Design Anatomy

Best of Design Anatomy Series: Sarah Ellison on Timeless Trends and Creative Innovation

• Bree Banfield and Lauren Li • Season 2 • Episode 33

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The best of Design Anatomy series continues today, revisiting some of our most admired, inspirational & popular episodes for you to enjoy over the holiday season! Bree & Lauren will be back with more amazing guests in late January 2026 

Renowned designer Sarah Ellison joins us to uncover the vibrant tapestry of her career, from her early experiences at Real Living to the exciting launch of her new venture, Sarah Ellison Creative. With a unique blend of humour and insight, Sarah discusses the transformative influence of social media on the magazine industry and shares her intuitive approach to anticipating design trends, likening it to the data-driven precision of AI. Her background in fashion and publishing has not only honed her trend-spotting skills but also sparked her passion to explore new creative realms beyond her successful furniture business Ellison Studios

Sarah offers a captivating glimpse into her creative process, emphasizing the importance of designing spaces that engage all the senses. From navigating the challenges of creating personal designs to filling market gaps with her distinct aesthetic, Sarah's journey is a testament to innovation and authenticity in the design world. Her philosophy, "designed for the senses," is rooted in the creation of immersive spaces that evoke emotion and experience. Listeners will be inspired by her stories of balancing professional aspirations with personal life.

As we explore the concept of timelessness in design, Sarah reflects on the cyclic nature of trends and the resurgence of styles from past eras. The conversation touches on how quality craftsmanship and simplicity can withstand the test of time, providing insights into making affordable yet stylish updates to interior spaces. We also delve into the evolution of aesthetics like the Scandi style, and the nuanced role of colours such as Pink and Grey. Join us for an enriching discussion that emphasizes the significance of context and personal style, while celebrating the artistry of design that resonates through every era.

We hoped you enjoyed this episode & if you want to keep an eye out on what Sarah is up to next, please follow along at Sarah Ellison Creative on Instagram or her website Sarah Ellison Creative 

Bree is now offering a 90-minute online design consult to help you tackle key challenges like colour selection, furniture curation, layout, and styling. Get tailored one-on-one advice and a detailed follow-up report with actionable recommendations—all without a full-service commitment. 

Bookings now open -  Book now


Join Lauren for The Conversation Circle beginning Monday 15th June.

This fortnightly small-group mentoring program is designed for interior designers, decorators and stylists who are ready to fast-track their business growth, gain clarity, and have the support and accountability to take action.

To ensure everyone receives personalised guidance and mentoring, the group is intentionally limited to just 6 designers. This creates space for meaningful conversations, individual feedback, and practical support tailored to your business.

For more info & application process please see below:

The Conversation Circle 2026 

Welcome, Guest Intro & Theme

SPEAKER_01

Welcome to Design Anatomy, the Interior Design Podcast hosted by friends and fellow designers, me, Lauren Lee.

SPEAKER_00

And me, Brayband Field, with some amazing guest appearances along the way. We're here to break down everything from current trends to timeless style. With a shared passion for joyful, colour-filled and lived-in spaces, we're excited to share our insights and inspiration with you. Welcome to this episode as Lauren and I talk to Sarah Allison about her career journey, experiences at real living, and the evolution of design in the magazine industry. We also explore the impact of social media on traditional media, Sarah's amazing creative process, and her new venture, Sarah Allison Creative.

SPEAKER_01

This conversation delves into the importance of designing for the senses, finding inspiration, and balancing work with creativity, all while reflecting on the nostalgia of past design eras and the quest for timelessness in design, which is a quest I'm always on. I absolutely loved talking with Sarah. She is just someone I have admired for a long time.

Course, Retreats & Newsletter Links

SPEAKER_01

So before we dive in, I just wanted to let you know that my style studies course is still open. And we are helping you create your own dream home in that course. We're also offering retreats this year, 2025. So if you'd like a bit of information, there is just a little link in the style in the show notes. Or you can just join my style studies blog on Substack. So fun.

SPEAKER_00

And if you want to sign up for more information from Brea Banfield, we'll be sending out snippets about trends and information on our short courses that we'll be running and our design edit pre-selected furniture collections that will help you decorate your home without having to spend a small fortune.

SPEAKER_01

Gorgeous. Love that. Love that for everyone. Alright, Brie, shall we dive on in? Let's chat. Let's chat.

Acknowledgement Of Country

SPEAKER_01

Welcome everybody to another episode of Design Anatomy. We're really excited to be talking to Sarah Ellison today. Brie and I have been fans for a long time, so we're going to really enjoy this discussion. So just before we start, I just wanted to show our respect for the Rundry Roy people. They're the OG custodians of this unceded land and its waters, which is where we shop, where we create and where we call home, and of course, where we're working right now. So let's get into this discussion.

Early Careers & Real Living Days

SPEAKER_01

Sarah, I don't know if you remember, but I met you years ago. I remember. Do you? Yeah, I remember. Yeah, I remember at Claire's house. At your friend's house. Yes.

SPEAKER_02

Yeah. So I totally remember.

SPEAKER_01

It was so random because I was working full-time at a, it was actually at a fashion brand, and I was the in-house retail designer. So we were opening up stores all around Australia. And anyway, um, sort of a I guess as a favor to one of the sh guys working in the shop fitting business, he had this little cottage in Fitzroy, which was so charming and cute, wasn't it? But they couldn't figure out the layout. Yeah. Yeah. And so I I went in one day after work and presented the ideas to them and they said, Oh, is it okay if our friend sits in? I was like, oh, okay. And I don't think it was until afterwards I realized, oh I think I yeah, I think I know who that is. That's Sarah Ellison. And of course I knew that.

SPEAKER_02

I feel like I might have just started. I feel like I might have just started at Real Living, though. I feel like that was like the first year or two, Mamie. And yeah, such a random meeting. But like I remember. I totally still remember. Yeah. Yeah.

SPEAKER_00

I feel like I don't know if we have actually ever met Sarah.

SPEAKER_02

We haven't. We haven't met. Yeah. Yeah. Isn't it?

SPEAKER_00

It's like sometimes you sort of go, have we met before? Like I guess it was possible. So I used to go up with um Godfrey Hurst and do presentations to all the editors at the different magazines of like, you know, what was new with products and um that sort of thing. So that's possible you might have been in one of those meetings at some time or other. But I don't think we've ever kind of met.

SPEAKER_02

I would remember. I remember everything. I'm like an elephant. You're good.

SPEAKER_00

I don't.

SPEAKER_02

Um I when I was at Real Living, I was rarely in the office. I was never there. Okay.

SPEAKER_00

I missed a lot of hours doing stuff, shooting, collecting. Totally.

SPEAKER_02

Yeah. We did.

SPEAKER_00

That makes sense.

SPEAKER_02

I literally was shooting every week sometimes, you know. So I was always if if I had to sort of pull something together, I would do it from home because it's just too distracting being in the office. Um I totally get that. Yeah.

SPEAKER_00

There'd be so much going on in the office too.

SPEAKER_02

Yeah. Yeah. And I'm not really an office kind of person.

SPEAKER_00

Fair. I think a lot of creatives aren't, or they need that flexibility to be able to work in different places.

SPEAKER_01

I think of a I think a lot of creatives aren't office people, but then somehow we find ourselves sitting at a desk all day. And we're like, how did Zo get here? Like, you know, um, I would love to know a little bit about your role at Real Living. What was it? Sounds like really fun.

The Art Of Covers And Studio Shoots

SPEAKER_02

It was fun. It was the really, really fun, memorable part of my career when I only have the best memories. Although at the time I think it was pretty str it's pretty stressful. But I only look back with love and you know, I just enjoyed it. It was a really happy time. Um, but you know, I was a stylist essentially, and so that was just basically just doing a lot of photo shoots. You know, that magazine was very photo shoot heavy. Um, and we I forget how many shoots we would do an issue, but I think I would plan it so that I had a shoot every second week sometimes. Um I'd do a week of planning and then a week of shooting, and a week of planning, we could shooting. Um just you know, covers were super important. That was probably the biggest focus was making sure that when we do a shoot, get a cover out of it. So whether it was a house shoot or a setup in the studio or whatever we were doing, it was like, let's have a look and see if there's a cover option there. Um, but then eventually we sort of realized that a lot of the covers were better if they were very controlled and we could do them in the studio. So I think one of the when I was there, an art director had arrived who had been come from a fashion magazine. So it was a bit of a turning point about a year in where this art director, who I think she'd come from Harper's Bazaar or something like that, I can't remember. But she really brought a fashion edge in and we were able to start kind of using models and pulling really good fashion and kind of doing that thing where you're you're doing your room set, but then you're also um you know inspired by fashion in the same in the same shoot as well. Um so it was an exciting time.

SPEAKER_01

Yeah. So are we talking about 2015, 16, 17?

SPEAKER_02

Or I think I started there in 2011. Oh, right. So yeah, 2011. So it was a bit of a golden age in the mags still as well. It was before I mean social media arrived in 2011, but it kind of didn't really take off maybe what 2014-15 um as a kind of real tool for media brands. Um, so yeah, it was it was a good time. Um and and Real Living was doing really well as well. A lot of magazines started suffering a little through that period, but we were doing very, very well. Um, and I think it was that real price-pointed thing where you're showing people. I mean, look, honestly, if you think about it, it was kind of like the first inst it was it was Instagram before Instagram. Yeah, you know, it's giving the person. Yeah, and having the person on the front cover. Exactly. It's very relatable. You're giving people what they want, you're giving people ideas, people can take something away from it. It was clever in that respect.

SPEAKER_00

Well, the real living really became known as um, I guess, pushing the boundaries on that cover, like

Social Media’s Disruption Of Magazines

SPEAKER_00

you said, moving to more of a studio style look, and then bringing in um a person who wasn't necessarily the homeowner. So you you kind of go from that um, you know, cover that's quite traditional, which is a home with a homeowner or the dog or whatever, to having almost like a a model, but still relatable. Like you kept the model, not too crazy fashion, fashion model. It was always sort of a relatable woman. Um and then the fashion element adding into sort of I guess they became quite graphic covers, is the way I would put it. And then Rillaby really became known for that, didn't it?

SPEAKER_02

Like that was that was the yeah, that was kind of the well, it is that thing, it's at uh grabbing attention on the stands, you know. And then we had this wall in Deb's office, and it was every single cover that we'd ever done, or the other teams had done before me as well. And it was almost like we could kind of we knew which ones were good sellers. I think we might have had, you know, which ones were the best sellers, and we knew what worked. And so after sort of 500 covers or whatever it was, that's probably not that many, actually. I'm exaggerating, but after a couple of hundred covers, you go, okay, I I can see a pattern here and I can see what's working and I can see what grabs people's attention. So it's just always finding that line between make it relatable, make it colourful, what's the colour people are into at the moment, what kind of woman do they want to see? She can't be too cool, she can't be too fashion, but she also can't be too relatable and have a dog, and you know, so it was like a very fine line that we had to find. And to be honest, I felt like up until the time I had left, I'd literally only just gotten to the point where I was like, I think I've cracked it. You know, I finally think I've cracked it.

SPEAKER_00

That always happens, right? And then it's like, damn, now I've got to move on.

SPEAKER_02

Exactly. Exactly.

SPEAKER_00

Yeah.

SPEAKER_02

That was a good time.

SPEAKER_01

I was actually, oh, it looks so much fun. It did look like you got a sense of fun from the magazine as well, I think. Like that was a bit more playful, it wasn't so serious. But um I just had a really sad thought though, because imagine having to pull down that wall of all the covers. Because when real living closed down, when was that a few years ago? Now I was actually really sad about it. Yeah, real living was just like such a fun, easy go-to. Like you'd find all these new suppliers in there. It was just like a really nice read, and and it was and I think it was, you know, bringing in those Australian products and everything like that. So it is uh it's changed a lot in a few years, hasn't it?

SPEAKER_02

It's a shame. It's a shame, I think, as a lot of those those brands, the magazine brands, you know, live um inside out and everything that I just didn't manage to catch on to the technology early enough. And I remember being there and then trying, like, you know, ACP or Bower at the time were trying so hard. What's the technology? What do we need to do? We had this app at one stage that was like, I don't know if anyone ever used it, but it was a barcode on a page, and you could scan the barcode and it would open up to a video of the photo shoot. Wow, so shame.

SPEAKER_01

Maybe too early.

SPEAKER_02

Yeah, good concept. It was called Viewer, no one ever used it, but they spent heaps of money on it, you know, and just it just didn't take off. But trying to, it was just such a pivotal time in media where everyone's like, what is the thing? Where do we direct ourselves? We none of us knew Instagram would turn into what it was, and we should have just probably focused all of our attention

Spotting Trends And Being “Too Early”

SPEAKER_02

into that, but it was it was a bit of an unknown.

SPEAKER_00

That's right. I mean, obviously that the the rise of social media really changed it yet again. What what was the thing to do? But I remember back then, um, there were a couple of really cool online magazines like European ones. There was one that I loved, which for some reason didn't didn't kind of take off, and maybe again it was kind of like social media really just took over, but it was just so you know on the iPad, but it was so well integrated that you could just like click on things and it would take you to a video or you it would take you to the product order, and it was I loved it so much, and then it's just sort of stopped happening. I was subscribing to it, but I feel like nobody's quite nailed that integration. Like, like you said, actually, I noticed today. Um, I I read most of my mags on uh my iPad now. I don't buy a lot of physical ones, but when I was doing that, I noticed there's like a little QR code on an ad. And I thought that's actually super clever. Because you know, like if you see an ad for something, you go, Oh, that's cool, and you Google it. So instead, if you're reading the mag, you just pick your phone up and you use the QR code and go straight to the website. So I thought, oh, people should be doing that a lot more. Anyway, I digress, but that technology thing is um has become so important in the I guess the livelihood of any kind of publication now, hasn't it?

SPEAKER_02

Yeah, this is and I think it's a bit like we're also addicted to that scroll as well. And I think that that is a bit of a pro that's a problem because it stops you from consuming other things. You know, I find myself, I'm just stop, you know, I'm not intentionally looking for anything, I'm just scrolling. It's like they've all addicted us.

SPEAKER_01

Yeah, it's not an accident, nah.

SPEAKER_02

It doesn't make that way clever.

SPEAKER_01

But I think it's interesting because you know, maybe real living and and all magazines really, no one had a crystal ball in that sense to know where to put their energy to, you know, carry on with the technology. But I think in a trends way and stylistically, you know, Sarah, you really do have that ability to be able to somehow pinpoint what the next thing is, just on the edge of just when we're all catching on to it and you know, looking at real living. I had I don't know, can you speak on that a little bit? Like, how do you do that?

SPEAKER_02

I don't know the answer. No, I don't know. It's definitely not something I'm trying to do. You know, I'm not trying to go, I want is the exact thing that be you know, I'm not really trying, it's more of an innate kind of thing when I go into sort of a creative process and then something just pops out the other end and it happens to be right where it needs to be. But saying that, I think having about kind of fashion, like I started in fashion, I'd studied fashion, I was very interested in being a fashion designer. Um, and you know, fashion is of the moment, isn't it? It's that very much that so I think my mind works in that way anyway. Um, and then those years in magazines where you're hunting, you were constantly hunting for the thing. What's the next thing? You're always, you know, you're meeting all the you're going to all the shops, you're going through all the websites, you're just constantly pouring through so much interior data, let's call it. You're like a little mini computer that sort of is taking all of this stuff in, and then eventually you're kind of spinning something out, and it happens just to be the right thing. Like a bit, a bit like an AI in a way, you know, it's sort of you take it all in and you scan the data, and then you, you know, go into some kind of creative process, and then at the end, you sort of the creating something that sits somewhere where where it inspires people. Um, but sometimes with that, my problem is I can also go too far, I can be too ahead, and then it has no context, so no one gets it. So that has been a little bit of a problem. It's like that's really cool. And I've had my peers and colleagues, that's very cool, Sarah. We're sure in five years' time, everyone's gonna love that right now. No one's gonna get it. Um, so it is very much kind of pulling everything in, sitting with it, and then making sure it has sort of a commercial context, but also relatable, it's relatable to people. And I do like that. Personally, I get a lot of enjoyment out of creating things that inspire people, and that um, I mean, I guess in some ways it's taking all of those high-end trends and pushing them into a place that makes them understandable for kind of the average person, the average consumer.

New Venture: Sarah Ellison Creative

SPEAKER_00

So uh so Sarah, we love to check in with our guests and ask what have you been up to lately?

SPEAKER_02

Um, so I am starting a new business. I started a new business, Sarah Ellison Creative, which kind of allows me the space to step away from Ellison Studios, which is obviously my commercial furniture business, um, and just sort of focus in on a lot of collaborations that I've been really wanting to do outside of Ellison Studios. Um I want to work on a bunch of things that sort of um outside of furniture at home, I would like to go into some more architectural kind of um collaborations and design collaborations. Um I also just want to kind of yeah, it's exciting. I also want there's a few things in the works which I can't really talk about, but um just wanted to open myself up as a creative to a a lot of opportunities, and um, I guess I just wanted to also elevate my style a little and go into a different zone creatively. Um, so sort of made the decision to, you know, start my own business as Sarah Ellison and um just leave myself open to creative opportunities. It doesn't even have to be in interiors. I mean, I love consulting and branding, and there's a whole bunch of things that I really want to do as myself without the sort of rigors of a whole business and a team and and things like that. Um that sounds like a house. Yeah, yeah. I bought a house and I want to work on a bunch of collaborations, probably to some degree in the house. Um and yeah, just just design a beautiful home for me and my son um and design all the things in it. That would be great. I see so many gaps still in the market, which is really funny. Like you think that everything already exists, but I'm like, I want an amazing tap, but I can't find the tap that I want.

SPEAKER_01

I would love to see a tap by Sarah Ellison. I only want to buy it. Thank you. First customer, yay. Thank you. Great. Oh, that's exciting.

SPEAKER_00

And how old's your son, Sarah? He's don't mind me asking. Oh, he's temporal age. Is he appreciative of design?

SPEAKER_02

No, no, doesn't care. You should see his room. It's it's so embarrassing.

SPEAKER_01

So funny.

SPEAKER_02

Yeah,

Designing For The Senses Philosophy

SPEAKER_02

like I'm I'm just like, God, mate, like, yeah, just he's into rugby and he's into just into boy stuff and YouTube and gaming and like all of these things that I'm like, is I don't know. No, but anyway, my little lesson to not be so precious about everything. No, it's hard of the designer, isn't it?

SPEAKER_01

It's a bit exciting, but you know, when it comes to your own house, I get a bit paralyzed because I think, you know, it's almost like we just know too much. We know there's so many options out there you can design for clients, but when it comes to your own, sometimes do you find that too?

SPEAKER_02

Yeah, yeah. Like I'm trying to already think about the styles that I'm gonna, you know, I have an aesthetic, but I I that I'll probably end up going with. But in my mind at the moment, when I'm thinking about do I go more layered and more decorative and how crazy am I gonna go with the tiles. And how much am I going to lean into these big gestural editorial moments? Or you know, like, or is it just a home for me and my son? I should be more humble and think long term. Like, there's so many things going through my mind at the moment. Yeah.

SPEAKER_01

You already designed a tile range, which was such a huge big hit. Like that was just the reality.

SPEAKER_00

I was so excited when that came out.

SPEAKER_02

But I think are they still available? Yeah, still available. Yeah. Yeah. I want to do more tiles for sure. Love to do more tiles. Wallpapers, you know, everything. Everything. Give me all the things. Design.

SPEAKER_00

I know. I feel like this is the thing. It's like maybe there's nothing you can't do because I feel like you've touched on so many different elements of um design and and really done all of them quite well, I would say. But when you talked about your aesthetic before, how would you actually describe it? Like I always find um, I guess I I kind of know what mine is now, but I feel like it's taken me a while to get to the point where I can actually say this is my aesthetic. Do you sort of have that in your head? Like how you how you would actually kind of say, Well, this is this is what I do. Like, do you have the words for it?

SPEAKER_02

Well, it's taken me a while to to work out how to describe it. You know, it's in years of I don't know, you just do it, right? It's an innate thing, and you just do it in a turn. But as you get older, you start to look back and go, okay, I get it. There's a very clear escape there. Um, but for me, it's um, and you know, this is kind of my tagline of my new business, it's designed for the senses. So the way that I try and approach a space or a design or anything I'm doing creatively is kind of experiential. And how does that feel? I'm a very sensitive person, so I'm funny about the way things feel, the way things are when you touch them, the way a marble is when you run your hand across it. Um, you know, the shininess and the coolness of a chrome, the way a room smells when you walk into it, the music, the it's it's a sensory experience. And I feel like I design in that way um the logo. Love it. Yeah. Yeah. The best way I found to describe it.

SPEAKER_01

Well, I think it's almost uh other people want to put a label on your aesthetic, like you're just going doing your thing, but it's like people just really want to find the words for that, don't they?

SPEAKER_02

Yeah.

SPEAKER_01

Yeah. I have loved

Process: From Screens To Showrooms

SPEAKER_01

your newsletter that you've been sending. Oh, thank you. Thank you. And yeah, it's great.

SPEAKER_02

Because you just put that stuff out there and you're like, does anyone get this?

SPEAKER_01

I don't know. Yeah, it's beautiful. Just a little you know, a whole like nice like little email of inspiration and just to get a feel for sort of where you're heading and what you what what's inspiring you. I'm curious though, um, when you're talking about your design process and taking in all of that inspiration, is it um how do you organize it? Is it Pinterest boards? Is it printing out, sticking on a wall, is it Instagram saved folders, or just all of the above?

SPEAKER_02

It's everything. It's everything. Gosh, it's it's I love something real other than a screen thing. I realised, you know, I've got I've got all the saves in all the files, and don't you hate that thing where you just literally can't remember where you've saved that thing that you now use all the time.

SPEAKER_01

And I'm like, it's so important. I've got to screenshot it and then I've got a folder with five million screenshots in it. Screenshots.

SPEAKER_02

Totally. We're all the same. We're all the same. Um what I have realized is I love the I love my favorite thing to do is to go into shops, whether it's travel and you're in some beautiful shop in another country, which is amazing, but honestly, just going to doing a little trip to Sydney and going into all the showrooms, all the hotels, and my favorite thing is going into like luxury fashion stores like Pateka Venetta or Prada or whoever, yeah, and just being around and just letting my mind wander in kind of like more of a physical sense, as opposed to sitting there on a screen and doing a mood board. I think you need all of it. It's like you gather all the files, you put together your schemes and your storyboards, but then alongside that it needs to be something physical for me. Sometimes I could just be going for a walk. Like as I was I wrote down a few notes with this podcast and then I went for a walk. And all my best lovely things I was gonna talk about were on my walk. You know, it's like I need that body movement.

SPEAKER_00

My other thing is um or in the shower. I think someone needs to design something, I don't know, or maybe I just need like a whiteboard marker in my shower because I feel like I come up with the best ideas when I'm in the shower and I'm like, or I'm like processing stuff and I go, yes, that's it. But then by the time I get out of the shower and get dry and get dressed and whatever, I go, what was that? Oh no. Yeah, totally. Yeah, I know. But yeah, well, I feel like um that's definitely I notice a lot of creatives do this, and I don't know if you do too, Lauren. It's that thing of like, we're always really working. So we can do all that deliberate gathering of things, but it's when you're least expecting it out on a walk or I don't know, driving. Sometimes I'll be driving and I'll see, like, I don't know, the side of a truck or a car, or there's just something like the colour combination or the phone that just triggers something and I go, triggers the resolve for whatever this is that I this joinery or or this colour scheme, that's it, that's what I'm gonna do. So it's kind of you do have to make sure that you're not just at the desk and and scrolling and looking at it all digitally because you'll kind of miss out on those other parts of inspiration. Do you do the same, Lauren?

SPEAKER_01

Well, I think it's um, you know, what you're saying, Sarah, you know, you're designing for the senses. So that means we need to get out of a in front of a screen and we need to go on a walk and you know, you you're soaking up all of the the sounds. Maybe I'm listening to a podcast though. Yeah. I'm listening to the birds. No, I'm not listening to a podcast. Um and uh, you know, the smells and all of those things that you you know, you're going in to experience a store, you know, a retail store, or you know, as you said, a hotel, and they're the things you do when you you travel, and you don't have to travel far. Um true. But you do need to get out in front of from in front of the desk, and that's

Work–Life Rhythm And Creative Flow

SPEAKER_01

something I really struggle with because to be honest with you, even sometimes going for a walk, I'm like, oh my god, I've got I've just got to get this work done. And then the next thing you know, oh my gosh, the whole day is gone. Anyway, so that's but it's really important, isn't it?

SPEAKER_02

No, it's a hard balance, it's such a hard, yeah, it's a hard balance. I but I have realized, you know, there was a period where I was sitting at my desk all day, every day, and I was I was overwhelmed actually, if I if I really think about it, I was very overwhelmed because I just wasn't giving myself that space to kind of I mean like it's flow essentially, you're creating a flow, you know, and I realized that the best way I work is if I'm at my desk three to four days a week, no more. Okay, give yourself space because that frees up your mind to be more efficient on the other days, you know.

SPEAKER_00

So it's just down. I mean, we're getting into like you know, business running, but I'm just curious on this one question, and then we'll leave it.

SPEAKER_02

Yeah.

SPEAKER_00

Um but do you schedule that or do you just organically go, oh, today's that's a good idea?

SPEAKER_02

I am trying to, I'm trying to make it more scheduled. Um at the moment it's a bit of a weird one because I'm doing it's a whole new phase for me. It's a whole new business, and I've been setting up the website and doing all that sort of stuff. Um, so there's definitely periods where I am at my desk five days a week.

SPEAKER_00

But yeah, yeah, there's a lot of that sort of work admin stuff, yeah.

SPEAKER_02

Yeah, but working towards Fridays, just don't work Fridays. Yeah. Still always thinking about it though. It's like you're not, it's not that you're not working, it's all still going on. You're just not doing it at your desk.

SPEAKER_01

Just not at the desk. You can't switch it off, right? No. We were talking about, you know, how can we name your style? But um, I was having such a wonderful walk down memory lane because I am uh I wouldn't say a hoarder, but I do have some old collector, thank you. Yeah, I do have some um vintage, let's just call them vintage real living magazines, and there were just a bunch of them that I've held on to because I've had a little tiny project snippet or something in there. But oh my gosh, it was so fun looking back to those different eras. And you know, when you look back onto real living, are there some sort of styles that you're like, oh, that was such a whatever style? Like, do you sort of have eras that you kind of remember?

SPEAKER_02

Oh gosh, yeah, there's so many. Um, but I loved seeing all of your

Nostalgia, Eras & The Myth Of Timeless

SPEAKER_02

when you sent me those images, I was just like, oh I actually sent them to dead people. I was like, damn, these are all stuff really good.

SPEAKER_01

So I thought I mean over time, and I suppose like leading into that question, and it's something that Brie and I have um sort of riffed over a few times, is this idea of timelessness because I I think a lot of designers, you know, we love uh using that word, oh, we create a timeless interior. I'm like, I don't know what that means because I actually love design for our time. And looking at all of those eras, I'm like, it's just a joy to look at them and remember, and we were so loving the antlers on the wall or whatever it was in that moment of time. Oh my gosh. And it felt so fun and it felt so fresh at the time, and obviously, we're in a moment here where we're thinking what we're doing now is so fresh, and I'm always liking something new, and I think that's why I really like to read Real Living because it was always showing something new. And if we're striving for timeless, are we stuck in a time and are we not looking outside? Are we just really doing the same thing? I don't know. What are your thoughts on this design?

SPEAKER_02

I think I think that timeless for me is probably more than anything about quality, you know? And it's about even if it's something reasonably trendy, let's say, if it's of high quality, if it's made by hand, if it's in a beautiful material, um, if it has clean lines, it won't it won't date as much. That's how I see timeless.

SPEAKER_00

Um so it's sort of designed to last rather than designed to throw away.

SPEAKER_02

Exactly. Yeah. Nothing, I mean, everything changes. Nothing stays in fashion forever. It's also cyclic. And things, what's funny actually is what all the Y2K fashion, a 90s fashion that everybody's wearing now, which I thought would never come back into fashion and everybody's wearing. Well, not everybody, the younger generation are wearing it. You would have thought anyone would ever wear that terrible fashion ever again. So it's cyclic, it always comes back. You know, we always thought the 80s and Natore Sotsas and the Memphis stuff from the 1980s, which was, you know, when I was a kid, was so garish, so over the top, such a statement. And how much do I love that now? You know, I love it. Um so timeless, you know, it's all it's a it's all cycles and it all comes back eventually. And I think if you wanted to really invest in something timeless, there's that saying, you know, the best design is the least design of all. So if you really want to buy something timeless, it's about picking something that's very clean, doesn't have, doesn't say too much. You know, it's not boring necessarily, but it's just very clean lines, linear. Don't put too much into it. Um, I actually have a sofa that I bought in the early 2000s. Very low, very long. I think it's a three-meter long sofa, super thin, simple frame, um, very just square. Um, and I I st I can't throw it away. I all I do is I get covers made for it and I use it as an outdoor sofa, you know, because I it's such a good, simple design that I still love, and I just don't have the heart to throw it away. So to me, that is timeless.

SPEAKER_00

You know, something you keep for a really long time. So when you look at that sofa, you don't you don't sort of you can't pinpoint, I guess, what era it was. Like, is that kind of Yeah.

SPEAKER_02

Yeah. Yeah, I guess, yeah, exactly. It's it's it it's it could be 70s, it could be eighties. It it's just a very simple simple. Yeah, transcendent. But I think what you can do is spend if you want to buy into the trends or the styles of the time, I think you just do it and not spend too much money, you know, so it's not a big investment. You know, spend all your money on something super trendy um and in fashion. It's just like a a checkered cushion. I've got some checkered cushions. I still love my checkered cushions, but they're easy things to change.

SPEAKER_00

That's very true. I feel

Pink, Grey, And The Scandi Evolution

SPEAKER_00

like that's um what you know we often give that advice to as a general kind of thing to um to consumers to add in like bits of colour even so that I guess we're not necessarily also encouraging people to kind of throw things out and start again because that's not realistic, is it? And it's not very sustainable. So I think as someone who works in in trends, we're always thinking about you know how we inspire people just to rethink their existing spaces. I mean, you know, obviously we're working with Jular, because I we do encourage painting, but it is a really easy way to, I guess, add the colour in as well as those small decor accents, so you can kind of, I don't know, be of the moment or um, yeah, like in that era. And I think this kind of leads into our um some of our discussion points about the different eras that existed. And it's kind of exactly that. There's like these kind of um specific things that appeared in Interiors and that sort of define those things, like you said before, Lauren, the um the antlers. There was that whole thing, right, with antlers and or painting them as well. Like they sort of started as the natural, but then they'd have like the the coloured, the coloured antlers and um yeah, that was sort of everywhere, weren't they?

SPEAKER_02

I can't remember what was that? Antlers and thousands, wasn't it?

SPEAKER_00

Yes.

SPEAKER_02

Well, antlers was like was just before I started it really being so that must have been 20 2008 onwards for a few years. I worked in a homeware store, and actually the the woman that owned the store used to go down to a venison farm and collect the antlers. Because they just fall off, right? They fall off, yeah, but then they're a bit dirty and and stuff, so she would put them in her bath with bleach and make them white. Oh yeah, yeah, anyway. Glad we passed that one. Fluoro is a shocker as well. I don't know if that's ever gonna be in fashion. You know, if that's ever that that's never gonna be fashionable.

SPEAKER_01

Never say never. Never say never. I know, no, yes, yeah, yeah. But fluoro did have a moment, didn't it? And Millennial Pink.

SPEAKER_00

Yes, yes, yeah.

SPEAKER_01

And I saw a cover that was, yeah, it was just grey, light grey sofa, millennial pink cushion, and I'm thinking that cover would have just sold like crazy back in the day.

SPEAKER_00

And that lasted for so long. Um that pink and grey combination with like a little bit of black and white, I would say, like just the kind of accent and the pale timber. Wow, that lasted a long time, didn't it? And then pink kind of evolved, and pink has not really gone away. That millennial pink look really who knew that was gonna stick around that long. I didn't.

SPEAKER_02

No, I know, and and with the bit of rose gold, you know, bit of rose gold thrown in there as well. But it's funny, is that real living cover that you sent me, Lauren, um, the pink and grey one. Which is so cool.

SPEAKER_00

I love that. With the model with the so it's got the it's kind of like a isn't a whitewash grey on the paneled wall behind. It's actually a wallpaper artwork. Oh, it was a wallpaper.

SPEAKER_02

Uh yeah, it was a wallpaper, yeah. But it looks like a paneled wallpaper. Yeah, yeah. It was funny though, because I think that was yeah, the beginning of sort of um uh pink, millennial pink, and we didn't know what to do with it then. You know, it was like oh pink.

SPEAKER_00

So it was 2014, that magazine cover, June 2014.

SPEAKER_01

Oh yeah, yeah. We're going to show these up on YouTube as well. So if you wanted to jump onto YouTube, otherwise we will describe it for you for all of the podcast listeners.

SPEAKER_00

I kind of love the you know, we've mentioned before about the real living covers and the fashion element, and in this particular one, um the the model has the sort of slight beehive updo that she's blonde, she's got the black and white on, and it's kind of a little bit, I would say, kind of Bridget Bardot, would you sort of say that sort of style or Edge Borgia? Yeah, it is that style.

SPEAKER_02

And when I was looking, yeah, I was looking back on it and thinking, I I knew, you know, we knew pink was in fashion. What do we do with pink? But I don't think we knew how to do it well in 2014. It was very a bit, let's make it girly, let's make it French. It was a little bit cliche. Yeah, whereas pink is great in a context of really contemporary, you know, like uh Jenna Lyons apartment where it's a beautiful New York loft, it's painted grey and it's got all this amazing styling, and then she's just got this pink sofa. Um, it's

Context Matters: Industrial’s Rise And Fall

SPEAKER_02

it's better in that context, but I think it took us a little while to kind of realize that at that stage. 100%.

SPEAKER_00

And I feel like pink has now almost become such a staple that it can be a neutral. Yeah, we'll just when I say a neutral, it's just a great backdrop for other colour. So it's sort of it's become a neutral, you know, not technically, but like in the way that it's being used. It doesn't have to be like little pops of pink, it can be like a whole wall or a whole room, and then you actually build on top of that and layer it, which I can love.

SPEAKER_01

Yeah, love that. Love that. There there was another photo that I took from maybe it was a 2016 or 17 issue, and it was that scandy look white painted floor, white walls, white artwork, grey sofa, um, and then the sort of industrial sort of lighting, and that was, I mean, that was just such true lighting stay. Yeah, that scandy look, it just I think we're just coming through the other side of it now. But I mean that's the one.

SPEAKER_00

That's just evolved, right? Scandy hasn't gone anywhere, it's just slightly, it's just evolved. I would say Scandy now is way more textural. Like you can see um in the image you're talking about, the artwork has kind of texture to it, and there's oh, one of those hide brugs on the floor, but it's not sort of not relying on that. Whereas I feel like Scandy now is much warmer in its sort of tactility, I guess is a good way to put it. Like there's less sort of industrial cold elements in in the new version of Scandy. I think.

SPEAKER_02

Yeah, I'd agree. I think that the it's I think it still has a place. I really do. I'm just trying to find it so I can have an even look, but I think it still has a place. It's really just uh uh now the the the new version of this is just more timber, warming things up. Yeah, you know, I feel like there's just a lot more warmth in what we're doing now. If you look at all of these images, it's all very cold. There's not much kind of timber or timber paneling, it's all kind of white and bright, and and now we're in much more of a warm zone. Um but white or white, is it it's never gonna go away. Is it timeless?

unknown

Or

SPEAKER_00

I don't know. I feel like I I think when we've discussed timeless before, Laura and I've probably brought this up. I think that um I think it's a bit of a trap because if you think about, say, a white gloss kitchen, that feels dated at the moment, right? Totally. But I wouldn't say that's a timeless look. And and it's almost because of the white that it's not. So you can kind of fall into the trap of thinking something's timeless, but then because everyone sort of starts doing it at that period and then it moves on to something else, you can look back and kind of date it and go, that's when white kitchens were in. So it's interesting. I find it I find it curious. I think that it's a staple without question. But I think white evolves too, like from the cool whites to what's much more popular now is those warmer, kind of more nuanced, almost very pale neutrals rather than like stark white.

SPEAKER_01

Yeah. Yeah. And what is white? Yeah, exactly. Like warm, more cool and I think, you know, swap out the grey sofa for a beige or a chocolate sofa as well. So, yeah, as you said, you know, it's just swapping over to the warm. So let's see, in another 10 years, we'll be probably back in the cool. Let's just decide all the time.

SPEAKER_00

We've started to see, um, we've started to see a little bit of bray coming back. And it's

Authenticity, Locale & Longevity

SPEAKER_00

funny that um when I was talking about this, we like obviously having to talk about trends, I was talking about this to a couple of other brands, and they were agreeing with me saying, Yep, we're seeing it. But the management and um, you know, like the people kind of making the decisions on what to spend and what to put out there all freaked out. And I found it really funny that um everybody loved everything was grey, right? It was all loved. And now to suggest that grey is kind of re-emerging, and I don't think it's gonna be as big as it was. I think it's just coming back more like an accent. But for the um, you know, the brand management to kind of go, no, no, we can't, we can't go back there. I'm like, well, we can't. That's just what's happening. That's the observation of the movement of the trend, but they just don't want to do it. So I think it'll take a while.

SPEAKER_02

Do you know what I see it? I see it though in in in a wall colour as opposed to a furniture. In a furniture colour, to me, it feels dated, but as a as a as a version of white, as a wall colour, like a beautiful warm grey, that feels contemporary. Did you when you're in Sydney, Lauren, did you go into Joseph's beautiful store, Studio Garden?

SPEAKER_01

I did. I had the best time there. They actually um turned all the lights off so I could take some nice photos. Oh wow, that was a little bit more.

SPEAKER_02

And how gorgeous is grey as a beautiful backdrop. Like it's painted grey and it's stunning with all the beautiful warm woods and the you know, concrete and the you know, aluminumy silvery kind of tones as well. It's it's a beautiful backdrop colour. So essentially it's like a white in a way.

SPEAKER_00

Yeah, it's that com it's the combination of things that change it from feeling dated too, isn't it? Like you said, like grey, but then with that warmth, the timber and the layering and the tactility, it doesn't feel as dated as you know, just having a grey sofa in a white room.

SPEAKER_01

And just don't put a millennial pink cushion on the sofa.

SPEAKER_02

Or a rose gold industrial pendant exposed bulb.

SPEAKER_00

Or those, um, I think another another decor um piece that really defined and kind of was used a little bit in the scandy too, with those kind of industrial letters, and then they kind of evolved to having like the light bulbs in them as well. Yes, the freestanding ones.

SPEAKER_02

Yeah.

SPEAKER_00

I think I had like one of those, I don't even know where it came from. I can't even remember what letter it was in the end, but I must have bought it for a shoot. And I thought it was the best thing ever.

SPEAKER_01

But they were they were in the moment. Like I loved them, I know circus. That's what makes so silly.

SPEAKER_00

That lettering with the.

SPEAKER_02

Can we talk about industrial then? Because I I really hate industrial. Yeah. At the time, don't know if I ever loved it. At the time, I think I might have gone down the path, but at now what I realize, what it is, is it's just so out of context, you know, in Australia. Maybe in Melbourne, in a cool bar that used to be an electricity substation. Industrial works. It's quite specific. Only there, only in that one place. Only there, that bar, it works. In Lennox Head at my local cafe, a sub, you know, a subway tire with a black route and some, you know, bare pendant bulbs. It does. Or those wire ones. So bad. I hate it so bad. Concrete bench top.

SPEAKER_00

It actually kind of became the cafe aesthetic, didn't it? Oh, yeah, it's to have the exposed bulbs or or the ones with kind of the wire cage and that industrial look. It became like where the good coffee was.

SPEAKER_02

Exactly. Now I avoid it. Yes.

SPEAKER_00

You have a looks like that on like that's the bad coffee.

SPEAKER_02

Exactly.

From Editorial To Personal Aesthetic

SPEAKER_02

Yeah. Nice.

SPEAKER_00

Um I'm just looking at another photo here with the Scandy, but the butterfly chair with the tan leather. That was also like a real moment, wasn't it? Yes. Yeah, that were very got added into the industrial sort of scandy and industrial started to sort of blend.

SPEAKER_02

Yeah. Yeah, that's true. That's true. And it's got a letter as well, hasn't it? That image. Yeah. They started stars.

SPEAKER_00

Yeah. And uh and a fur. Oh, the Mongolian furs. It's got all the spins, isn't it? Yeah.

SPEAKER_01

It does. That image has all of the things, all of the yeah. And then there's one of a, you know, it must have been some sort of vintage locker, you know, that kind of um that vintage look, that industrial vintage look. And then they've got the subway tie with the black route, concrete floors, you know, it was, yeah, it was of that time, wasn't it? And I mean, I still think that space looks really cool. Um, yeah, and that actually works still, that space.

SPEAKER_02

And that styling to do beautiful.

SPEAKER_00

I think that what for me, when I look at that shot, it still reads as a great shot because it's just really nicely styled. It's quite organic and it's not overly stylized, so it doesn't feel as dated as it could feel, I think, if the styling wasn't as good, to be honest.

SPEAKER_01

But also, it's as you say, Sarah, it's the context. Like it does look like some sort of warehouse. It makes sense in a warehouse. That doesn't really make sense in your little suburban everyday house. Like exactly.

SPEAKER_02

And I think that for the it's the same for anything, really. Any style that doesn't like when I see people building houses and designing houses up here that that have elements of too much kind of Mediterranean or too much of a trying to be an Italian villa or too much of any style overdone, it becomes a bit pastiche and themey. And I just I think that the the knack is to take those elements and make them your own, you know, and make them fit the context of where you're living, what kind of building you're you're you're designing, what has been designed for you. Um otherwise things date and I just it's not it's not good you to take it and put your locale into perspective.

SPEAKER_01

Yeah, and I think that's what comes back to what you were saying about something being timeless as well. It has to make sense in the context and it has to have that integrity to it, you know, to for that image, you know, with the lockers to still make sense today, it still looks cool, even though we've moved on from that aesthetic, I still I still can appreciate it.

SPEAKER_00

And it's a authentic, I think. That thing is that yeah, Sarah, I feel like because you've been involved in so many of these um editorial styling moments, and and we've already talked about how Real Real Living was kind of leading the way. Um, do you feel like and we've talked about these kind of decor moments that have really stuck and made, you know, like a particular era. Do you feel like there was something that you did

Wallpapers, Textiles & Future Collabs

SPEAKER_00

that kind of sparked that? Like, you know, say it was you put an antler on the cover or whatever. Was there something that you can think of that sort of hadn't really been done that you did and then it kind of really took off? That's a good question.

SPEAKER_02

Not really. I feel like I um what I really loved was when we did fashion, the when the fashion and the interior were just, and I look like I said before, I didn't get I didn't get to this point to almost the very end. But when the fashion and the interior are both equally as good as each other, that just made my heart sing. And there's probably only one shoot that I feel like I nailed that, and it was when it was actually a bit more maximal, you know, the the style was very layered. It was when I started doing printed, all printed outfits, but then I do a fully printed backdrop as well, you know, which is hilarious because actually completely opposite to what I'm doing now. But um as a design and as a concept, I just feel like that really worked. All of those layers and how everything just tied together, and it was such a feast for the eyes. Um context, once again, it was a real it was a it was a cover, it was a photo shoot, and it wanted to draw people in, and I wanted people to go, oh look at all the stuff and the thing and the outfit. And I that's how I wanted people to respond to that.

SPEAKER_00

So that's always a different approach, isn't there? It was a different approach. So you're doing it in interior, it's different to creating a cover, like there's a specific intent to a cover, right?

SPEAKER_02

So yeah, exactly.

SPEAKER_00

Exactly.

SPEAKER_02

But yeah, you get to kind of when I started doing my own stuff, what I realized was that I just had to be very true to myself because it was me and it was a reflection of me. Um, and I really did struggle because I was coming out of magazines thinking, oh my gosh, what style am I gonna do? I'm always doing different styles, but what is my style? So I definitely had a bit of an identity crisis leaving real living because I'd done so many different styles so constantly, I was like, but which one's mine, you know? And I remember just walking down the beach with my little baby son at the time, we're at the beach, and I was admiring the water, and he was little and gorgeous, and the Bronte rocks were at Bronte Beach, and I was just like, this is me, this is my life, and whatever I do needs to reflect that. Um, so you know, it was very surf-inspired. We spent all our time at the beach, all our time at the skate park, Blazers' dad was a skater, um, and it was just the coastal colour palette, it was all of the things that I had grown up with as well. So I knew that I had to kind of bring it back to something really authentic, and that was my experience.

SPEAKER_00

Um yeah, so I had meaning to you, right? And then that's how you sort of that aesthetic.

SPEAKER_02

Exactly. You know, because you've got to draw from something like any like any project. Do you need a brief? And that was my brief I had to create for myself. It's gonna draw from my experience, nostalgia, what I love, what I know. Um, so yeah.

SPEAKER_01

And I think that, you know, those designs are quite Australian, like it's quite, you know, if you've drawn from the beach and the culture, you end up with something that's really specific to a location, which is I love that. So are you talking about any particular pieces? Are you um because I know that you had a wallpaper range before as well, which I love. Yes, yeah. Back in the real living days, was that sort of overlapping when you were at Real Living?

SPEAKER_02

I was at Real Living when I did that collection. It was actually when digital printing had kind of become quite big, and it was easy to print short runs of things. You didn't have to go and design a collection of wallpapers and order thousands of rolls or thousands of meters so we could do a meter at a time. But it actually sold really well, actually, it still sells like 10 years ago. Oh, and what's 10 years later? I still get royalties from that collection. Nice, that's passive. I know, it's so funny. But I would love to do more wallpapers because if you're like, yeah, you know,

Accessibility, Price Point & Market Gaps

SPEAKER_02

they're cool, but they need a refresh.

SPEAKER_00

Um, kind of one of our wrap-up points for you is like where are you gonna go from here? So you've talked about um Sarah Allison creative and that you want to do collaborations. Is there is there a particular direction you want to go in, or are you still keeping it very, very open?

SPEAKER_02

Keeping it open um at the moment. Do you want to put anything out there?

SPEAKER_00

You know, invite it in. What collabs do you want to do?

SPEAKER_02

Yeah, totally. Oh, the collabs. I want them all no. I I need to be careful. I need to plan for my future and make sure I'd love a textiles collaboration, actually. That would be my next um stage, I think. Just a really beautiful, like, don't you think there's still, even though there's so much textile out there, it's still not there's beautiful, expensive fabrics, and there's you know, your lower and stuff, but there's not that high-end feeling that fits in the middle somewhere, you know. I feel like just a great colour palette in an awesome linen and a beautiful cut. Like I'm a little bit sick of white curtains and you know, neutral curtains. I'd love curtains with some colour in them, you know. So a curtain collection would be really cool. I'd love some pattern, I'd love to do more wallpapers. Um yeah. Textiles first, then all the house collabs.

SPEAKER_01

Oh, love that. Love to see a fabric that you would design. But I think you make a really good point because, you know, with um, you know, Ellison Studios, for instance, the furniture, you manage to design pieces that design is love, but it's very uh the general public love. You know, it's actually a really clever crossover, and they're at such a great price point as well that you know the mum and dad when they want to invest in their sort of first special sofa, it's very accessible, and that's just like it's genius. Yeah.

SPEAKER_02

Thank you. You know, you know, but I just always and that probably uh came out of real living, was this constantly working around all of these beautiful things of these amazing brands, and it was you know, fifteen thousand dollars for a sofa or more, you know? And I just felt that I was frustrated by that, and uh, and I did feel like there was a gap in the market, but you know, gosh, there's so many brands now. I feel like the Australian market, there's there's so many more brands than when we launched in 2017, so the market's very competitive now. Um, but I do I love the idea of of you know the average person or someone who's renovating or building a house has access to um great product, well designed at a reasonable price point. Um and that is so amazing.

SPEAKER_01

Like that's got to be really hard to do. Yeah, I don't know. Can I be tricky? Yeah, look, I love it.

SPEAKER_02

I think as well with high-end stuff, it's it's not accessible in even like a presentation

Wrap-Up, YouTube Tease & CTAs

SPEAKER_02

in a presentation sense. It's like they're the brands we know as designers, but the average person just doesn't even know they exist. So I do like the whole process of designing the product, creating it, and then also being able to uh present it to people in a way that they can understand and be inspired by and go, that's cool. Never thought of that. I never thought that I could use that colour, I never thought that I could try that. You I do like that I thought I hated brown that way. Yeah, exactly. Who thought brown would be back in you know, back in fashion?

SPEAKER_00

It's not going anywhere either. Um thanks, Sarah. It's been an amazing chat. I feel like we've covered so much stuff and great to touch on all those style errors. Um, we are gonna talk to you and ask you a few more questions, but they won't be on here if the listeners want to hear you talk about a couple of things more personal, they will need to hop over to the YouTube channel to see that. Um, so we will say bye and thank you for now on the podcast, and then we're gonna talk to you on the YouTube channel. Okay, sounds good.

SPEAKER_01

So um, thank you guys for listening in. And just a quick reminder: if you would like some help with the interiors for your own home, I can help you in a course called the Style Studies Essentials. Or um for designers out there, come into the Design Society for business and marketing and all of the things.

SPEAKER_00

Yeah, and in the same show notes, you'll find a link to sign up for my soon-to-be-released uh furniture collections, pre-selected furniture collections, and cool trend information, and then in the future, some short courses on styling and trends as well.

SPEAKER_01

So good for the utmost respect for the Wurundjeri people of the Kulin Nation. They're the OG custodians of this unceded land and its waters, where we set up shop, create, and call home and come to you from this podcast today. A big shout out to all of the amazing elders who have walked before us, those leading the way in the present, and the emerging leaders who will carry the torch into the future. We're just lucky to be on this journey together.