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.

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.

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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

Interview: Tim Kill

“I will do extra things at my own cost for my own satisfaction. I just love it. Guitar making has never been about the money for me.”    -       Tim Kill

Tim Kill remembers with perfect recall the day INXS guitarist Garry Beers came calling. The kid from Frankston who had directed his focus from the age of 16 toward making guitars was wandering around Bunnings when the phone rang. Garry wanted a guitar. And he wanted Tim to make it.

Tim: “It was just bizarre. He [Garry] wanted to catch up and it was all just super cash. From being in such an iconic Australian rock band he was just a real down to Earth guy. Same with guys like Colin Hay – he’d just come around to the workshop and start swearing like a trooper.”

When Makers recounted the experience of chatting with Tim earlier this week, an old time friend of the now 35-year-old specialist custom guitar maker emphasised the importance of conveying the talented artist’s eccentricity – as it turns out, there’s really no other way to frame him.

Substantial red beard aside, Tim’s quirks owe nothing to the physical. Instead, his left-of-centre characteristics are almost entirely attributable to the passion and dedication he has maintained for almost 15 years – a rare quality in today’s world – relentlessly pursuing expression and voice through creation of stunning instruments designed to each produce a particular unique sound.

His talent is one that was less directed then simply uncovered and then honed over years of practice: having bought a book on guitar making as a guitar-playing 16-year-old, Tim’s furniture-restorer grandfather helped to fashion his first instrument, an experience that set Tim on the road he is still driven to travel.

Tim: “In Australia there is no real way toward an apprenticeship or anything like that, so I learned the hard way. My grandfather let me pinch his tools and I just kept making and making and played in bands, which helped me to get feedback from other people around the sound.”

There was an apprenticeship of sorts with renowned Australian luthiers, James and Merv Cargill (for whom he still works part-time restoring, building and repairing classical stringed instruments), but the slow reveal of his talent owes much to Tim’s focussed practice of the art form.

It’s a dedication that has brought him to the attention of all the right people. If Garry Beers was the first rock musician to come calling, he certainly wasn’t alone in appreciating Tim’s soulful touch. In fact Tim’s client list reads like a role call of both current and past Aussie rock icons – from the aforementioned Colin Hay of Men At Work fame, to relative newcomer Xavier Rudd, the Living End, and the crew from the John Butler Trio.

But one gets the feeling it’s the man as much as the music with which they all identify. Tim has a way about him. He’s a down to Earth guy with a serious bullshit detector. An artist who follows his passions with no posturing or pretending. A craftsman, in the truest sense of the word. All are aspects of his personality that come through strongly when Tim speaks of his work.

Tim: “I’m a custom-based maker so I don’t really run a production line of staff. I have a couple of standard models but I always go out of my way to go a bit extra – I try to pride myself on the fact there are no two guitars out there that are the same. I will do extra things at my own cost for my own satisfaction. As far as time and money goes, I’ve never put a stopwatch to [making] one…because it distracts me from how I started. I just love it, but it was never about the money for me. It’s nice to have it for food on the table, but I don’t chase after it.”

And I guess that’s it – his eccentricity and his appeal neatly rolled in to a sentence. Someone who does it for the love. It’s a rare energy and one – as human beings – that we’re all drawn to.

Certainly it helps to explain why his new hobby, the restoration of vintage motorcycles, is fast becoming a second income stream, even if Tim himself is doing everything he can to preserve it as a personal passion: when the rest of us lock on to that person following the beat of his creative heart, then we all want a piece of it.

But for Tim it’s not the unspoken adulation that matters, but the trust this brings from those that seek him out: confident in his talent, they let the artist take the lead. For Tim as a maker, this is where much of the pleasure derides.

Not that it doesn’t sometimes go wrong.

Tim: “I did this job for a guy over in WA. He was a guitarist, had a share house with Diesel and Jimmy Barnes when they were teenagers and had all these wild stories to tell. Anyway, I did a sunburst and thought it was really beautiful and I sent him some pictures. He rings me up to say, ‘I don’t want to hurt your feelings or anything, but I just don’t like it’.”

Tim laughs when he tells the story and it’s had not to admire his lack of hubris. Hoisted by his own artistic petard. So what’d you do, Makers asks?

Tim: “I made it again.”

You can hear the shrug in his voice, matched with the hint of a smile.  And there it is again. Easy. Honest. Light. Characteristics we’d all be happy to have more of.

Artist Profile: Lily Mae Martin

If a lot can be told about a creative by their studio, artist Lily Mae Martin’s decidedly feminine space speaks volumes.

Located at the back of her property in Preston, the converted garage is a virtual candy land of artistic ephemera; a collection of old box brownie cameras, canvases, reference books and rough sketches sit next to a prized collection of old photographs, carefully collected from flea markets, fetes and fairs across the globe.

“I love old cameras and I love old books,” Martin begins to explain as we take shelter in her workspace, avoiding a sudden downpour outside.

“And I love collecting old photographs. Wherever we travel I go and collect old photographs. Some of those are very fancy ones,” she says as she gestures to the fading pictures she has chosen to fill her space with.

“Though it’s not the fancy ones that I’m drawn to specifically, it’s when you’re in markets and you come across big boxes [of pictures] and it’s someone’s whole life. It makes me feel a bit sad. I’ve got so many photographs of mamas and their little kids, and of nuns. I’m really drawn to nuns.”

It is this dichotomy between traditional feminine roles and the objectification of women in art that has possibly played the greatest influence on Martin’s work to date, a collection of paintings and sketches focussing on the nude female form, with an emphasis on pregnancy and the gestating body.

Working across the fine arts, Lily Mae has been drawing for her entire life, but only began painting while she was in VCE.

Lily Mae: “Female nudes are important to me because, even though most of art is based around women being nude, I feel like it’s still quite devoid of the female experience. That’s what I’m trying to capture, that’s why in recent years drawing and painting women in pregnancy and after has been quite important. And it’s not just the male gaze. Because most of the art that is referenced is by men, women do it too. That’s the way that we’ve grown up to view the female figure, so I really want to capture all the bits and pieces in my work. "

A finalist in the 2014 Benalla Nude Art Prize, Martin admits that it can be hard to avoid objectifying her subjects.

Lily Mae: “People always talk about people in art always being objectified and it has such a negative connotation, but sometimes I see people and all I can think about is painting their cheekbones or drawing their hair.”

But it isn’t just about contributing to the reboot of how society thinks about women in art – plenty of her own experience as a person and as a mother funnels from her paint brush and on to the canvas. With experience and with time, the artist has enjoyed developing the ability to convey hers as a universal portrait representing the ‘other’ as much as it tells the story of her ‘self’.

Lily Mae: “There’s a very therapeutic and cathartic aspect to my work but I think, as I have grown along with my work, I’m able to talk about it and explore…in a broader sense. It’s not such a personal thing anymore.”

Lily Mae Martin is represented by Scott Livesey Galleries

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Interview: Sebastian Costello, Bad Frankie

“There are distillers who brew excellent product in Melbourne, and I want to show it off to the world.”

-       Sebastian Costello

It is common to become intoxicated by the discovery of food and drink tested and tasted within the cultural and geographic bounds of its origin: pintxos and white sherry in the cobblestone back streets of San Sebastian, panzanella salad in some Tuscan trattoria, or a dosa straight off the cart in the laneways of Chennai.

Perhaps what’s slightly less common is bartender Sebastian Costello’s reaction to his own journey of culinary discovery. Excited by the experience of drinking his way through bourbon in Nashville and tequila in Tequila, Sebastian took up the gauntlet these two regions remain unaware was ever thrown.

Sebastian: “We came back and I thought to myself, ‘we’ve got whiskies from Tasmania, gins from the Yarra Valley and the Margaret River – let’s do this, let’s show Australian spirits to the world.”

The end result is Bad Frankie, an off-Smith Street bar showcasing more than 150 spirits representing 40 of the 50-or-so boutique distilleries currently operating within our border.

It’s a quirky concept. Australian-only spirits, beers and wines matched with what Sebastian imagines as our national snack – the humble jaffle.

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As concepts go, it is undoubtedly one that could come off as gimmicky in the hands of a business owner with less honest intent and more commercial drive.  Instead, the space (with the help of interior designer Sally Holbrook) evokes all the colloquial warmth Aussies have for the idea of the small town watering hole.

Sebastian: “When you’re in Tequila the Jose Cuervo distillery is right there on the corner, and you’re eating tacos because that’s what you eat and it’s awesome because you’re there – no one’s trying to sell it. They don’t have to. This is what they do.”

The key to the realisation of the Bad Frankie vision is in Sebastian’s absorption of that notion. There is no hard sell, here, instead just a real knowledge about the birth of Australia’s boutique distillery industry and its importance in our modern food history.

Certainly he relates the dates and happenings as if he had lived them. Of Van Diemen’s Land Governor John Franklin’s outlawing of small-scale pot stills in the 1800s that saw the death of the boutique distillery industry in Tasmania and eventually – when the law was passed in to Federation law in 1901 – across Australia. Of the 1992 overturning of the archaic law upon the efforts of Tasmanian Bill Lark, founder of Lark Distillery.

As of the offering, he’s not afraid to be a little parochial in the tastiest possible way. Like the inside joke that is the jaffle lamington, and a cocktail list that reimagines the Sunday roast as a strangely tasty Old Fashioned championing Gun Alley whisky.

Sebastian: “The response to what we’re doing is really great. Everybody loves it. Everyone’s worried about their carbon footprints and people are keen to taste product we can trace to just around the corner. We wanted to give them that opportunity."

 

badfrankie.com

141 Greeves St, Fitzroy VIC 3065

Telephone 03 9078 3866

 

Street Style: Tokyo

Makers of Melbourne like to keep one eye on the international street style scene & our contributor Samantha Hogan's recent trip to Japan gave us the opportunity to take a look first hand at what's happening in Tokyo. As to be expected, the quality of Japanese denim has kept this trend at the forefront of style over the Northern summer & paired with a few quirky accessories & a hint of attitude & you have the makings of some great casual looks.