Vogue Australia

Riley Keough is remarkable. She is her own woman and so inspiring in the way she approaches her acting roles and carefully private in what could have been a glasshouse of a life. She is a Keough and also undeniably a Presley – her voice a reminder, delivering such a resonant and tender performance as the lead in the recent series, Daisy Jones & the Six. Her own legacy is unique and defined in some ways by the parts she chooses to play; roles that are a testament to her bravery. We photographed Riley for this month's cover story in the most intricate Dior on a beach in California. It was around nine degrees with high winds. Too cold, really, but Riley shone and worked hard to create the images with…

EMMA SUMMERTON Fashion photographer Emma Summerton shares it was editor-in-chief Christine Centenera's creative direction that led her to capture a series of images celebrating actor Riley Keough's power, spirit and beauty for the cover of this issue. “We wanted to show her strength but also to embrace her vulnerability,” says Summerton of her vision for the shoot, which took place in California. “She really possesses these qualities all at once, which to me is what makes a great artist. It's beautiful and inspiring.” On communicating a sense of freedom, Summerton reveals: “It was about staying in the moment, keeping things moving and feeling out each picture as it came.” JONAH WATERHOUSE “Even if I wasn't already sure Casey Cadwallader was the right fit at Mugler, my recent call with him sealed the deal,”…

Riley Keough fronted her first issue of Vogue Australia alongside homegrown model and Mad Max co-star Abbey Lee Kershaw in May 2015. Fast forward eight years and she returns to the cover for her first solo feature following the resounding success of her latest project, Daisy Jones & the Six. The television adaptation of Taylor Jenkins Reid's bestselling novel called for Keough to tap into her rock'n'roll roots as the granddaughter of the late Elvis Presley. The result is a captivating performance. Keough's star quality was captured with a distinct intimacy for this issue, courtesy of a creative team that included hair stylist Teddy Charles and make-up artist Romy Soleimani. Together, the pair worked with Vogue's editor-in-chief and stylist on the day, Christine Centenera, to highlight Keough's inner strength while also imbuing…

Code red The colour of the moment is a lipstick shade that imbues wardrobe staples with an immediate vitality. Courrèges's vinyl skirt and slick Loewe anthurium dress are future classics; unmissable glamour. High times Elevated in more ways than one, the vertiginous platform returns at dizzying heights, anchoring a look without compromising on drama. Scan the QR code to shop Vogue's edit of the best of the trend. Pillar of strength Cut an indomitable figure in a statuesque column dress, which lengthens the silhouette while purring with feminine power. By a thread Woven pieces tell a story of craftsmanship. Crocheted, looped, roped and netting the body, these detailed pieces flip a homespun feel with a modern edge. Scan the QR code to shop Vogue's edit of the best of the trend. One-sided Asymmetric hemlines are part of a thoughtful deconstructed approach…

Two years after Alexandre Arnault made news securing Beyoncé and Jay-Z for Tiffany & Co.'s ad campaigns, when he first became the executive vice president of product and communications at the American jeweller in 2021, and after procuring numerous collaborations with icons of culture and fashion in the same short period, he is making a surprising admission. “It's hard,” he says. He's speaking about remaining at the nexus of the zeitgeist and luxury as he guides the house's messaging and new direction – a demanding job that can't leave room for much else. Arnault was appointed after the Louis Vuitton Moët Hennessy conglomerate added the luxury jeweller to its stable of brands, one with an over 150,000-strong workforce globally and that has made his father, LVMH chairman Bernard Arnault, the richest…

Though each stand on their own as a colossus in fashion, the Hermès Birkin and Kelly are progeny of the same root. Before the Kelly —previously called petit sac pour dame, but renamed after ardent fan Princess Grace wouldn't let it out of her grasp since she clutched it onscreen in 1955's To Catch a Thief – there was an even earlier iteration. One quick google hit and does early 20th century Haut à courroies look familiar? Sensibly built to house heavy riding boots and the heft of a saddle, its trapezoidal generousness and gleaming hardware clasps look Kelly-esque, but more closely mirror a 1984 iteration, which went on to become one the most sought-after bags ever made. The Birkin, sketched by Jean-Louis Dumas for a gamine Jane decrying to…