Whatever your position on Australian troops in Afghanistan – and this week’s “shit happens” media furore over off-the-cuff comments made to same by Opposition leader Tony Abbott – here is one war-related story that can’t surely be accused of being a beatup. The Queensland Country Womens Association has just dispatched 136 hand-knitted woollen skullcaps to our diggers in Afghanistan to wear under their helmets. Reportedly at the behest of the Australian Defence Forces and with the support of the RSL and Bendigo Woollen Mills, the project involved 20 knitters from the QCWA’s Border Division handcraft group (which has also knitted clothing for babies in Africa). Included with the parcel, which was posted to the ADF in Sydney yesterday, was a sweet letter, which read: “As some of us are old enough to be your grandmothers or great-grandmothers, we felt that our pride in you could not only be knitted into these skull caps; But that you may feel a little of the love and appreciation, which Australians hold for you when you wear them. Be safe.” There is a very longstanding connection between knitting and the war effort, which dates back to at least the American Civil War.
He called his label Illionaire but it seems co-founder Ben Woodcock may have been too impatient to wait to turn seven figures via a legitimate fashion business. According toThe West Australian, on August 19 Woodock was charged with possession of methylamphetamines with intent to sell or supply after being pulled over while driving his mum’s BMW with A$780,000 worth of drugs allegedly stashed in his underpants. And it gets worse. Woodcock failed to appear in court yesterday, is alleged to have fled the country and now has Interpol on his back. Way to go. Needless to say if Woodcock were to be busted with drugs in any number of countries surrounding Australia he could be facing a far worse prospect than a little jail time downunder. Woodcock launched Illionaire in Perth in 2006 with Kat Grace.
Here is the new anti-fur video from animal rights group PETA, entirely narrated by Australian singer Natalie Imbruglia - who is currently doing maternity cover for compatriot Dannii Minogue on the British series of The X Factor. It's a gut-wrenching video, so be warned. In it, PETA's undercover operatives have filmed in various fur farms and processing facilities, although no location is clearly identified - beyond the references to the Chinese fur industry, which is known for its brutality. China's human rights record is of course not particularly impressive, but that's of little concern to PETA. A number of fur organisations, such as the US Fur Commission, would no doubt take umbrage at the continued claims that strict regulations do not apply to this industry in other countries and that farmed fur animals are not afforded good nutrition, comfortable housing and prompt veterinary care. But then PETA never seems to film inside those facilities. As Paul McCartney once noted, if abbatoirs had glass walls we'd all be vegetarians. Until that day presumably, the greater percentage of the world's population will continue to eat meat.
With its avant-garde homespun aesthetic and ethereal eveningwear, Rodarte is normally considered a highlight of New York Fashion Week, an event better known for commercial sportswear than creative bravura. But this has been a peculiar event, with more than one designer delivering a low-risk, (they hope) sure-sale collection. In spite of the fact that several influential American fashion critics have lauded the Rodarte collection as some kind of breakthrough for sisters Kate and Laura Mulleavy, loving it is a pretty big ask. That’s not to say there were not a couple of pretty pieces. Supposedly inspired by the northern Californian outdoors, a clever, collaged wood grain print was used in a terrific shift dress with deconstructed sleeves and a shell top with stiffened peplum; and there is one striking blazer, also with a stiffened pannier peplum, in a Delft China-like blue microprint. But to frockwriter’s eye, the rest of the collection looks like a snafu of plaid, gold brocade, kimonos, cheongsams and togas – the kind of costumes that Maria Von Trapp might have whipped up for Ridley Scott’s next swords and sandals epic. “Kate and Laura Mulleavy are in total command of making wearable fashion” noted WWD. While The LA Times’ Booth Moore hit the nail on the head when she noted, “It was undoubtedly their most commercial outing yet”. According to The New York Times’ Cathy Horyn, who described the collection as “undoubtedly a hit of New York Fashion Week”, editors, buyers and The Lord of The Rings star Elijah Wood rushed to congratulate the designers post-show.
Some of Horyn’s readers do not seem to share this enthusiasm. Noted “GSK”:
“Wouldn’t wear this stuff to a dogfight”.
Bob from Philadelphia:
“Maybe Frodo thought he was escaping Mordor. The model looks like an elf-Ent hybrid, clad in fabric remnants from a Trolls' quilting bee”.
WSS:
“These aren't fashions that any woman would wear. They're nightmares”.
And Hutton:
“I did not know that they had a licensing agreement with Project Runway”.
To be sure, these are still difficult times in retail.
You have to wonder to what degree the recent controversy over the brand's Fall 2010 collection may have rattled not only their cashflow - but their confidence.
The collection was inspired by a Mexican road trip and notably the drug violence-shattered border town of Ciudad Juarez, the epicentre of the Mexican drug war, which has claimed the lives of almost 30,000 people since President Felipe Calderon commenced a crackdown on drug cartels in December 2006.
Not that the Juarez connection appears to have caused much, if any, fuss in reviews of the runway collection in February. But when MAC chose that specific Rodarte collection as the springboard for a beauty JV, even flippantly calling two nail polishes “Juarez” and “Factory”, it was the blogosphere that called the collab out, led by The Frisky’s Jessica Wakeman, who asked:
“Juarez is an impoverished Mexican factory town notorious for the number of women between the ages of 12 and 22 who have been raped and murdered with little or no response from police. Most of the young women are employees at the border town’s factories, called maquiladoras, and disappeared on the way to or from work.... Why would MAC and Rodarte — which are both hip, with-it brands — name their nail polishes so tastelessly? Even if they were donating the proceeds to justice for Juarez victims’ families (and I haven’t read that they are), it’s a weird way to raise awareness about violence against women. What’s next, a lipstick called Bergen-Belsen?”
Frockwriter was preoccupied with a fulltime gig during the Fall/Winter 2010/2011 season, so we missed quite a bit of news. Including two new rising Australian modelling stars, Adelaide’s Emily Wake and Melbourne’s Ajak Deng. We did include one mention of Deng in our preliminary SS10 Australian model wrap just after New York Fashion Week, her first international show season, in which she did just a handful of New York shows (and we originally got her surname wrong*). However it was during the Fall/Winter 2010/2011 shows in February and March when Deng really grabbed the industry’s attention, walking in over 20 shows. These included blue chip names such as Lanvin, Givenchy, Jean Paul Gaultier and Chloe – the first black girl to walk the latter’s runway in nine seasons in fact, prompting New York Magazine to ask in June, “Could Ajak Deng be the next Alek Wek?”. Like Wek, Deng is a Sudanese refugee. But while Wek’s family fled the war-torn African nation for the UK, Deng’s family settled in Melbourne in 2004 – among an estimated 23,000 Sudanese refugees who arrived in Australia from 2002-2007. Sixty-two percent are aged 24 and younger and 45percent of the settlers are believed to be female. Like Wek’s story – which Wek recounted in her autobiography in 2007 – Deng’s story is remarkable. The second of eight children, Deng lost her mother to malaria at the age of 12 while living in a Kenyan refugee camp and took charge of her infant sister. Three years ago her father moved back to Sudan and her stepmother left to join him. Since she was 16, Deng has been financially responsible for her seven siblings.
david jones SS1011
Interestingly, Deng is the second Australian model with a refugee background to break through on the international fashion stage this year.
However Deng is by no means the only Sudanese model working in this market.
Over the past eight years a number of Sudanese refugees have emerged on Australian runways at Australian Fashion Week, the biannual David Jones and Myer shows, L’Oréal Melbourne Fashion Festival and Melbourne Spring Fashion Week. * Confusingly, their first names tend to begin with the letter “A” and there was even another Ajak Deng modelling at one point, prompting Deng’s mother agency FRM Model Management to initially change her name to “Angelique”.
The Sudanese Australian fashion contingent includes Ajak Nyariel; Atong Tulba; Akuol Ding; cousins Akeer Chut-Deng, Atong Maluck and Abang Athow and now also Deng’s 18 year-old sister Zahara, who began modelling two months ago, also repped by FRM.
Deng was signed to IMG Models in New York last year and now features on its prestigious main Womens board, as opposed to the "Development" board.
But Deng hasn’t been quite so diplomatic when describing her modelling experiences in the Australian market.
Although very grateful for the opportunities that life in Australia has afforded her family - "In Sudan, all this would have been impossible. It is just amazing" she told The Herald Sun – Deng recently told Vogue Italia that she believes she has experienced discrimination on modelling jobs in Australia.
In a Vogue Italia video interview with former model Bethann Hardison, the founder of Bethan Management, co-founder of the Black Girls Coalition and an advocate for women of colour in the modelling business, Deng reported that she has been told by some Australian fashion players:
“Sorry you’ve come such a long way, but we don’t use black girls”.
Considering that she has been working for two years essentially part-time while she finished school, Deng’s Australian body of work nevertheless embraces three David Jones shows, the L’Oréal Melbourne Fashion Festival, Melbourne Spring Fashion Week, New Zealand Fashion Week, advertising campaigns for Mimco, Davenport, Bardot and Leluu and editorials in New Zealand’s Pulp and Black magazines and the Australia titles Vice and Cream.
No editorial, however, in any mainstream fashion publication and no Rosemount Australian Fashion Week. Why no RAFW? According to FRM, last year’s event clashed with her school timetable and although Deng was booked to work at RAFW this year, the Topshop job in London came through at the last minute and took priority.
The Spring/Summer 2011 season commences next Thursday in New York. Alongside numerous other Australian models, Deng is there attending castings. Frockwriter looks forward to seeing her build on her success.
I caught up with Deng at the David Jones Spring/Summer 2010/2011 show in Sydney on August 3rd. She had just arrived that morning on a flight from the US, where she had been shooting the Banana Republic campaign. It was a fairly noisy background and the sound in places in patchy.
I read that you have been responsible for your seven brothers and sisters for the past three years. How could you possibly look after them at the age of 16 when you were still in school? Ajak Deng: Well when I was in highschool, I was getting payments from Centrelink and I was being paid as a parent for my little sister and my little brother. Now .... she’s eight years old, I was told ‘Oh well we’re not going to pay you as a parent, but we’ll pay you as a worker’. As a carer. How old are your brothers and sisters? They’re 18, 16, 15, 12, 10 and eight years old. The oldest is 21. But he’s not really doing anything. Under me there are six. But you’re responsible for everyone? Yeah.
So how do you do that with your modelling income? If I have anything then I have to spend it on them and the house but at the moment I don’t have anything because I’m kind of running around the world.
It’s a lot of responsibility for a 19 year-old. Have you met any other models in similar situations? No, all of them are pretty much responsible for their own money. When they get paid, they go shopping, they buy that and that. I’m like, I can’t do that. Instead of wasting all my money on shopping, I’ve got got to make sure that I...my family. I might keep a tiny little bit to spoil myself.
In the Vogue Italia interview with Bethann Hardison, you mentioned problems you had working as a model in Australia. I said, ‘I don’t want to think about it as a hard industry, I just want to go out there and do my thing’. A lot of people think ‘Oh I’m a black model, this is going to be impossible’. For me, I don’t want to think like it is impossible. There’s nothing impossible, as long as you put yourself out there. You told Hardison that Australian fashion industry figure/s had told you, “Sorry they sent you all the way here, we don’t work with black models”. Which shows are you talking about? Do you remember any names?I only did one show last year, during Melbourne Fashion Week. I only got to do one show last year. Do you think Australians are racist? You have otherwise obviously been welcomed into Australia as a refugee. We’ve been welcomed but at the same time, once you try to do something good it’s just.. nobody is really accepting you. They’re just like... Oh yeah, like ‘Good luck’. But they don’t welcome you. Like for example when you’re doing a show, [and people are] taking pictures, they don’t really bother to take a picture of a black model. Like a closeup makeup [portrait]. They don’t do that. Whereas in New York, they do that, they don’t mind. They take a photo of any girl with her makeup on. Whereas here no, the girls they know, they take a picture of those girls and they just leave you out. They don’t really care. They walk past you and nobody really cares. I don’t really mind about that as long as I’m doing the show.
You have been having some tremendous success overseas. Amusingly, a lot of people can’t seem to help commenting on the length of your legs. Everybody says that. They’re like, ‘Damn, those legs are long!’
Do many people make comparisons to Alek Wek? Trust me, over 200 people in Europe or in Paris would think I’m always Alek Wek. I walk down the street and [it’s like] ‘Oh my God, are you Alek Wek?’ I’m like, ‘I’m not her but thank you very much’. She’s a supermodel, it’s great to be compared to her. But I don’t really mind. Has Alek Wek been an inspiration for you? Yeah, very much so.
How did you start modelling? Were you scouted? No, I actually joined modelling school. Tanya Powell. I did Tanya Powell for like two weeks and after that I got my little photos together, so I went to FRM. And I asked them, I want to be a model. And they wanted to charge me.... I didn’t have much money after modelling school. So I joined this [other] guy as my personal manager... After New Zealand Fashion Week, Melbourne and various jobs that I did that were paying well.... he kind of just ripped me off and changed his address and phone... Totally just abandoned me. So he hasn’t paid me my money, took my portfolio, changed his address, is nowhere to be found.
How much money does he owe you? Around $8000. He did this to three models. Who looks after your brothers and sisters when you’re not there? My step mum [according to FRM she travels backwards and forwards from the Sudan]. I hope she’s not going to leave again because if she leaves, I can’t go back to work. Well congratulations. You are doing incredibly well – at the same time facing challenges that few, if any, other models have to face. It’s crazy. When I travel and I go around the world, I’m like, ‘What am I doing here and where do I go from here?’ It’s totally different from Melbourne. But I’ve been to like four or five countries already so far, so I’m like ‘Wow, that was good - in less than eight months’.
She has yet to grace the cover of her home country edition, but September is shaping up as the month in which Miranda Kerr hit the big time in the international Vogue stakes, with three editorials inside the September edition of US Vogue and the September covers of both Vogue España and now Vogue Italia. Shot by Steven Meisel in 3D, even Kerr’s pooch Frankie gets a lookin on the Italian cover. It wasn’t the Yorkshire terrier that grabbed frockwriter’s attention in two images in the accompanying 12-page editorial, however, but a cigarette (above, below). And it's not the first time Kerr has been photographed smoking this year. In June, she appeared topless, cigarette in hand, in issue 114 of French magazine Numéro.
Although tobacco advertising may have been outlawed in many countries, of course it’s not illegal to smoke.
Anecdotally, a very high percentage of fashion models appear to be smokers. With research linking smoking with dieting amongst adolescent girls, the prevalence of smoking in the model population is presumably not solely due to any perceived “cool” factor.
According to Kerr’s publicist, Carlii Lyon, however, Kerr is not a smoker. Not only that, Kerr has been evangelising a chemical-free lifestyle through her own organic skincare line Kora and her website.
Leaving aside the possibility that Kerr may well also have been pregnant at the time of the Vogue Italia shoot, which some might find distasteful, don’t the 4000-odd chemicals, including 50 known carcinogens, with which the cancer sticks she’s waving around as part of her current “high fashion” reinvention are riddled, seem somewhat at odds with her own core values?
Not according to Carlii Lyon, who told frockwriter:
"Fashion can at the best of times be very theatrical and in some instances cigarettes are used as props. In this particular image Miranda is playing a role and in no way does it reflect her personal values".
Kerr may still lack the 'high fashion' track record of some other models, including Australia’s Abbey Lee Kershaw and Russia’s Natasha Poly. But she is definitely catching up.
As far the celebrity factor goes, however, she is a much bigger name - her recent marriage to Hollywood actor Orlando Bloom and the baby news having only increased her visibility across the globe. With the Vogue Italia editorial entitled simply “Miranda – photographed by Steven Meisel”, it’s a little hard to argue that Kerr isn't being photographed as a celebrity in her own right here.
Earlier this month frockwriter reported that a South Korean fashion brand called Lewitt had engaged American photographer Ryan McGinley to shoot a short film starring high profile Australian model Abbey Lee Kershaw. The film, which depicts Kershaw climbing to the top of a building, hesitating whilst anxiously looking down and then hurling herself over the edge, with the fall documented in slow motion to show multiple clothing changes, seemed like an odd concept for promoting fashion to young women in a country that boasts the world’s highest female suicide rate. Odder still, given that seven models - including South Korea’s Daul Kim – committed suicide over the past two years. Four, by jumping. Kershaw subsequently revealed that the film was inspired by Alice in Wonderland. McGinley has still not responded to frockwriter’squestions. But Lewitt did finally get back to us – albeit apparently via its advertising agency. We received the following response from a South Korean company called Intoo Creative. Since we have had no prior dealings with them, we did seek to confirm with the Lewitt HQ that it was in fact an official company statement. In ten days there has been no response. So here goes:
"The basic inspiration of our film came from a picture of a model (Agyness Deyn) jumping off a building, which was taken by Mr. Ryan McGinley. We tried to show fantastical images and visuals as much as possible that are well-known as the trade mark of Mr. McGinley himself. However, our particular film includes more than his trade mark of jumping & running visuals. It also was inspired by fantasy worlds from movies called Alice in Wonderland and Pan’s Labyrinth.
We would like to point out that at our most recent press premiere in Korea, there were no feedbacks whatsoever that link this excellent film to a motive that might even be encouraging any suicidal behaviors on Korean women. This film clearly expresses and portrays a girl’s adventure of finding freedom in her own fantasy world.
We understand that feelings and feedbacks may vary depending on individuals. However, we are sorry to hear that linking this film to Korean women’s suicidal rate based on an opinion noted on one individual’s personal blog is not at all a fair claim. Lastly, for your information, official website of “LEWITT” is not yet to be opened and is still under construction. It is during this period when a picture of Abbey is shown just as a filling-in image for the site’s construction period. Once again, thank you for your interest. Should you have any further queries, please feel free to contact. We sincerely ask you strongly not to misunderstand the true intention of the film".
The film – in full – is now up on the Lewitt website. As are a number of still images of Kershaw – including several shots taken as she jumps and falls (above, below).
However the image of Kershaw lying spread-eagle on the ground (at the top of this post), which was used on Lewitt's website before the video went up - and was later removed after the negative feedback - is nowhere to be seen.
In closing, just a reminder that it wasn’t just this blog which called the video into question.
While sadly we do seem to be covering more and more model suicide stories these days, fashion reporters of course are not suicide prevention experts.
Just out of interest, what do the latter have to say about the Lewitt film? Frockwriter spoke to several suicide prevention experts who did not seem particularly impressed.
“While it may not be intended, the video could be interpreted as depicting suicide.
While there has been limited international evidence looking at advertising specifically, there is substantial international research that links depictions of suicide in news and entertainment media with increased rates of deaths and attempts by suicide. Risk is increased where the media portrayal depicts a specific method or location of death.
It is important for all forms of media to consider the potential impact that their portayals may have on vulnerable audiences".
“It’s a potential problem. We know there’s a copycat effect. Models are chosen because they’re presented as, ‘This is is someone you desire to be, this is the look you should have, this is clearly someone you should be identifying with’. Whatever their intention is, is irrelevant. What counts is the impact on the people who are likely to see it and be influenced by it. So it is unfortunate that they’re presenting an apparent attempt at killing yourself as in any way glamorous. Their intention is to flog whatever she’s wearing to as many people as possible at outrageous prices and they’re willing to do almost anything to achieve that. And this is what I would call reckless advertising”.
Dr Michael Carr-Gregg, Child and Adolescent Psychologist:
"Yes I think this is problematic, it glamorizes, normalizes and sanitizes suicide. Research suggests that the more we talk about, write about or depict suicide there is a corresponding increase in suicides. This is manifestly irresponsible and if someone did end their lives, I wonder whether there might be a cause for action in law against the advertisers?"
Could it inspire copycat suicides?
"Yes the Yukiko effect is a well accepted phenomenon. Around 10 o'clock April 8, 1986, the 18-year old Okada Yukiko ( a Japanese Brittany Speares) was found with a slashed wrist in her gas-filled Tokyo apartment, crouching in a closet and sobbing. Two hours later, the singer jumped to her death from the seven-storey Sun Music Agency building. The reason for the suicide is still unknown. Her untimely death resulted in many copycat suicides soon christened with theneologism "Yukko Syndrome" for copycat suicides in Japan".
Is there even a problem drawing attention to it, because it might encourage those who are sitting on the fence to take action?
"The massive wave of emulation suicides after a widely publicized suicide is also known as the Werther effect, following the Werther novel of Goethe.The well-known suicide serves as a model, in the absence of protective factors, for the next suicide. This is referred to as suicide contagion. They occasionally spread through a school system, through a community, or in terms of a celebrity suicide wave, nationally. This is called a suicide cluster. To prevent this type of suicide, it is customary in some countries for the media to discourage suicide reports except in special cases".
***Any readers in need of support and information about suicide prevention should contact Lifeline on 13 11 14, SANE Helpline on 1800 18 SANE (7263) or youthbeyondblue.com***
On Sunday, frockwriter posted a new video shot by Ryan McGinley that stars Abbey Lee Kershaw and advertises a South Korean fashion brand called Lewitt. In the vid, which was uploaded by a South Korean YouTube member, Kershaw climbs a building, pauses while contemplating jumping and then hurls herself into the void - with slomos of various outfit changes. It seemed like a bizarre concept for promoting fashion to young women in a country that boasts the world’s highest female suicide rate. And an even more questionable choice, given that seven models - including high profile South Korean Daul Kim – have committed suicide over the past two years. Four of them by jumping. The post divided opinion. Some slammed the video. Others slammed frockwriter, dismissing it as a non story. The latter might want to take up their beef with the plethora of other outlets that have since picked the story up. Those who linked back to FW include Perez Hilton, Pedestrian, Fashion Copious, Germany's Les Mads and Dutch news site nu.nl. UPDATE 09/08: In spite of the fact that Lewitt removed Kershaw's image from its website last week, with McGinley also having the video pulled from YouTube, the video is now online on the lewitt.kr website, complete with stills. Still no response, however, from either McGinley or Lewitt.
Three days later, we have finally managed to make contact with Lewitt's Seoul-based managing director Dai Hyun Kim and await his response.
Still no word, however, from ALK’s Sydney or New York agents or McGinley himself, who won’t answer our questions but nevertheless appears to have had the video shut down on YouTube:
Even McGinley’s still of Kershaw on Lewitt’s website has been removed.
On Sunday, Lewitt's site looked like this:
Today, it looks like this:
So what is going on here? Was this not a bone fide job?
Yes it was, according to Kershaw, who was in town yesterday for the David Jones show (backstage shots below) and who appears to be adopting the Big Brother defense: the problem’s in the editing.
Here is the transcript of a very short iv I managed to grab backstage, after being invited by DJs into the VIP model room specifically to do the interview with Kershaw, which she consented to (but no video permitted).
You in fact used to do the David Jones show, didn’t you? Abbey Lee Kershaw: I was youth ambassador back in 2005. I think it may have been the last time I did it.
What was it like doing this show again? It was great. It was nice to be back home and to support a great Australian brand who appreciates you. When I come and work here, they look after us and they’re kind. I’m very happy to support a brand like that.
You’ve obviously been away for several years now, walking the world’s runways. What was it like coming back to the Australian runway? I was more nervous than I expected to be. The expectations [of] coming back and having people around you watching the show who you worked with years ago when you were just a young model. So there’s a sense of expectation to perform. Hopefully I did alright.
What’s coming up next? How long are you in Australia for? Two weeks and then I go to Hawaii for a week and then back to New York. And then the [Spring/Summer 2011] shows in September.
The Victoria’s Secret Fashion Show? Yeah if I’m free, yeah.
Anything else big coming up? Not that I know if. We don’t really find stuff out until very short...
I just wanted to ask about this Korean video you’ve done, Lewitt. What is it exactly? It’s an Asian label and it was based around the story of Alice in Wonderland.
So what, she’s supposed to be falling down the rabbit hole? Ah...I don’t...I mean...however you...we were shooting all day. There were different scenes all day. So his, ah, edit of it..I haven’t even seen it to be honest. I haven’t seen it yet. I think it just came out.
Some might be concerned that it looks like you’re trying to jump off the building. Yeah of course people are concerned about things like that. People are always going to perceive..
South Korea has the highest female suicide rate in the world and there have also been a lot of model suicides, with many of them jumping. Do you not understand why it might concern people? I understand. I haven’t seen the video.
But wouldn’t you have had the right to see it before it was finished? [Starts to move away] I’m done here. I’m done. Thank you.
backstage at david jones, sydney august 3rd
As it emerges, this is not the first time that McGinley has persuaded a model to jump out of a building for a fashion shoot.
“It sure is swell that not only did McGinley continue on with this story in the wake of Ruslana Korshunova's suicide, but that Pop actually ran this. Goddamn insensitive and uncouth”.
backstage at david jones, sydney, august 3rd
Kershaw seems to have a knack for courting controversy.
Two months later, reportedly depressed by the recent death of his mother, sadly McQueen too took his own life.
***Any readers in need of support and information about suicide prevention should contact Lifeline on 13 11 14, SANE Helpline on 1800 18 SANE (7263) or youthbeyondblue.com***
