ANNA RODGERS OF VINTAGE BONES
‘THIS IS NICE’ FASHION DIRECTOR, ALEJANDRA GARRAN, SPEAKS WITH FOUNDER OF VINTAGE BONES, ANNA RODGERS, ON ALL THINGS VINTAGE, WHAT IT WAS LIKE INTERNING AT ELLE HERE IN AUSTRALIA AND HER MOST MEMORABLE MOMENT WORKING AS FINE JEWELLERY COORDINATOR FOR VOGUE
ALEJANDRA GARRAN:
So we met in Australia DURING our internship at Elle, what brought you to Australia?
ANNA RODGERS: A trip to Europe when I was fifteen taught me that traveling is the greatest form of education and experience. After high school, I opted for the ‘road less traveled’ and moved to Australia rather than the traditional college route. I learned how to travel alone as a woman and that is now one of my greatest assets. Elle Magazine gave me the confidence and courage to pursue a career in fashion. Plus, Australia is one of the most beautiful countries in the world! I adore it and everyone’s lively personalities.
AG: WHEN DID YOUR LOVE OF VINTAGE BEGIN?
AR: As a child, I grew up wearing vintage pieces that were passed down from friends and family. I appreciated the well-loved fabrics and the stories they told. As I grew older, vintage became souvenirs from my travels. I bought a lovely dark green brocade coat at the Portobello Market in London that I wore to my interview at Vogue Magazine. It’s still my good luck charm!
AG: Fashion Icon?
AR: Although I am inspired by the women of French classic films, I am truly influenced by the anonymous women I come across at markets and cafés throughout everyday life. The women who wear clothing for themselves and understand that style does not involve temporary trends.
AG: Favourite shoot memory?
AR: While working as Fine Jewelry Coordinator at Vogue, I was sent to photographer Eric Boman’s studio in the Flatiron District for our ‘Last Look’ shoot featuring Tiffany & Co. I was thrilled to meet him along with his partner Peter Schlesinger who was the subject of many David Hockney pieces. It was incredible to watch the project come to life and view the final image in the print edition of Vogue May 2018 a few months later.
Right: Photograph by Eric Boman for May 2018 Vogue
fill in the blank, ‘it’s __________ to be nice’
‘IT’S TIME TO BE NICE’
#it’scooltobenice
AG: Vintage Bones has expanded into Vintage Bones book club. I’m a huge fan of something tangible. I love that you’re incorporating print into your brand. What started that extension?
AR: Thank you! When the pandemic first hit in April of 2020, I found myself reading as a way of escape. I craved the ability to chat about the stories I read and decided to create Vintage Bones Club as a direct spin off from the brand itself. It quickly became a thoughtful community of readers and vintage lovers.
FAST FAVOURITES
AG: Photograph?
AR: Candy Cigarette (1989) by Sally Mann
AG: Place?
AR: New York City!
AG: Flower?
AR: Gladiolus, the flower of August.
AG: Musician?
AR: Bob Dylan, always.
AG: Job?
AR: My dream job at Vogue.
AG: Person?
AR: My love, Chase.
AG: Model?
AR: Erin Wasson.
AG: Vintage item to find?
AR: A quality vintage designer piece that you can wear at any age in your life.
AG: Snack on set?
AR: Coffee & croissants.
AG: Dinner spot?
AR: Arturo’s in Greenwich Village, NY.
Anna’s favourite model, Erin Wasson, photographed for Vogue Germany November 2004 by Mark Abrahams
Anna’s favourite photograph, Candy Cigarette (1989), photographed by Sally Mann
AG: What excites you about vintage and what does your audience respond to?
AR: So many things! But, the most exciting aspect about vintage is that it promotes positive change as the most sustainable form of fashion second to wearing nothing at all. My audience responds to carefully curated vintage collections that prove to outlast and outwear the fast fashion in our everyday lives. I love photographing my own collections and teaching about how our choices as consumers can make a difference. Through Vintage Bones, I strive to source high-quality, designer pieces that are built to be worn forever.
AG: Do you have any favourite vintage curators you’ve visited or admired from around the world?
AR: Although nothing beats the authentic vintage curators at flea markets from around the world, I have always admired the brands Desert Vintage of Arizona and William Vintage from London. Both brands source museum-quality vintage that counts as a form of wearable art.
