Indholdsfortegnelse for Issue #113 i RUSSH

Hedonistic raving. Dionysian, primitive, uncontrolled and pagan. Dripping in Dali-esque surrealism. Drowning – Frank Kafka style – in “love, vodka or the sea”. The human experience is sometimes at its deepest, best, when it is completely deranged. But when was the last time you really raved? Or revelled in anything for that matter? When you held the power to stop time and truly live. Unwitnessed, undocumented and free from our acute consciousness and overthinking. At liberty to give into enticements. Driven, enfranchised even, by our whims, desires and the new moon. This issue is somewhat of an emergence. It is peak abundance. Living in a loud way after a period of quiet adjustment, of celebrating all we have withstood: an expression of an unmeasured pride for our resilience and a…

For all the discourse we have on fashion, there surely isn’t enough said about the culture of clubbing. And I get it. Fashion is serious. Party clothes are frivolous. Or so the sentiment goes… But I think sophistication shouldn’t be the only yardstick by which we measure fashion’s merit. In fact, I’d argue that sophistication can be a little overrated. Stuffy, even. The year is 2025. We’ve lived through a global pandemic. And now the people want to dance, entirely unburdened. And they want to look great doing it. Whether it was Flo Rida musing on those infamous “apple-bottomed jeans / boots with the fur” or KE$HA’s primal need for “glitter on my eyes / stockings ripped all up the sides” – there has always been a delectable pull toward…

“It’s about protecting a garden and transmitting it for the generations to come. It’s a lot about supporting the creativity of young artists, but also transmitting this love and passion for modern dance, giving a chance for a festival to travel around the world, and so on and so forth. But when we speak the same language, then it comes to life very naturally.” In front of a Thomas Hudson portrait, in a highly decorative room that houses a commanding Chippendale settee, Van Cleef & Arpels’ CEO Catherine Renier is holding a piece from the Maison’s Flowerlace collection in her palms to illuminate the Maison’s long history of gold craftsmanship. We are in Dumfries House in historic Ayrshire in south-west Scotland to celebrate ‘Flora’ and two new jewellery lines that…

Beneath layers of sponge and ganache, Valentine Fodor – better known as @vegemammma – has carved out a niche in Sydney’s baking scene with her fanciful, nostalgic and breathtaking sculptural cakes. Whether it’s a buttercream-boucle lounge chair for a furniture designer or a tiered, hand-piped sponge cake befitting of the Mad Hatter’s own tablescape, her baked creations are more akin to edible vignettes, shaped by memories of North African biscuits from her Mémé, flour-dusted mornings with her father, and a lifelong reverence for creativity in all its forms. Her approach marries precision with instinct, a balance of discipline and freeform artistry. In this, she finds kinship with Bulgari’s time pieces, which she wears with the same ease that she pipes a perfect rosette. Celebrating The Year of the Snake, she…

The N° 1 de CHANEL Serum-In-Mist was created with this audacious goal in mind. The spray-on concentration affords protection and moisture at a moments’ notice. It’s beauty on demand, housed in a satisfyingly weighty red orb. A distillation of plant science and skin technology, the dual-phase formula imparts a dewy layer of hydration to maintain complexion integrity, from first light to last call. It’s the latest launch within the wider N° 1 de CHANEL collection, a series of sustainably minded cosmetics formulated around the naturally occurring benefits of their signature camellia (Gabrielle ‘Coco’ Chanel’s favourite bloom). The House grows its own crop in open-air laboratories in Gaujacq, France, a long-term creative collaboration with leading scientists and botanists. It’s here the plants are cultivated, studied and developed, affording CHANEL a carte…

LUCINDA PRICE (AKA FROOMES) Humour is … A way to create and celebrate shared understanding. In my 20s, I learnt that...You don’t need to overexplain a joke. People understand things more than you realise because we are all the same. The comedians you must follow online are…Meme pages. People who use their facelessness for good inspire me. I follow a page called @b3n1s who create these ethereal compilations of fail videos underscored by soaring inspirational music. It’s strangely melancholy, and I like my jokes either completely ridiculous or laced with a little sadness. The funniest person that I look up to is… Mike Myers. In Australia, it would be Anne Edmonds, Michelle Brasier or Tom Gleeson. The day I laughed the most was…When I saw a man trip over a…

PLACE Hôtel Balzac ADDRESS 6 Rue Balzac, 75008, Paris, France. CONTACT +33 1 44 35 18 00 HÔTEL BALZAC DESIGNED AND CURATED BY… Charlotte de Tonnac and Hugo Sauzay of Festen Architecture. I STAY HERE BECAUSE… I came across the hotel online once Festen Architecture had restored the building and interior. I have the hotel saved on numerous social accounts as inspiration for my next home, office or if I open a store. It is so divine. It is such a beautiful, classic yet distinctive re-design. When booking a hotel for the Rylan Resort sales, I noticed this hotel was around the corner from my showroom. How could I not? MY LAST VISIT WAS… June this year. For our Resort 26 showings and right in the middle of the heatwave!…

TEANNE VICKERS (Stylist, Get In, Losers) My most euphoric moment was … The moment I decided to move to Paris two years ago. The song that gets me moving is … Dance Yrself Clean by LCD Soundsystem. The best place in the world to lose track of time is … Along the coastlines of the Cadaqués in Spain. I would love to lose even more time there. Night in / night out? Night out! My most memorable rave look was … At the age of three, I had this purple sarong with a paisley print. It was a tube top, a dress, a skirt, a shawl. She was everything – the most versatile piece I’ve ever owned. And while I was not raving at age three, I still think about this…

There is something otherworldly about a seahorse – its curling spine, its floating stillness, its mythology half-forgotten and half-invented. Or the hushed sea turtle, unbothered by urgency, its heavy shell a relic of deep time. It’s in these curious, quiet creatures that Tiffany & Co. has found its muses once again. With the unveiling of Blue Book 2025: Sea of Wonder, Tiffany & Co. continues its aquatic odyssey, diving ever deeper into the mysteries of the ocean and surfacing with treasures that shimmer with abstraction and imagination. This latest chapter, debuted in the heart of summer at an intimate gathering in Hong Kong, is a love letter to the sea, reinterpreted through the visionary lens of Nathalie Verdeille, Chief Artistic Officer of Jewellery and High Jewellery. Rather than walking the…

A music box, a lullaby, a memorable hook. A jingle, a nursery rhyme, a beat you follow into the night. These are the sonic fragments that make up a life. Lotte Andersen believes we hold onto sounds longer than images, that they embed themselves into deeper parts of our psyche; their weight felt in our bodies. Through her multidisciplinary practice encompassing sound, video, photography, collage, performance and sculpture, Andersen unpacks this idea by considering sound and video as physical objects in space. Born and raised in London by parents who met on a dance floor, she grew up in a creative household where parties and being surrounded by people was the norm. Post-Brexit, Andersen has spent the last five years living between Lima and Mexico City, where her practice today…

The first thing Joseph Sua’ali’i does each morning is walk. Before the crowds and cameras, before the sprint drills and review sessions, he walks. “It’s a way of returning to centre,” he says softly, like he’s said it before – to himself, probably. “Just getting back to me.” There’s a stillness to Sua’ali’i – one that sits in contrast to the high-contact world he’s built his life inside. At just 22, he’s made the code leap from The National Rugby League to representing Australia in rugby union, carried the weight of expectation with grace, and stepped into new spaces without losing the quiet rituals that anchor him. In many ways, he reflects what it means to be a modern athlete: emotionally intelligent, self-aware, and supported in holistic ways generations before…

Every weekend during university in Wellington, New Zealand, I could be found at Brougham Street in Mount Vic. The six-bedroom, two-story house on the corner was old, rundown, full of mismatched furniture and an unkept backyard, and it was perfect for a party. On summer afternoons, we’d drag mattresses through bedroom windows onto the roof, drinking, smoking and laughing until sundown, when the crowd would split: some heading to the club down the road to dance, others staying to giggle and eventually sleep under the stars. Some of my closest friendships were forged under that roof: the bestie I stayed with in London last month, found when we did our makeup together in a bedroom upstairs one evening. Another, with who I share a matching tattoo, I sent old Facebook…

PATINA OSAKA PLACE Patina Osaka ADDRESS 3-91, Banba-cho, Chuo-ku, Osaka-shi, Osaka, 540-0007, Japan CONTACT +81 6 6941 8888 DESIGNED AND CURATED BY … Patina Osaka’s architecture, designed by Jun Mitsui & Associates Architects, blends contemporary design with the city’s landscape, utilising clean lines and natural light to connect the building to its surroundings. The interiors by Strickland draw on Japanese seasonal aesthetics (kisetsukan) and references to Osaka Castle, with soft tones, textured materials, and a balance of modern comfort and cultural detail. I STAY HERE BECAUSE … My friend Verdy (@verdy) did the Creative Curation with the visual art and cultural merchandise, designing the merchandise for Patina Osaka. Verdy invited me to stay at the hotel, and it was a blast. I stayed there with my brother and we partied…

My name is … Emmi Freeman. But my friends call me … Em. The first thing you should know about me is … I come from a very closeknit family which has made me into who I am today. I’m currently living in … NYC. My favourite thing about living here is … The inability to be bored. But if I could be anywhere, I’d be … At home in Oregon. My star sign is … Leo. It suits me because … Of my loyalty to my loved ones and the positive energy I try to exude every day. I am my truest self when … I am with my family. I like to start my day by … Making a huge cup of coffee. And finish it with ……

The year is 2012 and my best friend has convinced me to wag our double maths class. Witnessed by one unbothered groundsman and a nonchalant herd of grazing cattle, we sauntered out of the school gates and down the unlined bitumen road that eventually wound around to her house. Shutting ourselves in her bedroom, wielding two spoons and a tub of ice cream, we turned on the TV for an education of a different kind: the cult British drama series, Skins. It was no coincidence that the friend who could convince me to do almost anything – smoke cigarettes in the school toilets, replace the contents of Gatorade bottles with Vodka and cranberry juice, pin a reluctant side fringe across my brow – was a disciple of a show that…

I have been fascinated with Haley Alexander Van Oosten’s work for years. A California native, she’s the founder of L’Oeil du Vert, a studio in Santa Monica known for its purely botanical scent projects. She’s not a traditional perfumer or a nose – her work is mostly undefinable – but her esoteric take on fragrance distilled entirely from rare and precious plants, many of which she forages herself, has resonated with both private clients and wider creative industries. One of her earliest and most prominent projects was a 2008 custom scent for French designer A.P.C. In 2010, Van Oosten worked on a light-box diffuser scent sculpture for Eisner’s Psychonaut exhibition (it showed at the M&B Gallery in Los Angeles, as well as Art Basel in Miami). She’s also the woman…

“As someone born in the early 2000s, my experience of fun could be classified in two parts: before and after technology.” In Watching the Detectives (2007), Lucy Liu plays Violet, a textbook “manic pixie dream girl”. (The manic pixie dream girl (MPDG) is a film archetype described as, “A bubbly, shallow cinematic creature that exists in the fevered imaginations of sensitive writer-directors to teach broodingly soulful young men to embrace life and its infinite mysteries and adventures”.) In the film, Violet pretends to be intoxicated to test her date Neil (played by Cillian Murphy) to expose whether he is a true gentleman; she pranks Neil with very convincing interrogative policemen after they mess around in a video store; and in classic MPDG form, she wears exuberant, colour-clashing outfits complete with…

THE ABERCROMBIE, SYDNEY “Recently, I found myself on the dance floor at the early hour of 2am at The Abercrombie – a space my husband Dave and I have recently become creative directors of. The night had that spiraling kind of energy where strange and serendipitous events just kept unfolding. One moment you’ve hired a babysitter to ‘go to work’ (for us, that means checking in on the club at midnight), and the next, you’re running into your boss at Paradise, inviting him and his friends to the very club you’ve just been hired to creatively guide. Like many spaces, The Abercrombie holds memory – layers of energy, of what came before. And at some point in the night, I felt this need to move through it. To clear it.…

Galerie S isn’t just an archive – it feels more like a living, breathing love letter to fashion. How would you describe what you’ve built, in your own words? As we live in the era of algorithm, such a homogenised view of ‘style’ at large is being fed to us at all times. At the core of what I do is a hunger for individuality and intention. I think of the pieces held in the archive as cultural artefacts, reference points from a moment in time that carry with them a level of craftsmanship unrivalled today. Your collection spans decades but is tightly curated – what’s the golden thread that connects the pieces you choose to collect? It is easy to become swept up in frenzy around particular collections and…