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Why her move
made scents
By BRIANA DOMJEN
A KEEN sense of smell and a fascination with essential oils led Toni
Goldsmith to her dream job.
After five years managing the local
branch of body, face and home
products retailer L’Occitane en
Provence, Goldsmith decided to go
out on her own and opened Lemongrass House Australia in late 2009.
She had owned a restaurant, and
her love of food and wine led to a new
sensory passion: fragrance.
Goldsmith’s husband Justin noticed his wife’s enthusiasm for the
world of beauty products and pushed
her to pursue her goals.
‘‘I was also a chef, so my love of
fragrance was a natural progression
from flavour,’’ she says.
‘‘After years of owning a restaurant, I decided that I didn’t want to
smell of garlic any more.
‘‘My passion for beauty products
couldn’t be quelled, so my husband
said I must go into the industry —
with a staff discount so I wouldn’t
spend so much on products!’’
During a trip to Thailand, the
Goldsmiths were impressed by the
spa treatments provided at the hotel
they were staying in.
‘‘We discovered the products were
Lemongrass House, and we met
Bobby Duchowny, who is now our
business partner,’’ Goldsmith says.
That enduring partnership resulted
in the Goldsmiths becoming the sole
Australian representatives for Lemongrass products and opening their first
store, at Newtown.
Goldsmith, who aims to study
aromatherapy in the near future,
says Duchowny helps create and
develop scents for the essential oilsbased company.
‘‘I get all my information from
Bobby, the creator of Lemongrass
House, who has been an aroma
therapist for 20 years.
‘‘I have worked in skin care for
eight years and received meticulous
training during my time in retail.
‘‘Lemongrass House products are
supplied to some of the most luxurious and expensive resorts and spas
in the world.
‘‘The brand is known for its outstanding quality, purity and for providing the highest-grade essential oils.
‘‘Each product has a different
recipe, based on which essential oil
is used.
‘‘Everything is hand-blended in
Phuket to respect the natural components and is made with only the
highest-quality ingredients.’’
Goldsmith hopes to build the already successful Lemongrass House
business — which relies solely on word
of mouth from satisfied customers —
into a bigger and better brand.
On the scent: Toni Goldsmith’s nose led her into the world of essential oils
‘‘People email Bobby and me
wanting to open a store because once
you try the products you get hooked,
but it’s still baby steps.
‘‘We plan to grow organically. We
believe so much in the quality of the
product that we feel it works for itself.
‘‘We don’t want to be in every
shopping centre; we want customers
to always be delighted to stumble
across our shops.’’
The best advice Goldsmith can give
aspiring business owners is to have an
open mind and listen to all advice.
‘‘You need to be curious and have a
thirst for knowledge,’’ she says.
‘‘Be bubbly and personable, and
have the ability to read your customers well.
‘‘There’s so much to know about
essential oils and skin care, and I’m
always learning.’’
I was also a chef,
‘‘
so my love of fragrance
was a natural
progression from
flavour. After years
of owning a restaurant,
I decided that
I didn’t want to
smell of garlic
any more
’’
Perfect setting for
a modern jeweller
Name: Bridget Kennedy
Age: 45
Job: Jewellery designer
How long have you been a
contemporary jeweller?
I graduated in 2005 and opened
Studio 20/17 in 2008. We now
represent work by more than
25 Australian and international
contemporary jewellers.
Before that, I was an IT
consultant in financial services.
How did you become
interested in this field?
I’d always had an interest in
the arts; I studied visual arts
after leaving high school
and showed my paintings
in various exhibitions.
Then I inherited three
generations of jewellery from
a dear family friend — and, six
weeks later, it was all stolen.
I hadn’t previously had much
of an interest in jewellery, either
wearing it or making it, but the
robbery made me realise how
personal adornment can have
so much meaning.
A few years later, I was
retrenched and saw it as
an opportunity to retrain.
In 2003, I began studying
jewellery and object design
full-time at the Design Centre
as a mature-age student.
While there, I met Melanie
Ihnen and we opened a
combined gallery and workshop.
What skills or qualifications
are needed in this job?
An eye for design and attention
to detail. Simple jewellery, such
as beading, can be easily made
with limited skills.
But to develop more complex
work, you need to develop
manual skills such as soldering,
forging, enamelling, sawpiercing, riveting and welding,
as well as computer skills —
especially with computeraided design and programs
such as Illustrator.
How long did it take you
to acquire those skills?
I completed a three-year
Advanced Diploma at the
Design Centre, at Enmore
TAFE. You can also study
at university.
It’s also important to keep
broadening your skills base and
keep your creative spark fresh
after you have completed your
formal studies.
What has been the most
rewarding part of your career?
Being my own boss, being able
to have fun and be creative.
And seeing how people react
when they come into the gallery,
thinking it’s great and saying
things like: ‘‘I never knew
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Career shift: Bridget Kennedy
Talking shop
jewellery like this existed.’’
What has been your most
memorable moment or
proudest achievement so far?
Winning awards is always
fantastic, but the achievement
I’m most proud of is the opening
of Studio 20/17 in the Danks St
arts complex at Waterloo.
Contemporary jewellery as
an art form doesn’t have much
voice in the wider visual-arts
community, and I’m passionate
about changing that.
Any myths about your
profession to debunk?
When I tell people I’m a
contemporary jeweller, they
often think I work mainly with
precious metals and diamonds.
It’s hard to explain that some
of the work is made from paper,
paint and recycled materials.
And, like many artists, most
contemporary jewellers need
other jobs to supplement their
artistic work.
Any advice for contemporary
jewellers? And how do you
keep your business going in
such a competitive field?
Work hard and don’t give up.
If you have work represented
in galleries and retail outlets,
keep in touch with them and
restock regularly.
Submit work for exhibitions
and competitions — and just
keep on making!
— BRIANA DOMJEN