0.21 REINEVOI [VIDEO]

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:11):
So we're here. We're here.
We're here. Joe and George from Renvoy
People have started the storm inthe industry I find.
Hopefully a good storm. Yeah, it's a good storm.
Every storm's a good storm, you know?
Thanks for having us. Yeah, it's impactful.
It's monstrous, can be scary to others, but it's always great.
I think it's scary for us as well.

(00:32):
I'm sure it's scary. Journey but a good one so far.
I think that it's like the perfect timing to have you on
because it's like striking whilethe iron's hot, because
everyone's like with the new fresh faces.
It's kind of stepped into the styling game in the most
positive light. You've really shifted the
narrative in the Sydney kind of aesthetic world for weddings and

(00:56):
you're killing it. It's.
Epic. Thanks, George.
Thanks. Appreciate that.
It's like theatrical means, likeminimalism means.
I don't know how. I don't even know how to
articulate other than eclectic in the most positive way.
Yeah. Is that how you would describe
Ranvoid? Kind of, yeah.

(01:17):
Look, it's, we've had, we've had, we've had discussions about
this, about the brand we want tocreate and how we want that
brand to be perceived as a big part.
It's almost like an unapologeticapproach to styling.
Yeah, but we see ourselves more than that, right?
Well, we see ourselves as stylists, but also as like a
vent production designers. I think it's a big part of what

(01:38):
we do. It's not just managing the
process, but we create a lot of things ourselves.
And I'd say it's a, I'd say it'sa minimal yet in your face
approach, which is polar opposites to be honest.
Unapologetic. Unapologetic.
Yeah, definitely. I write.
Visually fearless, yeah. I like that.
Yeah, I should have said that. Yeah.
So I'm just giving you this, Yeah.

(01:59):
Yeah, we'll write that down, right?
Yeah. But you obviously, like, have a
distinct approach to things, which I want to kind of really
get into. Yeah.
And, like, kind of pick your brains about it and really get
to know it. But also, I'm here to get to
know both your stories completely and individually,
just so people get to understand, you know, the
beautiful people behind the brand, who we are, who you are.

(02:21):
A little bit of an interrogation.
We had a nice long conversation and I think you went to nowhere
because we just did like nothingbut just chat away.
And I was like. I.
Don't know what I took from that, like an hour long, but
that's what it's all about when you're speaking with friends
from the industry. That's right.
But I want to kind of get to thepersonal background kind of
things. And you both have full time

(02:42):
roles outside of your work in the wedding space.
What would you call that projectmanager?
Architects transition to projectmanagement?
Yeah. Kind of, yeah.
You're in, like the design and construction world.
Yeah, Essentially, yeah. Yeah.
Very bad when it comes to the construction world and all the
terminology. No, no, it is.

(03:02):
Roles that are involved. So it's a very complex world.
I'm just going to quit your training.
Yeah. No, just kid.
You all just kidding? Don't do that too much.
Don't. Do that.
Don't do that. Not not that there's anything
wrong with that, but. Guys.
Don't. Don't give George a hammer.
He wouldn't know what to do withit, so I know how.
To give off, by the way, I'm going to.
I'm going to poke the beer. I don't.
Know how to pick up the hammer? But with your full time roles,
yes, outside of the wedding, theworld of weddings, how did you

(03:25):
get here? What was the journey like and
how did it begin to kind of likeprocess into where eventuated to
Renvoy? Into Renvoy.
It's a very good question. I and I, I like that you touched
on the context of who we are right now, because that feeds
into, I guess the answer of who is Renvoy.
We met at uni, we went. To UC right back.

(03:48):
Yeah, right back we studied architecture at University of
Sydney and that was a very intense high pressure course.
And to understand how we got there is really important
because we're both creative people.
And hopefully I'm speaking on your behalf of you, but I.
Mean I'd like to think I am. We're very creative and we're

(04:10):
very design driven. And it got to the point where
realistically, George, we did really good at school, OK?
And I wanted to do graphic design, but we got really good.
Hey, time Marks and growing up in ethnic families.
You push, we push. See it there?
Yeah. So we picked the highest degree
in design and at the time was architecture.

(04:30):
Yeah. So we did that for five years,
graduated, we worked a bit and Ithink we realised it wasn't
fulfilling that creative desire we have inside for design.
OK at all, transitioned, went back to uni, did a masters, both
of us again. So this is sorry I'm speaking to
me, but we did the same. My story as well.
So we used dating at. This.

(04:51):
That's another whole I've. Got a whole?
Other story I think. We're gonna need another bottle
of wine, That one. Sorry, we were best friends.
It's abundant here. We were best friends.
Oh OK, studying architecture, you're friend zoned I.
Was friends, she was friends. Zoned I just said that on this
story is like I'm spinning she. She was friend zoned only
because I think girls mature a lot quicker than boys and I was

(05:14):
still. I'm glad you said that.
Yes, you did. That nice acknowledgement So.
I was a bit behind the pace of where she was emotionally and
mentally. So went back, did project
management, did a master's degree, and then we're into the
field of design and constructionas project managers, which where
we've been the last five years. And simultaneously, I think
again, that creative desire is lacking a bit in what we do.

(05:38):
And then from there, we got, naturally, we got invited to, to
some invitations to a bit of stationary, to a bit of logo
identity, brand identity for some of Joe's friends.
And that's where I think our other business studio George was
born from. Yeah.
And we've been doing that the last five years and it's, it's
been great in terms of fulfilling what we want from a

(06:01):
creative side outside of our jobs.
And I think we've got the chanceto work with a lot of incredible
vendors, a lot of incredible stylists on some of the most
incredible weddings. It's been fulfilling.
But I think we came to the realisation we want the whole
pie, not just a piece of it. Stationary is such a if I'm
cutting the pie up, it's like 1/8 of the whole thing, yeah.

(06:23):
And it's an amazing part we we love stationary.
Yeah, we do, absolutely. You can see it.
Yeah, it comes through in our events.
Absolutely you can see it. So doing the stationary and then
we stole our own wedding accidentally I guess because we
weren't going to get a stylus orwe would do ourselves.
And Julian, actually Julian Ronaldi, great photographer,
knocked on our door and goes, I want you to do the the branding

(06:46):
and the whole identity and the design and the stationary for my
wedding on the precursor that you do the styling as well.
And we'll take him back a bit. Yeah, we said no.
We said no. We said no.
We said, Jules, we'll do your stationary 100%, but we're not
styling. What do you mean I'm?
Not styling already, so we said no.
It's how it was born. Yeah, organically.
It wasn't like we woke up one day and go I wanna be a stylist.

(07:08):
This wasn't a Cinderella story of when I was 10 and Joe said I
wanna be a stylist. Yeah.
This is how I was born, Yeah. And concurrently to Julian
coming to us, two or three otherstationary clients came to us
and go. Can you stop already?
That's awesome. So we said no to everyone and
then we had to sit down and go. You do love this.
You've loved this since you wereyoung.
I've. I've loved, I love styling

(07:28):
things, you know, I kind of makean excuse to style anything, you
know, Growing up, every Easter I'd stole the table, the dining
table for my mum, you know, I still do it to this day.
Any excuse to do. It kind of stuck with that role
in the. Yeah, and I, I mean, my mum,
every Easter, she's already booked me in for this.
So you need to come in there forlike, you know, Yeah, yeah.
So. And I just, you know, I just
love doing it. I, I love creating it.

(07:49):
I love thinking of doing something new and then just
small things, you know, my sister's birthday, I used that
as an excuse to do something. A little over the years, I
remember even when we started dating, she was styling her
sister's 21st. So what are you doing?
Yeah. You know, And she loved it.
She absolutely loved it. It's.
Just good practise man. It is just.
For fun and then that happened and we said, you know what, why
don't we do this why don't we take the risk and why don't why

(08:10):
don't we do this given everything we've got on and.
Yeah, we went back and forth. We jumped on it and we never
looked back, to be honest. And you know, now that I'm
saying it, it's almost like. Killed at the Rinaldi wedding.
Well, this is the thing. And that's what I'm talking
about. A storm like it just kind of
like. Yeah.
There was like, no. I think it was contained within
us for a long time. Like exploded, right?

(08:32):
Yeah. And I think it's credit to our
fellow vendors and clients that to an extent they could see what
we could do before we saw it. Yeah.
Yeah, to an extent they. Trusted us before we they.
Took the leap on us. We took the leap on us.
Yeah. And I, I thought that was
really. They saw it.
They saw it. And that meant a lot to us.
And I guess that's to answer your question.

(08:52):
Was was there a moment where youboth looked at each other and
thought, we can actually do thiswhen it came to Renfoy?
Yeah. I think there's been a few
moments. There's been a few moments.
Yeah, I think one big moment forme was literally at Julian's
wedding, you know, 'cause we hadspent so long planning every

(09:13):
little detail, you know, we, we planned the big scale things and
even the, you know, the, the minus of things.
And so obviously we had, we had a really great vision for it,
like a very specific vision. And, you know, executing that on
the day, throughout the day, youknow, it, it starts to piece
together the different pieces ofthe puzzle.
And there was one specific pointin the day.

(09:35):
I can't remember what time it was because we weren't looking
at the clock, but maybe, I don'tknow, around 3:00 PM.
And I looked up because you're running around.
It's like you're doing every little thing right and you're
running around. And I stopped and I looked from
one side of the room to the other, and then I looked at
George and I'm like, I, I think without this.
Yeah, I think, I think we got this, I think.
What a feeling. Yeah, it was.

(09:55):
It was an incredible feeling. I think it was when we were
lining up the candles. Yeah.
Yeah, the candles. We walk back and go, OK, so this
is what it takes to create this kind of event.
We can do this. It was.
Such a nice feeling, yeah. It's like a really nice,
fulfilling feeling, you know? Was there anything you kind of
did before? I'm going to talk about Julian's
wedding a little bit now that we're on topic.

(10:16):
And you know, like that was the the starting point.
Yeah, absolutely. Thinking about that time, the
pre work, was there anything youjust kind of did for like
research development, kind of self like education?
Like what? How did you get from that first
step to such a publicised? Wedding internally on the
education of styling. Yeah, like, you know, run Sheets

(10:38):
managing logistics, George Vendor's like.
I think George. Ordering quantities.
Sorry. George, we're born with it to an
extent because it's built into an education as project
managers. Like, I'm not trying to talk
ourselves up here, but we manage$150 million construction sites.
Yeah, this stuff comes second nature.
A lot of it like we use give it away too many secrets.

(11:01):
Either we use our project management software in our
daytime jobs for styling. It adapts perfectly, time
management, financial management, risk management.
So if I was to show you insight into the first job being the
Ronaldi, the amount of spreadsheets and the risk
tracking that we did, Julian wasblown away.
He's like, what is this? He's like, are you planning a
wedding? Like, yeah, yeah, this is all we

(11:23):
know. This is all we know.
So I think that came naturally to us.
It did, we didn't really have toresearch that component that we
I think we, we knew how to tackle a production because it's
very similar to to what George is saying.
I guess what we do to an extent in our daytime roles.
It so that yeah, just kind of evolved and we that detail and

(11:44):
that level of detail we we were able to sort of tackle and.
But there was a lot of, there was a lot of research on how we
can do things differently. Like we custom fabricated all
the candle holders. We designed them ourselves
somewhere internationally like. You were like finding the
supplies and stuff that was not a challenge or it was.
Not a challenge, yeah. Yeah, yeah, yeah, absolutely.
Like sourcing it? Language barriers

(12:06):
internationally, alignment on aesthetic from, you know, across
the sea. Yeah, absolutely.
That was such a challenge. Even them arriving in time,
George, that's a whole nother yeah nightmare that we almost
had, but. So like currently you're in such
high demanding careers, both of you individually.
Have you ever thought of like, I'm just trying to understand

(12:27):
like why the thought of like taking on another high pressure
client like facing business on top of that, was it ever like a
like you hesitated or in managing both?
For the Ronaldi wedding specifically.
No, just like Renvoy and your full time job.
I think it happened naturally, George, right?
I don't think we ever really stopped to take it all in to

(12:50):
then make a specific decision and say we're going to go in
this direction you. Know like you kind of just
gradually build. Up kind of gradually build up,
you know, slow, yeah, slow. And then also, yeah, we haven't
even even. Did you say gradual pressure was
slow? Yeah, Yeah, it was.
It's actually interesting to saythat we're flat out at the
moment. Yeah.
But we don't feel it because it's it's done such a soft.

(13:12):
I'm trying to put myself in yourposition and I'm thinking it
like my client facing business. Like how could I then pick up
the phone to something else? I'm like my brain.
It wouldn't work you've. Got us right?
Yes, we switch. It's like I'm only answering and
speaking about photography when I'm speaking on my phone.
You know what I mean? It's like, how would I then
speak about someone's property and be like?
Because because the passion like, yeah, will be in our

(13:34):
daytime roles. And my mind's already ticking on
what I'm going to do tonight forthis client for styling.
Can't wait to get behind my laptop.
Yeah, but vice versa is never the case.
I'm never styling and thinking about my daytime role
unfortunately. Yeah.
So is it like a time scheduling thing?
Are you strict about that? Like is it?
I time block. I don't know that you
specifically the I time block, George.
I set time. Block Women need a time block.

(13:56):
Yeah, I think it just comes naturally.
Yeah, I. Think it's just like I know
what. You need to do whenever you need
to do. It on them.
I'm a bit more. Structured, yeah, I'll be more
so I just do one thing at a time.
Yeah, yeah. And it's probably open this down
block then at least. On to the next task.
Like, yeah, Joe, it's more like I'll grab 30 things I want to
try to make it work. Yeah, Yeah.
It's a kind of balance that all,yeah.
Correct. So have you found the balance of

(14:18):
like full time role and your role?
Yeah. Yeah, I think so, because we're
putting a cap and a limit on what we take on and we can touch
on that a bit later on. But for us, we understand what
our day role needs and what our starting role needs.
And we're at a place now where we're definitely comfortable.

(14:40):
And what about time for each other?
That's a great question. Yeah.
Look, we, we shall go with that.Like we obviously spend every
second of every hour together. So it's not that we don't.
Home as well, that's the other thing most days.
So we're in. So should we just call this a
date night? I mean, it kind of is the wine.
This is our date night. I'll just be a host.
It's fine. Yeah, correct.

(15:00):
So I missed the waiter. Here he didn't join our date
night. Excited for this.
So yeah, it does feel like a date night.
But no, look, it's we need to give more time.
I don't want to touch on that topic later.
The the comment you just made about, yeah, the amount you're
taking on. Tell me about it, I see depend
on it a little bit. I think the short answer is and
I think I'm I can say this. I don't know what.

(15:22):
You're gonna say we are in the process of transitioning to
potentially full time. OK, which is really exciting for
us. It's.
Definitely on the cuts the. Semantics of who?
What? When?
I'm so excited. Yeah, the semantics of who,
what, when is pending a discussion that we've got to
agree on. Yeah, The Who?
And the when, but it's definitely in the mix because
it's where we want to be and we've got enough pipeline now I

(15:44):
can say knock on wood comfortably.
That's great. OK, sorry.
No, just. Bring it back down there.
To to become full time. So it's exciting.
It is very exciting. I remember that leap when I took
it. It was very scary.
Yeah. And you're almost like, don't
wanna do it. And then you wanna do it.
Like you get days when you wake up and you're like, now I'm too

(16:06):
scared. Like is there going to be enough
money in this? Or, you know, these days you're
like, oh, I'm so exhausted. I just want to do this one thing
and give it all my energy and give feed it as much as possible
because the more you feed it themore chance will grow.
Absolutely. But it's very exciting that
first day and I'm excited to hear from you both like as a
friend, I just can't wait for you to like, we pulled it like
we're doing it full time and it's going to be a very

(16:28):
refreshing and fulfilling momentfor you both.
And I just want to let you know that like it's, it's something
that you should really look forward to, not to push you in
that direction, but it seems like it's already that way.
It's. Already getting there.
But you know, life almost changes when you're working for
yourself completely. You don't really need to talk to
anyone about yourself or each other.
Or each other, yeah. It's not the dynamic changes for

(16:48):
a very in a very positive yeah direction in my opinion.
Yeah, no, we we're super excited.
But in the meantime, like to answer that question is we are
selective, Yeah. And it's not that I say that as
a negative thing, it's just thatwe need to be to give the time
and effort to our clients. Yeah.
Is it selective with dates or isit selective with certain types

(17:10):
of wedding? No, I think it's the quantity of
weddings. OK.
The back of Julian's, now the back of Michelle's.
We've got a lot of enquiries. So then how do you pick?
It's a hard one, right? It does come back down to the
dates, you know, we've got to plan out.

(17:30):
There's a lot of work that goes leading into that day.
So the events do have to be spaced out to a certain extent.
And then we've got to look at the scope of what we're doing
for that event. So but.
I think to add to that is 99% ofour inquiries chair ends up
speaking to the bride or the groom or yeah, it's not a
wedding, the corporate event, whatever it is.

(17:50):
And we get a general vibe of theperson.
And I think I think it's vice versa.
It's not just about them wantingto apply with us.
We need to make sure we're the right fit for them.
I think that's that's so important because we are
eccentric and we want to push the boundary and I want to make
sure that person that's come to us knows that is what we do.
And it's not your standard. There's nothing wrong with,

(18:11):
absolutely nothing wrong with, but we need to be the right fit.
Needs to be a jigsaw puzzle and then you need to the pieces that
have. Well, you'd hoped that someone
would go to you guys wanting your style, seeing that it's so
unique and so within its own boxin terms of like the the
aesthetic and like, you know, even like the drive and where
you just want to be and go towards.
You can kind of like almost foresee that it's going to be

(18:32):
something that's going to push and test the market almost every
single time. But it's not always the case,
George. Realistically you get inquiries
left, right and centre and they're not always probably
aligned to the aesthetic, which is completely fine.
But it's it's a matter of understanding what they're
after. It's an important part for us.
Yeah, I think most people that do inquire with us understand
the aesthetic like they've seen it so.
Yeah, because they're usually screenshotting or forwarding a

(18:55):
story that we've done. So it is more or less one.
Yeah, but the most important thing is that vibe because as a
as a stylist or as a designer, they're spending a lot of time
with his client. You know, it's so important that
we're vibing, that they're vibing our us.
And likewise, you know, we spendso much time with them.
We get to know their families. You know, we, they come over for
dinner, we go over to theirs fordinner.

(19:16):
Like it's such a personal experience, which we love, you
know, we want them to love that process.
We want them to love, you know, get to know us and to love us
and want us to be part of their day.
I remember, I remember our wedding, you know, selecting
your vendors was a huge part forus.
I remember. Yeah.
Oh God, yeah. We come from that designer
construction wall where we need to get, you know, four or five

(19:38):
quotes for everything and level everything out before we make a
decision. Yeah, absolutely.
Apples for apples. You know, apples for apples.
So that killed us. So vendor selection, but then
probably the biggest part of our.
Wedding we strip it back and none of that matters because
those people are going to be with you on the most important
day of your life and good point they are it's so important that

(19:59):
they you vibe with them you knowthat they're giving you
something I remember yeah with with an emotion you know they.
I looked at them on the day theybought such a vibe.
It was like they were an extension of our bridal party.
I didn't feel like I was being photographed all day.
They were. They were just, they're part of
our family. And like the relationships.

(20:20):
I want to give people that feeling.
I think it's important and that's how I guess, yeah, to go
back to your question, that's how do you want them to select
us as much as then we be, we need to be selective on who we
take on, yeah. But but to Joe's point, so far,
for all the winnings we've done,we end up getting invited as a
guest that tells us to go change, put a suit on, come
celebrate with us. And that means they're all to

(20:41):
us. Yeah, that really does do.
Awesome. Yeah, I want to touch on your
wedding a little bit. Oh God, How was the process of
planning and starting a wedding?A long time ago now, Yeah, 20.
22. 22. Hit the market quite well.
We went into like a couple of publications when I was in my
background check. Oh.
Yes, yeah, at all. Great, the.

(21:02):
The planning was it was good, itwas fun, we loved.
It, Yeah, it was. It was a bit stressful, like any
wedding is. Yeah.
But no, we really enjoyed it. I think we did it together.
Yeah. You know, George, you were super
involved. We did refer to him as
Groomzilla. It's a George thing.
It is a George thing. Obviously it's a George thing,
heavily involved, but yeah, no, we, we loved it.

(21:24):
We. Yeah, we were sad we when the
wedding was over, like. It's awesome.
It's not awesome that you're sad.
No, no, it was. It was.
Not the trauma. It was awesome.
Awesome, because it means that it was, you know.
Yeah, it was like a we. Wanted it to be.
Like a bitter sweet feeling. Yeah.
Weight off our shoulders. Stress gone, but sadness?

(21:44):
Sometimes I get couples that arelike, I'm like, you know, that
two week moment that two weeks before your wedding, which is
like nothing but stress. And I'm like, you guys OK.
They're like, it's just I'm like, OK, hard to hear, but
you're going to miss this. And they're like, I don't think
so. And I'm like, you will like
you'll miss that. Yeah.
Especially if you have a. Passion for the styling and the
management of the wedding. Like, yeah.
Yeah, yeah, you look great. Thank you.

(22:06):
You made a beautiful bride. Thank you.
Joe, Joe, you looked so good. All right.
You are a black suit and you lose a very nice non creased,
perfectly ironed. Thanks, George.
Decently fit. So yeah.
I wore AI wore a combo bun. Oh yeah, so with.
Your biggest regret? So just yeah.
It was OK. No, no, I feel like it suits

(22:28):
some people. I took Jackie's advice.
You son of a bitch, I hate you so much.
Anyways, this is going to be directed at you, not him.
OK, tell me. Working with a married couple as
a married couple can sometimes be a dream or a disaster.
What's been the biggest challenge?

(22:48):
Let's think about Renvoy as working through all together.
Like what's been a challenge youguys have had to work through
together as a married couple? There's been a few, I think
spending and we touched on it before, but we spend a lot of
time together. Every, everything we do, every
second of the day we're together, whether it's on

(23:10):
Remvoy, whether it's shopping, whether whatever it is, it's,
it's together. So I think navigating when
something needs to be about business and when we need to
take time for ourselves has beenreally challenging.
You know, we, we don't, we don'tmake a lot of time for
ourselves. And I think, yeah, through, I

(23:35):
don't know, through, through, through different things.
We need to, yeah. We really need to like focus on,
you know, who we are. We are married.
We need to bring it back to thatand set that time.
Set that time, you know, set that.
Only means we love what we do. Yeah.
So, like, the way I see it is I'm about to do some styling or
some design tonight sort of hobby.

(23:58):
Yeah. Who else do it then?
With my best friend? Like, that's the truth part.
We're sitting there. We're like, I don't want this
without ya. You know, we start up a movie in
the background. Let's pump out two hours.
Yeah. Like it's never seen as a chore,
ever. Yeah, it's not.
It's not. And the and the second we go
out, George, we're like, I'm so tired.
Get me Hope. Yeah.
We actually enjoy it, yeah. We enjoy being on our being on

(24:21):
our laptops, yeah. Sitting there being any other
challenges that you guess you could say.
With the marriage and like. Marriage like the coke?
Yeah. Working together.
I think one of the challenges isgiven our current, you know,
lives, there's not a lot of timefor emotion.

(24:41):
And what I mean by that is we'vehad certain things the last
couple years that, you know, a normal couple would see it in
ponder or get sad about or get angry about.
Sometimes we've had to be emotionless.
Put that to the side. Given what we've got on at the
moment, that's been one of the biggest challenges I've found
the last yeah, that. Helps me hard, yeah.
It is. And you almost become numb.

(25:01):
You almost become numb because you didn't have time to to
grieve or be upset or go throughwhat you needed to for whatever
had happened. So that's been a challenge.
You've got to put a smile on your face because you're working
almost 17 hours of the day. So it's that's the hardest bit I
feel. Yeah, I couldn't imagine.
But between you and me, I'd say no.
Nothing. I mean, the only times is when

(25:23):
we argue and fight about things outside of our businesses.
Yeah, but then we've got to likewe've got to talk about the
business. So which?
Is fine. Then we need to and I I can do
that but. It's Joe's sometime in this he
can sometimes be a blessing. Yes, you can almost force
reconciliation. Oh no, she doesn't drop it.
Yeah, I'll remember George. Don't worry, she.
Switches off and then switches back on.
She Yeah. Anyway, so this is a bad word to

(25:49):
kind of use right now, but who'smore controlling when it comes?
To the creative direction, I mean, you tell us.
And be honest, I know I feel like I got the answer, but when
it comes to creative direction, who is more controlling?
You're gonna hate this answer because.
Like I'm gonna hate the answer. You are.
No, you are. No, you are.
Because I'm not gonna say me andI'm not gonna say who.
I think Joe was so brilliant at coming up with it together,

(26:10):
like. Yeah, we need each other.
I. Don't hate any answer, I want
the honest truth. That is, yeah, that is the
honest truth. Like for context, like we just
naturally are opposite in some regard, in the sense that I'm
very, she loves coming up with this initial large ID and then
the branding and the design and the finessing comes through with
me. And then I throw it right back

(26:32):
her way when it comes to the operation or the functionality,
the technical side of things. So would you say you might start
all the time like the training of thought and then you look at
the how to actually, yeah, go. Through the operation, the four
is 5050 OK, yeah. But the design and the
aesthetic, well, I'd say probably all me, yeah.
And I'll give that to you. Yeah, 80% and then.

(26:53):
Great compromise guys. This is the best management
counselling session I've posted at this table.
But then the second one. But she's not brilliant at
taking my ID. And I think I've designed.
Yeah. So think of me as the architect
and she's the builder. And then she goes, OK, how are
we going to actually execute that?
I need you to change this. I need you to change that.
I need you to make this, this length.
Yeah. That's where we fit in
perfectly. Yeah.
I think we bounce off each other.

(27:14):
We we sort of, we need each other to execute the vision,
yeah. But she she calms me down like
I'm I'm the more crazy one sinceevery day is in the last day on
earth. Oh my God, what's happened?
So shocked hearing this. Yeah, yeah, Thanks, George.
Surprise so. And she's the one that tells me
don't laugh. And she's the one that tells me

(27:34):
no, George, it's something the world like.
We'll get through it. It's just a slightly different
shade of red. Like, relax.
Yeah. So I need her unfortunately.
You guys are so freaking hard working, man.
I don't know if I could ever do you justice in this episode to
like portray that. But I hope that the answers and
your passion and how much is a soap on fire right now is

(27:57):
shining through. Yeah, I mean every time I see
what a job, whether it's big or small, like a fifty person
master class or Rochelle Roses wedding or, you know, like
whatever it is you did the stationary from like my
daughters christening, it's likethere's always like a sweat and
like it's like, you know, it's like literally neurosur looks
like you're doing brain surgery and I'm like it's OK.

(28:18):
It does sound it. Does sound.
But it's it's also how passionate you are.
Yeah. Yeah, I don't think we'd be able
to do it if we weren't passionate.
Yeah. You know, like, yeah, with, with
everything, Yeah. We have this drive.
We we love doing it and that's we find it's.
Also a personality thing. It's just I think me and you are
the same person. Regard.
If we're gonna do something, we have to put all that effort into
it for some reason. Like we can't.

(28:39):
There's no half, half, half, half.
Listen, at the scale you're operating right now with your
business and the projectory and what you're trying to portray
publicly and internally with your client, it has to be for
passion. That has to be the coal burning,
the fire. Because you know, there's many
businesses in the wedding industry, construction industry,
whatever it may be, where it's like just another business.

(29:00):
And there's obviously some that have a little bit more fire to
work and usually does come down to passion or dreams or desires.
Can I just put a time capsule onthis conversation?
If we were to rewind back to your wedding, now that you say
Mr and Mrs Renvoy, it's got a. My three.
I like that it's. Got a my three.
I just thought I just yeah, no guys, come on.

(29:23):
No, it's getting a bit crazy my.Family would not be.
Anyways, Mr and Mrs Renvoy, whataesthetical touch would you
change about your wedding? Oh God, you go.
I didn't. I want both your answers.
OK. I don't think we've changed
anything. We've we've asked ourselves this

(29:45):
a few times along the way, you know, the every year that
passes, like we change anything about our wedding, especially
now we're kind of, you know, back in doing styling.
Would we change anything? I don't think we would.
You know, truly, truly. It depends on that question
though. Are we getting married today?
Are we getting married in 2022? Because it matters.
Because I wouldn't change anything about our wedding in

(30:05):
2022 because I love that it reminded me of that time.
OK. And that's so important for me
that I want to look back in 10 years ago, that was in.
And that's what we did. Yeah.
If you ask me, we're getting married today.
Yeah, that's a different question.
That's it's always going to be adifferent question, Yes.
But also think like if you literally had a time machine.
Or then back in 2022, then no, Iwould not change anything.
Yeah, thank you, bro. I look at it today and go, I
wouldn't do that, but I love that it was our winning and it

(30:27):
looked like that because I know the hours we spent and I looked
at certain lines ago. Remember, we did that.
We did this and we did that. Yeah, there was thought behind
every detail, you know, everything we decided and worked
through together, you know, and it was us at the time that was
us. And to look back and go, that
was that moment in time. And we still think it's
beautiful. I don't.
I didn't change anything. But we also took a lot of

(30:48):
lessons to learn. We put a lot of effort and even
money into things that didn't need it, didn't need it.
And we take that advice, we giveit to our clients now such as
lighting, OK, we. Be specific though, what type of
lighting? We had a separate install of

(31:10):
custom lighting in the room. It looked great, loved it.
Did it add more value? For the price we paid in that
room at the Linseed, it probablydidn't.
It just really it just didn't. It didn't need it.
I'm shocked by your answer. Yeah, I just don't.
I didn't think we needed it at the time.
I think you would agree with. Yeah.
Yeah. And we learned to trust.

(31:31):
The lesson learnt was to trust our gut.
I'm very, I'm very forward. Forgot an ID.
I'm going to impose it on you and I'm going to back myself
100%. Joe's the opposite.
She downs a lot of ideas and that's, that's a lesson learnt
that we took because she had a brilliant idea for our wedding
and it was before the craze of the whole draping came in and we
just didn't do it because I couldn't say the vision.

(31:53):
And yeah, we can't do it. But I've learned to listen to
Joe over the last couple of years and trust her.
And she's got a. Vision, Listen.
Why Happy life? I know, I know, I know so.
He's learned that over time. That was the biggest lesson then
actually from that wedding. Yeah, yeah, yeah.
Trust. I knew the answer was gonna get
somewhere. Yes, I disagree with the
lighting. I have to say it.

(32:15):
Really. Yeah, I think I think of like I
will go back to your references,like I walked away from
Michelle's wedding. I'll tell you Snail my feedback.
Thanks. I know you're nodding.
Daniel's nodding. Daniel's nodding.
Daniel's. Very everything was Immaculate.
Like I'll I could talk about every detail.
Those two key things that most of like us are like just, you

(32:35):
know, myself specifically took away, it was the stainless steel
tables, like real stainless steel tap.
And I was like, shut the fuck up.
I made the biggest fuss for 30 minutes.
If I got so sick of my voice that I was like, yeah, I'm like,
we don't even need to change theglasses.
We can just leave. The table from upstairs.

(32:58):
And the lighting. It was the best lighting I've
ever seen at any wedding in the last 10 years, so I've been in
the. Breakfast.
I was talking about aesthetic lighting, not actual functional
lighting. Specialist like.
It was purely, it was purely there for aesthetics, yeah.
It wasn't there to create an ambience.
Movement. Yeah, OK.
And that's where our listener was like Rochelle created
ambience by just the lighting itself.

(33:20):
Yeah, and it wasn't like a heavily.
Floral. Like town or wedding that you
typically would see and if the lighting wasn't there, I'm, I'm
gonna be honest, I don't think it would have slapped.
No, no. Half now, everything else was
incredible, but yeah, just elevates that.
Absolutely, Yeah. If I showed you the lighting
half an hour before I show walked in, it was a different.
It was like a different wedding.Yeah, it was.
Different. Yeah, yeah, the ambience

(33:42):
completely changed. Yeah, we shifted.
There's a tendency of like everyone would create a centre
warmth. Yeah.
And we said, no, let's flip that.
Fuck. Sorry.
Excuse my French. Fuck the warmth.
Let's put it on. Cool.
We cool. We dimmed down the lights, made
it more blue tone. Yeah.
And it had this, like, sharp elegance to it rather than a
romance. Yeah.

(34:03):
And when that happened, we're like, alright, she's ready to
come in. Yeah, she's allowed to come in.
Yeah, yeah. It was very editorial, Yeah.
I think Daniel's sister now described perfectly shed it like
kind of like an off white show like a fat yeah fashion Yeah
kind of like production event was like so sick you killed that
wedding. Thank you leads me to like that

(34:25):
question. It's like laid it down the track
but I'm going to ask it now since there's all that
Rachelle's wedding we had like Michelle's ready.
Well Michelle Ray's wedding recently.
I guess you could say like like 3 weeks ago from recording feels
like a. Lot, yeah, three first and a
half, 3 1/2. Yeah, 3 1/2.
It was like about 30 plus industry peas or attending the

(34:47):
wedding. Was that any sense of pressure,
or was that some kind of drive towards the experience and the
aesthetical output of the wedding?
Yeah, I don't think so, George, because it's every, every
wedding is special. You know, no matter who we're
creating it for, it's so specialfor the couple, for the guests,

(35:10):
for us. You know, there's pressure in
different ways for every single wedding.
So I don't know that that added any pressure.
Obviously we wanted it to look amazing and we wanted you guys
to all think it looked amazing. But at the end of the day, the
most important thing is that Rochelle and Mitch were happy,
you know, that they walked in and they thought it was amazing.

(35:33):
And that's the pressure that we have.
We want them to love it. I remember like when they walked
in, you know, because it's you're on your total day, like
it's just you're working to the 11th hour.
And I remember they walked in and I always, this happens all
the time. I don't know why I do this.
I kind of like hide in the corner, you know, Normally,
yeah, I got to be shy like so. If they don't see me, yeah.

(35:54):
If they don't see me, like, yeah, so I like hiding the
corner and I wait for them to walk in.
And they walked in and they looked around and.
She shouted massive words like what the Yeah.
And then I think we knew that. I think that.
Yeah, and then I just. I cried.
They made. Me.
Michelle started crying. And then, God bless him, I think

(36:16):
Rich started tearing up and thenshe started crying and I had a
phone. I couldn't get the tears going.
But that's the relief of. Depression.
Massive group hug in the middle of the dance floor.
And that was just. That's why we do it.
That's why, yeah. Correct Yeah, we walked away and
go. This is why we do what we do.
Like that, that feeling. I I can't explain it.
And mind you, like our legs are hammered here at this point.

(36:38):
We can barely stand. Our backs are gone.
But it's worth it like tenfold. Yeah.
Yeah. It's the most rewarding feeling
I've had. And I'm glad you answered it in
that direction, to be honest. And I was really hoping that it
was not going to be about pressure or you felt that good.
Pressure to be. You didn't feel pressure, but
George, we also sort of cut you off.
We also told ourselves that we knew there was going to be some

(36:58):
industry peers there, but also that this is a wedding.
This is a wedding that some people might look at it and love
it. Some people might look at it and
hate it. Yeah, because that's the truth.
It is quite bold in your face and really specific on a genre
of type of styling and wedding thing.
And we'll come. But I think if it's done right,

(37:19):
it's hard for people to hate. Well, you answered my second
part of the question is I was actually surprised that how it
came out to the extent it came out and how much everyone loved
it. Yeah.
Yeah, the feedback I heard was nothing but phenomenal.
Not much saying it to your face.No, no, I appreciate that,
George. And it's like even from like
friends or family that were like, you know, like, well, her
wedding was so beautiful. My care was so different or so

(37:39):
beautiful. It was so fresh, sexiest, it was
so sexy. Can I hear you then?
I felt sexy and I was running onthe streets.
How hot it was. I was like Gay was running in
his. I was like This is why I've.
Never seen a bigger smile on this guy's face in my mind,
whatever it is. Yes, a little Chimi got time.

(38:01):
A little Chimi. It's right.
It's right. We still love you.
But no, he's absolutely killed. And I'm glad you didn't say that
you didn't feel the pressure around, you know, industry piece
because, you know, like it's it's normal and natural if
someone would have because obviously, like, you know, the
projectory and the the the potential is there to be kind of
showcased on so many people's forums where there's so much

(38:25):
more reach. Right.
Yeah, that it, there's a chance that it, you know, can catch.
There's not, it's not really a chance.
There's almost guaranteed success to catch more eyes.
Absolutely. It's kind of like PRI guess you
could almost say it for you guysin the most positive way.
But to showcase. It does really come down to the
couple. Yeah, it's it's all about them.

(38:46):
Yeah, yeah. I remember when I was getting
married I kept like reminding everyone don't worry about
anyone in the room, worry about my grandparents, worry about my
like immediate family. Like please attend to them
first. Like forget that XYZ might be
there. You know what I mean?
Like it's important, so well done to you.
Both. Thank you.
How do you push clients creativity while still

(39:06):
respecting their brief? This is a big question I wanted
to understand because any ease on your average stylus, There is
there is an aesthetic at play, there is this very niche style
that play, yeah. Correct.
It's a bit, I'm gonna start by saying it's a bit of an
educational process. A lot of our clients that we're

(39:28):
finding even this year and this year they're coming to us and
there is already a precursor of I loved what you did.
So there's already a sense of balance that we're heading in
the right direction of the firstconversation.
The educational process comes into play when we realise they
ask questions like when do we engage in the vendors?

(39:49):
Where's this at, where's that at?
What we want to take on a journey on is the design
process. We spend 60% of their time on
the design and the aesthetic andnailing that down before we even
talk to A1 vendor. So we'll meet up with these
clients on numerous occasions and bounce those ideas off us.

(40:09):
We spend a month getting to knowthat person.
Whether it's a wedding, sort of the couple themselves, we spend
a month getting to know them before we even talk about design
because that will shape. That helps us shape the look,
books, the design, the mood, themood boards, that whole package
that we put a bow on and sent tothem.
There's been multiple discussions before that.

(40:30):
I think that's a big part of getting to know the couple as
individuals and what their wedding means to them.
I think before we even talk about design and then it's
especially before we even talk about what vendor we want to
engage or what we want to actually do.
There is such a conceptual discussion had for a long period
of time and a lot of them are like why are we doing this now?
So This is why we're doing it. Trust the process.

(40:52):
Yeah, I find that's when we needto align more with clients and
off the get go rather than the aesthetic because if we align on
that process, by the time we getto the design, we're already
aligned. Yeah, that's what we've found so
far. I think you've also got to
understand your clients. Every person, every couple,
every client is very different, you know, so the way that you're

(41:12):
communicating with them, the waythat you're exploring the
process, it's not actually step and repeat for every single one.
We need to respond to them, you know?
Yeah, adapt, respond, work with them.
You know, we're not actually rolling out the exact same thing
for everybody in terms of process because we need to
acknowledge that, you know, theywork in different ways.

(41:35):
They respond and receive things.Client aims more receptive to
images. Client B is actually more
receptive to a discussion. Yeah, Client C needs a
spreadsheet, you know, like, andwe do all of them, but maybe we
need to talk more through one than the other.
And then, you know, going back to your question, how do we
challenge their ideas respectfully?
I think it comes down to the communication method, how we

(41:57):
communicate with them. There's a way, I think that if
something can be shared or come across and if you frame it in a,
you know, a certain way and you have that discussion with with
them, it can really shape the way that they then, you know,
receive it and then how you continue on from.
There we'll use push back an ID.Aesthetically in black, it just

(42:22):
doesn't. It's not what?
We, we're always honest. Absolutely.
We. We will.
But push back in regard to what do you like about it.
Tell us what you like about it. We're never going to shut
something down. We're never going to shut.
It's not our wedding at the end of the.
Day, yeah, we've got to respect that.
Yes, the bride and groom or the OR the client.
It's their event. Yeah, no, for sure.
We. Want to understand their drivers
on why you like that certain aesthetic, you know, and then we

(42:44):
like to play off some pros and cons with them as well.
George, you know, has it's been done 10,000 times the the other,
the other big thing, I think thefactor is styling is a live
based in the sense that you're styling now for something that's
going to happen maybe in 12 months from now.
And we wouldn't be doing our jobs if we weren't trying to
forecast the next trend. And a good example of where your

(43:09):
question can lead to is we did the Ronaldi wedding and a lot of
clients came to us after that. I want burgundy, right?
And that was an educational process as well to say, guys, we
absolutely can do it. But I also want to open your
eyes a bit, say in 12 months, in24 months, is burgundy still

(43:29):
going to be pushing or are we going to have to send 100 Chrome
burgundy weddings? You know, and to an extent, if
they're still going to tell me Ilove it, then absolutely, let's
do it. I am fully enthusiastic.
But we wouldn't be doing our jobs if we didn't make them
aware of what's the next trend that's come.
Absolutely. It's so important for us.
Do you both feel like Sydney is too safe when it comes to a
wedding styling? Yes, a little.

(43:53):
Bit I do, yeah. I do think about retrospect.
I think we'll have anything. Specifically.
Well, I think do you want to go?Yeah, I think and this is, this
is everybody, right? This is in all aspects of life,
not just in relation to events and weddings, but you say

(44:15):
sometimes within your comfort zone, you know, we all see and
attends all these weddings with,you know, similar things.
And that's, that's the comfort zone.
You know, even clients, you know, they think that, you know,
I see flowers at every wedding. I need to do flowers because
that's all I've known. You know, every wedding.
Which there's nothing wrong with, no?

(44:35):
Yeah, no, there's nothing wrong with it, but it's the.
It's the train of sorry, cut youoff.
It's the train of thought. They come to us and know when
are we going to the florist. But the question is, do you need
a florist? Then they can't answer.
That what's the concept? What's the design?
What do you? Mean a florist.
We need a florist. Well, no, you actually don't.
Like, I'm just using florist as an example.
Yeah, for. Sure, they will hate you right
now. Whoops.

(44:57):
But. In all honesty, that's the
questions we asked back to them.Why do you need it?
Because everyone else has got one.
Yeah, let's take a seat. Let's spend 6 months designing
your space and then ask me at the end of the six months, do we
need a florist? Yeah.
And that's where we we're tryingto take.
We're trying to get clients to flip the way they think about a
conventional wedding and what becomes the baseline of
conventional, conventional weddings in Sydney, OK, does

(45:20):
that. Answer the question.
It does answer my question. I knew it was going to be a hard
question to answer though, so you guys answered it really
well. To be very honest.
What's a starting trend that branching off this that you
absolutely can't stand in which people stop requesting?
Come on, George, you can't ask me that.
Yeah, it's OK. Design is subjective.

(45:40):
You don't need to answer it, I can ask it.
Ask me again what was it does SI.
Trend you just can't stand and you just like hope to see an end
to it or a phase out. That's a hard 1 is.
It a hard one because you don't want to answer it?
Or is it a hard one because you can't think of?
It no, I think it's it's. I think sorry you got cut you.

(46:02):
Off. It's a hard one because trends
are trends are seasonal. Trends are trends.
Yeah, trends are trends. It's about the time and place.
So yeah, yeah, like my answer now will be very different to
three years from now. I do want to see.
OK. What would you like to see more?
Of I do want to see more of a push on using unconventional

(46:25):
materiality and textures athletics as opposed to the
conventional types, that's what I'd like to see.
For instance. Well, I can't give away
everything I'm about to do this year.
Yeah, absolutely true. Don't.
Definitely don't. You might have to like biting
the nails. Don't like.
Shut up. Shut up, George.
Don't say it. No, don't say it.
So yeah. That's where I'm going, George,

(46:47):
with it. Yeah, just sticking outside the
box. You know, just because we're in
Australia doesn't mean we're limited to using the supply and
the materiality we have here. We've got a whole world that we
can tap into. Yeah, for sure.
It's so important A. 100% in. So that's where I.
Probably think outside the box. Sydney needs to, yeah, just
sometimes think outside the box.Talk to me about scale because I
love the way you guys have tapped into scale and your

(47:09):
attack onto it. We actually have a whole
strategy on this. So it's like I have a camera in
your. Yeah, it's actually a bit
concerning, George. Yeah.
And you got the memo. You got the memo to wear black.
Yeah, which is also a bit odd. I just lost my glasses.
How do you create something thatfeels editorial but still
logistically doable in the worldof weddings?

(47:31):
Because obviously I think when we talk scale, people might the
first thing they might come. So they went they they might
when they think about your weddings, if they're familiar
with it, it's like the huge banners or like, you know, the
explosiveness of like one objectthat creates such phenomenal
impact. And you're like, wait, didn't
think of that, right? And it can't always be done

(47:52):
every single wedding. Like there will be a stage where
it's like overdone, right? There's probably people like,
you know, that'll always be two steps behind and repeating that
and will just be dragged out. But somewhere along the line,
these ideas came about. So how do you create something
that feels the balance between like, this is really sick, but
it'll still suit a wedding? And minimal to an extent.

(48:14):
Sometimes so. I think the first thing we do,
sorry, didn't mean to cut you off, the first thing we do is
look at the space that we're going into.
You know, we don't have a preconceived idea about what
we're going to do before we go into a space.
We start with the space. What is this space?
What are the what are the foundational pieces that we are

(48:38):
inheriting in this room? And then what do we want to
create in here? That's where we start.
That's we don't we don't go intoit knowing.
No, we don't. You know, I, I I have a banner
ID. OK, where can I put the banner?
No. Sure.
It's never. Yeah, it's.
The other way around. We also one of our strategies is
we enter a space and say what are the three things we're not

(48:59):
going to do in this room? OK.
And that's so important to us. So would you say a stylist?
The choice of venue is paramount. 100%.
To, to an extent, yeah. It's important.
It's. Very important.
It's very important. Like it shifts the whole thing
from the get go. It shifts.
It shifts the potentially all 100%.

(49:21):
It shifts the style of the wedding.
Yeah, absolutely. Yeah, like you can do, you can
pick up Rachelle's wedding and do it at another venue.
Would it work as well? My answer would be no.
The the juxtaposition of the architectural barocheness that
we saw at Town Hall. Barocheness.
You like that out of an FS word?But I do like.
It against against the Make it aword.

(49:42):
The stainless steel contemporaryeditorial.
Word. Yeah, absolutely.
Because they're such polar opposite.
Yeah, that's what I'm getting atbecause you guys are from what
I'm understanding, you guys are telling me that the canvas is a
source of like first initial kind of inspiration when it
comes to pushing that. Out from an inspiration
perspective, yeah. So it's like.
You know, client needs to kind of think carefully.
Do you know what I'm excited about for you 2?
I was going to wait to say untilwhat's up.

(50:03):
I just want to see what you 2 come up with in a space that's
open. Like think like red leaf.
Yeah. I just would love to see where
you take a garden style Europeanlocal destination Sydney wedding
and how they make that Renvoy Yeah, yeah, it's clearly
happening. I can talk about the.
Smiles. I'm not a I'm not a

(50:25):
psychologist, but I'm also like dip shit.
DBC but. I'm excited to see what you do.
Like that's what I'm I think I'mgoing to keep my out just out of
curiosity. I'm like I want to see where.
You're it's a good point, because operationally,
logistically, a lot of things can go wrong with outdoor
spaces, which is different, which is different, different,
not just that the scale of the space.
The scale's different, the colouring's different, the

(50:46):
lighting's different. The deal is different.
You need a budget to cover that scale space, to have something
that where you're walking and go, Oh my God.
It's gonna be a blimp. It's gonna be, yeah.
Like, like The Simpsons. Like something, you know, like
something Dravati. It's such true.
Like we did. We did a wedding.
On Joe and George are like fire for South of Southern.

(51:09):
Highlands. We did want to own a farm, yeah,
before Julian's. But yeah, just certain factors
like budget, yeah, et cetera. There's the preview a bit with
those outdoor venues. But we do have some exciting
stuff later this year, Will. Will Renvoy ever step into
planning, or is it gonna stay atstyling for quite a bit?
We, we, we offer it. Yeah, OK.

(51:32):
Is it like an automation run sheet dealing with vendors?
When you say dealing with vendors, you mean outside of the
styling vendors? Yeah, like full.
Yeah, correct. Full planning, yeah.
Like concierge service? Yeah, absolutely.
Yeah, we provide it. We provide it absolutely.
Right now we haven't any clientsfor that.
It's mainly been styling. Yeah, that bread and butter is
styling. But that is something we

(51:54):
definitely offer because it's it's we don't see it as sorry, I
shouldn't say this, not that it's not hard, but it's
something we can easy. For you, I was about to say.
For you, I feel like it'd be natural because of the project
managing side and like dealing with, you know?
It's just an extension, I guess,of what we're already doing,
yeah. Which we kind of did for shells,

(52:14):
naturally, yeah. Like we did run shade spend on
management for more than just for styling.
We did for the whole thing. Yeah, you know, sometimes it
just. Came naturally.
Yeah. Yeah, absolutely.
Yeah. Got a couple questions about
Cydia George. Because Cydia George was your
first baby. It was how did work to
stationary influence and inform your eye for styling.
How did it? Yeah.

(52:36):
Everything. Yeah, I think, I mean, I think
you can look at our events and see how it informs it quite, you
know, quite visually. It's it's there.
We we like to create a brand, you know, we.
DNA. Yeah, DNA, yeah.
We right in the groom. I think it's so important.
Yeah, it's cut you. Off you go.
That's fine. You know we created.

(53:01):
Under the table jabs for me, she's.
Going to let my ping around my leg.
Yeah, yeah. We naturally create this DNA,
this brand for our couples for these events and we then use
that to then create the style, you know, it, it's the

(53:21):
foundational piece. It forms the basis of what we're
creating for that that event. And it comes through in so many
different ways. And it's beyond the actual day.
You know, it starts very early. It can be through, you know, the
save the dates, the invitation, you're getting a taste of that,
that style, that aesthetic, thatbrand.
And then it comes through on theday and all these small moments

(53:43):
or large moments. It's, it's, it's longer
stationary for us, yeah. See on that I think it's.
Yeah, like you look at Rachelle's wedding and a big
part of a kind of call it stationary.
Yeah. Take the banner, take all the
details on the table. What's left.
Yeah, it's equation. Sure.
It's crazy how impactful it. It's crazy how it's received,

(54:04):
George. I think it's by by guests.
Yeah. Like they're getting a new
outlook into. Oh, OK, I know where I'm at.
Like the atmosphere the stationary is creating is so
monumental to these weddings. Yeah, it sets a time.
Absolutely, yeah. It leads me to my next question.
I actually didn't come up with that.
I can't take credit for it, but how and why did you decide to

(54:25):
kind of branch off from Studio George to Renvoy?
And do you think that was it like stationary wasn't enough?
Or do you believe that stationary could be the whole
aesthetic of a wedding? Very good question.
Actually, I think it comes back to my first, my first point that
I made about how Renvoy was formed in the sense that we
still do Studio Georgia and we love it, but it's helping others

(54:48):
bring their visions to life, whether it's the stylist or the
clients directly. Yeah.
And that was one piece of the point.
So I don't think it's the latter.
I think it's your initial statement you made that it forms
a basis and it forms part of it.Yeah.
But that I would say is the foundations of.
I think that was a big part for us that we wanted.
We wanted to not just design stationary, but integrate

(55:08):
stationary into styling, you know, 'cause as station is, you
get, you get brought in and you get brought out at a certain
point in time and you get told where to put things, which we're
completely fine with because that helps bring that stylist
vision to life. But to have that autonomy to do
it from start to end and integrate it from the beginning.
Like you saw Rachelle's tables, you can't just get a stationary

(55:29):
to do that. Like we spent three weeks with
those table tops sticking all those vinyls 8 hours a day like
so that is something an integrated stylist stationary
needs to do. So do you think, or do you
believe that stationary could become the whole aesthetic of a
wedding? Absolutely.
Yeah. Without a doubt, yeah.
It forms a huge part of it formsa huge part of the way that we
look at it. And you know, everyone's,

(55:51):
everyone's different. Yeah, I think I've, I've, I
believe it more now that I've seen you as well.
Yeah, it'd be hard for me to articulate without the visual
example, but I'm a visual. Person.
Yeah, yeah, absolutely. You can kind of see the natural
transitional path and how like the experience from 1:00 as like
blossomed, it's something even bigger and greater.
It is, it is. And I think it's, it's not just
a trend. I think clients are starting to

(56:15):
see they want, they want themselves and our identity of
who they are to come through on the wedding.
Outside of florals, outside of candles.
Yeah, something tangible that someone can hold.
Something that's completely bespoke to them.
Yeah, we can never step and repeat the same design.
Yeah, no. You.
You. You actually.
You might see there's the same candle hold all the same lamp or
the same tabletop. But that that graphic design,

(56:38):
that's not going to be seen again the way that we bring that
to life. And it's and it's, you see it
with the clients after the wedding.
They're trying to take all the menus, They're trying to take
all the. Stainless steel table.
Tops, stainless steel table topspeople are just looking out
with. Them is it?
Is it subtle take? Care.
Yeah, mine now. That's hilarious.

(56:58):
I love the origami menu. You did?
Yeah. Yeah, that was so.
We loved that too. It was, so it's.
Funny though, it's the story. We came up with that.
I think both of us, no, he wantsto take the credit.
Card. No, Yeah, both of you want like,
did you just like look at each other?
No, I didn't get it. Like army menus?
No, that a Chrome. Like we did.
China, OK. Yeah.

(57:19):
We'll, we'll take this offline for that.
Yeah, I was sitting somewhere inGreece and.
And this comes back to where we draw inspiration from.
Like, we don't know how to take a break.
This is our biggest problem. We're just stinking constantly
about styling and design. Yeah, we're sticking something
in Greece. Yeah, Four Seasons.
And we ordered a drink and then I just happened.
To look at it was our second day, yeah.
Second day in Greece. Second day in Greece.

(57:40):
And we looked at the menu and itwas this origami style menu.
Yeah. Sitting halfway across the
world. And I go, Joe, put that in your
bag. We're taking that with us.
And it wasn't the same, but it, the concept of it.
Yeah, I go take it. And we literally took it back to
Sydney and I travelled with us already.
I want to, and I just had a moment ago, I want that in
stainless steel for Rachel's bag.

(58:00):
And this was eight months beforethe wedding.
Yeah, wow, that's mad. And that's where these ideas
kind of come from. Yeah, from anything you can take
inspiration from absolutely anything.
We don't even know that we're taking inspiration from
something at a certain time for a certain thing.
We just saw that and then it, you know, it evolves into
something later. Has there ever been like a
chaotic memory that comes to mind that you had on the job so

(58:22):
far? Like something that almost like
completely fell apart was just completely chaotic.
There's a couple, but not not chaotic to the point they fall
apart, yeah. Not a complete disaster, but
there's there's always little things that.
Don't. It's of chaos.
Yeah, go according to plan. In terms of on the day, no, not
really because I, I think it's atestament to our project
management background. The way we plan and risk manage

(58:44):
is to the NTH degree. We kill ourselves sometimes, but
it's worth it. So life indoors are across
everything on the date, but prior to, Yeah, things happen,
you know, people are human, mistakes happen.
Candle holders coming up appearing stuck in customs 24
hours before Juliano's wedding. Things like 700 of them, which
the whole wedding was based upon.
Yeah. That's a big problem to have,

(59:04):
Yeah. So yeah.
Things like nothing chaotic, nothing age, just, you know,
maybe like the whole the whole wedding just being.
The whole wedding. But no, that's, that's part of
it. I think we have, we have plan A,
but then we also have plan B&C&D.
Yeah, sometimes there's AD, yeah, like there's, there's
always a backup, I think. And I think it's important.

(59:27):
To to your point, George, it's testament to the creatives and
the fellow vendors we work with in the industry.
We can lean on each other like it's just a phone call away,
something he's the fan, whether it's a competitor or a fellow
vendor, they're always, they're always happy to help.
Yeah. And and that's come to our aid
on many instances more stationary, but yeah, yeah,
yeah. We have a group.
Even now, even now through styling, we've, we've found some

(59:49):
really amazing, incredible vendors, but people that yeah,
Oh yeah, we can, we can already say that, you know, we can lean
on them and we can, they have our backs.
And we have this. No, I feel like more often than
not, everyone's really like truly happy for each other and
getting along. Yeah, yeah, they are seeing each

(01:00:09):
other. Yeah, absolutely.
Team, at the end of the day, youknow, we're trying to bring the
same thing to life. Smaller than what everyone
thinks, yes. The industry, it's so tiny it.
Is it is It is. Yeah, there's some questions
that were brought in by the listeners.
Which will not remain anonymous.Son definitely won't.

(01:00:30):
I'll start with the one that's like definitely not the
anonymous one. How good looking was the groom
at the Ronaldi wedding? I wonder who submitted data?
Line. What a shit bloke.
I can't believe that made it on him.
I was like. He's a bit obsessed with
himself. Surprised his name's on George
or something but some that were like definitely more fascinating

(01:00:55):
than others. I think I answered some other
questions, sorry if anyone submitted it but like there was
like who's more creative Joe or George?
We answered that, didn't we? Say more wine somewhere.
I felt like another fun that wasabout to happen.
I'm just kidding. I'm kidding, Daniel.
You can answer that only answer that.

(01:01:15):
That's very. No answer it OK.
I think we're creative in different ways.
OK, that's a good answer. I I think George is, and we
touched on it before, George is really creative in the
visualisation. He can really take an ID and
visualise it and bring that to life, you know, graphically,
visually, you know, using graphics, using sketches, like

(01:01:38):
he can really bring that to life.
I can tell him something and then he'll take that and draw it
up. So would you ever like do a
drawing for a client of? Like what's something like a
mock up? And we do a lot more than that,
George. We actually we 3D model
everything. Oh, YouTube renders.
Yeah, yeah, yeah. But even a lot or something,
even a life 3D model because of our architecture backgrounds.
So we use Revit or Sketch Up. It's important to get the vision

(01:02:01):
across. We actually sketched up
everything like we built the bridal table or the table.
Why? Haven't you ever like the banner
showed that? On socials you mean or?
I always get fascinated by wedding planners and stylists.
My friends at a wedding, planners and stylists.
I'm always like and why? We need to think about.
We need to. Think about when you build your
house right? Don't.

(01:02:21):
You. Want to see what it looks like
before you actually walk? Move in.
Yeah, of course. I'm just saying, why haven't you
shared that with the world? I don't know, I think time, of
course. I wanna see what it.
Looks like I could, I could tellyou one of our biggest, I like
one of our biggest development areas is socials.
Yeah. What are you talking about?
Your socials are insane. Are insane.

(01:02:41):
Like this is. It just blows my mind.
It seems so simple. Yeah.
Because like sometimes I'll go to an event where like something
is like so crazy laser car. And I'm like, where's the video
of it being laser car? Yeah, I'm just curious to watch
it unfold like people want to see the hard work of.
Course. You know what I mean?
Yeah, yeah. Listen, I would love to have a
camera and show sometimes an edit, but I can't do that.

(01:03:03):
No, no, I get it kind of sometimes can show off more than
I want others to see, but it's for.
Us right, like prior to the day those 3D models I build, I can't
show them out, I can't show. Yeah, I'm saying after, after
like a reflection of like, yeah.And I can even see like this is
what we imagined and presented and rendered.
And this is not the point. Exactly the same.
Absolutely, like just need an emotion to send me the photos.

(01:03:25):
Oh, I know, right? Anyways, so yeah, I hope you
take away from that with all seriousness because it's really
epic. Yeah, it is this.
Is a funny reference. I'll start.
Go on. No, you don't know.
You don't want. To get this right, it's so dumb.
No. So that's.
Too late. You better be.
You better be better. Kanye and Kim built their house,

(01:03:46):
they got their architects to actually edit them into the
actual drawings. So for all Renvoy couples,
please trouble George and Joe tolike, put yourselves for your
your bright hearts. This is so funny.
Just challenge them. Like Sims.
It's like, you know, like Sims. Yeah.
Yeah. Like I want to be at the planet
table now and I want to be at this point now.
Yeah, every other can of worms we're going to be.

(01:04:07):
Yeah, no. I'm showing you their photo
moments. It's so.
Important to us that they get tovisualise.
Them. No, of course, 100%.
Do you know why we're so men? Because we're trying to do
things that haven't been done before.
Yeah. You know, like usually when
you're planning off a preset, animage or a reference, it's like,
this is what we're going to do. This is what it's going to look
like. But for us to put our next out
on the line and go, we're going to do something Noah's done

(01:04:27):
before and it's going to look like this.
Julian or Rochelle or Mary or Sophie, whoever our clients are,
it's going to look like this. How am I?
How do I know they're perceivingand interpreting my words the
same way I'm visualising it in my head?
Yeah, absolutely. And This is why we 3D model
more. So for us to give us comfort
that are we on the same page, This is what it's going to look
like. Yeah.
That's so important. For us to see the scale and

(01:04:48):
everything. So value add to the client, but
it's also Peace of Mind for us I've.
Had personal experience with 3D models and it's the only way to
operate now. Yeah, it's really weird on like
a personal level with our house,Like our architect did like a
full 3D model to scale that you can measure something.
Yeah. And you can walk through each
room. And I'm like, this is exactly
because, like, I can't do like, what a bird's eye view plan

(01:05:08):
would be. Floor plan.
Yeah, like a floor plan. I can't.
Visualise the space. I can't.
And then like, even I think, I don't know if it was Diane or
one of the vendors without daughters, Christine like did 3D
model renders. And I was like, oh, hectic.
Now I can say and you're making little tweaks and changes
because you're like, now I understand the balance and yeah,
where things are going to be kind of position proportion.
Absolutely. It's more like a proportion and

(01:05:28):
how things are going to flow more than anything else.
Absolutely. But then that's where stuff
like. That's sick, man.
Yeah, I'm so glad he's off that.Absolutely.
But that you need to like for stuff like the banner results to
get the proportions on that right.
That could have gone completely wrong.
Yeah, couldn't get it right. Someone asked, was Rochelle Rose
a nightmare client? No, it's not her.

(01:05:50):
Did she? Ask her.
I wouldn't ask if it wasn't fromher, but imagine someone did
some magic that would have been.That would have been so wild.
No, she really wasn't. No, she was incredible.
She was incredible. Before I met her, I didn't know
anything about who she was, a person.
I met her once or twice maybe before, and I think, I don't
know, but yeah, like I thought, OK, she's in the industry, She's
well known. But then you meet her and just

(01:06:12):
super down to earth and even Mitch, Yeah.
Let's go chill. So chill so.
Chill. And it's testament to them
again, just like we trust you. Yeah.
And I'll never forget when they walked down.
It's like, really trusting us. Based on what?
Yeah. Like, that's a huge compliment.
Like we haven't done that much. And you, you trust us enough to
say complete freedom. Go for it.

(01:06:34):
Sometimes you can also just feelit when you meet.
Yeah, probably would just feel it when they meet you both.
Yeah, it's not just about portfolio or like time frame and
you know it's a good point. It's a good point.
Sometimes you chemistry at that.Yeah, yeah, just get that
natural chemistry. She was a great point.
Yeah, she. Was great family as well.
There's just so absolutely. They are.
They're the best, all of them. They were, yeah.
Everyone was involved. Peter Peter needs a special.

(01:06:55):
Mention to Peter I. Fucking love Peter, I swear to
God. That so he was the MVV of the
day, the most valuable vendor for sure.
He did a lot for, he did a lot for us for Shell.
He's always learning, helping. Hand can do attitude.
Yeah, selfless guy. Selfless guy.
Yeah. More questions from the
listeners before I forget. How do you conceptualise each

(01:07:17):
wedding? They're all so unique.
I feel like we answered that, but is there anything else you
want to add to it? The only thing I'd add was we
didn't touch on our process and like without giving too much, we
say styling in terms of layeringlike an I'm going to quite Shrek
here, but like an onion, it's just appropriate.
I guess it is appropriate. OK, let's let's go with that.

(01:07:39):
We look at things, we look at things at a macro scale down to
micro, but then the layering in between and then we inverse it.
We get to the micro and then we go back to the macro because
it's so important for us. We see us.
It's about the atmosphere and the emotion we want to create
from the spaces that that we deliver.

(01:08:01):
So when we figure out the macro scale, then you walk in and go,
Oh my God, wow. Well, look at that.
So then peeling a layer off, OK,walking through the space, now
I'm looking at this, peeling another one, getting to the
tablescape, looking at the detail, the minute detail
structure which you would have seen, and then inversing it,
getting up from the table, making your way back out.
I think that's how they remain unique and true to the client.

(01:08:25):
Yeah. And I think also it's not only
about conceptualising the aesthetic or the style.
We want to evoke feeling. You know, we want to evoke
feeling in our clients, but alsothe guests.
And that's where to what George is saying, you know, all those
layers that comes into play. We're actually looking at it
from the perspective of how are people going to, you know, be

(01:08:50):
involved and how are they going to feel?
How are we going to draw that emotion out of them?
And that's how that's how we getthose details out.
Yeah, awesome. I get it.
I fully get it. You definitely answer that
person's question. What's been your proudest moment
to date since starting your business?
And you can include either or pseudo George or Randboy.
You can maybe got different moments.

(01:09:13):
Proudest. Yeah, proudest.
I think it evolved, right. So I think the proudest that
I've been is where we are today.It's it's but not something that
we dreamed up at a certain point.
You know, everything we've been saying, it evolved.

(01:09:35):
It involved people trusting us. And that's LED us to where we
are today. And I look, you know, back over
the last year and I see the events that we've created.
And these events, you know, theycome to life in a really short
period of time. We spend a year creating them
longer, sometimes shorter, and then we pull it together in the

(01:09:56):
day and then half a day. Yeah.
And then take it all down in an hour.
But it that seeing that something that you've worked on
and put poured your heart and soul in for so long, seeing that
come to life, being physically in that space, yeah, seeing your
clients so happy and overwhelmed, that's the problem.

(01:10:18):
That's the moment and the 250 people that are sitting there
and just ruining it. And I love it.
I love when they create chaos. I actually love it.
I love sitting back. Like our shows.
We sat at town hall upstairs, welooked down and the chaos her
guest created. I loved it.
Ruin it. Enjoy it, enjoy it, enjoy it.
That was the best feeling. It's not meant to be looked at.
It's no, it's not tampered with touch.

(01:10:39):
Yeah, enjoy it. Immortalised.
Yeah. Yeah.
In that moment, yeah. Proudest moment.
Any specific same? Same same now like the journey,
excitement for the journey aheadmakes us so happy because.
Awesome. There's been a lot of work,
George. What's your vision for Renvoy in
the next 5 years? Do you like playing for it to

(01:10:59):
stay boutique in terms of scale,or do you want it to go into a
larger beast? No limit.
Absolutely no limit. Set no roof to it.
Set no roof to it, no rules, butunderstand, appreciate scale and
that with quantity we want to maintain.
Quality is so important for us. We're realistic.

(01:11:22):
Not everybody's going to look 10out of 10 out of this world, all
different, sorry, I should say more different, but it's fine in
that balance and offering, the busier we get in, the more
clients we have. Offering that uniqueness to each
client, yeah, is something we don't have an answer for, but it
comes to us as we get to learn that client as part of the

(01:11:44):
journey. But no limit.
Is there like a dream or a goal that you secretly whisper to
each other like I just can't wait to?
Yeah, I think so. I think when we're you're going
to. See.
No, I want to hear what you're going to.
Say, I was going to say we're fully immersed as in not just
one of us, but both of us have let go of daytime jobs and this

(01:12:06):
is we breathe this. That is the aspirational.
Goal Chair. I'd love to do be doing all
different types of events. You know, I never want to limit
ourselves to any type, you know,whether that be, you know, for

(01:12:30):
labels or, you know, different brands like I, I.
Definitely see it. That's where I'd I I think all
of different events are special,but I'd love to expand and do.
Definitely see it that. Kind of thing.
I think we've got a lot for it as well.
Yeah, yeah. And I think the versatility is
what then really gets the creative, you know, and what

(01:12:52):
you're. Saying right now, is there a
dream client or individual like comes into mind?
I'm not talking to you. OK, so.
You're right. You've done a lot of talking.
I urge your goal, OK? Well, I want to take a bone
down. I want to take a bone down.
I like Joe's goal event. So do.
I'd love to do an event for yeah, like a.

(01:13:14):
Sorry, I'm still laughing later this comment.
Sorry, I'm very funny. You're hilarious.
No, I'd love to do an event for like a a luxury retail brand.
You know I. What's your top three
favourites? Luxury retail brand.
Personal. Yeah.
Like if you think of like a dream.
Fine, can I say 1? Sure.

(01:13:34):
Van Cleveland Bells. Wouldn't have picked that.
Give him the history. Though yeah, in my background I
did work for them, so they were one of my big clients in the
project management construction space and I loved working with
them. I loved delivering their
boutiques. I love seeing their event

(01:13:56):
spaces, their, you know, their boutiques are beautiful.
I, I travelled the world and sawtheir boutiques in all
different, all different areas of the world.
And I love bringing that together for them.
I love them as a brand. I loved working them with them
as people. And so yeah, like taking a step
back and now seeing this space setup I'm in, I would love to be

(01:14:19):
able to deliver. School that level of creativity
and signal kind of like. It's always.
Appreciative. A fashion girl.
You can always just sense it. You have a taste for it.
It does. Yeah.
It would work really well. It would be harmonious that
relationship. It would, but at the same time,
even in the wedding space, we'retrying to take elements from
that commercial world and that fashion world.
Absolutely. And you saw George come through

(01:14:39):
that which it's a great into thewedding world.
We're trying to money, money thefor.
Sure. I definitely agree with that.
But I think there's something todo with your graphics.
There's somewhere along the linein your brain that like graphics
is just there's the level of talent in school you have with
graphics is just crazy. I don't know if you like even

(01:15:01):
the way like the lines along with Yeah, like just, it's just
like how like, how did it come up?
You know what I mean? Yeah.
Yeah, pretty simple ROM coms in the background laptop I've been.
Like you're so humble. I know.
It's it's kidding. It's the truth.
Yeah. Not just kidding.
Yeah. It is true.
You gotta, I've gotta give George credit for that.
He's incredible graphics There's.

(01:15:23):
It's yeah, you could see it. There's nothing he's shown me.
I mean, you know, he always asksfor my opinion.
I don't know why, because even if I give me my opinion, you
sort. Of like it and I'm like wine.
Yeah, I'm not changing it. Asking my it's not.
Getting changed so you're gonna start liking it, and I'll say
one of you like, oh, you know what?
You're right, I've got to changeit.
I'm always right, but yeah. It's very insane.

(01:15:44):
Thanks for. Actually, he does have an
incredible eye in pulling it together so.
The killer. I had a question pulled in from
our guest before you reach from Ultra Fade.
Yep, top bloke, great guy. He asked.
He's just both into this. So just I'll start with Joe and
then go to. If you could turn back time,

(01:16:06):
what would you do differently? In relation to business?
In relation to life, anything talking to Joe, I'm not talking
to Studio George, I'm not talking to right away.
Yeah, I think I would trust myself and my abilities earlier.

(01:16:26):
I yeah, I think I've always loved styling.
You know, I did it in different aspects of my life.
I always really loved it. Why did I never explore earlier?
Why did I never get into the industry earlier?
Why did I never go and work for someone?
Why didn't I do any of those things?
I always knew I loved it. I never did.
I went down a completely different path and 10 years

(01:16:50):
later and probably more than that now you know I'm here and I
look back and go, why didn't I just do it earlier?
I, I guess I still ended up heremaybe and see how it goes, but
why didn't I just do it earlier?Trust yourself.
Trust if you'd love something, if you have a nap for something,

(01:17:12):
if you're even interested in something, just do it.
Just take the leap. Do it.
That's what I would. I love that answer.
I know it's definitely very inspiring to someone listening.
Yeah, it's going to create change in someone's life.
No pressure that 10 out of 10 answer and give me something
different. George, we're a mirror.
We're a mirror you. Can't just copy my answer you.
Know, honestly, my biggest regret in life was not, I'm not

(01:17:36):
trusting my gut. I did really well in school and
I just assumed I had to pick thehighest degree in design.
Yeah. And that backfired.
That's not what my passion was. Even if it's something small,
would you ever go back and change something?
Like you'd literally have the ability just get into that
world. Only that to be honest, I would
have taken a different career path because I think I would

(01:17:58):
have got into where we are now earlier.
But then we wouldn't have met. Yes, which?
Is I believe in like, absolutely.
Absolutely, Absolutely. It's a journey that gets you
there, that makes it all the worthwhile.
Can't live without this one so. You should have taken out of the
friends end a lot earlier. But you, George, I was thinking,
I'm trying to say. But you want to see.

(01:18:19):
I see that as I believe in that too, George and I see.
Well, that's right. Absolutely.
And I had to do architecture to meet Joe, so yeah.
Yeah, absolutely. And had to read a couple of
books. Yeah, like I needed a bit of
coaching. It's fine.
Good life. I was there for the journey
period. Yeah, it's fine.
It's fine. Give me a chat.
It's just like so on another there.
Yeah, he had to get. There, He had to get there.
That's right. I knew I could foresee it.

(01:18:40):
I did. I just had to wait.
You could be still good. We'll keep it, yeah.
It's all right, It's all. Right, but I.
The truth is, though, it. Should have happened earlier,
but and that's what I learned that trust your gut because
again, I didn't trust my gut. That's the problem, all my
heart, and this is not going to turn into a ROM com, but yeah,
just. Allow it to turn into a ROM.
Com No, no we can't but. But the truth is we wouldn't be

(01:19:03):
sitting here and doing what we're doing today without each
other all. Right.
Since you're a mirror, you're getting nothing but the same
answer. You're going to do one of these
and you're going to pick your own card and you just can't
answer it. Perfect.
I feel like that's going to likehis question.
That's going to like, you know, give me that point of
difference. Yeah, perfect.
OK. I hope you get a hug it.
Could bring it on, yeah. So confident, I love it.

(01:19:24):
What you get is what you. I'll answer both.
Yeah, give it to me. Just to hold that, yeah.
It's hard taking a moment, yeah.I thought it was a candle.
Not everything's a candle. No, everything's a candle,
George. Don't read it just yet.
But you can like, don't read it out loud.
You can read it. Read it.
It's not out loud. Yeah, and I'll let George go
first this time. What would you do if you had no

(01:19:52):
fees? Do you have any fees, George?
That's a very broad question. I like the complexity with this
question. I think I need a bit of time to
think about like. Would you like us to go to your
wife? Go to my wife.
For this, yeah. I'll say, how many times do you
save him a day? It's constant.
I can't keep count. OK, My question is, what makes

(01:20:14):
you feel loved? I think being listened to and
being heard and someone respecting what I'm saying
really makes me feel. Loved.

(01:20:34):
That's nice, Yeah. Do I do those things I mean?
We'll have to assess. That yes, yes, he does that all
the time, every day. But every time you think why is
she upset, just pull up Spotify,Yes, run to this time, yes, Like
yeah. Oh.
Oh, that's bad. That's right.
Yeah. That's what I'm doing with.

(01:20:55):
Got it. Have you thought about your
incredible? No, I haven't closed it into a
beautiful answer. My wife speaks.
I don't like to think of other things.
Section. What would you do if you had no
fears? That's a life question.
I think I'd do more travel when I wanna see George I I come from
a come from a, a Lebanese family, as you would know.

(01:21:19):
And I've watched Mum and Dad work very hard to get us to
where we've gotten to. And naturally, I am a reflection
of them. And my natural instinct is to
work hard and work hard and workhard because we work hard now
and we relax later. Yeah.
And not so much as a fear, but it's a mentality I have.
And Sydney is a hard place to live and to raise a family.

(01:21:44):
You would know, George. It's not, yeah, it's not easy.
It's a stressful place. But I had no fears and also
probably no worries. Yeah, probably give a bit more
time to exploring what I love inlife.
Do a bit of travel. Play the piano.
Spend more time on the piano. You play the piano.
I do. That's sick.
That's like the only interestingone I ever had any desire to

(01:22:05):
learn as a piano, really. Yeah, it is the most fulfilling
thing. It's actually.
Where I draw a lot of my SO I'm waiting to be able to look for
what a yeah, baby grand or something.
Maybe, maybe it might be retire.That'll be more retirement
present, maybe grand. That's what I will do, George,
probably. That's awesome.
Yeah, that's really good. Well, guys, thanks for coming.
I had the best time. Thanks.
For having us, is it over ready?Well, let me say, let me say

(01:22:27):
goodbye before you. Start.
I'm just getting started. Everyone's still listening.
We can keep going. I'm more than happy.
Like the questions are done there, but you don't.
Want to keep going? I love you guys, love you.
Maybe a Part 2, who knows, maybe.
Thanks for coming. Thank you for having me.
It's an honour to know you guys.I want to get into your brains a
little bit and dive deep and I appreciate you both.

(01:22:48):
Thank you, George. And thanks to the success of
Renvoy, thank you. Thank you crew table.

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