Tony Assness: Creative Director for live events in Australia

assness@assness.com

SYDNEY DANCE COMPANY SEASON BROCHURE 2008. Late in 2007 I got a call from Noel Staunton,with no artistic director in place, to generate a new look for the Sydney Dance Company. The first time in 30 years that the dancers were photographed without Graham Murphy’s direction. I was asked to create a brochure that heralded three new works that had not yet been created. It meant an entire re-imaging of the company to ignite new found interest. I assembled the team, photographer Jez Smith, Master Stylist Kelvin Harries, Hair Artist Darren Borthwick and Make Up Artist Natasha Severino, best in their fi elds. My role did not stop with the creation of the images; there were sleepless nights directing contracted graphic designers Frost – but all worth it in the end

SYDNEY DANCE COMPANY SEASON BROCHURE 2008. Late in 2007 I got a call from Noel Staunton,with no artistic director in place, to generate a new look for the Sydney Dance Company. The first time in 30 years that the dancers were photographed without Graham Murphy’s direction. I was asked to create a brochure that heralded three new works that had not yet been created. It meant an entire re-imaging of the company to ignite new found interest. I assembled the team, photographer Jez Smith, Master Stylist Kelvin Harries, Hair Artist Darren Borthwick and Make Up Artist Natasha Severino, best in their fi elds. My role did not stop with the creation of the images; there were sleepless nights directing contracted graphic designers Frost – but all worth it in the end

SYDNEY DANCE COMPANY SEASON BROCHURE 2008. Late in 2007 I got a call from Noel Staunton,with no artistic director in place, to generate a new look for the Sydney Dance Company. The first time in 30 years that the dancers were photographed without Graham Murphy’s direction. I was asked to create a brochure that heralded three new works that had not yet been created. It meant an entire re-imaging of the company to ignite new found interest. I assembled the team, photographer Jez Smith, Master Stylist Kelvin Harries, Hair Artist Darren Borthwick and Make Up Artist Natasha Severino, best in their fi elds. My role did not stop with the creation of the images; there were sleepless nights directing contracted graphic designers Frost – but all worth it in the end

SYDNEY DANCE COMPANY SEASON BROCHURE 2008. Late in 2007 I got a call from Noel Staunton,with no artistic director in place, to generate a new look for the Sydney Dance Company. The first time in 30 years that the dancers were photographed without Graham Murphy’s direction. I was asked to create a brochure that heralded three new works that had not yet been created. It meant an entire re-imaging of the company to ignite new found interest. I assembled the team, photographer Jez Smith, Master Stylist Kelvin Harries, Hair Artist Darren Borthwick and Make Up Artist Natasha Severino, best in their fi elds. My role did not stop with the creation of the images; there were sleepless nights directing contracted graphic designers Frost – but all worth it in the end

SYDNEY DANCE COMPANY SEASON BROCHURE 2008. Late in 2007 I got a call from Noel Staunton,with no artistic director in place, to generate a new look for the Sydney Dance Company. The first time in 30 years that the dancers were photographed without Graham Murphy’s direction. I was asked to create a brochure that heralded three new works that had not yet been created. It meant an entire re-imaging of the company to ignite new found interest. I assembled the team, photographer Jez Smith, Master Stylist Kelvin Harries, Hair Artist Darren Borthwick and Make Up Artist Natasha Severino, best in their fi elds. My role did not stop with the creation of the images; there were sleepless nights directing contracted graphic designers Frost – but all worth it in the end

SYDNEY DANCE COMPANY SEASON BROCHURE 2008. Late in 2007 I got a call from Noel Staunton,with no artistic director in place, to generate a new look for the Sydney Dance Company. The first time in 30 years that the dancers were photographed without Graham Murphy’s direction. I was asked to create a brochure that heralded three new works that had not yet been created. It meant an entire re-imaging of the company to ignite new found interest. I assembled the team, photographer Jez Smith, Master Stylist Kelvin Harries, Hair Artist Darren Borthwick and Make Up Artist Natasha Severino, best in their fi elds. My role did not stop with the creation of the images; there were sleepless nights directing contracted graphic designers Frost – but all worth it in the end

SYDNEY DANCE COMPANY SEASON BROCHURE 2008. Late in 2007 I got a call from Noel Staunton,with no artistic director in place, to generate a new look for the Sydney Dance Company. The first time in 30 years that the dancers were photographed without Graham Murphy’s direction. I was asked to create a brochure that heralded three new works that had not yet been created. It meant an entire re-imaging of the company to ignite new found interest. I assembled the team, photographer Jez Smith, Master Stylist Kelvin Harries, Hair Artist Darren Borthwick and Make Up Artist Natasha Severino, best in their fi elds. My role did not stop with the creation of the images; there were sleepless nights directing contracted graphic designers Frost – but all worth it in the end

SYDNEY DANCE COMPANY. Creative Direction of 360 Campaign shoot and costume design (Photography Jez Smith)

SYDNEY DANCE COMPANY. Creative Direction of 360 Campaign shoot and costume design (Photography Jez Smith)

SYDNEY DANCE COMPANY. Creative Direction of 360 Campaign shoot and costume design (Photography Jez Smith)

SYDNEY DANCE COMPANY. Creative Direction of 360 Campaign shoot and costume design (Photography Jez Smith)

SYDNEY DANCE COMPANY. Creative Direction of 360 Campaign shoot and costume design (Photography Jez Smith)

SYDNEY DANCE COMPANY. Creative Direction of 360 Campaign shoot and costume design (Photography Jez Smith)

SYDNEY DANCE COMPANY – 360. These images are of the 2008 Sydney production of 360,a new work created from scratch in seven weeks Choreographed by Rafael Bonachela for which I designed the costumes, set and large scale video images.

SYDNEY DANCE COMPANY – 360. These images are of the 2008 Sydney production of 360,a new work created from scratch in seven weeks Choreographed by Rafael Bonachela for which I designed the costumes, set and large scale video images.

SYDNEY DANCE COMPANY – 360. These images are of the 2008 Sydney production of 360,a new work created from scratch in seven weeks Choreographed by Rafael Bonachela for which I designed the costumes, set and large scale video images.

SYDNEY DANCE COMPANY – 360. These images are of the 2008 Sydney production of 360,a new work created from scratch in seven weeks Choreographed by Rafael Bonachela for which I designed the costumes, set and large scale video images.

SYDNEY DANCE COMPANY – 360. These images are of the 2008 Sydney production of 360,a new work created from scratch in seven weeks Choreographed by Rafael Bonachela for which I designed the costumes, set and large scale video images.

SYDNEY DANCE COMPANY – 360. These images are of the 2008 Sydney production of 360,a new work created from scratch in seven weeks Choreographed by Rafael Bonachela for which I designed the costumes, set and large scale video images.

SYDNEY DANCE COMPANY – 360. These images are of the 2008 Sydney production of 360,a new work created from scratch in seven weeks Choreographed by Rafael Bonachela for which I designed the costumes, set and large scale video images.

SYDNEY DANCE COMPANY – 360. These images are of the 2008 Sydney production of 360,a new work created from scratch in seven weeks Choreographed by Rafael Bonachela for which I designed the costumes, set and large scale video images.

SYDNEY DANCE COMPANY – 360. These images are of the 2008 Sydney production of 360,a new work created from scratch in seven weeks Choreographed by Rafael Bonachela for which I designed the costumes, set and large scale video images.

SYDNEY DANCE COMPANY – 360. These images are of the 2008 Sydney production of 360,a new work created from scratch in seven weeks Choreographed by Rafael Bonachela for which I designed the costumes, set and large scale video images.

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SYDNEY DANCE COMPANY – 360. These images are of the 2008 Sydney production of 360,a new work created from scratch in seven weeks Choreographed by Rafael Bonachela for which I designed the costumes, set and large scale video images.

SYDNEY DANCE COMPANY – 360. These images are of the 2008 Sydney production of 360,a new work created from scratch in seven weeks Choreographed by Rafael Bonachela for which I designed the costumes, set and large scale video images.

SYDNEY DANCE COMPANY – 360. These images are of the 2008 Sydney production of 360,a new work created from scratch in seven weeks Choreographed by Rafael Bonachela for which I designed the costumes, set and large scale video images.

SYDNEY DANCE COMPANY – 360. These images are of the 2008 Sydney production of 360,a new work created from scratch in seven weeks Choreographed by Rafael Bonachela for which I designed the costumes, set and large scale video images.

OUR BRIDGE CELEBRATIONS OFFICE OF PROTOCOL & SPECIAL EVENTS NSW PREMIER’S DEPARTMENT. How does one celebrate a national treasure, an artefact, workhorse, monument and pile of granite, steal and paint? … When I started on this project no one seemed to know or at least the politics of all involved had been unable to generate an idea. The first thing for me was to defi ne what it was not and to everyone’s surprise it was not going to be a pyrotechnic display and there was not going to be 75 big candles anywhere in sight… The next thing was to absorb everything I could about the 75 year history of The Sydney Harbour Bridge and what an eye opener that is… and you can’t talk about Our Bridge without appreciating what life was like without Our Bridge and whose land Our Bridge is sitting on. Fascinating and complex stuff indeed and all on fast forward – this process needed to evolve over weeks not months. As the narrative and collection of ideas took form my role was to bring people into the process suggesting graphic designer Bruce Slorach, artistic director of Bangarra, Stephen Page, music director Anton Monsted, composer Elana Kats-Chernin and insisting on the great theatrical lighting designer Nigel Levings. At the end of a nine month period of intense collaboration with a dream executive team, the celebrations became a very moving experience for the hundreds of thousands of people that crossed the bridge on foot that day. The day started with a welcome to country and ceremony held between the Northern pylons. At the conclusion, the stage which was fixed to the back of six Linfox trucks, broke up and moved seamlessly across the bridge and disappeared.

OUR BRIDGE CELEBRATIONS OFFICE OF PROTOCOL & SPECIAL EVENTS NSW PREMIER’S DEPARTMENT. How does one celebrate a national treasure, an artefact, workhorse, monument and pile of granite, steal and paint? … When I started on this project no one seemed to know or at least the politics of all involved had been unable to generate an idea. The first thing for me was to defi ne what it was not and to everyone’s surprise it was not going to be a pyrotechnic display and there was not going to be 75 big candles anywhere in sight… The next thing was to absorb everything I could about the 75 year history of The Sydney Harbour Bridge and what an eye opener that is… and you can’t talk about Our Bridge without appreciating what life was like without Our Bridge and whose land Our Bridge is sitting on. Fascinating and complex stuff indeed and all on fast forward – this process needed to evolve over weeks not months. As the narrative and collection of ideas took form my role was to bring people into the process suggesting graphic designer Bruce Slorach, artistic director of Bangarra, Stephen Page, music director Anton Monsted, composer Elana Kats-Chernin and insisting on the great theatrical lighting designer Nigel Levings. At the end of a nine month period of intense collaboration with a dream executive team, the celebrations became a very moving experience for the hundreds of thousands of people that crossed the bridge on foot that day. The day started with a welcome to country and ceremony held between the Northern pylons. At the conclusion, the stage which was fixed to the back of six Linfox trucks, broke up and moved seamlessly across the bridge and disappeared.

OUR BRIDGE CELEBRATIONS OFFICE OF PROTOCOL & SPECIAL EVENTS NSW PREMIER’S DEPARTMENT. How does one celebrate a national treasure, an artefact, workhorse, monument and pile of granite, steal and paint? … When I started on this project no one seemed to know or at least the politics of all involved had been unable to generate an idea. The first thing for me was to defi ne what it was not and to everyone’s surprise it was not going to be a pyrotechnic display and there was not going to be 75 big candles anywhere in sight… The next thing was to absorb everything I could about the 75 year history of The Sydney Harbour Bridge and what an eye opener that is… and you can’t talk about Our Bridge without appreciating what life was like without Our Bridge and whose land Our Bridge is sitting on. Fascinating and complex stuff indeed and all on fast forward – this process needed to evolve over weeks not months. As the narrative and collection of ideas took form my role was to bring people into the process suggesting graphic designer Bruce Slorach, artistic director of Bangarra, Stephen Page, music director Anton Monsted, composer Elana Kats-Chernin and insisting on the great theatrical lighting designer Nigel Levings. At the end of a nine month period of intense collaboration with a dream executive team, the celebrations became a very moving experience for the hundreds of thousands of people that crossed the bridge on foot that day. The day started with a welcome to country and ceremony held between the Northern pylons. At the conclusion, the stage which was fixed to the back of six Linfox trucks, broke up and moved seamlessly across the bridge and disappeared.

ECHOING THE RIBBON CUTTING OF 1932. The Governor of NSW, Her Excellency Professor Marie Bashir, cuts the ribbon using the actual scissors used by Jack Lang in 1932. Triggering the Our Bridge overture a specially commissioned work composed by Elana Kats-Chernin, seven sound pods spaning the road between the pylons come to life each representing a decade, these were emotive clearly defined sound environments that combined a collage of voice and music from each period. All air and water activity around the harbour commences as does the bridge walk that lasted the entire day and well into the night, each person who walks receives a specially design cap, the day walkers cap is fluoro yellow a wink to the safely and utilitarian nature of the bridge while the night cap is fl uoro orange and has a super bright white LED light on the front of each cap.

ECHOING THE RIBBON CUTTING OF 1932. The Governor of NSW, Her Excellency Professor Marie Bashir, cuts the ribbon using the actual scissors used by Jack Lang in 1932. Triggering the Our Bridge overture a specially commissioned work composed by Elana Kats-Chernin, seven sound pods spaning the road between the pylons come to life each representing a decade, these were emotive clearly defined sound environments that combined a collage of voice and music from each period. All air and water activity around the harbour commences as does the bridge walk that lasted the entire day and well into the night, each person who walks receives a specially design cap, the day walkers cap is fluoro yellow a wink to the safely and utilitarian nature of the bridge while the night cap is fl uoro orange and has a super bright white LED light on the front of each cap.

Conceptual sketch for harbour barge, which did not proceed because of budget.

At dusk a smoking ceremony takes place. 90, 44-gallon drums containing damp eucalyptus leaves are lit. These drums are positioned along the entire length of the cycle track on one side and the pedestrian walkway on the other. During this period an evocative and moving soundtrack created by David Page is pumped through the entire sound system.

At dusk a smoking ceremony takes place. 90, 44-gallon drums containing damp eucalyptus leaves are lit. These drums are positioned along the entire length of the cycle track on one side and the pedestrian walkway on the other. During this period an evocative and moving soundtrack created by David Page is pumped through the entire sound system.

Integral to the daylong celebrations is the lighting of the bridge. In my mind the lighting serves to see the bridge like it has never been seen before. To etch an indelible memory of that day for all who witness it. The celebrations serve to reconnect to our bridges past by building precedence on what has come before, creating iconic images of that day in time. The Bridge is an extra ordinary prop to light, a massive piece of three-dimensional sculpture. We treat both sides of the bridge equally; there is no hero side on this night. In order to maximise the effects of lighting we permeated the air that surrounds the bridge with atmosphere. There are lights on the cycle track and pedestrian walkway, and at key joints punctuating the arch, on top of the pylons and washing up the pylons. Intelligent lights programmed in every conceivable colour. On both sides of the bridge and illuminated at the very end of the night is a line of etched white light that travels along the edge of each approach and across the bridge betweenthe pylons linking north and south.

INTERNATIONAL LAUNCH OF RED BULL RACING FORMULA ONE, Melbourne 05, Melbourne 07, Melbourne 08

INTERNATIONAL LAUNCH OF RED BULL RACING FORMULA ONE, Melbourne 05, Melbourne 07, Melbourne 08

INTERNATIONAL LAUNCH OF RED BULL RACING FORMULA ONE, Melbourne 05, Melbourne 07, Melbourne 08

INTERNATIONAL LAUNCH OF RED BULL RACING FORMULA ONE, Melbourne 05, Melbourne 07, Melbourne 08

INTERNATIONAL LAUNCH OF RED BULL RACING FORMULA ONE, Melbourne 05, Melbourne 07, Melbourne 08

INTERNATIONAL LAUNCH OF RED BULL RACING FORMULA ONE, Melbourne 05, Melbourne 07, Melbourne 08

INTERNATIONAL LAUNCH OF RED BULL RACING FORMULA ONE, Melbourne 05, Melbourne 07, Melbourne 08

INTERNATIONAL LAUNCH OF RED BULL RACING FORMULA ONE, Melbourne 05, Melbourne 07, Melbourne 08

INTERNATIONAL LAUNCH OF RED BULL RACING FORMULA ONE, Melbourne 05, Melbourne 07, Melbourne 08

INTERNATIONAL LAUNCH OF RED BULL RACING FORMULA ONE, Melbourne 05, Melbourne 07, Melbourne 08

INTERNATIONAL LAUNCH OF RED BULL RACING FORMULA ONE, Melbourne 05, Melbourne 07, Melbourne 08

INTERNATIONAL LAUNCH OF RED BULL RACING FORMULA ONE, Melbourne 05, Melbourne 07, Melbourne 08

INTERNATIONAL LAUNCH OF RED BULL RACING FORMULA ONE, Melbourne 05, Melbourne 07, Melbourne 08

INTERNATIONAL LAUNCH OF RED BULL RACING FORMULA ONE, Melbourne 05, Melbourne 07, Melbourne 08

INTERNATIONAL LAUNCH OF RED BULL RACING FORMULA ONE, Melbourne 05, Melbourne 07, Melbourne 08

INTERNATIONAL LAUNCH OF RED BULL RACING FORMULA ONE, Melbourne 05, Melbourne 07, Melbourne 08

THE INTERNATIONAL LAUNCH FOX STUDIOS AUSTRALIA. My task was to write a creative treatment, to produce the show I had written and designed its sets and costumes. This 70-minute stage spectacular was viewed live by five thousand members of the Australian fi lm industry, while simultaneously broadcast live on prime time nationally and across 35 FOX media outlets worldwide.

THE INTERNATIONAL LAUNCH FOX STUDIOS AUSTRALIA. My task was to write a creative treatment, to produce the show I had written and designed its sets and costumes. This 70-minute stage spectacular was viewed live by five thousand members of the Australian fi lm industry, while simultaneously broadcast live on prime time nationally and across 35 FOX media outlets worldwide.

THE INTERNATIONAL LAUNCH FOX STUDIOS AUSTRALIA. My task was to write a creative treatment, to produce the show I had written and designed its sets and costumes. This 70-minute stage spectacular was viewed live by five thousand members of the Australian fi lm industry, while simultaneously broadcast live on prime time nationally and across 35 FOX media outlets worldwide.

THE INTERNATIONAL LAUNCH FOX STUDIOS AUSTRALIA. My task was to write a creative treatment, to produce the show I had written and designed its sets and costumes. This 70-minute stage spectacular was viewed live by five thousand members of the Australian fi lm industry, while simultaneously broadcast live on prime time nationally and across 35 FOX media outlets worldwide.

MOULIN ROUGE LAUNCH 2001. The launch of Baz Luhrmann's Moulin Rouge took place on the actual sound stage the movie was created. The riddle to create an opening – media saturated – event for 3000 people with a limited budget that powerfully recreated the flavor of the film and elicited the effect of stepping into the actual film itself.

MOULIN ROUGE LAUNCH 2001. The launch of Baz Luhrmann's Moulin Rouge took place on the actual sound stage the movie was created. The riddle to create an opening – media saturated – event for 3000 people with a limited budget that powerfully recreated the flavor of the film and elicited the effect of stepping into the actual film itself.

MOULIN ROUGE LAUNCH 2001. The launch of Baz Luhrmann's Moulin Rouge took place on the actual sound stage the movie was created. The riddle to create an opening – media saturated – event for 3000 people with a limited budget that powerfully recreated the flavor of the film and elicited the effect of stepping into the actual film itself.

MOULIN ROUGE LAUNCH 2001. The launch of Baz Luhrmann's Moulin Rouge took place on the actual sound stage the movie was created. The riddle to create an opening – media saturated – event for 3000 people with a limited budget that powerfully recreated the flavor of the film and elicited the effect of stepping into the actual film itself.

F&R Fairfax & Roberts Jewellers wanted to celebrate the launch the first publication of their magazine Lumiere. As part of the event guests looped through the Art Gallery of NSW’s vast salons of 18th and 19th century art. Strategically positioned were female performers of every type, actresses, strippers, showgirls, models, contemporary dancers, ballerinas and life models. Each group set in scenarios that complemented or dramatically contrasted with the art works that surrounded them.

F&R. Fairfax & Roberts Jewellers wanted to celebrate the launch the first publication of their magazine Lumiere. As part of the event guests looped through the Art Gallery of NSW’s vast salons of 18th and 19th century art. Strategically positioned were female performers of every type, actresses, strippers, showgirls, models, contemporary dancers, ballerinas and life models. Each group set in scenarios that complemented or dramatically contrasted with the art works that surrounded them.

F&R Fairfax & Roberts Jewellers wanted to celebrate the launch the first publication of their magazine Lumiere. As part of the event guests looped through the Art Gallery of NSW’s vast salons of 18th and 19th century art. Strategically positioned were female performers of every type, actresses, strippers, showgirls, models, contemporary dancers, ballerinas and life models. Each group set in scenarios that complemented or dramatically contrasted with the art works that surrounded them.

F&R Fairfax & Roberts Jewellers wanted to celebrate the launch the first publication of their magazine Lumiere. As part of the event guests looped through the Art Gallery of NSW’s vast salons of 18th and 19th century art. Strategically positioned were female performers of every type, actresses, strippers, showgirls, models, contemporary dancers, ballerinas and life models. Each group set in scenarios that complemented or dramatically contrasted with the art works that surrounded them.

F&R Fairfax & Roberts Jewellers wanted to celebrate the launch the first publication of their magazine Lumiere. As part of the event guests looped through the Art Gallery of NSW’s vast salons of 18th and 19th century art. Strategically positioned were female performers of every type, actresses, strippers, showgirls, models, contemporary dancers, ballerinas and life models. Each group set in scenarios that complemented or dramatically contrasted with the art works that surrounded them.

F&R Fairfax & Roberts Jewellers wanted to celebrate the launch the first publication of their magazine Lumiere. As part of the event guests looped through the Art Gallery of NSW’s vast salons of 18th and 19th century art. Strategically positioned were female performers of every type, actresses, strippers, showgirls, models, contemporary dancers, ballerinas and life models. Each group set in scenarios that complemented or dramatically contrasted with the art works that surrounded them.

F&R. Fairfax & Roberts Jewellers wanted to celebrate the launch the first publication of their magazine Lumiere. As part of the event guests looped through the Art Gallery of NSW’s vast salons of 18th and 19th century art. Strategically positioned were female performers of every type, actresses, strippers, showgirls, models, contemporary dancers, ballerinas and life models. Each group set in scenarios that complemented or dramatically contrasted with the art works that surrounded them.

MICHELLE JANK SHOW 2005. Little did I know that when Michelle asked me to do her show it would be the highlight of all my fashion work, Michelle puts all the best talent together, Dottie, Brent Lawler, Seymour Butts, Jason Capobianco, Peter Phillips it was a rare and beautiful show. Photography by Richard Freeman.

MICHELLE JANK SHOW 2005. Little did I know that when Michelle asked me to do her show it would be the highlight of all my fashion work, Michelle puts all the best talent together, Dottie, Brent Lawler, Seymour Butts, Jason Capobianco, Peter Phillips it was a rare and beautiful show. Photography by Richard Freeman.

MICHELLE JANK SHOW 2005. Little did I know that when Michelle asked me to do her show it would be the highlight of all my fashion work, Michelle puts all the best talent together, Dottie, Brent Lawler, Seymour Butts, Jason Capobianco, Peter Phillips it was a rare and beautiful show. Photography by Richard Freeman.

MICHELLE JANK SHOW 2005. Little did I know that when Michelle asked me to do her show it would be the highlight of all my fashion work, Michelle puts all the best talent together, Dottie, Brent Lawler, Seymour Butts, Jason Capobianco, Peter Phillips it was a rare and beautiful show. Photography by Richard Freeman.

MICHELLE JANK SHOW 2005. Little did I know that when Michelle asked me to do her show it would be the highlight of all my fashion work, Michelle puts all the best talent together, Dottie, Brent Lawler, Seymour Butts, Jason Capobianco, Peter Phillips it was a rare and beautiful show. Photography by Richard Freeman.

MICHELLE JANK SHOW 2005. Little did I know that when Michelle asked me to do her show it would be the highlight of all my fashion work, Michelle puts all the best talent together, Dottie, Brent Lawler, Seymour Butts, Jason Capobianco, Peter Phillips it was a rare and beautiful show. Photography by Richard Freeman.

MICHELLE JANK SHOW 2005. Little did I know that when Michelle asked me to do her show it would be the highlight of all my fashion work, Michelle puts all the best talent together, Dottie, Brent Lawler, Seymour Butts, Jason Capobianco, Peter Phillips it was a rare and beautiful show. Photography by Richard Freeman.

MICHELLE JANK SHOW 2005. Little did I know that when Michelle asked me to do her show it would be the highlight of all my fashion work, Michelle puts all the best talent together, Dottie, Brent Lawler, Seymour Butts, Jason Capobianco, Peter Phillips it was a rare and beautiful show. Photography by Richard Freeman.

MICHELLE JANK SHOW 2005. Little did I know that when Michelle asked me to do her show it would be the highlight of all my fashion work, Michelle puts all the best talent together, Dottie, Brent Lawler, Seymour Butts, Jason Capobianco, Peter Phillips it was a rare and beautiful show. Photography by Richard Freeman.

MOVE FOR AIDS. An amazing event, instigated by Mark Cavanaugh and the photographer James Huston, the event brought together The Australian Ballet, Sydney Dance Company, and Bungarra Dance Theatre who performed for guests before an auction where Elton John announced a personal donation to the AIDS Trust of two hundred and fifty thousand pounds.

MOVE FOR AIDS. An amazing event, instigated by Mark Cavanaugh and the photographer James Huston, the event brought together The Australian Ballet, Sydney Dance Company, and Bungarra Dance Theatre who performed for guests before an auction where Elton John announced a personal donation to the AIDS Trust of two hundred and fifty thousand pounds.

MOVE FOR AIDS. An amazing event, instigated by Mark Cavanaugh and the photographer James Huston, the event brought together The Australian Ballet, Sydney Dance Company, and Bungarra Dance Theatre who performed for guests before an auction where Elton John announced a personal donation to the AIDS Trust of two hundred and fifty thousand pounds.

MOVE FOR AIDS. An amazing event, instigated by Mark Cavanaugh and the photographer James Huston, the event brought together The Australian Ballet, Sydney Dance Company, and Bungarra Dance Theatre who performed for guests before an auction where Elton John announced a personal donation to the AIDS Trust of two hundred and fifty thousand pounds.

NRL. Over the years, starting with the launch of Super League in 1997, I have created many events for The National Rugby League from large scale dinners to nine Grand Finals. Grand Final – Early Years, Grand Final 06,Grand Final 07, Grand Final 08, Season Launch 08, Centenary of Rugby League Dinner, Super League

NRL. Over the years, starting with the launch of Super League in 1997, I have created many events for The National Rugby League from large scale dinners to nine Grand Finals. Grand Final – Early Years, Grand Final 06,Grand Final 07, Grand Final 08, Season Launch 08, Centenary of Rugby League Dinner, Super League

NRL. Over the years, starting with the launch of Super League in 1997, I have created many events for The National Rugby League from large scale dinners to nine Grand Finals. Grand Final – Early Years, Grand Final 06,Grand Final 07, Grand Final 08, Season Launch 08, Centenary of Rugby League Dinner, Super League

NRL. Over the years, starting with the launch of Super League in 1997, I have created many events for The National Rugby League from large scale dinners to nine Grand Finals. Grand Final – Early Years, Grand Final 06,Grand Final 07, Grand Final 08, Season Launch 08, Centenary of Rugby League Dinner, Super League

NRL. Over the years, starting with the launch of Super League in 1997, I have created many events for The National Rugby League from large scale dinners to nine Grand Finals. Grand Final – Early Years, Grand Final 06,Grand Final 07, Grand Final 08, Season Launch 08, Centenary of Rugby League Dinner, Super League

NRL. Over the years, starting with the launch of Super League in 1997, I have created many events for The National Rugby League from large scale dinners to nine Grand Finals. Grand Final – Early Years, Grand Final 06,Grand Final 07, Grand Final 08, Season Launch 08, Centenary of Rugby League Dinner, Super League

NRL. Over the years, starting with the launch of Super League in 1997, I have created many events for The National Rugby League from large scale dinners to nine Grand Finals. Grand Final – Early Years, Grand Final 06,Grand Final 07, Grand Final 08, Season Launch 08, Centenary of Rugby League Dinner, Super League

NRL. Over the years, starting with the launch of Super League in 1997, I have created many events for The National Rugby League from large scale dinners to nine Grand Finals. Grand Final – Early Years, Grand Final 06,Grand Final 07, Grand Final 08, Season Launch 08, Centenary of Rugby League Dinner, Super League

NRL. Over the years, starting with the launch of Super League in 1997, I have created many events for The National Rugby League from large scale dinners to nine Grand Finals. Grand Final – Early Years, Grand Final 06,Grand Final 07, Grand Final 08, Season Launch 08, Centenary of Rugby League Dinner, Super League

NRL. Over the years, starting with the launch of Super League in 1997, I have created many events for The National Rugby League from large scale dinners to nine Grand Finals. Grand Final – Early Years, Grand Final 06,Grand Final 07, Grand Final 08, Season Launch 08, Centenary of Rugby League Dinner, Super League

NRL. Over the years, starting with the launch of Super League in 1997, I have created many events for The National Rugby League from large scale dinners to nine Grand Finals. Grand Final – Early Years, Grand Final 06,Grand Final 07, Grand Final 08, Season Launch 08, Centenary of Rugby League Dinner, Super League

NRL. Over the years, starting with the launch of Super League in 1997, I have created many events for The National Rugby League from large scale dinners to nine Grand Finals. Grand Final – Early Years, Grand Final 06,Grand Final 07, Grand Final 08, Season Launch 08, Centenary of Rugby League Dinner, Super League

NRL. Over the years, starting with the launch of Super League in 1997, I have created many events for The National Rugby League from large scale dinners to nine Grand Finals. Grand Final – Early Years, Grand Final 06,Grand Final 07, Grand Final 08, Season Launch 08, Centenary of Rugby League Dinner, Super League

NRL. Over the years, starting with the launch of Super League in 1997, I have created many events for The National Rugby League from large scale dinners to nine Grand Finals. Grand Final – Early Years, Grand Final 06,Grand Final 07, Grand Final 08, Season Launch 08, Centenary of Rugby League Dinner, Super League

NRL. Over the years, starting with the launch of Super League in 1997, I have created many events for The National Rugby League from large scale dinners to nine Grand Finals. Grand Final – Early Years, Grand Final 06,Grand Final 07, Grand Final 08, Season Launch 08, Centenary of Rugby League Dinner, Super League

NRL. Over the years, starting with the launch of Super League in 1997, I have created many events for The National Rugby League from large scale dinners to nine Grand Finals. Grand Final – Early Years, Grand Final 06,Grand Final 07, Grand Final 08, Season Launch 08, Centenary of Rugby League Dinner, Super League

NRL. Over the years, starting with the launch of Super League in 1997, I have created many events for The National Rugby League from large scale dinners to nine Grand Finals. Grand Final – Early Years, Grand Final 06,Grand Final 07, Grand Final 08, Season Launch 08, Centenary of Rugby League Dinner, Super League

NRL. Over the years, starting with the launch of Super League in 1997, I have created many events for The National Rugby League from large scale dinners to nine Grand Finals. Grand Final – Early Years, Grand Final 06,Grand Final 07, Grand Final 08, Season Launch 08, Centenary of Rugby League Dinner, Super League

NRL. Over the years, starting with the launch of Super League in 1997, I have created many events for The National Rugby League from large scale dinners to nine Grand Finals. Grand Final – Early Years, Grand Final 06,Grand Final 07, Grand Final 08, Season Launch 08, Centenary of Rugby League Dinner, Super League

NRL. Over the years, starting with the launch of Super League in 1997, I have created many events for The National Rugby League from large scale dinners to nine Grand Finals. Grand Final – Early Years, Grand Final 06,Grand Final 07, Grand Final 08, Season Launch 08, Centenary of Rugby League Dinner, Super League

NRL. Over the years, starting with the launch of Super League in 1997, I have created many events for The National Rugby League from large scale dinners to nine Grand Finals. Grand Final – Early Years, Grand Final 06,Grand Final 07, Grand Final 08, Season Launch 08, Centenary of Rugby League Dinner, Super League

NRL. Over the years, starting with the launch of Super League in 1997, I have created many events for The National Rugby League from large scale dinners to nine Grand Finals. Grand Final – Early Years, Grand Final 06,Grand Final 07, Grand Final 08, Season Launch 08, Centenary of Rugby League Dinner, Super League

PASPALEY. To create an evening event in store to launch the new flag ship location at no. 2 Martin Place, Sydney. In order to create a powerful fashion moment the jewellery needs to be on the human body, creating something to photograph, something to inspire a photographer and something to add theatrically to the live event. 8 great girls and 10 photographers who follow the girls through the party creating commotion and mayhem, styling the girls like actresses from classic films, taking inspiration from Fellini’s la Dolce Vita, referencing the Anita Ekberg and Anouk Aimee characters, a black version of the Marilyn Monroe dress from Gentlemen Prefer Blondes and the Grace Kelly wardrobe in Hitchcock’s To Catch a Thief.

PASPALEY. To create an evening event in store to launch the new flag ship location at no. 2 Martin Place, Sydney. In order to create a powerful fashion moment the jewellery needs to be on the human body, creating something to photograph, something to inspire a photographer and something to add theatrically to the live event. 8 great girls and 10 photographers who follow the girls through the party creating commotion and mayhem, styling the girls like actresses from classic films, taking inspiration from Fellini’s la Dolce Vita, referencing the Anita Ekberg and Anouk Aimee characters, a black version of the Marilyn Monroe dress from Gentlemen Prefer Blondes and the Grace Kelly wardrobe in Hitchcock’s To Catch a Thief.

PASPALEY. To create an evening event in store to launch the new flag ship location at no. 2 Martin Place, Sydney. In order to create a powerful fashion moment the jewellery needs to be on the human body, creating something to photograph, something to inspire a photographer and something to add theatrically to the live event. 8 great girls and 10 photographers who follow the girls through the party creating commotion and mayhem, styling the girls like actresses from classic films, taking inspiration from Fellini’s la Dolce Vita, referencing the Anita Ekberg and Anouk Aimee characters, a black version of the Marilyn Monroe dress from Gentlemen Prefer Blondes and the Grace Kelly wardrobe in Hitchcock’s To Catch a Thief.

PASPALEY. To create an evening event in store to launch the new flag ship location at no. 2 Martin Place, Sydney. In order to create a powerful fashion moment the jewellery needs to be on the human body, creating something to photograph, something to inspire a photographer and something to add theatrically to the live event. 8 great girls and 10 photographers who follow the girls through the party creating commotion and mayhem, styling the girls like actresses from classic films, taking inspiration from Fellini’s la Dolce Vita, referencing the Anita Ekberg and Anouk Aimee characters, a black version of the Marilyn Monroe dress from Gentlemen Prefer Blondes and the Grace Kelly wardrobe in Hitchcock’s To Catch a Thief.

PASPALEY. To create an evening event in store to launch the new flag ship location at no. 2 Martin Place, Sydney. In order to create a powerful fashion moment the jewellery needs to be on the human body, creating something to photograph, something to inspire a photographer and something to add theatrically to the live event. 8 great girls and 10 photographers who follow the girls through the party creating commotion and mayhem, styling the girls like actresses from classic films, taking inspiration from Fellini’s la Dolce Vita, referencing the Anita Ekberg and Anouk Aimee characters, a black version of the Marilyn Monroe dress from Gentlemen Prefer Blondes and the Grace Kelly wardrobe in Hitchcock’s To Catch a Thief.

PASPALEY. To create an evening event in store to launch the new flag ship location at no. 2 Martin Place, Sydney. In order to create a powerful fashion moment the jewellery needs to be on the human body, creating something to photograph, something to inspire a photographer and something to add theatrically to the live event. 8 great girls and 10 photographers who follow the girls through the party creating commotion and mayhem, styling the girls like actresses from classic films, taking inspiration from Fellini’s la Dolce Vita, referencing the Anita Ekberg and Anouk Aimee characters, a black version of the Marilyn Monroe dress from Gentlemen Prefer Blondes and the Grace Kelly wardrobe in Hitchcock’s To Catch a Thief.

PASPALEY. To create an evening event in store to launch the new flag ship location at no. 2 Martin Place, Sydney. In order to create a powerful fashion moment the jewellery needs to be on the human body, creating something to photograph, something to inspire a photographer and something to add theatrically to the live event. 8 great girls and 10 photographers who follow the girls through the party creating commotion and mayhem, styling the girls like actresses from classic films, taking inspiration from Fellini’s la Dolce Vita, referencing the Anita Ekberg and Anouk Aimee characters, a black version of the Marilyn Monroe dress from Gentlemen Prefer Blondes and the Grace Kelly wardrobe in Hitchcock’s To Catch a Thief.

PASPALEY. To create an evening event in store to launch the new flag ship location at no. 2 Martin Place, Sydney. In order to create a powerful fashion moment the jewellery needs to be on the human body, creating something to photograph, something to inspire a photographer and something to add theatrically to the live event. 8 great girls and 10 photographers who follow the girls through the party creating commotion and mayhem, styling the girls like actresses from classic films, taking inspiration from Fellini’s la Dolce Vita, referencing the Anita Ekberg and Anouk Aimee characters, a black version of the Marilyn Monroe dress from Gentlemen Prefer Blondes and the Grace Kelly wardrobe in Hitchcock’s To Catch a Thief.

PASPALEY. To create an evening event in store to launch the new flag ship location at no. 2 Martin Place, Sydney. In order to create a powerful fashion moment the jewellery needs to be on the human body, creating something to photograph, something to inspire a photographer and something to add theatrically to the live event. 8 great girls and 10 photographers who follow the girls through the party creating commotion and mayhem, styling the girls like actresses from classic films, taking inspiration from Fellini’s la Dolce Vita, referencing the Anita Ekberg and Anouk Aimee characters, a black version of the Marilyn Monroe dress from Gentlemen Prefer Blondes and the Grace Kelly wardrobe in Hitchcock’s To Catch a Thief.

PASPALEY. To create an evening event in store to launch the new flag ship location at no. 2 Martin Place, Sydney. In order to create a powerful fashion moment the jewellery needs to be on the human body, creating something to photograph, something to inspire a photographer and something to add theatrically to the live event. 8 great girls and 10 photographers who follow the girls through the party creating commotion and mayhem, styling the girls like actresses from classic films, taking inspiration from Fellini’s la Dolce Vita, referencing the Anita Ekberg and Anouk Aimee characters, a black version of the Marilyn Monroe dress from Gentlemen Prefer Blondes and the Grace Kelly wardrobe in Hitchcock’s To Catch a Thief.

PASPALEY – THE INVITATION. The invite was very important to the client, printed on very beautiful stock, large format, the inside revealed a commissioned image by Bill Henson that could be removed from the invitation and displayed separately.

FABERGÉ. 2007 sees the legendary Jeweller Fabergé open its fi rst stand-alone store outside of Russia. Located in Martin Place, Sydney. The brief is to create a launch event over two nights where guests feel they are breathing the same air as the Tsars of Russia.

FABERGÉ. 2007 sees the legendary Jeweller Fabergé open its fi rst stand-alone store outside of Russia. Located in Martin Place, Sydney. The brief is to create a launch event over two nights where guests feel they are breathing the same air as the Tsars of Russia.

FABERGÉ. 2007 sees the legendary Jeweller Fabergé open its fi rst stand-alone store outside of Russia. Located in Martin Place, Sydney. The brief is to create a launch event over two nights where guests feel they are breathing the same air as the Tsars of Russia.

FABERGÉ. 2007 sees the legendary Jeweller Fabergé open its fi rst stand-alone store outside of Russia. Located in Martin Place, Sydney. The brief is to create a launch event over two nights where guests feel they are breathing the same air as the Tsars of Russia.

FABERGÉ. 2007 sees the legendary Jeweller Fabergé open its fi rst stand-alone store outside of Russia. Located in Martin Place, Sydney. The brief is to create a launch event over two nights where guests feel they are breathing the same air as the Tsars of Russia.

FABERGÉ. 2007 sees the legendary Jeweller Fabergé open its fi rst stand-alone store outside of Russia. Located in Martin Place, Sydney. The brief is to create a launch event over two nights where guests feel they are breathing the same air as the Tsars of Russia.

FABERGÉ. 2007 sees the legendary Jeweller Fabergé open its fi rst stand-alone store outside of Russia. Located in Martin Place, Sydney. The brief is to create a launch event over two nights where guests feel they are breathing the same air as the Tsars of Russia.

FABERGÉ. 2007 sees the legendary Jeweller Fabergé open its fi rst stand-alone store outside of Russia. Located in Martin Place, Sydney. The brief is to create a launch event over two nights where guests feel they are breathing the same air as the Tsars of Russia.

FABERGÉ. 2007 sees the legendary Jeweller Fabergé open its fi rst stand-alone store outside of Russia. Located in Martin Place, Sydney. The brief is to create a launch event over two nights where guests feel they are breathing the same air as the Tsars of Russia.

FOXTEL. Two of the many events for the pay TV company since 1996. Launch of FOXTEL Digital Foxtel Programming Launch.

FOXTEL. Two of the many events for the pay TV company since 1996. Launch of FOXTEL Digital Foxtel Programming Launch.

FOXTEL. Two of the many events for the pay TV company since 1996. Launch of FOXTEL Digital Foxtel Programming Launch.

FOXTEL. Two of the many events for the pay TV company since 1996. Launch of FOXTEL Digital Foxtel Programming Launch.

FOXTEL. Two of the many events for the pay TV company since 1996. Launch of FOXTEL Digital Foxtel Programming Launch.

FOXTEL. Two of the many events for the pay TV company since 1996. Launch of FOXTEL Digital Foxtel Programming Launch.

FOXTEL. Two of the many events for the pay TV company since 1996. Launch of FOXTEL Digital Foxtel Programming Launch.

FOXTEL. Two of the many events for the pay TV company since 1996. Launch of FOXTEL Digital Foxtel Programming Launch.

FOXTEL. Two of the many events for the pay TV company since 1996. Launch of FOXTEL Digital Foxtel Programming Launch.

FOXTEL. Two of the many events for the pay TV company since 1996. Launch of FOXTEL Digital Foxtel Programming Launch.

FOXTEL. Two of the many events for the pay TV company since 1996. Launch of FOXTEL Digital Foxtel Programming Launch.

THE MYER SHOWS. S/S 04 – Martin Place, Sydney. A/W 04 – The Sydney Theatre, Sydney. S/S 05 – Martin Place, Sydney. A/W 05 – Central City Film Studios, Melbourne. S/S 06 – Royal Hall of Industries, Sydney

THE MYER SHOWS. S/S 04 – Martin Place, Sydney. A/W 04 – The Sydney Theatre, Sydney. S/S 05 – Martin Place, Sydney. A/W 05 – Central City Film Studios, Melbourne. S/S 06 – Royal Hall of Industries, Sydney

THE MYER SHOWS. S/S 04 – Martin Place, Sydney. A/W 04 – The Sydney Theatre, Sydney. S/S 05 – Martin Place, Sydney. A/W 05 – Central City Film Studios, Melbourne. S/S 06 – Royal Hall of Industries, Sydney

THE MYER SHOWS. S/S 04 – Martin Place, Sydney. A/W 04 – The Sydney Theatre, Sydney. S/S 05 – Martin Place, Sydney. A/W 05 – Central City Film Studios, Melbourne. S/S 06 – Royal Hall of Industries, Sydney

THE MYER SHOWS. S/S 04 – Martin Place, Sydney. A/W 04 – The Sydney Theatre, Sydney. S/S 05 – Martin Place, Sydney. A/W 05 – Central City Film Studios, Melbourne. S/S 06 – Royal Hall of Industries, Sydney

THE MYER SHOWS. S/S 04 – Martin Place, Sydney. A/W 04 – The Sydney Theatre, Sydney. S/S 05 – Martin Place, Sydney. A/W 05 – Central City Film Studios, Melbourne. S/S 06 – Royal Hall of Industries, Sydney

THE MYER SHOWS. S/S 04 – Martin Place, Sydney. A/W 04 – The Sydney Theatre, Sydney. S/S 05 – Martin Place, Sydney. A/W 05 – Central City Film Studios, Melbourne. S/S 06 – Royal Hall of Industries, Sydney

THE MYER SHOWS. S/S 04 – Martin Place, Sydney. A/W 04 – The Sydney Theatre, Sydney. S/S 05 – Martin Place, Sydney. A/W 05 – Central City Film Studios, Melbourne. S/S 06 – Royal Hall of Industries, Sydney

THE MYER SHOWS. S/S 04 – Martin Place, Sydney. A/W 04 – The Sydney Theatre, Sydney. S/S 05 – Martin Place, Sydney. A/W 05 – Central City Film Studios, Melbourne. S/S 06 – Royal Hall of Industries, Sydney

THE MYER SHOWS. S/S 04 – Martin Place, Sydney. A/W 04 – The Sydney Theatre, Sydney. S/S 05 – Martin Place, Sydney. A/W 05 – Central City Film Studios, Melbourne. S/S 06 – Royal Hall of Industries, Sydney

THE MYER SHOWS. S/S 04 – Martin Place, Sydney. A/W 04 – The Sydney Theatre, Sydney. S/S 05 – Martin Place, Sydney. A/W 05 – Central City Film Studios, Melbourne. S/S 06 – Royal Hall of Industries, Sydney

THE MYER SHOWS. S/S 04 – Martin Place, Sydney. A/W 04 – The Sydney Theatre, Sydney. S/S 05 – Martin Place, Sydney. A/W 05 – Central City Film Studios, Melbourne. S/S 06 – Royal Hall of Industries, Sydney

THE MYER SHOWS. S/S 04 – Martin Place, Sydney. A/W 04 – The Sydney Theatre, Sydney. S/S 05 – Martin Place, Sydney. A/W 05 – Central City Film Studios, Melbourne. S/S 06 – Royal Hall of Industries, Sydney

THE MYER SHOWS. S/S 04 – Martin Place, Sydney. A/W 04 – The Sydney Theatre, Sydney. S/S 05 – Martin Place, Sydney. A/W 05 – Central City Film Studios, Melbourne. S/S 06 – Royal Hall of Industries, Sydney

THE MYER SHOWS. S/S 04 – Martin Place, Sydney. A/W 04 – The Sydney Theatre, Sydney. S/S 05 – Martin Place, Sydney. A/W 05 – Central City Film Studios, Melbourne. S/S 06 – Royal Hall of Industries, Sydney

THE MYER SHOWS. S/S 04 – Martin Place, Sydney. A/W 04 – The Sydney Theatre, Sydney. S/S 05 – Martin Place, Sydney. A/W 05 – Central City Film Studios, Melbourne. S/S 06 – Royal Hall of Industries, Sydney

THE MYER SHOWS. S/S 04 – Martin Place, Sydney. A/W 04 – The Sydney Theatre, Sydney. S/S 05 – Martin Place, Sydney. A/W 05 – Central City Film Studios, Melbourne. S/S 06 – Royal Hall of Industries, Sydney

THE MYER SHOWS. S/S 04 – Martin Place, Sydney. A/W 04 – The Sydney Theatre, Sydney. S/S 05 – Martin Place, Sydney. A/W 05 – Central City Film Studios, Melbourne. S/S 06 – Royal Hall of Industries, Sydney

THE MYER SHOWS. S/S 04 – Martin Place, Sydney. A/W 04 – The Sydney Theatre, Sydney. S/S 05 – Martin Place, Sydney. A/W 05 – Central City Film Studios, Melbourne. S/S 06 – Royal Hall of Industries, Sydney

THE MYER SHOWS. S/S 04 – Martin Place, Sydney. A/W 04 – The Sydney Theatre, Sydney. S/S 05 – Martin Place, Sydney. A/W 05 – Central City Film Studios, Melbourne. S/S 06 – Royal Hall of Industries, Sydney

THE MYER SHOWS. S/S 04 – Martin Place, Sydney. A/W 04 – The Sydney Theatre, Sydney. S/S 05 – Martin Place, Sydney. A/W 05 – Central City Film Studios, Melbourne. S/S 06 – Royal Hall of Industries, Sydney

THE MYER SHOWS. S/S 04 – Martin Place, Sydney. A/W 04 – The Sydney Theatre, Sydney. S/S 05 – Martin Place, Sydney. A/W 05 – Central City Film Studios, Melbourne. S/S 06 – Royal Hall of Industries, Sydney

THE MYER SHOWS. S/S 04 – Martin Place, Sydney. A/W 04 – The Sydney Theatre, Sydney. S/S 05 – Martin Place, Sydney. A/W 05 – Central City Film Studios, Melbourne. S/S 06 – Royal Hall of Industries, Sydney

THE MYER SHOWS. S/S 04 – Martin Place, Sydney. A/W 04 – The Sydney Theatre, Sydney. S/S 05 – Martin Place, Sydney. A/W 05 – Central City Film Studios, Melbourne. S/S 06 – Royal Hall of Industries, Sydney

STADIUM BOX INTERIORS. Rugby World Cup Interior. Olympic Interior

STADIUM BOX INTERIORS. Rugby World Cup Interior. Olympic Interior

STADIUM BOX INTERIORS. Rugby World Cup Interior. Olympic Interior

TERRY BIVIANO FIRST SHOW 2002. Terry is a shoe designer. This show was pivotal and set off a chain reaction that resulted in a long series of fashion shows that ended with the last S/S show for the department store MYER in 2006.

TERRY BIVIANO FIRST SHOW 2002. Terry is a shoe designer. This show was pivotal and set off a chain reaction that resulted in a long series of fashion shows that ended with the last S/S show for the department store MYER in 2006.

TERRY BIVIANO FIRST SHOW 2002. Terry is a shoe designer. This show was pivotal and set off a chain reaction that resulted in a long series of fashion shows that ended with the last S/S show for the department store MYER in 2006.

TERRY BIVIANO FIRST SHOW 2002. Terry is a shoe designer. This show was pivotal and set off a chain reaction that resulted in a long series of fashion shows that ended with the last S/S show for the department store MYER in 2006.

TERRY BIVIANO FIRST SHOW 2002. Terry is a shoe designer. This show was pivotal and set off a chain reaction that resulted in a long series of fashion shows that ended with the last S/S show for the department store MYER in 2006.

TERRY BIVIANO FIRST SHOW 2002. Terry is a shoe designer. This show was pivotal and set off a chain reaction that resulted in a long series of fashion shows that ended with the last S/S show for the department store MYER in 2006.

TERRY BIVIANO FIRST SHOW 2002. Terry is a shoe designer. This show was pivotal and set off a chain reaction that resulted in a long series of fashion shows that ended with the last S/S show for the department store MYER in 2006.

TERRY BIVIANO FIRST SHOW 2002. Terry is a shoe designer. This show was pivotal and set off a chain reaction that resulted in a long series of fashion shows that ended with the last S/S show for the department store MYER in 2006.

VEUVE CLICQUOT. Working with such a venerable champagne house and then translating it into various Australian locations was pure joy and a chance to play with people’s minds.

VEUVE CLICQUOT. Working with such a venerable champagne house and then translating it into various Australian locations was pure joy and a chance to play with people’s minds.

VEUVE CLICQUOT. Working with such a venerable champagne house and then translating it into various Australian locations was pure joy and a chance to play with people’s minds.

VEUVE CLICQUOT. Working with such a venerable champagne house and then translating it into various Australian locations was pure joy and a chance to play with people’s minds.

VEUVE CLICQUOT. Working with such a venerable champagne house and then translating it into various Australian locations was pure joy and a chance to play with people’s minds.

VEUVE CLICQUOT. Working with such a venerable champagne house and then translating it into various Australian locations was pure joy and a chance to play with people’s minds.

VEUVE CLICQUOT. Working with such a venerable champagne house and then translating it into various Australian locations was pure joy and a chance to play with people’s minds.

VEUVE CLICQUOT. Working with such a venerable champagne house and then translating it into various Australian locations was pure joy and a chance to play with people’s minds.

VEUVE CLICQUOT. Working with such a venerable champagne house and then translating it into various Australian locations was pure joy and a chance to play with people’s minds.

VEUVE CLICQUOT. Working with such a venerable champagne house and then translating it into various Australian locations was pure joy and a chance to play with people’s minds.

WESTFIELD WHARF 3. In 2002 I directed a series of 7 fashion shows that happen back to back over 4 days, it was a special time, support from a powerful sponsor, a great production team and a chance to make anything happen.

WESTFIELD WHARF 3. In 2002 I directed a series of 7 fashion shows that happen back to back over 4 days, it was a special time, support from a powerful sponsor, a great production team and a chance to make anything happen.

WESTFIELD WHARF 3. In 2002 I directed a series of 7 fashion shows that happen back to back over 4 days, it was a special time, support from a powerful sponsor, a great production team and a chance to make anything happen.

WESTFIELD WHARF 3. In 2002 I directed a series of 7 fashion shows that happen back to back over 4 days, it was a special time, support from a powerful sponsor, a great production team and a chance to make anything happen.

WESTFIELD WHARF 3. In 2002 I directed a series of 7 fashion shows that happen back to back over 4 days, it was a special time, support from a powerful sponsor, a great production team and a chance to make anything happen.

WESTFIELD WHARF 3. In 2002 I directed a series of 7 fashion shows that happen back to back over 4 days, it was a special time, support from a powerful sponsor, a great production team and a chance to make anything happen.

WESTFIELD WHARF 3. In 2002 I directed a series of 7 fashion shows that happen back to back over 4 days, it was a special time, support from a powerful sponsor, a great production team and a chance to make anything happen.

WESTFIELD WHARF 3. In 2002 I directed a series of 7 fashion shows that happen back to back over 4 days, it was a special time, support from a powerful sponsor, a great production team and a chance to make anything happen.

WESTFIELD WHARF 3. In 2002 I directed a series of 7 fashion shows that happen back to back over 4 days, it was a special time, support from a powerful sponsor, a great production team and a chance to make anything happen.

WESTFIELD WHARF 3. In 2002 I directed a series of 7 fashion shows that happen back to back over 4 days, it was a special time, support from a powerful sponsor, a great production team and a chance to make anything happen.

WESTFIELD WHARF 3. In 2002 I directed a series of 7 fashion shows that happen back to back over 4 days, it was a special time, support from a powerful sponsor, a great production team and a chance to make anything happen.

WESTFIELD WHARF 3. In 2002 I directed a series of 7 fashion shows that happen back to back over 4 days, it was a special time, support from a powerful sponsor, a great production team and a chance to make anything happen.

WESTFIELD WHARF 3. In 2002 I directed a series of 7 fashion shows that happen back to back over 4 days, it was a special time, support from a powerful sponsor, a great production team and a chance to make anything happen.

WESTFIELD WHARF 3. In 2002 I directed a series of 7 fashion shows that happen back to back over 4 days, it was a special time, support from a powerful sponsor, a great production team and a chance to make anything happen.

WESTFIELD WHARF 3. In 2002 I directed a series of 7 fashion shows that happen back to back over 4 days, it was a special time, support from a powerful sponsor, a great production team and a chance to make anything happen.

WESTFIELD. Following The Westfield Wharf 3 shows – I was invited to work for the fist year of Westfield Bondi Junction staging the opening of the fashion precinct and their fi rst Christmas.

WESTFIELD. Following The Westfield Wharf 3 shows – I was invited to work for the fist year of Westfield Bondi Junction staging the opening of the fashion precinct and their fi rst Christmas.

WESTFIELD. Following The Westfield Wharf 3 shows – I was invited to work for the fist year of Westfield Bondi Junction staging the opening of the fashion precinct and their fi rst Christmas.

WESTFIELD. Following The Westfield Wharf 3 shows – I was invited to work for the fist year of Westfield Bondi Junction staging the opening of the fashion precinct and their fi rst Christmas.

WESTFIELD. Following The Westfield Wharf 3 shows – I was invited to work for the fist year of Westfield Bondi Junction staging the opening of the fashion precinct and their fi rst Christmas.

WESTFIELD. Following The Westfield Wharf 3 shows – I was invited to work for the fist year of Westfield Bondi Junction staging the opening of the fashion precinct and their fi rst Christmas.

WESTFIELD. Following The Westfield Wharf 3 shows – I was invited to work for the fist year of Westfield Bondi Junction staging the opening of the fashion precinct and their fi rst Christmas.

WESTFIELD. Following The Westfield Wharf 3 shows – I was invited to work for the fist year of Westfield Bondi Junction staging the opening of the fashion precinct and their fi rst Christmas.

WESTFIELD. Following The Westfield Wharf 3 shows – I was invited to work for the fist year of Westfield Bondi Junction staging the opening of the fashion precinct and their fi rst Christmas.

WESTFIELD. Following The Westfield Wharf 3 shows – I was invited to work for the fist year of Westfield Bondi Junction staging the opening of the fashion precinct and their fi rst Christmas.

WESTFIELD. Following The Westfield Wharf 3 shows – I was invited to work for the fist year of Westfield Bondi Junction staging the opening of the fashion precinct and their fi rst Christmas.

WESTFIELD. Following The Westfield Wharf 3 shows – I was invited to work for the fist year of Westfield Bondi Junction staging the opening of the fashion precinct and their fi rst Christmas.

EVENTS. These images are a sampler of the wide variety of events that I have been the creative director on.

EVENTS. These images are a sampler of the wide variety of events that I have been the creative director on.

EVENTS. These images are a sampler of the wide variety of events that I have been the creative director on.

EVENTS. These images are a sampler of the wide variety of events that I have been the creative director on.

EVENTS. These images are a sampler of the wide variety of events that I have been the creative director on.

EVENTS. These images are a sampler of the wide variety of events that I have been the creative director on.

EVENTS. These images are a sampler of the wide variety of events that I have been the creative director on.

EVENTS. These images are a sampler of the wide variety of events that I have been the creative director on.

EVENTS. These images are a sampler of the wide variety of events that I have been the creative director on.

EVENTS. These images are a sampler of the wide variety of events that I have been the creative director on.

EVENTS. These images are a sampler of the wide variety of events that I have been the creative director on.

EVENTS. These images are a sampler of the wide variety of events that I have been the creative director on.

EVENTS. These images are a sampler of the wide variety of events that I have been the creative director on.