Weighty print magazine Museum’s impressive third issue has just launched. Presenting a dialogue between high fashion and art, this issue is themed High Flying and investigates flying in its every form, from interviews with NASA astronomers and the aeroplane habits of a well-known architect, to images of a specially commissioned paper aeroplane by paper artist Benja Harney and a run of Prada menswear looks on Irish singer SOAK. We sit down with the brother and sister to quiz them on what they wear most, and why.
Broadsheet: How would you describe your style?
Matthew Bannister: I’m fairly restrained most of the time. Black pants, a sweater (often in pink), and Stan Smiths or Converse. That being said, I don’t mind a good poncho.
Laura Bannister: I'm grandfatherly.
BS: Do you feel like you have a "work uniform"?
MB: I don’t dress any differently for work or for weekends. I’m fairly consistent in that.
LB: Matthew's whole life is spent in a work uniform. He literally wears Dior Homme pants to go see a movie. I see myself as his Grandma Yeta sidekick. He's very neat and shiny and polished and thinks I'm something of a loose canon.
BS: How do you go about getting dressed in the morning? Do you put a lot of thought into it?
LB: The most important thing, upon waking, is to get myself a coffee, so I get dressed as quickly as possible.
MB: I don’t think about it too much, though I always manage to be weather-inappropriate. Coats, knits, boots in summer, and the few times I dare to wear shorts it usually rains.
LB: Matthew has worn woollen gloves to the beach.
BS: How has your work influenced your style?
LB: I wear comfortable things I can write in all day: denim overalls, sneakers, super-wide pants. I like wearing T-shirts over and under everything: under silky slip dresses, over long-sleeve cotton shirts.
MB: Our days are quite varied, so what is appropriate to wear at a 10am meeting probably isn’t suitable for whatever we've scheduled in at lunch. So we both tend to ignore what is and isn’t “work appropriate”, and just wear what we feel like.
BS: Do you feel like your work wardrobe has changed much since you launched the magazine, or through other work?
LB: I was going to answer this smugly, with a “not at all”, but to some degree I do get dressed with the knowledge that I'll be meeting people every day. That means I've matured in recent years: lots of black T-shirts and flares and faux fur and a pair of black Doc Martens Chelsea boots or white adidas Superstars. I hate wearing heels.
I legitimately used to think stiff ballet tutus were acceptable to wear anywhere – I still kind of do. When I interview people, I try to be as unassuming as I can muster: often it's a black Cacharel blazer from MyChameleon and some sort of taffeta, tufty black skirt.
BS:What's your favourite piece in your wardrobe, and why?
LB: There are a few things: a beat-up leather jacket from Amsterdam with bent silver panels. A dull-orange coat with a dark-brown, faux-fur collar from Bristol. A super-thin, parachute-style jacket from the USA Olympics in '88. A full gold suit I bought from my friend Grace, who collects and sells vintage under the Etsy store Fluff.
MB: I like heavy things. I have a navy leather jacket from Carven, a long black woollen coat from COS, and then innumerable sweaters I’ve bought online – notable mention to the green wool knit complete with black whale, from Raf Simons’ FW12 collection for Jil Sander.>
BS: Museum focuses on high fashion and art, how intertwined are the two for you?
MB: This is one of those questions that can be answered on so many levels. There is interaction in the everyday sense – I often see artists and curators dress in Yohji Yamamoto or Comme des Garçons, brands where there is a clear and thoughtful conceptual side. And in the reverse, the art world offers a seemingly endless source of inspiration and referential potential to designers seeking out something “new”.
For us, it’s clear there is a shared audience between the two. There is a level of alignment on both sides, and the issue is more about finding how they should and shouldn’t work together, than whether they work together at all.
Museum’s third issue, themed High Flying, is out September 1 and is available online.
Laura and Matthew were photographed at Paramount by The Office Space in Surry Hills.