Establishing your creative niche in a crowded marketplace: why the world still needs you

We’ve all been there.  Watching wistfully from the sidelines at our competitors’ online followings, high-profile customers and sales, or all-round enviable lifestyles as we mildly indulge in cyberstalking them (social media reflects reality, right?).  Then it hits: retreating into a cloud of paralytic inferiority, we wonder why we ever believed in achieving something similar. Surely, there can’t be space for us in a crowded marketplace already served so well?

The good news is that we are not alone in feeling this way – but what will define our careers is whether we stay in this place, or choose to move through it.  The bad news: in case we were hoping to copycat our way along, true and lasting success is all about authenticity, and will require us to dig a little deeper. It’s time we challenged ourselves to release the need to seek attention or to ‘stand out’ in preference of pursuing something more meaningful and lasting – after which, the rest will follow more easily.

Some reasons why you can have confidence to proceed with a genuinely valid product or service, even when the market seems saturated:

• It’s a big world out there, with plenty of potential customers;

• If others are succeeding in your sphere, it proves that there is an audience for it;

• Popular products will always need more than one supplier to keep up with demand;

• Variety is the spice of life! Just because someone (or many others) are doing very similar things, doesn’t mean your product or service isn’t valid.  After all, don’t you listen to music by a variety of musicians, buy clothing from different stores, and drink coffee from many cafés?

Next steps - where should you begin when cultivating a unique identity (ie. branding) for yourself as part of establishing your niche?

1. Know yourself better! Successful creatives have a strong sense of identity and purpose, and truly understand what makes them tick.  Customers and audiences intuitively gravitate to them. What motivates you in this sphere? Far beyond the token ‘finding fame and fortune’ is where the truth lies.  Does your work make you feel incredibly alive, or perhaps express a deep conviction for social justice? Does it allow you to invest in your community, or support working parents? Whatever it is, be brutally honest and know that this purpose must shine through;

2. Allow the most authentic version of yourself to be seen – loud and proud! It’s completely terrifying, but this is where the magic happens. As the saying goes, ‘if you want something you have never had, you must be willing to do something you have never done.’ It is so important to properly establish the groundwork for a distinct branding that people can engage with, believe in and share with others.  Many of us tend to draw the line at this level of public vulnerability and only pursue goals until we can cover our tracks if/when it doesn’t work out. This is one situation, however, where it’s all or nothing;

3. Deeply consider the role of your audience: who they are, what they value, and how you can serve them in a way that aligns with your fundamental purpose.  Authentically honouring the needs of your audience also gives them permission to be the best versions of themselves – and you will see the results.

In consideration of your audience’s needs, can you add value (before they are even your customers)?

You could try:

• offering regular professional insights via email newsletters, a podcast or social media;

• delivering pop-up events or workshops;

• building a community of like-minded people to champion a cause strongly aligned with your product or service;

• situating yourself as a leader in your sphere by inviting colleagues to come together, sharing common concerns and driving initiatives to support your industry or region.

Delivering this level of consistent connection is the key to building your core tribe, and steadily accelerating your career. Treat this relationship with the utmost respect: if customers can get similar products or services elsewhere, they will choose to support you because of the bond you have built and what you continue to offer them. Ensure that potential collaborations or changes in direction remain aligned with this audience (unless you are trying to build a new one). 

As a final note on the true nature of competition with colleagues, I think it’s time we left behind notions of ‘us versus them’. We are all in this together, and innovation within the creative industries is hindered by our fragmented communities and general insecurities. This is particularly evident in Australia, where we are also relatively isolated from the rest of the world. Time spent glancing sideways or undermining each other is time taken from developing the best versions of ourselves and succeeding – which ultimately benefits everyone.

Drawing from diverse backgrounds in health, science and the public art gallery sector, Liesl Harvey’s passion lies where the creative industries intersect with business and audience development. She explores a variety of relevant topics and shares inspiration from around the globe via her Instagram account, @thedailyculturepreneur.

How to choose the best platform for your website

When it comes to designing a website for your business, which platform should you choose? To keep it simple, I’ve narrowed it down to the three platforms I use most: Squarespace, Shopify and WordPress.

Most likely, you want a website that will promote your business, generate leads and ultimately sell your products or services. It might be tempting to only focus on what you want your website to look like — and aesthetics are indeed important to generate an emotional response. But your website ultimately needs to convert visitors into customers, and for this it needs to work well.

What would you like people to do on your website?

Take some time to reflect on the following questions when you start planning your website:

• What do you think potential customers need to see and read to start engaging with you?

• What do you want them to do (such as buy something, sign up, make a booking, etc.)?

• Is there anything you are likely to need in the future?

Once you work out what you need on your website, you will be better able to assess which platform will be most suitable, both in terms of design and functionality.

Squarespace website for Creative Women’s Circle, created by CWC board members

How tech savvy are you?

Assuming you will DIY your website, think about how comfortable you are online, especially when it comes to:

• custom design

• CMS (Content Management System) interface

• customer support

All three platforms offer both free and paid ‘themes’ (or ‘templates’, as they’re called in Squarespace), which you can customise to a certain point using the CMS.

If you choose a Shopify or WordPress theme, make sure you do so from a reputable source. Read reviews and check the developers. The theme needs to be well coded and well supported; otherwise you might end up with a slow site and conflicting plugins.

As far as interface is concerned, WordPress has the steepest learning curve and, unless you have access to a developer, you are pretty much on your own! Being an open source platform, it requires you to take care of everything to build a website. There are lots of how-to resources out there, but think about how keen you are to learn and how much time you have.

Wordpress website for the Grace Files, created by Studio Manusha

Squarespace and Shopify, on the other hand, are ‘hosted’ platforms, which means that not only do they take care of the technical side of things, but they also provide customer support. This is part of your subscription fee, so make the most of it! There is a certain comfort in knowing you are not alone.

Note that with these hosted solutions, you need an active subscription to run your site and you cannot download a full copy of your site. If you decide later to leave Squarespace or Shopify, you will be able to download some of the content but you will need to rebuild your website. You cannot just switch to another host.

Shopify website for Maapilim, created by TVP NYC

So, what do I recommend?

Squarespace is a great solution if you are just starting out, need an information or portfolio website and are on a tight budget.

Advantages:

• Squarespace offers a good range of templates that you can customise with your branding.

• All templates are responsive and work well on all devices.

• There is enough functionality to set up beautiful pages, have a blog, build a mailing list and even run an online store.

• The drag-and-drop interface will appeal to those who are not tech savvy, and you won’t need to worry about technical maintenance or updates, which are included in your subscription.

Limitations:

• You have to work within their templates and functionality, which can be frustrating if you want something specific.

• On the e-commerce side of things, it is not possible at the moment to display multiple currencies, which can be an issue if you sell internationally.

Despite these limitations, the initial investment (in time and money) is usually lower than with other platforms and you can achieve great results.

Shopify is best for retailers. Whether you already have a brick-and-mortar store or are just selling online, Shopify is a comprehensive e-commerce platform.

Advantages:

• It is easy to navigate your way around.

• There are lots of themes available to purchase and customise, and with so many apps to choose from (including free ones), you can really push your online store.

• Unlike with Squarespace, you can access and modify code to design and develop custom layouts. You may need a pro for this but there are plenty of Shopify ‘experts’ available.

Limitations:

• The focus is on the products and the homepage. Any other page apart from those can be bland and a bit difficult to manage, though there is the customization option noted above.

WordPress will suit you best if you want flexibility and are tech savvy.

Advantages:

• You can essentially do anything!

Limitations:

• The flexibility often requires more time and more expertise. However, you can always get help for the initial setup and then learn to manage the site yourself once it is up and running.

Emmanuelle Harrington has been a website producer for more than twenty years. Her focus is on helping small creative businesses find their voice and connect with audiences by creating beautiful websites and providing personalised training. Based in the Adelaide Hills, she works with clients all around Australia. Visit her at studiomanusha.com or follow her on Instagram (@studiomanusha).

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

Are you hearing (creative) voices?

We’re all familiar with the inner critic when it comes to our creative work, but what other sub-conscious voices may be impacting our creativity? I have a theory (influenced by a form of psychotherapy called transactional analysis), that we all have a bunch of internal drives or “voices” vying for our attention in our creative life (an internal dysfunctional family of sorts!).

All these creative voices have a role to play – they’re there for a reason, but frequently they work at cross-purposes creating a sort of chaotic brawl in your head, which isn’t great for your creative mindset, confidence or productivity! As a creativity coach, one of the things I can help people with is to understand their internal creative voices, and help them to play nicely with each other (sort of like family therapy!).

Here’s a quick snapshot of just some the creative voices we have sitting behind the scenes (these are just the main ones – the nuclear family, if you will).

Critic

We all know the inner critic – that loud, judgmental one making you doubt yourself. She’s linked directly with your creative confidence. It’s tempting to dismiss her entirely her, but she actually has an important role to play, and that is to keep you safe. She’s acting on a primitive level where risk equals danger, so she tries to stop you putting yourself in precarious situations (e.g. sharing your work with others where there’s a risk of social rejection).

Unfortunately, she’s not very discriminating, in that she shouts all manner of things at you - both useful critique about your work (e.g. “that paragraph doesn’t sound great - you should move it”), and judgmental, personal comments (“you’re a crap writer – what made you think you could do this!”). Coaching can help you to tune in to her constructive comments and tune out the rest. Once you turn a deaf ear to the negative white noise, you’ll find she’s actually not so bad.

Cheerleader

The opposite role to the Critic is the Cheerleader – that fearless, overly enthusiastic, and carefree voice that tells you that anything’s possible. It’s great to have her positive voice boosting your confidence, proclaiming you’ll be the next Shakespeare or Mozart, but this cheerleader doesn’t spend much time with her feet on the ground, so she’s a little out of touch with reality. Plus her rebellious streak doesn’t care much for your safety, so she’s happy to throw her weight around with little thought for consequences.

Needless to say, Inner Critic and Cheerleader are in constant battle with each other. Like the Inner Critic, her voice matters, but she should only be taken in small doses (plus she can be super annoying at times!), and balanced out with the other voices.

Child

The inner creative Child is a bit all over the place - she can whisper or yell depending on her mood. Like all the voices, your inner creative Child has two sides to her. She can be curious, playful, imaginative and energetic, for example the excited feeling when struck by inspiration, or the bursts of energy you feel when starting a new piece of work. Unfortunately she can also be moody, needy, erratic and egotistical, for example, whining that she doesn’t want to get back to work, or demanding that your partner drop all his prior commitments to pick you up a tube of paint.

There’s different ways to deal with your inner creative Child when she’s cracking it. She can be tricked or bribed into behaving, or you may want to use your inner Competitor to put her in her place.

Competitor

Your inner creative Competitor takes an opposite role to the Child – although both like to play games. Think of your Competitor like a serious athlete. On the plus side, she’s disciplined, focused, organised and hardworking – you get stuff done! She knows exactly what she wants and she’ll do anything to get it, but this level of control comes at a price. This disciplined workaholic can hinder your creative freedom, distance you from other parts of your life, or push you to the point of mental and physical exhaustion. Sometimes the inner Competitor just needs to take a chill pill.

The Competitor-Child interplay is an interesting one. When they’re both at their best, this pairing works really well – your Child helps soften your Competitor’s hard edge, and your Competitor provides the scattered Child with some much needed structure. If these two roles become unbalanced however, things can get messy!

Coach/Counsellor

Your inner Coach is the perhaps the most important role of all because she acts as a central, neutral point between the other voices. Hers is a voice of reason, empathy and objectivity. Think of her like the family therapist working with the dysfunctional family. If your inner Coach is strong, the balance between the other voices will be maintained. She’ll help to bring out their positive sides so they work together, not against each other. If however, your inner Coach is inexperienced or a bit timid, she can easily find herself overwhelmed, and won’t be able to keep the other inner voices in check. At the extreme end this could look like your Competitor coldly dictating to, and attempting to control your Child, who’s flailing around having a massive tanty.

Meanwhile your Cheerleader is running about aimlessly shouting empty motivational phrases (“You can do it – yay!”), and on the sidelines your Inner Critic is on her high horse, looking down on everyone, pointing the finger and shouting insults. Let’s not play this mental game!

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The trick with our creative voices is to listen and acknowledge them all, understand their motivations and differentiate between their constructive and destructive sides. Just like real life family members, we’re stuck with them so we need to learn to live in harmony rather than conflict.

Creativity coaching can help ensure all your voices are heard, understood and their constructive sides developed. Most importantly, creativity coaching can help build up your inner Coach so you can maintain a healthy creative life (and your sanity!).

Bronya Wilkins is a creativity coach and founder of Creative Cocoon, a coaching practice dedicated to helping people connect with their creativity to increase wellbeing and life fulfilment. Bronya is passionate about psychology, self-development, and creative expression. Some of her creative hobbies include dance, graphic design, music composition, and photography. For more about Bronya and Creative Cocoon, visit her website and Facebook page, or follow her on Instagram and Twitter.

A slow fashion success story

Photo by Maggie McGowan, Winnie Duncan from Urapunga, wearing Graham Badari's Nabarlek dja Ngarrbek (Rock Wallaby and Echidna) print.

A social enterprise run by two creative women is bringing fabrics of Northern Territory indigenous communities to the world. Magpie Goose NT is the brainchild of Maggie McGowan and Laura Egan, two young entrepreneurs based in Katherine in the NT.

Maggie and Laura work with Aboriginal art centres in four communities -  Wadeye, Gunbalanya, Tiwi Islands and Maningrida - to produce screen printed fabric, designed by local artists, to be made into women’s, men’s and children’s clothing.

The name is a nod to the classic northern Australian bird, known for its distinct look and quirky behaviour.

“Magpie geese sit on top of mango trees and get drunk on the fermented mangoes,” says Maggie. “That idea is reflected in our brand; we’re bold, bright and strong.”

Maggie came up with the Magpie Goose concept during her travels to indigenous communities in the Territory, working with Aboriginal legal aid.

“I started discovering art centres, particularly the bright colours and patterns of the fabrics made there, and how they told incredible stories of that community,” says Maggie.

“I spent a lot of time going around and having a yarn. Art centres are often the hubs of communities, where artists sit down while they’re weaving or painting, and you can have a chat.”

Photo by Callum Flinn

Feeling disheartened by the underemployment in communities Maggie knew she wanted to contribute in a different way, other than through her legal work.

“There’s so much passion and interest around Aboriginal culture and products, I thought, if I can have my own social enterprise that provided employment opportunities, I could affect change.”

She and Laura pitched their case to Enterprise Learning Projects (ELP), an NT-based organisation supporting inclusive businesses in indigenous communities. ELP funded them to buy 200 metres of fabric to start the production process.

Maggie and Laura went to Bali and had a handful of garments produced in simple designs and started wearing the pieces themselves. At the end of 2016 they did a ‘soft’ launch in Darwin, before all their friends went down south for Christmas. They sold the majority of their pieces, and their customers wore the Magpie Goose garments over summer in other parts of the country, building further interest in the bold designs.

Each design tells a story of people, place and culture.

“There’s definitely a move for slow and ethical fashion and knowing the story behind the clothes you wear. Our clothing is a conversation starter.”

A lightning bolt moment came when Laura was chased through San Francisco airport by people asking her where her clothes were from.

“We then realised that there was a big demand for it,” says Maggie.

Photo by Sarah Mackie.Laura and Maggie (L to R)

The pair started a Kickstarter campaign and reached their target of $20,000 within 24 hours, ending up with over $100,000 of pre-orders.

An important part of the business model is ensuring opportunities for Aboriginal people to be involved, and Maggie says they hope to involve people from the communities that the fabric is produced, through writing stories of the artists and designs; modelling the garments; and liaising with the media.

Maggie says that eventually she’d like to have people in each community employed by Magpie Goose NT.

“Our next steps are to visit all the communities and finding out how Magpie Goose can best work alongside art centres, to enable their growth and provide opportunities as the business expands.” 

Kate Shannon is a freelance writer based in Brisbane after many years living in Darwin. She spends a lot of her time in the garden with her two little girls, and loves writing and learning about creative people, families, flowers, and plants.    

Image credits: Sarah Mackie, Maggie McGowan, Callum Flinn

Taking a leap: going out on your own

I always wanted to be an artist. As a teenager, I had romantic notions of living in a studio surrounded by canvases, paint, red wine, and cigarettes while I suffered for my art. I lived this dream for a while when I moved out of home and undertook a Fine Art/Visual Arts degree straight out of high school. I rushed through my early foundation classes in sculpture and silver-smithing, awaiting my longed-for painting instruction. Alas, after undertaking my foundation course in painting I realised that my love of arts and passion for creating weren't enough. I was surrounded by amazing artists, I was invisible to my lecturer, and my work was far below my expectations. I hadn't learnt yet that comparison is the death of joy. I didn't know not to compare my "chapter one" to someone else's chapter twenty. I just felt a sense of failure and fear. And as a seventeen-year-old living in a world of adults, I assumed the answer was to drop out.

I’m so pleased that a friend and fellow student talked me out of such ideas, so pleased that I stuck it out. I fell in love with and majored in my next foundation area: intermedia (a mixed-media approach to fine art). Here I learnt how to become an artist: how to question, see, experiment. I was given free rein over photography equipment and a darkroom. I learnt early Photoshop and built a website, created sculptures and installations, journaled, and exhibited my work. I still didn't know what I was going to “do” when I grew up, but I trusted that I would work it out.

To complete my degree, I needed to tick off two final classes. My financial situation had changed by this point, and studying silver-smithing became a viable option. It seemed like an enjoyable way to meet the requirements of the degree. After three years at Uni, these last two classes actually decided my future, for it was here that I found my medium and decided to become a jeweller. I fell in love with the rigidity and flexibility of metal. I was enthralled with the techniques and history of the practice. It was sculpture in miniature, designed to be worn. It was craft, art, and a trade. The day after I graduated I started applying for jewellery apprenticeships. I wanted to be a “real” jeweller, with a secure, guaranteed income as I learnt the craft, and the ability to create work and exhibit in my own time.

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Finding an apprenticeship is no easy task. I spent the next several years working in jewellery stores as a sales assistant, getting whatever time and training I could at the jewellery bench and learning anything else I could in the process—from pearl threading to Diamond grading, gem identification to antique hall marks. I learnt sales strategies, stocktake, and stock and package ordering. I met suppliers and went to industry launches and trade fairs. I took a twelve-month jeweller vocation course at the Goldsmith school. I worked with several jewellers and finally started an apprenticeship, only to lose it when the business ran out of capital. After all this time, effort, and learning, I still wasn’t a real jeweller.

By the time I took maternity leave with my first child, I was so burnt out on the jewellery industry that I settled in to being a stay-at-home mum and didn’t touch the tools in my workshop for more than eighteen months. Eventually, I made a silver pendant as a gift for a friend. Then I made my sister a pair of earrings. Online sales platforms like Etsy and Madeit were taking off and friends suggested I sell my jewellery online. So I did, as a hobby.

With hindsight, I can join the dots, but at the time I couldn’t see the forest for the trees. The thought of starting my own business hadn’t occurred to me. I thought I would return to the workforce as a jewellery sales assistant and keep trying to get an apprenticeship, chasing the elusive dream of becoming a “jeweller.” I thought receiving my apprentice certificate would remove the imposture syndrome I felt. But as I kept making and selling my jewellery, I realised that the certificate was only important to me. When people brought my pieces, they didn’t ask if I was a “real” jeweller, self-taught, or a bit of both.

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Change came rushing in after listening to Clare Bowditch speak at a Big-hearted Business morning tea. I had begun tossing up the possibility of selling my wares at a local craft market in a school hall, still with a hobby mindset. Clare encouraged us to get out pens and paper and write down where we wanted to be in five years’ time. For the first time, it clicked that in five years’ time I could still have a hobby—or I could own my own business. I decided to apply for that craft market! After the event I chatted with creative business owners and shared my revelation. They were pleased, but offered another revelation: don’t aim small. Find the best market around for what you want to sell, and apply for it. That day, a fire was lit inside me that still hasn’t gone out.

My hobby became a business the moment I decided to treat it like a business. I had to embrace fear and question my belief that I wasn’t the sort of person who could own a business. I applied for the Brisbane Finders Keepers market and spent the next couple months making stock and learning everything I could about business. I launched Christina Lowry Designs in November 2013 at Finder Keepers.

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Now in my fourth year in business, I consider myself not only a “jeweller,” but a designer, mentor, and businesswoman. Everything I have learnt, from my fine arts degree to my sales work, has been incorporated into Christina Lowry Designs. I define my own work life balance. My family is my priority. My passion and drive continues. I believe in lifelong learning. I read, listen to podcasts, collaborate with other creatives, and take courses. And every day, I am so glad I took the leap and went out on my own.

Photos by Trudi Le Brese Photography for Christina Lowry Designs

Christina Lowry is a designer and jeweller who makes fine jewellery for creatives. Her work is featured in several Australian galleries, as well as in her online store. Christina fell in love with jewellery making while studying a Bachelor of Fine Art/Visual Art. Each piece is lovingly made by hand in her Brisbane workshop, incorporating precious metals and gemstones, using traditional metalworking techniques.

Creative women at work: Maryanne Moodie, fibre artist

Creative women at work Maryanne Moodie, fibre artist

Maryanne Moodie is an Australian fibre artist, teacher, and business owner who splits her time between her home in Brunswick, Victoria, and her studio in Brooklyn, New York. Known for using unexpected colours in vintage-inspired woven pieces, she has re-energised weaving with her innovative designs and passion for the craft. Maryanne teaches workshops locally and around the world, runs a thriving Etsy shop, and has been featured on everything from The Design Files and Design*Sponge to New York Magazine. Her book, On the Loom, was published late last year by Thames and Hudson. I caught up with Maryanne to chat about weaving, community-building, and the surprising perks of not having a plan.

Can you tell us about your background and how you fell in love with weaving?

I’ve always had an entrepreneurial spirit. Even during high school I used to make toffees and sell them during recess. I spent most of my time being an art teacher, but I also had a business on the side, sourcing and selling vintage fashion.

I got pregnant, and during my maternity leave, as I was cleaning out the art storeroom with another teacher, we found this old loom. I took it home and loved it immediately. I’d tried other crafts before—macramé, ceramics, jewellery making—but nothing fit until I started weaving.

I had a little social media following from my vintage company and put up a photo of my first piece. Everyone went bananas! People started asking, ‘Can I buy that?’ ‘Can you make me something?’ It was my husband who said I shouldn’t sell anything for a year. I was still learning, and wanted to be proud of what I sold. So I waited.

When did you turn weaving into a business, and what did that evolution look like?

During that first year, I kept sharing my weaves on social media but didn’t sell anything. I gave all of my pieces away. I would ask my friends, ‘Can I make something for your shop?’ And they would say yes and hang them. Lucy from the Design Files walked into a florist where I had one hanging and asked if she could feature me on the blog. I didn’t even have anything for sale yet. I actually asked her, ‘If I’m going to sell one of those, how much should it be?’

By the time I was ready to sell, I had a huge market of people wanting to buy my stuff. Soon, people wanted to learn how to weave. That was when Megan Morton from the School found me. She taught me how to do this elegant way of teaching, turning a class into a beautiful treat: have a glass of champagne, be fulfilled, chat with someone. She made me love teaching again.

People saw my photos of teaching and said, ‘I can’t make it to the classes, but could you sell me a kit?’ So I started making kits. And then people were like, ‘What book should I buy? I can’t find a good book.’ So I thought, okay, time to write a book. Then people said they liked the book, but did I have an online course? So we’ve been filming online courses. It’s really been about listening to what my customers want.

Social media has been a big part of building your brand. Which channel has been the most effective for you?

Instagram. I love the community-making side of it. I love how if someone writes something, I can look at their feed and message them. If I really liked what someone was doing, I would say, hey, do you want to do a swap? I would take a photo of their work and share it with my community, and they’d do the same. You end up sharing what you love.

There was a bittersweet moment when I hit about 25,000 followers. I used to reply to every comment, but it got to the point that every time my child looked away, I’d whip out my phone to respond to people. Then he’d turn back and see me. I realised, I need to respond to my child. Now I post only once or twice a day. I read the comments to know what’s going on, but I allow the community in my platform to help each other.

How do you gear yourself up to take risks in your business?

When I think up my own ideas, they’re sometimes right. But when the ideas come from what my customers are asking for—they’re the most successful. It’s about not having a plan and just listening. If I had a plan, I would miss opportunities to the left and right because I’d be so focused on what’s ahead. If you’re open to listening, you’ll always have a market for your product because it’s what people are asking for. It doesn’t feel like a risk.

You work between Melbourne and New York City. How does that work?

We moved to the U.S. because [my husband] Aaron got a job with Etsy. At the time, I thought I was taking one for the team, but I got to meet other artists and set up my business. We were there for 3-1/2 years. We decided to move back because we wanted the kids to do their schooling in Australia. So I came back but kept my studio there. My studio manager, Kaelyn, and I Skype every week and I prattle back once a season. I don’t know how long I’ll go on doing it like this, but I’m just going to jam it out and see how it goes.

How did being Australian affect your time in New York? And how did your time in New York affect you as an Australian?

Australians are very self-deprecating. We’ve got the whole “tall poppy” syndrome. You never big yourself up, talk about your achievements or how wonderful your work is. I have a little of that, but I’m also able to push forward and take risks and grow unselfconsciously, which is a bit more American. I have a balance of both. I try to push myself forward by pushing other people forward, too. Rather than saying, ‘Look how amazing I am,’ I want to bring people along so we can make weaving amazing together.

What are you looking forward to doing with your business in 2017?

I did Vogue Knitting Live in January and there were yarn stores looking at what I do and saying, wow, we want to stock your looms. It’s a new wholesale part of my business where manufacturers can make the looms and send them to shops. For the first time, I won’t have to include my energy in things to push the business forward.

Any advice for other women running creative businesses?

Make a community of people interested in what you do—on social media, through a newsletter, however you can talk to people and they can talk to you—and then listen to them. Ask them: what do you think about this? Would you buy this? You might know how to make a product, but unless you ask your customers, you might be making the wrong thing, or doing it the wrong way.

Maryanne’s Quick Picks:

Favorite read:Apartamento magazine

Favorite podcasts:Two Dope Queens, On the Media, Lore

Favorite Instagram feeds:@popandscott, @jordi_pordi, @tanyaauiniga

Designers, creatives, or brands: Pop and Scott, Jordana Joan, Tanya Aguiniga, Cindy Zell

Favorite places to go for inspiration: In New York, the Museum of Arts and Design (MAD). In Australia, anywhere near the water.

Most inspiring friend or family member: My female friends and family. We’re doing everything—running businesses, taking care of our families, taking care of ourselves (when we can)—with grace, tenacity, and grit. Females are my inspiration.

For more about Maryanne, visit her website and Etsy shop. You can also follow her on Instagram at @maryannemoodie. Her book, On the Loom, is available wherever books are sold.

Julie Mazur Tribe is an editor and book publishing consultant with a lifelong addiction to paper stores. She can be found at BrooklynBookStudio.com or on Instagram at @brooklynbookstudio.