions under which it is created are increasingly the questions that
enlighted individuals and companies are asking about the objects that
make up our surroundings. A hundred or more years ago, people would
have likely known the local cabinet maker, blacksmith and tailor person-
ally. Today the maker is mostly an anonymous author designing for an
anonymous consumer, but it is the provenance of a piece—its connection
to the past or its relevance to the present—that determines whether we
connect to it or not.
At face value, a piece of furniture can be beautiful, although we seldom
understand its own unique story: the skill of the craftsman in working
the materials and form, the adventure of trial and error—the research
that goes into developing an idea and often, the process to make it. It
is these stories that are an important part of determining the value of a
design today, beyond its aesthetic beauty.
The work of Italian architect and designer Achille Castiglioni goes far be-
yond what you first see in a chair, a table, a light, or a building. At Studio
Castiglioni in Milan, Giovanna Castiglioni and her mother have opened
up the doors to her fathers’s studio, allowing the public into rooms over-
flowing with drawings, models, prototypes and objects that inspired and
amused his inquisitive nature, and are the blueprint to a man now con-
sidered one of the most important designers in post-war Italy.
77
F E A T UR E
78
Sydney design
Every tour starts with the prototypes and the workshop, with explana-
tions of the process right from the beginning. ‘Achille was so careful
with process and ideas and he loved to follow every project from the
beginning to the end, so he had a wonderful relationship with the
workers. Curiosity was so important for him so I always try to share
with students and others that if you are not curious you can forget it.’
‘We also like to explain through anonymous objects. When visitors
come to the meeting room I can show them the slinky coil or a special
bottle from Japan, so they can feel the wonderful stories behind them.
Anonymous objects are also very important.’ The studio is a place of
surprises. ‘For some people who come they never knew they had an
object designed by Castiglioni, so for me it is really wonderful when
they discover something in the studio that they have at home. I love
this,’ smiles Giovanna.
The Castiglioni family supports the day to day running of the studio,
working closely with different companies who produce projects de-
signed by Castiglioni. ‘Flos helps us every time and we have collabora-
tions with Alessi, Bonacina, Cassina, Zanotta and others. So between
the family, the companies and the Triennale Milano we can continue
to open the studio,’ Giovanna enthuses. ‘We hope to work with com-
panies who want to believe in these projects again. In a few months
we would like to show the last projects that Castiglioni designed with
a collaborator of his. It is a little piece that you put on the desk ... a
secret so don’t ask me yet!’. HD
Above and following pages: In Achille Castiglioni's studio. Photos: Hugh Findletar
79
80
I n te r n a t i o n a l S p e a k e r
For many years, Castiglioni worked with his two brothers Livio and
Pier Giacomo as a design team that was innovative, sleek and very suc-
cessful. The brothers believed that design must restructure an object's
function, form and production process. The majority of Castiglioni’s
products are still in production today, a testament to the elegance and
functionality of his designs.
81
82
83
84
85
86
87
Sydney design
88
i n s t a ll a t i o n + M e d i a Ce n t r e
th(e)INK TANK
31 July–15 August
Powerhouse Museum, free with Museum entry
Keep your eyes peeled for th(e)INK TANK’s mobile office making itself
at home in and around the Museum, and at theinktank.org
89
c o m p et i t i o n
90
‘The difference
between good
design and great
design is
intelligence.’
Tibor Kalman
Part two:
Sydney Design {city-wide}
91
Sydney design
SY DNEY D E S I G N 2 0 1 0
Concept to reality, presented
by Alchemy Innovation
10 August, Tuesday 2pm–4pm
Powerhouse Museum, free
Bookings ausinvent.com/events
92
CI T Y - WID E
93
C i t y- w i d e
SY DNEY D E S I G N 2 0 1 0
94
Sydney design
Shield of wings, 2010 Third Drawer Down x Book XIII- Memnon, 2010
Vík Prjónsdóttir. Photo: Gulli Már Photo: Ross Anderson
95
Sydney design
SY DNEY D E S I G N 2 0 1 0
-33.8
-33.9
-34.0
-34.1
-34.2
96 Map of Sydney
-
AVIAN SURNAMES
Booby.................... 2 Duck......................17 Knot......................1 Robin.................... 23 Swift...................... 82 Each bird represents the residential location of an individual, The most northern resident with an avian surname is
Bulbul.................... 2 Eagle..................... 33 Miner.................... 12 Seagull................... 1 Thrush................... 7 couple or family with an avian surname. R.S. Crane (Richmond); the most southern is J.N. Sparrow
Chat...................... 1 Falcon.................... 6 Parrot.................... 1 Snipe..................... 1 Whistler.................. 1 (Campbelltown); the most western is P. Heron (Penrith
Crake..................... 1 Finch..................... 134 Petrel..................... 2 Sparrow.................. 16 Wren..................... 40 The surnames of Sydney residents represent 36 species of birds. South); the most eastern is D.E. Swallow (Avalon).
Crane.................... 113 Gull.......................2 Pigeon....................1 Starling.................. 43 The most common avian surname is Swan (213) followed by
Crow..................... 36 Hawk..................... 4 Plover.................... 1 Stork..................... 4 Finch (134). There is only one listing for Chat, Crake, Curlew, Information sourced from the Sydney Residential White Pages
Curlew................... 1 Heron.................... 49 Quail..................... 10 Swallow.................. 11 Knot, Pigeon, Plover, Seagull, Snipe, Parrot and Whistler. 2008/09 and www.whitepages.com.au
Dove...................... 23 Kite....................... 26 Raven..................... 18 Swan...................... 213 There are 938 listings in total.
C i t y- w i d e
97
C i t y- w i d e
SY DNEY D E S I G N 2 0 1 0
98
Sydney design
DIGIFACTURE OpenHAUS:
31 July–15 August, Advertisements for Architecture
Monday–Friday 9am–5pm 31 July–15 August,
Fraser Studio, Chippendale, free Monday–Saturday
10am–4pm, daily, free
One of the most exciting develop-
Talk: 3 August
ments in manufacturing in recent
6.30pm–8.30pm, $10
times has been the process called
Tusculum, 3 Manning Street,
selective laser sintering (SLS).
Potts Point. Bookings 9246 4055
This process allows designers
to create solid complex objects When architects, design profes-
quickly and with no tooling. It sionals and students were invited
utilises a computer-controlled to create Advertisements for Ar-
laser beam that fuses together chitecture, the results included
plastic or metallic powder—one an array of tongue-in-cheek ads,
cross-sectional layer at a time. ranging from a cigarette pack
This exhibition highlights the poster saying ‘Architecture is Ad-
remarkable flexibility, complexity dictive’ to a heavy-metal inspired
and joyous creativity unleashed t-shirt. Even the world’s most
by SLS. On display is a series famous fictional architect, Mike
of SLS design projects by the from The Brady Bunch, gets a
industrial design program at the guernsey in one of the ads. The
UTS, Sydney, in collaboration ‘mad men’—and women—who
with Advanced Manufacturing have created these faux advertising
Services, Australia. The exhibi- gems will discuss their work at a
tion proposes future directions in lively talk for architects, designers
industrial design and its relation- and the public.
ship with manufacturing.
99
sydney design
SY DNEY D E S I G N 2 0 1 0
100
C i t y- w i d e
101
Sydney design
SY DNEY D E S I G N 2 0 1 0
102
C i t y- w i d e
103
sydney design
SY DNEY D E S I G N 2 0 1 0
104
C i t y- w i d e
Photo: Wong Sze Fei D:Scribe Digital fountain pen, 2007 Reuben Png
105
C i t y- w i d e
SY DNEY D E S I G N 2 0 1 0
Sample of pattern from The Cell. Brook Andrew Victoria at Planet in Surry Hills, June 2009
Photo: Tolarno Galleries Photo: Urban Walkabout
106
sydney design
107
sydney design
SY DNEY D E S I G N 2 0 1 0
DD
honours our responsibility to
AATTTTAA T
T
VICTOR
E
E
UNIVER
BEAUTIFUL
IA PARK
FES
E
.”
rain
a t CA
E
NG?
ing
on S/
EOPLE e rid OP
SH
ARCHITECT
SO MANY P CLEVE
lik
“It’s
T MANNI
R
IT IN FES LAND S
SITY OF
SH
R
OP
Iʼurban/suburban
ROW SRD Change
TOMOR TS S/ CLE
S/
P VELAN
ET
N
CA
RA HO
T
S D STRE
URE
FES
AU
CLASS
ET
TRE
T
ES T
BEER A
R
SYDNE
RESTAURANTS
SS
SH
RD S
ES
“G
LATE FOR “G
OP
CAF
RU
RU
S
NG “G LS” RE
/C
NG
PS/
Y L RU ST
AFE
ES
Y L RESTAURANTS /C
PHE
SHO
CAF
OC NG AUR
OC
Y
S
A
A
PS/
LS” LO ANT
CK
BIE
TA
G
LS” AT
SHO
RIM
Y
SHE
DY ...
G
CA BO ane
” 0am MP // tay s
CARILLON RGYOAD
LO
CA S
LS
A
I
LS”
M
H
s
IR ...6.3 Y PU ut to
N G UN
O
A
SH
RU
N
D o
NEY AND
UL BO rking
OG
“G
OP
TIF
CR
Wo
N
SYDORTSENTRE
I
S
/ Y
AU
only
SH
BE
CAld Fav
I
AFE
OP
(O
EP
E
SP IC C
PU REST
if d LLA)
R
S/
TH
S
FE ourit
ST
BS AU
UAT
M200E50 TO
LL
CA
E
esp
K
A
E
FES
AS
AQ
AB
era
201TIVITY +” S
K
“CRNEOVATIOS/PUPP AY
T H
IN RKET URDTS
te
MA SAT RKE
I.P
RA
ES K
)
e
. N
NT
A
-W C
ER A
LY
S
EK L
EW
N ORM THE ROYAL
MA
/2008
WE UA WS
SHOWN
IN CC
T
T
ith Sally IT O ?
m ??????
E T R ART SHONS
N ET
HE M y Beers w
OP H
la
ush um ?????
T
“T AVE Sunn WITH
R E ARTH IBITI AGE
h C
A S
S/ O
RK wit
any ??????
CA TEL
ST
D PA COOL y coffee ? ????
EX RRI KS ter M
FES ”
THE Birthda ? ? ?? ?
THEA
N / Af ? ?? ?? ? ? ?
’s
teph
BOAT O R
CA WO Thing d// My ? ? ? ? ?? ? ? ?
s / ?
?
S ?
LS lk t o
??
TRE
I e’s..
.Wa
S l?
IVAL mal ? ? ?
l ste? ? ?
T W
??
Zo or
FEST Of S
o r ?
? ? y? zon
t
E EMACDONALD-
??
Walk ??
erw
?d? ?
TR od
??
n? ? My e...
S // G U ? ???? ? ? ste
??
TOWN /
ON ity / Loss s // ???? ? ? ry
??
e..
e o Of ???? ? ?
??
Hig ???? ? ? .
??
????? ? ?
???? ? ?
?
?
???? ? ?
??
???? ? ?
??
????
????
??
????
108
??
??
??
C i t y- w i d e
109
C i t y- w i d e
SY DNEY D E S I G N 2 0 1 0
110
sydney design
111
sydney design
SY DNEY D E S I G N 2 0 1 0
112
C i t y- w i d e
113
C i t y- w i d e
SY DNEY D E S I G N 2 0 1 0
114
sydney design
115
sydney design
SY DNEY D E S I G N 2 0 1 0
116
C i t y- w i d e
Kissing Pendants, 2009. Designed by Trent View of Boyd Education Centre from northerly
Jansen. Photo: Trent Jansen aspect. Photo: Bundanon Trust
117
C i t y- w i d e
SY DNEY D E S I G N 2 0 1 0
118
sydney design
119
© Trustees of the Museum of Applied Arts and Sciences
Copyright in the text is held by the authors/ artist and/or rights holder. All
rights reserved. No part of this publication may be reproduced, stored in
a retrieval system or transmitted in any form or by any means, electrical,
mechanical or otherwise, without first seeking the permission of the copyright
owners and the publishers. Every effort has been made to locate the owners of
copyright for the images in this publication. Any inquiries should be directed to
the Marketing and Communications department, Powerhouse Museum.
The opinions expressed in this publication are those of the authors and not
necessarily those of Powerhouse Museum.
Published by Powerhouse Museum, June 2010
Campaign Concept & Creative Direction: Boccalatte
Printer: McPherson’s Printing Group
Events, exhibitions and costs are correct at time of printing,
but are subject to change.
121
SUPPOR T eRS
P a r t n e r s I n De s i g n