Lux Toilet Soap Ad…

Collections Research Volunteer Daniel researched Object No. 85/1568-1, a Lux advertisement featuring Hollywood star Ginger Rogers from the Powerhouse collection, uncovering a fascinating story about the relationship between celebrity culture and consumer advertising.

Object No. 85/1568 – Advertising leaflets ‘Lux’ soap, c. 1930. Powerhouse Collection.

This advertising card for Lux Toilet Soap likely dates from no earlier than 1933, the year Ginger Rogers signed with Radio Pictures (RKO), the Hollywood studio named on the card. It is one of twelve similar advertisements held in the Powerhouse collection, each featuring a different Hollywood actress from the 1930s.

Film – Laveuses (1896) – Sunlight Laundry Soap visible

The connection between soap advertising and the silver screen stretches back to the earliest days of cinema. In 1896, British manufacturer Lever Brothers – later to become Unilever – pioneered product placement in the film Les Laveuses, often regarded as the world’s first commercial. The short film featured women washing clothes beside clearly branded crates of Sunlight laundry soap.

Ginger Rogers (1911-1995) for Lux soap, magazine advertisement, 1936

By the late 1920s, advertising was entering a new era. In 1928, advertising agency J. Walter Thompson (JWT) applied ideas from the emerging field of behavioural psychology to promote Lever Brothers’ newest beauty product, Lux Toilet Soap, in the rapidly expanding American market. The agency devised a campaign aimed primarily at women, using endorsements from hundreds of movie actresses to associate the soap with Hollywood glamour, beauty and sophistication.

These print advertisements typically featured a luminous close-up of the star along with a testimonial praising the product. To support the claim that ‘9 out of 10 screen stars’ used Lux Toilet Soap for their skin, JWT distributed the soap to every actress in Hollywood, stocking studio dressing rooms and sending representatives to encourage its use.

Judy Garland in print ad for Lux Toilet Soap, 1943, notice the quote at bottom – ‘9 out of 10 screen stars use Lux Toilet Soap”

Ginger Rogers was one of many famous faces in the campaign throughout the 1930s and 1940s, helping the Lux brand dominate the personal soap market in the United States and internationally. The campaign expanded beyond print advertising in 1934 with the creation of the Lux Radio Theatre, broadcasting Lux advertisements alongside adaptations of Hollywood films voiced by popular stars, including Ginger Rogers. Around the same time, competing companies such as Procter & Gamble sponsored daytime radio dramas aimed at women in the home, giving rise to the term “soap opera” that remains in use today.

Lux’s Hollywood campaign is notable as an early example of celebrity product endorsement and one of the longest-running advertising campaigns in history. Reflecting Hollywood’s global dominance of cinema and its powerful influence on consumer behaviour, these advertisements were used worldwide from the late 1920s until well into the 1950s. As the brand grew, Lux began adapting their print advertisements to local markets such as India – where, from the 1940s until today, portraits of actresses from Bollywood and other regional film industries have been used to evoke an air of glamour comparable to that of Hollywood’s golden age.

Many thanks to Daniel for researching and sharing the story behind this remarkable object from the Powerhouse collection.

Research and story by volunteer Daniel. Blogpost by Karen Griffiths, (Volunteers Program Officer)

The Rebel in the Gallery: When Punk Met the Palace

This Vivienne Westwood corset (object number: 2006/96/12) is a remarkable fusion of high art and street-level rebellion, serving as a cornerstone of the Powerhouse Museum’s fashion collection. Designed for the Autumn-Winter 1990–91 collection, this piece captures the exact moment when Westwood, the legendary “Doyenne of Punk”, shifted her gaze from the raw energy of the 1970s London underground toward the opulent galleries of art history. By taking a 250-year-old French masterpiece and transforming it into a piece of modern ‘body armour’, Westwood proved that the past is not something to be kept behind glass, but a vibrant toolbox for creating something entirely new and provocative.

At the heart of this garment is a lush, photographic print of Daphnis and Chloe (1743–45) by François Boucher, a painter whose work epitomised the decadent and sugary tastes of the French royal court. Westwood’s decision to source this image was a characteristic act of creative ‘piracy’. Rather than seeking formal permission, she famously photographed the painting from the back of a museum guidebook, arguing that the beauty of the image belonged to the world. By placing this delicate, pastoral scene onto a corset, she was playing a brilliant game of contrast, marrying the ‘high-brow’ prestige of an 18th-century oil painting with the ‘low-brow’ grit of a designer who once dressed the Sex Pistols.

The construction of the corset itself was just as revolutionary as its print. For centuries, the corset was a symbol of female restriction, built from rigid whalebone and stiff linen that literally took a woman’s breath away. Westwood flipped this script by reimagining the silhouette using 20th-century technology. By utilising modern synthetic materials like elastane and flexible plastic boning, she created a garment that mimicked the historical ‘lift’ of the 1700s but allowed the wearer to move and breathe freely. Most importantly, she designed these corsets to be worn as outerwear rather than hidden under layers of clothing, effectively reclaiming an intimate undergarment as a public symbol of female empowerment and erotic agency.

Models kiss as they wear outfits during a fashion show by British designer Vivienne Westwood(Photo by John van Hasselt/Sygma via Getty Images)

The life of this specific object at the Powerhouse is tied to the vibrant creative ‘tribe’ of the 1990s, having been donated by Natalie Elliott. For Elliott and her circle, these clothes were not just luxury items; they were the uniform for a life lived in the legendary nightclubs of Melbourne and London. This corset was not born in a display case; it was worn to the infamous Daisy Chain club in London and the Razor club in Melbourne, standing out even in rooms filled with the era’s most avant-garde icons. As Elliott recalls, wearing Westwood made you feel “special and different”, offering a way to be fashionable that didn’t follow trends but instead sprinted ahead of them.

Ultimately, the Corset remains one of the most influential fashion innovations of the late 20th century because it bridges the gap between the museum and the dance floor. It serves as a testament to Westwood’s belief that true originality comes from “overlaying your own ideas” onto the vitality of the past. When you look at this piece today, you see more than just printed silk and plastic boning; you see a masterpiece of subversion that continues to challenge our ideas about gender, history, and the power of a great outfit to start a conversation. Westwood may have passed away in 2022, but through objects like this, her rebellious spirit continues to command the room.

Blogpost by volunteer Hannah

Blundstone boots…

Collections Research Volunteer Liz recently researched Object No. 93/13/1, Pair of ‘505’ unisex boots with shoebox by Blundstone, 1992, from the Powerhouse collection. Her research uncovered the rich and enduring history behind one of Australia’s most recognisable footwear brands, a story deeply connected to Tasmania, craftsmanship and Australian identity.

The Blundstone factory in Campbell St, Hobart in 1951, where it still stands today.

The story of Blundstone began in Tasmania in 1870, when English migrants John and Eliza Blundstone established a boot business in Hobart after arriving in Australia in 1855 following a long and perilous sea voyage. Recognising the need for durable, high-quality footwear suited to Tasmania’s rugged terrain and cobbled streets, John founded J Blundstone’s Boot Warehouse. Initially importing boots from England, he soon began manufacturing locally using Tasmanian leather, producing some of the first Australian-made Blundstone boots.

A Blundstone print advertisement from last century

In 1883, John’s eldest surviving son, Sylvanus, joined the company, leading to the business being renamed John Blundstone and Son. The company quickly built a reputation for practical, hard-wearing footwear. This reputation was strengthened in 1894 when Blundstone boots won awards for excellence at the Hobart International Exhibition.

Blundstone boots on display at the 1894 Hobart International Exhibition.

Following John Blundstone’s death in 1895, the business continued under family management, although financial pressures eventually forced the company into bankruptcy. In 1901, the business was sold to Hobart hardware merchant Henry Cane. Later, in 1934, the Cuthbertson family acquired the company, retaining both the respected Blundstone name and its commitment to local manufacturing.

These are the only boots made in the Hobart factory now – Blundstone, Gumboot Series #001

Blundstone faced major challenges during the 1990s, when reductions in Australian Government tariff protections increased competition from cheaper imported footwear. Despite efforts to remain competitive, the company ultimately shifted most of its manufacturing overseas in 2007, primarily to East Asia. Today, only Blundstone gumboots continue to be produced at the company’s Hobart factory.

Among Blundstone’s most iconic products is the #500 series boot, first introduced in 1960. Known for its elastic sides and distinctive pull-up tabs, the design has remained remarkably consistent for decades, with only minor improvements to comfort and sole technology. The 1992 pair of #505 boots held in the Powerhouse collection exemplifies this enduring style and demonstrates why the design has remained so popular across generations.

Over more than 150 years, Blundstone has survived two world wars, the Great Depression and dramatic shifts in global fashion and manufacturing. In 2020, the company celebrated its 150th anniversary – a milestone reflecting both resilience and adaptability.

Blundstone boots have long been associated with Australian working life, worn by farmers, tradespeople, miners, police officers, soldiers and mountaineers. At the same time, they have become an internationally recognised fashion staple, admired for their combination of durability, comfort and timeless design. Their place in Australian culture was famously highlighted during the Opening Ceremony of the Sydney 2000 Olympics, when the dance group Tap Dogs performed wearing Blundstone boots. Tap Dogs also wore Blundstone boots at an Australian Day Awards ceremony.

Although most production now occurs overseas, Blundstone remains Tasmanian-owned and continues to be one of Australia’s most iconic footwear brands, recognised around the world for its distinctive style and enduring practicality.

Thank you to Liz for her research into this fascinating object and the history behind one of Australia’s most enduring brands.

Research and story by volunteer Liz. Blogpost by Karen Griffiths, (Volunteers Program Officer)

Thirlmere Festival of Steam…

All aboard! The sound of the train’s whistle, the rhythmic “chug, chug, chug” of the engine, and the sight of billowing smoke instantly transport me back to another era – a simpler, slower time filled with charm and nostalgia. Steam trains have a timeless magic that captures the imagination and brings the romance of railway travel vividly back to life.

Locomotive 3001 began life in 1903, built by Beyer, Peacock and Co. in Manchester, UK. It was withdrawn from heritage service in 1996 and later returned to operation in 2023, following careful restoration by Transport Heritage NSW.

The Thirlmere Festival of Steam 2026, held on 16–17 May, celebrated the magic of steam, history, and nostalgia, attracting around 25,000 visitors across the weekend.

The event is centred around the historic rail precinct in Thirlmere, home to the renowned NSW Rail Museum. Operated by Transport Heritage NSW, the museum houses one of the largest collections of historic locomotives and railway artefacts in the country. During the festival, many of these beautifully restored steam engines were brought to life, filling the air with the unmistakable whistle and rumble of working locomotives.

As part of the event, the Powerhouse proudly showcased our Aveling & Porter steam tip wagon, Object No. B1509, which hails from England and once served Rockdale Council in the 1920s for road maintenance. Read more here.

The Powerhouse display was very popular!

Volunteers Ron and Natasha demonstrating the vintage phones and typewriters

For the first time, Powerhouse also hosted its own display, supported by six dedicated volunteers over the weekend. Visitors enjoyed exploring vintage typewriters and telephones, a popular Meccano locomotive model display, and interactive demonstrations explaining how trains move along the rails. The hands-on activities proved very popular with both children and adults alike.

The festival had so much to see and do, including steam train rides to Picton and Buxton, vintage machinery displays, a Ferris wheel, and countless street stalls. Visitors also enjoyed mini-train rides, lively street parades, and live musical performances, keeping the celebrations buzzing all day long.

Side note: Did you know that a 1985 Australian “Minties” advertisement was filmed at Couridjah Station? It’s the same station the steam train passed on its journey to Buxton!

A heartfelt thank you goes to volunteers, Natasha, Adelle, Matthew, Ida, Ron and Jon for their incredible hard work and dedication over the weekend. It was truly a fantastic celebration of steam, history, and community spirit.

by Karen Griffiths, Volunteer Program Officer

A New Chapter for Volunteering at Powerhouse

Volunteer Programs Update

A New Chapter for Volunteering at Powerhouse

We're moving from Volgistics to Workday — here's everything you need to know about what's changing and what's getting better.

Volunteer Programs Team · May 2026

↓ Scroll to explore

We have some exciting news for our volunteer community. Powerhouse is transitioning its volunteer management system from Volgistics to Workday — and we want to make sure you feel informed, supported, and ready for the change.

This is part of a broader move to bring HR, scheduling, and workforce management into a single modern platform. For our volunteers, it means a more streamlined, intuitive experience for managing your shifts and staying connected with the team.

What's changing

Your home screen

When you log in, the first thing you'll notice is a cleaner, more intuitive home screen — with quick access to everything you need right from the start.

Before — Volgistics

Text-based dashboardNavigate using Home, Mail, Schedule, and Service tabs. Instructions provided as plain text.

After — Workday

Modern action-based homeCheck In, Check Out, Submit Time, and My Schedule are quick-action buttons right on the home screen.

Feature comparison

Viewing your schedule

Your schedule is now richer and more visual — see your confirmed shifts at a glance, with approval status shown directly on the calendar.

Before — Volgistics

Monthly calendar with orange tagsShifts shown as orange "Opening" tags. Click to see available slot details.

After — Workday

Weekly view with full shift detailsConfirmed shifts shown with times, role, and ✓ Approved status. Navigate by week with clear visual blocks.

Feature comparison

Signing up for a shift

Coordinators assign shifts directly to you in Workday. You can also browse the Open Shift Board to pick up additional available shifts when needed.

Before — Volgistics

"Schedule Me" popupBrowse available openings and click Schedule to sign up. Limited shift information shown.

After — Workday

Open Shift BoardCoordinators assign shifts directly. The board shows additional shifts you can pick up — yours until someone else covers them.

New in Workday

Managing your availability

This is brand new — you can now set your availability by day directly in the system, so coordinators know when you're free before assigning shifts.

Before — Volgistics

No built-in availability managementAvailability was communicated outside the system — via email or phone with the Volunteer Programs team.

After — Workday

My Work AvailabilitySet your availability for each day of the week with specific times. Coordinators can see it in real time when scheduling.

Feature comparison

Recording your hours

Logging volunteer hours is now much simpler — Check In and Check Out are right on the home screen, with your time automatically calculated.

Before — Volgistics

Manual "Post Service" formNavigate to Service tab, enter dates, type hours manually, select assignment, and click Post. Done after every shift.

After — Workday

One-click Check In / Check OutClick Check In when your shift starts and Check Out when it ends. Workday records your hours automatically.

Summary

What you can do in Workday

Three key improvements that make volunteering at Powerhouse simpler and more flexible.

✓

Check in and out of shifts

One click on the home screen — no more manual hour entry. Your time is recorded automatically.

◎

Update your availability

Set availability by day and time directly in Workday. Coordinators see it in real time when scheduling.

→

Accept or decline shifts

Respond to assigned shifts directly through Workday. Everything managed in one place — no emails needed.

Training and support sessions — late June 2026

We know that any system change takes getting used to. Before rollout, Powerhouse will run training and support sessions to walk you through the key tasks in Workday — from logging in and checking your schedule, to accepting shifts and recording attendance. Sessions will be available in multiple formats. More details coming soon from the Volunteer Programs team.

ComingLate June
2026

Atari 2600…

Collections research volunteer Melissa recently uncovered the fascinating story behind Object No. 2003/119/1 – the Atari CX2600 VCS electronic toy from 1980 in the Powerhouse collection. Released in 1977, the Atari 2600 became one of the most influential home entertainment systems of all time, helping establish the foundations of modern video gaming.

Founders of Atari, Ted Dabney, Nolan Bushnell & Atari’s first engineer, Al Alcorn

The console was developed by Atari, founded by Nolan Bushnell and Ted Dabney in 1972 after years of experimenting with early video game technology inspired by Spacewar!. Nolan Bushnell established Atari in 1972 and Atari’s first engineer, Al Alcorn, was given the task of designing a simple ball-and-bat game – Pong. The prototype was developed into a coin-operated arcade machine and built by Atari. Pong became an enormous success in arcades, and Atari later went on to develop a home console version of the game.

In 1976, Bushnell, then the sole owner of the company, sold Atari to Warner Communications for $28 million to continue funding development of the VCS (Video Computer System), later renamed the Atari 2600.

Backed by Warner Communications, Atari released the highly anticipated Atari 2600, bringing the arcade gaming experience into the home. Unlike earlier consoles that were limited to a handful of built-in games, the Atari 2600 used interchangeable cartridges, allowing players to expand their library without needing to purchase a new system. This innovative design extended the console’s lifespan and established a model that would shape future generations of gaming systems.

Atari Games, including the popular Space Invaders

Although sales were initially slow, the Atari 2600 became a global success after Atari released a home version of Space Invaders in 1980. Popular arcade titles including Asteroids, Missile Command and Defender followed, bringing the arcade experience into family homes.

A Warner Communications Company poster – “Why Atari is #1

The popular – Centipede – Atari Game 1982

By the early 1980s, an oversaturated video game market and declining sales signalled growing financial difficulties for Atari. Although the company experienced continued success with titles such as Centipede, the rapid expansion of the gaming industry created increasing competition and instability.

Despite these challenges, the Atari 2600 left a lasting legacy in gaming history. Officially discontinued in 1991, the console remains an enduring symbol of the early home gaming era. Original systems and rare game cartridges continue to be highly sought after by collectors, while its distinctive graphics and gameplay still resonate with retro gaming enthusiasts around the world.

Thank you to Melissa for uncovering the remarkable story behind this groundbreaking object from the Powerhouse collection.

Research and story by volunteer Melissa. Blog post by Karen Griffiths, Volunteers Program Officer.

Chesty Bond…

Collections Research volunteer Liz recently researched Object No: A9600-1, the “Chesty Bond” mannequin, from the Powerhouse collection, uncovering a story that stretches across decades of Australian advertising, identity, and design.

The Chesty Bond mannequin torso was originally developed as part of an advertising campaign to sell men’s underwear, particularly singlets, for Bonds Industries Limited. First introduced in 1938, the “Chesty Bond” image embodied a muscular, confident “Aussie bloke.” The character began not as a physical object, but as a cartoon creation by artist Syd Miller and advertising figure Ted Maloney.

A panel from the introductory Chesty Bond comic-strip when it was first published in Brisbane’s The Telegraph newspaper, 28 October 1946.

During the Second World War, Chesty Bond evolved into more than just a marketing figure. In comic strips of the era, he was depicted as a heroic, almost superhuman character – capable of feats like sinking enemy submarines. This wartime portrayal strengthened his image as a symbol of strength, resilience, and national pride.

“Chesty Bond cartoon” Illustrated by Syd Miller, published in The Sun (Sydney), 21 June 1941

Object No. A9600. ‘Chesty Bond’ mannequin torso with singlet by Bonds, c. 1950. Powerhouse Collection

After the war, Chesty Bond took on a new form. The character was transformed into a three-dimensional mannequin, displayed in shop windows and inside retail stores. With rippling chest muscles, a square jawline, and a bright, confident smile, the mannequin visually reinforced the message that wearing a Bonds singlet was synonymous with being a strong, masculine Australian man.

‘Chesty Bond’ Athletics advertisement for Fathers Day, c. 1950s

The campaign proved remarkably successful. By 1972, 100 million Chesty singlets had been sold, and by 1982, that number had risen to 150 million. The Chesty Bond figure became deeply embedded in Australian consumer culture.

Today, the Chesty Bond mannequin is viewed as an important piece of retail and design history. It offers insight into past marketing strategies, as well as shifting attitudes toward body image, masculinity, and gender representation in Australia.

Thanks to Liz for uncovering such a fascinating story behind this iconic object.

Research and story by volunteer Liz. Blogpost by Karen Griffiths, (Volunteers Program Officer)

Prada shoes…

Collections Research volunteer Isabella researched this pair of heels (Object No: 2019/69/19) made and designed by Prada in Milan for its Fall/Winter 2012 collection. Crafted from patent black leather, the shoe features a vamp dipped in red rubber extending from the toe to the midpoint of the arch. Its design features an exaggerated sole, straps which cross above the vamp, and a high heel arched inward at the back. The pair of heels belongs to a collection of clothing, shoes and bags from the personal wardrobe of Catherine Martin. 

Catherine Martin, the Oscar-winning costume designer, and wife of Baz Luhrmann received the Academy’s most prestigious award

Catherine Martin, is one of Australia’s most acclaimed creative figures, recognised for her work in costume design, set design, production design and film producing. Martin has created work for several renowned film, theatre and opera productions across her three-decade long career earning her four Academy Awards, six BAFTAS and a Tony Award. In long-standing collaboration with her husband, director Baz Luhrmann, Martin has produced work for a number of iconic films including Strictly Ballroom (1992), Romeo + Juliet (1996), Moulin Rouge (2001), Australia (2008), The Great Gatsby (2013), and Elvis (2022). In her work, Martin has also maintained strong creative ties with the fashion house Prada, collaborating with the brand for over three decades on costume and set design for numerous projects. Notably, Martin worked with Prada to design costumes for Baz Luhrmann’s film The Great Gatsby which won the Academy Award for Best Costume Design, as well as costumes for Romeo + Juliet and Elvis.

Catherine Martin, nominated for Best Costume Designer, Best Production Design and Best Picture in “Elvis”, wore a Prada satin gown

Clothing, shoes, and accessories from Prada have come to represent a significant feature of Martin’s personal wardrobe and red-carpet style. As a playful and innovative reinterpretation of a timeless classic, these shoes exemplify the creative affinities between both Martin and Prada’s approach to design. Martin’s personal and professional style has become characterised by its artistry and visual opulence, romanticism and imaginative reworking of historical design. These shoes hold significance as items associated with the personal wardrobe of Catherine Martin and as a representative symbol of the strong creative relationship held by Prada and Martin. 

Big thank you to Isabella for uncovering this amazing story.

Research and story by volunteer Isabella. Blogpost by Karen Griffiths, (Volunteers Program Officer)

Hunter Valley Steamfest

Steam, Stories and Community: Powerhouse at Steamfest

Steamfest 2026 delivered a high-energy weekend of heritage, engineering and community, with the Powerhouse proudly contributing to one of the region’s most popular events. With nearly 18,000 visitors on Saturday 18 April and close to 25,000 on Sunday 19 April, the passion and enthusiasm across the weekend were phenomenal.

A Standout on the Tracks

A major highlight was the Aveling & Porter steam tip wagon, expertly brought to life by Powerhouse conservator Ralph. Getting the engine into steam and running across both days was no small feat, and seeing it move around the track created a dynamic, living connection to the collection. It quickly became a crowd favourite—drawing visitors in and sparking curiosity about the engineering and history behind it.

Volunteers at the Heart

Supporting the activation was a dedicated team of Powerhouse volunteers.
On Saturday, Phoebe, Natasha, Ernie and Gabby led the experience, while Sunday saw Ernie and Natasha return alongside Ron, Valeria and Rizquin.

Their commitment was remarkable—travelling more than three hours each way from Sydney—and their impact was clear. Through storytelling, conversation and hands-on engagement, they created meaningful and memorable experiences for visitors of all ages.

Hands-On History

The Powerhouse activation centred on interactive, hands-on experiences using replicas of key collection objects. These included:

Bakelite Telephone (c.1940, Object No. B1678-4) and Tytel Desk Telephone (1987, Object No. 88/59D)
‘Remington Portable’ Typewriter (Object No. 95/74/3-1) and ‘Royal’ Portable Typewriter (Object No. 88/493-1)
Hornby No. 2 Steam Locomotive (Object No. 85/2582-9) with Shell Tank Wagon (Object No. 85/2585-61)

These stories acted as powerful conversation starters, particularly with family groups, encouraging curiosity, participation and the sharing of personal stories.

Strong Community Engagement

Visitor engagement remained consistently high across both days. Families were especially drawn to the hands-on activities, while Sunday saw a higher proportion of older visitors—many of whom shared personal memories and connections that enriched the experience.

Foot traffic was further boosted by surrounding attractions, including a Scouts coal shovelling activity and a large-scale automotive show on Sunday. The Great Steam Race was another key highlight, with locomotive 3265 placing third and drawing significant crowds.

Building Excitement for Powerhouse Parramatta

Steamfest also provided a valuable opportunity to connect with future audiences. Promotional materials for Powerhouse Parramatta were widely distributed, with strong interest in the upcoming opening and Task Eternal. Visitors from Newcastle and Maitland noted the ease of train access, highlighting the potential for strong regional visitation.

Looking Ahead

The weekend reinforced the value of hands-on, story-led engagement. Future opportunities include expanding the range of activities and incorporating additional collection objects—particularly those linked to engineering and agriculture—to deepen connections with audiences.

With plans for Maitland to host a 10 day

National Historic Machinery Association National Rally in conjuction with Steamfest over 10 days in 2027, there is strong potential to build on this momentum.

A Team Effort

Steamfest 2026 was a clear success, driven by the expertise of staff and the passion of volunteers. Feedback from the team was overwhelmingly positive, and we are super excited for Thirlmere Festival of Steam in May.

From steam engines in motion to stories shared across generations, the weekend captured exactly what the Powerhouse does best—bringing history to life.

Inside ALT Games: Notes from an Intern

In this firsthand account, SAE intern Liam shares his behind-the-scenes journey through the ALT Games Festival, capturing the energy, challenges and career-shaping moments of working at the heart of the action.

The feeling when the opening crowd rushed into the alt games expo hall on the first day was electric, it felt alive, loud and constantly shifting as the visitors moved between exhibitions, discovering games that both surprised and excited me. It very quickly became clear to me that this wasn’t just an event, it was something special, to the players, the developers and most importantly, to me.

My journey started behind the scenes, an induction which introduced the history of the museum, the purpose of the Alt Games Expo and the role I would play in it. The following day was independent study, learning the layout, the studios, the Devs and games involved.

The biggest highlight though was the opportunity to connect with Riot Games (my dream studio). Speaking with the team about their work, their expectations and what they look for in their prospective hires gave me direct insight into my path going forward. Getting advice and feed back on my own portfolio pieces and understanding what is required to make it into their company was invaluable.

Friday was all about setup, I worked alongside the developers , helping them get situated, troubleshooting early issues and getting to learn about the games directly from the people who made them. It was a great experience hearing about creative decisions, technical challenges and the passion that drives them. Over the weekend my role shifted constantly, I assisted visitors, helped debug issues, ran booths and worked closely with both staff and special guests, guiding them through spaces, helping prepare for talks and presentations. It was fast paced, sometimes chaotic but always engaging. One of the standout moments for me was attending two talks by Shuhei Yoshida, reflecting on his career and how to develop indie games.

Working under curator Chloe Appleby was another defining part of my experience. Her knowledge, leadership and willingness to guide and support me throughout this event made a huge difference. She created an environment where I felt included and encouraged to engage with the space fully and I’m incredibly grateful to her for the opportunity. I’d also like to thank my floor manager Michael, who consistently helped with any issues that arose, kept everything running smoothly and gave me a clear sense of how large scale events like this should operate.

By the end of the weekend, I was feeling both sad the experience was over, but incredibly grateful for the wide variety of experiences I had, as well as the knowledge I had acquired from the developers and industry professionals alike. Things like how much time really goes into development, managing scope, how to source funding, how to find a publisher, how to run an exhibition. These are things I will carry with me moving on in my own journey in the games industry. This internship showed me first hand what the industry looks like and solidified that this is where I want to be.