FINESSE HONEYS | SHANAHBELLE
by Finesse Finesse
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We delve into the creative world of a Filipino-Australian artist Shanahbelle, whose unique upbringing has profoundly shaped her passion for storytelling and art. From her early days crafting outfits and drawing inspiration from her resourceful family, to her journey into production design and styling, she’s continuously embraced creativity as a means of connection, expression, and escapism.
Her work effortlessly blends dreamy aesthetics with practical ingenuity, whether she’s designing sets that evoke emotion or collaborating on impactful installations. With a portfolio ranging from crafting tiny, intricate props to imagining expansive worlds, she channels her rich cultural heritage and personal experiences into everything she creates.
We explore her path from a childhood of imaginative play to a thriving career, her inspirations, and her aspirations for dream projects that merge film, fashion, and art on a global scale.
Can you share how your Filipino-Australian background and upbringing have influenced your passion for art and storytelling?
I feel like I could talk about this on no end, as it really is everything. Most Filipino women have a creative outlet, whether it's making clothing, photography, crotchet, drawing, cooking, singing or music. But one thing we are all great at is shopping. It's how we connect and how we spend quality time together. Even across the globe, my Tita's and Lola would send handmade jewelry and crochet gifts for my cousins here and we would send back drawings, tape recordings of us singing and of course sardines for my Lola. My mum and Tita's decorated their homes with beauty. Curtains they sewed themselves, art they made, flower filled gardens and a clutter of good discounts or projects half finished. And they all had outfits to suit this beauty. To this day I have at least one clothing piece from each of them in my own wardrobe.
From a young age my mum recognised just how deep my passion for creativity was. She often tells me how I insisted on putting together my own outfits, some outfits even changed her mind on what colours look good together. She would encourage me to craft something out of nothing, to decorate my own room, draw up fashion designs, write songs or imagine my dream house floor plan. I think it was important for my mum to instil creative resourcefulness, confidence and persistence into her children because of what she had endured moving to a new country on her own at 19.
Although my childhood was beautiful in so many ways, it didn't come without its challenges. I think this is where the desire for storytelling comes from. How it helps you process, validate or sometimes escape what you're experiencing. Challenges equip you with a deep sense of empathy that I think makes for a great storyteller. Someone who can observe the subtleties and romanticise almost anything. Especially when drawing from my own experience and what makes my perspective unique, it always comes back to my lived experience as a Filipino Australian.
What led you to focus on the production design and styling industry, and how has that role allowed you to express your creativity?
I had always been curious about filmmaking, I spent most of my summers at my dads house watching every film on the Foxtel movie channels and any behind the scenes videos I could find on Youtube. In year 12 I had a self reality check and dropped chemistry to take up theatre studies. It was there that I designed my first ever set for our group performance. I then went on to study film production in university. I originally thought I would be a writer or a cinematographer, but as soon as I re-discovered production design for film in an elective I knew that was for me. I realised all the things I loved and gravitated towards in writing and cinematography were really elements of production design; the world building, the colours, the composition. That all came very intuitively to me, so I just kept following that.
The craft of set design is ever changing. One day you could be replicating the surface of the moon, the other you're building a giant pile of cash and the other you're recreating a bedroom in a car park. For me, it's the best way to express and exercise every aspect of my creativity.
Are you able to let us know about a project you’ve worked on recently that felt particularly fulfilling or pushed you to think differently about design?
This year I was very lucky to be brought on by Push Productions to design and create an installation component for the Sanctuaire x Champion Collaboration. I absolutely loved working with the Push and Champion teams as well as Jaida to bring their ideas to life and push it that little bit further. This type of collaboration is so fulfilling.
In production design your sets are only seen by the crew and cast for a short period of time before it's bumped out. Although this was a temporary show also, it was experienced and enjoyed by a large number of guests, who flowed and interacted with our creation. I think this pushed me to think differently about what I can do with design and maybe even where I'd like to take my career next.
We’re loving the dreamy aesthetic and soft colour palette of your work, what inspires you to create such warm and inviting pieces? Do you think it's part of your own personal style?
When it comes to my artwork, I think subconsciously I create what I want to feel more of or see more of. Which I guess manifests into surreal dreamlike themes and sunset colour palettes. I'm really inspired by surrealist artists and always attempt to represent my day dreams or meditations. I also draw a lot of inspiration from nature and have a real obsession with flowers.
Are there any snacks or drinks you swear by to keep your creative energy flowing while working?
Nothing gets me through the morning meetings and pitch deck deadlines like knowing I have a great lunch waiting for me. When I'm in the studio my favourite is a banh mi, a kimchi toasted sandwich or a curated bowl from Terror Twilight. If we're talking snacks it's just a dip and a dippable food of any kind. Drinks, would be matcha or Coke Zero.
The set you designed for our Honeys shoot is so beautifully crafted. Could you tell us more about the concept and the thought process behind it?
Sarah and I had soooo much fun creating for this project, thank you so much for the creative freedom!
As most projects do it began with a Pinterest board haha. I sent Sarah a few references of previously parked ideas and asked her if anything was exciting her. I was so pleased when she sent back the concepts she connected to the most.
I had always wanted to create a miniature set, there is just something special about tiny things and we both agreed it would be a good representation of me creating worlds. We also wanted to represent my own world with a chaotic feminine desk flat lay. With items from past set designs, items that I can't live without (Telfast and iron tablets) and things that bring me joy.
The main goal was to have fun and be cheeky on this shoot and I think the photos really reflect that. The sneaker itself is such a playful colour palette so it just made sense to lean into it. Sarah and I also only settled on the ideas a day before the shoot, so I didn't have much time to bring it all together. This is often the electricity of production design but it never comes together without a little help. So shout out to my friend Liv McCarten who is a crazy artist in her own respect, but also stayed up till midnight to make a tiny laptop and tiny lacy undies for me.
If you had a free weekend, which three films would you binge for creative inspiration?
Everything, Everywhere All At Once, Poor Things and Alice In Wonderland.
Imagine the opportunity to work on your ultimate dream project, whether in film, fashion, or art, what would it be and why?
I fantasise about creating a big scale installation experience that incorporates all three of those things. A public exhibition of some sort that travels the world, brings joy and pushes the imagination.
Talent: @shanahbelle
Creative Director & Photography: @ouibutterup