Short film by Phoebe Wolfe for Assembly Label.

Storytelling has always been at the heart of what we do at Assembly Label. Over the years it’s taken many forms — evolving as the brand has grown — but our new spring short film, directed by Phoebe Wolfe, is an exploration of this in motion.  

When considering who could best tell our story, Phoebe came to mind immediately. An Australian filmmaker on the rise, she brings a distinctively soft, nostalgic eye to everything she works on, a style that resonates deeply with Assembly Label’s commitment to authenticity and simplicity. 

Shot on 16mm, Phoebe was tasked with capturing the essence of the brand through a timeless, naturalistic lens. Shot between a sunlit apartment in Coogee and the coast of La Perouse, the film tells the story of two sisters, twins Saskia and Tawny Myers, and their quiet, unspoken bond. Adding an even more personal layer to the project, the film’s score was also written and composed by the twins. 

To mark the launch of the short film, we sat down with Phoebe to talk about her creative process, the inspiration behind the film, and the spontaneous details — from wood-panelled walls to a chance encounter with a Holden Commodore — that influenced the final story.

Can you tell us a little about yourself, your background, and your career to date. 

I have been making films since I was little, although back then they were more likely to be plays staged in the living room with my sisters, or a “chapter book” about rival fairy families that I would deliver, page by page, to my librarian. Filmmaking never felt like a straight path for me. I studied international politics and history, worked odd jobs, and learnt by doing, picking up a camera whenever I could and seeking out people whose work I admired. Over time, those experiments grew into something bigger, and now I'm lucky enough to direct films for luxury brands while also developing my first feature. 

What first drew you to filmmaking? Have you always had an interest in film? 

Going to the movies as a child is what made me fall in love with them. I would feel so deeply sitting in the cinema, completely taken over by whatever was on screen. I wanted to understand how films could do that, why they made me feel that way. And more than that, I wanted to figure out how to do it to other people. 

You directed our spring short film. How did you interpret the brand’s identity and translate it into a narrative? 

When Assembly Label approached me, they spoke about wanting natural beauty, authenticity, and atmosphere, all told through a naturalistic lens. They also wanted to incorporate the coastal landscape, natural light, and quiet human connection. That ethos aligned beautifully with the way I like to tell stories. 

 Casting twins Saskia and Tawny Myers felt inevitable. I have known them for a while and always admired their energy and bond. I once saw them on a packed pub dance floor, arms linked, hair flying, completely entertaining themselves as if no one else existed. That moment captured the spirit of authenticity Assembly Label was looking for. 

 The brand’s silhouettes also evoked the ’70s, which made me think of Puberty Blues. My friend Jaimee’s apartment, with its wood-panelled walls and luminous morning light, felt tonally perfect. From there, the story grew around the sisters’ relationship. Sleeves became a symbol of their connection, gradually shed as the season shifted, reflecting the inevitability of growing up and the distance that can come with it. 

Who or what inspires you creatively? 

I'm inspired by people who are uninhibited, who move through the world freely without self-consciousness. That is part of what makes Saskia and Tawny so compelling. I'm also inspired by small details — a glance, a gesture, a pause — that can suggest a larger story and reveal something about a relationship. 

Can you walk us through your creative process—from concept development to final edit? 

The film was about transience and change, so we chose to shoot on 16mm to capture something fragile and ephemeral. My DOP, Lucca Barone-Peters, has an intuitive sensitivity to light and composition, and his calm, collaborative approach shaped the atmosphere on set. The grade was then handled by Darwin Schulze. I happened to have watched The Materialists the night before, so was very much in a world of restraint, which inspired us to lean into cool pinks and blues while softening the greens, giving the film a timeless, elevated quality. 

 Locations were chosen with restraint. I wanted to acknowledge the coastline without leaning into obvious Australian tropes, and the ’70s references guided us from my friend Jaimee’s wood-panelled apartment to a chance encounter with a 1982 Holden Commodore. I happened to walk by as the owner was struggling with the ignition, asked for his email, and that car became a central part of the film.  

 In the edit, I worked with my favourite, Liam James, and together we shaped the film in a midnight session, searching for a rhythm that could shift the story from lively to despondent through the smallest gestures between the sisters. Music and sound then gave the film its pulse. Saskia and Tawny composed an original score, a nostalgic blend of guitar and strings that felt deeply authentic to them, and finally, Renee Park came on to design and mix the sound. She brought remarkable precision and nuance, adding the final layer of texture and depth that made the film feel whole. 

What do you want viewers to feel or take away when they watch the film? 

I hope it feels nostalgic, and makes people think of a sibling or a best friend — someone woven into your life, and the way you carry them with you even as things change. 

What’s next for you? Do you have any projects in the works that you can tell us about? 

I have some exciting travel coming up for work, and I'm really enjoying writing at the moment. Spring always leaves me feeling energised and inspired, and I am excited for what's ahead.