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24-01-2012
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Christine Centenera - Senior Fashion Editor, Vogue Australia


Girl Guide
Photographer: Victor Demarchelier
Stylist: Jillian Davison and Christine Centenera
Makeup: Mickael Noiselet
Hair: Teddy Charles
Model: Jessica Stam
Magazine: Harper's Bazaar Australia March 2012





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22-07-2012
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Quote:
Seven minutes with Christine Centenera

You've got to hand it to Christine Centenera. The former fashion editor of Harpers Bazaar Australia, newly-appointed senior fashion editor of Vogue Australia and fashion director of the soon-to-be-unveiled "diffusion brand" Miss Vogue, consultant to Kanye West and Ksubi Ė not to mention life partner of hotshot Australian designer Josh Goot Ė is one of the most globally-visible Australian fashion figures. If not the most visible, with her killer personal style religiously documented by the world's fashion media every time she steps out at an international fashion event. And much to her eternal chagrin it seems. Another thing that singles the Łber stylish, part-Filipino out is her humility. In a world of attention whores, Centenera seems genuinely embarrassed by the attention, barely putting herself out there in social media Ė with just a recent Instagram account to her name.

Centenera is one of at least four Harpers Bazaar Australia names to move across to Vogue after the axing of longtime Vogue editor Kirstie Clements in May - with former Harpers Bazaar Australia editor Edwina McCann just-installed in the Vogue editor's chair. Georgie McCourt-Abay is reportedly due to join Vogue next week as deputy editor and Jill Davison is heading over in August as fashion director. We hear Harpers' market editor Rebecca Carati may also be en route.

Centenera was on deck on Monday night to see Dion Lee crowned the Australian regional winner of the International Woolmark Prize. We had a quick chat, in which she revealed a little more of the MO of the vogue.com.au refurb which is due to be unveiled on September 1st with the addition of Miss Vogue, a "Spy Style" blogger network and the revamped Club Vogue.

It's all part of a purported digital revolution that's about to be unleashed at vogue.com.au which McCann - who has apparently yet to even join Twitter - is promising will deliver "Australia's number one fashion news source".

So you jumped ship. Was it an easy process?
I guess jumping from one magazine to another is never an easy process. But I'd been at Bazaar for 10 years so actually before I moved to Vogue I was ready to move on. So it was kind of the right time for me, anyhow, to have a change and make a change. It just so happened that it was to Vogue.

Was it a bit of a dream to work for a Vogue?
Yeah, I mean when you work at a fashion magazine, I guess the ultimate title within that market, if you're talking womens' lifestyle and fashion magazines, is Vogue. But in Australia, had it been so much of a goal? I don't know, for me it's about the people that you work with and if you'd asked me a year ago if I would go and work for Vogue, not necessarily, because of the people that were there. I was at a magazine where I really had a connection with my editor and my fashion director and how it was run.

And now you have all moved over to Vogue.
The fact that that's how it's now being run at Vogue is a bit of a dream come true in the sense in that it's run by people that you respect and admire and can learn from and can be mentored by and [who can] instill this way of working that I guess regulates everything that you're used to.

Have you caught yourself answering the phone saying "Hello, Harpers Bazaar"?
No, but on my first day, I had to call everyone in to say 'I'm going to New York in a few days and I'm shooting' and I definitely had to catch myself a few times when I almost said 'Bazaar'.

Is there much of a difference though between what you are doing now at Vogue and what you did at Harpers?
Well, there was this whole thing that we just can't go over there and do what we do, we need to make our mark, as far as the direction of Ed and Jill and what they want to do.

But how is what you are doing now different to what you did before? You are still doing the same job.
Essentially it is exactly the same job. Being the fashion editor of Vogue and Harpers is essentially the same thing Ė you shoot covers, you shoot main fashion. There's always going to be that international element to what we do. But I think the common goal for my fashion team is to bring a local element into what we do. We're trying to produce magazines that aren't just shooting looks from international runways, but trying to bring back that Australian relevance to it. Also, the thing is, we don't have magazine contracts, we work for the Vogue brand. I work for Vogue and it's 50percent online and 50percent for the magazine.

How do you mean you don't have magazine contracts?
Our contracts are for the brand Vogue, not for the magazine. So we produce content for vogue com.au and we produce content for the magazine, on equal footing. So, what we're going to do with this new website, with vogue.com.au and Miss Vogue, which will launch in September, is of equal importance to what we do for the magazine. And slightly different.

How is this online strategy different to Harpers'?
Online was not of importance [there], nearly as much. We did produce content for online, but it was kind of off the back of what we did for the magazine. Whereas this is very much, you work for the brand Vogue and obviously that complements the magazine Vogue, of course, but it's equally as important as vogue.com.au and Miss Vogue too.

Kirstie Clements believed she was working for the brand Vogue, but she discovered in May that in fact she was working for News Ltd. What other projects are you working on?
I am still working with Kanye. I consult to Ksubi.

Critics were little kinder to Kanye's second collection in March. The first one was savaged.
I think everyone expected the worst.

The fashion industry loves to have celebrities in the front row, but not so much up on the runway.
He just wants to build a brand and make clothes that women want to wear.

Do you have a full-time job with Vogue?
Yes.

Isn't it difficult to juggle a full-time job with consulting? Who else do you work for?
I only do Kanye and Ksubi. I don't have time to do anything else. All those freelance jobs, I don't really do that anymore. I left The Artist Group [agency]. I kind of like to be part of something that's bigger. I think that the work that I do with Ksubi for example or Kanye, feeds into what I do with the magazine and vice versa.

Does the street style thing still freak you out?
I understand it, but I don't think I'll ever tire of being embarrassed when you have these people asking to take your photo.
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28-07-2012
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I'm sure this has been asked many times, but how old is she? I have heard she is 30, but it says she has been working at Harpers for over 10 years, so did she start there at 20 years of age?

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28-07-2012
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I'd say she is more mid thirties

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28-07-2012
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Thanks for posting the interview - I really enjoyed it. And I'm curious to know how old is she too. She seems so young

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30-07-2012
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Originally Posted by helmut.newton View Post
I'm sure this has been asked many times, but how old is she? I have heard she is 30, but it says she has been working at Harpers for over 10 years, so did she start there at 20 years of age?
She's at least 30. I think she turned 30 either last year or this year.

Regardless, maybe she started out at Harper's as an intern or did part-time work. I can't imagine she's been working full-time at Harper's for over 10 years.

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01-08-2012
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Vogue Australia September 2012
A View From The Top

Photographer: Benny Horne
Model: Jacquelyn Jablonski
Styling: Christine Centenera
Hair: Shin Arima
Make-Up: Christian McCulloch
Nails: Gina Edwards



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02-09-2012
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Harper's Bazaar Australia September 2012
"Daddy's Girl"
Photographer: Victor Demarchelier
Stylists: Jillian Davison & Christine Centenera



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12-09-2012
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After using our time at Australian Vogue Fashion's Night Out to shop drink copious amounts of champagne and quiz Editor-in-Chief Edwina McCaan about gifts, GIFs and the internet, Pedestrian snatched five minutes with senior fashion editor and card carrying DONDA member Christine Centenera to discuss October cover star Lana Del Rey, being part of Kanye West's DONDA family and why she'll never work with Josh Goot (and why that's a good thing).

Considering this is a retail focused event, what's on your shopping hit list? Shoes are on that list whether it's Christmas, birthdays or any other kind of day. It's quite demented really. If I had all the money in the world I've see some amazing jewellery from Tiffany and Canturi that I wouldn't mind.

What's something that's excited you retail-wise this year? Well it's funny, Josh (Goot) my partner is opening a store tomorrow so in the last twelve months I've been traveling and he's been traveling and I've taken more notice of retail spaces. And the space that's been most interesting to me has been the Balenciaga store in Paris which opened about three months ago. It's a converted gas station on Rue Saint-Honorť and it's amazing. His mix of high tech details with different textures and how the clothes are lit, it's a different way of thinking about retail concepts and spaces.

With both you and Josh involved in the fashion industry does it ever stop? Oh yeah! It stops all the time. Josh and I don't really talk about fashion. Josh is so good at what he does and is so engrossed by it but he's not your typical fashion person. He thinks I'm the biggest victim (laughs) and he doesn't really buy into it so much. He loves it, he loves creating clothes but he's not a crazy fashion person per se. It's funny considering our professions because I think it's rubbed off on me too. We've been together for five or six years now so I was like that before but I think he's slowly changing me. I mean, we don't work together, we keep that separate. We tried that once actually. I styled a show for him about four years ago in London and we almost broke up (laughs). We actually had to sleep in different hotels because he's one of those people who, come midnight, really comes alive and wants to work through to all hours of the morning whereas I'm much more of a structure orientated person. So we don't really work or collaborate together which I think is healthy and we don't really sit there and talk about fashion. We couldn't think of anything worse.

Tell us about the new role at Vogue. Obviously you helped launched Miss Vogue which skews to a younger more web savvy audience than your typical Vogue reader. Did you know what you wanted to do coming in and where do you see it going over the next five years? I guess I'd been at BAZAAR for ten years so I really felt like moving away from magazines, and when this whole opportunity came up it wasn't something where I would necessarily jump ship for the same role. It is this contract you have with a brand that is creating content for print, which is still the primary thing we do, but also creating content for online. And it's such a different world and it's been such a challenge. The Miss Vogue demographic is mid to late 20s whereas Vogue the magazine is 30 and upwards so we have the opportunity to be a little looser with what we do which is exciting. It's multi-tiered. I want to make beautiful images but I also want to support the Australian fashion industry. Obviously I have a vested interest, I have a boyfriend who works in Australian fashion and a lot of my good friends do too and I know how hard it is for them, so I want to help create a platform which has a sense of immediacy and which showcases how much great talent we have here. You know, the magazine is so aspirational and all those beautiful things so the main point of Miss Vogue is to be a but looser, more immediate and more attainable for what will probably be a slightly younger audience.

What's something new that you've learned about digital media? I shot a story recently that had animated GIFs, so the whole layering of files, the whole process of shooting in that way as opposed to one frame when you work in print which is so much less complicated. There have been a lot of new words and terminologies that I've had to learn pretty quickly.

Can you tell us about styling Lana Del Rey? She was very particular which is good. She was working on this album and she was inspired by American poets so I got an email direct from her months ago when I first started working at Vogue saying I would like to be portrayed as Sylvia Plath. That was our starting point. She didn't want it to be a full fashion shoot and like I said she was very particular. I got emails saying I want to be shot in this room with political figures hung on the wall and white curtains and the sea in the background and all these things, so she was very particular and I respect that. If I was being shot I would have a very strong direction of how I would like to be seen. She was super interesting and sweet but also direct and strong and you can see how her success stems from knowing exactly how she wants to be perceived. She's very self-aware in that way.

And what you working on for the rest of the year? I'm going to the shows on Wednesday. I'm working with Dion Lee and then I'm going to Milan and Paris and I'm still consulting with Ksubi and with Kanye West. A whole bunch of things. But the main focus for the next couple of weeks is the shows and then I want to be in Australia for the summer and try to not leave.

In what capacity do you work with Kanye? I style his shows which is kind of off the back of consulting on his collections. So we met in Paris about 18 months ago and he was starting this line and I would fly into Paris and consult like I do with Ksubi, like I do with Dion. You work with everyone in a different way but with him I guess he likes my sensibility when it comes to fashion. So I started by consulting and by the end of both those two seasons I started styling his shows. It's great because he's constantly changing, he's not someone who has a formula. Every trip would be different. I'd be in a leather factory one time, next I'd be choosing zips, next I'd be doing looks on a model it was all very different and it's exciting to work with someone who is that passionate.

So you're in the DONDA family? I'm totally in the DONDA family (laughs).

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Last edited by lemeray; 12-09-2012 at 10:59 AM.
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12-09-2012
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Vogue Australia October 2012
Generation Now
Ph: Darren Mcdonald
Montana Cox (Model)
Christine Centenera (Fashion Editor/Stylist)
Stephanie Farouze (Hair Stylist)
Damian Garozzo (Makeup Artist)



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17-09-2012
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Vogue Australia October 2012: Lana del Rey by Nicole Bentley


"A Star is Born"
Model/Star: Lana del Rey
Photographer: Nicole Bentley
Stylist: Christine Centenera
Hair: Anna Cofone
Makeup: Pamela Cochrane
Manicure: Mandi Levanah




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05-10-2012
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Vogue Australia November 2012
Photographer: Benny Horne
Model: Catherine McNeil
Styling: Christine Centenera
Hair: Shin Arima
Make-Up: Christian McCulloch



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06-10-2012
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^^ Love the styling in that shoot! Incredible!

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10-02-2013
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Vogue Australia March 2013: Lara Stone by Angelo Pennetta


"Ahead of the Curve"
Model: Lara Stone
Photographer: Angelo Pennetta
Stylist: Christine Centenera
Hair: Neil Moodie
Makeup: Lauren Parsons
Manicure: Trish Lomax




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Vogue Australia March 2013
"Due East"
Model: Kendra Spears
Photographer: Benny Honre
Stylist: Christine Centerena
Hair: Sophie Roberts
Makeup: Kellie Stratton
Manicure: Fiona Hay




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