Bel Bare is in the Business of Making Advertising Appetising
There is a playfulness to Bel Bare’s body of work. From honing in on the intricate textures of food to channelling the emphatic energy of a musical performance, the Australian director and photographer captures colour and movement masterfully. After cutting her teeth in food filmmaking, Bel immersed herself in Europe’s tabletop directing scene before returning to her homeland to pursue a plethora of directorial opportunities.
Harbouring an innate curiosity for a wide range of aesthetics, her creative exploits expand beyond the format of film. Directing, designing, photography and painting – these are all things Bel does with vim. The Queensland native has continued to pursue new and inventive forms of artistic expression over the course of her 30 year career. Joining HAPPY in 2020, the multidisciplinary talent focuses on commercial projects, delivering authentic, visually striking brand messages for a variety of audiences.
Sitting down with LBB to discuss her biggest creative achievements and the lessons learned along the way, Bel opens up about what influences her craft.
LBB> What were your biggest influences growing up and how did they help shape your creative voice?
Bel> I was born to teenage parents in the early ’70s and raised in the suburbs newly carved into the South East Queensland bush. I’m the eldest of three children, and my little sister was very ill when she was born, so I was usually left to my own devices during the day. Outside of school, I’d spend most days in the bush alone trying to trap small animals and catch bugs, building shelters and stunt tracks to ride my bike on. When I was 14, I got a horse and continued doing all of the above but with this beautiful animal as my guide. When I was indoors, I’d watch whatever was on, which was usually very entertaining. I watched every Elvis movie with my Dad, every episode of Flipper, Skippy, Gilligan’s Island and Brady Bunch, Happy Days, Countdown — all the classic ‘70s stuff. As I grew up, I started to write a little, took a keen interest in photography, dreamed up films and drew constantly. Upon reflection, I now see that everything I liked to do then, is reflected in what I do professionally now, which feels like a success of some kind.
'I Need My Girl' painting, on oil and wood, by Bel Bare
LBB>Where did you learn your craft?
Bel> When I was 16 I started attending art school to learn graphic design. I soon became involved with a couple of photographers who introduced me to young directors and other designers, so we kind of had this creative gang that lived in each other’s pockets in Sydney for over a decade. That is where I learned the essentials of photography and directing. We were shooting just about anything we could on film. Things evolved into paid work, which involved lots of international stints. I was usually positioned as the production assistant, then the assistant producer, and it was really tough, as the only female in this bunch of guys, to smash through and be able to direct. That did not happen until I was in my thirties, but it meant I got to go off and shoot under my own volition for absolute freedom. In parallel, I was working as a designer and creative director. I was in the thick of the Sydney food scene during the late ’90s and early 2000s, working with celebrity chefs, which is when I started to specialise in interiors, food and beverage.
LBB> What is your initial approach at the beginning of the creative process?
Bel> For commercial projects, the first step is to understand the product and brand, where it has been, how it has been positioned, and where it wants to go? Secondly, I consider the audience and what look and feel communicates the messaging in the most engaging and enticing way possible. This is why I love being a designer and a director. I savour the challenge of visualising and dreaming up a whole new world, then bringing it to life.
LBB> When did you join HAPPY? Why did the company feel like the right fit for you?
Bel> I first met Angela and Miles to discuss a feature film project, have a few drinks, get some advice and bounce some ideas around. I really enjoyed their energy and outlook. This was early 2020, and unfortunately, within weeks of joining HAPPY, we were all in the grips of the pandemic.
LBB> You have forged a reputation for yourself as a skilled tabletop director and designer. In the thirty years since you first started out, how has this area of the commercial industry changed?
Bel> I think not too much has changed. Food is still the same and it can be a cruel mistress! The essentials of understanding light, how food performs and reacts to different conditions and intrinsically understanding what humans find appetising will always remain. What has changed is the advancement of technology, which is not about to slow down. Using robots, having access to all kinds of stills and motion cameras, and the evolution of post-production has opened the door to new ways of exploring ideas.
LBB> I understand you spent three years in Paris, working alongside some of the world’s best food stylists. In what ways did you hone your craft during this period of time?
Bel> My years working in Paris were fantastic. I was in a unique position, heading up the worldwide creative team for stills and motion for Tupperware Brands. We had an enormous quota to shoot. Over the three years I was there, almost 60 spots were filmed, not including even more stills shoots for catalogues and global campaigns. Paris is where I really learned about food and the art of styling. Less is more: you don’t need to be firing things out of canons to make them look good; there is a dance between elements, a slow and sexy dance, rather than a slam dance! A certain elegance is achieved with the European stylists, which we mysteriously struggle to emulate in Australia, the US and Canada. In our extremely male-dominated tabletop director community, the food handling can be a little heavy-handed or bombastic — everything seems to explode. Still, I also like to consider other approaches that are more natural as well – food is gorgeous and sensual. Additionally, we, as directors, photographers and creative marketing teams alike, are responsible for presenting food without this concept of obscene waste. As we creep into the future of food, audiences may frown upon this approach to expressing our culture around the culinary journey.
LBB> You have worked with many big name food and lifestyle brands – what is the secret to establishing a successful working relationship with a global brand?
Bel> The secret to a successful relationship with a global brand is that you must honour the brand and appreciate its journey and self-perception. You will be out at the first sign of arrogance: don’t go into a project thinking you will ‘reinvent’ the brand or product, or show the client how they can be doing things. You must understand and respect the hierarchy of decision-makers, an army of knowledgeable, analytical and creative people that have hired you to portray their collective vision, not your own. You are an interpreter.
