Desk Edit

The state of my desk is one of seasonal fluctuation.

corner-shop-grandiflora-miumiu-mulberry-  corner-shop-pared corner-shop-miumiu-mulberry corner-shop-miumiu-mulberry-


The state of my desk is one of seasonal fluctuation. For the most part, it’s a terrifying and shifting mound of lecture slides and loose leaf scrawls, punctuated with green tea stains and perhaps a scattering or two of crumbs when exam time hits. I really ought to film a speed-reel like a National Geographic documentary – surely the movements of my desk piles will be comparable to the famous Saharan Dunes?

The two components that have weathered the brutal storms of time, though, are this little wooden jointed guy with an endearing habit of making off with my blooms du jour, and a handful of covers from all my years consuming magazines that I haven’t binned – these are the ones that I flick through once every couple of months, reread the exceptionally written text, restudy every editorial and graphic layout, and consider the advertising. They keep me inspired, and I’ll never throw them out – something worked for these publications in those particular months. Maybe somebody took leave and some innovative and open-minded assistant quietly created the best pages I’d seen in a long time. Perhaps they had a huge budget for the right people, or more likely so, they had no budget for the wrong people (dare I say it) and magic happened.

Certainly, it’s a demoralising to think that the past two years of drastic industry change hasn’t produced more glossies that you and I have felt compelled to absorb cover to cover – a Vanity Fair and iD that I left on a plane, and the latest issues of 10 and 10 Men are likely the only ones this year that have filled my craving for truly invigorating content, showcasing real, diverse talent, and pushing the envelope on topic matter and running themes.

Admittedly, I’ve had an article on the matter on the edit and re-edit backburner for at least three months now – it’s yet to find the right medium to be published without too much hilarious irony…

Until then, we’ll just take delight in this illustrated version of myself that Aaron Favaloro put together for the Corner Shop‘s relaunch at the Strand Arcade the week before last. What a spot-the-difference situation, right!?

Now back to trying to process the Constitution in class…

Fujifilm X20 – Jennifer Zeuner Necklaces – Samantha Wills Boxes – Mulberry Bayswater Clutch in OatmealPared Eyewear and Miu Miu Sunglasses – Aesop Cleanser


Margaret Zhang 章凝 is an Australian-born-Chinese director, photographer, consultant and writer based between New York and Shanghai. Since establishing her website in 2009, Margaret has gone on to work with global brands including CHANEL, UNIQLO, Swarovski, YEEZY, Bulgari, Gucci, MATCHES, Under Armour, and Louis Vuitton in a wide range of capacities both in front of and behind the camera, while completing her Bachelor of Commerce/Bachelor of Laws at The University of Sydney. Margaret’s directing, photography, and styling has been employed by the likes of VOGUE, L’Officiel, Harper’s BAZAAR, NYLON, Marie Claire, GRAZIA and ELLE internationally. She has been listed in Forbes Asia’s 30Under30 and TimeOut’s 40Under40, and her work has been recognized as shaping the international fashion industry by the Business of Fashion BoF500 Index for the past four consecutive years. She went on to be the first Asian face to cover ELLE Australia. In 2016, she co-founded BACKGROUND, a global consultancy for which she specialises in Western-to-Chinese and Chinese-to-Western cultural bridging for a range of luxury, lifestyle, and brand initiatives. In 2017, she exhibited a series of 39 unseen photographic works as a solo show in Sydney, and premiered her first short film – a 15-minute exploration of her visceral relationship with classical music on both performance and abstract planes – to critical acclaim.

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