Makers of Melbourne

Welcome to Makers Of Melbourne – the ‘go to’ guide for our technically integrated age.

Makers Of Melbourne has been created to consume and assimilate Melbourne culture. We're male focussed, but not male specific, sorting through the dross to weed out the creative stars, standout events and stylish folk that make this city unique. 

MOM aims to embrace all facets of what makes this city a creative hub. Our aim is to inform without condescending – to keep you abreast of what’s going on without regurgitating Press Releases & to seek out this city’s sub cultures to give our readers the inside scoop on what’s REALLY happening with the people who make Melbourne Melbourne.

Interview: Robert Muinos

Perhaps better known in Melbourne music circles as the guitarist in Melbourne’s 9 piece soul-rock group Saskwatch, Robert Muinos also performs with garage rock collective Dorsal Fins & now to top that off, the seemingly tireless Muinos has just released his first solo single, showcasing his own talents as a singer-songwriter.

Press Shot 1.jpg

Earlier this year and in the midst of a busy tour, Muinos persuaded a few of his Saskwatch bandmates to forgo a highly anticipated week long break to head back into the studio to help record his forthcoming debut EP.

Having done the hard yards touring both nationally and internationally, Robert felt that now was the opportune time to turn his gaze to greater introspection and his single, I Was Dreaming, captures the sound of a musician forged, not depleted by time on the road.            

It’s been an exhausting schedule and it comes as no great surprise when Muinos mentions that he has just spent a whole weekend in bed recovering, during our recent phone conversation. Having just returned from Big Sound, where both Saskwatch and Dorsal Fins performed, Muinos is understandably enjoying some downtime before turning his focus to a run of solo shows.

Robert: “I’ve tried to write music for both Saskwatch and Dorsal Fins before and it always comes out really shit (laughs). I love the music that I play with them [Saskwatch, Dorsal Fins], but whenever I’ve had those great moments where a song comes out of me it’s always been a folk thing. I never made a conscious decision to write music like this, it just happened and it got to the point where I just thought, if this is what’s going to happen every time I write a song it must be for a reason so I should just go with it and see what happens."

With a strong alt-country feel, you can almost hear the kilometers rolling by in the drums and bass line that accompany I Was Dreaming. Late nights and hangovers run deep in a yearning harmonica while the Rob’s vocal melody seems to search for something naively optimistic. It’s a change of direction for the performer, but not completely out of left field.

Robert: “For me this is my chance to be the boss, which is nice. The single and the EP were recorded with Ed, the drummer from Saskwatch, but as far as the live band goes its Jim Lawrie on drums. I wanted him because we’d just done a tour together and we get along really well. We used to go to each other’s gigs all the time and became really good friends. You want to make music with people that you love.”

The theme of love plays a prevalent role in the film clip for I Was Dreaming and Makers is happy to hear the young singer speak highly of his fellow musicians. There’s praise for drummer Lawrie, who also sidelines in Dorsal Fins, as well as mates in Eagle and The Worm and The Bamboos. Muinos assures us that the Melbourne music scene is for the main part a nurturing and supportive industry.

 Robert: “We’re all just putting music out there for people to hear and for the public to decide whether they like it. I think that there are lots of people out there that have a kind of, competitive vibe when it comes to playing music. I just find it fucking weird. What’s the point in being competitive about it? Just be supportive of the whole scene.”

While he may be proudly supporting his fellow bandmates, Makers can’t help but wonder how accommodating the mainstream music industry is when it comes to up and coming musicians like Rob. With record contracts now few and far between, more and more artists are independently releasing albums, paying for production and studio sessions out of their own pockets.

It’s a hard slog, but for Robert the rewards are paying off ten fold. “It feels good. I think some people like it [the single] and some people think it’s ok. It was pretty scary before but now that it’s released I’m just letting it do its own thing. I did my best to raise the kid and now it’s going to have to look after itself, I’m letting him be free.”

Robert Muinos launches his debut single I Was Dreaming on Thursday October 16th at The Old Bar in Fitzroy.

Interview: Kloke Designers, Amy and Adam Coombes

There’s a warmth to Amy and Adam Coombes that resonates through their designs. An initial phone conversation with Adam and a visit to meet Amy at the Kloke boutique culminates in a sunny Saturday morning meeting where the Makers team is warmly welcomed into the married couple’s Fitzroy design studio.

Launching their Kloke label in 2011, both Amy and Adam have a deep connection to the Melbourne fashion scene. Between the pair, the Coombes’ have worked with some of this city’s most lauded designers. An important pedigree when it came to establishing their own range of men’s and women’s clothing.

Kloke: “The initial intent of the brand was to produce considered products that are loved season after season. Over the years we have been able to combine our differing ideas and bring together what is now Kloke. The brand continues to evolve and being able to work together to create something that is a part of who we both are is a continuous motivation.”

We’re sitting around a wooden worktable in the centre of the Kloke studio. It’s a small space, shared with a local artist, whose stunning macramé wall hangings fight for attention next to bulging racks of Japanese fabric, sewing patterns and current season samples. With son Remi sitting happily nearby, soft music playing and dappled sunlight falling through a nearby window, the open plan room is comfortable with an air of creative energy.

Sipping takeaway coffee from a nearby deli, the Coombes' begin explaining the ethos behind their growing brand. There’s talk of fluidity, not only in shape and fit, but also a growing sense of ease in their design aesthetic. Over the past few seasons they have taken the steps to develop their range with experimentation in both pattern, fabrications and knitwear, which has been added to both winter and summer collections.  

Kloke: “Our intention is to create strong lines and classic silhouettes that have an effortless feel but considered approach. The longevity of a piece starts from the initial idea, the fabric choice and the shape of the garment, we ask ourselves how each piece will wear and make sure it fits with Kloke.

We have been really driven to create collections that work back with each season, in some ways it is like building on a wardrobe. The collections evolve but previous pieces still remain relevant and each collection does still see us standing true [to] who we are and what we believe and want the business to be.”

With business sustainability at the forefront of their minds, the design duo has been careful to build the brand at their own pace. Although they launched three years ago and have been stocked in numerous high-end stores around Melbourne, it wasn’t until late last year that the couple opened their own retail space on Fitzroy’s bustling Brunswick street. Although they casually mention plans to expand at some point in the future, at this stage the busy pair is more than comfortable managing one boutique and a successful online store.

It’s a business plan that works well around their frequent trips to Japan, where they source fabric and sell their designs. The Japanese market has been very receptive to the Kloke brand, not surprising when you consider the clean lines and effortless sophistication Amy and Adam produce season after season.

Kloke: “The conceptual influence comes from our lives and the things we do each day, from all the things around us. This does change seasonally and also depends on life, where we’ve been, what we’ve been listening to, watching looking at and the things we find. From a garment  perspective, we’re generally into designers who’ve altered the way we look at cut  or have changed our perception of design. From the method of how Cristobel Balenciaga cut a sleeve to the way Rei Kawakubo alters the design process. We hope that by looking wide the outcome is something new.”

Although there are rumblings of further international interest, the couple is quick to point out the limitations of Aussie labels selling into larger overseas markets. The difference in season may cause issue, as well as a lack of understanding as to how a smaller brand may fit into a larger fashion spectrum.

With so much to look forward to, Makers can’t help but ask for a sneak peak into the forthcoming summer collection. There’s excitement and a mention of “so much goodness” as we are taken through the new season garments.

Kloke: “We have expanded on our knitwear collection and have some great colours in the range. We have also expanded the dress offering in our women’s range using a Japanese viscose that has a beautiful drape.

The snake in the grass print has been used across men’s and women’s, in denim and cotton shirting. A firm fabric favorite and standout in the collection is the double mesh nylon used in the women’s range. We have also introduced some new trouser shapes for men.”

The future looks bright and Makers can’t help but think that this brand has been built to go the distance. Kloke is a Melbourne label that we predict will be going strong for many years to come.

Kloke: “ Sustaining the business long term is really important to us, and this comes from many aspects, not just the design of the garment. We plan on Kloke being around for a long time and to help ensure this we have been developing and growing at our own pace."

Artist Profile: Lucia Mocnay

photos by: aglaia-b.com

photos by: aglaia-b.com

Although it may sound strange, the turn of events that lead artist Lucia Mocnay to create her first piece of anthropomorphic taxidermy wasn’t that unusual.

Having completed her Bachelor of Fine Art at Monash University in 2001, the Slovakian born, Melbourne raised Mocnay began working with mixed media and found objects before taking her first step into this slightly macabre world by collecting and framing insects.

Lucia: “I’d been working with natural objects for ages and one day I found a grasshopper and thought it’d be cool to try and mount it. My uncle had preserved insects all around his house and I figured that I could teach myself how to do it.”

As a child young Lucia would scour the ground looking for interesting rocks and bones, which she would then take home and turn into art. One hobby lead to another and when Lucia’s boyfriend Justin, a trained tattooist, began looking into buying a piece of taxidermy to use as illustrative inspiration she jumped at the opportunity to add a fox to their burgeoning collection of curios. The couple bought a piece that in retrospect she states was badly made and the young creative made the instant decision to teach herself the art of taxidermy.

 Lucia: “I went from not liking the sensation of touching meat to working with the skins of animals. I remember the first time I unveiled a fox skin it was very strange. Once you start thinking about the creative process, and start to imagine the piece that you’re creating, you forget about what’s in your hands.”

With her mind filled with inspiration, Mocnay began to feel the magic of creating
a piece of art from what had once been a living creature. It’s an experience she describes to Makers as being “magical and inspiring” and it seems that for Lucia there’s no turning back. Her current work is based on children’s fairy tales and universal creation myths, historical eras and beloved characters. She creates one off pieces from ethically sourced furs, put together with conscious and curious involvement. 

Lucia: “I don’t want my animals to look like Frankenstein’s monster. I try to keep a healthy respect for the animal and its spirit. My partner, being an illustrator and tattooist had gotten me to dress up over the years and pose for drawings that he then used for sleeves and backdrops. I’d dress up and pretend to be say, a gypsy, zombie or bride so he could take photographs. I ended up with a wardrobe full of costumes and after we bought that original fox I started dressing it up. I had so many ideas for different characters and that was about the same time that I thought I’d teach myself how to taxidermy.”

It’s interesting how all of the elements of Lucia’s life have come together. For the artist it seems the decision was more organic than a conscious choice. Things evolved and she continues to be inspired by both her animals and the art her partner creates.

Over the past few years the popularity of taxidermy has surged in Melbourne. Lucia credits the rise to several factors including the steady increase in the number of consumers wanting to fill their homes with unusual antiques & a newfound appreciation from the general public for old artisan skills. The taboo of working with dead animals is also slowly lifting as artists such as Lucia have made the conscious choice to work with ethically sourced animals.  

Lucia currently works on a commission basis as she explores the option of gallery representation. With her first exhibition in the planning stage, she is keen to “clear her studio” of the pieces she has been working on over the past few years. In the meantime she continues to build up her skill set, working alongside her partner and two children in their home studio.

conjuredcreations.com

The Event: The Eternal Headonist Launch Party


Last Tuesday night Makers of Melbourne were invited along to the launch party for The Eternal Headonist at The Anna Pappas Gallery in Prahran.

When British born, Melbourne-based Annabel Allen, herself a trained milliner, noted the interest in specialist headwear on the internet, she decided to launch her own online millinery store, The Eternal Headonist.

Custom parfaits created by Helados Jauja Argentinian ice-cream in Carlton

Custom parfaits created by Helados Jauja Argentinian ice-cream in Carlton

The online store stocks a slew of handpicked milliners whose use of materials and technique are helping to bring a new perspective to the industry.  On display at the launch were pieces by Natalie Bikicki, whose progressive work with leather and PVC has placed her on the ‘ones to watch’ list, through to more established milliners including Melbourne’s own Richard Nylon and  a range of vintage items from esteemed designers and milliners such as Philip Treacy, Stephen Jones and Yves Saint Laurent.

Annabel: “We can shop a well curated selection of fashion, lingerie, footwear and cosmetics online, but curated ranges of quality and fashion-forward millinery are not at all represented in this space, so we wanted to change that.”

Milliner Richard Nylon launches The Eternal Headonist at The Anna Pappas Gallery in Prahran

Milliner Richard Nylon launches The Eternal Headonist at The Anna Pappas Gallery in Prahran

Whilst at this stage only an online destination, The Headonist can’t resist an excuse to hold a party and pop-up events leading into the Spring Racing Carnival are imminent.

The first pop-up location is: 37/220 Commercial Rd, Prahran. Opening next Saturday 27th Sept - Fri 7th Nov.

Q & A: Eliza Hull

It’s been a little over a year since Makers last caught up with Musician Eliza Hull, not surprising when you consider how busy she’s been over the past twelve months.

In 2013 the talented singer/songwriter released her sophomore EP The Ghosts You Never Catch and spent time touring in both Europe and the USA, not to mention performances with Owl Eyes and SAFIA.

This Saturday the 20th of September will see Eliza launching her brand new single at The Toff In Town. Produced by Hayden Calnin, Caught is the first track lifted off the forthcoming The Bones Of Us (due for release in early 2015).

 On the eve of her launch night at The Toff, Makers took 5 minutes with Eliza Hull to catch up on what’s been happening since we last spoke in 2013.

Hey Eliza, it’s been a while since we caught up with you and it sounds like a lot has been happening! What have been the biggest changes and challenges over the past year?

I put out my sophomore EP The Ghosts You Never Catch late last year, toured a little with that and also had a couple of American TV syncs for my song ‘Echoes’ which was a dream come true. Mostly this year I have been working on my debut album The Bones Of Us.  Every spare moment was spent at my producer’s (Hayden Calnin) home studio, it is finally finished which is exciting.

Last year I also travelled overseas where I performed in Europe and The U.S. and that was extremely surreal.  It’s funny because I almost forgot what the last year has included; it’s been a good year!

Please tell us about the writing and recording process behind your debut album, The Bones Of Us.

A lot of the songs I wrote on my own just with my keyboard. The inspiration was sparked really quickly. I began writing as soon as I finished the EP. Some of them I co-write with other artists including Ainslie Wills, Texture Like Sun and UK songwriter Tim Gordine.

The title comes from the exposure I feel the album projects; it’s the bones of us, the showing of everything. From stories of love, relationships, and about learning to accept myself, one song in particular is titled ‘Army’ and talks about how sometimes we can be our own worst critic, we can be a war against ourselves and sometimes in order to let someone else in we must first let ourselves in.

I worked with local producer Hayden Calnin on all of the songs. That was an easy process; we work really well together and bounce off each other.

You just mentioned that you’ve spent time playing in both Europe and the USA, How did foreign audiences react to your music and were there any standout gigs from your time abroad? 

I loved performing overseas. Two shows that stand out were actually unexpected gigs, the first one was at The London History Museum, and I won a competition to perform there for their opening night. It was a real shock, very surreal to be at the top of the stairs in this amazing historical London building singing to five hundred people! Another, I performed in Central Park in New York; this was an improvised gig as I found a piano and decided to do a set. I had a huge crowd and lots of tourists taking photos thinking it was a real live performance!

You’ll be launching your new single Caught, at The Toff this coming Saturday night. What can we expect from the show?

New songs, as well as special guests live on stage with me. It is going to be a very special show and I have supports from two of my favourite Melbourne artists Texture Like Sun and Lanks.

Finally, what does Eliza Hull get up to when she’s not writing, recording or performing, how do you spend your free time?

I work in a juvenile detention centre teaching music, and work with homeless youth in St Kilda teaching music and English. I’m currently studying and… I’m also pregnant! I am having a baby due in February 2015, so at the moment I ‘m pretty occupied.

I also love writing poetry and catching up with friends at cafes. I could spend everyday at my local Melbourne café writing and drinking coffee.  

 

Eliza Hull launches the single, ‘Caught’ at The Toff In Town this Saturday 20th September, supported by Texture Like Sun and Lanks.Tickets are available through: The Toff In Town .

Street Style: Jamie

It was hardly a surprise to learn that the stylish Jamie worked at the boutique of Japanese design company Kenzo. Well layered against the cool of a typical Melbourne Spring evening, Jamie interspersed his head to toe Kenzo garb with a pleated button-down from Erdem. 

Interview: Boy & Bear guitarist Killian Gavin

There were high expectations before the release of Sydney-based alternative folk-rock band Boy & Bear’s second album, Harlequin Dream. That’s no surprise considering the group’s 2011 debut, Moonfire, garnered five ARIA awards and achieved a platinum status on the Australian album charts. The band, riding high on that success, hit the road for 18 months of solid touring both home and abroad, playing extensively throughout America and Europe.

Boy & Bear on stage at the Palais Theatre last Friday

Boy & Bear on stage at the Palais Theatre last Friday

Although they’ve built up a healthy amount of frequent flyer points, the band has never been one to neglect their loyal Australian fans. Boy & Bear have ensured they return to their motherland for not one, but two national tours in 2014, with a massive 30-date regional tour taking place earlier this year, and a national tour currently underway. It’s been a hard slog for the boys, but it’s a journey that lead guitarist Killian Gavin describes as a good and incredibly rewarding ride.

In the lead up to their two shows at The Palais Theatre last week, Makers spent a late afternoon in the company of guitarist Killian who, along with singer David Hosking, Timothy Hart (drums and vocals), Jonathan Hart (vocals, banjo, mandolin and keyboards) and bassist David Symes, formed the group in 2009.

Boy & Bear lead guitarist Killian Gavin

Boy & Bear lead guitarist Killian Gavin

Killian: “I’m sure that a lot of people find themselves in a similar situation when they’re busy like this and time flies, but I’ve found this year in particular to have gone remarkably quick. We started touring last year just after the record came out then we had a little bit of time off in January, then we left in the beginning of Feb and we haven’t stopped since. Now here we are in… what month is it?”

 There’s good-natured laughter: while most travellers would be in the midst of a heavy jet lag, the performer is in fine spirits, obviously happy to be back on home turf.

 Of course there’s no getting around his memory lapse is the ultimate rock cliché; a young band hits the road and loses track of time, dates and names of cities. For Boy & Bear, the recent American tour also included travel in a deluxe tour bus – the vehicle serving as the backdrop to a series of shots posted on social media.

For the group, the vehicle itself proved something of a significant milestone: it was the band’s “first bus”, indication in concrete form that Boy & Bear has reached a certain level of success.

Killian: “We haven’t been doing this for a long time, but long enough to gain an understanding of how things work. We’ve always wanted to be in a band that builds slowly with touring and I think that’s how you build up a credible fan base. Fans that like every song on the album, not just the one song that they’ve heard on the radio.”

Tune in to most Aussie radio stations and it’s near impossible to not hear either Southern Sun or Three Headed Woman, the first two singles lifted off Harlequin Dream. The album was recorded in Sydney, which allowed the band to stay close to friends and family. As a result, it reflects a far different personality to the debut album recorded in Nashville.

Killian: “Fortunately we were off to a great start with the first record but this record has been better in many ways. It has helped build a stronger audience for us overseas and that’s why we’ve been busy touring nonstop, to make the most of it while there’s so much momentum.”

And the momentum doesn’t seem set to stop anytime soon. Not only are there more dates booked in Canada and America (the band’s fame boosted by a recent appearance on Late Night With Conan O’Brien) there’s also a slew of Australian dates to fill up their September and October schedules, including a sold-out show at The Opera House.

Killian: “Sydney shows are probably always a bit more nerve-wracking because your family and friends are in the crowd. Just to make it a little bit more intimidating you’re also playing at the Opera House. To be completely honest I’m super excited to be playing it, it’s going to be a fun night.”

The future is sure to hold plenty more fun for Boy & Bear but near the top of the guitarist’s priority list is some more time off.

Killian: “We’ll finish up in December and after that I’m going to take about four weeks off and do nothing. I’m really going to make the most of it.”

He laughs, but we can’t help but think the summer break won’t last long.

The Event: MSFW Runway 1

The first parade of this year's Melbourne Spring Fashion Week was a sartorial nod to the romantic. Ready to wear collections from Jason Grech, Aurelio Costarella, Micheal Lo Sordo, Carla Zampatti, Gwendolynne, Nicholangela & Anaessia were themed around elegant silhouettes & detailed finishes, topped off with a touch of Richard Nylon millinery magic. Dom Bagnato menswear also featured - perfect for the upcoming race & wedding season. 

Jason Grech

Aurelio Costarella

Michael Lo Sordo

Carla Zampatti

Dom Bagnato

Gwendolynne

Nicolangela

Anaessia


Artist Profile: Lucy Hardie

An artist is quickly identifiable by the way that they present themselves to the world and how they interact with their surroundings.

This is definitely the case with fine artist Lucy Hardie who Makers had the pleasure of meeting recently over coffee at the Black Cat café; where the bohemian interior was a perfect match for the artist’s delicate aesthetic.

Immaculate Heart 2014 - Ink and metal leaf on cotton paper by Lucy Hardie

Immaculate Heart 2014 - Ink and metal leaf on cotton paper by Lucy Hardie

Based in Melbourne, Hardie tells us that she’s only recently returned to the city after time spent in nearby Ocean Grove. Although not such a long distance to travel, Ocean Grove and Brunswick Street couldn’t be further apart in terms of creative output and she confides that she’s happy to have settled into a more artistic neighbourhood.

Lucy: “When I was little I was inspired by the black and white line drawings that accompanied my favourite fairy tales.” 

We’ve ordered drinks and Lucy has begun to explain her art: incredibly detailed compositions of light and dark texture created with layers of fine lines and dots, carefully drawn onto cotton-based paper. The resulting work is romantic and dreamy, with a strong emphasis on the female figure. 

Lucy: “I was really inspired by the illustrative style of Vali Myers, who created the most finely detailed drawings. I taught myself to draw by looking at her work.”

Myer’s influence on Hardie’s work is striking, with both women working with pen, ink and gold leaf.

Salomé 2013 - Ink on cotton paper by Lucy Hardie

Salomé 2013 - Ink on cotton paper by Lucy Hardie

Although she has spent most of her life drawing, Lucy only started to seriously consider art as a career once she was in her early twenties

 Lucy: “I always thought of myself as artistic but never thought of myself as creative, but I think that’s only because I never saw art as a realistic option to pursue while I was growing up. I think that’s because people say, ‘Artists don’t make money, what are you going to do with your life?’ I always thought, ‘why the hell am I good at drawing, why can’t I be good at maths’. I didn’t really see the point of it, it was always more of a hobby.”

It was around the age of 22 that the artist decided to make the push. It was her sister that called her out, questioning as to why someone with such a beautiful body of work hadn’t thought about exhibiting.

Knocked back by a few galleries, the self-taught artist found her work accepted in to an artist-run space, staged the exhibition and was astounded to sell out on opening night. It was all the reinforcement she needed that this could in fact be a viable career pathway – that hers was not a talent that ought be taken for granted.

In 2010 at the age of 26, Lucy returned to school to complete a Bachelor of illustration. Although there had been previous attempts to enroll in other courses, she states frankly that she “never really followed through”. The decision to return to University came about after a brief period spent in Austria under the tutelage of US artist, Philip Rubinov Jacobson.

Mary 2012 - Ink on cotton paper by Lucy Hardie

Mary 2012 - Ink on cotton paper by Lucy Hardie

Lucy: “We connected online because I’d asked him if he could recommend any courses to me, since I’m really interested in artistic technique, and that’s not really focussed on at Fine Art school, where it’s more about concept and philosophy. He suggested his course and I said, ‘done’. I was there for four weeks; it was an intense course and we were painting everyday. It was amazing to be surrounded only by artists, only talking about art. Before that I had always loved art, but it was only after I arrived in Austria that I realised that this is what I’ve been looking for my whole life.”

With study well and truly behind her and the recent move back to Melbourne, Makers is intrigued to know what possible influence this may have on her future creative output.

Lucy: “I’m starting to bring in more structure with [pictures of] buildings and things like that. But I think my work will always have a feminine feel to it. On my trips to Melbourne I would go past these factories that just seemed like they were in a different world, areas with no roads around them that only the train goes past. You can see these tiny little buildings with ladders going up them and smoke coming out of turrets - I felt so inspired and took many photographs, they’re like world unto themselves."

It seems the fairy tale influence hasn’t left her completely.

You are Here 2014 - Ink on cotton paper by Lucy Hardie 

You are Here 2014 - Ink on cotton paper by Lucy Hardie 

Interview: Patrick Pearse, Documentary Director

The concept of a feature length fashion documentary is certainly nothing new. Needless to say it takes both a subject and a director to raise one out of copycat territory and in to a space of creative clear air. In this case it is the involvement of director, Patrick Pearse, and young Australian designer, Kym Ellery, which sets the insightful Ellery in Paris a sophisticated side step apart. 

Premiering this Saturday, August 30, as part of the annual ACMI presents Fashion on Film season, Ellery in Paris chronicles the journey of the Sydney-based designer as she makes her fashion debut on the Paris runway: the home grown talent with the unique eye who launched her brand in 2007 establishing her entrée on to the international fashion stage.

Yet much of the film’s appeal is due to Patrick’s handling. The fellow Australian sets the cameras firmly on Kym in the lead up to the eponymous label’s first Parisian show; the Spring Summer 2014 collection.

One could suggest it is his perspective and ease in film that has lent the documentary its backbone: Patrick, who says that he enjoys a shallow depth of field and abstract composition, has created a surprisingly relaxed look at what could have possibly been the most stressful period in the Perth-born designers life. Not that he will claim any of it. 

Patrick: “I think that all comes down to Kym. I barely knew her before I made the film and it blew me away how relaxed she was in such a stressed environment, all while the pinnacle of her career was happening right there and then. It was very tranquil.” 

Patrick, who got his start in short form documentaries and television commercials and has made Paris his base for the past 12 months, met Kym Ellery through her boyfriend, pro surfer Luke Stedman. The two formed an instant bond and, when Ellery was invited by the Fédération Français de la Couture du Prêt-à-Porter des Couturiers et des Créateurs de Mode, to show as part of the official off-schedule for newcomers in Paris, the film maker jumped at the opportunity to accompany her.

Pearse: “I originally met Kym to discuss the possibility of her contributing some costumes for a fictional piece that I’m working on. That was in Sydney last year and she happened to mention that she was about to go to Paris. We just connected and got along really well. In conversation the idea for a documentary arose, I had no idea that it was going to be a feature length at that stage and I gathered a small crew together. The next time I saw her was when she came out of the arrival terminal at Charles De Gaulle airport and we started filming. It was very organic.”

With filming taking place over a week-long period in Paris, followed by time spent in New York, Sydney and Perth, the production took “three or four weeks in total” to be completed.

Patrick: “It was really quick, but then it took me three months to edit.” 

Though he laughs as he says it and our phone conversation is lighthearted, it’s hard to not appreciate the gravitas behind the film and Kym’s position as one of only three Australian designers (joining the ranks of Collette Dinnigan and Paris-based Martin Grant) to show in the City of Light.  

Patrick: “You could feel the emotion coming through the camera when we were watching the rushes back at night. Within the first few hours of shooting we knew that we were making something really special. There was a great sense of achievement. I knew very little about the fashion industry at the time but even I realized how big of a thing this really was. The moment that sung out to me was probably when the last few models had walked out onto the runway and you could see Kym’s emotions, it was very inspiring to capture. She had tears in her eyes and I think a few of us did as well, it was like reality had just hit us and we began to realise what had just happened.”

There’s a moment during Ellery in Paris when the designer refers to Paris Fashion Week as the “Olympic games of fashion”. And while the director states that it was “amazing to see a young Australian achieve that on a world stage”, Patrick has also scored his own major accomplishment – creating Australia’s first fashion documentary.

Patrick: “I had no idea [that was the case] to be honest. Not being from the fashion industry, I couldn’t believe it at all when I was told that.” 

Although he may be downplaying his own success, it’s great to hear Patrick praise Ellery’s dedication to her craft. During our chat it becomes even more apparent to just how strong of a bond has been formed between the director and his subject.

Patrick: “She [Kym] was so patient with it all. Kym really held it together and so did her team. I think that the cameras may have provided a distraction and a barrier so that the situation didn’t get the better of her, but that’s exactly how it was. What you see is exactly what it was. Even though we had absolutely no production schedule (Kym arrived into Paris a week late) and it was literally 20-hour days filming with no schedule or idea of what would happen next.”

He speaks highly of the team effort – of camera crew taping the showroom so that boyfriend Luke could paint it, of mixing paint and carrying buckets. It was tremendous effort made for a designer whose supporters cannot help but respect.

Patrick: “Kym has a really great team who she’s worked with since she started and they continue to work together on everything. From photographers to stylists through to the interns that she had, everyone would do anything for her, and we got totally swept up in the experience. Not just in making the film, but it was inspiring to be part of something so big."

The Event: An Evening with Mason & Grace

There are two driving hospitality theories in Melbourne, opposing camps in to which most venues can be categorised. First up are the single-door-stalwarts: think Ronnie Di Stasio and, a newcomer to that theory following the sale of St Ali North, Salvatore Malatesta.

Second? The multi-door-believers. Those that channel the energetic feed of two, three or even four venue stables. The Lucas Group (Chin Chin, Baby Pizza, Kong BBQ) and The European Group (The European et al) may be at the forefront of this pack, but the Publican Group is pulling up as some stiff competition.

Relative newcomers to the Melbourne scene, the group launched Mr Mason in 2012, backing it up late last year with State of Grace and its hidden cellar bar, Fall from Grace.

For any Executive Chef, that’s a decent load to carry, as the Publican Group’s Telina Menzies, explained to Makers last night at a progressive dinner held between the three city centre venues.

Telina: “You just have to make sure that you trust the people that are running your kitchens. If you’ve got the right staff it’s the easiest job in the world, if you don’t, it’s the worst.”

The group appears to be on the right track: after mains of barramundi in saffron bisque and pork belly at Mr Mason, the 27 year old head chef Thiago Miranda was shyly presented to the table to field questions on his near faultless French-inspired menu. 

After mains at Mr Mason , a short evening stroll down Collins Street led to State of Grace for a dessert of pumpkin & hazelnut financier topped with cinnamon sherbet, where the highly considered mismatched décor features a giant giraffe mounted to the wall beside gilt-framed mirrors and op-shop tchotchkes above ornate Louis the XIV-style furnishings. The final touch? A ‘secret’ hidden bar – Fall from Grace – accessed via a bookshelf a la Maxwell Smart

State of Grace

State of Grace

If Telina has any concerns, it is more for the long-term health of the industry as she laments the willingness of current trainees to put in the three-years required in order to gain full qualifications. For now, however, the Publican Group’s Melbourne-based venues look to be in great shape. 

Fall from Grace cellar bar

Fall from Grace cellar bar

Interview: Wona Bae

If Melbourne has become fertile ground for the creative set, then it makes sense that Wona Bae has found almost instant growth for the seed of an idea that took root – almost unbeknownst to her – during a childhood in Korea that saw flowers become an intrinsic part of the person she was to become.

Wona: “My father had decided on three names for his children before he got married, and he went on to have three kids: my sister is the third and she is ‘best fruit’, my brother is the second and he means ‘best growth’ and I’m the first kid and Wona means ‘the best seedling’.”

Indeed it takes a special sort of person to mastermind the transformation of space that the highly qualified florist has achieved alongside her husband, permaculture expert and business partner, Charlie Lawler: in a back street behind a distinctly un-glamorous section of Johnstone Street, Wona’s nursery-cum-studio, Loose Leaf, sprouts as a breath of green among a sea of garage workshops.

The girl that grew up hating flowers after spending her youthful spare time “making chrysanthemums” eventually found her own kind of heaven right there in Collingwood, this version a white-walled, warehouse space alive with ferns, cacti, twisting hoya vines and arcing indoor palms.

Like any great love affair, it was one that developed over time: having grown up around flowers with her florist farm-owning father in Korea, Wona is very much a woman shaped by her lifelong exposure to all things flora.

But there is more to the elfin florist than a green thumb, and more to the store than its position as ground zero for healthy plant life. With the one-time fashion student qualified in Japanese Ikebana, its Korean equivalent, Kokozi, as well as picking up a Masters in German floristry, Wona has an artist’s spirit and the talent to match: her unique insights into culture and country are as compelling as her graceful sculptures – fluid twists of wood and sticks that work to form nest-like geometries that are intricate in appearance and incredible in scale.

Wona: “Floristry is different in every country, it is related to culture. Australian’s just do, they are very relaxed and their country is so big and likes the natural style of floristry. In Korea everything grows more slowly, Asian people are very cautious, they want to learn everything properly before they experiment and the floristry – it is very delicate.”

That mix of East and West finds itself in her sculptural works. The most striking example? Her three-metre tall spherical sculpture of sticks that graces the gardens of Victoria’s stunning Heide Museum of Modern Art, its hypnotic circular form embracing the idea of restraint while throwing open its form to the breadth of the surrounding space through its scale.

Unfortunately for Makers, as compelling as Wona’s story is, it’s not long before we wind it up: the business woman is a little under the weather, having taught her in-house floristry classes two nights running before backing it up with 4am trips to the market. The schedule is hectic, but one gets the feeling she wouldn’t be anywhere else.

Wona: “This is my passion. I love flowers and I love making sculptures and I love teaching. The retail part of it is not a natural fit, but it is what I have to do to bring people to me and let them know what I do.”

Loose Leaf

31 Sackville Street, Collingwood 

The Event: Fell Premiere at Melbourne International Film Festival

With a plotline that revolves around the insular world of the Victorian logging industry, Fell, the feature length directorial debut from Kasimir Burgess, is a striking addition to this year’s Melbourne International Film Festival

No doubt it’s an attention-getting movie: a deft script is tightly wound by Kasimir and writing partner, Natasha Pincus, its focus one man’s journey through the grief of losing a child and his subsequent plans for revenge all set within the controversial framework of Australia’s logging industry.

It’s Makers good fortune to get up close and personal with Kasimir, along with producer Mary Minas, 2nd assistant camera Jensen Cope and actor Daniel Henshall, on a day trip to revisit some of the lush filming locations in the nearby Yarra Valley. With principle filming having taken place just beyond Warburton and its surrounds, we – along with the cast and crew – return to ground zero in an effort to gain insight in to the film and those behind it.

(L-R) 2nd assistant camera Jensen Cope, Director Kasimir Burgess, lead actor Daniel Henshall & inside man Brett Robin

(L-R) 2nd assistant camera Jensen Cope, Director Kasimir Burgess, lead actor Daniel Henshall & inside man Brett Robin

Kasimir: “[The Yarra Valley] is a dramatic setting and a place where the continuing cycle of life and death is ever present. There are primal themes of rotting and regeneration happening over and over that reflects the nature of our story. That idea of a redemptive and necessary death.”

 Fell revolves around the characters of Thomas (Matt Nable), a sharp-suited city dweller whose daughter is killed after being hit by a logging truck. Logger Luke (Henshall) flees the scene of the crime, but is caught and faces jail time. Thomas retrains as a logger, infiltrating the close-knit community with the idea of getting revenge on the man who killed his daughter.

Though the plotline could read as melodramatic, Fell is a subtle and nuanced piece, brought to life in the skilled hands of Kasimir, whose background in short film has certainly shaped the way he approached his feature length debut. The dialogue is minimal; instead the film focuses on body language, the hypnotizing surrounds and sound to tell its dramatic story.

Kasimir: “The storyline was so emotionally epic and the setting in the logging industry and the violence that surrounds it helped to externalize a lot of what our characters were going through internally, in terms of trauma, loss and grief. Everything was elemental; from the sound of the actors breathing, we hear their heartbeats, we hear the wind. I’ve always listened to characters breath in film, in fact I may have an unhealthy obsession with it (laughter) it feels very expressive to me. ”

 Historically, the Australian film industry has excelled in production of films set in the bush (Picnic At Hanging Rock, The Man From Snowy River), and Fell is no exception to this rule. 

Boarding a mini bus bound for the Yarra Valley, the director explains to Makers how he found the principle setting for the film.

Kasimir: “My girlfriend suggested that I go and check out Warburton and I fell in love quite quickly. It was probably a year and a half before we started filming but I’d started to look for rather specific locations and angles. I brought Marden [Dean, Director of Photography] out there and we both became very excited. Most of our pre-production ended up happening in the car while we were driving around looking for locations.” 

Over a delicious lunch at Rochford winery, Kasimir and actor Daniel Henshall expand on their time spent with the local logging community. Kasimir explains that the crew spent the six months prior to filming getting to know the men who live and work around Warbuton,

Kasimir: “We had a hand opening some doors into the local community and it was a matter of observing and taking away details. I’d come back to Tash (Sic) with photos that I’d covertly taken and stories of this and that, that we ended up incorporating into the story to bring as much authenticity as we could to the world.”

 Daniel: “The actor logging crew also spent time out in the area where they fell trees. We got to know the loggers and gained a great insight as to who they are and where they come from, it was good fun.”    

Cast & crew answer questions at the MIFF screening

Cast & crew answer questions at the MIFF screening

Fell had its world premier at the recent Sydney Film Festival, where it opened to excellent reviews. Much hype has also surrounded the groundbreaking decision by Minas and veteran Australian producer John Maynard to simultaneously stream the film for an online audience at the same time that it has broader release in Australian cinemas. 

 During the Sydney Film Festival, producer Maynard told the ABC Arts program, “the world premiere of Fell via the internet is a game-changer in a multi-screen world. It’s democratic, it’s inclusive and it’s about time.”

Fell is due for broader release this Thursday, 21st August.

Story: Janey Umback

Photos: Samantha Hogan

 

The Event: 'David Bowie Is' Exhibition Announcement at ACMI

Bowie fans Sean & Maddy at the announcement of the ACMI ‘David Bowie Is…’ exhibition 

Bowie fans Sean & Maddy at the announcement of the ACMI ‘David Bowie Is…’ exhibition 

He was incomparable as Ziggy Stardust and unforgettable as The Thin White Duke. Now the man behind those two iconic musical identities will have his persona explored with David Bowie is, an exhibition curated by London’s Victoria and Albert Museum and coming to Melbourne’s the Australian Centre of the Moving Image (ACMI) as part of the 2015 Melbourne Winter Masterpieces program.

It’s a coup for Melbourne, the exhibition having made its debut in London in 2013 before beginning a global tour that has so far taken in Toronto, Berlin, Chicago and – the only other Southern Hemisphere city to rate a mention – Sao Paulo.

David Bowie, 1973. Photograph by Masayoshi Sukita

David Bowie, 1973. Photograph by Masayoshi Sukita

The multimedia exhibit pulls together priceless pieces of the artist’s luminous history, from Ziggy Stardust body suits and the Union Jack waist coast designed by Bowie and Alexander McQueen, to never-before-seen personal items including storyboards and hand written set lists, along with Bowie’s own sketches, musical scores and diary entries.

For V&A curators, Victoria Broakes and Geoffrey Marsh, the exhibit is as much an opportunity to consider identity as it is a chance to get a grip on the “real” David Bowie.

Victoria Broakes: “David Bowie is poses the question, ‘what is David Bowie?’, and our approach to the exhibition has been to leave that question open because it invites consideration, not only that we all have different identities, but also that he means different things to different people.”

Along with the main exhibition, ACMI will host a series of events, late-night programs, talks, film screenings and performances to celebrate and put to show the 50-year career of an artist like no other.

The ‘Starman’ costume from David Bowie’s appearance on ‘Top of the Pops’ in 1972 on display at the V&A Museum in London where the ‘David Bowie Is’ exhibition was originally curated.

The ‘Starman’ costume from David Bowie’s appearance on ‘Top of the Pops’ in 1972 on display at the V&A Museum in London where the ‘David Bowie Is’ exhibition was originally curated.

'David Bowie Is' opens July 16, 2015. Tickets go on sale in November. Registration for pre ticket sales is accessible HERE 

The Institution: Four Pillars Distillery

Cameron Mackenzie bares a striking resemblance to Heston Blumenthal. Physical similarities aside, it’s his unbridled passion for unusual ingredients, quality products and a flair for experimentation that wouldn’t go unnoticed in the kitchen of The Fat Duck.

“I haven’t used any liquid nitrogen yet” there’s an easy laughter after Makers hints at a comparison to the boutique gin distiller, after we take part in a gin appreciation course and tasting at Mackenzie’s recently established Four Pillars distillery in the Yarra Valley.

Cameron, along with his two partners Stuart Gregor and Matt Jones officially founded Four Pillars late last year with the aim of making a modern Australian gin, although the dream was a long time in the making. It was a quest undertaken after long time gin enthusiasts Mackenzie and Gregor both ordered G&Ts in a bar and were shocked to see a boutique brand of the alcohol topped up with tonic water from a post mix gun. 

Mackenzie: “We started to think about producing tonic waters, this rapidly shifted to gin. I spent the next 12 months researching everything I could find, from that initial tonic water conversation our journey has taken 3 and a half years and we launched our first batch in November of last year”

Mackenzie speaks with a confidence that makes his journey into the blossoming world of craft spirits seem relatively simple, although in truth establishing Four Pillars as a boutique distillery took a lot of work and years of preparation for the three business partners - There were road trips to the USA to visit a number of small American producers and most importantly, the commissioning of a bespoke CARL still from Germany, bearing the moniker of Mackenzie's mother Wilma. “Our golden rule from day one was that if we’re going to do it, we were doing it properly. For us it was all or nothing.” He states emphatically, grinning from ear to ear.

From the Dutch introducing the spirit to England during the 1600s, through to the bathtub gin produced during America’s prohibition era, James Bond’s requests for his to be “shaken, not stirred” and Snoop Dogg’s 1993 release ‘Gin and Juice’, you’d be hard pressed to find a liquor with a past as colourful as the juniper based spirit – and although it was once relegated as the tipple of choice for the grey rinse set, the popularity of gin is once again on the rise here in Australia.

In fact, over the past five years, our gin consumption has risen nearly 50% across most age groups with the highest growth is seen in those aged between 18-24. And with the number of boutique distilleries in Australia on the rise, consumers are quickly becoming spoilt for choice and quality. 

One of the key points that help set Four Pillars apart from the rest of the local boutique gin pack is Mackenzie’s passion for experimenting with an unusual blend of ingredients; including a rare mix of Australian botanicals. On their mission to invent the perfect Australian gin, he and his partners consulted some of the countries best-known chefs; asking them what they thought made up modern Australian cuisine. They quickly came to the conclusion that their gin  should include a blend of Asian, Mediterranean and native ingredients. The end result is a fresh and tangy spirit with a dry citrus finish. Perfect with Tonic, or in Mackenzie’s favourite cocktail; the Negroni.

Each limited edition batch produced on the site of the former Hardies Yarra Burn winery is a considered mix of European Juniper, Guatemalan Cardamom, Australian Coriander, Cinnamon, Star Anise, Tasmanian native pepper, Lemon Myrtle, lavender and locally sourced organic oranges.

Mackenzie: “We’ve got some of the most unusual and beautiful botanicals in the world and I don’t think it’ll be long before we see distilleries overseas using Australian ingredients.”

And while both local and international distilleries may soon start taking a leaf out of the Four Pillars book and start distilling with a variety of Aussie ingredients, the one thing they’d be hard pressed to match is the passion and love that goes into each one of Mackenzie’s bottles. “Love is our fourth pillar” he says with a smile, and it’s evident that he means every word.

ku140726FourPillarsGin4412.jpg

Four Pillars open day Saturday, 6 September: Bookings through Eventbrite

Artist Profile: Richard McLean

Richard McLean is a total surprise package. An artist cloaked in the outer shell of a man of otherwise ordinary appearance. Yet the very word – ordinary – is at stark odds with the voice expressed in Richard’s visual and written work.

He meets Makers in South Melbourne following a few false starts. The meeting is a little rushed and Richard’s discomfort with that is clear. The artist appears as one who wears his emotional skin on the outside: an uncomfortable day-to-day proposition, perhaps, but one that surely informs so much of his arresting illustrations – works that vacillate between description of a poignant moment and pictures of moving torment finely wrought with nuanced tension.

Richard: “If you pick your life before you come here, then I picked a hard challenge. As the artist you’re on the outside of society, and it’s the same for people with mental illness.”

This last point is one with particular relevance to Richard, one who speaks openly around his own journey in coming to terms with – in his own words, “recovering” from – the onset of schizophrenia.

Yet as difficult as the journey has been (deftly illustrated in his decade-old book, Recovered, Not Cured: A Journey Through Schizophrenia) the artist appears to value the focus it has lent him, the drive to conscientiously adhere to a continual practice of self-assessment and self discovery.

Jesus of Suburbia

Jesus of Suburbia

Steinberg Still Life

Steinberg Still Life

It’s a drive he clearly identifies as being the impetus behind one his latest works, www.theuniversalembrace.com.

Richard: “The creative spirit is, for me, centred around talking about you and your place in the world and making peace with your past. It’s recreating your self in a way that’s looking over your whole life in a present moment. And the ultimate reason to do all this is love - love of the self, love of another and love of the greater universe and the way you fit in to it.”

Williamstown

Williamstown

And the fit of Richard? Like all of us, he is continually fighting for that knowledge – expressing his angst in those stirring illustrations while revelling in the playfulness of childhood with Grogan the Monster, a bright and nonsensical children’s book that will be launched during mental health week this this October as a fundraiser for The Royal Children’s Hospital.

Richard: “Not all of the art is dire, and not all of it is tormented. Some of it is very joyous. But creativity is something I will always do. It’s something I can’t stop doing: sometimes you feel jaded, you have success, you feel satisfied for a while – there is this cycle of up and down. Just like life."

www.creativemusings.com.au

 

Self Portrait Red t-shirt

Self Portrait Red t-shirt

Lemon Tree

Lemon Tree

Interview: Masahiro Onishi

Anyone who knows Melbourne coffee Don, Salvatore Malatesta, understands that the guy gets around. The fact that Makers missed him by a day at Switch Coffee in Meguro, Tokyo? Not as strange as it sounds. 

He dropped by for the same reason anyone with an interest in coffee does when passing through the Japanese capital – to experience the brew pulled by barista Masahiro Onishi, a dedicated lover of the bean and a one-time South Melbourne local.

Masahiro: “Some of the best coffee is in South Melbourne – I loved Deadman Espresso and St Ali."

His testing ground was noteworthy: landing in Melbourne a few years back, the Japanese-native’s keen coffee interest and light touch at the machine earned him the barista job at highly regarded The Premises cafe in Kensington.

It was from this space that was drawn much of the inspiration and drive that’s since been realised in his first solo venture, Switch, the name so chosen for its ability to cross linguistic boundaries (it means the same in both Japanese and English). Certainly nine months in and his identification of a yet-to-be serviced niche in the local hospitality market – Japan isn’t known for its coffee – is bearing fruit.

There’s the kudos donated by visits from top coffee brass like Malatesta, of course, but more than that there is the enthusiasm local regulars are exhibiting for his unique approach: everything in this space works cohesively together, from the elegant and inviting aesthetic to the focus on global beans and the café’s fashionably practical uniform – those Mackey aprons commonly stocked and worn in (you guessed it) Premises.

Makers finishes up the last of a longed for latte and snaps a few extra shots before hitting the streets. Masahiro walks us to the door and it’s the shoes that catch our eye – the beautiful oiled leather boot from French brand Paraboot that speaks as much about the café and the man as the coffee: simple, smart, casual and in excellent taste. 

Switch Coffee

1-17-23 Meguro

Meguro-ku, Tokyo, Japan 1530063 

Story & images by: Samantha Hogan

Interview: Bertie Blackman

Bertie Blackman’s latest single, Run For Your Life lifted off of her forthcoming fifth album, The Dash is truly three and half minutes of pop bliss, or as the artist herself describes it, “it’s music to have a good time to…music to feel your heartbeat to.”

With The Dash due for release this spring, Makers thought that now would be the perfect opportunity to arrange an interview and photo shoot with the inspiring performer. 

Blackman’s soon to be released album has been written and recorded in small studios in Melbourne, as well as Sydney and Central NSW. Bertie tells Makers that the time spent working in different locations around Australia helped to keep the sound of her new material “really fresh, open and exciting. ” 

We meet Bertie Blackman on a crisp Tuesday afternoon at the Happy Palace restaurant on Bourke Street, the retro interiors the perfect backdrop for the clean lines of local fashion label, Kloke, Bertie’s designers of choice for the shoot.

 With hair and makeup underway in the far corner of the open plan restaurant, a divine assortment of clothing and footwear set up neatly, and the excitable murmur of kitchen staff preparing for night service, the first floor restaurant is a hive of activity. The energy is upbeat, echoing the feelings that inspired the new album with its strong pop-inspired vibe. 

Bertie: “I think that the veil between pop and lots of different types of music is becoming less and less defined as modern culture closes in the gaps. Everything is attainable and that’s exiting for music.”

Run For Your Life opens with a strong ‘80s inspired synth, bringing to mind a feeling of freedom and, as the tempo grows, the liberation of feet pounding on pavement. It’s the first hint that The Dash will be quite the departure from Blackman’s last album, the more introspective 2012 release Pope Innocent X.

Bertie: “I’m always darting from one world to another. And wanting to nod at one of my favourite eras in music meant that I had to open out the production sound into big hooks and big vocals.”

It’s time for a quick costume change, and it’s evident that Bertie is loving Kloke’s stylings: the brand already has strong ties to the local music industry, dressing Chet Faker and contributing to the recent Architecture in Helsinki pop up store in Melbourne Central. We ask the singer if that musical connection inspired her decision to want to work with the label.

Bertie: “It wasn’t actually, I’ve always just dug their clothing. I love their mix of clean crisp lines and big loud patterns. I’m personally into classic cut clothing. These guys do this so well, classic cuts with a twist… super cool.”

It’s a well-chosen comment, and one that could also be used to describe the singer herself – classic with a twist and super cool. We think that about sums her up nicely.

Shot on location at Happy Palace restaurant

Clothing by Kloke

Hair & Makeup by Marlene Olsson 

Shoes by Victorine & Ms Blackman's own

Photography by Kirsty Umback