Old World — Polder's Old World Market

In the mountains of southwest Virginia Polder’s Old World Market has hand crafted a slow life that brings the entire family into the business.

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WE LIVE TOGETHER, WORK TOGETHER, EAT TOGETHER AND PLAY TOGETHER. Polder’s Old World Market is an extension of our daily life. It is the expression of all of our creativity, personality and skill combined. It is part of us. Each of us have our different roles in the business… some of us write and capture beautiful images that give people a window into our world, some of us are master carvers and produce the dreamware that is the heart of our brand, some of us keep in touch with the customers or package the orders for shipping. Together we make a great team.

We have lived and farmed in Virginia for almost four years now. Before that we lived in Northeast Tennessee for five years, but most of our lives we lived in Florida. That is where we started building our handcrafting business, and also started learning about homesteading and farming. We had always wanted to move to the mountains and farm, and we feel so blessed to live and work in this beautiful place. My Dad was born in Detroit, Michigan, but he says he is a Virginian at heart. I love waking up to the mist hanging over the ridge tops. I love walking through a grassy pasture in the morning and the grass being so wet with dew that my shoes fill up with water and slosh when I walk. I love the wildflowers and cool evenings and the slow pace of life. I’m okay with driving for forty-five minutes to go grocery shopping. This is a good place to live life.

Before we started carving spoons for a living my Dad was the plant manager of a large railcar repair corporation in Florida. When the plant shut down he had to decide whether to take a better paying job that would require travel so he would only be home on weekends, or to do something entirely different. He decided to do something different. The first thing we tried was to start a parking lot maintenance business (not very romantic), but the economy wasn’t thriving, jobs were hard to come by and we couldn’t make ends meet. We were learning about homesteading on our little quarter-acre plot of sand and we began taking baked goods, seedlings and little arts and crafts type stuff to local farmer’s markets to try to make some extra income. Then Dad carved his first wooden spoons with a terrible set of bench chisels we bought him for Christmas, and our farmer’s market customers loved them! They began encouraging us to build a website, and we began dreaming of the possibility of making a real business out of our skills. We came up with the name Polder’s Old World Market and began trying to flesh out our branding. But we knew we didn’t want to build a business in Florida… we really wanted to be in the mountains. So we decided to make the leap.

It wasn’t until after we had moved to Tennessee that we really began to focus on our wooden kitchen utensils. A neighbor told us about Etsy, and we opened a shop there. We were so excited when we got our first order! Looking back at how terrible our first product photos were, it’s hard to imagine how we ever got that first order, but I remember it as clear as day. Back then, orders came in slowly enough that I could remember each customer’s name and what state they were from off the top of my head. Those days are long gone, though I’m still familiar with the names of our most supportive customers. Our Etsy shop became very successful with the help of so many lovely customers, and eventually we opened our website, which allowed us to more fully develop and express our branding. We named our wooden utensils “dreamware” because, after all, it’s “the kitchenware of your dreams”.

Originally we worked with whatever wood we could get a hold of. I miss those days, really, because I remember some of the stunning and unusual “scrap” wood that was given to us in Florida and those were some really gorgeous wooden spoons! We make a large enough quantity of dreamware now that we’ve narrowed it down to several wood types that we can consistently keep in stock. I dream of one day offering a wider selection of “limited edition” wood types again.

One of biggest decisions we made in the area of change was to broaden our brand to include products made by other crafters. We have always kept dreamware as our main focus, and it remains our main source of income, but we decided a few years ago that we wanted to support other makers and also offer beautiful products that were complementary to our craft. This has allowed us not only to offer our customers a greater variety of products to choose from, but it also frees us up from personally making every item we sell, which was an obstacle to our growth for a while. When choosing complementary products to offer alongside our dreamware, we limit ourselves to items that are exceptional and unique, made in the USA or vintage, and meet the same quality standards as the dreamware we make.

I think our biggest challenge has been navigating the natural limitations of handwork without holding our brand back from growth. We have a big team, but we are still only humanly capable of producing a certain amount of handcrafted product each week, not to mention all the time and energy it takes to run other aspects of the business. It has taken a lot of creativity and brainstorming to find ways to save time and become more efficient without losing the charm and integrity of our product and brand.

Another enormous challenge for us, perhaps even larger than the first one I mentioned, has been learning to adjust to the algorithms and censorship on social media and across the web. Speaking completely frankly, our brand has experienced serious difficulties in getting the exposure we need since the infamous algorithm changes on social media platforms, as well as the filtering of promotional emails that Google started some time ago. We recognize this is a challenge for many small business owners who depend on social media and email marketing to communicate with their customers, and we are looking forward hopefully to a time when selling online isn’t quite as challenging as it has become over the past couple of years.

Our biggest strength is probably the fact that we face every decision and challenge of running a handcrafting business as a family. We are team players and we work at this together. It is a priceless thing to be able to tap into each other’s skills, perspectives and ideas. There is no doubt that the combination of all of our personalities and skill sets is what makes Polder’s Old World Market possible.

For us, supporting Made-in-the-USA and American entrepreneurship is a way of expressing our love for this beautiful Country that we have the privilege of calling home. The concept of the American Dream was born from the idea that, here in the USA, anyone can work hard at what they are passionate about (whether that be farming, selling books, or practicing medicine) and create a wonderful future for their family. This opportunity still exists, or my family could never live the life we are living. But there is no doubt that overseas manufacturing and big box stores have stolen something from America. We would love to see more and more individuals and families getting back to the principles of craftsmanship and entrepreneurship that helped make America the incredible nation it is. It would be such a beautiful thing to see. If we all do our part to support the small American businesses and makers around us, we can strengthen our communities from the inside out. We can make a difference!

I think living slow comes naturally when you live twenty minutes from the nearest gas station and you have a large family. We don’t have a TV and we don’t live near a mall. We entertain ourselves by playing board games, visiting the local cafés and taking long walks. Our days are full of hard work, but we also get to enjoy kayaking, holding puppies, splashing in puddles, hunting for mushrooms in the mountainside and sitting on the porch watching the sunset. Our internet connection is painfully slow, so even working online can be an exercise in taking a deep breath and slowing down. To us, the benefits of this slow paced lifestyle far outweigh the inconveniences. We are so grateful to live this life.

— poldersoldworldmarket.com

Montana Territory Hat Co.

MY NAME IS COURTNEY GREEN, FOUNDER, DESIGNER, AND CREATIVE DIRECTOR AT THE MONTANA TERRITORY HAT COMPANY. I am a mother, a daughter, an artist, a runner, a cowgirl. I create handmade custom Cowboy hats in Bozeman, Montana.

I grew up riding horses and drawing. When I was little you could always find me hiding away with my sketch book, my fingers often grey from shading with charcoal pencils, or in the barn spending time with my horses. After college I worked in the fashion industry as a designer and buyer. I loved it, but I always knew I belonged in the Mountains. When I finally made the move to Montana, I wanted to create something that pulled from my background in fashion and design, and my love for art and the American West. I wanted to commit to something that was rooted in and inspired by Montana. I love product that feels like art. Slow, deliberate, intentional. Product that will last a lifetime and accumulate stories along the way.

Before I started the Montana Territory Hat Company, I worked in the fashion industry as a designer and buyer. I absolutely loved it, I think mostly because it allowed me to pursue my business degree, but still stay connected to art and the process of making something. It was still art, but on a massive scale. I learned so much about building brands, creating an immersive experience, product development, and a greater appreciation for the power of photography. I always felt pulled toward makers and brands that could make you feel something through imagery, design, fabrics and style. I worked for Abercrombie & Fitch for 11 years. I feel so lucky to have been there when I was, and even more proud that I left when I did. I was there when building brands was like making movies. It was an immersive, sensory experience. We were building a fantasy through imagery, design, product and copywriting.

During college, I worked at a bakery and I loved everything about it. There is such a romance to creating with your hands and making people happy. When you work at a bakery, you get up absurdly early to go start the pastries and breads. There is nothing like the early morning smell of bread baking and coffee brewing. I loved it. In the early days of my career in Fashion, I still felt connected to some of those creative, sensory elements that I felt at the bakery. As the retail landscape began to change, I still loved what I was doing, but I had lost my connection to “why.” Retail became so big. It turned into a quick race to the bottom in terms of quality and price. I realized that what I really wanted was to make something real. Something that I felt inspired by and could inspire others with. Something grounded, timeless. Not about trends, or planned obsolescence. I wanted to make something grounded in values. Things that last. I wanted to make a product that held a place and a people in reverence. I love products designed for life. Things that are bigger than themselves. I have always loved hats. There is a quality, a history, an identity. Every hat has a story. As a child, I wanted to grow up to be an artist, a designer, and yes, a cowgirl.  My hats fulfill all of those dreams for me.

I am a maker because I believe in product that feels like art. Classic designs, quality construction, thoughtful details, built with a sense of pride and purpose. Something “inspired by the past, to be lived in and loved today, and passed on to future generations.” These hats represent the preservation of a place, a culture and a way of life. I do believe that felt is always in season, especially in the form of a Cowboy hat.

I am an observer. I find inspiration and story literally everywhere. I am endlessly inspired by the Montana landscape and the people and personalities that have shaped the culture of the West. My work has a bit of juxtaposition between high fashion and Old West. I love going to rodeos and art museums, finding inspiration from both Western vintage and high-end fashion designers. I have always loved the artistry, courage and storytelling that is built into a seasonal show and collection. I love photography and the composition, color and emotive quality of an incredible image. I find inspiration in architecture, interior design, a great book. Inspiration is everywhere. Anything built with an intention towards quality and an eye for good taste. I love artists, photographers, musicians and designers who stand for something enduring and timeless. Designed for longevity. A celebration of the past. A nostalgia for the best of who we are. I am always inspired by natural beauty, in both people and place. Ralph Lauren, Peter Lindbergh, Edward Curtis, Richard Avedon. There is an alchemy that exists in the tension between ruggedness and beauty; romance and resilience. Timeless. I have always been inspired by the American Cowboy. The romance and ruggedness of the West. I love the way Cowboys handle themselves. There is a quiet pride. A work ethic. A sense of purpose. A gentleness mixed with courage, tenacity and resilience.

My advice for anyone starting out would be, no matter what it is that you are into, take the opportunity to fall in love with an idea and then fight like hell for it. Let yourself try, fail, and try again. The path does not have to be linear, and it is ok for it to evolve. Start without knowing everything. Just start. You have to do the work. There are no shortcuts. It is hard. Hard is ultimately what makes it rewarding.

I think the key to getting your product out there is to find people who connect with your brand. Who believe or are inspired by what you believe. You inspire them. Tell them a story. Make them feel something. Once you make them feel, they will find you.

I have never worked harder than I work right now. I believe wholeheartedly in what I am making and why. Every time I touch the business through the product, the copywriting, the imagery, the story, is a chance to improve. Is it easy? No. Absolutely not. But I never wanted it to be easy. Anyone can do easy. That would be a boring way to exist. You have to show up. Every day. No matter what. I suppose finding the motivation to do the work has been the easy part. When you love what you do, you find the resilience to persevere born out of passion and purpose. Looking toward the future, I would like to continue to grow this business and expand on opportunities to immerse people in the story, while staying small and special.

I am endlessly curious. I hope to always have questions. The bigger, the better! Some nuggets of wisdom I’ve learned as a maker that I believe can be applied to everyday life are:

There is no replacement for hard work. That is where the magic is.

Be honest. No matter what.

Find something you love to do. If you can figure out a way to turn your passion into a purpose and a business, you won’t regret it.

Find your own voice. It is very clear when a product or a perspective is not your own.

Be a good human.

Be so inspired and energized by your own life, that you have the confidence to let other people live theirs.

You do you!

Respect, hold in reverence, and fiercely protect and honor the natural world. We are only borrowing this Earth for a very short period of time. We are one of many inhabitants, coexisting. Live softly. Only make and do good things.

When it comes to supporting maker-made and American-made businesses, I think the key is to find and support people who are driven by good intentions, who truly believe in what they are making, who are driven by something more than just money. I firmly believe in capitalizing on opportunity and building a profitable business. But only if at the core, there is pride for a job well done, a bigger purpose. A “why.” Regardless of where they are from or what they are doing, there are makers, cowboys, ranchers, farmers, artists, photographers, business owners, all over the world who are worth supporting and feeling inspired by. It’s not about where they are from, but about their “why.” Do you believe what they believe? Are they supporting causes and a way of life that is worth believing in? Does it make you feel a sense of pride and connection to support them?

To me, living authentically means that you do what needs to be done. Take pride in your work. Be honest. Be firm but fair. Have boundaries. Live and work with a sense of pride and purpose. And be willing to walk away from anyone or anything that asks you to compromise your values. I try to bring these values to everything I do, including my hats. I never. Ever. Settle. Everything matters. One of my favorite quotes has always been “the way you do anything is the way you do everything.” I firmly believe this to be true, and adhering to this ideal helps ensure the quality of my brand and product.

For many years, I struggled with how to bridge the divide between work and my personal life. I  found that when I began this company, and created a business around something that I truly love to do, I felt the tension between work and personal dissolve to a degree. I love what I am doing, and I believe in what I am creating. My business is so thoroughly fused with what I love to do, that I find my work and personal life very connected and balanced right now. I’ve been very fortunate to have my family as my biggest champions throughout my journey as a maker.

I hope you’ll come explore my world of handmade hats. Ordering information can be found on my website, www.MontanaTerritory.com.

All In — a Conversation with Revivall Clothing

Laura Fisher is the founder of RevivALL Clothing located in Bozeman, Montana.

AFTER GRADUATING FROM CLEMSON WITH A DEGREE IN ANIMAL SCIENCE, I WORKED AT A MAKEUP COUNTER IN THE MALL, AND LATER AT AT&T WIRELESS. Though I was making good money, it became apparent pretty quickly that my creative mind was not a good fit for corporate America. After a year, I decided to save up money and put myself through a second degree in Fashion Design from FIT in New York City.

I learned to sew from my Nana when I was young and we started making these little frogs stuffed with rice—essentially Beanie Babies before they were popular. I remember the joy of picking out the fabrics. I always chose a different material for the top and the bottom of the frog. I started selling them to my friends at my elementary school. A few years later, I got into horses and they kind of took over my life. It wasn’t until I was a junior in college and spending time in the “lots” at jam band shows that the sewing bug hit me again. I started making patchwork clothing and selling it. When I lived in NYC, I found tons of scrap fabric in the dumpsters in the building I worked at. (It was a building that held a few manufacturing businesses, and I worked for an accessories designer). I took those scraps and started making them into things and selling them at the Flea Market on 1st and Avenue A every weekend. I think the main reason I started making clothes was because I couldn't find things to wear that I felt truly represented my style. From then on, I realized that selling my goods was fun. It was like a mystery every time I made something, to see who was going to be drawn to it. Also, I truly think there was a validation that I was seeking and receiving from selling my goods directly to customers.

I’m a maker because it was the only option for me. I can’t imagine myself doing anything else. At times when my business has struggled and I wondered how else I was going to make money, it felt defeating and uninspiring. I could never find another job that brought me joy and fulfillment like owning my own business and being creative. I have owned a clothing store, produced fashion shows, and started a manufacturing house. They all brought me joy but making the leap to creating my line full time was where my heart was all along; I was just scared to take the risk. When I moved to Montana, I did a show and bombed epically. It was a five-day event and I sold maybe five things. Every day was torture to sit and be surrounded by my beautiful creations but not have anyone interested in them. I had a total meltdown and posted about it on social media. Another clothing designer that I knew from Oregon reached out and gave me the best advice: she told me to stop doing shows and put all that time and energy into selling online. That was five years ago, and it was the best decision I ever made for my business.

In addition to myself, I also employ a full time Operations Manager, a Virtual Assistant, and five seamstresses, and hopefully soon, a new manufacturer in Tennessee. It has not always been easy to build this business. There have been many challenges, especially with finding American manufacturing and people to sew for me, and I’m fortunate to have a great team.

As a child, I wanted to be a farmer and live in the country with all of my animals. No one ever told me it was possible to create things for a living and be successful. Even when I went to FIT, one of my professors told the class we should expect to be getting coffee for people at a design house for years and maybe work our way up to a higher position. I would tell everyone not to listen to him and that they could do whatever they dreamed of. This was before Etsy was big and Project Runway had been invented. I believe that both of those mediums made it more acceptable and possible for makers to support themselves and their families.

My creative process starts within. I believe it’s a direct communication with the Divine. A force that exists outside of me that I have practiced listening to. Sometimes it comes out of nowhere and sometimes it’s a thought or idea that keeps coming back until I listen. I am always true to myself and am dedicated to honoring and trusting this connection that is essentially instinct. Many times I just design what I'm wanting to wear at the moment, or things that I've been inspired by from the past or currently. The clothes I make and fabrics I choose are never because of what's “in style” at the moment. When you make timeless, wearable pieces, they never go out of style.

Since I started making things from scraps out of dumpsters in NYC, a seed was planted in my mind that brought awareness to the waste of the garment industry. I vowed never to use new materials so as not to participate in the making of new things. I believe if we stopped making fabrics and clothing today, we could still clothe our population for decades to come. After Hurricane Katrina, I spent nine months living in a tent in St. Bernard Parish, Louisiana, organizing and helping run a relief kitchen and donation center. After a few months, there came a point when I had to create something. There were literally tons of apparel and home décor being donated that we had no way to keep clean and organized. I realized again how disposable the garment industry was. The fact it was easier for people to send clothes than food was disturbing to me, and I started making things from the donated curtains and sheets with a donated sewing machine in a tent.

The beginning of my collection was making dresses out of men’s shirts, sheets, and curtains. They were all one of a kind. Photographing and listing each piece took so long, and many times the piece someone loved wouldn’t be their size. I realized in order to be successful, I needed to make batches of things in different sizes that I would only have to photograph and list once. This is when I discovered deadstock fabric. Deadstock is the leftover fabrics from the garment industry.

My customers have been my biggest source of support since I began my business. They are so supportive, complimentary and loyal. They believe in me and what I create. They live in my clothes and send me photos and stories about them. It never ceases to bring me to tears of joy to hear their stories.

My goal for RevivALL is to have a successful business that can employ and pay 10 employees well (that includes myself). I also want to be an innovator and voice for anti-fast fashion. It’s very important to me to try to educate the public and masses about the problems of fast fashion, and to help people think about their choices when they are buying something. How to explain the reason for handmade and American made things being more expensive, and how to shift the system so that more people can afford to buy it. It is a very privileged thing to be able to afford slow fashion and handmade things. How can we make it more accessible and possible to pay people well and keep costs down?

On a personal level, I pray that my family and I get to buy on a farm in the country in Montana where I can have horses and all the other animals, where I can walk around the land without seeing another human, and where I can commune with and steward the land responsibly.

Some advice I can offer to those embarking on a new business venture is to take business classes, listen to podcasts, read books, take marketing classes, etc. Also, don’t wait until the timing is right or whatever ducks are in a row, just start making things! Do some local shows, get feedback from customers, listen to what they say, and adapt. Personally, I’ve found that Instagram has been the most successful way for me to get my products out there to the public. And you can find my clothing at my website, www.revivallclothing.com.

Cowboys of Canvas: Stout Tents

Photography & Story: Little Schooner Studios

STARING AT A FIRE, or looking off into the vast ocean, our senses are entranced by the sound, the smell, and the intangible fluid element dancing before us. These kinds of visions cast a subtle incantation that is entwined in our being from creation, we cannot help but succumb. We come to reflect on memories so distant and pure that we grow nearly as infinite within our being as the elements we gaze upon. But as fleeting as the tide or as fickle as a flame, we cannot reside there and will soon return to our categorical existence.

The desert offers that same mystery in its own unique way. The great emptiness is filled with wonders. It is an environment of frozen time, where the mind and spirit can connect with the infinite. Time itself is perceived more slowly; both in the long record carved in stone, and in the slow passing of the amplified sun. One can wander through this mystery as if walking through an alternate reality, slowly taking in all of the beautiful nuances that constitute the grandeur of the desert.

Out here, there is a great resonance — one that is easily perceived and confided in by the human spirit. It is the music of Creation.

To spend time in this place for most people means a mobile camper of some kind, but there are still those who mean to live a bit closer to the experience. Those who can be found in canvas tents or in bedrolls under the stars. They lead an entire culture of nomads, and ensure that their tribes have sound shelter in any weather.

They are Dave Ellis and Jim Stout.

Dave Ellis has been making canvas tents for thirty years. His hands show the memory of the process, and as he creates a tent the profound wisdom of his experience shines through him. To take pencil to paper and design a shelter made entirely of flat material and tiny bits of hardware is an art of the highest form. Drawing inspiration from the cowboys who harnessed the west, Dave has perfected these shelters in both form and function. His tents are immaculate.

Jim Stout is a different breed. Driven by adventure, he signed on as a parachute rigger for the U.S. Army straight out of high school. Jim wanted to jump out of airplanes and run tactical missions. His time there served him well, giving him the discipline and skills that continue to fuel his adventurous life today. Adrenaline-fueled moments aside, and much to his surprise, there was a lot of time spent on the ground, building and servicing the gear itself. He ran huge sewing machines that punched through multiple layers of heavy webbing, and found that the craft itself was quite meditative.

When Jim arrived at Dave’s shop and he saw and heard the industrial sewing machines that Dave was working with, he was immediately carried back to his time in the military. It was as a fleeting smell can carry us back to our childhood home, or the presence of a dear old friend.

Although Dave and Jim had known each other for years, they had never worked together. Now, they were coming together in a grand collaboration, planning to build a canvas structure of immense proportion. Even Dave, in all of his decades of tent-making, had never created anything of this scale.

Still, there are few people in America who can do what Dave Ellis does with canvas, so when Stout Tent decided that they needed to build the first Norwegian-style tipi event tent sourced and crafted entirely within the U.S., they knew that Dave had the experience and design skills to make it right. Over the course of three weeks, the two men worked together seven days a week, sixteen hours a day. They howled over the radio to all of the old country songs, and neither of them was particularly concerned with staying on key. They laughed at themselves and each other with great admiration and respect as the minor triumphs and failures of the process unfolded. Three massive prototype tents were made in this time, but the bond itself between the two may be the greatest thing they built together.

As their time in Dave’s shop in Durango drew near an end, product testing time was fast approaching. For Dave, testing a new tent usually meant setting it up in a grassy meadow near his shop. Somehow, it was silently understood that this new creation deserved its own destination. It needed to be set in a special place in order to truly understand its form and grandeur.

Durango, Colorado is uniquely situated in that it is surrounded by every kind of wilderness; mountains, rivers, and big pines are all within reach, but it is also on the doorstep of the mighty desert. A three-hour drive from Durango in southern Utah is a place aptly named the Valley of the Gods. Located on public land, this part of the red desert features an immaculate series of towering buttes. The scenery is otherworldly and the energy is equally powerful. To set their creation in the Valley of the Gods among the water-carved ancient stone would give it life.

All of the little details that rule the end of a project like this can be exciting after what may seem an eternity of mundane toil. To take a moment to paint fresh hardware, or to whip the ends of guy-lines is the sign of the end. It brings fresh energy to tired minds, and as the methodical frenzy of last-minute works subside, the tired tent maker’s exhaustion wanes and they do what they know best. They pack up the truck to go camping.

Ripping out of Durango at 5 a.m. the next day, the dim light and slow dawn gives a subtlety to the transformation of the scenery. The change seemed to come on slowly, following muted signs of a place in between one wilderness and another. Then quite suddenly, but at an indefinable point, the desert reveals itself. The blur of deep orange stone and green brush blow past the cowboys of canvas as they descend deeper into the dramatic landscape. Dave takes an odd turn off the highway down a long dirt road. Jim asks no questions about the detour, and turns up the volume on the radio.

At the end of this road rests the ruins of an ancient Pueblo civilization. It is a homage of sorts to stop and take a moment to imagine those who carved out lives here in the past. To walk among these stone dwellings, the very homes of the ancestors of North America, brings careful thought to our universal need for shelter and society. These things are easy to forget in a world ruled by meetings, spreadsheets and incessant immediate messaging. These structures are evidence that people existed in rhythm with nature, in harmony with one another and in unison. There are lessons here, carved in stone and wrought by hand. There are lessons lost in time.

The two men interweave their steps along the same trail that carried the Pueblo people to their home. Carrying themselves back to the truck and to the highway beyond, there is a pensive silence between Dave and Jim. The vibration of the gravel through the wheels and into the weathered Toyota seats brings the return of lightheartedness, and the off-key singing slowly resumes. The highway and the high midday sun announce the changing scenery with greater urgency and the rigid landscape begins to bloom.

Monument Valley arises in the distance as a momentary distraction, but a reminder that the destination is near. The exhaustion of the past few brutal weeks is now gone, the energy has shifted back into high gear. The Valley of the Gods is not visible from the highway. There are no advertisements for this place. There is but a tiny sign at the entrance marking the turnoff, and a deep ditch that follows to ensure that the vehicle and driver are worthy of the road ahead.

The Valley comes on as subtly as the day itself. Slowly and methodically, awe-inspiring scenery prevails along the high entry road to the Valley. Then, all at once, the road begins to wind through massive gardens of buttes. Dave and Jim slow their pace to consider the many options and challenges the landscape has to offer. Pitching a 35 foot tall tent is no easy endeavor on soft ground, but out here, the earth is nearly immovable. This search goes on for hours, and finally, just before evening sets in, the space is finally found. Sandwiches around a lantern are the comforts of the evening, and the two men fall to slumber in their canvas bedrolls with modest anticipation of the day ahead.

Stout Tent is one of the premiere canvas event companies in America. Despite its stature, the Stout family runs their events and location based logistics with a small tactical team. The company reflects this family orientation in all aspects of their business. Setting up a gigantic lounge tent in the desert requires hands, so Jim has arranged in advance for three of his best team members to meet him in the Valley. They also carry a precious cargo. Handmade spruce poles from New England, primary and supporting poles that will create the internal skeleton of the giant tipi-style tent. On top of this frame Dave and Jim will see for the first time the canvas covers they’ve spent the last weeks creating.

Once the first four poles are joined on the ground, the team begins to raise the structure into the air and a ladder is set to the center point, which Jim will slowly ascend until the entire frame is assembled and secured at the top. All the while, Dave sits in the shade of a low desert tree watching patiently and measuring how best to set the canvas. His sense of this process is as sharp as a sailor about to launch a spinnaker. If anything should go wrong, the wind could carry all of their work away in ribbons.

Jim clings to the peak as the bundle of canvas is hoisted. Many hands work below on his orders to pull the billowing tent into alignment in the stiff afternoon breeze. Dave, on his feet once more, helps from the ground. Dave and Jim work in perfect unison, never pausing to take in the magnitude of their work coming together until every last detail is fully secured. They notice and mentally adjust a few minor changes, before slowing the pace to look around at what they have done. It is then that they are able to stand, laughing in awe at the interior of the 900 square foot Norwegian-style tipi before emerging into the dramatic landscape again.  Fifty paces from the tent, it comes into focus for the first time. The power of the Valley and the grace of the canvas are intertwined for a moment and all that is left for Dave and Jim is to rest and admire their creation.

The pondering of the human spirit in a moment like this is the reason that we have climbed Everest, or sailed to the Moon, or sought the bottom of the ocean. We gain a sense of place in our work and our wandering. We feel a worthiness in our souls, that the work is right and meaningful. We feel that our purpose on this earthly plane is being fulfilled. Dave speaks to this in a moment of deep reflection:

“I just think that tent living, and what we are giving to people in tent living is… Craft, it's just Craft… that’s what it is.”

A Storyteller's World — Christie Jones Ray

Somewhere just outside a tiny map-dot Kentucky town, Christie Jones Ray a storyteller, artist, quilter, and children’s book author creates a storybook world that unfolds against the backdrop of the rural South. Born and raised in Orlando, Florida, her soul longed for the serenity of the countryside, inspired by the cherished memories of visiting her grandparents' farm in Kentucky during the 60s and 70s.

Over three decades ago, the Christie became a resident of Pleasant View, Tennessee, marking the beginning of a journey filled with life's twists and turns. An engagement to a dear man led to marriage in the summer of 2007, followed by a move to Historic Downtown Franklin, Tennessee, four years later. Life in a tiny Victorian cottage unfolded like a storybook, and in the year she turned 50, the storyteller embarked on the journey of self-publishing children's books, creating a magical world of her own. Eight blissful years in that cozy cottage were followed by a return to Pleasant View, only to be drawn to a property in her beloved Kentucky in the summer of 2022. The Victorian-style farmhouse built in 1911 seemed to await her, and a cozy log cabin just steps away completed the idyllic setting. A year later, after renovations, they made the move, creating a haven in the peaceful rural setting that now serves as the enchanting backdrop of her storybook world.

Christie’s love for the art of storytelling began years ago, earning her the title of the family's keeper of stories. From a memory cabinet holding family treasures to a blog launched in February 2011, her storytelling skills were finely tuned. The blog became a canvas for documenting family stories, evolving to include tales of her handmade mouse named Eliza, stitched that Easter, and named after her great grandmother. It was these stories that caught the attention of her husband, sparking the idea of transforming them into children's books.

In August of 2011, just three months before turning 50, the storyteller surrendered to the idea of writing a children's book. Her husband took the lead in researching and gathering information, while she delved into learning to draw, use watercolor paints, and develop the story. Thus, the CJR world was born, with Eliza the Mouse at the center of it. Other characters, including a menagerie of dolls, bears and mice, found their way into the hearts of readers. In particular, Really Old Bear became a beloved character, winning over readers with her wisdom and endearing perspective.

Inspiration for this enchanting world comes from the storyteller's vivid imagination, nurtured since childhood. In her photography, she focuses on capturing the beauty and joy in the world, documenting precious moments that will be cherished down the road. The storybook world she shares is a sanctuary, offering a breath of fresh air, beauty, and encouragement in the face of life's challenges.

Having escaped the bustling atmosphere of the big city, the storyteller found solace in the fields of Queen Anne's Lace, farmhouses, and old quilts of Kentucky. The Southern charm and slower pace of small-town life became integral threads woven into her stories. The CJR world reflects not just her storytelling, but also her appreciation for her Southern roots, embracing her accent, love of old overalls, straw hats, and the joy of cooking with too much butter.

The lost arts of quilting, storytelling, sewing, and more hold a special place in the storyteller's heart. Her lifelong love for old quilts led her to learn the art of quilting. The process of making, sewing, knitting and stitching, she discovered, is not just about the end product but about slowing down, releasing endorphins, and sparking creative juices.

The evolution of the storyteller as an artist and illustrator is a journey marked by growth with each project. Each new book becomes a challenge, with the story taking precedence, and the illustrations pushing her boundaries. The commitment to growth is exemplified in projects like "Eliza Visits the Prairie," where the drawing and painting of a calf became a triumph in persistence and artistic commitment.

Remaining true to herself has been key to her artistic evolution. After a brief period of uncertainty, she decided to let her home, her storybook world, and even her clothing reflect who she truly is. This authenticity has become the cornerstone of her style, connecting her love for wildflowers, quilts and mismatched silverware seamlessly.

The community she seeks to build is not just a gathering of readers but a tapestry of makers, quilters, knitters, educators and friends. It's a community that finds solace in shared whimsy, offering comfort, creativity and connection. The storyteller aims to empower this community to embrace the magic of whimsy, creativity and shared stories.

In her flower garden, old-fashioned favorites bloom, mirroring the timeless beauty captured in her photography. Geraniums grace the front porch, and flowerbeds filled with Cleome, hydrangea, impatiens and Granny’s Bonnet create a picturesque setting that reflects the charm of her Southern roots.

The storyteller's go-to Southern dish, meatloaf with mashed potatoes and green beans, holds a special place at family gatherings. Her potato salad is a potluck favorite, embodying the essence of shared meals and family traditions.

Preserving and celebrating small towns is a cause close to the storyteller's heart. Small-town life, with its sense of community, shared joys and sorrows, and the coming together in times of triumph and tragedy, has left an indelible mark on her. The movie Steel Magnolias, with its portrayal of small-town life, holds a special place, closely mirroring her own experiences.

In her opinion, life is best lived in community, a sentiment she ardently believes in. The storyteller's hope is to empower the CJR community to feel comfort, creativity and connection, embracing the shared stories and values that make their bond stronger.

As the journey continues, home remains the storyteller's favorite place in the South, where the pace slows, life is embraced, and the art of storytelling finds its truest expression. Whispers of tales and threads echo through the Southern journey into small-town Kentucky, inviting readers into a world where the magic of whimsy and the comfort of shared stories prevail.

CJR with my favorite of her books…Pick-a Pick-a Pumpkin.

The Beauty Surrounding Me — A Conversation with Anne-Louise Ewen

Los Angeles based artist, Anne-Louise Ewen, grew up in a small town on the Mississippi River in South Louisiana known equally for the beauty of its antebellum architecture as for its proliferation of toxic chemical plants. Anne-Louise’s work includes paintings, prints, drawings, sculpture, ceramics and books. In the current time of deep unrest in the United States, she wrestles to make paintings that she personally and viscerally finds beautiful while not being in denial of the dark realities we are facing as a society.

In the summer between second and third grade, I met one of my first art mentors in a chance encounter and spent that summer learning the fundamentals of drawing with charcoal, a formative experience which established visual art as a core element of my life. As a teen, I attended the Louisiana School for Math, Science and the Arts (a magnet boarding school) and concentrated on a curriculum of fine art, followed up by spending two years abroad studying figure drawing, printmaking and painting in Paris, France. I relocated from New Orleans to Los Angeles in 2005 following the massive upheaval caused by Hurricane Katrina and went on to pursue a college degree in philosophy which led me to later founding The Donaldsonville Art Colony, a collective of painters, writers, musicians, and filmmakers. I drew upon this experience years later when I opened my art gallery in Costa Mesa, California in 2007.

Creating is a powerful antidote to many of the world’s ills. It reminds me of humanity’s better nature. When I’m creating, I feel like I belong more on this planet than at any other time. Being creative is similar to being resourceful; having the ability to make something out of what you have at hand and do it elegantly when possible. Mere consumption and survival are not enough—the urgency in surpassing this is a part of what drives us to create.

I will never actually identify as or with the term of being a “creative”. For me, that expression always implies creative work that is applied to a commercial endeavor for the main purpose of making money. Don’t get me wrong—I very much like making money, but one thing that is important to me is remembering that there is a difference between art and commerce. And when you’re making art, you can start from a place that is not about marketing and selling and making a buck, but rather aim to create beautiful things that transcend oppression, violence, hate, ignorance and existential ennui.

To be frank, and I know this goes against a lot of contemporary art career advice, I don’t think it’s helpful, as an artist, to concern yourself with finding a style. It’s something that develops from experimenting and playing, and following a thread to something that you love. I’m still curious to see how I will paint or draw this or that. I try to make things that are beautiful to me and that I want to have around. I guess I’ve been painting for long enough that there is a lot of partially conscious, subtle figuring going on inside, but there’s always some aspect of leaping into the void. The key for me is to find a balance between bold spontaneity and calm deftness.

I believe that art’s highest good is as an outpost of freedom and a trigger of joy. I’m interested in art that makes me feel in love with the world, and I believe that artists have the ability and responsibility to restore humanity through what we do. Some have said that looking at my work makes them feel more free and alive, and I’d consider that my biggest accomplishment and the highest compliment.

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I grew up in a dynamic where the people I came in contact with were either utterly indifferent to the creative work I was doing, or they were actively antagonistic (with many exceptions, of course!). Over the years, I, therefore, developed in a way that preferred working in isolation—my creative community was made up of the dead artists that I loved, like Matisse and Picasso and of the classical music or jazz on the radio, beaming in from Baton Rouge or New Orleans.

In recent years my creative community has changed some, but it’s a hard habit for me to break. I used to think that I didn’t have anything to say about my work, but now when someone visits my studio, I really enjoy the dialogues that come out of their questions and observations. I love it when someone experiences a connection with something I’ve made, and they say it makes them feel more free, happy and alive. That’s a fantastic part of the equation that was missing from my creative pursuits for a long time.

Surprisingly, my community of artists these days is greatly made up of musician-composers (the most important being my husband, Tyler Sabbag, who is a part of a team of composers best known for their work on the Netflix series, Street Food and Chef’s Table.). I love that they believe, value and understand things that can’t be seen, and this is the kind of person that I like to be around. It’s a never-ending source of fascination for me to discuss the similarities in our work processes. In both of our worlds, we must proceed by a kind of faith and hope to enter a state of grace where the composition evolves into something profoundly wonderful.

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Creativity is renewing. When I’m feeling bummed out and don’t feel like I have it in me to paint, however, I may choose to simply work in a different medium, maybe ceramics one day, or I’ll make candles or play ukulele instead. Sometimes, just taking a break and sitting down to a good meal in a pretty setting will do the trick. I also appreciate the way that travel gives me a chance to be “the me” that I am without the errands and the to-do list crowding in on me, allowing me to find the space I need to dream again.

Pursue your creativity—Don’t overthink it.

Feel your way. Play.

Creative inspiration can come from anywhere though I do find I regularly find creativity in the beauty surrounding me. There is so much power in beauty to nourish and soothe us—a trip to Huntington Gardens in Pasadena, seeing my friend Teressa Foglia’s beautiful hats on Instagram, opera, baseball— I want to amplify that and bring it into people’s lives. I’m interested in seeing what happens next. The best times are when it feels like I just get to show up, set up my materials and ride the ride. I often feel as many artists do—like it’s not me making the work but some force passing through me.

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I love seeing other people’s beautiful, well-organized studios, but the one I have currently is not that. When we first moved in, my studio was dark green. You can see that I painted it white and hung up the string of lights to brighten it up. We’ve regularly moved from rental house to rental house in Los Angeles for the last decade so my studios have had to adapt to what’s available both in terms of space and finances.

We moved to our current house thinking that the garage would make a pretty decent studio for me. It’s not too small, though it’s always a challenge to find more storage. Unfortunately, it turns out it also leaks terribly in the rain, as well as, fills with dust and leaves from the area’s frequent wind storms. The first curtain I hung across the opening blew away in a windstorm, but this one has held for over a year, fingers crossed. On a positive note, my studio has several walls for me to tack up my canvas to paint on plus space for my paints and brushes and other assorted art supplies. I also built cinder block shelves that I added to hold my art books and other treasures. If I waited around for the perfect space I wouldn’t get anything done, so I make it work. (On a side note, we’re house hunting again, and we’ve agreed that we’ll be happy with a tiny living space as long as we have vast spaces for our studios.)

My studio is pretty quiet, apart from my husband composing next door, and it has good energy which is important. Our house is an extension of my studio; I have an area for ceramics and candles, am often making at the kitchen table and use the living room as my rotating art gallery for studio visitors.

As an alternative, I’ve tried renting a studio space away from home, but this didn’t work for me. I need to live with my studio so I can wander out with a cup of coffee in the morning to see what I made the night before. I need to be able to carry wet paintings into the house to live with them a while and see what they feel like.

Realistically, it can be incredibly challenging to carve out the space you need, and you might find you have to be quite resourceful and flexible to make things work. I feel it is important to set up a creative space whatever the size so that it feels like your secret clubhouse hideout from childhood; someplace that you stock with the supplies that will excite you. If you don’t have a room, have a stocked suitcase that you can bring out and conjure that sacred space where you are free to do whatever you want. When I lived in New York City for a year, I had no studio space and so I turned to making small hand-bound art books of tiny paintings. The studio and the work will influence each other. Your available space doesn’t have to hold you back from making something. In our last house, I set up a giant tent in the backyard!

I think it’s an accomplishment to overcome these challenges and not let them hold me back from creating. I have a vision in my head of my ideal studio…big, bright and clean, with plenty of storage for finished work…I’ll get there eventually.

ANNE-LOUISE’S PAINTING MANIFESTO

• Aim to proceed with a devil-may-care work ethic, both cheerful and reckless to investigate, invent and rediscover.

• Let the first-hand personal experience of aesthetic arrest be the true north that guides me, allowing room for an epiphany.

• Aim for nothing less than to create things that transcend oppression, violence, hate, ignorance and existential ennui.

• Focus on the music over the lyrics. In other words, though there are recognizable objects in my paintings, the subject matter (the “lyrics”) is not what primarily motivates me.

• Be virtuous in sharing my work​ with the world

“IMPORTANT” ART

I feel strongly that people should be more discerning about when they use the word “important” to describe art. Often what they mean is that a particular work of art or artist is currently influential, popular or expensive. This does not make it important. What the world needs more of are cultural offerings, which inspire and strengthen humanity's more virtuous qualities like empathy, sensitivity to beauty and love of life.

MORE ON ANNE-LOUISE

Online store: EwenStudio.com

Portfolio: EwenFineArt.com

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“Creativity takes courage.”—Henri Matisse

American Made Makers: Rust & Wicks Candles

As the Christmas season rolls on there are so many makers out there, especially those making by hand here in America that deserve to be highlighted, celebrated, and cheered on. As we continue our Christmas season we are thrilled to showcase a few of our favorite American made makers!

Today we begin the week long series with Rust & Wicks, a candle company based in Northern California. Owner and founder Grace shares with us a bit more about her business, her inspiration, and her love of American made.

TELL US ABOUT YOUR BUSINESS: Rust & Wicks is a handcrafted Northern California scented soy Candle company inspired by slow cabin living and growing up in a small town in Mendocino County, Comptche. 

WHY CANDLES: I’ve always had a passion for candles, I can pinpoint when the passion started which was on a gold rush field trip in 4th grade where we did candle dipping. I begged my teacher to let me stay at that station and  she let me. I’ll never forget that and the women running the station. She was so sweet and genuinely loved candles and I just remember thinking it was the coolest job. 

WHY BE A SMALL BUSINESS OWNER: I am a small business owner because of many reasons but 1 being I started with 50 bucks and my stove. I’ve grown this candle company slowly and at my own pace. Slowly expanding and teaching myself all the aspects to running a small business. 

WHAT IS THE BIGGEST ASSET TO BEING A SMALL BUSINESS OWNER: I think you get a sense of community with your customers that box stores will never be able to do. I had a girl about 15 run to my booth once and she was almost in tears (of joy) and said my candles help her sleep at night. She was so sweet it was incredibly heart warming. I’ll never forget her and she is the reason we small businesses keep going. Sometimes it’s easy to feel like why am I doing this? And someone from your customer community says something like that and you snap out of it. 

WHAT IS THE BIGGEST DRAWBACK: Wearing alllllll the hats! Haha. 

WHAT DOES THE CHRISTMAS 2023 SEASON LOOK LIKE FOR THE BUSINESS: It is going to be back to back makers markets until Christmas. It’s a lot but so invigorating and fun to meet so many people that love handcrafted goods. Then it will be cozy on the couch with my two sons and husband. 

TELL US ABOUT WHAT YOU’RE GIVING AWAY FOR OUR 2023 CHRISTMAS GIVEAWAY SERIES: I am giving away our Woodland Collection Candles in Orange Peel + Redwood 

This scent is my best seller and the same fragrance that sweet girl said helps her sleep.  

It says winter to me, it reminds me of a crisp winter day gathered outside making garlands and orange pomanders. It’s a blend of  that sweet smell when the cloves push into the orange and twisting evergreens  together to deck the halls. A memory I cherish deeply.

WHAT INSPIRES YOU: I am Inspired by the trees! I love Northern California and it’s Beauty. From the towering redwoods to the gorgeous Pacific Ocean, northern California has my heart. 

WHY SHOP SMALL: Because small businesses are what keep us thriving. They put back into our communities. They care about craftsmanship, quality and their consumer.

WHY SHOP AMERICAN MADE: It’s so important to shop American made. You’re not only keeping American based jobs thriving and growing, you’re increasing the demand. Which we all benefit from. You support more than just American workers, but their families, safe working conditions and child labor laws. 

TO SHOP & LEARN MORE CLICK HERE

Creating Halloween Memories: Johanna Parker

Few people can say they are as devoted to Halloween as Johanna Parker, of course it isn’t as difficult to fall in love with the holiday when it is also your birthday. Johanna Parker, the namesake of Johanna Parker Design has spent her life loving Halloween and collecting anything that represented the holiday for her. Now a folk artist, Johanna creates inspired and inspiring creations of papier mache reflecting all of the memories and joy that the season brings to her life.

How did you get started with Folk Art? How did you start creating folk art as a business? My mother lead the way along my path to creating folk art. In my early years, she was a weaver and textile artist, and I followed her to various art show exhibitions. Clearly, I was interested in art as well, and at the age of 12 she invited me to make my own goods and sell them at fairs by her side. I stitched pillows and samplers, painted blocks and gnarled branches and illustrated on paper bags just to name a few. These creative explorations helped me find my niche, and through the years I realized how much I enjoyed crafting and sharing my creations with others.

I started Johanna Parker Design at the tail end of a 6+ year career in TV news graphics. The high pace of news art direction left little time to nurture my creative side and whimsical imagination. So, on a whim, I decided it was time to fly and follow my passion for folk art as a new career. I began sculpting vintage-style Halloween characters, photographed my pieces and started submitting my work to show promoters and magazines.

Have you always been a designer and creator? Yes. Mom tells me that I was drawing people with five fingers at the age of 3. Fortunately, she nurtured my talents, and I was always creating art. I was that girl in elementary school that was constantly nominated by her classmates to paint the posters and visual aids for the team. And, somewhere, I have a dusty box of blue ribbons from childhood art contests from my school days.

How did you get started creating? I believe that my mother being an artist intrigued me as a child, and of course I too wanted to play along and be included. She supplied me with crayons, colored chalk, markers and paint, and family friends were always dropping off old dot matrix printer paper and other materials for me to draw on. I thoroughly enjoyed the artistic process, and the adults around me saw my potential and cultivated it.

Did you always want to create your own products as a business, or did it start as a passion on the side? I think the idea of creating my own products was always in the back of my mind, but when I graduated from the Art Institute of Colorado, I wanted to explore graphic design. I had visions of being a package designer, but soon jumped at the opportunity to design for TV news. However, I realized that design for TV was not tactile, and I missed working with my hands. To fill the void,I continued to make folk art for the holidays on the side.

How did you get started with papier mâché?

I must have been a teen when mom brought home a bag of papier mache mix for me to  experiment with. Together, we tried our hand at this medium, and it truly resonated with me. Even though my first attempts were extremely crude, I continued to work with it when time allowed and slowly refined my skills at sculpting.

What was your inspiration in creating the brand?

Years ago in art school, I was assigned the challenge to design a logo and letterhead for my own resume as a designer. I decided that “Johanna Parker Design” had a ring and would one day become a recognizable brand that could encompass many different things. A stylized pumpkin with stars, which has now evolved into a jolly jack-o’-lantern, is my logo because I was born on Halloween. Later, I would find that my business would morph into an all-year celebration of Halloween via the collectible holiday folk art characters I create.

How do you find inspiration for your designs, how do you create them?

I am inspired by swirling patterns, vintage hues, nature and the flowing lines and bold shapes of the Art Deco era. My one of a kind folk art characters are each hand sculpted in a multilayered process. My husband and business partner, JP d’Andrimont, fine tunes each piece with carving tools and abrasives. And lastly, I paint each piece with individuality, often adorning each with trims and illustrated hats.

Do you have a favorite?

They are all special to me and bitter sweet to let go of. The time that is poured into each piece shows my dedication to my craft, and honestly it’s difficult to choose a favorite.

Any new upcoming fall projects?

Well, I am currently creating my annual Halloween collection of originals which I will unveil at Denver’s Halloween Trunk Show & at Michigan’s Ghoultide Gathering. Collectors interested in seeing what’s new will just have to “haunt” me down.

When did you first fall in love with Halloween designs?

As a child, Halloween was extra special since it was the day I was born on. Mom would festoon the house in Halloween ephemera which always signaled my delight. When I was old enough to appreciate them, I started gravitating toward vintage Halloween novelties as mom and I loved to haunt the antique stores.

johannaparkerdesign.com

Curiosity in Every Gaze — Laurie Meseroll

Occasionally, you meet people who see the world through fresh eyes. People who carry curiosity in every gaze. People who are never satisfied with one simple answer. (These aren't the nosey neighbors who stare your direction from across the street in efforts to evaluate the kind of person you are based on your landscaping.)

Artists like Laurie Meseroll look at the world with a whimsical curiosity. She sports her curiosity like a clothing accessory. Laurie is a nomad by nature, but is based along the banks of the Red Cedar River, where foxes and deer stroll through her yard leisurely. She stressed the importance of taking your own path, and shared her story with us. 

Tell us about yourself, what were you like growing up?

“I was just a boring little white girl from the Midwest — I’ve lived on a body of water of some sort almost my entire life and spent endless hours of my childhood hiking and exploring, drawing and dreaming. My parents must’ve recognized something in me because I always had a studio or room to create."

When did you start creating? What was the first thing you created?

“Painting was my first language. I honestly don’t remember ever NOT creating —when I was 3 years old one of my paintings was displayed at The Columbus Museum of Art. It was an angel that looks strikingly like my current paintings. Painting provided a means to develop my strong sense of self. My mother still says I never stopped asking questions —‘why?’ was my first word. I’ve always been interested in how and  what people think—and why. She taught me not only how to draw and paint people but also to construct images so I could tell stories about what my people were doing. These were clearly the beginning of my love affair with narrative painting and most importantly I learned how to communicate the meaningful people, places and events in my life."

“I’ve been passionate about my work since I was very young. I never really considered studying anything other than the arts and psychology. My parents were quite keen on my paintings she drawings but held off on the Play Doh so of course my major area of interest was architectural Ceramics. I started in Architecture at Kansas State and finished a BFA from Manhattanville College in Purchase, NY with a major in Studio Art (ceramics emphasis) and minors in Art History and Psychology. My masters is in Architecture from Cranbrook Academy of Arts in Bloomfield Hills, Michigan. Ceramics is very process-driven so I naturally work on my paintings very much like a would build and fire a series of tiles. I’m very methodical and organized even though it may not be outwardly apparent."

When, where, and how did you learn how to do what you create?

“My mother taught me to draw and set me free with paints. I don’t think I’ve ever actually taken a painting class so I always preface my advice by noting I’m probably not doing anything the right way but it works and it’s fun and I like it.”

What role does creating play in your personal life now?

"My personal life? Everything is about creating, isn’t it?The emotional, physical and spiritual energy of Painting is quieting, calming and meditative. The development of painting skills is complementary to my understanding of the world in general. It’s my primary mode of communication with others outside of my home so I do try to understand what it is I’m saying.  I am painting identities, events, intimate relationships from a perspective that may have been traditionally marginalized. While my images may seem at times to be merely entertaining there is generally a great deal of consideration concerning subjects like particular morals and customs, for example. I’m interested in the way people create meaning in their lives."

What are some of the steps in your creative process?

I work on multiple paintings at once so when I start a new batch I absolutely MUST have the studio space clean and orderly... then it’s a whirlwind of activity and everything goes to hell. Eventually I emerge from the mess with several pieces that are ready to leave the studio and go through my finishing process.

What is your favorite item in your studio?

“Hands down, my general’s carbon sketch pencils are my favorite tools. Two pairs of scissors given to me by my daughter and one from a best friend are always with me and used in almost everything I paint. A vase filled with old paintbrushes from an artist’s estate sale in Woodstock are usually close to me as I paint. I don’t use them but the memory of finding a long-lost friend at that sale makes the vase of brushes more beautiful than a bouquet of roses.”

What's the biggest challenge you face during the creative process?

“Sometimes it’s a challenge to sleep..I don’t have insomnia, I mean sometimes it’s just so interesting I don’t want to stop. It’s like reading a book—I can’t wait to see what’s going to happen next as I paint. I tend to hyper-focus, which is a blessing as much as a curse I suppose. Five children could be somewhat of a distraction at times but thanks to my wonderful ability I easily became completely absorbed in my work. My daughter Tatiana refers to this as my “hey mom the house is burning down syndrome”  

What's been your biggest accomplishment?

“I’m still waiting to see what happens next. Anytime I am successful in my attempt to communicate meaning and emotion to an individual give myself a mental high-five. Meeting the people who enjoy or appreciate my work is endlessly fulfilling to me. I can see in their eyes when they look at a painting and relate to it in some way that activates it —the painting is no longer a passive object if in someone’s mind it becomes relived in the present. That’s what it’s all about. I want nothing more in life than to keep that line of communication going.”

Laurie’s work is available through HERE & Earth Angels Studios

A New Era of Quilting: A Conversation with @farmandfolk

I adore the work of Farm & Folk. They have brought quilt making into the new century in the most beautiful and timeless ways. Familiar classic time honored designs with a fresh feel. I wanted to learn more about Sara, the owner, and her story. | This story originally ran in FOLK’s Tourist Welcome issue.

I’M SARA BUSCAGLIA OF FARM & FOLK AND ANCIENT FUTURE FARM. I’m an organic farmer and textile artist. I work with natural dyes derived from plants and minerals and apply them to organic cotton and linen fabrics, then use the fabrics to make heirloom quality hand-stitched quilts. My family grows a lot of the food that we eat and we’re always striving to be more self-sustainable in that way.

I first became a maker when my first son was born and I took time off from farming to care for him. I found myself a little lonely and needing something to do, so my friend convinced me to buy a sewing machine and a few patterns. That’s how I learned to sew and suddenly I was making my son little clothes and then making myself clothes. Sewing eventually led to knitting and when we bought our farm we got a flock of sheep, which led to me learning how to spin wool into yarn, which led to natural dyeing, and so on.  I think making is like that. Once you make something, the maker’s mindset is instilled in you. You think outside the box of buying something already made and learn how to make it yourself.

Quilt making came to me totally out of the blue about eight years ago. I had been sewing garments for my kids since they were born and had a scrap basket that was overflowing with all the remnants left over from those garments. I was going to send the scraps to the thrift store but had a sudden urge to attempt to turn them into a quilt. That first quilt was a simple patchwork-square quilt, and it came together much more easily than I expected it to. In my head, quilting was something that was very difficult, but it turned out to be a very fun and inspiring kind of challenge, and suddenly I was a quilt maker. That discovery of quilt making was so fulfilling to me because I was able to turn my passion for sewing into an art. Cutting up fabrics and creating expressive shapes that in turn became functional pieces of art felt and still feels radical.

To me, a quilt is a preservation of the maker’s love in the form of fibers and stitches. The colors and patterns that the maker chooses tell a unique and personal story. A quilt can be like an autobiography in that way. My mom has a Cathedral Window quilt that my great grandma made, and it’s a true expression of who my great grandmother was - the bright colors she used on a white background, and her perfect hand stitches. I have quite a few quilts that my grandma made which I was lucky to inherit, and they too are very much an expression of her personality. The brown and white solid and calico fabrics and the perfect tiny hand stitches tell her story and reflect who she was. My mom makes quilts that tell her story, and now I make quilts that tell mine. My choice to naturally dye fabrics, the style that I use to cut the fabrics up and sew them back together, and my imperfect hand stitches are an expression of who I am and my values.

During my journey as a quilt maker, I’ve learned so much about the history of quilts. For example, in 1856, an 18-year-old man named William Perkins was experimenting with synthesizing quinine, an anti-malarial drug. In an experiment with aniline he obtained a black precipitate, which he then extracted in alcohol to create a purple color, which he discovered was an amazing light- and wash-fast dye on silk. He patented his discovery in 1856.  This was the birth of synthetic dyes, which very quickly extinguished the natural dye industry because synthetic dyes were very cheap to produce and easy to apply. So all dyed fabrics and textiles, including quilts of course, were naturally dyed until 1856 when synthetic colors took over.

I believe that once you find your passion as a maker it’s all about commitment to your craft. It has taken me years to become confident in my work with natural dyes and the colors I create, and in my stitches and seams. Putting in the time and research and energy to improve my skill set, to dig deeper, and constantly evolve, is what keeps me going. It took me seven years to learn how to achieve a beautiful strong red on cotton fabric with madder root. These big achievements and the many, many small ones along the way are what keep me going and growing.

At this point I think my biggest success so far was in finding the confidence to launch my website. To put my work out there and begin selling it. That was such a giant leap. I wasn’t sure if anyone would be interested in my quilts, and when they began selling it was such an amazing feeling. It really helped me to have confidence in my work and to make more and to evolve and expand and improve.

Of course, along with successes come failures, but I don’t let the failures get me down. Most disappointing to me was perhaps the experience of failing at making a strong red dye for seven years. Projects that don’t work out after spending hours and hours of working on them can be very frustrating, but failures are so necessary! If I fail at something I get kind of obsessed with figuring out how to succeed. Failure is probably my biggest driving force.

To me, “slow living” means intentional living. You plant the seeds and take care of the plants, weed the garden. You are committed to that work. Harvest is the long-anticipated reward. It’s the polar opposite of buying something on the internet and having it arrive on your doorstep two days later. It’s building a fire on the hearth in winter from the wood you chopped on a hot summer day. It’s canning peaches from the peach tree you planted 15 years ago. It’s the selfless act of planting trees and caring for them and watching them grow slowly with the understanding that those trees will benefit generations of stewards that will come after you.

The biggest part of my way of slow living is planting my garden of food and dye plants. I also plant trees – they are the epitome of slow living! I raise chicks every spring and witness ducklings hatch. I bring in the harvest and fill the larder every fall with the food we grew in the summer. I tend the fire all winter and sew quilts made from fabrics I dyed with plants, and I hand stitch them. And then I do it all again when spring comes back around.

There’s a huge disconnect in modern society. Most people have never thought about where certain things come from. Folks go to the mall and buy a bunch of clothes but don’t really think about what they’re even buying or who made it or how it got to the store. Once I began making things it helped me to connect a lot of those dots. I began thinking about the work that goes into making a dress, for example, and where the fabric came from and how it was dyed and what kind of pollution those processes may have caused, and the people who worked in the factories and what they were exposed to. I don’t necessarily try to inspire people to think about these specific types of concepts but I think that when people see me making a quilt from scratch for instance, and they see all the work and love that goes into creating the colors, it really helps to encourage them to think about ways of slow living. I think when people see other people living slow lifestyles it helps to connect the dots of, for example, where food comes from and all the work and love and commitment it takes to produce it. It’s really easy to be unaware of these things because of all the distractions out there. Ads telling us to buy this and that. It’s not like you hear anything about food production on the nightly news or see garment factories and all the egregiously bad conditions that commercial agriculture workers and textile producers face. There’s plenty of information out there about it but you have to actually look for it, which is difficult when there are so many things distracting us.

I love the saying “do what you can with what you have.” I think that’s a great piece of life advice. Also, knowing that it’s the little things that can collectively turn into really big things. I think the most difficult part in life is making a decision about what you want to do. Once you make the decision, you find a way to make your plan happen and you get there one small step at a time.

I never really thought “I want to be a farmer,” it just happened, and I have never regretted it. I quit college two years in because it was time to choose my major. My advisor kept handing me this printed-out list of majors and told me it was time to pick one, and that I could always change my mind if it didn’t work out. There was nothing on that list that felt right for me and I felt like it would be a big waste of time and money to blindly choose a career. I quit school with the intention of taking a year off to figure out what I wanted to do. I met my husband a few weeks later and we eventually planted a garden which kept expanding and turned into a small farm. We got a booth at the farmers market and that’s how I found my career. It felt right so I kept at it. I figured it out by process of elimination and some good luck, hard work and dedication. I hope to never lose my inspiration because that’s my driving force. To make mistakes and learn from them as a person, as a farmer and as a business. To constantly evolve in all aspects.

Farming has taught me everything. It has been my biggest influence. When I’m out in the field pulling weeds or hoeing and I hear the birds above me, the insects buzzing, I think about the worlds of microbes and mycelial networks at my feet. It’s a serious vibe. It’s a connection to nature and to the food I grow that I cannot describe in words. It’s something you have to experience to understand. I can pause to watch an ant colony in action and gain a better understanding of the world through the ants. When I see the generations of crops sprouting every spring and returning to the earth every fall it reminds me that I am only here for a short time, that I too am part of that infinite life and death earth cycle.

Autumn is the smells of coffee, green chile, and hashbrowns in the morning kitchen. The golden light and crisp air. We harvest our potato crop in October and that always feels like a holiday. We have potato soup for dinner every potato harvest day. We harvest the pumpkins and dry beans and dry corn and store it away in the cellar. We light the fire again and give thanks for this good life.

Beautiful, Timeless, and Well Made — A Conversation with Fount

This conversation with FOUNT co-founder Jackie Wachter originally ran in Where Women Create

JACKIE WACHTER and her husband Phillip, are the creators and owners of FOUNT Leather of Cleveland, Ohio. FOUNT produces an ethically-produced high-quality line of leather goods, which has allowed them to support and enrich their local community. When Jackie and Phillip are not in their studio, they are taking care of their two beautiful kids and managing their two retail locations.

I grew up in Cleveland, Ohio, and according to my mother, I was a creative person straight out of the womb. My family fostered my creativity. I have my grandmother to thank for teaching me to sew when I was seven or eight- years-old—she was a very special person in my life. When I was younger, I used to daydream about potential craft projects at school. Often, I would get off my school bus with a list of supplies and have my mom take me straight to JoAnn Fabrics.

In 7th grade, I started my first business out of my locker. I loved to make macramé hemp jewelry, and my friends started to ask for their own. Soon, the girls from my classes were coming to me with requests for their own brace- lets. By demand, I would talk to my clients, sketch designs, and then go home to create their jewelry. I sold the bracelets for $12 each and was selling several a week. Unfortunately, my venture garnered the attention of the faculty, and after about a year of business and a trip to the principal’s office, I had to close up shop.

LOOKING BACK, I HAVE ALWAYS BEEN SOMEONE WHO LOVES TO WORK WITH MY HANDS.

After high school, I attended the Virginia Marti College of Art & Design and pursued a degree in fashion. While there, I was allowed to hone the skills taught to me by my family and channel them into something I was very passionate about. This was still many years though before I met my husband, Phillip, and we started FOUNT together. After college, I moved to New York for a while, but I found myself missing something. I was very lonely there, and I craved the Midwest charm I’d always known. I was seeking purpose, and after a six-month activist trip to Africa became passionate about becoming involved with my community and supporting local and ethical work. This experience allowed me to get a better view into what I could eventually create through my craft and passion.

A few years ago, all of the stars seemed to align. I met my husband, Phillip, and he became someone who inspired and motivated me daily to be creative. He is also someone who enjoys crafting with his own hands, and like me, had his own schoolyard business (selling homemade beanie babies). In our first year of dating, we decided that we would make all of our gifts for each other. Phillip made me a pair of wool mittens using a vintage Pendleton coat, as well as a cutting board. I made for him a wool pencil case, laptop sleeve, and journal. After looking at our gifts, Phillip suggested that the sewn goods could be beautifully made out of leather, and I agreed. We sought out leather and found a local cobbler that sold scraps from his hides of leather. We bought our first leather, and the sweet older couple taught us about some of the hand tools and techniques we should use.

Our first product trials were a leather wallet and lucky penny pouch. Phillip and I quickly fell in love with our newfound hobby, and after a little trial-and-error, we started to make more leather goods. At the time, I was selling vintage clothing and goods at our local market; slowly we started to introduce a small table of our leather goods alongside it. It was at one of these markets that the mother-in-law of my friend Nikki said we should start trying to design a purse. She wanted a bag for Nikki for Christmas and suggested that I give it a try. Soon after, during church, I sketched a design, showed her, and she said she would help us buy our first sewing machine to get us started. After finding a listing for a Singer 111 on Craigslist, we went to test it out. It had been used to stitch WWII parachutes, and it ended up being the sewing machine we used for our first six months of business as FOUNT.

Our first great bag was created after many discussions about what every woman would want. It quickly became apparent that our best chance would be a tote. The first produced tote though was designed in our first apartment together on Bellfield Avenue, in a tiny studio that was ten-by-ten feet. The Bellfield Tote was designed to be a durable everyday bag for anyone. This tote is now our number one seller and is currently available in three sizes. It’s gone through many small transformations, like adding two pockets and straps that are designed to be unbreakable.

OUR MISSION has been, from the beginning, that we want to make products that are beautiful, timeless, and well made—enough to last a lifetime while also being made ethically.

From that simple beginning, we have now grown our husband-and- wife business to a team of forty-six employees. It has been a wonderful four- year journey, and I am so happy that we have been able to create a thriving community within and around it.

Today, after years of hard work and leaps of faith, FOUNT has not just one, but two retail locations—as well as our studio where we manufacture. Growing up, my parents had a wire manufacturing business in the United States, and as production in our country started to move over- seas, it saddened them to have to move some of those jobs out of the

U.S.A. in order to survive in their industry. When we started FOUNT, I wanted it to be able to stimulate my local economy by making all of our products here in the United States. Today, we are happy to say that we have been able to do that by supporting our forty-six employees, as well as supporting local printers, graphic designers, packaging companies, web developers, photographers, models, etc.

FOUNT is a direct-to-consumer business, so we don’t have a face in the consumer market and boutiques. This can be a challenge, but until recently, we have regularly marketed ourselves by attending maker shows. We take pride in making a high-quality product, and word of mouth is our best type of marketing. In every bag, we place a little pouch filled with a couple of business cards that asks our new friends to share our message when people love their bag. It’s a very simple marketing solution, but FOUNT has had a lot of success because of it. We recently had an event in our Cleveland store, and a lady pulled out three business cards and approached me. “I work for Apple, and I can’t tell you how many times I have complimented your bags, but after getting several of these business cards I had to come to see what you were all about,” she said.

Aside from opening our two retail locations—in a time when people say brick-and-mortar is dead—one of the greatest accomplishments we have had has been our success in building inventory. When we first started, we were making each bag by hand, one-by-one. Now, we do batches by type of hide or pattern. We were part of a television show that helped business-owners with their models, and one constant piece of advice we were getting was that our website was always sold out. We learned that we needed to take a leap of faith, bought a ton of leather, hired nine new employees and built our first inventory. It was a great success and having a product on hand that a potential customer wanted has allowed us to grow our business further. We now offer handbags, as well as, clutches, wristlets, wallets and other leather accessories.

Every day with FOUNT seems to fly by. It’s very rewarding, and a lot of work, but getting to work with artists and artisans to create and share products makes it all worth it. We have three new designs coming soon and are planning to create more elevated designs that can be formal as well. Through this business, I’ve been able to do something impactful, both in my community and across the world—like our partnership which brought over ten thousand dollars to dig wells in Africa and provide clean water. Being able to share our products with the world and see the positive impact they bring to our families, friends, and community makes every minute of this business worth it.

— www.fountleather.com

Maggie Pate || Nåde Studio

Maggie Pate || Nåde Studio

FROM WHERE WOMEN CREATE

MAGGIE PATE began her career in fashion as a model but is now the owner and designer behind Nåde, an independent textile company featuring her hand-dyed fabrics based in Chattanooga, Tennessee. Maggie teaches sold-out workshops on natural hand-dyeing and weaving. She is adamantly committed to sustainable practices. Maggie aims to create beautifully crafted textiles using food products and food waste as well as foraged plants from the mountains of Tennessee and around the world. Her hope is that the hues rendered from these plants and food waste will challenge others to experience food and nature in a new way. She currently splits her time between Tennessee and New York City.

I spent most of my childhood in East Tennessee. When I was an early teen, I began modeling in New York City, which encouraged my interest in textiles and gave me the opportunity to travel more. In my travels I was able to experience the life and culture of other areas, and was able to see the textiles unique to each.

The fashion industry is notoriously wasteful, and it inspired me to find ways to create more sustainable and thoughtful processes by which to create my own fashion brand and textiles. A career that I began as a model has now evolved into me owning and designing an independent textile company featuring hand-dyed fabrics made here in Chattanooga, Tennessee. My brand is called Nåde, and it’s the passion project of my love of fashion as well as my love of natural, sustainably hand-dyed textiles.

“Seeing others dedicated to creating with the same care and passion as myself ignites my passion again.”

Growing up, my grandmother inspired my interest in sustainable living. She grew up in an orphanage in Alabama and became a very resourceful woman. She made her five children’s clothing as well as garments for many of her grandchildren.

Sometimes when I am working on a dye bath or weaving, I feel like a historian keeping the art of slow craft alive in this industrialized world. Both natural dyeing and weaving are becoming extinct as trades as the majority of companies dye synthetically and use machinery to produce materials.

“I love that my products have a story of conservation and a narrative that grounds people within the slow food and slow craft movement.”

The thing that pushes me to keep creating through struggles, both personal and economical, is that my work has a purpose beyond aesthetics or commerce, or even being simply a job. Natural dyeing is about sustainability and more specifically dyeing with food waste makes use of items that could be and will be thrown in the trash. My hope is that my work will educate followers, admirers and those who purchase that there is a better way to create.

You are not a mistake. You are too many exquisite details to be a mistake.”

-Nayyirah Waheed, Salt

I am not sure if being creative has much to do with how I view the world, however I feel that as a creative I am more visually sensitive to it. Therefore, I am constantly observing, making connections, and using visual metaphors. That’s probably just me being idealistic and romanticizing my surroundings.

Travel is a wonderful means for me to both disconnect and reconnect. When I am traveling, it forces me to be away from my workspace and social media, which allows me to disconnect from

the rat race, (which is often how it feels). Often when I travel, I visit countries with a rich history in textiles or natural dyeing. Visiting cultures where textiles make up a large segment of the cultural sphere allows me to reconnect with the craft.

Community plays a huge role in how I create. I rely heavily on local farms and restaurants to collect food waste, which allows me to continue to produce favorite items for my customers and experiment with new ideas.

Luckily, the textile world is truly full of open, generous and encouraging humans. Thanks to social media, I can have conversations with other dyers and weavers from all over the world. I can connect and collaborate in the blink of an eye, and I love that aspect of social media.

Social media can also be a gateway for self-doubt. If I’ve learned anything, it’s this: don’t compare your Chapter 4 to another’s Chapter 20. Comparing where you are in your business to where another might be is only going to create frustration and anxiety. I tend to want to jump to the end of books and it is the same with my small business. I want to jump to the section when the business is completely tenable, but everything takes time.

Like many creatives, I have to do freelance work to make ends meet financially. I take photography and styling jobs occasionally; other makers I know have part-time or even full- time jobs. Managing my freelance jobs with my studio work is a struggle, especially since natural dyeing is typically a process that takes several days.

I would say my biggest accomplishment thus far is my natural dye book, The Natural Colors Cookbook, which was released in June of this year. In researching it, I spent over a year exploring the cross-section where food and slow craft intersect. The book aims to create beautifully crafted textiles using food products and food waste straight from your kitchen, pantry or compost. My hope is that the hues rendered from this food waste will challenge you to experience food in a new way. I also hope to urge others to reconnect with the narrative of food and the history of slow craft textiles.

When it comes to my business and my craft, I’m still figuring it out. Not having an answer sounds more appealing and exciting than knowing it all! I think artisans and makers are always finding their style and journeying toward real things. My business and my style are ever-evolving, which honestly helps me stay engaged in my craft. So, for now, you can find me working on my new favorite item in my studio, a large weaving that combines my love for weaving and my passion for natural dyeing with food waste.

MORE ON MAGGIE:

nade-studio.com IG: @maggie_pate

P.S. I Love This

Right now, my favorite item in my studio is the large weaving I am working on. It took a month or so to source all the natural fibers, which come for Australia and Iceland, as well as North Carolina, Tennessee, Georgia, and Texas. Then the wool roving was dyed using black bean food waste to create the icy blue hue. Because it is not a commissioned piece, I only get to work on it when I have free time...so it has been on the loom for 4 months now!

Of the Same Mold || Katherine Hanks & Stephanie Anne Martin

Of the Same Mold

Katherine Hanks & Stephanie Anne Martin

FROM WHERE WOMEN CREATE

KATHERINE HANKS AND STEPHANIE ANNE MARTIN are the owners of Annie Hanks Ceramics in Chattanooga, Tennessee. After bonding over their love of ceramics in their hiking group, the two began a journey of creating a collaborative business together. Katherine brought with her the experience of growing up in San Antonio. Her family runs a summer camp in the Texas Hill Country, and it was there that she developed a great appreciation for nature and her relationship to the earth. Stephanie grew up in Asheville, North Carolina, and had a mother who encouraged her and her brother to explore through their creativity.

Annie Hanks Ceramics is a collaborative utilitarian ceramics studio in Chattanooga, Tennessee, formed by myself, Stephanie Anne Martin, and Katherine Hanks. Katherine and I first met through a climbing group, and after meeting several times, became friends and learned that we shared a common interest in ceramics. After a while, we started collaborating together to create beautiful functional pieces that our local Chattanooga friends and customers knew as Annie Hanks Ceramics.

I spent most of my childhood between Asheville and various places around the Southeast. My family moved quite a bit, but my mother encouraged my creativity by blocking out time every day for me and my brother to paint or draw. My brother was a big source of inspiration for me growing up, and still is today. When I was 8 years old, we sat for each other to draw portraits. I recall feeling a huge sense of pride in my work. Eventually, I found my own special medium in ceramics and flourished in it.

Katherine was fortunate to be born into an amazingly creative family as well. Each summer, her family would pack up their lives in San Antonio and move out to the beautiful Texas Hill Country to the camp and retreat center run by her parents. This camp, at its core, aims to recover a sense of the sacred. The property is nestled in a limestone canyon with towering abstract and aesthetic bluff walls, and through it flows the crisp, emerald- green Frio River—clear enough to see 20-plus feet below the surface. Having this experience pulled Katherine into spiritual conversation with the natural world and with wilderness. She created her first clay pinch pots after a rainstorm and fell in love with the process.

There are aspects of our studio and business that make Annie Hanks Ceramics exceptionally unique, especially in the way our studio is run. Often, it’s challenging for people to understand what a collaborative studio and collaborative work entail. It’s a foreign idea to many makers, because creativity and artistry is often a single-man concept. Katherine and I have a similar style and aesthetic, and we use that to our advantage as we work through new ideas, new forms and new glaze lines.

Each piece that passes through the creation process within our studio is touched by both of our hands and is of a higher quality for that very reason. We take pride in the fact that we each pay great attention to line and detail and allow each piece to pass through the scrutiny of both sets of eyes.

Our first joint-show was held at Rivers Edge Gallery in Kerrville, Texas. There, the gallery owner, Clay, gifted us two framed shards of pottery from the Aztec city of Tenochtitlan. These are prominently and proudly hanging amongst our shelves of completed and in-process work, reminding us daily of the rich history of our craft. Our work is ultimately inspired by the power of nature and landscapes, as well as the softness of the feminine form. Our style developed from our friendship, our passion for the natural world, and our desire to create designs that are as intriguing as they are simple.

Chattanooga is such an incredible place to live as a creative! We have a strong community of small businesses that understand the value of supporting one another. Within the creative community, we have enjoyed working on various projects and collaborations with other creatives. It is through this that we have found a strong community and space for growth within our own medium. We have worked closely with several businesses around town, namely Wildflower Teashop, Niedlov’s Breadworks and Nade Studio. Out of these collaborative projects have come a network of support, friendships and the growth of all businesses.

Aside from being inspired by natural landscapes, we both find inspiration in secondary creative activities. I enjoy working with my hands and finding a rhythm in the kitchen to draw new inspirations. Katherine enjoys gardening and seeing the world through a different creative lens in the form of photography. Practicing these other kinds of creativity, we are able to bring together our unique inspirations and ideas to create beautiful collaborative work.

There are several struggles that can take place in a small business, especially a creative one. It can sometimes be difficult to be taken seriously as a female business owner. Managing a business can be a struggle when you haven’t had a formal business education. But we have done well so far. In the end, our biggest accomplishment is that we successfully opened Annie Hanks Ceramics together, and that every day we get to work together to make beautiful and functional pieces of art for people who appreciate it.

Pursuing creativity makes every day richer. Finding ways to invite creativity into your daily life is a healthy place to start, rather than feeling like every moment of every day must be filled with creative genius. Begin with a sketch-a-day or by making a photograph at the same moment each day, several days in a row. Then allow that inspiration to grow and seep into the rest of your life. Creativity is a rewarding practice and has the power to take you on adventures.

Teressa Foglia + A Modern Millinery

TERESSA FOGLIA

reinventing an age-old art

originally ran in Where Women CREATE

Teressa Foglia is an entrepreneur who recently opened her first millinery shop in Industry City, Brooklyn, New York. Starting her first business just after college, she quickly grew her online following as well as her social and professional circle. Now the owner of two businesses, we catch up with her, plus hear a bit of her story and advice for hopeful entrepreneurs.

Growing up in Troy, New York, I always knew I wanted to explore the world. I was close with my entire family but it was no surprise to them that when I turned 18, I wanted to move to the West Coast.

After graduating, I switched jobs four times in a year. I was 23 when I started a social media company after I quickly realized that neither climbing the corporate ladder nor office life was for me. It was during that transitional period that I picked up my first few social media clients. My company continued to grow through word of mouth and we successfully built up an agency that worked with incredible brands all over the world.

I spent my late 20s as a digital nomad. Working and traveling to 35-plus countries, many of them alone, often wondering, “Why am I here?” “What is my true passion?” A question that I think so many of us search for—some finding it earlier than others. When my heart was broken, I took off to Europe on a one- way ticket. I allowed myself a break. It was a huge soul-searching time in my life.

It was during this time that I thought it would be fun to learn how to make the beloved hats that I wore on my head—every single day—just for fun. When my friends started to see me wearing my own designs and product, they started asking for their own as well. So, I got busy and focused more energy into a creative project that brought me happiness.

Currently, I live between the West Village and Los Angeles, but the majority of my time is spent in New York. I still have my social media business, which now has its own team of creatives and marketers to help me grow it, but I also own and operate a store and atelier in Industry City, in Brooklyn, New York. I am constantly trying to learn new skills and I always encourage others to do the same— just as I did with my career-making hats! If I could encourage budding entrepreneurs to do anything, it would be to make travel, hobbies and other activities part of your regular routine. Tasks like that are how I’ve found success in my business and discovered new loves.

When it comes to my millinery business, I try pay attention to the small details. Every hat is one-of-a- kind, whether it is made-to-measure from my ready-to-wear collection or a custom hat. I don’t believe in mass-production, so I painstakingly try to ethically source all of our materials used. We donate all scraps to a local university, have eliminated almost all plastic we use and believe in making a product that our clients will have forever.

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“WE BELIEVE IN QUALITY OVER QUANTITY, HANDMADE OVER MASS-MADE, AND THAT standing out is always better than blending in.”

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I tend to invest a lot of time in my social relationships with other entrepreneurs. Being able to find guidance and understanding with people who run similar businesses allows me to grow and flourish in my own. I often find advice from friends like Kaitlyn Barclay + Willow Hill of Scout Lab Creative, Emily Katz of Modern Macramé and Lindsay Zuelich of Wood Brain, three fellow women business owners who always inspire me in my own work.

Opening my space has been my biggest accomplishment. I’ve never worked in retail, and when I first started, my only hat sales were to family and friends. But I went with it! I knew this wouldn’t be a space for just making and selling hats.

Our foundation is to create a place where a community can gather to learn, to share a meal or to listen to live music—a place where anyone can feel inspired. It’s because of this community we have had such a successful first few months. When you’re starting a business or even just pursuing a new hobby or project, trust your gut. Don’t be afraid to start today, and when things are going well, don’t be afraid to take a vacation— you deserve it! Above all else, enjoy the journey!

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Choose Success

➀ Be less afraid to fail. We learn the most from our failures, and if a project or product doesn’t work out like you’d hoped, you ideally will have learned something from the process.

➁ Have a good team. Surrounding you, cheering for you, in both your business and personal life. And cheer even louder for them!

➂ Put your all into every piece you make. It’s an extension of you!

➃ Don’t be afraid to ask for help. And accept help when it’s offered to you.

➄ Take breaks. Daily meditation is key for me.
➅ Go for it. “The right time” never comes soon enough. Go after what you want now.
➆ Take the vacation. The good life is all about balance.

— TeressaFoglia.com Instagram: @TeressaFoglia | WHERE WOMEN CREATE

Chelsea Farmer + A Very Colorful World

CHELSEA FARMER

originally from WHERE WOMEN CREATE

Chelsea Farmer is the owner and founder of HorseFeathers Gifts - an online jewelry and lifestyle company that gives modern women globally inspired and locally rooted designs to express themselves. Educated in gemology and energized by lots of color, Chelsea loves connecting with real women and their real stories through handmade jewelry. 

I was born in Kentucky, but my family was moved to Rhode Island when I was two years old—and from there, all over the world. As a Navy child, I grew up all around the world. I spent most of my childhood traveling Europe while we lived in Spain and Italy. We moved back to the States when I was eight-years-old, including the South and Great Plains. We really did live all over! 

According to my mom, I’ve been making pretty things since birth. My mom is incredibly artistic and always had projects for us to do. I remember painting, coloring, and making jewelry from the time I was three-years-old. We would spend hours making decor for our home. Mostly, we were always trying to bring color into the boring, white-walled military base housing we always lived in. I’m always looking to bring more color into our lives because of it!

I feel like being a creative person has opened my eyes up to more beauty in the world. I see art in everything around me. I am inspired by colors in old buildings, flowers, and sunsets. It is intertwined with how I grew up and my passion for traveling and connecting with the world. I find joy in the differences in cultures and styles, architecture, etc. I am always looking for patterns, and color combos, and textures.

My heart is drawn to the world and all it has to offer and see. Even though my roots were—and are—in my Kentucky home, my heart branches all around the globe. Creating is a way to pull those branches back in and draw all the inspiration and joy I have discovered and the memories I’ve made in so many places. It pulls it all back home—and lets me share my heart with the world.

My style is influenced by my travels. It is best summed up as globally eclectic, as it is influenced by colors and textures that I have seen all over the world. Not being from just one place, I find myself feeling quite at home almost anywhere—or maybe everywhere, some eclectic combination of everything. 

Our studio is located in Owensboro Kentucky overlooking the beautiful Ohio River. We moved here in 2015, and after having lived all over, this just feels like our corner of the world. It is our favorite place to be and to come back to, even after international travel or scooting around the country in our renovated Airstreams. (We have had a few over the years.) 

It is always nice to take a break. I like to just physically step away. If I am feeling stumped in the studio, I will grab my son and we will get outside. Being in nature always seems to refresh me and inspire me. The Ohio River practically runs through my backyard so there is always something to explore. We also have three rescue dogs who keep us moving out there and help us to just stop and enjoy nature.

I also try to get out and get involved in the community. Sometimes, we will just hop in the car and go volunteer at a church—either with jewelry or something random. Recently, my stepmom and I spent a day cutting fabric for a quilting circle at a local church. Just talking with others, hearing their stories—and playing with multi-colored fabrics—brought lots of fresh creativity! It is not long before a new idea pops into my mind. 

As an introvert, I do thrive most when alone in my studio. As a mom, sometimes just a quiet moment is all I really need. It is always refreshing, and important, to get together with other creative people and get recharged.

I love encouraging and inspiring other women to fulfill their God-given talents. I’ve made so many wonderful friends over the years simply by reaching out to them on social media and complimenting their work. Being a creative person can be very lonely sometimes. I’m thankful for the artsy women I have met over the years and the encouraging community that we have build through these friendships. 

If ever there was a time to turn your creativity into a career, this is it! When I started this journey back in 2009, people looked at me when I was crazy when I said I make jewelry for a living. Friends on social media would see me traveling around the United States mingling with celebrities and be totally shocked that at 21, this was my life. Etsy was still kind of new.

Social media was still new for a lot of people. These days, everyone knows someone who sells online—on a website or through social media. That stigma is not quite there anymore—so go for it, learn from others, and create your own path! 

Social media has positively impacted my business over the years. I love connecting directly with our customers from all over the world and forming actual relationships, more than just a sale here and there. This allows me to get a better feel for my customers and what they are looking for in our pieces. Over the years we have developed such a great following and we regularly ask their input on new designs and projects. I enjoy allowing customers to become a part of this business. 

— horsefeathergifts.com

Lena Schlabach + More Faith than Fear

Lena Schlabach was born and in Ohio’s Amish Country. She was once herself a little Amish girl. She is now a fashion designer and gets to travel the world with this dream job. Her life is way more than a little Amish girl could of ever imagined. She now gets to empower women with the brand she has developed in the three short years of business. Lena is passionate about making that her patterns fit a size 28 women as well as a size 5. She believes everyone should feel beautiful when they slip the Frock on.

More Faith Than Fear.

Make your decisions on faith not fear.

I was born and raised in Ohio’s Amish country. I grew up in the Amish culture with my family making everything they needed and watching my community farm. As a child, I always had a desire to be creative. I remember sitting in an outhouse restroom by the one room schoolhouse I attended and creating rose flowers out of the toilet paper. I loved the reaction of my friends thinking I was talented. It inspired me to continue finding unique ways to be creative. I think it’s always possible to make something beautiful out of something ugly. It’s that way with life too.

Though I grew up in a naturally beautiful community, I always dreamed of growing up and leaving the Amish culture to live on the beach. I’m sure in retrospect that is because we love the new and mysterious, but it was always something I wanted to do. Today, I no longer live the Amish way of life, but it is the culture of my family. One of my sisters still lives in the community, and I live just next door in Millersburg, Ohio—the heart of Ohio’s Amish country.

Though I always had the desire to leave, one day I heard the saying, ‘Bloom where you are planted.’ That changed my way of thinking and my way of living. Suddenly everything changed and my creativity blossomed. I started sharing a photo-of-the-day and giving people on social media that I’d met at vintage events or fairs a glimpse of the beauty of Amish country. At the same time, I started to dream about the kind of products or business I could create that meant something to myself.

As a plus-sized woman, I have always been frustrated by the reality that there aren’t m any companies that make ‘cute’ clothes for me that look good and fit well. Suddenly, I found myself wanting those bohemian clothes that had become popular but there wasn’t a company making them for me. I decided that if I set my mind to it, I could be that company, and I could make a garment that was just as beautiful and well-built for a size 28 as it was for a size 5. 

I had the vision, but as a kid I didn’t really learn to sew. I’d always dreamed about moving out of the Amish country, so any lesson my mom would try to give me went in one ear and out the other. Luckily I inherited the Amish work ethic and resourcefulness. Gathering inexpensive thrift store curtains and fabrics, and enlisting the help of my local Amish community of seamstresses, I slowly taught myself to sew enough to start making frocks. Speaking the Dutch language of these talented women, I was able to build a community with them helping me achieve my dream.

I have been in business as Farmhouse Frocks for going on three years now. It has become a business that feels not only creatively rewarding, but also fulfilling in my ability to create beautiful pieces for other women and bring happiness to them. My garments are an extension of my goal to empower women of all shapes and sizes. I am also lucky to be able to work with both of my daughters. Sydney, my younger daughter, acts as my personal assistant and aids with my online presence and styling, while my older daughter, Felicia, is my lead salesperson. 

Six months into our business, we outgrew the basement of my home where we were producing all of our goods. We were utterly out of excess space to work and create, and people were starting to ask us about opening a small space for retail, so I began to look in our historic downtown for a usable location. Eventually, we found our space, with its industrial roots, high ceilings, and ceilings decorated with tin roofing, and using 28 gallons of white paint we painted all of the walls white and found a new home for Farmhouse Frocks.

Wed have grown rapidly, but I feel blessed. My biggest passion has been empowering women from maker to consumer, and I vow every day to make my decisions out of Faith, not Fear. It’s too difficult to make clear decisions that are hard if you’re fearful. That is why I always try to operate with faith. We even started and use the hashtag, #MoreFaithThanFear. 

Today, I am happy to say that employ 40 people, and I love that I can involve my Amish community in my business. We now have a great leverage to create jobs in the community for Amish mothers that aren’t able to work outside of the home. Last year the local chamber gave us the reward for Small Business of the Year because of the impact we have had on our community. Now that I have a team that can now help me with all the day-to-day needs, I have more time to travel and feed my soul with inspiration. When I’m not drawing inspiration on the road, I love to browse Pinterest and Podcasts.

I love to think of ways to better my business/events. How can I make it more creative? Sometimes that becomes building new fixtures, or figuring out creative solutions. Generally, I love my work and never feel too overworked. As I’ve always heard, ‘Do what you love and you’ll never work a day in your life.’ Always make sure to figure out a way to make money while doing what you love. Sure, sometimes working at fairs or events can be stressful, but my workspace makes me smile and I think that’s important. 

Favorite Thing: I don’t like to get attached to things but if you’re talking about material things it’s all of our chandeliers. The huge one in the front of the Studio is my favorite one. The spirit of love that you feel when entering is my most prized possession.

Jackie Watcher + Making American in Cleveland

This story originally ran in WHERE WOMEN CREATE

Jackie Wachter, together with her husband Phillip, are the owners and creators of FOUNT Leather of Cleveland, OH. FOUNT produces an ethically-produced high quality line of leather goods that has also helped them to enrich their community. When they’re not at their studio, they are taking care of their two beautiful kids and managing their two retail locations.

“Isn’t it funny how day by day nothing changes, but when you look back everything is different?”

C.S. Lewis

Looking back, I have always been someone who loves to work with my hands. I grew up in Cleveland, OH, and according to my my mother I was a creative person out of the womb. My family fostered my creativity. I have my grandmother to thank for teaching me to sew when I was seven or eight-years-old, she was a very special person in my life. When I was younger, I used to daydream about potential craft projects at school. Often, I would get off my school bus with a list of supplies and have my mom take me straight to JoAnn Fabrics.

In 7th grade, I started my first business out of my locker. I loved to make macrame hemp jewelry, and my friends started to ask for their own. Soon, the girls from all classes were coming to me with requests for their own bracelets. By demand, I would talk to my clients, sketch designs, and then go home to create their jewelry. I sold the bracelets for $12 each, and was selling several a week. Unfortunately, my venture garnered the attention of the faculty, and after about a year of business and a trip to the principal’s office, I had to close shop.

After high school, I attended the Virginia Marti College of Art & Design and pursued a degree in fashion. While there, it allowed me to hone the skills I was taught by my family and channel them into something I was very passionate about, though it was still manny years before I met my husband, Phillip, and we started FOUNT together. After college, I moved to New York for a while, but I found myself missing something. I was very lonely there and I craved the Midwest charm I’d always known. I was seeking purpose, and became passionate about becoming involved in my community and supporting local and ethical manufacturing after a six month activist trip in Africa. That experience allowed me to get a better view into what I could eventually create through my craft and passion.

A few years ago, all of the stars seemed to align. I met my husband, Phillip, and he became someone who inspired and motivated me daily to be creative. He is also someone who enjoys crafting with his own hands, and like me, had his own schoolyard business selling homemade beanie babies. In our first year of dating, we decided that we would make all of our gifts for each other. Phillip made for me a pair of wool mittens using a vintage Pendleton coat, as well as a cutting board. I made for him a wool pencil case, laptop sleeve, and journal. After looking at our gifts, Phillip suggested that the sewn goods could be beautiful made out of leather, and I agreed. We started trying to find leather, and found a local cobbler that also sold scraps from his hides of leather. We bought our first leather, and the sweet older couple taught us about some of the hand tools and techniques we should use. 

Our first product trials were a leather wallet and lucky penny pouch. Phillip and I quickly fell in love with our newfound hobby, and after a little trial-and-error we started to make more leather goods. At the time, I was selling vintage clothing and goods at our local market, slowly we started to introduce a small table of our leather goods alongside it. It was at one of these markets that my friend Nicki’s mother-in-law said she should start trying to design a purse. She wanted to have us make a bag for Nicki for Christmas, and suggested that I give it a try. 

During church soon after, I sketched a design, showed her and she said she would help us buy our first sewing machine to get us started. After finding a listing for a Singer 111 on craigslist, we went to test it out. It had been used to stitch WWII parachutes and it ended up being the sewing machine we used for our first six months of business as FOUNT.

Our first great bag was created after many discussions about what every woman would want. It quickly became apparent that our best chance would be a tote. Our mission has been, from the beginning, that we want to make products that are beautiful, timeless, and well-made enough to last a lifetime while also being made ethically. The Bellfield Tote was designed to be a durable everyday bag for anyone. It’s gone through many small transformations since, like adding two pockets and straps that are designed to be unbreakable. 

The first totes, though, were designed in our first apartment together on Bellfield Avenue, in a tiny studio that was ten-by-ten feet. The Bellfield Tote is now our number one seller, and is now available in three sizes. From that simple beginning, we have now grown our husband-and-wife business to a team of 41 employees. It has been a wonderful 4-year journey and I am so happy that we have been able to create a thriving community within and around it.

Today, after years of hard work and a leaps of faith, FOUNT has not just one, but two retail locations—as well as our studio where we manufacture. When I was growing up, my dad worked in a factory here in Cleveland and I had to watch the systematic loss of jobs and manufacturing until his job was ultimately outsourced. I always knew that when I was able to create a business, I wanted it to be able to stimulate my local economy and make my products here in the United States. Today, I’m happy to say that we have been able to do that by supporting our 41 employees, as well as community outreach through events.

FOUNT is a direct-to-consumer business, so we don’t have a face in the consumer market and boutiques. This can be a challenge, but until recently we have always marketed ourselves by attending maker shows. We take pride in making a high-quality product, and word of mouth is our best type of marketing. In every bag we place a little pouch filled with a couple of business cards that asks our new friends to share our message when people love their bag. It’s a very simple marketing solution, but FOUNT has had a lot of success because of it. We recently had an event in our Cleveland store and a lady pulled out three business cards and approached me. “I work for Apple, and I cant tell you how many times I have complimented your bags, but after getting several of these business cards I had to come see what you were all about,’ she said.

Aside from opening our two retail locations—in a time when people say brick-and-mortar is dead—one of the greatest accomplishments we have had has been to build an inventory. 

When we first started, we were making each bag by hand, one-by-one. Now, we do batches by type of hide or pattern. We were part of a television show that helped business-owners with their models, and one constant piece of advice we were getting was that our website was always sold out. We learned that we needed to take a leap of faith, bought a ton of leather, hired nine new employees and built our first inventory. It was a great success, and having a product that a potential customer wanted allowed us to grow our business further.

Every day with FOUNT seems to fly by. It’s very rewarding, and a lot of work, but getting to work with artists and artisans to create and share products makes it all worth it. We have three new designs coming soon, and are planning to create more elevated designs that can be formal, as well. Through this business I’ve been able to do something impactful, both in my community and across the world—like our partnership which brought over ten thousand dollars to dig wells in Africa and provide clean water. Being able to share our products with the world and see the positive impact that they bring to our families, friends, and community makes me every minute of this business worth it. 

— FOUNT Leather

A Tour of Village Common

 

VILLAGE COMMON

A PEEK INSIDE THE CATSKILLS SHOP

They're one of our favorite candle brands. We've known Ben and Blake of Village Common for years, long before they created their continually growing brand. Back in the fall we popped into their Catskill, New York shop to see the new space and to learn more about the brand and their journey into retail. 

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Who are you? The Village Common - Blake Hays and Ben Lebel

What is the story behind Village Commons? Beginning in 1968, and from where we get our name, the first Village Common opened its doors in Avenel, New Jersey. It was run by Grandma Bernadette, current owner Ben Lebel’s grandmother. In its first incarnation, Village Common was an antique store of carefully selected, fine pieces from all eras. Grandma Bernadette also had beautiful plants and flowers for sale on the front porch that always attracted passers by to stop in. 

In 1984, the Village Common moved to Stroudsburg, Pa., on the property of the Stroudsmoor Country Inn, and was re-imagined into a country store by Susan Lebel, Bernadette’s daughter and Ben’s mother. Antiques were still available alongside candles, soaps, homemade canned goods, and unique gift ideas. Susan has since blossomed this once country store into a thriving floral and decor studio. 

 From our southern roots, Billy Hays, current owner Blake Hays’ grandfather, opened his first country store in Pineville, Louisiana in 1960. It served as a vintage bodega; offering local produce and custom goods. Because of the construction of the new “American Highway”, Billy moved and opened his second store in 1978. This time offering mouth watering barbecue and other country store favorites. After years of serving his community, he decided to close the doors to his store. 

We bring to you a new installment of these family traditions blended together. Creating handmade, natural apothecary goods, kindled by their family history, we are continuing the legacy of the Village Common.

Why did you want to become a maker? I believe it’s just who we are and born to be. We were always making something as individuals and as partners. We saw the yearning for quality goods and something besides the mundane or what was available at every corner store. We wanted to create that for people. We also found a beautiful community of makers in the Hudson Valley and Catskill region of New York and wanted to contribute our skills and heritage to the movement. 

TO READ THE FULL STORY PICK UP A COPY OF FOLK SUMMER 2019 HERE

Wolf Jaw Press | A Conversation

We love upstate New York! between Earth Angels, Upstate Stock, and now Wolf Jaw Press we are itching for a visit! Recently we sat down with Alicia Burnett, the owner of Wolf Jaw Press for a brief chat about what she does, why she is a maker and why you should support American made. 

Who are you?

I’m Alicia Burnett, and I am a designer, artist, and all around maker. I’m also the sole proprietor of Wolf Jaw Press, a small independent printmaking studio that produces fine art screen prints inspired by the beauty of the natural world.

Where are you?

Right now my studio and I are located in the northern Hudson Valley region of New York State. I’m really happy living and working here. I think it’s a great location for makers like me that love nature and feel more comfortable living in the country versus living in a city. The countryside and farmlands of Upstate New York are a beautiful place to live; it can be quite rural, but it’s not so rural that I feel isolated and disconnected to the surrounding makers and local arts communities. I love the fact I’m surrounded by serene farmland and plenty of open space while still being close enough to New York City, Hudson, and Albany to be physically involved the art communities of those cities. 

Why are you a maker?

I am a maker because it feels like the most authentic and natural way for me to live my life and make a living for myself. I am a maker because for as long as I can remember, I have had an insatiable compulsion to create. It’s just something that is in my DNA I guess. 

What do you make?

Through my studio, Wolf Jaw Press, I make limited edition screen prints. 

How long have you been a maker?

While I’ve always identified as being a creative, artistic individual with a strong desire to make and create, professionally, I haven’t been a maker for that long. I graduated with my MFA from Pratt Institute in 2015, and shorty afterwards I established Wolf Jaw Press. I’ve been a professional maker for less than year! Establishing my own studio and business has been quite the process, but putting in the long hours and hard work has been so worth it. Everyday I learn something new, and seeing my studio slowly but surely grow and flourish gives me an indescribable sense of satisfaction. 

Why did you decide on what you do?

It took me a long time to find myself artistically. I attended the Rhode Island School of Design where I spent most of my time as an undergraduate student trying to find a medium that felt comfortable for me. I watched so many of my friends as freshman and sophomores immediately gravitate towards a specific major, and then to a specific medium or process. Meanwhile, I felt like I was interested in too many things. I wanted to do any try everything, but nothing I artistically experimented with felt right. 

It wasn’t until the tail end of my junior year that I had a moment of clarity. On a whim, I decided to take a screen printing class with RISD’s printmaking department during the spring semester of my junior year. Within weeks I was completely in love with the screen printing process, but it still took me a few years to find the courage to establish my own screen printing studio and business.

The catalyst that finally pushed me to take the leap of faith and start my own studio were the repeated failures I had at trying to break into the corporate world of design. After my graduation from RISD with my BFA, and then from Pratt my MFA, I had interview after interview with companies and design firms, but it seemed that no one wanted to hire me. In hindsight, these “failures” in getting hired, while discouraging and frustrating at the time, pushed me to realize that maybe I should try to open my own studio and be self employed.

Favorite part about being a maker?

There is so much I love about being a maker! In short, I love the freedom and control it gives me in my personal and professional life. While being self employed undoubtedly comes with an expected level of uncertainly and stress, I have been able to experience a level of freedom that is both liberating and exhilarating. By being a maker, I get to do what I love everyday and I get to be my own boss. I decided what I want to make and when I want to make it, I create my own hours, I decide what projects and collaborations I want to work on, and I get to decide how and in what direction I want my business to grow. 

I also love that each day always hold something new and different. I could never have a job where I do the same thing everyday sitting at a desk. As a maker and a self employed artist, I get to first and foremost create the art that I love to make, but I also get to explore and learn about financial management, business strategies, legal procedures, accounting, and marketing. I’m learning and exploring so much. I find that my days bouncing between slinging ink in the studio, compiling and analyzing finical reports hunched over my laptop, or researching small business growth strategies are engaging and deeply rewarding. 

Why support makers?

When you shop for items made by artisans and makers, you can expect receive high quality goods crated with care while your dollars contribute to and strengthening a local economy. By supporting makers, you are also helping support someone’s passion. We makers care so deeply and passionately about what we do, and through buying our goods you enable us to make a living off of our authentic passion for creating.

FOR MORE: WOLF JAW PRESS

A Lifetime of Leather with Duluth Pack

In the year 1870, a man named Camille Poirier came to Duluth, Minnesota with a dream of opening a leather and canvas good's store. Over 130 years later, this dream is still alive and growing. 

Duluth Pack is the is oldest canvas and leather bag and pack company in the USA. Still located in Duluth, they have not ceased manufacturing high quality, built-to-last canvas and leather bags, packs, and outdoor gear in their century-old factory.

Their quality and values have not wavered or waned since their beginning. Duluth Pack continues to embrace their American made heritage. Not once have they compromised quality for quantity, instead they continue on in the one-customer-at-a-time way of doing business that they have always valued.

Duluth Pack sticks to tradition well as their craftsmen and women have been using the same reliable, timeless artisanal techniques since the beginning of the company. Not only do they cherish their customers, but also their employees. The talented sewers are actually able to sew their name with pride into the high quality product that they have thoroughly hand crafted with skill and precision. 

Typical products found other places are built to fall apart and be thrown away. One of the many amazing things about this company is the life time warranty that they offer. It is a guarantee of the longlasting quality of their products.  

 

As they honor tradition, they also have been cutting edge in their designs and keeping up with the times while maintaining the beautiful essence their company carries. There are 15 canvas colors available, along with wool, American bison leather, and an assortment of other American leather products to choose from. No matter the product you are interested in, you can be reassured of the highest quality.

Duluth Pack is special for a myriad of reasons. Their packs carry the power of storytelling and so many memories are made with the packs. Adventure calls when you get your hands on one of these packs. 

Their humble beginnings back in 1882 has grown and amassed into a worldwide organization. Products are sold to a global consumer through their flagship retail store in Duluth, MN, their online retail store, and a global network of dealers.

Duluth Pack has extended a 15% discount in the online store for all of those apart of the Folk Family. Go pick out a pack perfectly suited for your next adventure. With so many styles and colors to choose from it is going to be a hard decision. (Personally leaning towards a Burgundy Scout Pack myself) 

CODE: FOLK15

Click here to view their website and online store

Follow them on Instagram to share some love with the Duluth Pack team for their generosity and commitment to their customers! 

Instagram: @DULUTHPACK