Cameron Good-Giles

Cameron Good-Giles has been the creative mastermind and Director/Designer at Glitzern Grime for the past decade. His knack for blending creativity with top-notch project management has led to the creation of custom stages and installations that have taken him on adventures around the globe. In between Cam has been styling events in Melbourne and Sydney, consistently adding his unique touch to every project.

Recently, Cam has undertaken study again and dived deeper into his passion for 2D design, launching his new brand, Camgo Creative. He’s been busy designing and executing various projects, from massive music festivals to personalised corporate events, always seeing them through from wild concept to stunning completion.

Cam is a firm believer in the untapped potential of the event and entertainment industry, especially in Australia. His enthusiasm for collaboration is not just evident—it’s downright contagious. He’s always on the lookout for like-minded folks who share his vision, passion, and a good sense of humour.

Among Cam’s many achievements are taking his work to international stages and creating spaces that spark joy—one of his main driving forces. His success in crafting innovative, creative, and functional spaces is a testament to his skills and passion, leaving a lasting impression on all who experience his work.

Cam shares a mutual obsession with his dog when he’s not working and advocates for sustainable design, humanitarian causes, and anyone rocking big hair! Equality for all is a core value that guides his life, and he strives to reflect this in his professional endeavours

Butter

This eye-catching poster is the centrepiece of a branding project that celebrates the unique and diverse LGBTQ+ community. Its bold colors and dynamic design capture the spirit of fun, inclusivity, and celebration.

Lost Light

This photograph, part of a series exploring the theme of loss, captures a moment of fading light. Yet, amidst the darkness, there’s a glimmer of hope - a vibrant play of colors that suggests a brighter future awaits.

Date Night

Originally created on paper planes, this artwork captures the nostalgic charm of a 1950s dinner date. Vibrant colours and playful details, it’s a delightful reminder of simpler times and the joy of shared experiences.

Obsessed

Reimagining a Classic: These business cards pay homage to Renfield’s donor card from the classic Dracula, offering a modern twist on a timeless design. A perfect blend of old and new, this project captures the essence of the original while adding a contemporary flair.

The GG

This whimsical piece captures the essence of our family, showcasing the diverse personalities and quirks that make us unique. A playful composition, it represents the many facets of our lives, from our silly moments to our serious sides.

Acknowledgement of Country

The School of Design and Architecture respectfully acknowledges the Wurundjeri peoples of the Kulin Nation as the Traditional Owners and knowledge-keepers of the lands, waters and sky that surround us, where we work, learn, create, communicate and make place. We recognise that sovereignty has never been ceded and this always was and will always be Wurundjeri Country. We pay our respects to Elders past, present and to all Aboriginal and Torres Strait Islander people who continue to make a better world through design.

We extend our acknowledgement to the Aboriginal and Torres Strait Islander staff, students, alumni, real-life clients, and knowledge keepers, who have contributed to our own education diversity and growth. We will continue to ensure that staff and students respectfully honour ancestral connection to Country and Place in everything that they do.

We are dedicated to the notion of design to make a better world and we acknowledge that making tools, shaping place, sharing stories, making meaning, wayfinding and collaborating have long been and continue to be both central and integral to First Peoples' cultures. We recognize that Aboriginal and Torres Strait Islander Peoples’ cultural contributions have continued relevance to design practice and commit to: reconciling ancestries of design and contemporary practice as well as pursuing culturally and professionally appropriate ways to engage with a diverse population of colleagues, industries and clients. In a time of treaty-making and voice we understand that there are overlaps between caring for Country and the sustainable production of goods, services, experiences, products and buildings.

Guided by the principles of respect, reconciliation, and reciprocity we undertake to indigenising and decolonising design practice by dismantling colonial structures and challenging biases that have marginalised Indigenous voices and design.

As students of SoDA you will be given opportunities to both engage with and educate yourself in Indigenous creative practices and cultural protocols through a lens of inclusivity, diversity, respect, mutual understanding, inter-cultural dialogue in all aspects of design practice. Indigenous people have been telling stories, making tools, and connecting to Country through visual media, placemaking and place marking for more than 60,000 years and these practices are part of an ongoing, evolving and live tradition.