POWERHOUSE COLLECTION

Folder of negatives & transparencies photographed by Bruno Benini

Object No. 2009/43/1-5/25

Negatives and transparencies, 'Colour', portraits and fashion, photographs by Bruno Benini, some styling and props by Hazel Benini, England, Italy, Melbourne and other locations in Victoria, Australia, 1956-2000

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Summary

Physical Description

Negatives and transparencies, 'Colour', portraits and fashion, photographs by Bruno Benini, some styling and props by Hazel Benini, England, Italy, Melbourne and other locations in Victoria, Australia, 1956-2000

PRODUCTION

Notes

Photos by Bruno Benini, styling usually by Hazel Benini. Robyn Fong, Sydney-based Eurasian model working 1960s-1975. No formal training. Joined Viviens model agency, Sydney Worked on shoots for the Australian Wool Board and other clients, and with many models including Nadina Guilfoyle. All carried their own makeup, shoes, jewellery, wigs and hairpieces. Worked with David Mist and Laurie Le Guay (Castlereagh Street studio) and other photographers in Sydney and Melbourne. Worked with Bruno Benini in Melbourne and frequently attended parties held by Bruno and Hazel Benini. Robyn would always endeavour to secure additional modelling jobs when travelling to work on the David Jones and Georges parades in Melbourne. Robyn thinks the model in the Concept for Gala shots at the NGV by Bruno Benini - Lucinda Wills, is possibly Lucinda Wills nee Lucinda Strauss. Visited the Benini exhibition at MAAS in 2010 on the advice of her friend, model Susie Twigg (nee Seaton). There were very few Asian, Eurasian or Pacific region models working in Australia during the 1960s and 70s. Robyn recalls only Nicky Turner an Asian mainly catwalk model, Edith Freeman a Tahitian model, and Emma Heffernan who was from Fiji. These models rarely if ever secured work on local ads like Colgate or Palmolive. Reference: Notes from interview, Anne-Marie Van de Ven, Curator with Robyn Fong, Museum of Applied Arts and Sciences, 29 January 2015 Colour transparency of models wearing Sportsgirl dresses with balls sculpture, outside the Victorian Arts Centre, 1971.

HISTORY

Notes

Reference: A 'Leon Haskin of Melbourne' advertisement featuring a shift dress with a beaded bodice appears in Flair magazine, June 1966 p.12. 'Melbourne has four very distinct seasons. Bruno did more work outdoors in those seasons which were not summer, when the light was diffused, when there were moody days with softer light. A very European style of light, I think he took advantage of that'. Phil Quirk, interview, 2010.

SOURCE

Acquisition Date

19 June 2009

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