I was introduced to the work of Carly Spooner via the incredible installations, aka alternate universes, Carly worked on with Rone. Each space I walked into over the span of a few years was different to the last – yet the attention to detail, the transportive magic injected each time – was consistent. The majesty of Empire at the (near) derelict, yet still hauntingly beautiful, Burnham Beeches in the Dandenong Ranges in 2019, the rooms that took us back to Melbourne of the 1950's for Time, above Flinders Street Station in 2022. Going back even further to 2017, was Omega, a workers cottage in Alphington that stood by itself - houses all around had been demolished to make room for a new development. Walking into the Omega house was an otherworldly experience - every prop, layer of dust, angle of lighting, spiderweb, coffee stain, carpet curl...was placed with precision. To my eye, it wasn't just the extraordinary details evident throughout the house - it was a feeling that you'd walked through a portal + time had stopped.
When I saw the Time exhibition, I shared some of the images on my IG, tagged Rone’s Set Designer + Decorator, collaborator CJ Spooner, and as with all modern connections – a conversation was started via DM.
As it happens, we’d attended RMIT studying design, at the same time. We’ve continued to chat sporadically over the years, I’ve hired props + done shoots in Carly + business partner, Tamara Maynes, space The Establishment Studios (now closed) and more recently chatted over all things life : the evolution of a career, the speed of ‘content’ + the changing landscape of being a creative who values knowledge + their craft.
This is the second in our series of Human Conversations - it’s a pleasure to be sharing Carly’s story.
Collection of books at Est Prop Library. The 'Library' at Rone 'Empire'.
CW: Carly, you’ve had a non linear, yet always creative path over the past few decades as you’ve built your professional life. How did you find yourself in the space of art direction, production, styling + experiential world building?
CS: I’ve definitely taken the scenic route. I always knew I wanted to do something creative, I just didn’t know what shape that would take.
After school I started studying fashion design, travelled, explored metalsmithing and goldsmithing, and eventually found my way to interior design in my thirties. I was always following my curiosity, even if I didn’t quite know where it was leading.
A teacher suggested I might enjoy film, which led me to work experience at a prop house and opened my eyes to the world of styling and set design. Until then, I’d only ever heard of fashion stylists. I had no idea this whole creative world existed behind the scenes.
That prop house grew into The Establishment Studios, a studio and prop library that I ended up managing and later buying with Tamara Maynes. Running that business is where everything came together: styling, production, storytelling, spaces and objects.
Collection at The Establishment Studios (Est Prop Library is now housed + managed at Gale Street Studio).
CW: I do wonder about the notion of ‘linear’ careers – and realistically, how many people actually have them? Certainly in creative fields, I’ve come across more people who have diverged from the norm, than those who have stuck to a traditional path – aka high school / university / work. When you really ponder it – to know what field you want to study + then work in for a good deal of your life, at the tender age of 18…it’s mad.
Running The Establishment Studios, Est Prop Library + working on highly detailed, creative styling briefs + executions yourself – is an enormous weight to carry both from a workload perspective + also mentally, due to the breadth of skills involved. People often see the glamour of ‘a creative, diverse life’ – or they see the final result, and not understand what went into building such a life. What traits have you cultivated over the years – or always had in you – to foster your career in this oft hectic field?
CS: I think the things that have carried me through are curiosity, resourcefulness, problem solving and collaboration.
Curiosity has always driven me. I love researching, discovering new ideas and figuring out how things are made. It’s probably why my career has taken such a winding path.
Resourcefulness and problem solving are a huge part of styling and production. People see the final image, but not always the hundreds of decisions and challenges that happen behind the scenes. You’re constantly adapting, thinking on your feet and finding ways to bring ideas to life.
And collaboration is a big part of why I love what I do. The best work comes from bringing together different people, ideas and skills to create something you couldn’t have achieved on your own.
CW: Collections of objects have been in your orbit for many years. I was fortunate to gather a few for myself at your recent sale. Do you have favourite pieces that you’d never let go? Which ones + why?
CS: My favourites are two Art Deco burl plinths. They’re old, but somehow feel very current and timeless at the same time. Tam and I have always said that if we ever sold the collection, we’d each take one.
Other pieces I’m drawn to are usually unique, one-off objects. I love things that feel handmade and have a bit of personality. I have a set of cups I bought from a pottery school in Siem Reap that I’ll never let go of. Each one has a different glaze and their own quirks, which is exactly what I love about them. They’re tactile, a little wonky and you can see the maker’s hand in each piece.
The Newspaper Stand at Rone 'Time'.
CW: Let’s talk craft – and knowing your craft. I know I speak from an age + stage in life where I would be considered ‘old school’, with a deep + abiding respect for those who can create with their hands, their minds + simply what’s in front of them.
With the rise of AI + the low barrier to entry for, frankly anyone, to create a 1D ‘vision board’ for a brand or a concept – and most viewers not being able to tell if it’s ‘real’ or not – where do you see the world of AD + styling moving? Is a reverence for the tangible going to be considered dinosaur behaviour or are we seeing a renaissance of reality?
CS: I think AI can be a great tool, but I don’t think it replaces the value of creating something real.
So much of styling and art direction is about feeling and instinct. Sometimes the unexpected moments are what make an image interesting, and those often come from working with real objects, materials, spaces and people.
I think we’ll always crave something tangible. Maybe even more so as the digital world grows.
CW: The last Rone exhibition I visited was Time ( Flinders Street Station) 2022 – a huge installation with what appeared to be many moving parts – how does this come to life + can you share the biggest challenge of that project?
CS: Time was my last exhibition collaborating with Rone, so it was quite the one to finish on.
The process always starts with the location. Securing Flinders Street Station was an epic undertaking for Tyrone and his production team. Once the space was locked in, he shared his vision and we started workshopping ideas.
Each room has a story, but I also need to create my own. Otherwise I’m just filling rooms with old things. I imagine who was there, how they lived and why each object belongs. It sounds a bit woo woo, but that’s the process that works for me.
The earlier exhibitions were very DIY, but Time grew into something much bigger. I was lucky to work with an incredible team of builders, scenic artists, musicians, lighting designers and makers. Everyone adds their own layer, and that’s when the world really starts to come together.
Sourcing during lockdown was an interesting process. I’m used to rummaging through places and finding things in person, so suddenly doing it all online felt very unnatural. We also needed multiples of objects, so I worked with Tyrone and the team to recreate and age pieces until they felt like they were era appropriate.
The biggest challenge is usually convincing myself it’s finished. There’s always one last thing. I was literally putting newspapers on windows an hour before the soft launch.
CW: You’re clearly someone who yearns for challenge + constant learning – you have recently moved into yet another level + area, in your career. What drew you to this decision + can you share how this contrasts with what’s come before?
CS: I think I was just ready for a change. After years of freelancing and running a studio, I was starting to feel restless and knew it was time to try something different.
Production felt like a natural move because so much of what I’d been doing already sat in that world. Styling, art installations and running a studio meant I was constantly switching between imagining what something could be and figuring out how to actually make it happen.
Collection at Est Prop Library with a Sans Beast Long Lunch Mini sitting pretty.
CW: I’m finishing with a cliché but popular question - if someone is looking to get into styling, art direction, production – what’s your advice for not only entering the field but standing out?
CS: Be open to assisting. Some of the best opportunities I’ve had started there.
Take the time to play, collaborate and make friends with people in the industry. Styling can sometimes be a bit solitary, so it’s important to have people around you to share ideas and talk things through.
I think being curious and resourceful goes a long way too. So much of this job is figuring things out as you go.
Quick fire 5
1. Favourite or most called upon tool in your kit?
Sadly, my phone. It’s full of references, photos of props, screenshots of things I’m trying to source, location photos, lists and coffee orders.
2. One book every creative should read.
I feel like I should say The Artist’s Way, but I’ve never actually managed to finish it.
3. Morning bird or night owl?
Both. After years of freelancing I've learnt that deadlines and ideas rarely respect business hours.
4. Dream project?
Working in film. It’s where I thought I was heading all those years ago.
5. If Melbourne wasn’t home – dream city to live in?
NYC
Last question! Favourite Sans Beast bag?
My recent purchase - the Forest Green XL Universo Backpack.
You can find Carly occasionally on Instagram @cjspooner and also through Est Prop Library at Gale Street Studios.