Vogue Australia October 2022

In seven years Anya Taylor-Joy has catapulted through the ranks of Hollywood, beginning with a role in a breakout indie horror film aged 18, then working her way up on numerous film and television shows, before receiving global acclaim with the 2020 smash hit, The Queen's Gambit, in which she played a rogue chess prodigy. Jess Ruby James photographed Taylor-Joy for Vogue while she was in Australia filming Furiosa with Chris Hemsworth, a prequel to Oscar-winning action blockbuster Mad Max: Fury Road, and the biggest Australian film production ever made. In ‘Anya rising’, Taylor-Joy talks about growing up in Argentina, how she had to learn to temper her fierce work ethic for the sake of her mental health, and embracing Sydney's coastal lifestyle. We capture her otherworldly beauty against striking harbourside architecture…

Bananas Clarke “It was my first time shooting for Vogue and it was a great experience,” says photographer Brett ‘Bananas’ Clarke of his work on the fashion trend shoot ‘Spring to it’, on page 56, and his portrait of British singersongwriter Joy Crookes. See page 88. “My aim in these shoots was to bring just a hint of my flavour, whether taking the light into a slightly unconventional direction or drawing inspiration for movement direction from the animal kingdom,” he says. When quizzed on the origin of his nickname ‘Bananas’, Clarke reveals the moniker was given to him on a shoot with Swedish fashion photographer Mikael Jansson. “I knew then that was it,” he remembers fondly. Gregory Russell Celebrated celebrity hairstylist Gregory Russell was tasked with transforming colleague and friend Anya Taylor-Joy's icy…

This obsession was born in Paris, where he began his career in the mid-1960s. Miyake, who as a child survived the atomic bombing of Hiroshima, studied at the Ecole de la Chambre Syndicale de la Couture – the school that produced Yves Saint Laurent, Karl Lagerfeld and Valentino Garavani – and he apprenticed in the studios of Guy Laroche and Hubert de Givenchy. During those formative years, Miyake mastered the classic tailoring and draping of couture, to create beautiful, one-ofa-kind clothes for the wealthy elite. But when he was caught up in the French student riots of 1968, he experienced an epiphany of sorts. “I questioned everything,” he told me. “I said, ‘I am a liar.’” He later told me for an article in WSJ magazine in 2012: “I realised…

The male director calls “Cut!” after a particularly intense scene, full of rage and invective. He pulls the young female actor aside. “Never do that again,” he says. Do what? How did she get the scene so wrong? “You can play angry, but you gotta stay f**kable.” Definitive. Reductive. Demeaning. This was the late 90s. It was the woman in this story's first lead role. Good god I'm thrilled to have reached middle age – not a phrase I ever thought I'd write. But as an actor, as a human, I've become increasingly uninterested in others’ judgements – particularly sexualised ones. I can't imagine a director saying this to a woman over 40. Indeed, I wonder if a director would say this to any actor today. I hope not. But I…

SPORTING CHANCE An athletic edge provides a new-season energy hit for a daytime wardrobe. Adding a tidy polo with sportif trim to trusty denim will see you out in front of the style competition. A winning pairing. Want to shop Vogue's edit? Scan the QR code using your phone to access the best of the prep-meetssport trend as selected by the Vogue editors. SHIMMER, SHIMMER, SHAKE The jangle of a crystal-embellished, beaded or shimmering something was impossible to miss this season. A wiggle dress encrusted in kaleidoscopic beading speaks of a resurgence of glamour, yes, but also dance floors as party season approaches. PURPLE PATCH We could tell you Pantone's colour of the year is a whisper-light shade of periwinkle, but to be convinced of the merits of soft purple, you need only look to its effect…

If anyone wanted visual representation of fashion's response to the uncertain world we inhabit, Loewe's autumn/winter '22/'23 show would be a sound starting point. Creative director, and known bellwether, Jonathan Anderson showed an outré collection that built on the unorthodox nature of his previous range, where cracked-egg stilettos and Italian Renaissance hues took centre stage. This time round he upped the ante further with juvenile car-shaped dresses, contrasted by tied-up balloons moonlighting as ‘breasts’, and ‘lip’ bodice gowns that were likened to something more risqué. Given Anderson's penchant for eroticism, a double entendre wouldn't be out of place. Like the rest of the world, fashion has been forced to think philosophically in the past two years. During the autumn/winter '22/'23 season, a rebellion against normalcy and a tendency toward the bizarre…