As we approach Christmas, we’re taking time to reflect on the incredible stories shared on the Black Magic Woman Podcast this year. This week, I had the absolute pleasure of sitting down with my childhood sis, Samala Thakialee Cronin, the powerhouse behind MumRed the Label.
Samala is more than a designer; she’s a storyteller, weaving culture, identity, and resilience into every piece she creates. From using kangaroo sinew and weaving techniques passed down through generations to showcasing her work on international runways, she’s breaking barriers and ensuring our people are not just seen but celebrated.
We talked about her recent achievements, like creating stunning bespoke pieces for Thelma Plum and representing our culture at major events like New York Fashion Week. Samala also shared her powerful reflections on kinship, black matriarchy, and the strength of our mob.
💬 “How can they hear us if they can’t see us?”
This yarn is close to my heart, and I know you’ll feel the same. Samala’s passion and determination are inspiring, and I couldn’t be prouder of the deadly work she’s doing.
Check out the links below for more info about MumRed the Label and how you can support my sista.
Links & Resources:
Website: www.blackmagicwoman.com.au
Follow us on Instagram - @blackmagicwomanpodcast
The Black Magic Woman Podcast is hosted by Mundanara Bayles and is an uplifting conversational style program featuring mainly Aboriginal guests and explores issues of importance to Aboriginal people and communities. Mundanara is guided by Aboriginal Terms of Reference and focusses more on who people are rather than on what they do.
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Black Cast Unite our voices. Black Magic Woman Podcast acknowledges the traditional owners of the land we have recorded this episode on. We also acknowledge traditional owners of the land where you, the listener or viewer, are tuning in from. We would like to pay our respects to our elders past and present and acknowledge that this always was Aboriginal land and always will be Aboriginal land.
I love that about our mob too.
You know, we might live in a modern context, but we still operate on our kinship terms of reference, and you know, try and keep that as strong as possible and that respect and that good way too. Welcome to the Black Magic Woman Podcast with Mandanara Bail.
Welcome to a very exciting episode of the Black Magic Woman Podcast. I can't wait for you to hear all about my guest today. This episode has been freaking a long time and I'm already getting excited. When I say freaking, I'm excited a long time in the making. I've got my sister from childhood long time ago, when we were dancing up at Woodford Festival. So anyone that used to do Woodford Festival, Malaney Festival, you would have saw not just this beautiful woman sitting next to me, but also would have remembered one of our song men as well. So this episode's going to be special. I can't wait for you to hear. This is Smala, also known as Mum. Read the label just flew in from Darwin, from the Darwin Art Fair also known as DAF. So we're going to dive all into that. But before we do, my sister, we are on the beautiful lands, unseated lands of the cooler Nations here and now I just want to acknowledge the mob here. I've been here for a couple of days, you're now living here, and I just can't wait to get people to hear your story and everything that you've been doing and what you've actually so over to you, my sister, the microphone is yours. Tell these fellas who your moby is, where you grew up a little bit about yourself.
Oh my mom. Thank you, my sister for that beautiful introduction. My mom.
My mother's from Fraser Island and Kep Islands, only known for a very short period of history as Fraser Island.
We call it Gary.
And my dad, like you said, was a strong, staunch cultural man and he came from Mornington Island in the golf carpent area. And yeah, we spent a lot of time together as children, dancing, practicing culture, traveling a lot and.
Just running a mark as kids do.
Red Phone best times Brisbane.
You know, I remember us being at Musgrave Park, my probably earliest memory, a bit of three years old, and Uncle Doug Curry was walking around with a bucket full of oranges that were frozen hand out to us kids because it was so hot.
But we've been dancing all day. Yeah, good memories.
Well, so you're literally when I think about you, I think about all the countries you visited. Right, this is how I think about you when I when I explained my sister to people are surround. This girl has been all around the world. She's met royalty, she's stayed in Paris, she's been invited to VIP parties, She's represented our people and culture on the international stage and now going into fashion. You know our tea Now, Tiger Lily, you better do a shout out for Tiger Lily. We'll never forget you for teaching her how to weave. That's her fondest memory and your little connection with her.
Tiger Lily is my darling. I love her so much. I love your baby. If you're watching this, Annie has presents coming for you. I already gave him tomorrow. This my darling, was inspired by your mama and she's a rainbow woman, and she actually asked me to kind of put this on to merch a couple of months ago, so I had to do it. But my label Mum Read isn't actually about the printed staff felt. I went to a runway show about two years ago and I saw such fire and strength in our people coming down that runway in a way that had never been represented before. And it literally I had an emotive response. I started crying. I sat there and it was black photographers, it was black models, it was black clothing, it was black brands.
And black stylists, black makeup artists, blacked everything. It was just blacked out.
It was and it was just like, this is the beauty of our people. And I think last year was really difficult for me after having such a very long history of you know, I have traveled a lot, and I've had amazing opportunities to meet amazing people around the world, and all of that has come as a result of you know, I was fighting for country, And as you know, I did native title for a long time, so I was lead applicant on our native title claim for thirteen years for my family line. And then we got a successful consent determination in twenty twenty one.
Big, big congratulations, huge achievement, and still hasn't finished the fight.
Still there, fight's still there.
Actually, Native title claim number two just got registered and my family put me up on that, So.
Here we go again.
But I actually did try and step back last year because the referendum, I feel was very heavy on a lot of our mob and for me personally, I felt like we were a part of a conversation that was drowning our voices out. At the same time it was supposed to give us one and I came to the conclusion, how can they hear us if they can't even see us?
And while it.
Was so deadly for me to see all of these brands and different styles of clothing represented on that runway, I had noticed when I was sitting there that something was missing, and.
It was our traditional resources.
Where's the skin, Where's the fur, where's the feathers, where's the weaving, where's the quill work, where's the shells, like little bits.
Of adornment, but not actually in the clothes.
And so I decided to challenge myself and see if I could take the skills that I've learnt over my lifetime sitting with my old people, learn how to weave and tie feathers and work the sinew and chew it.
And when we're talking about sinew, we're talking about kangaroo.
Yeah, we're talking about kangaroo.
Yeah, the insides of a kangaroo that holds the muscles together. That sinew. Yeah, so when you ever get kangaroo, mean it's a bit chewy, that's sinewy.
Yeah.
So Smile is talking about using the sinew from the room to then tie pieces together. This is definitely for non mob that have no idea that you're talking about using animal. But it's not. We don't waste anything.
And so I have three eskis in the back of my fall drive, once for reptiles, ones for mammals, and the other ones for birds. So I think it's yeah, these hands don't mind getting dirty.
I'm sorry, I know I saw you just trying to cut that old man gowenna up. Remember we found that going.
You and Peace come in with it.
He was literally got hit. We had to put him out of his misery.
Yep.
And I wanted that belly fat a ye.
Had to get the poison.
I didn't have a knife sharp enough.
We couldn't get through well yack. I didn't have a knife, didn't have.
The reptiles, birds and mamois.
I love this, so I treat them all. I take them home, assault them, I wash them. It's like from an eucalyptus, and then I use them to create these items of clothing.
That are one hundred percent.
Naturally made from country, or they have been made from the fractures that exist upon it. So we live in a fractured nation, and I feel last year those fractures actually really became quite visible, and out of those fractures came us. And I don't know where we're going to go in the future, but I feel like now is the time for us to be seen, because if we're going to be heard, we need to be seen, because they need to see us for all the beauty that we have.
Your next T shirt right, your next line, your next print needs to be if you haven't already done this, and don't copy you fellus. This is trademarked on the show. Besides, and if you do, copies are comment for you. We'll see you.
I'll get my sister to do it.
How can they hear us when they can't see us. That's going to be on a T shirt. Love it.
I actually set it to the models at the Country to catur runway show that we just did last week up in Dowan. So I showcased with twenty designers from across the country fifteen piece collection and Country to Cautour actually as an opportunity for younger models to learn about the industry and get experience on runways. And we were asked to address them and explain about our pieces before they wore them, and I asked them to think about the thousand generations of women that have birthed for them to be here today and how they want a thousand generations down the line of their descendants to feel as powerful black matriarchs walking on our own land.
And to walk down the runway like that.
And it it was.
It was really emotional.
Actually, I had those young girls come up to me afterwards and thanked me for they felt it. They felt it in the pieces.
Yeah, they come something they probably never felt before.
Because you know, when we were dancing, when we were young, you know, and back when we were doing it, it wasn't like nowadays, Like I really feel like our parents and our generation and the generation beforehand, our generation has children.
Yeah, because it was our parents that did it.
They carved out a space where they made them see us. They made them see us, and we took our culture and our song and our dance, and we took it to places where the reception wasn't always that great. You know, we weren't actually always met with applause and O, this is wonderful.
You know, you didn't always have an audience except.
For family, Yeah, exactly.
You know, they always show up.
But when when we.
Paint up and we put on our dance gear, for me, that always felt like a shield, you know, like I'm protected, like no matter what happens outside in that other world, I'm walking in my spirit in this moment, and I am so protected by all my old people. And I try to put that into the pieces that I create. And after I yearned with the girls and they did their first they put the pieces on. It was their first dress rehearsal, and they walked down the runway. I had them coming up to me and crying afterwards, saying that they just felt strong and powerful.
When they wore it and shielded.
And for me, if I can give that feeling to these young girls, and they.
Feels and nieces our daughters.
Our future manies, mothers, you know, and culturally, you know, like when I'm an old girl, they're young girls. They're going to be my small mums and you know, my little sisters and my big sisters. That switches the other way because as we get older, we become younger and they become older and they got to look after us.
It's such a beautiful explanation description of our culture. And that's what saddens me about this country is that and we don't have to worry about non apecial people or white Australians and non Indigenous Australians, but they've missed out on so much. They've missed out on this amazing gift that we're still willing to share with.
Them, or constantly trying to share, constantly trying to share. Yeah, and if people could open their eyes, they could see it. If they could see it, they'd be able to open their beinnungs. So that they can hear it.
And then feel it. Yeah, and it would be a feeling that they've never felt before. A lot of non abistional people say a lot of white fellows.
Say that.
They don't they don't have this sense of belonging or they don't feel like they belong anywhere. And I said, because you've never been welcomed into the country, blackfellows can give you that sense of belonging that you can only get from our mob, right from our people from this country. That's still available, not to everyone, but we're still here.
We gotta come in a good way, and you want to come in a good way. Yeah, and here.
In this place the Warren Jerry mob they took about woman Jenka and it's not greetings. The mob I deliver training yesterday said oh, yeah, that means hello, And I'm like, well, actually no. So I had to warn Hunter, Commissioner Hunter on the podcast and she said to me, it means to come with purpose. And you know when the people that you meet are good people and we take them in and we show them the way and then we make them part of our community. That's right.
And we grew up with an open door policy. That's exactly in front or open for you know everybody.
Well opened fridge door, open window, someone come through the window.
Yeah, that wasn't unusual.
So what are you going to do with this country to catue our darling out fair? These awards you got nominated for? Like, what is what's happening now?
Should I rat it all off till I feel like, oh, it's a bit it's a bit.
Of a It's not an overnight success, all right. You might have thought, smilas you know, doing this and working here and running meetings and off back to country. In the meantime, you're doing thousands of hours of work, like this is hand sewing beating. I watched you with Tiger Lily, and you're just how you set your weaving up. You've got these big things and it's all And I just thought, oh, I don't have the patience for this. And we're in Cans on holidays for my fortieth and Tigler just kept saying to me, take me back to Arnie house. But it was my birth time. I think we're going to spend the day together. She didn't want to spend the day with me. She got more patience than you, She got way more patience than me. But she she she was loving every minute of watching you and and learning from you.
And that's the magic, you know, that's it's She's very special in that sense. Like I, I sit down with the kids as much as I can to try and teach them and pass it on.
And you know, not.
Everybody is a weaver, some of some people don't have the patience for it. But when you come across a little girl that is as talented and as deeply enthralled by it that she sat there with me for hours.
Oh no, yeah, didn't you sleep over? Tigerly won't sleep at anyone's house. She's in my bed, still in my bed at eight, and she didn't come home.
We swap kids, you took you took my sisters? No are we? Baby? Oh?
Speaking of nowI though, So I have just I've got to do a shout out to my little sister because the last ten days I have spent up on Ladakir country and that's her country. And so she's a Mills. She's a Mills, that's right, so and a Junie Mills. And so yesterday I went and seeing RB and I dropped off all of my new line because this is the thing as well.
Just gotta like seriously, I I that's what I'm gonna wear. I put my laptop in this bag today and I did have the whale shirt like this whale when you see your new line.
So my new line was actually meant to come from a manufacturer, but it was the late delivery, so I didn't arrive in time, so that my entire collection was everything handmade, grassroots cultural couture, totally bespoke, handbearded, woven, and a lot.
Of labor, a lot of love, a lot of labor.
Probably about over the last three months, so I spent probably about two hundred and fifty hours of just weaving and beating. I tried to keep account on each piece that I did, so every piece that I do comes with story. And I only launched my label in October last year, so it's been ten months and.
It's been a domino effect.
So within three days of meat launching the label, I was invited to Melbourne Fashion Week to showcase on the Gambi Mara runway. They rang me and they were like, do you have eight pieces you could show on the runway next week? And I was like mm hmm, yep, How you do it, fake it, do you make it? Yeah? I didn't, but I did buy that next week, and so I showcased there and amazingly, I had Thelma Plum's stylists reach out to me, and I then created a piece for her to where when she performed at Coldplay's sold out concert in Wa, I saw the pigs. She just looked absolutely amazing. Shout out to Thalia as well, you're just divine.
We love you, Thelma, but.
We don't talk about it.
And then so not long after that, I was invited to Global Indigenous Runway with Melbourne Fashion Festival, New York Fashion Week. The country took a tour Runway and a few others that I can't talk about just yet. And I think, like watch your space people as a one woman show, you know, like it's me. I make everything. I built my website myself, I do everything myself. And I was yearning with my mum about it, and I was just kind of like, you know, I just feel like some days maybe I'm not worthy to be in the space. And my mom turned around and just said to me, Mala, you might feel like you're behind, but when it comes to you doing this, you've been doing this for thirty years. You know, you've been ever since you were a little girl. You've been pulling apart string and pulling things apart and putting them together and making clothes. And you might feel like you're behind, but you actually laps ahead.
Yeah.
So you just you've got to have faith in yourself and just let yourself create. Because I've never really had the time to.
Really sit down.
Yeah, I'm always going, and of course, and so just in this last year, seeing what's come out of that, it is pretty amazing.
And I see you found love.
Stop.
Oh yes, I did. I found myself a lovely.
Southern really is. I don't need a man. You were very carefree, case didn't want in a rome in the country doing you and the next minute loved up, shacked up.
I met him at my runway show. I haven't told you how I met him. Here everybody gonna find out how I mad him. I met him at my runway show. I just finished dress the models and had to put my dress on because they walked the designers out. So I went into the model room, I put on my dress, come out and I'm standing there and I can feel someone staring at me. You know, well around nothing, I still feel it. I look around and then I see this beautiful man standing there in a tuxedo. Mind you, beautiful black man in a tuxedo old in the ladder way.
You know, did you do? It's just like I looked at him and he was is this real?
This cannot be real?
And you know what this means to me, right? I know? You know how that? Yeah, that's calls out to me from my childhood.
And anyway, I see this man and he's staring at me like dead intent. And when a man is looking at you and he's sleazy, he'll look at you and he'll kind of do that kind of thing, you know, raise his eyebrows or whatever, or think when he's got that whole I'm deadly, or I'll look down and look away, you know, because they got caught looking at you for young ones.
Yeah, take note, fellows, we know what you do.
We can read you from a mile away.
Well, what struck me with him?
He just swept me off my feet, I guess from the get go is he did neither.
He did neither.
He looked me dead in my eyes, and he walked straight over to me and he goes my name's Paul Kelly.
Literally Paul Kelly.
Paul Kelly, Yes, not the white Paul Kelly, the black Paul Kelly. Yeah, but they got the same birthday.
Big shout out to Paul Kelly. Yeah to both years on.
My Runway show because I put his name down on the door.
I hadn't ringing me up and they were like, are you bringing Paul Kelly And you're going.
To keep saying it's the black Paul Kelly. I love this.
Literally, Like when we went because I dressed Emily Watermor for the Nethasnia's National Indigenous Music Awards, we had the Fashion Awards and the Music Awards NEMA at.
The same time, two days apart.
How good is that? Though, come to Darwin and we had them all done at the same time. Literally, that's next year I'm coming.
You've got to come to Darwin from like the about the twentieth of July until about the twelfth of August, because.
When put that date in your diary, all right, twentieth of July to twelfth of boo, because that's when we need to.
Be in Darwin's when you need to be in Darwin.
We will get so many people on this podcast here.
Look Emily, she went and put down because I was a stylist and addressed her for the event. But Paul was coming with us, and she put him down her security and we were having a little giggle on the way to the event because it was just like they're going to be like, why is Paul Kelly Vian Emily security?
Oh but yeah, he's He's just a.
Love black humor, right, just black fellows will get things like that. I love it, So, Emily, what a matter is coming on this podcast. We're going to do virtues. Can't get to the same place. She's here Friday, I leave Wednesday. We're both in Melbourne and we're missing each other. So sister girl, we've been trying to get this yard happening.
My daughter asks going to happen? She call me mom.
I love this one.
I love itally my big daughter and a small mummy culturally, you know, and I love that about our mob too. You know how we might live in a modern context, but we still operate on our kinship terms of reference and you know, dry and keep that as strong as possible and that respect and that good way too.
Oh my god, Marla, just from I can't stop thinking of how far you've come. And you probably still think every day when you when you're that yan with your mom and you kind of you know, the pressure of being in business, the pressure just trying to keep your head above the water in this pretty tumultuous world. This this this world that we're living in right now. There's so much uncertainty, so there's even more pressure of being a being self employed, Like I can't imagine doing everything right now in this kind of the world we're living in now is very different to ten years ago. It's very different from a year ago. And I just hope that, you know, with our old people guiding us. And my husband Piece always says us, I've doubted myself at least maybe once or twice a week. I'll work on something and say I can't do it. Why have I committed? And Peace always say to me, they're old people. They're not going to let you fail. Don't give up, keep going, keep pushing yourself. This is how far you've come, you know. And I've got to keep trusting in my old people. And annie La always said that too, she said, she's our old people are deadly. Look look how far we've come. We thank them all the time for our achievements, our success, the fact that we've got this energy still, we've still got that fire in our belly.
And that's them.
They showed us, they taught us, they paved that way for us, and without them, we wouldn't be here. And and that.
Is a given.
But I also have to acknowledge on this podcast right now, you and your sisters and everything that use have done for me in my life, I would not be who I am.
I would not be where I.
Am if it wasn't for all of you or every single one of you have all picked me up.
That's all nine of us, and all.
Nine of you in different ways.
We've all got this different relationship with you.
Yeah, and you know, like we were bonded as children.
We went you know, we danced together, we cried together, we played together, we fought together.
Not over man over man, no way.
But you know, like our mum has raised us right, definitely, And you know, but I I feel the matriarchy, the sister the tittle, that's what mum read is about. It's about celebrating us as women, the way we look after each other, the way we hold each other, the way we hold out each other's babies. It's a reclamation of our sovereignty, not just as black people on our land, but as women. It's a reclamation of our sovereignty over our self, over our bodies, over our autonomy, our self determination, because as women we are the backbones of our communities. That's been proven testament to me, just in my journey, just in my life, just through watching my sister girls watching you.
Says you are one of my biggest inspirations.
I watched you go from strength to strength and overcome absolutely everything that has been thrown away, and I can only hope but I can navigate myself through this newly found self employed business world.
Well you got, this is so got. You love you, and we've got to just keep on support and any any of the younger generation, even older generation that are just gonna give this a go. It's the most scariest thing to just not have that security, not have that pay check coming every week, No super no leave, no sick there's nothing there. Right until you get to a point where you can now start paying yourself. Then you kind of got to go, all right, I've made it, but that's just paying yourself. Then you need that support as you grow.
And then there's the industry that you're into, So like stepping out of native title, being in that fighting for country cultural preservation, you know, environmental protection, the resource industry, government, bloody transport, main roads, all the rest of it, and then stepping into the fashion industry. It seems quite frivolous and almost like a luxury, especially with what we're facing. But I felt last year that's so many of our mob's voices was silence within the referendum debate that this is actually, yes, it's an expense. It's a rich man's game getting into fashion. It doesn't pay well being a designer until you get picked up by a big you know, until you get a collaboration or something. And for me, it's about the ethics of the brand as well, Like I'm not going to collaborate with someone if they've got children in a sweatshop making their clothes, like that's just doesn't fit with my worldview and where I want the world to go either. So it's about standing strong in your principles and knowing that you're getting a message out there on that platform, and if you can get that message out, get that representation, then maybe we'll be able to and pause myself here, if we can convince one non indigenous person, get them to see what it's like for us, well then they can go and convince ten more people a lot easier, and we can.
That's exactly it. So we need to kind of to some degree, we're investing in our allies that one person is usually the one who's already connected supporting us being around that can go and tell ten friends to their family.
Because at the end of the day, and I know this is gonna oh, this is what I've just found, you know, like we can.
It takes so much energy.
For us to bring an ally over to our side of the fence, because it's emotionally taxing for us.
It's it's literally the world we live in, and.
We're just trying to pull back the curtain so that they can see it and get a glimpse of it. For them to go and introdroduce people and explain to them what we go through and.
To pull back that curtain.
It's not as an it's not an emotionally taxing ordeal for that and it doesn't hurt their heart and their spirit. So if we can do the work with one person. It has a domino effect, it ripples out.
Yeah, we're saving some of that energy for ourselves and for what we need to.
Do, which is what we honestly. Otherwise we just burn ourselves out.
That's so true. Alrighty, I can't wait to get you back for part I told you we're going to be yearning again. Let's call this part one, Clint, and then come back. When we're back in, we'll go dive into the achievements, the Vogue magazine, there's all. There's more. I'm going to get to a bloody client. I'm going to try and hustle in Melbourne peak ale traffic and not be late for this client. But my sister, it was an absolute pleasure, privilege, honor to have you on this couch for my audience. And now know who mum read the label is and you better get behind my sister, support, reach out, connect, follow. You might see some of this merch on mum Red's website, and make sure that you take her and me when you start rapping this stuff. So I love you, my sister, Keep going, keep doing it, don't give up you mob. I always say this. I hope you've enjoyed and I know you enjoyed this Deadly Yana. Until next time by for an hour. If you'd like any more info on today's guest, please visit our show notes in the episode description. A big shout out to all you Deadly Mob and allies who continue to listen, watch, and support our podcast. Your feedback means the world. You can rate and review the podcast on Apple and Spotify, or even head to our socials and YouTube channel and drop us a line. We'd love to hear from you. The Black Magic Woman podcast is produced by Clint Curtis