Nov 17

RAW: Myths And Mysteries About The Zoo Bail Out – Part 1 – Background

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All Built and Ready for the 100% Increase in Panda Bound Patrons That Never Came

[In this Special Two Part Investigation, Kryztoff examines the mess at the Zoo and the myths and mysteries surrounding this week’s bail out.]

Financial ‘Pandamonium’ At The Zoo Solved?

In Zoo world, it has not just been the nocturnal animals who have been wide awake at night these past few months – most members of the Zoo’s Board will no doubt have been roaming about sleepless in the wee hours as well.

After the bollocking the Zoo’s board (Royal Zoological Society of South Australia Inc) got on ABC Radio a couple of weeks back at the hands of Professor Paul Barnes from Macquarie University who is an expert in Corporate Governance, guess what? The full Zoo accounts for 2010 made an appearance on the Zoo’s website and they make for interesting reading in the light of the Zoo bailout package announced this week.

Some Background

Anyone who lived in Adelaide in late 2009 or even just visited here for an hour in those times will never forget the mantra about the pandas – $700m in economic benefits for this state over 10 years.

Back then the government and the Zoo were arm in arm out justifying the $8m cost of the panda enclosure and the $20m new entrance development, the latter of which was to be wholly funded by the SA taxpayer.

But now, less than two years on and it has all gone very, well, panda shaped.

So, how did the Zoo get into the financial mess it is now in?

An analysis of the very basic financial data provided in the Zoo’s two previous annual reports and the full 2010 accounts reveals some startling information.

Over the three financial years (2008 to 2010), the Zoo spent $48.4 million on property, plant and equipment. The projects involved include the panda enclosure (stated as costing $8m), the new entrance ($20m) and the new chimpanzee enclosure at Monarto ($2m) which together total $30m.

The Zoo also bought the Warrawong business but this cost only around $400,000.

For this, the Zoo had about $22m in grants beyond their usual $3.2m annual contribution from the SA Government.

So, where has the other $18m gone?

The Zoo Annual Reports identify a few suspects being:

  • The platform between the painted dogs and the lions at Monarto
  • The Serengeti project – also at Monarto
  • The enviro dome at the Zoo

But these hardly can be expected to add up to $18m. Were there cost blow outs? Well no, because the 2010 accounts carry this statement ‘The upgrade program was completed on time and to budget.’

So if it wasn’t cost blow outs why did the Zoo board proceed with whatever these other works were at a time when $30m in new spending was already being undertaken that would likely leave additional debt of $8m on top of the $1.9m that existed before the ‘transformation’ of the zoo for the pandas started?

There is just not enough information in the Zoo Annual Reports to answer those questions with some more than odd entries to the accounts making analysis just that more taxing but the full 2010 accounts do help us know the following:

Pandas Inside - White Elephants Outside

Auditors

  • Unlike previous years, the 2010 accounts were not audited by KPMG, even though the 2009 AGM appointed them as auditors.
  • A close inspection of the accounts makes it clear that in order for the 2010 accounts to be signed off by its directors with the customary ‘going concern’ statement (that is, that the Zoo could pay its debts as and when they all fall due in the ordinary course of business.) there needed to be a rollover of the Westpac banking facility of $24m. That did not occur until into December last year, well after the usual signing off period for the Zoo’s accounts which is September.
  • Kryztoff suspects that the reason KPMG declined to sign off their audit and the accounts was that it was uncertain about the Zoo’s capacity as an on-going entity. The accounts note that the Westpac interest rate covenant of 1.5x (earnings before interest relative to interest expense) was not met in either March or June 2010.
  • They go on to say ‘projected forecasts prepared by management of RZSSA from July 2010 to December 2011 indicate that it can service the debt levels shown in the Balance Sheet … together with the on-going operating cash flow requirements of the Zoos.’ But as events have become public, the Zoo has been unable for some months to make even interest payments to Westpac and required the Government to provide emergency funding to prop it up from as far back as May.

Panda Projections

  • In its 2008 Annual Report, the Zoo President, Heather Caddick alluded to an expectation of attendances at the zoo doubling with the arrival of the pandas.
  • In last year’s Annual Report, both she and Zoo CEO, Professor Chris West were almost breathless when talking about the impact the black and white duo was having on their attendance figures.

‘Visitation has reached about 70% higher than normal’, they wrote.

‘Put simply, Wand Wang and Funi are bigger than Lance Armstrong.

‘For the first three to four weeks we were running at about 450% above prior records and at least matching numbers with the Masterpieces from Paris exhibition in Canberra.’

  • The 2010 accounts state ‘this investment [pandas and upgrade of front entrance] was predicated on a business plan prepared by RZSSA that indicated the organisation could support this level of debt through increased admission income and other revenue opportunities.’
  • But 70% in the first seven months is not the 100% that it seems the Zoo convinced itself, Westpac and the Government were imminent and to be sustained for 10 years upon the moment the first panda poo could be sold in the gift shop.
  • But by the time the projections (alluded to above in the quote from the accounts) were put together the pandas had already arrived (the previous November), the Zoo attendance  figures were not matching expectations and by July 2010 they had already been unable to meet their most basic loan covenant for the six months previous.

So, what fabulous projections were put forward that kept the show going back then?

Pre Panda Problems

  • One of the problems with the famous $700m in economic benefits and the 100% increase in attendances is knowing on what these numbers were based. As per usual with Government sponsored investments, the details of the headlines are never revealed to the public.
  • But we do know that well before the pandas turned up, warning bells ought to have ringing very loudly in the Zoo board room.
  • And it seems when that plan was constructed figures may have been based on the stellar year of 2007 when zoo attendances topped 400,000 for the first time but by the time the pandas arrived attendances were down about 8% to levels not seen since 2003.
  • But things were worse than that financially by that time as well.
  • In 2007, the Zoo made a profit of $1.3m (including the SA Government’s usual input of $3.2m) and recorded cash flow from operations of about $2m (after also including the Grant.) But by the end of the 2009 financial year, the Zoo was losing $1.65m and had cash outflow from operations of $2.6m – a massive loss of $4.6m on two years before.
  • Already the Zoo was having to start borrowing to stay afloat with loans going from $25,000 in 2007 to over $5m two years later.
  • As for the other actual impacts of the pandas in the 2010 year, well, losses were around $2m, the biggest they had ever been, revenue per paying patron was up around 35% from $13 to $17 (which itself is quaint given the average price per person of a family pass is around $20) and cash flow from operations had improved to around $3.2m.
  • But as a recent Sunday Mail survey of zoos revealed, attending the Adelaide Zoo is now one of the world’s most expensive zoological experiences especially given its relatively small size. So the expectation that an additional 350,000 – 400,000 people would suddenly make their way down Frome Rd seems at best heroic, especially given the cost of doing so.

One suspects and only the 2011 RZSSA Annual Report will actually reveal that attendance gains never met hopes nor have the gains been sustained after the initial hoopla. In fact the likely scenario is that they have returned to not much more than they were before the pandas turned up.

Being Transparent

  • As for the problems already obvious when the 2010 report was written, the joint President and CEO’s Report was surprisingly silent. ‘The front entry precinct with its beauty and green credentials is one of six projects worldwide short listed for a World Architectural Festival award. This is like being featured at the Cannes Film Festival. Major thanks too are due to the State Government for their far-sighted investment in this new iconic entrance.’
  • But may be in this next quote the first light was allowed to shine on the problems actually already in full bloom.

‘For a medium sized organisation the ‘stretch’ has been phenomenal, including financially. Many observers assume we are floating on a sea of panda generated dollars and while income has increased, so of course have our costs. We will be managing our repayment schedule for a while yet as our business plan unfolds and so it is fortunate that our bankers, Westpac, are also one of our closest and warmest corporate partners.’

  • On the expense side, never a truer word spoken as salaries paid by the Zoo over the three years to June 2010 increased by a massive 50% while all around every metric in existence would or should have been indicating that severe belt tightening was due.

Nov 17

RAW: Album Review – Earnest by The Stillsons

By Calen Vanstone

Hailing from Melbourne, Victoria, The Stillsons are back with their second album Earnest, after their well-received debut Circus. It is a forty-plus minute journey through varying genres and subject matter, with Justin Bernasconi and Cat Canteri at the helm, as well as Ben Franz (The Waifs) adding a unique touch.

This is not a CD bursting with originality, nothing on this record hasn’t already been done before in the realms of country, pop or roots music in the past twenty-to-thirty years. Despite this, the band’s energy and enthusiasm for their music is definitely noticeable, and appreciated, as what could have been potential bores are given a sense of fun or gravitas depending on the track.

Earnest is unquestionably an easy-listen. It is not a CD you would purchase to challenge yourself. The lyrics are mainly to blame for this. Tracks “John The Dogg”, “Nobody Knows You Tonight” and “Death Country” let the album down due to their shared lack of decent lyrics. Only some of the slower tracks, in particular “Nancy Jean”, and the closer “In Violence”, provide any lines worth pondering. The remainder of the songs are stuck in the middle; their lyrics do not inspire, but are not poor enough to bring down the song completely.

Despite all of this, the tracks “Deserve”, “Stillson”, “Rock For You” and “Show Don’t Wanna Know” save this album for me, simply because they are well crafted and instantly gratifying.

However, after the third and forth listens, I found that I began to forgive most of the lyrical issues and embraced the energy and enjoyment that seem to radiate from the band on the energetic tracks, and the raw emotion and delicacy on the more paced ones. I pictured smiles on their faces and feet tapping along, which in turn did the same for me. This is where I feel the strength of this album lies, not in its originality or storytelling, but in its joy for simply being heard.

Earnest is essentially high quality background music that could move to the foreground with some more engaging lyrics. I’d still recommend this though to anyone who prefers their music to simply enhance their mood whilst their focus is elsewhere.

Highlight: “Deserve”

Nov 16

RAW: David Strassman – Careful What you Wish For – Dunstan Playhouse

David Strassman, the world renown ventriloquist is back in Adelaide with a brand new show. Careful What you Wish For must be Strassman’s 5th show he brings to our shores since the early 1990’s when he leapt from comedy clubs to the theatre stage right here in Adelaide.

Of course accompanied by Chuck Wood, more vulgar than ever to the audiences enjoyment, and of course the crowd favourite Ted E. Bear, innocent as ever, who was joined by many of his cousins in the audience. Back as well are Kevin and Sid joined by a few new and old characters.

The audience is entertained from start to finish with Careful What you Wish For which takes a journey down parallel realities where we meet some of the characters alternate selves and Strassman in dire trouble trying to find a way back home, all thanks to a wish app.

It is refreshing to see a talented artist who really connects with his audience, and noticeably has as much fun as the audience. Easily overseen are the odd slip ups on opening night with Strassman himself noticing most of them and for good measure a few improvised lines thrown in at appropriate moments.

A must see show for those who want real entertainment with plenty of great laughs. The audience was electrified at the end with Strassman’s talent being on everyone’s lips.

Extra shows have been added with the season now running until 27 November.

Careful What you Wish For is MA rated and not suitable for children under 12.

Kryztoff Rating   5K

Nov 16

RAW: The Elephant Song – Bakehouse Theatre – Til 25th Nov – 4K

A doctor from a psychiatric institution goes missing for no known reason and so there is no great surprise that the last patient to be with him, Michael Aleen (Tim Lucas), is one person the hospital warden, Dr Greenberg (Roger Newcombe) would wish to chat with.

But surprises kick in from there as Michael, barefooted, somewhat unhinged and aged in his mid twenties engages in an intellectual contest with the world weary Greenberg with only a secretarial assistant, Miss Petersen (Lyn Pike) available to break up the verbal sparring. A tell all but at a cost.

This first Nic Billon play which premiered in 2004 only lasts an hour but the usefully confined spaces of the Bakehouse’s studio stage get you very involved from the outset. Indeed rarely has this stage been and felt as adequate as director, Peter Green, has made it for the Elephant Song.

There is shouting, laughing, a penetrating singing of an aria and the enduring battle for the first achievement of the respective desires of Greenberg and Aleen without caving into the other. It’s tense, funny, engaging and moving – just as you would wish it.

Lucas is tremendous, playing his part on various levels with an allure and anger that is most convincing. Newcombe suffices though lifting the battle to more of an engaging cut and thrust than the somewhat stone walled persona adopted may have made more of the role. Lyn Pike revels in her return to stage duties after some years away working as an actor’s agent.

Given the CVs of all the performers and the size of the studio theatre, Adelaide is somewhat blessed that this cast and show is on offer. At an hour, it is by no means a commitment for a whole night but certainly it will get you talking once you walk back out onto Angas Street.

Support it and enjoy it – The Elephant Song is a bit of a gem.

Nov 16

RAW: Film – Burning Man – 4K

With so many Australian film makers getting their starts and making ends meet through producing 30 second commercials, it is probably not surprising that need to deliver a lot of message in a short space of time is going to spill over into our films.

Jonathan Teplitzky’s Burning Man not only does that with a rapid editing style but it also adds the fractured or non linear narrative approach that gave this reviewer, at least, that same sense he had when watching last year’s hype, Inception.

Set in Bondi, Burning Man is the tale of Tom (Matthew Goode), a British chef who responds to the loss of his wife, Sarah (Bojana Novakovic) to cancer with a recklessness that threatens everything else he still retains, including the relationship with his son, Oscar (Jack Heanly).

The film is also stylized with fulsome references to life’s essentials – sex, food, water, fire – including some opening scenes (one a car crash, the other with a prostitute) that will linger in your memory for some time. Those into titillation will not be disappointed.

In his interview with Kryztoff (Kryztoff Interview with Burning Man director and writer Jonathan Teplitzky) Teplitzky explains that the editing and fractured narrative style was a texture chosen to highlight the turmoil in which Tom has found his life. On that score, it works terrifically well. The risk rests with the potential trade off of degrading the audience’s ability to establish and maintain the desired levels of sympathy and emotion with the players. On that count, its results are somewhat more ambiguous.

But to be sure, this is bold Australian film making. The drama is laced with good humour and some beautiful imagery. Goode is good (though his constantly clean shaven appearance deprecated from his role of a man who operated non-stop through the night). Novakovic gives a very affecting performance while Essie Davis (Karen) and Rachel Griffiths (Miriam) do well to hold Tom and the film together. Heanly showed his performance in Animal Kingdom was no fluke.

The cinematography by Garry Phillips and music by Lisa Gerrard are also highlights.

Another strong and enjoyable film in an increasingly long line of excellent Australian films of the past few years. Go see it, but beware, be ready and a micro nap could kill the story for you in seconds.

Nov 15

RAW: This State’s Finances – The Real Rann Legacy = State Bank 2.0 – Part 3

RANNSACKED – THE FINANCIAL LEGACY OF MIKE RANN AND KEVIN FOLEY

[In this is the third and final part of the Special Kryztoff Investigation into the condition of this State’s Finances in the wake of the Rann / Foley Years, we look at the real financial legacy of former Premier Mike Rann.]

For Part 1 – see www.kryztoff.com/RAW/?p=4218

For Part 2 – see Part 2 – Debt Balloons

The Real Rann Legacy

As Premier Mike Rann looks to lock in favourable measures of his legacy, the reality is that his government has created a financial mess to rival that which followed the State Bank debacle nearly 20 years ago. Indeed, the money that has been lost since the GFC (three years) is between 50% and 100% more than the losses of the State Bank that brought us all to our knees 20 years ago. Accordingly, this debacle may well be referred to as State Bank 2.0.

However, the big difference now is that the government has many fewer assets to dispose of to get debts down.

Hence, we are seeing plans to rid the State of everything that remains – lotteries, timber forests and public land through dodgy sales to developers – and more slugs on everything to get its revenue base up, from car parking fees at hospitals, means testing kids’ income for Housing Trust rents to big hikes (again) in property taxes.

The State Budget has ballooned in size and, in the absence of any fiscal restraint or rethink in the wake of the GFC, debt and unfunded liabilities have now doubled since Rann came to power and have increased by $8 billion in the past few years.

But where has the money gone?

Expenditures that increase debt can usually be justified on new infrastructure that will increase the state’s productivity, income and employment. But where is that new infrastructure – bridges, ports, highways and the like? About all one can think of amongst the ubiquitous claims of ‘world class’ of the past nine years are an expressway, an underpass, a tram extension and new film studios.

It should also not be forgotten that none of the costs of the new Royal Adelaide Hospital, Adelaide Oval and the desalination plant are included in the blow outs of budget size and debt of the past few years.

Bottom Line

If you wish to sustain a AAA rating, one needs to either reduce debt in the good years or keep raising new revenues so the rating agency ratios can be sustained.

If you never plan for rainy days, you will keep spending just about everything that ever comes in and talk down critics of the increased debt by saying you are doing the things necessary for future growth – leaving the debt as something that will somehow take care of itself in due course.

If no one ever does the basic research, you can get away with massive losses incurred during the GFC without ever having to answer any difficult questions about how much was lost across all of the government and what impact it will have on the state’s future.

If you wish to feign an image of prudence and responsibility, one can always project rose-coloured figures into the future and hope the reality of the past escapes scrutiny.

If you wish to bluff your electorate, S&P and the media, you keep up a blitz of feel good announcements and trumpet the merits of your Treasurer.

If you do all these things, you are called the Rann Labor Government 2002-2011.

Indeed, as Kevin Foley recently said, and as he and Rann slide off into the unknown, “F**k, we were good”.

Can we expect new Treasurer Snelling to have the smarts to fix this mess? Recently he stated, “$4.2 billion is not a lot of money. It is like the average person having a $26,000 debt.’”Well, if his credit card analogy and his views of $4.2 billion don’t worry you, then his $26,000 figure should. He got his maths wrong by a factor of 10!

Do we think the Liberals will nail the government on this? Well, Opposition Finance spokesman, Iain Evans on ABC radio during the week of 27th September stated the state debt at $8 billion. It would not appear he has bothered to spend much time reading the Budget papers at all.

Nov 10

RAW: Stillsons – New Album And Adel Shows – 19th / 20th Nov

‘Hyperactive genre-jumping that shows an impressive ability to translate plentiful ideas into compelling music…

Euphoric and sublime.’ Four Stars –Andrew Watt – The Age

‘A classic set of tunes filled with zing, flair, boldness and precision that would be the envy of many songwriting partnerships…

Earnest is one of those records that you simply can’t find fault with’

Nick Argyriou – RHYTHMS Magazine, Sept 2011 (National)

‘Album of the Week’ –ABC Gold Coast, ABC Radio Bendigo, Coast FM 963 (NSW)

‘The band has a powerful persona and is destined for great things’

Nick Charles – RHYTHMS Magazine Sep 2011

The Stillsons announce SA tour for Earnest

Throughout October and November ,The Stillsons will be finishing off their ‘Earnest’ national album tour, with two shows in Adelaide’s iconic music venues. They have been thrilling audiences across Australia with their live shows, many of them extending up to three hours of original material.

‘Earnest’ has already been well received by respected music publications and radio stations, Andrew Watt of Melbourne’s broadsheet The Age gave the album Four Stars, describing the album as ‘a strangely addictive collection of memorable songs performed with flair and a sly, knowing smile.’

Nick Argyriou of RHYTHMS magazine made the comment, “Earnest manages to meld a dusty sonic chemistry with bold and imperishably robust rhythms during one of the most amiable releases you’ll hear in 2011. And this is not hyperbole – trust me.”

Justin Bernasconi (guitar) and Cat Canteri (drums) are the core of the band’s song-writing, and they met in 2006. Ben Franz (The Waifs) joined the group in January 2010, adding his deft touch on pedal steel guitar, vocals and production. The rare male-female dynamic echoes the likes of Fleetwood Mac, Welch & Rawlins.

The title song Earnest was inspired by tragic statistics, which state that more Australians die from suicide than car accidents or skin cancer, and males in regional areas account for a high percentage of these self-inflicted deaths.

The Stillsons’ second album Earnest was released through FUSE Group on Friday 9th September, and is available in all Title record stores or online at iTunes or www.thestillsons.com

TOUR DATES

Saturday 19th Nov – Wheatsheaf Hotel, Adelaide, SA
Sunday 20th Nov – Grace Emily, Adelaide, SA

Nov 09

RAW: Big Day Out 2nd Line-Up For Adelaide Announced

As always, the BIG DAY OUT is ever evolving. We continue to support local musicians, DJ’s and artists in every city, making each BIG DAY OUT a unique experience.

It’s not just about bands. Hitting the custom built 40 foot Big Day Out touring skate ramp will be some of the hottest skaters on the planet right now. Plus, thanks to our partners Motorola, we also have one of the largest inflatable waterslides in the known universe – the Motoslide! Both will be featured in all cities so bring your togs, bikinis and kneepads, as you are in for a wet and bumpy ride. There is always more to explore at the Big Day Out.

The Big Day Out prides itself on presenting the best, most outstanding artists in the world, and our second round of acts is no exception.

There are plenty of debut artists joining the BDO circus, from the never compromising Noel Gallagher, to the thunderous Nero performing live in Australia for the first time. From Brazil’s Cavalera Conspiracy, to the UK’s newest rock darlings, The Vaccines, there are plenty of new pieces to complete the BDO puzzle.

So let’s roll out the second round of artists to complete the picture:

NOEL GALLAGHER’S HIGH FLYING BIRDS
NERO (LIVE) THE VACCINES BASSNECTAR
CAVALERA CONSPIRACY
REGURGITATOR
DRAPHT
KIMBRA
BLUEJU!CE
TONITE ONLY
ABBE MAY
SHOCKONE
HONEY PIES (triple j Unearthed Winner)

For our 20th year we have chosen to rebuild the Adelaide Showgrounds event from the ground up, with a goal of recapturing the magic of early Big Day Out shows. We are excited the bands are into the idea and we know you will be too.

One main stage, no D barricade, Skating & Skate stage in the main arena, Green stage, Boiler Room, Giant Water Slide, Show ‘N’ Shine and much, much more! Plus it’s now a little cheaper than the East Coast Shows, with booking fees included.

However, the need to reduce from two to one main stage in Adelaide also means several acts from the first announcement will not be able to perform in Adelaide.

Unfortunately The Living End, Mariachi El Bronx and Kanye West will not be appearing at the Adelaide Big Day Out and we thank them for their help, support and understanding.

This means for Adelaide it will be:


NOEL GALLAGHER’S HIGH FLYING BIRDS, NERO (LIVE), THE VACCINES, BASSNECTAR, CAVALERA CONSPIRACY, REGURGITATOR, DRAPHT, KIMBRA, BLUEJU!CE, ABBE MAY, TONITE ONLY, SHOCKONE plus TRIPLE J UNEARTHED WINNER, HONEY PIES.
Who will now be joining:


SOUNDGARDEN, KASABIAN, MY CHEMICAL ROMANCE, HILLTOP HOODS, BATTLES, ODD FUTURE, GIRL TALK, PARKWAY DRIVE, RÖYKSOPP, FOSTER THE PEOPLE, THE JEZABELS, ARCHITECTURE IN HELSINKI, THE GETAWAY PLAN, CAGE THE ELEPHANT, FRENZAL RHOMB, BOY & BEAR and BEST COAST.
Plus the TONY HAWK BDO VERT JAM lineup has now been confirmed and we are stoked to announce that joining Tony Hawk will be vertical visionaries: Kevin Staab, Sandro Diaz, Jesse Fritsch and Neal Hendrix.

Also shredding up the Big Day Out ramp are the newly formed international dream team The Kings of Vert featuring Elliot Sloan, Alex Perelson, Renton Millar, Juergen Horwarth and Sam Beckett.Hold on, there’s more! Here come the LEGENDS OF VERT featuring Trevor Ward, Mick Mullhall, RJ Barbaro, Nathan “Jimmy” Beck and Adam Luxford who skated at the very first 1992 Big Day Out.

Of course the full picture is not complete without playing times, which are looking great and will be in your hot little hands soon. We are making them available ASAP and you can log into www.bigdayout.com to build your own timetable and share with your friends via Facebook.

Current ticket holders in Adelaide, you now have a few options:

  1. You are automatically entitled to $20 credit from the show merchandise
  2. Tickets already purchased can either be exchanged for Gold Coast / Sydney or Melbourne shows
  3. Refund will be available from your original outlet up until November 30th 2011

Finally, friend of the Big Day Out, and Master of the aftershow DJ SAMPOLOGY presents an exclusive mashup of artists from the Big Day Out 2012 Series!! Check it out here: http://soundcloud.com/bdo-mash/big-day-out-2nd-announce

Respectfully yours,

Ken West
BDO creator

For BDO tickets and outlets Click Here

Nov 09

RAW: Fashion Festival – Paolo Sebastian – Festival Hall

By Meagan Burbidge

Ethereal, captivating, and graceful are just some of the words to describe Paolo Sebastian’s Autumn/Winter 2012 Couture collection, one of the features of Adelaide Fashion Festival 2011. The large crowd’s buzz of anticipation at last month’s event was greeted with a parade of gowns that absolutely gave justice to the hype surrounding the young designer, Paul Vasileff, whose reputation as Adelaide’s budding couture artist is fast spreading. Considering the designer has hardly hit his 20’s, Vasileff’s aesthetic is remarkably elegant, the quality of his designs and their execution exceeding what might be expected of someone his age.

Inspired by the works of Russian composer Tchaikovsky, Vasileff had the crowd mesmerised from the very beginning of a slow procession of enchanting creations. Opening the show amongst smoky effects and creeping ivy, the first gown set the scene for what was to come – long flowing lines, fitted, detailed bodices, and highlights of sparkle. Underplaying it all was a muted colour palette varying from nude, blush and champagne, up to sleek, shadowy grey hues. The use of intricate detailing paired with sheaths of silk lent glamour without being over the top, ensuring modest classiness without compromising in beauty. Classic, long length’s made of delicate, almost transparent fabrics were topped with structured and creatively detailed bodices – those a fan of strapless will be in heaven. Or, if décolletage is more your thing, plunging necklines are still demure with ankle grazing maxi-dresses. Likewise, short, full skirts emanating the drama of classical music which permeated the entire collection were balanced with high necklines and often full length sleeves – ideal for your inner ballerina.

For those searching for something different to the traditional, and perhaps a piece more suited for chilly evenings, Vasileff also sent out a taupe almost-trench coat in light fabric, as well as the odd pair of tailored pants which managed to hold their own in degrees of sexiness paired with sky scraping heels. Whilst I doubt these exquisite pieces will be in everyone’s price range, those willing to splash out for the races or who simply like to rival the bride at weddings will adore the cocktail dresses – I dare you to try and not look chic in lace sleeves.

Sitting next to the father of one of the models got me thinking – perhaps a good indication of whether a dress is showing too much is whether you can comfortably strut about in front of dad. I’m happy to say there didn’t seem to be anything close to abashment on this man’s face, only a smile of pride – and isn’t that what all women want for their special day? Be it a wedding, school formal, or any sort of party really, Paolo Sebastian pieces truly are something special, this seasons collection demonstrating the designers natural talent for crafting exquisite designs to make the wearer feel nothing short of extraordinary.

Nov 08

RAW: Fashion Festival – TAFE Parade

By Meagan Burbidge

In my opinion, there’s a few different ways you can view a fashion show. A retail buyer might think of selling potential – the collections ability to be marketed, an editor might looking for something to make a statement – that special piece to lift their next cover, the journalist looks for the something newsworthy – an emerging trend or quirky twist, whilst the majority may just be in it for the curiosity, the excitement of seeing something new and creative, and let’s be honest, the free gift bag. I’ve heard rumours that couture shows in Europe present guests with outrageously expensive gifts – Tiffany’s keychain anyone? –  and whilst the TAFESA Graduates Parade didn’t quite meet the bench on this front, the show certainly delivered in standards of creative talent.

This year’s graduate’s all varied greatly in their concepts and execution, demonstrating a plethora of different styles sure to satisfy anybodies viewing expectations or desires. I won’t lie, there were a few collections I won’t name which weren’t exactly garnered to my personal taste, as well as a surprising (and slightly alarming?) amount of satin on show, but there were definitely some standouts which will surely guarantee successful futures for their designers.

Photo Provided By Alyce Roberts, Image By Phebe Rendulic

First mention should rightfully go to the winner of this year’s prize, Georgia Guy whose collection featured assertive tailoring yet emanated sexiness in the way of luxe and textured fabrics in a jewel-toned colour palette.  Continuing with the femininity but in a somewhat more house-wifey way, Nicole Davis’s reflected 50’s glamour. Those familiar with the award winning television series mad-men will definitely appreciate the perfect balance between sexiness and modesty she displayed. Keeping with the vintage-inspired, Jasmine had me wanting to hop to the beach despite it hardly hitting ten degrees outside. Reminiscent of summer break, this collection is ideal to take you from sandcastles to mojitos.

For those after modernity, Kate Aikins range is almost celestial, using deep sparse prints on plenty of black to create a spunky and sexy collection of pieces perfect for the nightlife. Alyce Robert’s collection of pieces featured contrasting geometric patterns in rich colours, creating a look which reminded me of interior decor – in a good way. Like work wear meets tribal, the range chose simple silhouettes to pair with eclectic patterns, making it both wearable and eye-catching.

Speaking of eye-catching, Libby Spring’s collection, ‘Entoloma’, certainly fit the bill, with extraordinary creations inspired by nature. Whilst the words bulbous or fungi do little to inspire gorgeous imagery, it somewhat describes the pieces which were more portable art than something you’d pop to the shop in. Intriguing to look at, the collection is difficult to describe – the clothes sort of looked like they were growing mushrooms… but in a beautiful and truly unique way I promise!

The new graduates are doing the SA fashion scene proud, Melbourne watch out.

If you think you could give them a run for their money, jump on to the TAFESA website and get yourself enrolled in a course.

TAFE Website Link