For Design Kids Director Cass Eddy, how people are treated shapes everything that follows. Some years ago, she shifted her practice toward purpose-led sectors that benefit people and planet, and began filtering out the rest. It costs some opportunities, but it keeps a sense of purpose alive.
That same care carries into how Cass works with clients. Clarity is treated as a form of kindness, and being honest about the 'unknowns' builds the kind of trust that makes her a creative partner, not just an end producer.
Cass's journey began in regional NSW, with a love of drawing and art that led her to study Visual Communications at the University of South Australia. After graduating and becoming increasingly frustrated working in hospitality, she spent six months sending out job applications every week before a two-week trial became a first full-time role as a Junior Designer. Having felt how hard that first step can be, Cass is clear on what the industry owes newcomers: real trust and responsibility, and working hours that don't run people into the ground.
Can you tell us a little about your first few steps in your career. Was there a moment or experience when you realised this was what you'd do as a career?
During school, I was lucky enough to have very supportive parents who encouraged my interest in creative practice. I loved drawing, art, music and dance, but it wasn't until I was halfway through Year 12 that an art teacher I loved from Sydney, on placement 'in the bush' suggested my work was very 'graphic' and that I should study graphic design.
After enrolling at the University of South Australia in Visual Communications, I still didn't really know what graphic design was. But I knew I was enjoying the subjects, and understanding grew as I went through my first year. I also made the dearest friends there who have remained throughout my life.
After Uni, I was exhausted from studying and learning how to live away from home, so I took some time out working in hospitality. But quickly grew frustrated and fed up. I just really wanted to be working as a designer. I spent a difficult six months seeking employment. It was rough. I was sending out applications every week and even started studying again to build skills in an area my Uni course hadn't covered. Eventually I received an offer for a two-week trial, which led to my first full-time role as a Junior Designer at a design studio.
After enrolling at the University of South Australia in Visual Communications, I still didn't really know what graphic design was. But I knew I was enjoying the subjects, and understanding grew as I went through my first year. I also made the dearest friends there who have remained throughout my life.
After Uni, I was exhausted from studying and learning how to live away from home, so I took some time out working in hospitality. But quickly grew frustrated and fed up. I just really wanted to be working as a designer. I spent a difficult six months seeking employment. It was rough. I was sending out applications every week and even started studying again to build skills in an area my Uni course hadn't covered. Eventually I received an offer for a two-week trial, which led to my first full-time role as a Junior Designer at a design studio.
What lessons from your career have most shaped your style and approach?
Always stay curious. A designer's role is inherently about researching, diagnosing and problem-solving—but what's really asked of us, to do that effectively, is deep empathy. To be curious about the information in front of us and question what's known and unknown. Leading with this approach on every project doesn’t just serve the work; it builds trust in the relationship and partnership through the design process. As time has gone on, it's something that remains with me, something I'm always aiming to improve, and something that is consistently asked in the work, more and more.
Play. Working with children's products for many years embedded a strong sense of play and curiosity in me, which aligned closely with my own intrinsic sense of joy — especially in organisations where being ‘innovative’ and brave to explore new ideas was encouraged.
Clarity, as kindness and respect. The other lesson is about the power of relationships; how people are honoured, or dishonoured, in the room shapes a project. Clearly and respectfully defining the boundaries of a project with a client is critical to everyone arriving at delivery with satisfaction. It's key to a project not being overhauled or steered off the rails, it's a form of kindness that steadies the client, giving them confidence and sure footing. It's how they learn to trust you. Being clear about the unknowns opens the door for more honest collaboration.
Listening more than talking, is often the most helpful practice. Helping clients identify and diagnose their real problems has gone a long way toward securing trust and extending the work I do with them. They come to trust you as a creative partner, not just an end producer.
Play. Working with children's products for many years embedded a strong sense of play and curiosity in me, which aligned closely with my own intrinsic sense of joy — especially in organisations where being ‘innovative’ and brave to explore new ideas was encouraged.
Clarity, as kindness and respect. The other lesson is about the power of relationships; how people are honoured, or dishonoured, in the room shapes a project. Clearly and respectfully defining the boundaries of a project with a client is critical to everyone arriving at delivery with satisfaction. It's key to a project not being overhauled or steered off the rails, it's a form of kindness that steadies the client, giving them confidence and sure footing. It's how they learn to trust you. Being clear about the unknowns opens the door for more honest collaboration.
Listening more than talking, is often the most helpful practice. Helping clients identify and diagnose their real problems has gone a long way toward securing trust and extending the work I do with them. They come to trust you as a creative partner, not just an end producer.
Tell us about the core values or philosophies that guide your creative practice.
Using my practice for good. I made a shift in the work I do about eight years ago, I wanted to use my skills to benefit people and planet, rather than contribute to initiatives that could do harm. I started seeking out organisations and studios doing work for positive impact, and I'm so glad I made that change. Yes, it's meant filtering out opportunities that don't align with those goals, but that's okay. It keeps me connected to a sense of purpose in the world and keeps me feeling mentally happier.
The other part is making time to connect my hands to creating. Personally, throughout my life I have often found it easier to express myself through pictures, music, movement or other creative practices. It becomes almost a necessity for my brain to connect to a craft or practice involving my hands, body or intuition. When I don't make time for painting or making, I find I'm not as happy, satisfied or motivated, and that reflects in my professional practice.
The other part is making time to connect my hands to creating. Personally, throughout my life I have often found it easier to express myself through pictures, music, movement or other creative practices. It becomes almost a necessity for my brain to connect to a craft or practice involving my hands, body or intuition. When I don't make time for painting or making, I find I'm not as happy, satisfied or motivated, and that reflects in my professional practice.
Looking ahead, what do you think are the key factors that will influence change for creative professionals?
For me it comes back to culture. The kind we uphold and the kind we allow. Structural things like new tools or new ways of working will keep shifting, but they don't determine who gets a seat at the table or whose ideas get backed. That's a culture question. I think the biggest lever for change is being deliberate about that, who we platform, who we mentor, who we give real trust and responsibility to, not just visibility.
Part of that culture shift needs to be around how we work, not just who gets included. Historically, the creative industry hasn't always been the most supportive of sustainable working conditions, the 9-to-5 that's really a 9-to-10, or the all-nighter chained to a desk to hit unrealistic deadlines. I still see this hanging around sometime, and it doesn't lead to good mental health outcomes for a lot of people. We have a responsibility to contribute to shaping something better and healthier for the people coming up behind us, especially at a time when it's tougher than ever to even get a foot in the door.
Part of that culture shift needs to be around how we work, not just who gets included. Historically, the creative industry hasn't always been the most supportive of sustainable working conditions, the 9-to-5 that's really a 9-to-10, or the all-nighter chained to a desk to hit unrealistic deadlines. I still see this hanging around sometime, and it doesn't lead to good mental health outcomes for a lot of people. We have a responsibility to contribute to shaping something better and healthier for the people coming up behind us, especially at a time when it's tougher than ever to even get a foot in the door.
How much does your city influence your work?
I think our environments greatly contribute to and influence the work we do creatively. We're constantly absorbing, reacting to and experiencing our environment, and it shapes how we feel and act, so it's really important to be mindful of the stimulus we surround ourselves with.
Where I grew up, in regional NSW, it was hot, dry and barren, but filled with the most beautiful open landscape. Clear blue skies and starry nights. It could be quiet and gentle, yet strong at the same time; an elegant balance of contradiction. Just looking at the scenery there makes your whole body feel like it's taken a big breath of air and opened up. When I sit down for more artistic practice, that feeling is always embedded inside of me, a sense that stirs up and something I aim to capture.
Nowadays in Naarm, Melbourne, I feel a sense of possibility and richness — a melting pot of interests and an interesting hum to this city that is anything but bland, and feels alive. Just living here you feel connected to that, and I believe it shapes your point of view and how you imagine what's possible.
Where I grew up, in regional NSW, it was hot, dry and barren, but filled with the most beautiful open landscape. Clear blue skies and starry nights. It could be quiet and gentle, yet strong at the same time; an elegant balance of contradiction. Just looking at the scenery there makes your whole body feel like it's taken a big breath of air and opened up. When I sit down for more artistic practice, that feeling is always embedded inside of me, a sense that stirs up and something I aim to capture.
Nowadays in Naarm, Melbourne, I feel a sense of possibility and richness — a melting pot of interests and an interesting hum to this city that is anything but bland, and feels alive. Just living here you feel connected to that, and I believe it shapes your point of view and how you imagine what's possible.
What should emerging creative professionals keep in mind as they begin their design career?
When you're starting out, sometimes you'll be doing work that isn't very creatively fulfilling but pays the bills, and that's okay. The experience you get from seeing how a business actually operates, gaining practice interacting with clients, and understanding how work is quoted and scoped is all incredibly valuable. There's so much that goes into building a professional practice that has nothing to do with design craft, and that's exactly where your skills as a problem solver also come into their own.
I've learned so much working alongside people in many different roles across a business: account managers, CFOs, studio managers, business development. Understanding how they think, what they're trying to achieve, and how design fits into their world has made me a better collaborator and a better designer.
I've learned so much working alongside people in many different roles across a business: account managers, CFOs, studio managers, business development. Understanding how they think, what they're trying to achieve, and how design fits into their world has made me a better collaborator and a better designer.