Peter Tully

Tully was born Peter Graig (a spelling mistake in the birth register) Tutungi in Carlton, Melbourne on 17 December 1947.[1] At the age of five Tully's family moved to the beach resort of Lorne in Victoria. Of Arabic/Egyptian origin, his grandparents had migrated to Australia between the wars and anglicised their name to the more acceptable Tully. At the age of 16 Tully moved to Melbourne, first working as a clerk, but later moving into display, making props for Public Benefit Shoes, and later with a German display company.

In 1969 Tully, accompanied by the fashion designer Linda Jackson and her partner, the photographer Fran Moore, went to live in Lae in Papua New Guinea. After a year living in Lae the three set out on the hippy trail to Europe, spending much of 1970 and 1971 travelling through South East Asia, including the Philippines, Indonesia, Bali, Thailand, Malaysia and Singapore. In 1971 Tully arrived in Paris, where he taught English, and undertook trips to the Netherlands and Spain. It was in Paris that Tully became particularly impressed by the collections of African and Oceanic art. In 1972 Tully met up with Linda and Fran in London, before he made his way back to Australia, via Egypt, Sudan, Ethiopia, Kenya and India. During this return trip he was particularly impressed by the use of leather and non-precious materials in jewellery in Sudan, and the sale by weight, rather than workmanship, of jewellery in Ethiopia. Meeting up again with Linda and Fran in Thailand, he returned to Melbourne in 1973.

Tully and McDiarmid moved to Sydney in 1975, joining their Melbourne friend and creative collaborators Linda Jackson, and her partner Fran Moore, who had moved there in 1973. This period also saw McDiarmid, Tully and Jackson collaborating with Melbourne fashion designer and retailer Clarence Chai and Sydney-based fashion designer and retailer Jenny Kee. After their move to Sydney with Tully and McDiarmid were soon involved with Kee's fashion store Flamingo Park in Strand Arcade, hand-painting fabrics for Jackson’s dresses.[2] His experience of traditional tribal cultures through many years of travel in New Guinea, Africa and India - along with the vibrant and creative urban sub-cultural 'tribes' he saw New York - stimulated the development of his 'urban tribalwear'.

In 1977 Tully held his second one-man exhibition, exhibiting his Australiana-themed jewellery at Paraphethana Gallery.[3]

Tully was undoubtedly the most influential designer involved with the Sydney Gay and Lesbian Mardi Gras, through his role as artistic director from 1982-1986[4] and through the establishment and management of the Workshop. It was in these roles that Tully greatly contributed to the transformation of the Mardi Gras from a political march to cultural event.

He once said of the legendary Paradise Garage disco in New York: 'It was about 85% black and very exciting. They played the best music I'd never heard and the people dressed. Even though they didn't dress expensively, they had lots of style. They could wear a paper bag and look like a million dollars. And they really impressed me. So that was the impetus to get into costume.'[5]

In 1973 Tully met the artist and activist David McDiarmid,[6] becoming lovers for the following two years, and remaining friends and collaborators till Tully's death in 1992.

Tully died in Paris in August 1992 from an AIDS-related illness, at the age of 45.[7]

Tully's work is held in numerous collections, including:

• Australian Queer Archives, including personal papers, jewellery, designs, photographs, posters etc.
• National Gallery of Australia, Canberra
• National Gallery of Victoria, Melbourne
• Art Gallery of South Australia, Adelaide
• Queensland Art Gallery, Brisbane
• Newcastle Art Gallery (Newcastle Regional Art Gallery )
• Powerhouse Museum, Sydney
• State Library of Queensland, Brisbane
• The Museum of Fine Arts, Houston

• Adamson, Glenn, and Jane Pavitt. Postmodernism: Style and Subversion, 1970-1990. London: V & A, 2011.
• Gray, Sally. Friends, Fashion & Fabulousness: The Making of an Australian Style. , 2017.