![]() Top row: Chantal Anderson portraits of Greta Lee and John Cale. ![]() And Harley Weir is doing amazing work for Another magazine.” The person who I often bring up on Instagram is Sinna Nasseri. Celebrity photography is so f**king hard and she seems to find these really authentic moments with people. So it’s a thrill to watch people continue to work on an idea after the photo’s taken - where and how a photo is placed and contextualized makes a huge difference.”Ĭoncorde: You’re always sharing amazing work on your Instagram - what contemporary photographers should we keep an eye on?Įmily Keegin: “ Chantal Anderson is great. In editorial photography the same is true, but we tend to forget that. But in art school we were taught that the art doesn’t stop once the photo is taken: The second part is how you present it and frame it, all of those choices matter. With most magazines, the structure and templates remain the same and you have to work within them. The format and designs they choose reinforce whatever they’re doing editorially. “And Buffalo is really great - they change their whole structure every issue. It’s a portrait slammed next to still life, slammed next to close-up textures.”Įmily showing me some issues of MacGuffin and Buffalo from her stash They smush genres all together, it’s never just portraiture. They’re thinking about photography as a tool, which I find really exciting. They’re using photography as an equal partner in storytelling - I hate to use that word- but they use and abuse a photograph to help move a story forward. “But MacGuffin magazine is doing amazing things. In part that’s because it’s hard to break the frame online: Things come in preset squares and grids, they’re all in the same composition that’s friendly to online scrolling, vertical scrolling. We’re in a moment of being very conscious of the frame, and respecting the photo frame. What magazines are doing especially interesting things right now with print and digital photo editing?Įmily Keegin: “There aren’t a lot of risks happening in editing at the moment in magazines - the things I really love aren’t happening in layout design. Yet consumers have not been any more inclined to "go out and spend", Hardwick says, making the latest tax cuts markedly less effective than Kevin Rudd's 2009 stimulus package.Concorde: Photographers usually get all the glory, but you highlight the power of photo editing brilliantly on your IG - pointing out the ways photos interact with each other in a layout, drawing horizon and gaze lines over images to show what’s happening compositionally, like a football coach mapping out plays. Retailers had been hopeful the Morrison government's income tax cuts, coupled with the Reserve Bank's three interest rate cuts, would see those tough times come to an end. Yet much like with other low-cost retailers, the difficult environment isn't necessarily seen as a terrible thing by the Cotton On chiefs, with Hardwick saying the company "probably over-trades" during tougher times. "The Australian market is competitive and it's been getting more competitive for a number of years as other international retailers have joined in," Johnson says. ![]() With about 150 stores coming up for lease renewal each year, Hardwick and Johnson aren't interested in any dead weight across their network amid Australia's unforgiving retail environment and will keep only those that perform. One of Cotton On's megastores in Cape Town.Īt home, the two are pragmatic. But with its American footprint growing rapidly both on and offline, up north is where the company sees much of its future growth. Over 80 per cent of Cotton On's stores sit below the equator, with its leadership duo acknowledging the company is "very much a southern hemisphere business". They have the added bonus of reducing the retailer's exposure to the whims of shopping centre landlords and allowing it to get the better lease terms that larger footprint stores can achieve. Mega stores, such as those the group runs in Westfield's Sydney city mall and in Melbourne's Chadstone centre, now generate about 40 per cent of Cotton On's revenue. We want customers to be able to shop all those brands under one roof and do so in an environment that provides a higher level of customer experience than you would get in smaller footprint stores," Hardwick says. "Mega stores have certainly become our most preferred style of retailing. With such a diverse portfolio of brands, Hardwick and Johnson say they've been moving away from a standalone flagship store model for each brand towards embracing more department-store-like 'mega' stores which showcase Cotton On's entire range.
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