From high-quality custom leather handbags and handcrafted hats to intricate jewellery, knives, tools and other hand-forged metal objects, Tasmania is home to a wealth of bespoke objects, made by talented artisans, who bring their unique flair to traditional trades like blacksmithing, leatherworking, millinery and jewellery making.

Tasmania is also home to a number of other small businesses run by passionate people who continue to use the specialised skills of days gone by – like book binders, watch repairers, shoemakers, upholsterers, stonemasons, tailors and wooden boat builders.

These pursuits are often referred to as dying arts, and these artisans are certainly in the minority. However, there’s also been somewhat of a resurgence in the traditional arts and the desire to buy once and buy well – with more of us having a greater appreciation for quality workmanship and realising the need to support local makers.

Many Tasmanians are also showing interest in learning these age-old skills in a bid to nurture creativity and help pass on such skills to the next generation.

Here, we talk to four Tasmanian makers – who each bring a contemporary twist to an age-old tradition – about why they were drawn to such unusual professions, what they love about what they do and where they see the future of traditional arts in Tasmania.

PETE MATTILA – BLACKSMITH

Nothing compares to that moment when artist and blacksmith Pete Mattila is in the zone, skillfully forging metal in his Battery Point workshop as his creativity flows.

“It’s like a transient state ... a place between places,’’ he explains.

“You’re witnessing a forever-emerging artefact.’’

American-born Mattila came to Australia 24 years ago. He was 20 at the time and decided to go to trade school to study as a boilermaker-welder before completing an apprenticeship in Launceston.

And while he started in industrial blacksmithing, he quickly discovered his skills lent themselves well to art – he has since forged a name for himself as a talented blacksmith and artist.

The now 44-year-old has had a workshop in Battery Point for several years where he takes on private commissions – mostly for Tasmanian clients – and the occasional large-scale sculpture for public festivals and events.

Mattila, who completed a Bachelor of Contemporary Art and Master of Fine Art at the University of Tasmania and has returned to the US many times for various blacksmithing projects, sometimes gets flown interstate or overseas to create custom works.

He also runs regular workshops in Hobart teaching people the art of knife-making and blacksmithing.

Mattila opens workshop dates in November for the full year ahead and they always fill quickly. All workshops have sold out for the rest of 2025 and people who miss out can register (at petemattila.com) to be among the first to be notified when 2026 dates are announced.

Some workshops introduce beginners to the basics of blacksmithing, while others are more specialised and attract experienced blacksmiths who want to expand their skill set.

“It creates a whole diverse range of things that people can learn and explore but at the core it’s that shared passion that we all have for creative metalwork,’’ Mattila says.

He hosts some workshops himself, but also brings in other masters to help lead classes.

He sees a lot of return customers at his workshops, as people are quickly drawn in by the uniqueness of such a traditional art.

He says Tasmanians have always been very supportive of the work he does.

“I think generally people do believe in a local economy,’’ Mattila says.

“We can pretty much do anything out of steel and it’s just down the road, and people like that. In a throwaway society it’s nice to fix things.’’

He says about 10 per cent of his customers are people who need existing items repaired, or need an item made that they can’t find elsewhere.

He makes specialised crowbars and tools for Tasmanian track workers who build and maintain walking tracks across the state. He also makes a variety of knives.

The majority of his work is private commissions.

Last year, Mattila completed two large sets of gates – with each panel weighing one tonne – which formed the gateway to someone’s home and arboretum.

He’s designed and built a “quite wild” bookshelf that took up an entire wall in someone’s home, he’s crafted a floating fireplace that featured in a Tasmanian home on Grand Designs Australia, while other sculptural pieces frequent homes and gardens across the state.

“My heart lies within sculptural work,’’ Mattila confesses.

He says blacksmithing is about far more than being able to shape steel in a certain way, with his creative metalwork meshing both trade and artistic exploration.

“I’m recognised as an artist that uses blacksmithing techniques to create the work,’’ he explains.

“What the materials offer – and have kept revealing to me … it just feels boundless.

“With blacksmithing at the core of it all, it’s about the transformation, and witnessing the transformation of a metal, that may have had a life before and now it’s becoming something else.

“Yes, on one hand you’re holding on to tradition … but you’re also very much leaping forward into the future. And I think that’s the way – you’re unknowingly preserving something but also exploring something. It’s something very old and ancient but it has contemporary outcomes.’’

He says blacksmiths are far more common overseas, in countries with large manufacturing industries but sadly, with so many items now produced offshore, “the industry doesn’t demand it as much as it used to in a country like Australia’’.

When young people decide to become teachers, doctors, builders or lawyers, there are clear study pathways and employment opportunities – but following a blacksmithing career isn’t so straightforward, with limited courses and work opportunities.

Mattila has two younger part-time staff that assist in his workshop and he is pleased to be sharing his skills with the next generation of blacksmiths. However, he says everybody brings a different artistic slant to the profession, which means each metalworker is going to create differently. He says initially it was curiosity and creativity that drew him to blacksmithing and he’s pleased to be able to spark that excitement in others.

“It’s the best thing ever,’’ he says of working with metal.

“I’ll be honest, I feel very lucky because I’ve found my passion, and it just keeps feeding me. And the more I follow that, and the more I pour into that, it treats me well.’’

ELLA JACKSON – DESIGNER & MAKER OF LEATHER GOODS

Ella Jackson spent six months of 2024 working in Florence – a city often referred to as the leather capital of the world, which is renowned for its centuries-old leathermaking tradition – in a bid to learn from the maestros of the industry and hone her existing skills.

The Italian city’s artisans are celebrated for their high-quality handcrafted leather goods, blending traditional techniques with modern designs and Jackson returned to Tasmania from that trip inspired, with a new approach to creating.

“It was absolutely incredible, I felt really privileged to work with masters and immerse myself in the culture in Italy,’’ the 42-year-old says.

“The way people live and eat and work – there is a culture of appreciation and quality.

“I guess I came back with a new appreciation of tradition.’’

But she says traditional doesn’t need to mean old-fashioned – with her time in Italy really helping her to refine and define her style.

“I don’t want to reproduce the past,’’ she says.

“I value the depth that comes with using traditional methods and working with traditional tools and with leather. But my design language is modern, clean and contemporary … it’s a quiet dialogue between the past and the present.’’

She says it was also a joy to be in Italy and be surrounded by artisans, as in Hobart, she’s certainly in the minority.

“It can be such a tough pathway to carve out,’’ she admits of being an artisan.

“Most creatives are introverted by nature and are terrible at self-promotion.’’

She says being a designer and a maker defies logic – it’s just something she’s compelled to do.

Jackson says the downside of working in a niche area is that it’s sometimes hard to find “kindred spirits” who can understand and support you on your journey.

She says while there are exhibitions and grants and other support for artists who paint and sculpt and draw, traditional arts like hers often seem to get overlooked and aren’t as well recognised or supported as art.

But she’s buoyed by the fact shoppers are becoming more discerning and are realising the benefits of buying good-quality items from local individuals rather than giant corporate chains.

“I think people are becoming bored with the hit of fast fashion,’’ Jackson says.

“They’re looking for investment pieces that will last a lifetime.’’

Jackson was previously a high school maths teacher and rekindled her teenage passion for sewing after she was diagnosed with chronic fatigue syndrome, in early 2013, and realised she needed to make some major life changes.

She enjoyed having a creative outlet and soon realised she could turn her rediscovered hobby into a career.

Jackson first made leather items for friends, then sold her wares at markets and pop-up shops before launching her own business.

She has since earnt a name for herself as a talented designer who creates beautifully handcrafted handbags and accessories, selling predominantly online (ellajackson.com.au) and at retail outlets including Becker Minty and luxury resort Saffire.

She has previously made leather binders and compendiums to showcase menus at Tasmanian eateries as well as leather aprons worn by staff at restaurants, bars and barber shops, but her main focus now is handbags and functional fashion accessories.

Her current collection features bags inspired by her time in Italy, while her next collection – due for release before the end of this year – will focus on smaller luxury unisex pieces like sunglasses cases. These items not only allow her to limit her waste and use offcuts of leather, but also provide an opportunity for customers with smaller budgets to still get their hands on high quality, limited-edition pieces.

And while a lot of work goes into making each piece a reality, from the design stage to the physical act of making each item, Jackson says there’s just something special about what she does that she finds hard to describe and impossible to ignore.

“I really enjoy that flow state that it brings,’’ she says. “The methodical rhythm of making. I guess I came to it through stillness – it’s one of those materials that lets you be still.

“And I also like the craft because I’m drawn to the balance between form and function.’’

CHRIS HOOD – MASTER JEWELLER

Chris Hood regularly travels to far-flung parts of the world in search of rare, high-quality, ethically-sourced gemstones.

From Myanmar, Sri Lanka and Thailand to Madagascar, Mozambique and China, the master jeweller – who founded Metal Urges Fine Jewellery and Diamonds, in Hobart, 20 years ago – sources coloured gems including rubies, diamonds and sapphires which he and his team then transform into custom pieces of jewellery for discerning clients.

Hood, now 48, collected rocks and gemstones as a child and studied metalwork at The Hutchins School before completing an advanced diploma in jewellery design and making at TAFE.

He made and sold jewellery while completing his studies so it seemed like a natural progression to start his own business.

“I never went to university, I’ve really just been driven by passion,’’ Hood says.

It was a one-man show back then, but Hood has successfully grown Metal Urges (metalurges.com.au) into a thriving business serving clients locally and internationally.

He now has 10 highly-skilled staff, a long list of high-profile clients – including the late Barry Humphries – and has a collection of 5000 precious gemstones on hand at any one time.

Hood says the business is unique as he and his staff are personally involved in all facets of the jewellery-making process – from sourcing gemstones directly from mine sites through to putting custom rings on the fingers of clients.

Just over 50 per cent of clients are Tasmanians and he’s starting to notice families returning over generations – he’s now making rings, earrings and pendants for the adult children of customers he made pieces for in the early days of starting his business.

Hood says the great thing about being a jeweller and making custom pieces is that every day brings a new challenge, designing pieces that are both structurally sound and visually appealing.

“You never make the same piece twice,’’ he says.

And working with stones that he personally knows the origin of – after buying directly from miners and fossickers – and being able to share that knowledge with clients was also part of the joy.

Metal Urges makes a lot of wedding and engagement rings, but people are also increasingly wanting rings to mark the birth of a child, or grandchild, or to celebrate a milestone birthday or anniversary.

Others want rings remodelled after divorce, or have a special piece of jewellery made following the death of a loved one.

Hood says his whole team is “fiercely Tasmanian’’.

He says he could easily be running a jewellery business in a larger city like Melbourne or Sydney with significantly more volume and profitability.

“But I’m not interested in that, I want to be in Tassie,’’ he says.

In a significant transition for Metal Urges, Hood has decided to step away from the day-to-day running of the business, handing over the reins to current head jeweller Dan Lenarcic and computer assisted design specialist Jeff Nichols.

Lenarcic, who joined Metal Urges in 2008, has worked in the jewellery industry since 1987, while Nichols has been a qualified jeweller since 2001. Hood says their extensive skills, experience and dedication will ensure the continued legacy of Metal Urges, and the ongoing creation of the “exquisite handcrafted jewellery” the business is known for.

“It has been fantastic for me, but it’s time to hand on the baton and spread my wings into the wider gem world internationally,’’ Hood explains.

He expects to make more trips overseas each year, and spend more time away on each of those trips, with the active fossicker and gemmologist keen to expand his gem-sourcing capabilities and continue to unearth hidden treasures.

Although Hood is quick to point out that he will still be involved with Metal Urges and he will still source gems for the business.

“I’m really proud of the team and the way they’re operating, it does make my heart ache a little bit to step away … but I’m also ready to do other stuff and go on other adventures,’’ he says.

HAIDEE NEILL – MILLINER

Tasmanian milliner Haidee Neill has showcased her creations on the world stage, at fashion week events in cities including Milan, Paris and New York.

Her handcrafted hats and headbands are fit for royalty – they have been worn by Tasmanian-born Queen Mary of Denmark, while Governor of Tasmania Barbara Baker wore a headpiece crafted by Neill when she attended the coronation of King Charles III, in London, in 2023.

The award-winning designer and maker has also helped style countless Tasmanian women for the Hobart Cup and other major events on the local – and national – racing calendar since establishing her own millinery brand (misshaidee.com).

But many may not realise that Neill, now 51, actually sold her first handmade fashion accessories when she was just a child.

“I was making hair accessories from the age of 10 and selling to local hairdressers and boutiques around Hobart,’’ she explains.

“I sold a lot to my friends and also my teachers at school (at St Michael’s Collegiate).’’

Neill went to TAFE and then moved on to the University of Tasmania to complete a fine arts degree. She then moved away to work in women’s and children’s fashion and study in London – at the British School of Millinery – before returning to the state and opening her own millinery store.

She was traditionally taught – no glues, everything stitched by hand – and remains as passionate as ever about her much-loved – but somewhat unusual – career choice.

“After school – and before uni – I did a TAFE accessories course and I fell in love with all the millinery tools and wooden hat blocks and that began my millinery career,’’ Neill recalls of her foray into millinery.

“I loved it so much that I went to London and trained with Queen Elizabeth’s milliners, which was a fantastic opportunity.”

Hailing from a family of racehorse breeders, Neill also had a keen interest in racing – including the fashion side of race events – which also helped fuel her millinery career.

“I began making hats for my friends and family to wear to the races and the feedback was amazing,’’ she recalls.

“From there I exhibited and sold my designs in Paris, New York, Milan and London as part of each city’s fashion week. From this international exposure I have sold hats all over the world.’’

Millinery has traditional roots but is ever changing, with new materials used to create larger, lighter headpieces. Fashion is also ever-evolving, while still maintaining a timeless quality, and Neill enjoys the challenge of making wearable art.

She says it was “exhilarating” to exhibit a dozen hats as part of Milan Fashion Week earlier this year, where she was the only Australian milliner with work on show.

But ultimately it’s the local connections she enjoys most – helping women who come into her store to elevate their outfits with unique and handcrafted headwear.

Neill first opened a retail shopfront in Battery Point, in 2017, in a shared space with a collective of inspired women called Creative on Hampden, before going out on her own.

She now has her “dream” store – Millinery by Miss Haidee – in Salamanca Place, where each piece is “lovingly made” in a studio above the shopfront.

“Opening the shop, in 2021, was the best decision I have made,’’ Neill enthuses.

“Customers can come in and try on my creations and have fun with colours. They often leave with something they never thought they would and will create an entire outfit or event around their new hat. They do not want to wear the same millinery piece as the person sitting next to them.’’

While there aren’t many milliners around these days, Neill believes there is an appreciation for traditional arts, with people valuing quality workmanship and local artisans.

She’s certainly glad she pursued such a unique career path and is thankful she gets to do what she loves in Tasmania.

“I love what I do, it combines fashion, creativity, colour, texture, shape and design,’’ Neill says.

“And I am very proud to be Tasmanian and have my beautiful shop in the Salamanca Arts Centre. I truly kiss the doors when I open the shop … life’s great.’’ •