CWC Spotlight: Georgia Cannon, Interior Designer

This week we’re back with another profile of one of our members: Georgia Cannon, director of her own interior design studio, which focuses on small-to-medium-scale boutique residential and commercial fit-outs. Enjoy reading about Georgia’s story and swooning over her lovely work!

What path did you follow to what you do now? 

I remember designing geometric houses for friends and family on graph paper in Year 5, so I guess this path was somewhat predestined!

After faffing about for a bit post-school with a gap year and some indecision between studying architecture and interior design, I completed a Bachelor of Built Environment (Interior Design) in 2007. From there I worked in a couple of formative roles: one based in Brisbane for a multi-national, multi-disciplinary studio, with a quick stint in their Bangkok office, and another in a Melbourne-based studio that also involved a bit of time spent in their Sydney office. It was whilst I was living in Melbourne that I realised I would love to head home to Brisbane and do my own thing. That was at the end of 2012 and it's been a steep but ultimately rewarding learning curve since then!

What does a typical day involve for you? 

Clients often think the life of an interior designer is all about glamorous shopping trips, but in reality there’s a lot of sitting in front of the computer! A typical day starts with going through my weekly to-do list and prioritising action items for that day. From there, it could be meeting with clients or reps; visiting showrooms or work sites; sketching, drafting, scheduling or responding to emails; bookkeeping or updating social media (which usually falls to the bottom of the list!).

What have been one or two favourite recent projects or commissions?

Pitch and Fork café is a recent project that was small but wonderful to be a part of. The tenancy is situated within a beautiful new building on a site that has great local history. My clients were fun to work with and really trusted in the design process.

Pitch and Fork café (image by Cathy Schusler)

What’s the biggest lesson you’ve learned in your work? 

Interestingly, when I first started out, all of the advice I received was to say ‘yes’ to everything. But as I’ve moved through the teething part of starting a business, I’ve really learned the value of saying ‘no’ when you need to. It can be nerve-wracking the first few times you do it, but if you say no to that project that doesn't quite fit with your ethos, it means you’re ready, available and enthusiastic when the right one does come along.

What are your plans for the future?

Mid-year we’ll be moving into a beautiful new studio space with some of our favourite Brisbane creative, so that will be super exciting! On the project front, I would love to have the opportunity to design a boutique hotel.

Church House (image by Cathy Schusler)

What are you or have you recently enjoyed… 
…watching?

We don’t have a television in our home but we do watch a bit of Netflix on the iPad and I tend to gravitate towards embarrassingly trashy TV for a bit of escapism.

…reading?

I currently have three books on the go: Blink, by Malcolm Gladwell; Insomniac City, by Bill Hayes; and The Win Without Pitching Manifesto, by Blair Enns.

…listening to?

I listen to a broad range of music. If you were to take a snapshot from the last twenty-four hours, you would have heard the Internet, Tina Turner, Justin Timberlake, Diana Krall, Masego, Elder Island, Jose Gonzalez, Oddisee and Miles Davis, but in the car I usually listen to ABC Classic FM.

M2 House (image by Toby Scott)

Can you list for us your top resources across any media that you turn to when you’re in need of creative inspiration?

I love Nowness [an online video channel], in particular the In Residence and Great Gardens series. I also love looking through old design magazines and books. Everything old is eventually new again!

What drew you to becoming a member of CWC?

I had recently returned to Brisbane to start my own business and CWC seemed like a lovely, supportive community of like-minded women that it would be a privilege to be part of.

What do you enjoy or value most about being a member?

I really enjoy checking in to the members-only Facebook group to see what other members are up to, hear about their triumphs and challenges and, most importantly, how other women have tackled those challenges in their own practice.

What is the best advice you have ever received, and what is the one piece of advice you would offer to a young artist, maker or designer?

Trust your instincts. Sometimes in the creative realm it can be difficult to explain to a client why what you’re proposing to make or do is right for them, but if you’ve fully engaged in the briefing process and done your research, sometimes you just have to have the confidence to ask them to trust you.

To find out more about Georgia, visit her website and follow her on Instagram (@georgia_cannon).

Opening photo: M4 House (image by Cathy Schusler)

Phoebe Miller is a member of the CWC Board. Her professional background covers experience in marketing and communications for the corporate, arts and not-for-profit sectors. She also ran her own creative side project, designing and making accessories under the moniker Simply Phoebe. Follow her on Instagram (@simplyphoebe).

Interview with Claire Harris, Filmmaker

When we heard about a recently released independent film called Zelos, made by a majority female crew, we were intrigued. We figured our members and followers would be too, so we had a chat to the woman behind it all, Claire Harris.

Like many creative pursuits, the career path of a filmmaker never seems straightforward. Tell us a little about the journey that led to where you are now?

My journey was particularly unusual - prior to making Zelos I'd never worked in the industry, never made a short film and never even set foot on a film set. After finishing my degree in film, I went travelling for ten years, working in various odd jobs in different countries and backpacking in between. I 've written travel articles and short stories but I wanted to write a screenplay. I returned to Australia to study at the Australian Film Television and Radio School where I met the director. It was never my intention to produce a film, but we just decided to go ahead and make it ourselves. 

Without giving away any spoilers, what is your film, Zelos, is about?

In a nutshell, it explores the aftermath of an affair and the corrosive effect of jealousy on a relationship. It's about a couple in their thirties - the girlfriend Sarah returns from an overseas holiday, and her boyfriend Bernard finds out she has been unfaithful while she was away. To save the relationship, she insists that he also sleep with someone else. He has to decide whether to go through with the infidelity - and if he does, then with who?

What was the inspiration behind the film?

I get asked a lot if it's based on a true story... The events didn't unfold in my life the way they do in the film, but when I started writing it I was in a long term relationship and I was thinking about the way that every couple has to navigate jealousy one way or another. It doesn't mean that there's always infidelity, but when you've been with someone a long time, you'd be lying if you said you didn't at least think about the possibilities. The more I talked to other people about this, especially couples in their thirties who are thinking seriously about their future with their partner, the more I realised that everyone had a story to tell on this theme.

The film is written and directed by women, but centres around a male protagonist. How do you think this impacts the story and the way it is told?

The approach to the main character's journey and even the look and feel of the film would probably be quite different (our cinematographer is also a woman). But I find it very hard to generalise, as no two people would write, direct or shoot this film in the same way - no matter what gender they are. I'm often asked why I wrote a male protagonist, and it makes me wonder whether men who write female protagonists get asked about it to the same extent. But I'm keen to write more female-centred stories in the future, because I realise the importance of redressing the imbalance.

Zelos film still

In addition to the writer and director, most of the crew were also women. Is this unusual in the industry and if so, how do you think it impacted the filmmaking process?

I've never really worked in the industry, but from what I've heard this is very unusual! We didn't necessarily set out to have a majority-female crew, but starting with a female writer/director/producing team, we found that the project naturally seemed to attract other women. I think this created a pretty unique dynamic on the set, working with a mostly-female team.

What is the best advice you have ever received, and what is the one piece of advice you would offer to a young female filmmaker?

I'm fortunate enough to have a mentor in the industry who gives me ongoing encouragement, support and advice. One of the most important things I've learned is to keep things in perspective and remember that your first film is for making mistakes and growing from the experience... The advice I always give is to be extremely careful who you work with. Filmmaking is a very intense and stressful process, it's a lot of hard work and it takes a long time. Trust your gut instincts and choose people who are in it for the long haul because the last thing you want is to be left doing all the work by yourself. And for god's sake, don't listen to the people who tear you down.

What project are you working on or do you hope to work on next?

Now that my producing role on Zelos is winding down, I'm excited about having more time just to focus on writing again. I'm working on a bunch of writing projects : including developing my next screenplay with a producer, and finishing up some prose writing that I had to put on hold for the film.

Claire Harris

What are you or have you recently enjoyed…

• Watching? Lovesong - written & directed by So Yong Kim

• Reading? Half of a Yellow Sun - by Chimamanda Ngozi Adichie

• Listening to? Anything by Mercedes Sosa

Which female creatives inspire you right now?

When I grow up, I want to be Miranda July. I love that she writes across various forms: films, novels, short stories, and always stays true to her own wacky style. 

Closer to home, I recently met Melbourne-based actor/writer/director Saara Lamberg and am absolutely in awe of her tenacity.

How can people find out more about the film and where to see it?

For a sneak peek, catch the trailer here. For details of our upcoming digital release, check our
website or follow us on Facebook or Twitter.

Collaboration story: A fresh dining space on a tight budget

Yvonne Meng and Amber Laing of Circle Studio Architects in their completed interior fitout for Melbourne social enterprise Free to Feed.

Our most recent Melbourne Members' Morning Tea was held in the brand new Free to Feed dining space in Northcote. It was a unique event for our event host and Board member Yvonne Meng, as her architecture firm, Circle Studio - that she runs with fellow CWC Member Amber Laing - was the creative force behind the design of the interior fitout!

We spoke to Yvonne about the project, the challenges of working on a tight budget for a social enterprise, and what they learned through the process.

What’s your architecture specialty and why were you drawn to work with Free to Feed?
We aren't bound to a particular typology but we try to take a collaborative approach to design. Amber and I like to work closely with people to make sure their project reflects them well. I was drawn to Free to Feed because Loretta and Dan have such a passion for their work, and it's really infectious. What attracted me most were the initiatives do with refugees and new migrants. Being the child of migrants myself, I remember seeing how difficult it was for my parents in the 80's to make sense of a new country and navigate work. I love that an organisation like Free to Feed exists to empower, provide entrepreneurial support and help people have agency in what they do within a community. 

Before: What the space looked like when the lease was signed

Installation begins

What was the brief for the fitout and what mood/vibe were you aiming for?
The brief was to create a space which could be used in a variety of ways from sit down dinners, casual lunches, displaying and selling spices, presentations, workshops, cooking classes and more. It also had to be able to be packed away when needed, and there needed to be enough flexibility for the space to evolve as Free to Feed grows. For this, we designed modular trestle-style benches and fold-down tables which can be cleared out of the way or re-arranged as needed. Keeping the cooking classes in mind, we needed to bring power to the centre of the space. To do this neatly we adapted some light fittings to hold power points instead of globes so they were practical as well as decorative. When we sat down to discuss the mood and vibes we were hoping to achieve, we were drawn to this one particular image on our shared Pinterest board of a spice market with lovely earthy tones, pinks, and terracottas. This became the basis for the palette which ran through the interior and the aim was to create a workspace which was warm, bright and also a bit playful. 

The mural goes up!

What strategies did you employ to get the most out of a social enterprise budget?
Free to Feed were lucky to have received some very generous donations from people who believed in their work. Anchor Ceramics provided 10 terracotta pendant fittings, and Spencer Harrison painted the mural on the wall. Without these, the space as it is would not have been possible. We needed bang for buck for this project and paint is such a great cost-effective way to transform a space, so to help differentiate zones we used blocks of colour on the walls which picked up on the colours in the mural and light fittings. The benches are cut from full off-the-shelf sheets of ply and dimensioned so that there was minimal cutting required and no offcuts. Unless it was absolutely necessary, we tried not to move any plumbing, gas, and electrical and we repaired the wall linings instead of ripping them off. Luckily for us, underneath the laminated floor of the original shop was a fabulous terrazzo flooring which was still in good nick. 

Were there any special considerations/challenges?
Time was a challenge on this one. There was a very short period to get the design and drawings done, appoint builders and then get the thing actually built. The builders, Ampson Developments, programmed the works really well and kept things going at lightning speed to hit the completion date. From our side, we issued general drawings at the beginning - enough to get a quote on and get started - and then developed details simultaneously as construction occurred to save on time. Projects like these really make you appreciate the value of having a good collaborative team who are communicative and on the same page. The finished space did differ a little from the original concept as things had to fall away or change, but that's normal for any project! It reached completion just in the nick of time - the day after the builders moved out was the first dinner event. 

What did you learn through the process?
You don't need need to make drastic structural changes to make a statement when working with existing buildings. Work with the bones that you've got - do little, but do it well. You can achieve a lot with a small budget that way!

The final space!

'Before' photos by Yvonne. 'After' photos by fellow CWC Member, Jade Cantwell.

CWC Spotlight: Rhonda Pryor, visual artist

Last month we introduced a new monthly feature in which we profile one of our amazing CWC members. Following from our interview with long-time member Louise Jones, we thought it would be fitting to turn the spotlight onto a brand-new member. We hope you’ll love learning about Rhonda Pryor, her work and her creative path as much as we did!

What do you do or make?

I make 2 and 3D artwork and installations in which used textiles are often a feature. My work always relates to memory in some way, and sometimes I include photography in the mix somewhere. I find memory a limitless source of possibility. I also teach workshops.

What was the path you followed to doing what you do now?

I originally trained in fashion design, worked in the industry for several years, and then studied painting and photography at the College of Fine Arts (now UNSW Art and Design). It wasn’t until returning to university to do my Masters of Fine Art that my choice of medium changed (or, more accurately, returned) to textiles. It was then I found my interests really lay in ideas of time, and how we interpret memory. Textile is the perfect medium for this.

What does a typical day involve for you?

After duly processing and dispatching the family, I generally do a bit of email catch-up in my pyjamas before getting some exercise out of the way. Family admin follows, and then I’ll typically re-jig my to-do list and get down to writing (proposals, workshops, etc.) or continue working in the studio on whatever I’m involved in. I tend to get bogged down in research but once I’m in studio mode it’s hard to stop. I find it difficult to manage studio time, teaching, admin and all the other stuff that goes along with running an art practice. Somehow it all gets done, though. Evenings are generally taken up with family stuff but I do tend to continue with some writing, research or studio work in between.

What have been one or two favourite recent projects or commissions?  

I had the most amazing residency in Japan in 2016 (funded by a grant from the Australia Council for the Arts), learning about indigo, shibori dye methods, silk harvesting and making, and antique Japanese textiles. It really resonated with my practice of employing used fabric into my work, sifting through notions of memory and personal and cultural value.

Detail of Armchair Critic, by Rhonda Pryor

What’s the biggest lesson you’ve learned in your work? 

Not trying to be perfect. In fact, I’ve learned to value imperfection more and more. I’ve always loved wonky, odd or mismatched things. Now I have an outlet for it! In any case, trying to be perfect only clams you up, stifles your creativity and makes you a miserable stress-head. Use your mistakes as a method of discovery, another way to do things, a different direction, a new product…

What are your plans for the future?

I’d like to manage my time better so I can spend more time making in the studio. I’m always looking for time management tools to help in this regard. After much trial and error, I think I’m at last getting some procedures in order that (thankfully) work for me and my lifestyle. I’m also working toward more exhibitions and artist residencies.

What are you or have you recently enjoyed...

...watching?   The Crown, The Handmaid’s Tale. Completely sucked in.
...reading?   Working Class Man, Working Class Boy, Alone in Berlin, The Last Girl. I lean toward nonfiction, or fiction based on reality.
...listening to?  Radio National interviews. The radio is always on, unless I have serious thinking to do and need silence to hear myself think. My husband has the most amazing musical ear so we have lots of styles we listen to, but in the studio it’s Radio National.

Can you list for us your top resources across any media for creative inspiration? 

In print media, Selvedge Magazine. Online, it’s Trend Tablet, Garland Magazine, Hiut Denim’s newsletter. All full of inspiring stuff.

What drew you to become a member of CWC?

I wanted to mingle with like-minded individuals with a view to possible collaborations, expanding my profile and gathering business tips and ideas.

What is the best advice you have ever received, and what is the one piece of advice you would offer to a young artist, maker or designer?

Mistakes are learning tools. Learn from them and find a way to use them to your advantage. Also, trust your own judgment. If you believe it’s good, it is. It’s your vision, not someone else’s. That said, always be receptive to constructive criticism. You can choose to reject it but always listen. Listening is underrated.

To learn more about Rhonda and her work, visit www.rhondapryor.com and www.rhondapryor.wordpress.com.

Phoebe Miller is a member of the CWC Board. Her professional background covers experience in marketing and communications for the corporate, arts and not-for-profit sectors. She also ran her own creative side project, designing and making accessories under the moniker Simply Phoebe. Follow her on Instagram (@simplyphoebe).

The courage to be creative: Q&A with Jamila Rizvi

Courage is something creatives grapple with on a daily basis. Taking a leap, putting yourself out there, choosing the path less traveled: no one said it was easy! How can we worry less—and leap more?

Jamila Rizvi is someone who knows how to leap. In 2017, Jamila was one of the Weekly Review’s top ten young rising stars in Melbourne. And no wonder: she’s a columnist for News Limited; a radio host; a commentator on such shows as Today, ABC News Breakfast and Q&A; a published author (of Not Just Lucky, published by Penguin, and an anthology of letters called The Motherhood to be released this year); even an ambassador for CARE Australia. And that’s just the short version.

We asked Jamila for her thoughts and advice about being courageous. Here’s what she had to say.

In your upcoming event ‘Tea with Jam and Clare’, you and Clare Bowditch will celebrate creativity and courage. Why did you decide to focus on these themes?

Creativity is at the heart of what both Clare and I do. While many of us foolishly associate creativity only with the arts, the truth is creativity lies at the center of all that is beautiful and all that is innovative. And yet, as powerful and glorious as creativity is, many of us fear we’re not made for it, that we can’t do it, that it’s not for us. It takes courage to be creative, but if we’re able to find and harness that courage? That’s where brilliance begins.

Clare Bowditch (left) and Jamila (center) welcome Zoë Foster Blake as a special guest at their upcoming event, Tea with Jam and Clare.

You have pursued many creative ventures, from writing to television. Which venture has taken the most courage?

Both Clare and I have pursued creativity in many ventures: Clare in the more classical realms of music, performance, and more recently in writing, and myself in journalism, business and yes, government policy. The truth is that creativity is important and relevant to every sphere of work and human endeavour. For me, the venture that required the most courage was leaving the safety and financial security of full-time work for the independence of freelancing.

Have you ever taken a creative risk that failed?

Oh so many times! Creativity requires risks and also requires of us the courage to get it disastrously wrong and begin again. This sounds rather roundabout, but for me the biggest failures have come from not taking creative risks. They’ve come from being afraid to take the leap and trust my instincts and let creativity take its course. Creativity is stifled by a fear of ‘what others may think’ and that’s where my failures tend to eventuate.

How do you gear yourself up to take a creative risk?

I am not an impulsive person; I am a natural planner. However, I tend to spend a long time thinking about a creative risk or a new endeavour before I begin. I think, and think, and think and think again—and often appear disastrously unproductive. But when I do take action at the end of it I am decisive and fast.

In her book Big Magic, Elizabeth Gilbert says that although fear is something all creatives must learn to live with—that it will always be ‘in the backseat’ of our car—the important thing is to not let it drive (or touch the road maps, suggest detours, fiddle with the temperature or touch the radio). Do you find this a helpful way to think about dealing with fear?

I found Elizabeth Gilbert’s book tremendously helpful in this regard. Sometimes we can get so caught up in our own heads that it inhibits the purity of a creative idea. It stifles it, suffocates it and eventually, it kills it. The key is to just ‘do the thing’. There always comes a point when the planning or thinking or worrying comes to an end and you Get. On. With. It. Never let the fear of being less-than-perfect stop you from doing what’s important.

How can you tell if fear is simply ‘fear of failure’ versus a gut instinct that should be listened to?

I write about fear of failure in my book, Not Just Lucky. I think it’s always important to determine the genuine cause of fear because for most of us, fear of failure is actually fear of public failure; we fear failing in the eyes of others. If we were allowed to fail quietly and privately then we probably wouldn’t be fussed. Ultimately you have to ask yourself: is the opinion of others more important than the creative work you want to do? Probably not…

Do you have people you rely on for support when considering a creative risk?

Clare and I certainly rely on one another because we’re close friends as well as professional collaborators. I always use my husband as the commonsense check and my father as the strategic check. They reign in my freewheeling creativity and excitement when necessary. They also know me better than anyone else, so I trust their judgment implicitly. Often they help create a framework I can use to analyse a decision, or point out the flaws in my logic or plan.

What is the next big creative risk you have planned for 2018?

We launch Tea with Jam and Clare in March and I have high hopes that this won’t be a one-off event but the start of something extremely special.

Is there something you would love to do but haven’t quite got the courage?

I would love to write fiction. I’ll let you know when—or if—I ever tackle that fear.

Any final words of advice for readers struggling with fear about taking a creative leap?

Stop worrying about what other people might think. Nobody is paying as close attention to you as you are, so do what makes you happy.

Jamila Rizvi’s new event series with Clare Bowditch—Tea with Jam and Clare—launches on Tuesday 20 March at the Melbourne Town Hall, with special guest Zoë Foster Blake. Tickets are available at trybooking.com. For your chance to win a double pass, pop over to the CWC Instagram and/or Facebook accounts!

Julie Mazur Tribe is the CWC blog editor and a book-publishing consultant who loves working with authors, books, and creative ideas. She can be found at BrooklynBookStudio.com and on Instagram at @brooklynbookstudio.

CWC spotlight: Louise Jones, textile designer

We know our readers love to learn about other women’s creative lives and journeys. So, we thought it would be fitting to introduce a regular interview series shining the spotlight on our very own creative ladies: our CWC Members!

Louise Fernando

We’re kicking off with Louise Jones, a textile designer from the Dandenongs in Melbourne who has been a CWC Member since 2012. Enjoy the interview! If you’re keen to learn more about Louise, don’t forget to check out her CWC Member Profile.

What do you do or make?

I specialise in original artwork for fabric, wallpaper, interiors and soft furnishings. I use a combination of different mediums in my practice, including watercolour illustrations and my own original photography.

What was the path you followed to doing what you do now?

After graduating with a Bachelor in Communication Design in 2007, I started my career in a boutique design studio. I soon realised my passion was illustration and pattern design as I was doing a lot of illustrative designs for retail and hospitality clients.

In 2010, I took the plunge into freelancing doing traditional graphic design work, whilst trying to work out how to break into pattern design industry specialising in interiors. My friend, Shelley Steer (a textile designer/illustrator), and I were becoming frustrated with the limited opportunities, so we decided to create our own pattern designs. We started a Tumblr blog called A Side Project, where we posted one pattern per month based on a monthly theme, along with developmental work and other inspirational posts. Some of my pattern designs gained recognition and I started to receive commissions from big companies such as Abercrombie & Fitch. Whilst working on other exciting commissions and other collaborations, I was building my own pattern library, which allowed me to follow my dreams of creating my own textile range specialising in interiors.

What does a typical day involve for you?

There is no typical day for me, as I manage parenting and running a business. I’m extremely fortunate to have a supportive family, which allows me two days a week in my studio. I aim to do all my creative work and planning on my ‘studio days’, whilst leaving all admin/emails for nighttime or whenever I can steal a few minutes during my parenting days. I like to visit local gardens and galleries during the week with my young daughter, Grace, as she also loves to discover new flowers and explore new spaces.

What have been one or two favourite recent projects or commissions?

Launching my new website, logo and online store along with a new fabric design, Dreamscape. I worked with some very talented people to launch my website, including Dylan McDonough, Atelier Upholstery and CWC members Martina Gemmola and Ruth Welsby (dream team!). I worked with Martina and Ruth to shoot some bespoke furniture pieces I had sourced to launch the Dreamscape design. The furniture pieces ranged from art deco to mid-century styles, all upholstered in Dreamscape colourways, along with ottomans and cushions. It was such a treat to work with other talented creatives on the launch of my website and online store. I have learnt that a lot of planning, sourcing, and general work goes into creating products and selling them online.

Dreamscape Copper cushion, by Louise Jones Design

What’s the biggest lesson you’ve learned in your work?

Understanding licensing and setting up proper agreements and contracts with clients has been the biggest learning curve for me. I have learnt to not undervalue your work and time, because not only does it affect your own creative work but it also impacts others in the creative industry.

What are your plans for the future?

I’m expecting a big year with my second baby arriving in March, so it will be a bit tricky working out new routines with family and work life. I plan to continue promoting and building my textile range in the interiors world by collaborating with other creatives, branching out overseas with international representation, adding a wallpaper range, sourcing more vintage pieces to showcase my fabric, and maintaining an online store of cushions and other soft furnishings. I’m also planning to put a dream project of mine into action later in the year, which is to collaborate with a furniture maker to create custom furniture pieces featuring my textile range.

Glass pendant lamp featuring Louise's Tropical design digitally printed on glass panels, designed by Italian industrial designer Francesco Favaretto for Italian lighting company Torremato.

What are you or have you recently enjoyed…

• Watching? Shameless, Fargo (all seasons), Narcos

• Reading? The Handmaid’s Tale

• Listening to? Arcade Fire, Whitney Houston (my 3-year-old daughter is obsessed)
  

Can you list for us your top resources across any media that you turn to when you’re in a need of creative inspiration?

• Instagram: I’m finding a lot of inspirations from contemporary florists, interior designers, stylists and furniture makers.

• Design magazines like Vogue Living, Architectural Digest, Belle and Habitus Living.

• Design blogs such as Sight Unseen and Design Milk
  

What is the best advice you have ever received, and what is the one piece of advice you would offer to a young artist, maker or designer?

Don’t be afraid to say no to paid jobs or projects that won’t lead you to your dream job, as it will only hold you back and delay you from doing the work you want to do. It took me a while to learn this, but once it became clear as to what I really wanted to do, I started to verbalise my dream job out loud to others as a way of making a public commitment. This made it easier to decline projects that weren’t aligned to where I wanted to go with my work.

What do you enjoy or value most about being a CWC member?

I love the speaker events. I find those afternoons to be such a great inspiration to hear the speaker's stories, and what works and doesn't work for them. And just catching up with familiar faces afterwards and having the opportunity to meet new creatives. 

To learn more about Louise and her work, visit her CWC Member Profile, her website and her wholesale textiles gallery.

Phoebe Miller is a member of the CWC Board. Her professional background covers experience in marketing and communications for the corporate, arts and not-for-profit sectors. She also ran her own creative side project, designing and making accessories under the moniker Simply Phoebe. Follow her on Instagram (@simplyphoebe).

Photo of Louise Fernando by Sarah Collins from Work & Co Photograph

Tips for launching a new creative venture

Is your dream for 2018 to finally launch your creative business? We asked four creative business owners (and CWC members) from a range of industries to share their top tips for getting a venture off the ground.

It’s never too late

Kellie Robinson, photographer and owner of Colour of Life Photography

Kellie Robinson Photo by Vicky Palmieri Photography

I am a lifestyle photographer based in Trafalgar, Gippsland, and I launched my business, Colour of Life Photography, in 2013. Photography has been my passion for—eek—25 years, but I fell into an unrelated field after my schooling. The arrival of my children made me determined to make my hobby a career. I still marvel that I get to do this every day and that I built this myself.

What do you wish you knew when you launched your business?

That I didn’t have to spend all the money and have all the gear. If I had kept it simple from the beginning and stuck with what my heart was telling me, I wouldn’t have done a big circle back to where I began (with lifestyle photography). By keeping it simple and perfecting the gear that I had, I would have saved a lot of money, time and effort. But then again, it brought me to where I am now, so all lessons are good, aren’t they?

What has been your biggest obstacle and how are you overcoming it?

Seeing myself as an artist. I studied photography when I was in high school but I never considered myself an artist. I can’t paint… I can’t draw… I just like taking photos. I still have that stuck in my brain. It took me over twenty years to call myself a photographer and I still pinch myself when I do, so baby steps for me I guess. In the meantime, I’m continuing to educate myself and practice my craft. If I have learnt anything, it is that it is never too late. It wasn’t too late for me to make my hobby a career and it won’t be too late for me to call myself an artist when the time comes.

What is the best advice you received when launching your business?

Ask questions. Don’t be afraid to seek out support from like-minded people. You don’t have to sit in solitude if you are a solo entrepreneur—there are so many supportive individuals out there to help you in all aspects of your business.   

Photo by Kellie Robinson

Delegate and trust

Suzan Freeman, owner of Where Things Happen letterpress print and design studio

My love of letterpress printing began in the 1990s while studying design at the University of Newcastle. After graduating, I escaped to Sydney and London, working in print (packaging, design and advertising) and later at integrated agencies. Since moving back to Newcastle and becoming a mother, my desire to build a business doing something I loved became very important to me. I thought it would mean saying adios to the long hours and stress of working for the big fellas (she says typing at 11pm on a Monday night).

In 2011, a designer friend and I found an 1852 Albion hand press for sale in a scrap metal yard on the outskirts of Newy. We fell in love. Since then, I have been gifted a 1920s Arab treadle press and managed to buy a black ball 1940s Heidelberg platen. I love working with each press, finding out about its individual abilities and temperaments. I also love collaborating with other creatives who have a passion for making things happen. Every day is different. I hope I never stop learning and evolving.

What do you wish you knew when you launched your business?

I wish I had more confidence in my own abilities. It’s taken many hours of unpaid work to develop the techniques and an understanding of each press; sometimes there aren’t enough hours in a day.

What has been your biggest obstacle and how are you overcoming it?

Knowledge. There are fewer and fewer people to ask. Some retired printers are amazing and have gone out of their way to help me, while others are simply not interested. Let’s face it, it’s a male dominated industry and I’m regularly asked if I have a handy boyfriend or husband (insert eye roll).

What is the best advice you received when launching your business?

You can’t do everything, so find help from people who are specialists in their own areas. Delegate and trust.

Letterpress work by Where Things Happen.

Don't take on projects that don't feel right

Allison Smith, architect and director of Studio 15b

Studio 15b is a small architecture and interior design practice. I started the business as the founding director in 2013. We aim to provide a practical approach with our small team giving personalised service and individual attention to each project. We have a wide variety of experience in residential, multi-residential and business fit-out projects.

What do you wish you knew when you launched your venture?

Being the sole director of the business means you can never totally switch off. It’s difficult to take a holiday without having to do some work and to keep one eye on the business. This is one aspect for people to consider before taking the big step of starting a business. On the reverse side, there are many advantages, such as having the flexibility to work the hours and times that suit my lifestyle. I’m very glad to have taken the plunge.

What has been your biggest obstacle, and how are you trying to overcome it?

Having a baby while running a business. I managed the hardest part by being extremely organised, having huge commitment to the challenge (working nights, weekends and any chance I got), dedicated staff plus a supportive husband and grandparents.

What is the best advice you received when launching your venture?

An older, wiser architect once said to me, 'Don’t take on projects that don’t feel right for whatever reason.' He said you are better off sitting on a beach earning nothing and enjoying life rather than dealing with people who don’t respect you or projects that are not adding value to your business in some way.

The Golf House project by Studio 15b. Photo by Christopher Frederick Jones