Crown Sydney 'Tops Out' - Kanebridge News
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Crown Sydney ‘Tops Out’

Exclusive new shots as landmark $2.4bn building, Crown Residences at One Barangaroo, reaches new heights.

By Terry Christodoulou
Tue, May 26, 2020 5:22amGrey Clock 2 min

In a milestone for the Crown Sydney development, the already iconic Crown Residences at One Barangaroo has officially ‘topped out’ ahead of schedule – marking completion of its 275-metre vertical construction.

Designed by globally-renowned architects WilkinsonEyre, this is another impressive and on-time development for the project – that will this December see the planned opening of a 349-room hotel, 14 restaurants and bars and selected retail.

Crown Residences, located in the upper levels, are also on schedule for homeowners to move into the building in the first half of 2021.

Crown Towers Sydney Deluxe Villa bathroom.

While topping out normally means a large celebration, things were a little more subdued given Covid-19 restrictions – the milestone marked by a site visit from NSW Treasurer, Dominic Perrottet, alongside Crown Resorts Chair, Helen Coonan, Crown executives Ken Barton and Todd Nisbet and Group CEO of Lendlease, Steve McCann.

“Today marks a special moment in Crown’s history, which hopefully can also be a part of a new, positive outlook for Sydney after months of unprecedented challenges for many in our community,” offered Coonan. “This building was designed to be a tribute to Sydney and a landmark recognised around the world.”

The view from the top.

To date, 237,888 tonnes of concrete and approximately 20,000 tonnes of steel reinforcements have been fitted to the structure. To finalise the build, more than 1,300 workers will continue to work on the interior fit-out of across the remainder of the year.

Check out more photos of the project below.

Crownsydney.com.au

Crown Sydney Lobby

Crown Tower Sydney Deluxe Villa living and dining room.

Crown Towers Sydney Harbour Bridge King Room.



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From Gucci to Valentino, designers have a new ethos: Fun

By JACOB GALLAGHER
Wed, Jun 19, 2024 3 min

Not long ago, designer Jonathan Anderson attended a music festival where he surveyed the crowd and thought, Now this is where all the fashion has been lurking.

“I saw more people dressing more in high fashion than actually what was happening in fashion,” said Anderson , who designs the British clothing brand JW Anderson, as well as LVMH’s Loewe.

The free expression of these festival goers stuck with Anderson as it clashed with the risk-shy attitude that has guided much of luxury fashion in recent years. “I wonder,” said Anderson this past weekend in Milan, “has fashion become so conservative whereas what’s happening out there is actually way more avant-garde?”

Just a couple of years ago in Milan, “quiet luxury” was on the tip of everyone’s tongue. This collocation was a simplistic shorthand for where fashion was going: pricey but prim; light on logos but heavy on the wallet; all cashmere everything in gray, beige, navy.

Fashion is a creative industry and designers can only cup their mouths for so long. At the latest edition of Milan men’s fashion week, shouts in the form of new, notice-me clothes broke out from the runways.

“People want uniqueness, maybe they want something which is challenging somehow,” said Anderson, speaking after the latest JW Anderson show, which was widely held up as the most successful collection of a muddled Milanese sprint.

Highlights included winsome cardigans with children’s book depictions of London terrace houses, leather jackets contorted by ski-slope-like hems and a kitschy sweater showing a smirking pint of Guinness—an upmarket riff on a Dublin tourist souvenir.

The day after Anderson’s show, came the surprise online release of a bulging 171-outfit lookbook from Valentino, the first stab from the label’s new creative director Alessandro Michele, who helped lift Gucci to a more than $10-billion brand before leaving in 2022.

At Gucci, Michele ushered in a maximalist fashion moment, and based on this initial showing, his taste for theatrics is intact. Against a backdrop of winter-mint curtains, feather-haired models (often wearing gigundo nerd glasses and hoops of pearls) sported floppy dog-ear ties, Kermit-green suits and tapestry prints. Flipping through the collection, all the tired but fitting Michele comparisons came rushing back: Wes Anderson films, kooky grandmothers and leopard-clad psych-rock bands.

Model on the runway at the Gucci fashion show during Milan Fashion Week Menswear Spring/Summer 2025 held at Triennale di Milano on June 17, 2024 in Milan, Italy. (Photo by Aitor Rosas Sune/WWD via Getty Images)

Valentino, which is part-owned by Kering, also made its commercial intentions clear by sending out 93 close-up photos spotlighting easy-to-buy accessories like V-logoed sandals and rectangular handbags.

Notably, Sabato de Sarno, the still newish creative director who replaced Michele at Gucci, seemed to be shrugging off his own restraints. Neither De Sarno nor François-Henri Pinault, CEO of Gucci parent company Kering, spoke to the press after the show, but the collection was a departure from the brand’s recent strategy of focusing on classic, trend-agnostic pieces that cater to older, wealthier clients.

De Sarno’s surf-inspired offering bounded between skin-revealing mesh polo shirts, skimpy thigh-high shorts and camp-collared shirts with blooming hibiscus flowers prints. It would be hard to imagine much of it on anyone over 29. (Actor Paul Mescal, 28, was already in the front row in a pair of those shorty shorts.)

Youthful abandon was the theme at Gucci’s mightiest Milanese competitor, Prada. “Sometimes when you get older you start to overthink a lot and you limit yourself,” said Raf Simons, who is co-creative of the brand with Miuccia Prada , the grand doyenne of Italian fashion. “When you are young, you just go. We like that spirit.”

Models wore navel-exposing shrunken sweaters and pre-wrinkled sportcoats, a seeming nod to teens who haven’t yet learned the wonders of ironing. A lurid palette of hot pink and electric blue spoke to juvenile fashion experimentation.

Throughout the long weekend in Milan, the feeling settled in that this new, shoutier tone was a necessary course correction during an unsteady period for the apparel industry, and really, Europe at large.

The chatter of the front row centred on this month’s European Union elections which saw a surge in support for right-wing candidates, catching pundits and leaders like French President Emmanuel Macron by surprise. Inflation also remains stubbornly high.

Pressingly, for the fashion world, some of the world’s largest luxury labels have been reporting a glut of unsold products and a dearth of shoppers. Past strategies don’t seem to be working and one could tell that brands were ready to try anything to spur shoppers to spend a bit more.

Even at Zegna, a label so synonymous with quiet luxury that the cast of “Succession” wore it on that money-mad show, the clothes were more conspicuous. In between its Learjet-bound sotto voce suits, one found vivacious coral patterned jackets in blue and yellow.

“For sure playing more with colors and prints, we had fun,” said Zegna’s artistic director Alessandro Sartori following his show. “It’s a sense of freedom that I wanted to express.”