Package Free: An Interview with Makers, Lauren Singer and Daniel Silverstein

WORDS: Yahdon Israel
PHOTOGRAPHY: Zach Gross

There are two paths that lead to Package Free, the one stop pop-up shop, in Williamsburg, Brooklyn, that offers everything we need to transition ourselves to a low waste lifestyle. One of these roads comes by way of Lauren Singer, the 25 year-old Brooklyn-based galvanizer behind Trash is for Tossers. A blog documenting Lauren's attempt to show what a life without waste can look like. The catalyst for Lauren's decision to pursue this journey was informed by two experiences. The first was in her senior year of college where she, while majoring in Environmental Studies, remembers a professor hammering down the importance of "living your values." That the environment, and our relationship to it, was and is more than theory, but practice. 

During that same time, Lauren witnessed the wasteful habits of a fellow Environmental studies major, who would bring their lunch in a single use plastic bag, water bottle and plastic container. The irony was enough to drive Lauren mad. But Lauren regained hope when she learned of a family from Mill Valley, California, who produced little to no garbage under the moniker Zero Waste Home. This was all Lauren needed to see. People who walked their talk, even if others were unable to follow. Lauren takes this path seriously. She not only reduced her waste exponentially—her trash from the last four years of her life literally fits into a 16oz mason jar—but with her organic laundry detergent, The Simply Co., she's also changing the way we clean our clothes. Lauren began making her own detergent when, a year into her TIFT blog, she began receiving notes from her followers, asking her which cleaning products were toxic free. The more she looked to give her followers answers, the more she realized she didn't have them. So she made her own.

The other path to Package Free is the one of New York based fashion designer, Daniel Silverstein, whose clothing brand Zero Waste Daniel, treats discarded textiles the way a well-seasoned chef uses day-old ingredients. His brand reinvents the notion of "old" to expand the possibility of what new can be. Like Lauren, Daniel bore witness to the insanely wasteful methods of the fashion industry and decided the best way to lead the new frontier of a cutting back on waste is by example. His pattern making techniques make it so that 100% of the fabric is used. For many, "reduce, reuse and recycle" is a catchy slogan. For Daniel it's the light that guides him, leading him to be a finalist on NBC's Fashion Star. Daniel understands that fashion impacts the earth we live on as well as the bodies we live in. 

Lauren and Daniel's parallel paths converge at Package Free, where we talked to them about the impact we have on the environment, our responsibility to each other as global citizens to save it, and how we can do it, one package at a time.

What was the first thing you remember making?

Lauren: That's poop. It's probably the first thing that I ever made with my body. And I think it plays into the idea that people think the things that they create as humans as segregated from the larger idea of waste. The things that we make are also trash, even though they're something created by us. People are like, "Going to the bathroom is so natural." Or like, "Making clothing is so artistic." But, I think that Daniel has realized that, even though it's art, it's also trash. Even though something that I do is natural, it's also waste and removed from this system even though we categorize the product as something other than trash, which is funny because it almost removes the human form the culprit of waste.

Lauren's First Make: Poop, Age 1.

Lauren's First Make: Poop, Age 1.

Daniel: I could remember the barbie doll. My sister and I used to call her Kira because I liked that name. Our parents were out. I don't remember what my sister was doing but I took an entire box of tissues, a whole roll of tape, and made dresses on every single one of the barbies in the house. My mom was like, "What the 'f'? You cannot take all the tissues and use all the tape." I was like, "Oh." Then, the next day she came home and I had used a whole roll of tin foil.

Daniel's First Make: Dress out of tissue paper, Age 4-6.

Daniel's First Make: Dress out of tissue paper, Age 4-6.

Why do you do what you do?

Lauren:  I remember in the fifth grade, there was this girl that someone made fun ofI think it was her dressand it made me feel like dying. I just remember thinking, "How could people be so mean?" That deep-seated sense of empathy manifested itself when I was in high school when I became aware of what was going on with the environment. Then when I started learning about environmental issues through reading Rachel Carson's book, Silent Spring, I found myself returning to the same kind of concept of like, "How can people be so destructive and inconsiderate?" I think everything that I do is to try and combat these things that I don't understand. My goal in life is to help create positive environmental change. I know that if I do anything, it has to align with that goal.

Lauren Singer.

Lauren Singer.

Daniel: I've explained to people many times in my life, art is a compulsion. I was that kid who liked to stare at the clouds and see shapes. I cannot help but look at life with a different perspective.

I struggled with most of my young life to figure out what was "wrong" with me. I was so distracted all the time. I was tested for ADHD. My mother, thank god for her, refused to medicate me. Her approach was, "He's creative, and he's smart." Every time they took me to be tested, I could focus and I could take a test, I was just bored. After some time of asking, "Am I an artist? Am I a designer? What am I doing?" I figured out a way to use that for my benefit. To advance the field that I'm working in. To see things in other shapes. That's how I started my career.

I started my collection with the idea of making patterns that have no byproducts because, I didn't want to be a part of the wasteful aspect of the fashion industry. I would look at these patterns and say, "Well that kind of looks like something we could use. So why don't we flip that sideways and make that a sleeve?" It was that kind of working with shapes and continuing to innovate on patterns that eventually led me to realize: it didn't matter how many times I could, individually, make a cool pattern that didn't waste anything. I am a part of an industry that's still insanely wasteful. So I started to ask myself how do I spread this awareness.

Daniel Silverstein.

Daniel Silverstein.

What's interesting about is that you both seem to have internalized a sense of personal responsibility about what happens in the world. Some people don't see the environment, or anything beyond them, as their responsibility.

Lauren: I think there's a disconnect for a lot of people. One step further is, "I'm not even responsible for this, because this doesn't contribute to that." Many people don't see, or believe that their actions have an impact on the system. I feel the complete opposite of that. I feel like every single person's actions are what create the system. If you don't do everything in your power to create the world you want to live in, that world will never exist.

"Think Outside The Box" Signing in Package Free Shop. Brooklyn, NY.

"Think Outside The Box" Signing in Package Free Shop. Brooklyn, NY.

In addition to making products that teaches sustainability and accountability, what other ways have you each found to empower people? To make them see that their we all play a role in this?

Lauren: With Daniel and I, the first thing we both did was change the way we were doing things in our own life before we even tried to tell other people. By our own lives, I mean, Daniel within his world and life of creating and designing, and me just in my own personal life to live in alignment with the things that I was studying. And what I found is that, by doing something for yourself and living your truth consistently, people eventually want to know what you're doing. They'll find interest in you. If you just start talking about what you're doing, it's contagious.

Daniel: Two things. One of them is sort of to your point of feeling this personal sense of responsibility, I've heard a lot of people say like, "Oh you're so very millennial. Super millennial." I take that as a compliment because I think that as millennials we're broken into two different groups. There's the group that feels insanely entitled, and then there's the group that feels insanely responsible.

I think that Lauren and I found each other because we both fall into this group of young people who feel like, if we were raised to feel like we were special, if we were raised to feel like we had every opportunity, then it's up to us to fix things.

Daniel discusses with Yahdon what a "Zero Waste Life" entails.

Daniel discusses with Yahdon what a "Zero Waste Life" entails.

Where did you find your inspiration from? Who are some inspirations from where you're standing?

Daniel: One of my biggest inspirations, and she hates when I say this, is my big sister. She's not particularly interested in fashion. She's not particularly interested in city life or any of that stuff. She cares about the environment, about leaving no trace, about living an authentic life that makes you happy, about doing something that you're passionate about. She cares about exactly what you mean and meaning exactly what you say. To me, it was like, "How do I express myself creatively through the art form that I love and still impress someone who doesn't care about what I do?"

Lauren: It's like when you're asked those questions in college on the essays and they're like, "Who inspires you?" I was always that person who was like, "No one?" For me now, it's not as much inspired but, it's energized by who takes responsibility by the world around them, sees a problem, and makes it their mission to change it.

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What is something that you wish that you would have known sooner?

Lauren: I feel like how we did everything was exactly how it had to happen. Entropic, chaotic, creative, collaborative, just mess and chaos. Everything just came together so perfectly because it was exactly what it was supposed to be. Daniel and I came up with this idea four months ago. Creating it was like breathing. When we have an idea that feeds us, it has to happen. For us, opening the store, there was no choice. From the four moths ago when we first had the semi-drunken conversation to start this store, to now. We built up this store in a week, which is something that no rational person would ever do because it's crazy, but we made it work.

Everything happened organically. I think that's what happens when you have a project that's bigger than you. It's about creating the world that we want to live in. I think it was so easy for other people to just connect to that idea and want to be a part of it. 

Daniel: That's a great way to put it. One of my best friends had said to me at the launch party, "You are the definition of 'If you hadn't done it exactly the way you did, you wouldn't be here.'" It was like you had to fail at something. I had to go through a personal loss. I needed to lose myself and find myself to come exactly here. One thing that Lauren and I both came into this experience with is having had business partners before. That awareness and that life experience made it so easy and no natural to work together. I couldn't have done this a year ago. I couldn't have done this five years ago. It had to be now.

One of the things that I heard you say Lauren, is that living a zero waste is not hard; it's inconvenient. That's a very poignant distinction to make. What's been the reaction to this that you weren't expecting to receive?

Lauren: I don't think I was expecting anything. I also didn't have time to expect anything. When I do something it happens because it has to. I don't give myself any other options. When Daniel and I decided that we were going to open the store, there was no other option. My only expectations was that we were going to have a store, that it was going to be amazing, and that it was going to be open. That's the intention that I set.

We got asked a question in the CNN article about why we decided opening a store as oppose to curating a digital space. I've been in the digital space for four years now with my blog. I've seen the numbers and know the hundreds of thousands of people that come to my site, but those numbers don't mean as much to me as seeing what those numbers reflect, which is actual people. 

The unexpected thing, for me, is seeing real people come here and tell us, "I have reduced my waste because of you two." Before opening this shop, there was just this idea of people. Connecting to people, hearing their stories, and why they're reducing their waste, is why physical spaces will never go extinct. That human connection, and talking to people, and understanding how making these steps has changed their life is like air. It's what feeds us. I didn't expect that I would be so captivated by the people that were drawn to this idea.

People need to take responsibility and with this shop I'm seeing that people want to take responsibility. We're empathetic, sympathetic creatures. We can't live in a world devoid of human connection, contrary to what the internet is trying to make us think.

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Daniel: People keep saying, "Thank you for doing this." It's almost chilling to hear because I wasn't expecting it. At times as an entrepreneur, everything feels incredibly selfish. My life is so focused on my work and what I'm doing. So sometimes I have to say "no" to attending someone's event, or say "no" to a meeting with someone I care about,  and it makes me feel like I'm doing is self-centered. To have this reaction, where people feel like I'm doing is for them also, is so heartwarming.

What do you feel like this journey has taught you about yourselves? 

Lauren: I think I learned that I need people. We are so much stronger together than we are when we're a part. I could have had this idea and Daniel could have this idea, and we could have tried to do it by ourselves but, it never would have been what it is now. There would be seconds where Daniel and I would be outside doing our own thing, and while we were out there, people who just wanted to be involvednot because they were being paid or hired or whatevercame and helped. I really didn't expect that energy and it just changed my outlook on community completely. Contrary to how stubborn or independent I think I am, I've learned that I need community.

Daniel: I learned I am someone who prides myself on my sense of self. I'm really in touch with my feelings. I know how I feel about things. I know what I want and what I care about. In a very weird way, I've been so disconnected form myself for such a long time. I've heard that phrase ;do what you love then money will come' a million times in my life. Package free is the first time, and the culminating event in my life so far, of actually doing what I love. What I really, really ... I mean, this is the first project ever where I didn't ask anyone. I didn't get any opinions. I didn't try and get permission. I just said, "I have to do this." And Lauren said yes to this adventure with me. I was like, "Do you want to do this together?" We agreed mutually. This feels like it's who I am.

What do ya'll feel like you all need to continue doing what ya'll do to keep this movement moving?

Daniel: I have a need to create. I don't need to ask people if I can make things. Take every material away from me, and ill make something out of what's left. That's the authenticity of who I am as a designer and a maker. With Package Free, we are not independently wealthy. We are not trust fund kids. I personally, barely have an income. If I wasn't living a zero waste life, I couldn't afford to be in New York. It's that kind of authenticity that Package Free came out of. This was something where there was enough community support, industry support, and enough of that need to create that fueled Package Free.

Lauren: For me, I think that a lot of children aren't asked enough, "What makes you feel good? What do you want? Why are you doing what you're doing?" We're asked, "How does this other person feel? What are you doing that bothers someone? What are you doing that makes someone feel good?" What I need to keep doing this is just asking myself, how do I feel? Do I feel energized? Is this something that I want to be doing? What is it that I want to be doing? What are my values? What do I care about? I think that's what helps to keep things authentic is knowing my value. My goal is positive environmental change. That's what I care about, and that's what I'll always care about. It's just checking in with myself regularly and being like, "Am I living in alignment with that sentiment?" Just making sure on a daily, multiple times per day, that I'm checking in and making sure that I'm on the path that I want to be on and that I feel good.

MakersFinders is a digital platform that connects independent makers to passionate finders. 

We have an app in private beta. We publish stories. We host events. And provide quarterly grants for our community of Makers and Finders. 

Our team is dedicated to cultivating and connecting communities across various industries and cultures.

Makers2Know at the Capsule Women's Show

WORDS: Yahdon Israel
PHOTOGRAPHY: Mari Juliano

Earlier this year MakersFinders' founder, Jill Andresevic, joined me on a trip to the Capsule Women's Show at Clarkson Square in West Soho, NYC to find more Makers whose makes and stories deepen our own knowledge of the culture we're helping to cultivate and contribute to. 

When we attended the Men's Capsule Show in January, we found 5 Makers who managed the difficult task of being outstanding in a room full of stand outs. And now we're back with 7 more Makers who are bringing depth, breadth, and kick ass concepts to the wonderful world of womenswear. From sneakers inspired by Japanese minimalism to handmade portal bracelets that shoot us into other dimensions, here are the Makers2Know!

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On They:

We make leather sneakers inspired by Japanese minimalism and German Baohaus design. We are based in New York City.

On why they make:

We wanted to create something that is austerely simple and still captivating. Our family has been in the Japanese shoe-making industry for three generations, and my brother and I wanted to create something that uniquely represents the aesthetic and style we appreciate. 

On their Circle Lows:

Our Circle Lows are one of our most popular styles from our Core collection. For this season, we experimented with new materials such as canvas and suede, while also offering our signature leather options as well, but with new colorways.

The design of the sneakers may look simple, but it is deceivingly complex to construct. Due to the nature of the design that extends to the sole, we developed a patented technique where each individual custom made rubber sole has to be hand-aligned to the upper (top half of the shoe) in order to ensure the fluidity of the design is not interrupted.

On Capsule:

We are a fairly new brand and just launched our second season. We are hoping to reach a larger audience by coming to Capsule and begin building relationships.

On where They NYC can be found:

Website: www.theynewyork.com

Instagram: @theynewyork

Twitter: @they_newyork 

Facebook: @theynewyork

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On why she makes:

I am inspired by energy, beauty and the timeless. Jewelry is not only an accessory, but an artform and object passed through generations. An inheritance. 

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On the Portal Bracelet: 

The Portal bracelet is part of the Eye Am collection. Inspired by ancient Egypt and the Isis Oracle. Portal is a door, an openness to a new experience, a bravery into the unknown.

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On the Capsule Women's Show:

It was my very first trade show! Capsule is one of the most acclaimed trade shows for new talent and independent designers.

On where Izaskun Zabala can be found:

Website: www.izaskunzabala.com

Instagram: @izaskunzabala

Twitter: @izaskunzabala

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On House of 950:

The collection is mostly separates that can be mixed and matched. It’s an exploration of color, line, shape and form. I make an effort to not saturate myself with images from fashion. I want to create an authentic voice free from references.

On why he makes:

There is this drive inside of me. I have no idea where it comes from, but if I’m not turning my ideas into clothing, it feels like a part of me is being suppressed. There have been times where I was thinking I should just stop, but then I can't. I think with anything that you are creating that comes from within, it’s hard when what you create isn’t received as well or the recognition doesn't happen as fast as you'd like. Everything takes time. I’m coming to terms with that.

On the Twist Dress:

This dress (twist dress) is a pattern making concept of mirrored images, just constructed differently on one side so that it is able to “twist” into the dress. Many pieces from the brand have an interactive feeling, where the clothing takes shape once the person puts it on. It creates a feeling of exploration and discovery so people can create their own way of wearing it.

On Capsule:

Garmentory asked me if I would like to join their section of designers they were curating at Capsule, and I said yes! It really felt like the collaboration of like-minded individuals, which was the best part. Because this was a group effort, it made the experience way more enjoyable!

On where House of 950 can be found:

Website: www.shophouseof950.com

Instagram: @houseof950

Facebook: @houseof95

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On Alexa Stark:

Clothing used and ethically sourced new material. All clothing is designed and produced locally in America. Portland, Oregon.

On why she makes:

My work speaks to the environment, women and small business. I believe it is a designer's responsibility to create awareness. Whether that’s through the product itself or the message told through marketing. Art and design have the power to present to the world social justice, environmental and political views because it is in appearance to the eye or mind in every moment of our day. Through the power of social media and publications we can be seen and heard. It is our responsibility to use these tools to teach.

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On where Alexa Stark can be found:

Website: www.alexastark.com

Instagram: @alexastark

Facebook: @shopalexastark

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On Against the World:

Against the World is contemporary women's wear line. Basically, girls who are go-getters. It stemmed from me wanting to make something that women feel like entirely proud of and like super excited to wear that's not men's wear. A lot of the time I feel more confident in men's wear and I wanted to extend that confidence to women's clothes.  

I want to make something that's popping that looks unisex, but is really for women. The same way women have to oftentimes go to men's clothes. We want men to come to the women's clothes.

On why they make:

The reason why I make clothes is because I want to see people the way I envision them.

I make clothes specifically because, as I said earlier, I want to bring that confidence and comfortability to women's wear that I see exist in menswear.

On the bondage jacket:

This is like more hardcore piece of the collection. We wanted to make something out of sort level up.

We were just talking about straps because we did these pants for a collection last Spring/Summer. So we made a jacket to go with the pants.

On Capsule:

It's progressive. You see a lot of people, and not everything's the same. You have your almost couture brands and then you have your very street brands. And I would say we're somewhere in the middle so we can meet any type of buyer or stylist that's looking for anything in between.

On where Against the World can be found:

Instagram: @atw.inc

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On FORS NOME:

In Denmark there is not many brands who are unique. It's a lot of mainstream clothes. I want to do something different. I worked for a mainstream brand, but it was too boring for me. I want to be my own boss, and make crazy clothes. "FORS" is the first part of our last name. "NOME" is like being numb, you don't have any feelings. Together it means that we're numb to what goes on around us, and are just feeling what we make. 

On why she makes:

We believe that your choice of clothing shows your personality, and that clothing develops its own personal identity that comes from within. This is the foundational belief at FORS NOME. We want to challenge people with our designs and encourage them to try something new and bold, something with kinetic energy and spark and possibility.

On the fax-fur coat:

It's difficult. I wanted to make a coat that could have several looks. I always think it's funny to combine things. And change looks wherever you want. That's why we chose the wool and the fake fur.

On where FORS NOME can be found:

Website: www.forsnome.com

Instagram: @forsnome

Facebook: @forsnome

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On Third Crown:

Third Crown was born from the idea of two design creatives coming together to form a third entity. The Third Crown brand. So in that, we design everything from a men and women's design prospective. A lot of our pieces are seen as unisex, and can be worn that way also.

You can tell that we use triangles to form the crown. This was three triangles that form one crown. And really when coming up with the idea of the name, it just sort of made sense to be using a triangle, at all three points so, it's two joining together to form one. That's really how it all came about.

On why they make:

Kristin: I interned at David Yurman and then from there I went to Reed Krakoff, then I went to Eddie Borgo, and after working for all of those rich men I'm like, let me start my own company. I'll bring my husband along, and so from there, that's where we started the jewelry.

Kofi: It's really the main element of design is taking an idea and being able to bring it to life. That's pretty much the element that I bring to the table: the fact that we can actually come up with this concept, and come up with these designs, and actually produce them. That's always been my love, and that's why I'm a designer in the first place, so it was an opportunity to spread my wings. 

To work in a hard metal and still make it fluid, and still make it work with a persons' style and the day to day, this is a nice challenge for me.

On the Melting Arc Marcy Collection:

This is the Marcy Collection. It's like melted arc, but we turned it into Marcy. So, this is the bracelet and the choker, but then you also have the shoes that you could also wear with it. We wanted to get into making an accessories brandshoes, purses, eventually lifestyle.

On Capsule: 

I feel like Capsule's more curated and more approachable. It's just more intimate for clients to come by and really enjoy the space and take their time, look at things, and see them for what they are.

On where Third Crown can be found:

Website: www.thirdcrown.com

Instagram: @thirdcrown

Facebook: @thirdcrown

Twitter: @thirdcrown

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MakersFinders is a digital platform that connects independent makers to passionate finders. 

We have an app in private beta. We publish stories. We host events. And provide quarterly grants for our community of Makers and Finders. 

Our team is dedicated to cultivating and connecting communities across various industries and cultures.

MakersFinders at THE ONE MOTO SHOW in Portland, Oregon

WORDS: Yahdon Israel
PHOTOGRAPHY and COMMENTARY: Christian Torres                                   

Earlier this year, MakersFinders dispatched photographer Christian Torres to Portland, Oregon to attend the One Moto Show. An annual gathering which celebrates everything there is to love about motorcycle culture. What began eight years ago in an old abandoned warehouse has, and is, steadily evolving into a vibrant community of people who appreciate not just the nuts and bolts of motorcycles but its rich culture. 

Founded by Thor Drake of See See Motorcycles, The One Moto Show contributes to this culture by hosting the annual meeting FREE of charge to both exhibitors and attendees. This doesn't mean the show didn't cost anything. With the donation of its time and resources, the One Moto Show and the people who support it highlight the price we are willing to pay to foster and preserve community.

For this reason, Christian could not overstate just "how damn friendly everyone was." He was encouraged to ask questions about the culture he had just come in contact with. Because next to time and money, one of the most valuable commodities we have, as people, is information; and here Christian, with the help of the Makers he met at the One Moto Show, shares the wealth. 

Christian: Super-friendly and high energy team of Jaime Dempsey, Anya Violet, and Corinne Lan Franco. LA industry-fashion women who saw a void in high end, chic designed motowear for women.  The company is quite young, I don’t think even a year old, but was being extremely well-received at the show and for good reason. I personally loved their “cosmic” take on riding, likening the experience to being on a rocket ship, the slick branding video on their site very much reinforces this perspective.  Some of my favorite people at the show. 

On ATWYLD:

We're a women's motorcycle apparel brand that makes technical riding gear for women. We also accompany our apparel brand with a lifestyle line. We make everything in downtown Los Angeles. We have a lot of craftsmen there who make great leather jackets and t-shirts. We have an urban shirt, leather pants, some denim, Kevlar lining, all of those fun technical materials. 

On why they make:

As women who ride motorcycles, we noticed that there was a huge void in the market as far as fashionable clothes that also had protective qualities that women would want to wear that fit well. We were all in the apparel business before (mostly in the surf skate business). We were on a motorcycle ride riding through Angeles Crest in California and we stopped for lunch. We were like, "None of us are wearing anything that would help us if we went down because we're sacrificing the function for fashion."

That's when we decided we were going to try and create clothes that we would want to wear but would also be functional for riding. Since we launched in July of last year, we've had an incredible response from women.

On their aesthetic: 

We wanted to be a modern motorcycle brand. Not something that was just about riding bikes and partying. We wanted to go beyond that and wanted to transcend into the realm of space exploration. Just give a little bit of a different twist on the motorcycle scene. It's like riding a rocket ship, you know?

On where ATWLYD can be found:

Website: www.atwyld.com

Instagram: @atwyld

Twitter: @atwyld

Facebook: @atwyld 

Christian: Paulo grew up in Mexico and played in a touring rock band. He wound up in the LA fashion industry without really have any technical or formal education but learned everything working his way up the industry ladder. Very calm and chill demeanor, extremely friendly and just a really mellow guy and made some of the most premium leather moto goods at the show.

On Pagnol:

My name is Paulo Rosas, and I'm a motorcycle gear designer behind Pagnol. I'm originally from Mexico, but I've lived in the States over for 26 years or so. I was a musician, then switched careers to the fashion industry in Los Angeles for a while. I have always had, even before the music, a passion for motorcycles. Later on in my fashion career I decided to fuse my passions of design and motorcycles and created a motorcycle gear brand for the new wave custom-made scene that I saw happening. 

Paolo Rosas.

Paolo Rosas.

On why he makes: 

As a designer you always have the goal of creating a timeless signature style. I wanted to create a brand that would resonate with someone in the same way a well-known song would. Just by looking at it, you would know who made it.

On the Moto Show:

The One Moto Show is a show about motorcycle builders. Over these two years quite a few of the builders have become part of the culture of the brand, and representing the brand. It just goes hand in hand with what I do. 

On where Pagnol can be found:

Website: www.pagnol-motor.com

Instagram: @pagnol.moto

Facebook: @pagnolmoto

Christian: Jerrod is from a very loyal and community driven dude, as he seemed really proud of their barber/retail shop in OKC and the history behind what they were doing and the scene they had curated for themselves.  Had a crew of guys at their booth where they were lining and trimming dudes up in in a classic barbershop chair.  Handsome with a slight sense of rust around his edges, like maybe he’d seen some unspeakable shit at some point in his life but fortunately came out the other end a stronger and better man.

On Weldon Jack:

Jerrod: I'm based out of Oklahoma City with a shop called Weldon Jack. It's a sixth year barbershop and a retail space in an old service station in Oklahoma. This guy built it in the sixties and he worked there until about five years ago. Then we took it over and opened the shop up. So secondary to the barbering service, the biggest thing that we do is we make all our own grooming products. All natural ingredients.

We make about 25 different products. Everything from beard to body products. From beginning to end—label, bottling, packaging, ingredients, they're all raw ingredients.

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On why he makes: 

The shop is named after my grandfather and it's kind of cool to be like your grandpa. People can make fun of that but the reality for is my grandpa was Superman, to me. He was the coolest guy ever and people knew him in public, he was always really friendly and easygoing.

Barber shops should be that. You should be able to walk in and feel a part of community. He was a barber and a mechanic in the Air Force. He was stationed in Iceland in late 1940s. He would give haircuts where they were stationed and made the guys feel good about themselves.

We spend a lot of time and care on what we make. We do it one at a time, the good old fashioned way. This approach allows us to it provides jobs for people that are in our community. So our barbers, they're very well paid, you know.

On the One Moto Show: 

We've come here as spectators in the past and it fits really well with what we do. We're half provisions revolving around kind of old motorcycle vibes and half barbershop and what a better place to come hang out and be a part of a community.

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On where Weldon Jack can be found:

Website: www.weldonjack.com

Instagram: @weldonjack

Twitter: @weldonjack

Facebook: @weldonjackokc

Christian: Very sweet and probably one of the busier or at least most well-known vendors at the show. I believe she comes from a family of seamsters.  Don’t really have much to say about her other than she was very friendly and just seemed like a really genuine hard-working gal with some really superior craftsmanship on her seats.

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On New Church Moto:

I'm Ginger McCabe, owner/operator of New Church Moto. I make custom motorcycle seats and accessories. I started my business in Portland about seven years ago. I decided to move down to Bandon, Oregon which is way down south on the coast. City life was getting to me a little bit too much and I was to a point where I could work from home so it didn't matter where I was.

Nine years ago I moved [back] to Portland from the Bay Area and I started working at Langlitz Leathers making motorcycle jackets and pants and stuff. A lot bunch of my friends rode [motorcycles]. I was always on the scene and one of my friends approached me and asked me if I could make a seat. "Sure, I'll try," I told them. Over the next six months everyone just started asking me to make seats for them and I pretty much just taught myself out in my garage while I was working at Langlitz still. As soon as I began making enough money to feed myself, I quit Langlitz. I bought my own machine and started doing it full-time.

On why she makes:

It just really resonated with me because I have a fashion background. I'm able to be creative. Motorcycles are sort of like clothes, because I get to dress the seat. It's also really interesting because a lot of times, the seat is the last thing that goes on a bike but it's sometimes the first thing people see.

On the One Moto Show:

I have been involved with The One Moto Show since the second year. Itor, the founder of The One Moto and CC, gave me my first shop space when I first started. That was also the first year of The One Moto Show. 

This is the first year of him having an actual vendor section. There would be sponsored little vendor things set up before but this year I was like, "I need to get out there and bring some of my seats for people to see." It was a good idea.

On where New Church Moto can be found:

Instagram: @newchurchmoto

Nial McGaughey.

Nial McGaughey.

Christian: Could probably build anything out of anything - a self-proclaimed “garage-sale” guy.  Probably grew up watching McGuyver or idolizing Doc from Back To The Future.  Hand-fabricates parts for bikes and amplifiers and at one point was a software tester for Microsoft.

On Hovercraft Amps:

Nial: Hovercraft began pretty organically. I was a touring musician for probably about 20 years. I got into electronics in high school; followed it up through a tech career for a while. I started building guitar cables cause nobody made a good guitar cable, and that evolved into researching more about amplifiers.

I ended up working for an amp company in LA doing assembly work and some customization. Next thing I know I actually had come up with something cool. The amps are the main thing I do, and it kinda bleeds over into everything else.

On why he makes:

Nial: I make what I make because no one else does. I wanted to make amps that sounded the way I felt they needed to. Most of the amps that are out there are black or white. There's no gray area.

I wanted to try and not only push sound in different directions, but try different things that other people hadn't. Combine and separate sonic components so that they can have a unique sound. I wanted to basically evolve guitar tone beyond the standard iconographic pieces that are already there.

On One Moto Show:

I love motorcycles. I love music. Portland's pretty small, and there's a lot of cross-pollination between musicians that love motorcycles. A lot of the bands that have played here, at the One Moto Show actually use my amps.

Like I said, there's so much cross-pollination between motorcycles and music and rock and roll. It's got a history dating all the way back to the very, very beginning of custom motorcycles, so we're kind of neck in neck.

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On where Hovercraft can be found:

Website: www.hovercraftamps.com

Instagram: @hovercraftamps

Twitter: @hovercraftamps

Facebook: @hovercraftamps 

Christian: Super bright and articulate. Definitely one of the brainier guys there. Pretty extensive history working with North Face as well as creating his own design agency in Syren Industrial. Kevin clearly sees the bigger picture when it comes to running his own show, not just in terms designing top shelf products but understanding branding and marketing, distribution, sales strategy, research and development. 

On Velomacchi:

I'm Kevin Murray. The founder and CEO of Velomacchi and we're based in Hood River, Oregon. An industrial designer, originally by trade. I was the design director at the North Face for a number of years. So I have my own independent design firm, research, design and development, Syren Industrial. We build high speed carry gear and gloves. Just bringing back really high end materials and processes. You know, and the trims and everything to go along with it. 

We saw this kind a hole at the top end of the marketplace. So we created a real technical riding platform that applies to people's every day lives. Not only is what we make technical in a riding nature for off road weekend stuff, but it handles your day to day—commuting, adventure, work and play. 

On why they make:

In Moto, you know, if you look at the structure of companies now, with private equity firms coming in and buying up a lot of the brands, they pull a lot of the juice out of the ability to really create and innovate. So you're basically left with more of a commodity approach to product. As a result, everyone's fighting for the lower price point, and no one's really advocating for bringing really innovative and high quality gear to market. And that's what we're doing.

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On the One Moto Show: 

Thor and their group at See See have really done an excellent job of giving a place for all these like minded people. There is no one type of bike. No one type of rider. It's just an awesome place to see the inspiration of what's coming and how people interface with all the different cultures that's here.

On where Velomacchi can be found:

Website: www.velomacchi.com 

Instagram: @velomacchi

Facebook: @velomacc

MakersFinders is a digital platform that connects independent makers to passionate finders. 

We have an app in private beta. We publish stories. We host events. And provide quarterly grants for our community of Makers and Finders. 

Our team is dedicated to cultivating and connecting communities across various industries and cultures.

One of the Pack: An Interview with Maker, Allan Glanfield

WORDS: Eric Buron                                                                                                     PHOTOGRAPHY: Allan Glanfield

In 1995, after seventy years of absence, fourteen wolves were reintroduced to Yellowstone National Park. Despite the small number, the impact of these wolves transformed the park's natural ecosystem. The rampant deer population was brought under control, vegetation regenerated, valleys became forests, and migratory birds have since returned.

The same year these wolves were being reintroduced to Yellowstone, eight-year-old Allan Glanfield sketched them during long car rides with his family in Canada. Drawing was Allan's entertainment before the introduction of pocket technology and wolves were his primary subject of choice. His adolescent years of putting pen to paper paid off down the road when sketching menswear designs while studying at New York's FIT (Fashion Institute of Technology).

A multi-hyphenate Maker, Allan's reach is defined by his willingness to learn and his commitment to resourcefulness in the face of uncertain survival. He is part of a generational wave forging their own paths and seeking sustainable livelihood through independent work that is personally fulfilling and communally significant. Entrepreneurs are the wolves in our modern work force, revitalizing our concepts of how to make a life and how we interact with our environment. Allan approaches the precariousness and difficulties of this path with a determined and unassuming resilience. In his wake, he has already shifted the dial on a variety of industries: Allan teamed up with Chris Logsdon, the founder of GodSpeed Co., to design the Shop Rag Shirta shirt that redefines our relationship with an iconic material and the clothes we choose to wear; he got picked up by the national leather outerwear brand, Danier Leather, as their menswear and men's accessories designer; he uses his photographic lens to support his career while training his eye to view the wold from different perspectives in a kind of meditation with The Race of Gentlemen; Allan has even pioneered his own line of dog care products, Loyal Canine Co., elevating standards in the dog care industry by using natural ingredients that are safe and healthy.

Allan is a prime example of how individual greatness is not solely measured by who we are and what we do but also by the breadth of our contributions. In light of turbulent times, we all may depend on independent makers like Allan to lead us into a new kind of human ecosystem. When I met with Allan in New York where we talked about his first make, his design inspiration for the Shop Rag Shirt, and the importance of finding your pack. 

Allan Glanfield. 

Allan Glanfield. 

What’s the first thing you remember making?

I drew a lot as a kid. It was my entertainment in the car before there were electronics. Drawing people scared the crap out of me so I drew animals. I drew wolves all the time because they were the one thing I felt I was good at. I distinctly remember drawing the head and the cheekbone and as I got to the body I would progressively fail. I was an only child so maybe I saw the wolf in me? When I think of a wolf I always think of a lone, independent, roaming creature. It’s funny though, they’re pack animals so that’s rarely how they operate.

Allan's First Make: "Lone Wolf" Drawing, Age 8.

Allan's First Make: "Lone Wolf" Drawing, Age 8.

Why do you do make?

I grew up around makers. Both of my grandfathers were craftsmen and really good at what they did. My paternal grandfather was an industrial designer and a machinist. He would build machines and fix manufacturing problems in existing machines. He built and fixed pressing vinyl machines back in the vinyl days. His work was so precise. He was one of those people that if something broke or if he was missing something he would take it apart, make it how he wanted it, or build something new with it. We’re not talking duct tape- actually building something that looked like that’s how it was meant to be. I'd hang out with him every weekend and he'd make little toys and things a kid would like. He would plan everything in his head and I couldn’t understand how he did it. 

Allan as a kid with his paternal grandfather in his workshop. 

Allan as a kid with his paternal grandfather in his workshop. 

My maternal grandfather was very similar in that he spent a lot of time in the shop building things. He was a mechanical engineer and a hobby photographer. He built his own dark room, developed his own photos, and did some really neat old school photoshop. He passed away before I was born but my mom kept a box of all his dark room equipment. When I was in high school, I took his equipment and built my own dark room in the basement, started shooting, developing, super imposing images on top of images, and doing all these neat old techniques. 

From there, I ended up getting a digital camera. I applied to go to school for photography but ended up passing on it and kind of floundering for a while before going to school for menswear. Though I never fully committed to it as a paid gig, photography always seems to be floating in the background. In starting my own brands, I rely pretty heavily on photography and video. I also cover The Race of Gentlemen on commission and The Selvedge Yard is going to be selling my prints.  

Photograph from The Race of Gentlemen.

Photograph from The Race of Gentlemen.

Photograph from The Race of Gentlemen.

Photograph from The Race of Gentlemen.

Speaking of your background in menswear, what was the process behind the Shop Rag Shirt

During my time in New York, my friend JP from the Selvedge Yard told me about this guy, Chris Logsdon, who wanted to make a shirt out of shop rags. It didn’t make any sense. As a menswear designer you’re always looking for your angle. When someone says, “Here’s a little red rag, be inspired by that,” I thought, “How do I do that? It’s a rag.”

Chris convinced me to sit down with him and he went over this whole story of America, the hands that built America, and how those hands were cleaned with this little red rag. All the fibers that fell to the ground from the shop rag were scrap. They were swept up, spun into thread, and woven into fabric to become rags. All of a sudden, I started to see the angle and it was about using a material that had never been used for garments before; taking something that was for cleaning up dirt and grime and turning it into something bigger.

As the rag itself represents America and the hardworking people that built it, we felt very strongly that it had to be American made, top to bottom. The shop rag itself is now a Chinese and Indian material, made overseas. No one makes it here. The challenge became finding someone here that was willing to make the fabric from scratch. The next big question was, "How are we going to find all the little pieces and put this together?"

The shop rag has these unique details like the special Merrow stitch. Because of that stitch, the corners of the shop rag aren’t 90 degrees, they’re rounded. You’ll notice as you look at the Shop Rag Shirt that everything is rounded in some capacity. Normally, you hide the making and the innards of a shirt. We flipped it out to expose and feature the distinct elements of the rag like the Merrow stitch. Once a shirt is designed, my job's over until we decide to do another garment.

Allan Glanfield with Chris Logsdon, Founder of The GodSpeed Co. and the Shop Rag Shirt. 

Allan Glanfield with Chris Logsdon, Founder of The GodSpeed Co. and the Shop Rag Shirt. 

What’s the biggest challenge in being a Maker?

The hardest part is starting. The way to start isn’t clear and the preliminary work of locating, planning, and project managing is boring. I don't claim to have extraordinary ability, I just take the time to understand a concept and what I need. I start with Google. Maybe nothing comes up because fabric mills don't have websites or they have terrible contact information. Now I need to get all their phone numbers and call them. A lot of concepts are going to be around sourcing. How do I find the material? Once I have what I need, I can finally start building. There's always going to be a fear of, "What if this doesn't work?” Being creative is tough if it's not something you really believe in.

You also make a line of dog products called Loyal Canine Co. As a Maker of many trades, how do you decide what to make? 

A lot of it comes down to what I’m willing to put the most effort into. I've always had this debate with myself. Should I become amazing at one thing? Did I take the right route by trying everything but never being great at one thing? I loved the idea of e-commerce and wanted to get into it so while I was doing menswear design during the day I started tinkering concepts in the evening. Eventually the line of dog products came into play.

As a dog owner, creating dog products is something that’s always going to resonate with me. I grew up with dogs and eventually became certified in obedience, protection, and narcotic training; the three different categories of the K-9 unit. I have a small French bulldog and the whole brand started with the common issues found in bulldogs, especially that they tend to have dry noses. I tried a few moisturizers and balms that already existed and I didn't love the products.

The pet industry is riddled with companies that take shortcuts because there are no rules or guidelines. I also thought the branding could be a little more fun. Now I'm no longer buying dog products, I'm making them. I’ve got a little lab going in the house right now and I'm doing everything myself. I've made collars, leashes, and travel gear. I’m taking all the labeling laws and everything required for human consumer products and putting that into the dog products. By making a product that’s safe for people, I’m making it safe for a dog. 

Allan's home office and laboratory. 

Allan's home office and laboratory. 

What inspires you to make?

I'm inspired by people's problems and hearing about what someone is missing or a void in the market. As soon as I hear someone is not happy with something I think, "How am I going to change this?" You can't always obsess over what you want to be successful. You have to look at what other people want because they're the ones paying and you want to work together. You have to listen.

Some people feel that there is a void in the leather motorcycle jacket market- that there isn't something at the right price point. If I hear that that's a big enough issue, that's great because I want to do that. I would love to fill the void in leather outerwear. 

Is there anything you wish you’d known sooner? 

As money is an issue in terms of building a business, the one thing you can rely on is friends with talents to help you by doing things for free or for an exchange of services. You see a lot of creatives get their start by helping each other out. To this day, I’d like to put more effort into building friendships with creative people and a community of entrepreneurs. I don’t have a huge network here and I’m kind of in the dark trying to navigate everything I do on my own. It would be so nice to build a little master mind of people to look up to and bounce ideas off of for exactly this reason, to be able to ask, “How would you have done that differently?” I'd still be doing my business alone but we'd learn from each others’ mistakes and get a creative exchange going. It's like going to school, it speeds up certain aspects and helps grow a business. I wish I'd been more in this mindset earlier on.  

Allan with his French Bulldog, Frank.

Allan with his French Bulldog, Frank.

Loyal Canine Dog Soap. 

Loyal Canine Dog Soap. 

What’s the last thing you made?

Dog soap. The base is a mix of all natural ingredients like coconut oil, shea butter, and essential oils. Just like with people, a lot of these oils benefit dogs and I experimented to find a scent I like. I want dogs to smell good but developing the odor of the soap was meant to be very functional- I looked into what helps repel fleas, ticks, and mosquitos. It actually smells so good I use it on myself. I have an unlimited supply of soap.

What has making taught you about yourself and others?  

It’s given me intestinal fortitude. You're your worst critic but things don’t just happen and I’m hoping that grinding at it will pay off in the long run. Everyone perceives your life differently. People may perceive your brand to be bigger or more successful than it is. Only you really know.  

Allan Glanfield at home sporting a GodSpeed T. 

Allan Glanfield at home sporting a GodSpeed T. 

MakersFinders is a digital platform that connects independent makers to passionate finders. 

We have an app in private beta. We publish stories. We host events. And provide quarterly grants for our community of Makers and Finders. 

Our team is dedicated to cultivating and connecting communities across various industries and cultures.

Makers2Know from NY NOW

WORDS: MakersFinders Staff                                                                                       PHOTOGRAPHY: Christian Torres

Earlier this year, the MakersFinders team took a trip to the Jacob Javits Center, here in NYC, to visit NY NOW. The bi-annual trade show and leading market for home, lifestyle, and handmade products. With over 1,000 exhibitors featured, finding Makers whose stories were as unique as the Makes themselves could only be compared to finding a needle in a haystack. Without further ado, here are some Makers2Know!

ANDREW LEARY

Andrew Leary is the founder of Look Optic, a New York based glasses company specializing in over-the-counter reading glasses that are "fun, fashionable, and fearless." Because practicality is never an excuse not to be stylish, Andrew commits to designing glasses that give us a better view of what we see, while looking good in the process.

On Look Optic:

Look began out of necessity. My eyes started going bad and I purchased a pair of prescription glasses that were very expensive. Rather quickly I realized that I didn't need prescription glasses. All I really needed were readers. But the selection of readers were so poor I saw an opportunity to create something. To provide styles and colors for every occasion at a price where a someone could collect multiple pairs.

We're also partnered with Charity Water. They're a non-profit organization based here in New York that builds wells all around the world. Polluted water is the number one cause of preventable blindness so a partnership with them really hit home with us. One of the things they do that's really unique is raise all their administration money separately. 100% of the charity money goes directly to the building of the wells.

Andrew Leary.

Andrew Leary.

On why he makes readers:

Anyone who gets old enough will need reading glasses. By 50, almost 70% of Americans needs some sort of reading glasses. Look is my way of meeting that need.

On what makes Look Optic readers unique:

The quality of the glasses really differentiates it. We have a beautiful Italian spring hinge which, for anyone who knows glasses, is really the most important part of any eyewear. It's a hidden hinge in the glasses that prevent the frames from being stretched out.

On NY NOW:

Since we're a new brand, this is our first kind of unveiling. NY NOW is helping us get ourselves out there.

On the Sullivans:

The Sullivans are our larger frames. It's actually up for one of the new product awards here at NY NOW. Reading glasses typically are very small frames that people wear on their heads or their noses. But what we see is people, especially women, wanting bigger frames, so we've created this very unique sort of size for a reader that make wearer's feel stylish.

The Sullivans.

The Sullivans.

On where Look Optic can be found:

Website: www.lookoptic.com

Instagram: @lookopticusa

Facebook: @lookopticusa

Twitter: @lookopticusa

Roberta Schilling is the Brazilian-born, Miami-based furniture designer behind Roberta Schilling. Roberta's namesake company that imports the best hand-made furniture and home goods Brazil has to offer to the States. Her knowledge of high-end contemporary furniture, passion to showcase her country's unique take on design, and ability to navigate the market, positions her as the premiere filter for which the brilliance of Brazil shines through.

On how Roberta Schilling started:

I started 22-years ago bringing hand painted furniture that I designed made out of old reclaimed wood from old barns in Brazil, from colonial times. As time have passed, I felt like the market was looking for something more modern and contemporary, so I decided to reinvent myself and create a new line to continue to do what I was doing, which is to keep showing the best that Brazil has, and laying our own way.

Roberta Schilling. 

Roberta Schilling. 

On why she does what she does:

I love it. I cannot even picture myself doing anything else. I started so young and this is all I have done and I love working with my people, I love the idea of giving back. It just makes me so proud to show all we can do.

On NY NOW:

NY NOW has been one of the most rewarding experiences for us. The people who come here really get what we're doing and appreciate it!

On the Nautical Rope Line:

We recycled plastic bottles to make nautical rope to create this. Coke bottles, Pepsi bottles, all turn into this. We make them in all these colors, so we make the rope and there are color options. We're so driven to the designer world. Everything can be customized, so people can have their own things done and it's a more personalized. By changing things, changing colors, sizes, and materials, you can create your own thing and that's what I think everybody's looking for nowadays.

Nautical Rope line.

Nautical Rope line.

On Where Roberta Schilling can be found:

Website: www.rscollection.com

Instagram: @robertaschilling

Facebook: @robertaschilling

Left to right: Bieke van Orten, Frank Abbenhuis and Daniëlle Siobhán Mol at their Witloft booth at NY NOW. 

Left to right: Bieke van Orten, Frank Abbenhuis and Daniëlle Siobhán Mol at their Witloft booth at NY NOW. 

Frank Abbenhuis is the Amsterdam based Maker behind Witloft. A Dutch craftsmanship company specializing in handcrafted leather aprons and accessories. Even though leatherworking is a serious endeavor, Frank carries out his task with a joy that's both captivating and contagious.

On Witloft:

It started as a joke sort of. I was making furniture, and decided to make myself an apron to work in. I ended up really loving it. Two and a half years later: we've made more than 100,000!

Frank Abbenhuis.

Frank Abbenhuis.

On why he makes aprons:

It's nice to make aprons for people who really have a passion about cooking or making furniture. I like making things for people who do things with passion.

On the Witloft apron:

Everything is easy to clean. With a special coating over it that lets you wipe off the spots or the grease. And the nice thing about leather is it becomes more flexible, and conform to your body. So you and your own story. That's the nice thing about leather: it becomes more authentic to the person who wears it over time.

Witloft Apron.

Witloft Apron.

On NY NOW:

I think the US market is ready for really beautiful hand-crafted goods. We do everything from our own showroom. Make all the aprons ourselves. It's all about the passion again. That's the most important thing.

On where Witloft can be found:

Website: www.wit-loft.com

Instagram: @witloft_

Facebook: @witloft

Left to right: Bieke van Orten, Frank Abbenhuis and Daniëlle Siobhán Mol at their Witloft booth at NY NOW. Laura and Dana at their Finding Home Farms booth at NY NOW.

Left to right: Bieke van Orten, Frank Abbenhuis and Daniëlle Siobhán Mol at their Witloft booth at NY NOW. Laura and Dana at their Finding Home Farms booth at NY NOW.

As Makers, and as people: we are what we do. This makes Dana and Laura Putnam two of the sweetest, down to earth people we've ever met. Based in Hudson Valley, NY, the couple created Finding Home Farms, a company that thrives on making business personal with a diverse assortment of homestyle products that range from Christmas ornaments to maple syrup.

On Finding Home Farms:

Laura: We were always trying to find home because home is not just a place to us. It's a feeling, and we wanted to create a business that gave people the feeling being home.

Dana: We were always doing maple syrup as a hobby, and then Laura started a very small interior decorating business called Finding Home in 2004. It into a really successful blog about interior decorating, home, lifestyle. I was traveling a lot all over the world corporately and we kind of stepped back and asked ourselves what we really wanted to do, and what brought us joy. Our home did that so found a way to turn it into a business.

Finding Home Farms' Maple Syrup.

Finding Home Farms' Maple Syrup.

On why they do it:

Laura: Dana is a fourth generation sugar maker. He's done this his whole life. When we have those six weeks of the year [where he's making syrup], even with all the corporate and all the hours and all the travel, he's the happiest. Our house was always full. The whole neighborhood would come over, and we'd just have a huge potluck in our backyard. Most of the year we had 20 people over for dinner on Saturday's. This is just something we love and we're passionate about.

On the story behind the maple syrup:

Dana: As Laura said, I'm at least fourth generation doing this. My grandfather made syrup until he was almost 90. Not knowing much about maple syrup, late winter is the time of year you make it. Just as it's starting to warm up a little bit. It's always cold, wet. It's kind of miserable weather when you're out there. Occasionally you get good days, but you know there's just something unique about it. Something magical about it. You're getting something that's coming out of the tree. It looks like water when it is coming out of the tree but then, if you do it right, it's this.

ON NY NOW:

Laura: We feel like what we represent matches with what NY NOW is trying to accomplish. It feels like a good place for meeting all the right people.

On where Finding Home Farms can be found:

Website: www.findinghomefarms.com

Instagram: @findinghomefarms

Facebook: @findinghomefarms

Twitter: @findinghomefarm

In the labyrinth of Borne, one of the most renowned and prestigious districts of Barcelona, the Rayerbag team handcrafts some of the best felt handbags fingers have ever touched. And when we met them at NY NOW it was no different. Rayerbag is not a person but a team of people where every member brings its portion of creativity and originality. The main designer, Pavel Corbu, was away but Valentina Dogo, the company's assistant designer, did a wonderful job of showing why there really is no "I" in "team."

Rayerbag team at NY NOW.

Rayerbag team at NY NOW.

On Rayerbag:

Rayerbag is a felt bag factory where the quality of Italian tailoring is expressed in a unique design, celebrating the personality of Barcelona folklore through color and its multiple variations of combinations that gives life to our wide range offer with a lot of personality and unique details. Color always catches the eye. Patchwork colours combinations make our work different and unique.

On why they make handbags:

Because bags are friends, companions, and keepers of our secrets. It contains our private micro-world. The owner is almost always the only one to know its contents; it is, however, a carrier that we like people to notice. That plays around with colours, shapes, and materials. There's a double value in this “interior” and exterior dimension that makes it such an interesting object, that attracts people without disclosing its secrets.

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On NY NOW:

We participated in another big trade show in Milan last year and we were contacted by an agent of NY Now. He invited us to apply to the event and we were very excited to introduce ourselves to the United States.

Rayer handbags.

Rayer handbags.

On where Rayerbag can be found:

Website: www.rayerbag.com

Instagram: @valentina.rayerbag

Facebook: @rayerbagbcn

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Alan Vasa. 

Alan Vasa. 

One of the biggest challenges in food nutrition is understanding something that looks, smells and tastes good is not the same as it being good. Rising to this challenge is Alak Vasa. The founder of Elements Truffles, the New Jersey based artisanal chocolate company, making raw and organic chocolates that are kind to the "body, mind, taste buds and environment."

On Elements Truffles:

The name, "Elements Truffles," was primarily derived on the signs of Ayurveda, which is derived from the five elements of earth, water, fire, air and ether. Based on that, we just thought these chocolates could introduce the world to these five elements and bring them in balance, and help people live a healthy and happy lifestyle.

On why she makes chocolate:

I've been meditating for the last 15 years and as I started meditating more and more, my awareness increased and I incorporated a whole Ayurvedic way of living. I saw so many benefits of that so I thought, "The world needs to know more about this and why not introduce this whole concept to the world through chocolate, which is so much easily acceptable and take it out there?"

On Ayurveda:

It's a 5,000 year old ancient science which focuses on inner well-being by balancing and being aware of what you're really feeding your body and aligning it with nature.

On where Elements Truffles can be found:

Website: www.elementstruffles.com

Instagram: @elementstruffles

Facebook: @elementstruffles

Twitter: @elementstruffle

Anthony C. Titus at NY NOW with his Marcel Miller products.

Anthony C. Titus at NY NOW with his Marcel Miller products.

Anthony C. Titus is the amazing Atlanta-based Maker (and mind) behind Marcel Miller, a luxury bedding company that hand-crafts high-quality linens, shams, throws and blankets to uplift our collective sense of comfort. Anthony tirelessly works to brings us the best in bedding, just so we can sleep well at night.

On Marcel Miller:

I started the line in a collaboration with a classmate of mine from Peru. His family are third generation Italian Peruvians. They used to do the textile trade in Italy and they had these vintage looms that they imported down to Peru and started working with local Peruvian cotton and alpaca.

As classmates we collaborated on an MBA project, and came up with the brand name Marcel Miller. Marcel is the nickname my classmates gave in my French class because I used to be pretty bad at French. Miller's my mother's maiden name. That's how we got the name.

Anthony C. Titus

Anthony C. Titus

On why he makes bedding:

I was a tailor's apprentice, I grew up with textiles. I knew good textile, I could tell authentic natural fibers, versus synthetic fibers, because tailors are very knowledgeable about fabric. And understanding that bedding is something that's very personal and intimate, I wanted to make sure the most intimate part of people's lives felt good.

On NY NOW:

The world comes to New York. We actually won the best new product award, at the first show that we did in New York, in 2008.

On the story behind the cable knit throws:

Cable knit is something that's cultural, it's been around for decades. This particular cotton is actually Indian cotton and it's hand loomed. Everything we do is a small workshop; six to twelve people. Owned and operated. We collaborate with the artists.

On where Marcel Miller can be found:

Website: www.marcelmiller.com

Instagram: @marcelmiller_bedding

Facebook: @marcelmiller

Akiko Oguchi at her NY NOW booth.

Akiko Oguchi at her NY NOW booth.

If you're looking to bring some dynamic color into your life with canvas, Akiko Oguchi is the Maker for you. She is the San Jose, California-based Maker and designer of Good Company Wares,  a handcrafted homeware and accessories company that was born out of Akiko's travels to the South and Central Americas.

On Good Company Wares:

I make home goods; planters, pillows, baskets, tote bags; things for people's homes. My design comes from my travels in South and Central America. I loved the culture there and I've experienced a lot of warmth from people. I'm kind of marrying that feeling and experience with my Japanese roots and the minimalist style of the Japanese culture.

Minimalist Designs.

Minimalist Designs.

On why she makes home goods:

I feel like I come from a line of very artistic, creative women. My grandmother makes porcelain dolls and she makes all the clothing for them out of silk kimono scraps. My mother is an embroiderist. My aunt does painting. I was taught at a really young age how to sew, and so I've been sewing all my life making stuff, woodworking and textile work, and it kind of evolved into this naturally.

On NY NOW:

This was my goal show, and it's crazy the amount of exposure that I get from NY NOW. I'm meeting really cool people here.

On the story behind the planters:

This is my newest planter. I feel like it brings in so much life into a space, and there's so many different types of plants. I love taking care of them. I'm kind of like a nerd when it comes to plants. I just love having them everywhere, especially hanging them up. If people don't have a lot of space, it's nice to figure out how to bring more outdoors into the indoors.

On where Good Company Wares can be found:

Website: www.beingoodcompany.com

Instagram: @goodcompanywares

Facebook: @goodcowares

Thomas Bai.

Thomas Bai.

Time is money. This is something that New York based watch, clock and calendar Maker Thomas Bai understands. From "brainstorming the creative design concepts, components, and colors to evaluating current home and lifestyle changes," Thomas Bai Designs stand out from the crowd because of their high production quality and lasting value, but also because Thomas knows that time is ultimately more valuable than money. Whereas there's always money to be made, time is something we never get back.

On Bai Designs:

The brand represents time actually. Watches, clocks and calendars all involves time. I'm a designer so I design the case, the dial and the hands. Every one actually is a little different but viscerally they are quite harmonized.

On why he makes clocks:

I want to create clocks that look good, and practical. A lot of my clocks have numbers because a lot of people want numbers on them. Even in my college thesis at Pratt, somehow I stumbled upon clocks. That's how I started.

The Perpetual Calendar

The Perpetual Calendar

On the story behind the "perpetual" calendar:

I was with an advertising agency during lunch time. I was bored and sketching some designs. Usually Sunday is on the left side and then Saturday and then the calendar just moves around. For Mondays they were different. Instead of doing that, I moved the weekday. It's a unique way of documenting the days. It works on gravity. No batteries.

On where Thomas Bai Designs can be found:

Website: www.thomasbai.com

Phuong Thanh at her NY NOW booth.

Phuong Thanh at her NY NOW booth.

If there was nothing else Phuong Thanh knew as a child, it was that she wanted to be her own boss. That knowledge took her from her hometown in Vietnam (where she born) to Singapore (where she got her Masters in Marketing) and finally landed her in San Francisco where her childhood dream, of being her own boss, would finally come true. Her company, Tourance, prides itself on making faux-fur pieces that are "soft, sumptuous, luscious and lavish" to the touch.

On why she makes:

I wanted to be my own boss. It's been that way since I was a little kid. I'd sell candy to my neighborhood friends. I was just used to being in charge. When I moved to the US with my Marketing Masters, I worked for a design company. But I didn't want to work for anybody for too long so I took a risk and started this.

On where Tourance can be found:

Website: www.tourance.com

Instagram: @tourance

Facebook: @touranc


*Note: Additional images courtesy of Roberta Schiling,  Finding Home Farms,  Element Truffles, True Moringa, Marcel Miller,  Good Company Wares, Tourance. 

MakersFinders is a digital platform that connects independent makers to passionate finders. 

We have an app in private beta. We publish stories. We host events. And provide quarterly grants for our community of Makers and Finders. 

Our team is dedicated to cultivating and connecting communities across various industries and cultures.

In the Midst of it All: An Interview with Maker, Lenny Bass

WORDS: Yahdon Israel                                                                                       PHOTOGRAPHY: Julien Roubinet

On the computer desk of accomplished music video director Lenny Bass, there rests a box of photographs—resembling trading cards in size and significance—from his days as a lighting director. In one, Laurence Fishburne seems to be caught in between takes on the set of King of New York. In another Slick Rick is captured in his signature Kangol, gold rope and eye-patch leaning against a Kid Capri poster.  A young 50 Cent mean mugs for the camera several pictures later. Then there’s one with Jay Z, sitting calm, cool, and all too collected, on a Bedford-Stuyvesant stoop. The more I shuffled through the photos, the more I felt my appreciation growing for the person behind the camera.

What's always intrigued me about photographs is their ability to say as much about the person, taking the picture, as whatever's caught within its gaze. If not as much: more. One after another Lenny's photographs say the things that anyone who has this much history wants to but can't. Not because they're inarticulate. Quite the contrary. It's partially because, if pictures are worth all the words we've claimed them to be, there's not enough time in the day to say all the things that need to be said. Not to mention: the work speaks for itself.

Neither one of these facts prevents Lenny from trying. And in his admirible capacity to not only try and say everything he needs to say while challenging himself to find the words which best elucidate the way he thinks and moves about the world, it becomes crystal clear how Lenny, a Staten Island native, went from not thinking it was possible to go to school for art [Lenny attended FIT for a year before finishing his degree at the College of Staten Island] to provide innovative and instructive ways to see sound.

With director credits that include Nappy Roots ("Aww Naw" and "Round' the Globe"), De La Soul ("Get Away"), Yung Joc ("It's Going Down") Fantasia ("When I See You"), Craig David ("Walking Away"), Elle Varner ("I Don't Care"), DJ Webstar & Young B ("Chicken Noodle Soup"), and most recently: St. Paul and the Broken Bones ("All I Ever Wonder"), what you see in Lenny's work is a sincere belief that even in the most impossible scenarios, there's still possibility.

We met up with Lenny at his home in Kensington, Brooklyn, where, in addition to educating us about the U-Men and impressing us with his legendary collection of photographs, we spoke about how he's continually evolving his craft, even after 20+ years in the industry; the importance of bearing witness to the times we live and why, even in the midst of others, we still have to eventually focus on ourselves.

Lenny Bass.

Lenny Bass.

Lenny's First Make: "U-Men Guy," Age 16.

Lenny's First Make: "U-Men Guy," Age 16.

What was the first thing you remember making?

There was a store named Oak Tree that made this line called the U-Men. I loved what they were doing with the collars and pants and I was trying to get into design, so I'd sketch them.

I was about 16 years old, going to New Dorp High School in Staten Island, taking illustration at this time. My art teacher saw my sketches, told me I had a really good eye for drawing, and that I should consider going to the Fashion Institute of Technology, here in New York. 

I always thought you went to college to be a dentist, doctor, or a lawyer. Something "practical." I didn't think you could go to school for art. So I couldn't wrap my head around what my art teacher was saying then. Ironically enough, I was playing basketball around this time and FIT happened to be one of the schools that courted me to play for them. I ended up playing ball there. So when I came back to visit my high school to tell my old art teacher I was over at FIT, she was blown away! But everything began with these U-Men sketches.

Why do you do what you do?

I think it has a lot to do with music. In a strange way directors are this hybrid. We're filmmakers, but we're also the music industry people. I'm inspired by music, and it feels like it's the vehicle to be connected to the song—and to the artist. It feels like I've been fortunate enough to land a few projects where I really, really, really love what the artist is about and the music they create. To get there visually, it's a beautiful thing to be connected for that brief time.

Where do you get your inspirations from? 

I get inspiration from everywhere. Have you ever had that everything happens for a reason, no such thing as coincidence moment? I had one of those moments when Atlantic Records sent me Craig David's "Walking Away." What the record labels do is send about ten directors a song and it's our job to pitch them an idea for the video. The pitch the label feel best aligns with the music and the vision gets the job.

My brother-in-law had given me Oscar Scott Card's The Tales of Alvin Maker book series to read around this time. It's this interesting story about how the forces of nature keep trying to kill this guy. Everyone's born with a special ability, and they knew early on that there was something about this kid that nature wanted to kill him. He couldn't go near water. All this stuff.

All of a sudden I began thinking about the connection between this Craig David song and the books. In the chorus Craig David sings, "I'm walking away from all the problems in my life." I wondered what it would be like for him to always be two steps ahead of catastrophe? So in the video we had Craig literally walk away from the problems of his life. You see him put a pot down to catch the water from his leaking ceiling before he leaves his apartment. Almost as soon as he leaves, the ceiling comes down. Then he gets in his car and someone mistakenly throws a match in his back seat. So he's driving completely unaware that his car's on fire. The whole video is about this underlying tension that exists in our lives, and what we decide to do with it. Do we stay? Or do we do what Craig David says and "Walk Away?" I feel that the universe constantly puts things in our lives to remind us that everything is connected in some way. This video was an instance of my paying attention.

Lenny's Platinum Plaque for Nappy Roots' Watermelon, Chicken and Grits

Lenny's Platinum Plaque for Nappy Roots' Watermelon, Chicken and Grits

What's your process when you approach a project?

My process was always about coming up with something creative then flipping it on its ass. To say, "This is a really interesting approach to the storyline. Now, what are they not expecting?"

There was this moment where record labels were really influenced by the ending of Usual Suspects, where you find out Kevin Spacey is not a dim-witted cripple but the mastermind behind an entire criminal enterprise. After that, every label wanted a twist. I'm sure a lot of us directors were home with our pitches struggling to come up with one. There were many grueling nights trying to find that creative thing that was gonna be the show stopper and how to make that thing palatable for the record labels and artists. 

It feels like things have moved away from the unexpected, in a gimmicky sense, and we're at this place where it's more about what's going on socially. I've been fortunate enough to work on a piece with Gwen Carr, who's Eric Garner's mother—[the black man from Staten Island whose last words were "I can't breathe!" due to a chokehold applied by a police officer]. There's a different reward to these projects. Instead of banging my head against the wall, attempting to figure out a way to twist a narrative, I can use my lens to bear witness to what's right in front of us.

How did you make that transition from looking for the twist in every ending to working on projects that proximate us to the social issues of everyday reality? What made you say to yourself, "This is what I'm gonna lend my voice to"?

I'll be honest: a lot of it began with Barack Obama's presidency. Race and racism was always a reality many people faced on a day-to-day basis but over the last four or five years in America these issues have been presented in a way where we have to confront them. Trayvon Martin was a huge turning point. Here's a teenager who's walking down the street with some Skittles and an iced tea, who gets killed, and the guy who kills him is acquitted. That made me start to look a bit deeper into some of the things I previously ignored because these situations are way more nuanced than before. At least to me.

Then this awakening, my awakening, is happening in a time where there's more platforms which allows these issues that always bubbled beneath the surface to actually push through and find their audiences. There weren't as many outlets before. There was no YouTube or Vimeo. Our stuff always had to go to network TV and there were all these rules.

Because of all the content and media platforms, the rules have changed. And that's helped a lot of people see things that are necessary if they want to change for the better. One could only hope. In some ways I still feel a bit confined by how things used to work but I'm slowly stepping into this new space with a reinvigorated vision of what I want to see and what I feel should be seen.

What is something you wish you had known sooner?

I think that there's a right time and a right place for an idea, but I do wish I would have understood who I was as a filmmaker, what my message was, what my voice was, sooner. I was just focused on doing the work. Who knows? Maybe asking these deep questions would have possibly led me to work with more artists that I really, really, respect. I have my handful of artists that I worked with that I love and respect to this day—De La Soul, Jill Scott, Cee Lo, Nappy Roots, Fantasia, Pharaoh Monch, a bunch of them—but I just see that prodding myself about what I wanted my vision to be earlier wouldn't have hurt either.

Lenny takes a trip down memory lane.

Lenny takes a trip down memory lane.

Harvey Weinstein quote that hangs in Lenny's studio.

Harvey Weinstein quote that hangs in Lenny's studio.

What do you feel like your craft has taught you about yourself?

To keep a child-like perspective on my creativity. That means allowing myself to dream. Allowing myself to go to those places often misinterpreted as unsophisticated and not be ashamed that I'm there. The minute I turn that off how can I continue to dream?

I used to follow this guru, who I went to see speak on Staten Island once. We're all sitting in the room, in lotus pose, waiting for him. He eventually comes down and sits with us. We didn't even know he was there. We finally opened our eyes and he's sitting there, still meditating. We waited another ten minutes, and he says, "I was in such a peaceful state that it pained me to come out of it."

I tell this story because it does a great job of capturing the eternal struggle of putting yourself into that place of peace, and how hard it can sometimes be to return to a world where you're constantly going up against something to exist. So much of my professional life had been based on someone else telling me when things were and weren't "OK." What could or couldn't be done. And there was always a legitimate anxiety with this as my livelihood was linked to those expectations in very real ways. In many ways it still is but I'm learning how to preserve my moments of peace and insist on giving myself the permission to dream.

Lenny reflects on what his career has taught him.

Lenny reflects on what his career has taught him.

What has this approach taught you about people?

It's many different things. One of them is that not everybody is willing to take a chance. I understand that it's not easy for people to be in that childlike space. I remember doing this job with Cee-Lo, and the record label wanted me to turn him into their vision of him. 

They were worried about the direction Cee-Lo was taking because he was losing his "urban fans." So during this time, the label was doing a lot to get me to try and get him to wear this brown leather outfit that wasn't him. Long story short he went along with it. He tried it on. He's like, "How's it look?" Everybody's like, "It's great." He got undressed. We went back to talking about the idea for the video, then he left.

Later, I'm in the hotel room and, the phone rings. It's Cee-Lo: "Yo dawg, I just left the mall. I got what we're looking for." I said, "What are you talking about?" He said, "I saw your face, man. I saw your face. I got what we're looking for." I was like, "All right, man."

He walks on set in riding gear with this side saddle pouch, hat, and glasses. The label sees him and run to me. "Cee-Lo's got something on. He can't wear that. You gotta talk him out of that." I go to talk to him and he asks me, "What'd you think [of the outfit]?" I'm like, "It's beautiful." Beautiful. He's like, "All right. That's what I thought."

A little while after that, he was in Gnarls Barkley, where one of the album promotions was of him in a wedding dress. Around this time there was an article about Cee-Lo, where he said that it was the first time he got to be all of him. When you find that thing that allows you to be in your space, and nobody can tell you otherwise, and everything that you do comes from that channel, you're not gonna question it anymore. It's very rare to find people who feel confident in themselves enough to risk everything else. Whatever that may be. That's what I try to do now as much as possible: bring all of me to my creativity. I'm not always successful but I'm always trying.

Lenny and Yahdon walk around Lenny's neighborhood in Kensington, Brooklyn.

Lenny and Yahdon walk around Lenny's neighborhood in Kensington, Brooklyn.

What's the last thing you made?

I'm making stuff all the time but the last music video I made was for St. Paul & The Broken Bones' "All I Ever Wonder." The hook goes: "I can't tell which side I'm on/I can't tell what's right or wrong." It was an idea that interested me. I can't tell which side I'm on. I can't tell what's right or wrong. I'm fighting for this thing, and this thing could turn out to be possibly bad. The song spoke to me, so I wrote a concept that featured people protesting with signs that were conflicting in messages—Pro-gun/Anti-gun, Pro-Life/Pro-Choice—something with a lot of tension.

The company representing me heard the idea and told me, "You can't do this." So I told them, "Well this is what I'm going to present." "You have an opportunity to get this job," they told me, "and you're throwing it away." I felt like this was a good enough idea for me to lose the job and stood by it. It turned out that the label, artist and management loved it. Very rare. 

But then they wanted to make all the protest signs in the video vague. Abstract even. "It should be peace, love, hope, justice." I'm like, "All right. Not as powerful, but cool. Let's do it." I loved the song and felt there was enough to still get a message across. The video ended up being released without most of the tension. People are marching but there wasn't any conflict. Nevertheless, it was a wonderful experience!

                                       "All I Ever Wonder," Edited Version.

                           "All I Ever Wonder," Director's Cut. Courtesy of Lenny Bass.

What do you feel like you need to continue doing what you do?

You know what it is? It's constantly being inspired. That's going to allow me to continue doing what I'm doing, and create things that I'm really excited about. There's no way you're gonna wake up in the morning and make something that you're proud of if you're not excited about it. Those things that you wake up and you're like, "I can't wait to start."

I heard Diddy say in an interview once: "Some of us have careers, and some of us have jobs." When you have a job, you're looking at the clock, wishing that time would go. When you have a career, there's not enough time in the day—and it's true. And I'm happy to say for me, there's never enough time in a day!

Lenny and Yahdon share a last laugh.

Lenny and Yahdon share a last laugh.

MakersFinders is a digital platform that connects independent makers to passionate finders. 

We have an app in private beta. We publish stories. We host events. And provide quarterly grants for our community of Makers and Finders. 

Our team is dedicated to cultivating and connecting communities across various industries and cultures.

The Madness In Our Sleeves: An Interview with Maker, Ainy Naim

The Madness In Our Sleeves: An Interview with Maker, Ainy Naim

Ainy Naim was nine years old when she decided that she wanted to work in fashion. The decision could be credited to a documentary she watched on the English fashion designer Vivienne Westwood. To believe it was the glitz of the fashion world, or the glamour of Westwood's life, that made Ainy's eyes glisten with ambition is to undermine what it means to come face to face with your fate. Ainy didn't need glitz, glamour, nor glitter to see the gold in witnessing an idea begin in someone's mind and end up on another person's body. The madness of it all. 

A Single Stitch: An Interview with Maker, London Kaye

WORDS: Yahdon Israel                                                                                               PHOTOGRAPHY: Julien Roubinet 

To this day, yarn-bomber London Kaye only does one stitch. One anyone can do. It’s the shortest and most basic stitch. And while there are people whose talent lies in making what they’re good at look easy—like dunking a basketball, or being a five-star chef—London’s gift is making the very possible look like it can only be done by her: the single crochet.

Born and raised near Malibu Beach, California, the single crochet was the stitch her best friend’s mom taught her and her best friend on a whim one day when London was 13. This is the same stitch she used to make and sell custom scarves to the girls in her dance studio—the first one selling for $2. It’s the same stitch she learned to fall in love with when she hurt her back in the 9th grade, couldn’t dance for 9 months, and had little else to depend on. London used this stitch to fortify her creativity, spirit, and recovering body. With an injured back, London still managed to peddle 600 scarves through her high school, affording her the luxury of buying her first car, a Jeep Liberty with Jurassic Park light on top. She was 16.

London’s back had healed around this time. She could dance again, but with arthritis formed in the places of that were once fluid, the movements didn’t come as easy. This may have stiffened London’s hopes of becoming a professional dancer but by then, she was flexible with her aspirations, and resilient enough to win a full dancing scholarship to NYU in 2007. An easy choice for her to attend, as New York had been somewhere she always wanted to be.

While working at the Apple Store in 2010, London met Olek, the Polish-born artist who’d become known for covering buildings, sculptures, people and objects in crochet. Helping Olek set up her Macbook, London noticed Olek's crocheted handbag. When London asked Olek where she got her bag, Olek responded that she made it. London had seen crochet. She had even done it. But not like this.

London googled Olek and immediately became aware of the art of yarn bombing. Soon after, she took a scarf she crocheted and wrapped it around a tree outside of her Brooklyn apartment. London noticed a grandmother talking about the scarf covered tree with her grandkids. What London realized watching the interaction was instead of the excitement flowing from the grandmother; it was her grandkids. That was all London needed to see.

Since then, London has used crochet as her  medium to deliver the fundamental message that joy, beauty, and happiness can be found anywhere we’re willing to look. It may come in the form of a mermaid, cover a school bus, or a 42nd Street billboard ad. Joy may even randomly spill from a New York City street pipe. All of this, and more, has been made possible, with a single crotchet. 

We met up London at her studio in Bushwick, Brooklyn where we talked about her first make; the responsibility artist are to have and take for the communities they work in and how one single crotchet can make all the difference. 

London Kaye.

London Kaye.

London's First Make: Sea Sculpture, Age 2.

London's First Make: Sea Sculpture, Age 2.

What was the first thing you remember making?

My earliest memories of making was being at the beach with my mom when I was two.We used to live right near the beach on Malibu. One day my mom told me to go and collect all the things I could find that I thought was pretty—sticks, seashells, crab shells, whatever it was. 

We met back. Put it all together, and it was this beautiful sea sculpture. It was the first time I was able to be creative. It also means a lot to me because the beach is one of favorite places. Whenever I think about the beach, there's all these happy memories. This is one of my happiest. 

Why do you what you do?

I really love being able to take people out of their everyday. When you see street art, it makes you stop; brings you directly into the present moment, if only for a moment. This is especially true when street art is made with something people usually don't see all the time, like yarn.

Many people are used to seeing yarn as this nostalgic thing you do with your grandma. Now they're seeing it reinvented in a new way. I like the idea of being able to spark an internal conversation that a person wasn't expecting to have when they woke up that day. On another note crocheting requires so much patience. The patience helps me be present. I have to be aware of what I'm making, how many stitches I've done, and where I'm going next. 

How do you decide what you're going to make? What's your making process?

Current events, pop culture, holidays are great inspiration. I've always loved looking at pictures online; funny images, anything that's going on at that time which interests me.

Every morning, I wake up and write 10 things I'm thankful for. It's like part of me as a person. At the end of the day, I try to mediate on my favorite thing that happened that day. It's my way of reminding myself that there is always to be appreciative for. 

I always go out in the middle of the day so it looks like I'm not doing anything. Let's say I was going to hang up a star. I would crochet the star here, in my studio, cut ties and fasten them to the piece before I go out on all 5 corners. When I go up to the fence, all I do is tie it on the chain link, cut the strings, leave a tag, and I'm out.

Crocheted school bus for Gap Holiday Commercial. Courtesy of London Kaye.

Crocheted school bus for Gap Holiday Commercial. Courtesy of London Kaye.

Where do you draw your inspiration?

I like the idea of the world being a more happy and joyful place. Everything I make is going to have some form of light-hearted, whimsical, fun. I truly believe that the more you put joy into world, the more joy will be brought out. Joy is where it all starts for me. That's the bottom line: it's gotta make people happy.

London's studio of yarn bombings.

London's studio of yarn bombings.

What is the most surprising bit of feedback you got from what you do?

It was surprising when comments people were making went from just saying things like, "I like what you do" to "You're inspiring me." I was blown away. When I receive those sorts of comments, I'm always surprised that somehow me doing what I love to do for me inspires other people. 

I'm also surprised when I hear that I've inspired someone to pick up a crochet hook and start crocheting. Or to take a chance and do something with yarn that they never thought they'd do. I never thought I could be in a position like that. I couldn't ask for better feedback.

If there were something you wish you would've known sooner as a maker, what would it have been?

Implementing positive affirmations and being able to visualize an outcome before it's done. To be able to see the final product in your mind. The confidence to say look at your work and say to yourself, "Ooh this is a good one!" goes a long way. 

If you work on something really, really, hard, you can't expect to receive praise from other people. Be confident in yourself that you've done the work and it's done. It doesn't matter what the feedback is from the world. Be confident enough in the work for yourself. That it doesn't matter what the feedback is from the others. Those are the things I wish I would've and known sooner as a maker.

"Moonshine Kingdom," 2015. Courtesy of London Kaye.

"Moonshine Kingdom," 2015. Courtesy of London Kaye.

What's a meaningful mistake you've made?

Last year I was in the middle of this gentrification controversy, where the owner of a nearby flea market asked me to do a crocheted mural there but he didn't get permission from the building owner for this mural to take place. 

The mural was not my best work, by any means, which was another fail. Usually I make cool things, like mermaids and stuff. In this case I made the two twins from The Shining, holding hands with a character from the Wes Anderson movie, Moonshine Kingdom. Some weird love triangle thing. I thought it was cool but the aesthetic wasn't right for the neighborhood it was in. The community was angry and had a right to be. The mural was taken down shortly after. 

And it's made me think about how much my work could affect a community. Bushwick is a neighborhood that celebrates art, but it also celebrates art that reflects the community. It was a huge, huge teaching moment. I need to put more thought into where I'm putting my work, what's the meaning behind what I'm making. Now when I create, I ask myself more than just, "What can I make?" I'm beginning to ask what a community, I'd potentially make in, wants to look at every day.

Tell us about your capsule collection collaboration with Red Valentino.

Red Valentino is Valentino's brand for younger girls. The relationship started out as a live installation they asked me to do for one of their new stores that opened in Rome. They really liked the installation. So I did window displays for 15 other stores around the world. They had another opening in London where they asked me if I wanted to collaborate on an actual collection and I was like, "Of course!"

At first I had just handed them tons of drawings but they knew what they wanted. They knew they wanted it to be a face. And they knew they wanted it to be a girl's face. I used the app, Paper53, to come up with some designs for what they wanted while also capturing that light-heartedness I try to bring to my work and they loved it.

I'm so grateful because it's truly putting my street art on a collection of clothes. If you look at it, you know it's London Kaye. At least I do. I've worn the pieces around and people stop me all the time, asking where I got it from. It feels good to know that you've made something that people love and enjoy. Feels even better when you can enjoy them yourself.

Do you have a team that you work with, or do you everything yourself?

All my street art is just me but the big projects are different. Last year, for example, I did a billboard in Times Square. It was a holiday project for Miller Lite, where we had 3 weeks to crochet this 50 x 25ft Ugly Christmas Sweater and there was no way I could've done that by myself. So I had a nice amount of people. It's nice to be able to have a team. The first time I realized I couldn't do it all by myself, I used my Instagram page to ask for help because I didn't know what to else do. So many people reached out. A lot of them were local crocheters which was pretty cool. And it provided a sense of community. 

Miller Lite Holiday Billboard in Times Square, 2015. Courtesy of London Kaye. 

Miller Lite Holiday Billboard in Times Square, 2015. Courtesy of London Kaye. 

What's the last thing you made?

After constantly being frustrated by the hooks I used to use for crotcheting, I decided to make my own line of 3D Printed Crotchet Hooks. When I would have people work for me on projects, we'd use these hooks that weren't really efficient. I got to a point where I felt I could make a better hook.

I was so jazzed about 3D printing and a friend of mine was really good at modeling. We've been working on these hooks for over a year. And finally we're at a place where we feel good to go. Eventually we're going to have them in every color to give people options but this all started because I wanted to make something better for the people that were helping me out.

London's Last Make: Crotchet hooks.

London's Last Make: Crotchet hooks.

London doing what she does best.

London doing what she does best.

What do you feel like you need to continue making?

I need to continue pushing the limit; pushing what I can do. I had this project where I attempted to crochet this long ethernet cable. It didn't go well, but I haven't given up. I don't want to get stuck in doing one thing over and over and me getting bored. I like to think about ways to further my craft and creativity, ways to surprise and challenge myself. Force myself out of my comfort zone. 

What has making taught you about yourself and about others?

I learned that what I do definitely appeals to more than a niche group of people. I was on the subway one time and this guy, who looked like he was in his 20s, recognized me. because people don't recognize me. He approached me and said, "You're the cool girl that crochets!" I sort of imagined teenage girls and old women liking what I do. It's pleasantly surprising that it's broader than that.

Also with crochet, I've learned that there's so many different ways to use it. I never imagined that there were so many opportunities. I was so focused on seeing crotchet in only the ways it's been traditionally used; it never occurred to me that you could do more. I was very close-minded to the possibilities. Never again.

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Family Business: An Interview with Maker, Lucinda Scala Quinn

Family Business: An Interview with Maker, Lucinda Scala Quinn

To Lucinda’s paternal grandmother, Mary, there was only one way to cook meatballs: drop them, uncooked, into a bubbling pot of tomato sauce, until the sauce and all its contents could marry the meat, making it one. Lucinda’s grandmother’s sister-in-law, Aunt Josephine, saw it differently. The real way to cook meatballs was to brown them first, then pour the sauce on top. Any other way was absurd.