Broadway+Thresher Rural. Urban. Inclusive.
On the Farm with Beekman 1802 Farmhouse Modern: Terry Woods Cocktail Party at Skipping Rock Farm Paul Redman’s Journey to Longwood Gardens Issue 1, Summer 2013
Summer afternoon; summer afternoon; to me those have always been the two most beautiful words in the English language. —Henry James
jo urnal
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t was one year ago this month when David and I were sitting on a back porch in Granville, Ohio, that we dreamed up Broadway+Thresher. Even before the name, we hashed out an amazing concept. With the help of the wonderful Michael Kennedy (of our advisory board) and my partner Don, we imagined a publication that would highlight the incredible interactions between our rural and urban environments and the people who dwell within and between them, including all members of our communities—regardless of gender, ethnicity, age or sexual orientation. We are grateful to everyone who has contributed to Broadway+Thresher over this past year. Whether writing for our blog, helping with story development, giving us invaluable technical advice or just acting as a sounding board for our many great (and sometimes not-so-great) ideas. Everything we’ve been doing has lead up to the launch of this, our first issue. And we now ask you, our reader, to join us in the journey ahead to make this new endeavor successful. Our hearty thank you goes out to everyone involved with Broadway+Thresher, giving of their talents, time and, most importantly, their confidence in what we’re doing. A special thank you goes to Dan, Mark, Anton, Meredith, Anne, Ruth, Don and Nicole for everything they have done. We would definitely not be here today if it were not for their support. In the following pages you’ll experience our labor of love. There is no longer a divide between rural and urban living; communities across our nation are continually being influenced by individuals and artisans with unique and stirring points-of-view. Broadway+Thresher will not only chronicle the products of these artisans and innovators, but learn about them as individuals and detail the stories behind their craft. Without further ado, we proudly present the inaugural issue of Broadway+Thresher for your consideration. We hope you love it, and if you do, that you pass it on to a friend or two. David Gobeli and Andrew Kohn
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c ontents
4...journal 7...contributors 10...celebrate 15...food+drink 35...farm+garden 49...lifestyle 60...music 63...fashion features:
16+64...cocktails at skipping rock farm 36...paul redman and longwood gardens 44...on the farm with beekman 1802 50...terry john woods’ farmhouse modern
front and back covers, section leads and left image by Rachel Joy Baransi front inside cover by David Gobeli floral design on front and back covers courtesy Evelyn Frolking of Artiflora Broadway+threshersummer2013.............5
Broadway+Thresher Co-Founders+Editors-in-Chief David Gobeli+Andrew Kohn Executive Editor Daniel W. Long Photo Editor Rachel Joy Baransi Section Editors Ruth Coffey [Fashion] Nicole McGrew [Lifestyle] Mark Nickerson [Food+Drink] Anton Sarossy-Christon [Farm+Garden] Anne Sherwood Pundyk [Art] Meredith Peters [Music]
The Blog BroadwayandThresher.com Subscribe BroadwayandThresher.com/subscribe Advertise BroadwayandThresher.com/advertise Customer Service info@BroadwayandThresher.com Contact David or Andrew David@BroadwayandThresher.com Andrew@BroadwayandThresher.com
Contributing Writers Emily George Emie Heisey Debi Ward Kennedy Lee Kirkpatrick Chelsea Morhman Deven Rittenhouse Luke Smith Caitlin Terry Contributing Editors Emily Blitzer Kristofer Bowman Brice Corder Jackie Alpers Technical Advisor Donald Jones Copyediting Intern Olivia Minnier Editorial Advisory Board Amy Hamilton Michael Kennedy Lisa Maughmer Broadway+thresher is an Ohio Limited Liability Company. Published bimonthly at 4058 Columbus Road, Granville, Ohio, 43023. For customer service visit BroadwayandThresher.com, or write to P.O. Box 473, Granville, Ohio 43023. For subscription information visit BroadwayandThresher.com/subscribe or email info@broadwayandthresher.com. Š2013 Broadway+Thresher, LLC. All rights reserved. Reproductions in whole or in part without written consent is strictly prohibited.
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c ontri buto rs
Rachel Joy Baransi; Columbus, Ohio.
Mark Nickerson; Granville, Ohio.
Ruth Coffey; Columbus, Ohio.
terravitafarms.com
facebook.com/racheljoyphotos
Meredith Peters; Brooklyn, New York.
AntonSarossy-Christon; Newark, Ohio.
Lee Kirkpatrick; Granville, Ohio.
AnneSherwoodPundyk; Manhattan, New York.
Nicole McGrew; Alexandria, Virginia.
annepundyk.com
blog.devereuxetfils.com
Luke Smith; Savannah, Georgia.
Debi Ward Kennedy; Irvine, California.
lonepinephotography.com
homewardfounddecor.com
Emily George; Columbus, Ohio.
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BROADWAY+THRESHER Rural. Urban. Inclusive. broadwayandthresher.com/subscribe
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c elebrate
a photo essay by Rachel Joy Baransi
Gatherings of all kinds bring communities together and strenghten our bonds. Every month we’ll highlight celebrations and gatherings—-from weddings to house parties--that allow people to come together, have discussions, and celebrate love and friendships.
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see subscriber exclusive extras at broadwayandthresher.com/celebrate-issue-1
food+drink
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sum m e rt i m e co ckta i ls a t s k i p p i ng rock farm
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David Gobeli | photos by Rachel Joy Baransi
here are few places as beautiful and welcoming as Skipping Rock Farm. Nestled on seven acres outside of Granville, Ohio; the home and property of artists Paul and Amy Hamilton is in constant evolution—a renovation here, a new garden there— everywhere is a delight and surprise for the eyes. Overlooking the pond are two renovated barns, painted white so they gleam in the summertime light. In one, Amy has her millinery business and the other, Paul uses as a studio and gallery. In his, a full-scale, hand-carved wooden whale skeleton hangs from the ceiling, bringing an ethereal presence to the paintings displayed on the walls. A grand curio case stands in the middle of the room, filled with natural treasures the family has found over the years. The barns are but a wonderful backdrop to the main garden—complete with tilted pergola covered in climbing roses. Sweet scents drift lazily over the breeze as we set out our cocktail party. The cocktails are made with products from Middle West Spirits—a distillery founded in Columbus, Ohio in 2008. All of Middle West’s (commonly referred to as simply “OYO,” the original Native American name for Ohio) products are made from ingredients sourced as locally as possible. Owners Brady Konya and Ryan Lang have a deep appreciation of Ohio’s history and craftsmanship, and celebrate local resourcefulness, local farmers and sustainability. Middle West Spirits currently produces straight vodka, honey vanilla bean vodka, stone fruit vodka, whiskey, bourbon, and white (unaged) rye whiskey. More pictures from Skipping Rock Farm can be found in the Fashion section on page 64. For more information about Middle West Spirits visit middlewestspirits.com. Subscriber exclusive content including cocktail party food recipes featured here, more photos of Skipping Rock Farm, and a behind-the-scenes photo shoot video can be found at broadwayandthresher.com/skipping-rock-farm Broadway+threshersummer2013.............17
this page, from left to right:the orange blossom, stone fruit collins, the brooklyn, the sanguine eiffel. opposite:trellised table.
The four cocktails below were featured at our cocktail party, all using Middle West Spirits, and Tart Cherry Grenadine from Wisconsin producer Quince & Apple, a small-batch preserve and cocktail syrup artisans. The Brooklyn 2 ounces OYO Whiskey 1 ounce Byrrh or Bonal 3-4 dashes of Angostura Bitters This is a bitter Manhattan — lovely as an aperitif or digestif. Stir, strain into martini glass with good cherry (not a maraschino).
The Orange Blossom 1 ounce OYO Honey Vanilla Bean Vodka 1 ounce Grand Marnier 1 ounce fresh squeezed orange juice 5 drops orange flower water Build all ingredients in rocks glass filled with ice. Garnish with long orange twist.
Stone Fruit Collins 2 ounces OYO Stone Fruit Vodka 1 ounce lemon juice 1/2 ounce Quince & Apple Tart Cherry Grenadine 3-4 dashes of Angostura bitters 1 sugar cube 3 ounces club soda Add vodka, lemon juice, sugar cube, and bitters to a shaker full of ice. Shake and strain into a glass half full of ice. Top with club soda and grenadine.
The Sanguine Eiffel 1 ounce OYO Stone Fruit Vodka 1 sugar cube 3 dashes Fee Brothers Cherry Bitters or Angostura bitters 3–4 ounces brut Champagne Place the sugar cube in the bottom of a flute and add the bitters. (Use cherry bitters for a more fruit-forward flavor; use Angostura bitters for a more traditional flavor.) Add the vodka, then slowly fill the flute with Champagne.
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clockwise:sign and bike in the backyard; sour cherry ciabatta; Quince & Apple Tart Cherry Grenadine
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top:micro-herb salad with baby popcorn shoots and spring vinaigrette in parmesan cups. below:cheese selection with apricot almond compote
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m e n u b o a rd: the ba ck ya rd ba rbeque Mark Nickerson
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ith summer comes the inevitable back yard barbecue. It’s easy enough to simply open the grill, throw on some brats and burgers, heat up some baked beans, ice down some beer and call it a day. After all, the purpose of the barbecue is to offer an easy casual meal for your friends, right? If you want to elevate your game though, here are three quick menu board ideas that will help you impress your guests, with little effort on your part. Start with the refreshment: instead of beer on ice, consider these two refreshing options for the perfect summer sangria. We’ve listed the recipes for making a pitcher but the drinks are easy enough to scale down to single servings if you prefer and have the time to mix each drink individually. With both a red option and a white option, they’ll be sure to please. For the white, you can use Cava (Spanish sparkling white wine) in place of the usual Pinot Gris or Sémillon. Instead of beans or store-bought slaw, here is a simple potato salad recipe that is substantial enough to stand up to any barbecue but light enough to still be enjoyed on the hottest summer day. The recipe comes from my wife’s German family roots in the Texas Hill Country. Thank you Oma! And then, finish off with a few racks of country-style pork ribs. Preparation for this meal starts at the butcher. When you ask for country-style ribs be sure to inspect the meat. Good country-style ribs should contain a small section of rib bone and a generous cut of the loin. Some butchers will hand you a piece of meat that looks more like a t-bone. This is a section of shoulder bone and the meat will not be as good. Send this back and ask for a better cut.
opposite by Rachel Joy Baransi
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red a n d w hi te sangria
Emily George Each of the recipes for sangria have the same simple directions. Combine fruits and simple syrup in a pitcher, muddle to release all of the citrus fruit. Add liqueur and wine, add ice to fill the pitcher and stir to combine. For a more fruit forward flavor, allow to sit in the refrigerator, for 1-2 hours. In a wine or Tom Collins glass add ice and pour in sangria. Fresh slices of fruit make a wonderful addition. Red Sangria 5 orange slices 5 lime wedges 5 lemon wedges 1 cup Bing Cherries Pitted or comparable red fruit 5 ounce simple syrup 5 ounce Pama liqueur 1 bottle red wine (Rioja or Spanish table wine)
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White Sangria 5 orange slices 5 lime wedges 5 lemon wedges 1 peach, sliced 5 ounce simple syrup 5 ounce St. Germain elderflower liqueur 1 bottle white wine (Pinot Gris, SĂŠmillon or Cava)
o m a’s p ota to s a la d a n d c ou ntr y-style ribs Mark Nickerson
Oma’s Potato Salad 4 large red skin potatoes (or six smaller ones), washed and diced 2 eggs 4 tablespoons mayonnaise or Miracle Whip 4 tablespoons dill pickle relish 2 tablespoons yellow mustard 1 teaspoon course ground black pepper 1/4 teaspoon thyme 1/4 teaspoon oregano
Country-Style Pork Ribs 2 racks country-style pork ribs (usually three or four spare ribs with loin attached) 1 cup dry rub (see below for a simple pork rub recipe) olive oil
Cook potatoes in simmering, salted water for 10 minutes or until tender. When cooked through, drain well and set aside to cool.
Set your grill or hibachi up for two zone cooking. This means one section (the hot zone) where you will have your lighted briquettes or gas burners lit, and another section (the cooking zone) where you can set up a pan with water underneath the rack where the meat goes. A lot of science has gone into some pretty fancy convection flow diagrams, but I say keep it simple. Have a heat source that you can adjust and keep steady for several hours and have an area inside the cooking box away from the direct heat where your meat can sit and cook and everything should come out just fine. If you are still not sure how to set up your grill for this kind of slow cooking, a quick search on the Internet for “two zone grilling” will give you as much information as you can possibly absorb.
In a separate pot, boil eggs for 12 minutes. Remove from boiling water directly to a bowl of ice water to cool completely. Peel eggs and dice. Mix eggs with cooled potato pieces and all other ingredients. Toss well, cover and refrigerate for a hour, or overnight, to let the flavors blend.
Pat the meat dry and lightly coat with a little olive oil. Apply the rub generously to the ribs. Cover the meat or wrap it in foil and place in the fridge overnight.
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Light your grill to bring it up to temperature. Remove the meat from the refrigerator and allow to stand bringing up to room temperature. When the grill reaches a steady 250 degrees Fahrenheit (and I suggest using a digital thermometer to determine this, not the thermometer built into the hood of your grill), set the meat over the water pan in the cooking zone, bones down. If you use a smoke box on your grill, now is the time to put it in place. Close the grill lid and leave those ribs alone. You will be tempted to turn them and check them and poke them. Don’t do it. Allow the ribs to cook for at least two hours before your first check. At the two hour mark, quickly check just to make sure that the side of the meat closest to the hot zone isn’t cooking too quickly and drying out. If need be, turn the meat 180 degrees to ensure that the meat is evenly cooking. Otherwise, leave it in place. Check the temperature of the pork as well using a digital meat thermometer inserted into the thickest part of the meat and away from contact with any of the bones.
covered, for fifteen to thirty minutes before you slice and serve the meat. A typical serving portion is one or two ribs per person. Simple pork rub recipe for indirect cooking Equal parts of the following (about 3 tablespoons each to make a bit over one cup): course salt course ground black pepper cayenne powder garlic powder onion powder paprika For a sweeter rub, add in a double portion of brown sugar. Only use for slow cooking though or the sugar will burn. For a tangy variation add some mustard powder.
A standard rack of country style ribs will take between four and six hours to cook completely, depending upon how thick the cut is and how steady your temperature control is. The meat is ready when your temperature probe reads 140 degrees Fahrenheit. At that point, remove the ribs from the grill, allow them to stand, 28.............Broadway+threshersummer2013
opposite by Rachel Joy Baransi
to p l a n t a c i ty: a f ilm
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Debi Ward Kennedy | images courtesy Tyler Faires
n eye-opening conversation between friends Tyler Faires and Toby Peterson led one of them in a whole new direction. Toby’s insights and experiences with the growing interest in local food in Northern California introduced Tyler to the concept of the ‘locavore.’ One definition of “local” food is food produced within 100 miles of its point of purchase or consumption, another is sourcing food from locallybased farmers, ranchers and individuals. Toby introduced Tyler to how the locavore movement is impacting their local community and the residents who have been farming and ranching there for generations. As the two young men (both are in their mid-twenties) talked, and then visited local ranches and farms, the growing scope of benefits was not lost on Tyler. From that interest grew a passionate undertaking to spread the word in their community, resulting in an award-winning documentary film called To Plant a City, produced by Tyler’s FairesWheel Productions. Tyler revealed that the documentary is actually a precursor to a feature-length film he has in development: “The heartbeat is there, but it needs funding.”
And it changed his life. His suburban backyard was torn up to make room for plentiful gardens. A chicken coop was built, and stocked with hens that provide fresh eggs daily. Market shopping was largely replaced by runs to local ranches and farms for the organic local meat and produce Tyler was now craving. His cooking skills—and enjoyment—increased as he widened both his understanding and his palate.
Faires and Peterson also saw the hope that now resides in those eyes, as their products are once again valued by a growing consumer base: the locavore. Renewed by the interest of savvy urban restaurants, television show trends, and a health-conscious public, these familyowned rural dynasties are experiencing a resurgence. Tyler captured their gratefulness on film, enabling the message to spread far and wide: that American family food producers are alive and well, contributing to every community. The support of the farmers is necessary for the preservation of the past, as well as the health and strength of our communities in the future.
Filming the interviews with local sources proved to be a history lesson, as well.
Four and a half months after they began, Tyler had a film ‘in the can.’
Hearing the stories of families who had farmed and ranched for generations opened the eyes of the two young men, who had grown up eating processed foods from the corner grocer. They heard about the struggles faced when megamarkets opened and imported food from distant sources, and learned about the traditions that reach far into America’s past that are alive and well on farms today. They saw the faces of the people telling the stories, as they expressed the hardships faced and the fortitude that carried them through the worst of it.
Toby served as the onscreen host of the interviews, and Tyler provided the production skills of writing, directing, filming, editing, and marketing the project. Coming from a very musically-inclined family he even wrote and recorded the music score for the film.
“My perspective shifted,” he explains with passion.
Following an impressively attended public screening in Redding, California, the documentary was entered into several film festivals: the San Francisco Frozen Film Festival, the Sacramento International Film Broadway+threshersummer2013.............31
Festival, where it won an award, and the Sundial Film Festival (Redding, CA), where it won the award for best documentary, and also the People’s Choice award. The message was clear: supporting local food in our communities reaches people, and the people respond. Tyler’s passion for local food sourcing has spawned a larger dream, one that not only educates but also involves his local community. He’s planning to create a ground-breaking community food center, revolving around a rural event venue that encompasses gardens, animal habitats, chicken coops, educational seminars and classes, and interactive activities each season. His goal is to provide a prototype that can be adopted by communities everywhere. “It will be a hands-on tribute to organic, sustainable, and local food sourcing” says Tyler, knowing full well that a venue like this will create quite a buzz in the small Northern California community that his grandparent’s home overlooks from a hilltop. With several local farms and ranches owned by celebrities Merle Haggard, Clint Eastwood, and Val Kilmer, he expects that support will be widespread and influential.
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For a young filmmaker with a dream to educate others about why local food sourcing is important for strong communities and bodies, the spotlight isn’t very far away. His documentary and feature-length film projects may soon feature Faires on the biggest independent screen of them all: the Sundance Film Festival. We lift our glass (of organic locally-sourced wine, of course) to toast Tyler’s dreams and goals, and we expect to be hearing about another film award very soon. To Plant a City can be seen at toplantacity.tylerfaires.com or broadwayandthresher.com/to-plant-a-city, where we will also be giving away two copies of the film. See our site for details.
redef i n i n g c u l i n ar y art
Lee Kirkpatrick | photos by Chris Casella and Abby Kirkpatrick
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ometimes an initial experiment can spark interest into the unknown and lead to bigger things. For Anthony Stineberg, who began AJ Stineberg in January 2012, now AJ Studios, this is how everything began. Seven years ago, to occupy his mind from the normal day-to-day routine, Anthony began woodworking. He first built a workbench, and when that turned out much better than he ever thought, he moved on to a wine cabinet. Soon after, a chef friend requested a custom butcher block. Everyone fell in love with the block and Anthony made one for himself. This was the “aha!” moment for him and today the company focuses on creating professional grade cutting boards and butcher blocks for sale to the public. Since the start of AJ Studio more than a year ago, Anthony has worked with business partner, Michael McGillicuddy, who shares the same passion for design, and together they create these custom pieces out of their Columbus, Ohio studio. Their unique and patented design of a single wooden stripe brings contrast to each piece and ever-growing product line which has recently expanded to include coasters and a spice rack. Earlier this year, the studio was approached by Brunelleschi Construction of HGTV’s Cousins on Call to carry cutting boards and represent the cousins’ private brand, Rust&Grain. Local restaurateur, Cameron Mitchell also featured designs in his newest restaurant, The Pearl, in Columbus’ Short North District and Ocean Prime in Florida. While making these pieces of functional art has been rewarding for Anthony and Michael, there is more to it than personal success. Throughout the course of the year, a glass jar sits in the studio collecting loose change and donations, a continuation of something that Anthony’s family has been doing for years. Every December, the money from the Christmas Jar is then anonymously donated to families in need. “We strive to actively give back to our community, looking to create a local and personal connection to the place we have grown to love,” says Stineberg. Visit ajstudiodesigns.com to view their current products and learn how to customize a piece of your own.
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Columbus Pride, served by the glass. Inspired by four generations of distilling traditions, Middle West Spirits built its foundation on the belief that authenticity in the world of artisan spirits meant handcrafting products from scratch, while celebrating the distinctive flavors of the Ohio River Valley. Today, we proudly share our OYO vodkas, whiskeys and bourbons as a measure of our love for the craft and our pride for the city we call home. Enjoy every sip.
PUBLIC TOURS OFFERED FRI’S AAND GALLERY HOP SAT’S (1ST SAT EVERY MON MONTH) 6PM For reservations contact 614-299-2460 or tours@middlewestspirits.com tours@middle
Bottles sales available online and in DC, FL, GA, KY, OH, MD, NY, OH, & PA 1230 Courtland Ave, Columbus OH 43201. Distilled from grain. 35-46% Alc. by vol. © 2013 Middle West Spirits. Columbus OH.
fa rm+ga rden
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pa u l re d m a n’s j ou rn e y to lon g wood gardens
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Andrew Kohn | images by Nicole McGrew
hat would you do if you had your own garden to manage, as well as 1,077 acres of our nation’s most prestigious public garden to lead? Paul Redman wakes up every morning to this reality. Not only does he cultivate his private collection of wisteria and peonies, but is also Director of Longwood Gardens, founded in 1906 near Kennett Square, Pennsylvania. Originally established by Pierre Samuel du Pont, Longwood Gardens welcomes over a million visitors each year to explore its gorgeous fouracre conservatory, seasonal displays and attend one of the more than 400 events held each year. Growing up, my parents would take me to Longwood Gardens every year—if not multiple times a year. We would walk the grounds, check out the decorations and watch the amazing fountain light show (pre-Bellagio). I was too young to appreciate the diversity of plant life thriving within the gardens, but I was able to appreciate, even at an early age, the beauty contained within each rose or the awesomeness of nature on display in huge water lilies. Raised on a horse and cattle ranch in southeast Oklahoma, Paul began cultivating his love of gardening early in his life. He started raising turnips in an old horse pen in elementary school. If he was going to be allowed to grow something, it would have to be useful to the family. After initially studying in accounting at Oklahoma State University, sophomore year Paul changed his major to Horticulture and Landscape Architecture with the support of his family and his mother’s keen advice: “You’re going to be poor.” Undeterred, Paul focused on horticulture with an emphasis in production. After graduation, he joined the National Tropical Botanical Garden in Kaua’I, Hawaii as their volunteer coordinator. Eventually, Paul became a horticulturalist and botanist at the garden. After Hurricane Iniki devastated the area, Paul was on the search for his next opportunity, and decided to attend graduate school back home in Oklahoma where he specialized in an alternative agronomic crops project. It was after graduation that Paul chose to return to public gardens, and joined the Franklin Park Conservatory, in Columbus, Ohio as their Director of Horticulture.
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For 12 years, Paul made it his mission to connect people with plants, educating the public about their natural surroundings, and is credited with helming the Conservatory through an unprecedented time of growth. Not least of which saw the installation of numerous Dale Chihuly glass sculptures integrated in the surrounding floral landscape. Public gardens no longer belong solely to scientists, but have become open spaces for all, celebrating both the raw beauty of the natural world and inspired artistic expression. Not only does the Franklin Park Conservatory house a geographic variety of plants—ranging from cacti to orchid—but it also is home to an expansive community garden and hosts a farmers market during the summer months. No longer the exclusive home to elite garden club members and scientists, Franklin Park has embraced the Columbus community with open arms. At Longwood, Paul has been faced with, and met, a leadership challenge. While at the helm of a prestigious public garden, he still says the work is not yet done. Since coming to the garden in 2006, Paul has made subtle but significant changes. He has seen visitors increase
from 750,000 to over one million. Membership has increased to over 75,000 individuals and families. Displays and programs have increased, and research has taken a leading role, working on the development of new plants and partnering with the University of Pennsylvania and the University of Delaware to teach the next generation of horticulturalists. “My job is to ensure Longwood’s leadership as a 21st century Garden—respecting our heritage while improving our infrastructure, embracing new technologies, and planning for the future,” says Paul. At the end of the day, Paul isn’t concerned so much about his own tenure at Longwood, but instead managing the legacy of the garden itself. He says it’s the “soul and energy” that drives his institution and hopes to continue on, and increase, the reputation and credibility of the gardens. Recently, Longwood initiated its Beyond the Garden Gates program, highlighting stories of the people of Longwood; how the garden does exactly what it does. These personal stories not only document the history Broadway+threshersummer2013.............37
behind the exhibits but also shares a glimpse of that soul and energy—the heart of the very people that keep the gardens growing. Asked how he believes gardening will develop in the future, Paul foresees a return to gardening design and style through sustainable simplicity, using non-invasive plants that require less water and limited chemical intervention. Regional plants will replace exotic varietals, with aesthetics harkening back to the 1940s. As we look to the future, we should be aware of what we plant and how it interacts with our larger ecosystem. As I reminisce about my time spent at Longwood Gardens, I remember the afternoon a mime put pepper in my mother’s drink because she wouldn’t join him in his mimery. As an institution, Longwood holds firm to a piece of my memory, forever. It’s a reminder of the important work Paul and his team do every day in southeastern Pennsylvania. Not only are they conserving our nation’s plant history, educating families about our natural world and creating gorgeous displays that both amaze and inspire; they’re bringing families together and creating memories that will last a lifetime. The spirit of Longwood is forever alive in every visitor that walks its many storied paths.
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For more on Longwood Gardens visit longwoodgardens.org. To see the Longwood Gardens YouTube channel and view videos from the Beyond the Garden Gates program go to youtube.com/user/LongwoodGardensInc
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i toh hy bri d peo nies
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Anton Sarossy-Christon
itnessing an Itoh Hybrid peony in full bloom is a sight its creator never himself enjoyed. Itoh Hybrids are the result of a cross between a herbaceous peony (Paeonia lactiflora) and a particular species of tree peony (Paeonia lutea). Crossing these two species turned out to be exceedingly difficult for Toichi Itoh, a Japanese nurseryman who came up with the idea and hoped the offspring would unite the best qualities of each parent. When seed was finally obtained from the crosses, Itoh had to wait the requisite 3 to 5 years for the seedlings to reach blooming size. Tragically, Itoh passed away before witnessing the first plants burst into bloom. Since his first experiments, many other plant breeders have furthered his work producing the eye-catching specimens gardeners have to choose from today. Why Itoh hybrids? Many reasons. As Itoh himself wished, the hybrids do in fact marry the best qualities of each parent plant. Herbaceous peonies attract ants, the hybrids do not. Both herbaceous and tree peonies have a tendency to droop under the weight of their marvelous blooms, Itoh hybrids have strong stems, carrying their blooms aloft. Like the parent plants, the hybrids carry many blooms, as many as 50 on a mature plant, but the blooms tend to last longer. Additionally, the plants have a tendency to produce secondary buds, carrying on the show after the original blooms have faded. Itohs bridge the gap between tree peonies and herbaceous peonies, tending to bloom just before herbaceous peonies begin their display. The foliage is clean, disease-free, and attractive. Since the stems die back to the ground each winter, their hardiness equals that of herbaceous peonies growing in U.S. hardiness zones 4 to 9. As breeders continue developing more varieties, the range of flower color and quality increases and the price decreases. Originally fetching thousands of dollars per plant, Itoh hybrids are now priced more reasonably at about fifty dollars apiece from specialty peony nurseries. Although many of their qualities equal or even surpass those of their parent plants, Itoh hyrbrids are still generally unknown by the gardening public but this needn’t be the case any longer. Spread the word by
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broadwayandthresher.com/advertise
see your business between our pages.
planting one in your garden or by giving one as a gift to someone special. You’ll have something beautiful that will last for generations, and what’s more, Toichi Itoh would be proud to know his efforts were not all in vain.
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o n the fa rm w i th beekma n 1802
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David Gobeli | images courtesy Beekman 1802
or Brent Ridge and Josh Kilmer-Purcell life is pretty sweet right now. Their quickly expanding lifestyle brand, Beekman 1802, just completed and opened its flagship store, they have a reality show on the Cooking Channel, they were the one million dollar winners of the 21st season of CBS’s The Amazing Race, Josh moved to the farm permanently and the couple got married on June 28th. Though, this recent success isn’t without years of hard work and dedication to each other. When Josh and Brent bought the circa1802 Beekman mansion in Sharon Springs, New York they had planned to use it as a weekend getaway. Every year the two left Manhattan and went apple picking in upstate New York, and that year they decided to visit Sharon Springs, a progressive village of 547 residents about an hour drive west of Albany. On an apple picking excursion, the two saw the for sale sign at the property and it talked to them, “like a siren call,” and they purchased it that weekend. Eventually the couple took in a herd of goats and its farmer, John, along with an attitude-filled llama named Polka Spot, who has quickly become a star and acts as the pop culture outlet on the company’s website and Facebook page. What started out as a weekend getaway turned into a burden as the economy soured and both Brent and Josh lost their jobs: Brent as the Vice President for Healthy Living at Martha Stewart Living Omnimedia, and Josh as an advertising executive. Struggling to keep the farm and apartment in the city, they took a gamble and started Beekman 1802, a brand with products that at first centered around the farm’s goats (goat milk soaps), and then expanded into other areas such as consumables, home décor, kitchen wear, garden tools, clothing and cookbooks. Named after Judge William Beekman, who built the couple’s home and farm in 1802, Beekman 1802, celebrates art and artisans of rural New York. The Beekman memory and tradition plays a large role in the development of the brand—his face adorns shirts and aprons, a seed mix contains the varieties of vegetables his gardens once grew, and gives way to the annual Victorian festival. Broadway+threshersummer2013.............45
When starting the brand, they decided that Brent would move to the farm fulltime and grow it, and Josh would stay in the city, eventually finding a new advertising job and help support the business by working. They had a “year of sacrifice” in which they’d live apart and see how the business evolved. One year turned into more, and the couple trudged on. Finally, last year the couple put their city apartment on the market and moved to the farm fulltime. Both Josh and Brent are from more rural backgrounds, Josh from Wisconsin and Brent from North Carolina, and Brent says they, “could not wait to get out of the rural environment and be in the city,” but after losing their jobs and starting Beekman 1802 out of necessity, a latent passion for farming and a more rural life came to the surface. In retrospect, both now realize that their time in the city was already nearing an end and they had accomplished all they had wanted professionally, and the move to Sharon Springs, taking in of the goat herd, and beginning of Beekman 1802, was a fortuitous happy accident.
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They can’t say if the experience would have been so positive had, those years ago, they visited a different small town and bought a different farm, but fate had them travel where they did, and Sharon Springs has welcomed them with open arms. Both Josh and Brent made the effort to get out in the village and learn as much about their neighbors as they could—their passions, their trades. “We’ve made a conscientious effort to know our neighbors, and know what their skills are, and try to work together to build something,” says Brent. When told that Sharon Springs is a oneof-a-kind place that doesn’t exist anywhere else, they respond with a simple, “There are treasures in every community, but often times we just don’t go around and look for them.” Their reality show, The Fabulous Beekman Boys, which first ran on Planet Green for two seasons and then switched to The Cooking Channel, chronicles them learning to be farmers, running Beekman 1802, and their life together. As viewers, we get an inside look at this relationship that, while outwardly different than many, has the same struggles and responsibilities of any couple, though not many get to deliver lambs to
Martha Stewart’s house, or wrap thousands of bars of soap for an order for Anthropologie. Viewers see them bicker, laugh, throw tantrums, and generally be in love as any couple is, and that has caused a lot of smiles on their fans. The show’s production company, World of Wonder, structured the show to highlight a couple. Not a gay couple, not two people of a community different that the majority, but just a couple. Brent notes that two-thirds of the people that attend appearances are heterosexual couples, and everyone that sees the show can witness different aspects from their own relationships and it makes the show more universal. According to Brent, homophobia and prejudice are caused by misinformation and lack of experience, and The Fabulous Beekman Boys is the first show to ever be aired on television that focuses on a gay couple in a long term relationship, and the television community has loved it. Two of the most common emails they receive from fans is a woman saying that her husband would normally not watch a show about to gay guys, but has seen it and it’s now his favorite. The second
email is from parents who think their child may be gay and use the show as a way to start a conversation about acceptance. In the same tone, the show has opened up the rural countryside for the LGBT community. Those that have migrated to the city to feel accepted and have begun to see that the stereotypical view of small towns isn’t neccessarily what was thought. There’s growing trend to leave large urban centers, discover small towns, and be accepting of oneself. By living like they do and on camera, Brent and Josh have shown that finding an accepting community, in any location, is possible. Beekman 1802 is online at beekman1802.com
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artiflora where flowers become art
www.artifloragranville.com | 740-587-3515 | artiflora@gmail.com
l i festyle
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te rr y woods’ fa rmhou s e m o dern
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Dale West | photos by Kindra Clineff
In his mid-twenties, Terry began creating one of kind vintage-style teddy bears which are remarkably reminiscent of antique German bears. Each is handmade from mohair with shoe button eyes and stuffed and worn to look and feel like a well-loved old friend. As each bear comes to life, they gradually assume their own engaging personality. Terry’s bears have been featured in several international publications and are sold and collected around the world.
had sheltered four generations of his family patiently stood waiting for his loving hand and a thoughtful restoration. Soon after the last of the livestock was gone, Terry became the steward of the farmstead. Four generations had sustained themselves on this land and in his own way, Terry would do the same. Over the next few years, the house and surrounding land continued to feed Terry creatively, resulting in the final restoration of Needham House. His work there has been featured in numerous national lifestyle publications, each showcasing his minimalist style and gift for proportion. In 2009, Terry’s first book, New Farmhouse Style was released. The book stands as testimony to the loving work and restoration done at the farmhouse of his childhood. New Farmhouse Style offers inspiring design ideas and frugal decorating solutions for any home and casts a nostalgic reflection on Terry’s childhood in rural Vermont.
Terry continued to grow as an artist, and explored his various interests through painting, garden design, and architecture. All this time, the 1820’s farmhouse which
A second book, Summer House, released in 2011, was inspired by a vintage cape in downeast Maine, the allure of family traditions, and quiet times in the shade
erry John Woods was born in the same rural Vermont farmhouse where his father was born. He grew up working the land and tending the livestock alongside his father and grandfather. As a result of this lifestyle, Terry developed an appreciation for the land and a strong work ethic that serves him well to this day.
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of the front porch. Antiques and family pieces from the Vermont farmhouse lend to the timeless sense of home, and are now living out their lives here on the coast of Maine. It’s here in this coastal atmosphere that Terry surrenders to his passion for oil painting, for it is there that he is most inspired. A recent renovation project of an 1820’s Federal style brick home in Vermont has brought this former parsonage in a small Vermont village back to the glory it had once enjoyed, and it was here that the concept for his third book, Farmhouse Modern, due out in the fall of 2013, was conceived. In this newest book, Terry blends his farmhouse roots with his passion for artistic impression and minimal design. Farmhouse Modern highlights the traditional architecture, contemporary design and creative flair found in some of Terry’s favorite living spaces. The simplicity of life that Terry enjoyed as a child has been the guiding force for his work in design and style. Terry’s ability to make the old new again through design and restoration harkens back to life on a family farm when worn fabric became a new quilt and a freshly 52.............Broadway+threshersummer2013
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white-washed barn marked the start of a new season. Today his work stands as a testament to those simpler days and the lifestyle that shaped him. You can see more of Terry’s work by visiting his website at terryjohnwoods.com.
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O n e of t h e h o t t e s t t re n d s in h o m e d e co r i s t y p o g r a p hy . N ow yo u ca n h a v e yo u r v e r y ow n , cu s to m - d e s i g n e d t y p o g r a p hi c a r t wo r k a v a il a b l e exc lu s i v e l y f ro m d e s i g n e r To s h a J a ck s o n . Yo u r wo r d s a n d yo u r co l o rs a re u s e d to cre a t e a u ni q u e p i e ce of a r t t h a t t e ll s a s to r y t h a t i s
Proudly designed and produced in the U.S.A.
O r d e r o nlin e :
w w w. T YP O G R F X . info
re s cu e r of fu rn i tu re: grégoi re abrial
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Anne Sherwood Pundyk | images courtesy Gregoire Abrial
rtist Grégoire Abrial rescues discarded furniture like some people adopt lost puppies and kittens because he sympathizes with their plight as forgotten and unwanted. Using traditional woodworking techniques such as marquetry inlay he remakes the furniture and gives the found pieces a new life and value. Born in a small town in France, Abrial now lives in Williamsburg, Brooklyn in a loft overlooking the East River. He studied design in Paris, before coming to New York where he pursues his art, photography and bread-baking. B+T - Where do you get your inspiration for art? I am always looking for materials such as wood or furniture to reclaim. I try as much as possible to use what is available near-by because I think we already have enough stuff around us. I see a piece of wood on the street and I’m so sad because nobody sees its value. I consider it my duty to take it and give it a new life. By using my hands I transform it, giving it a new story and a new value. For my current projects I am focusing on marquetry. It’s a very old technique of inlaying wood to create a mosaic. Traditionally it is expensive to use because it requires a lot of time, skill and the finest, most precious woods. I use this same technique,however, with wood with the lowest value. For example, the pieces might have come from IKEA and be made of melamine, or compressed wood. They are worth nothing. I made a piece using marquetry to create a map of Brooklyn inlaid in my dining table. I get my wood from all over the city, especially in Brooklyn. I was collecting fragments from different parts of Brooklyn and they each bring a part of their identity to the object. It became a patchwork map of Brooklyn made of all these fragments. B+T - In terms of your aesthetic you combine rough and weathered salvaged materials, and yet the pieces you create are refined, clean and modern. When I work with reclaimed materials I don’t want to show them as I find them. I want them to feel new. I don’t want to hide the patina and the story that they carry with them, but I want to give them a new life and a new look.
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B+T - You are able to find that balance point. You work in interior design, and you are also a photographer and a baker. My impression is that in all of these undertakings you value quality craftsmanship. I’m a designer, but also as much a thinker. I want to bring together both processes. I need to go back and forth, because it’s the way I’m inspired to be creative. I have a job with Amy Lowe Studio, where we design interiors. When I come back home at night or during the weekend, I jump into my workshop. I enjoy doing my own work there because I’m working for myself. I don’t have any clients or budgets. I’m free to tell whatever stories I want to tell. I’m not a very talkative person; I’m better at making things that will tell stories for me instead of telling the stories myself. B+T - How did you come to make a house-within-ahouse in your studio? I wanted to find a way to divide my space and create a separate bedroom area. I wanted something that would feel cozy where I could hide myself at night in a very quiet setting. So I built this small house inside my loft. It has real apartment walls and sits on stilts so I can see 58.............Broadway+threshersummer2013
the view from my bed. It gives the feeling of a floating house; maybe it’s more like a nest. B+T - How did you create the look of patchwork quilt on the exterior of your “nest?” In French there is the word “vernacular.” I’m not sure if it’s the right word in English, but it applies to someone who sustains himself, just by using what is available around him in the woods or the fields. I work the same way, but I am not in the wilderness. I am in Brooklyn, so my materials are not banana leaves and bamboo, I have other materials at hand to build my house and my projects, like discarded furniture and wood. This is what I used for the outside of my bedroom structure. B+T - It reminds me of the Swiss Family Robinson or Tom Sawyer. Yes, I feel like a version of the Swiss Family Robinson! B+T - What are you working on now? Since I am running out of room in my studio I have had this idea to put pieces I make back on the street. I am hoping that just because I have added inlaid words to
the pieces that someone will pick them up. I’m thinking about a poem that will start on the chair and go on the table and then go on the next piece. B+T - What phrases are you thinking of using? I may start with something direct such as “help me” or “pick me up.” The phrases will be short and fun and give just enough information so that someone would get it right away. But I also like the idea of connecting the pieces all together with parts of the same sentence or a longer story.
is the joy of having warm bread in the house. I love having my neighbors come over to pick up their loaves and to share it with them. I love this idea of making the food with my hands, the connection with food and then sharing the food with people. I think it’s magical. Gregoire’s works can be found at gregoire-abrial.net and broadwayandthresher.com/gregoire-abrial.
B+T - We can’t wait to see what happens with this project. In the meantime, tell us about your bread making. How does this fit with your other endeavors? Have you always been a baker? I started five years ago. It’s another process of making things that inspires me. Baking bread is a centuries old tradition. It’s fascinating to me that bread is made of only four basic ingredients: flour, water, yeast, and salt—and yet there are hundreds of different kinds of breads you can make depending on the fermentation process, or the ratio, or how you bake it. When I make bread with my hands in my kitchen it’s almost like a meditative process. It gives rhythm to my day. I start the bread in the morning so it can ferment while I am at work. When I come home at the end of the day there
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mu s i c : ra ra riot
Meredith Peters | image courtesy Ra Ra Riot
+T Music Editor Meredith Peters sat down with Mathieu Santos of Ra Ra Riot to talk about their new album, their rural studio in upstate New York, and new tour bus. B+T - All of the members of Ra Ra Riot live in urban locations, yet you most often opt to write and record in rural locations. How does the change of scene impact your creative process? It makes a remarkable difference. Cities are fun and exciting places to be, of course, and while we’re at home, we’re always trying to take advantage of everything that’s going on around us, whether it’s going to concerts, art shows, or performances of any kind, or browsing at any of the amazing book stores or record shops, etc. It’s kind of like being in a huntinggathering mode, but we’ve found it’s really helpful to get away from all of the noise when it’s finally time to sit down and start digging into our songwriting and arranging, and that’s what we’ve always done in the past. Early on, it was actually more circumstantial than
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intentional—Wes’s parents live in rural New Jersey and happened to have a carriage house that we could set up in, so we spent a lot of time out there during our first few years. And we wrote our second album on a peach orchard upstate, where friends of Milo’s were selling their farmhouse. But those experiences taught us the value of getting away from everything and sort of facing your ideas more head-on, and not getting all that social, mental, and emotional interference from the city. B+T - You recorded your sophomore album The Orchard in Stillwater, New York and your most recent release Beta Love in Oxford, Mississippi. How did you decide on these places? We found that studio in Stillwater almost accidentally. It was built by this guy on his property, behind his family’s house, and it just popped up on Google one day while we were looking very generally for a residential recording studio. It was basically brand new and was close enough to home while still being in essentially the middle of nowhere. The family was so excited to put the studio to use that they let us take over their house during the month or so of recording—they went on vacation or something and let us completely take over. Recording in Oxford was more circumstantial— Dennis Herring, the producer with whom we wanted to work, is from Mississippi and built his studio (called Sweet Tea) in Oxford. So he and that location were kind of a package deal. But it was nice, in a way, having it assigned to us—one less detail to fuss over—and we’d also never recorded in a warmer climate, so we were really looking forward to the change. B+T - The band started in Syracuse, New York, and is now Brooklyn based. How do your Brooklyn surroundings—be it the people, the places, the events— influence your music? Well, there’s always something going on, for better or worse. There are multiple shows every night, art galleries and book stores everywhere, and of course, thousands of restaurants and bars that are always open, where you can meet up with industry friends or band buddies who are passing through town. So it can be a very exciting and stimulating place to live. There’s an absolutely constant flow of material that you can plug into at will.
more light on issues we tend to explore in our music, like isolation, loneliness, and basic human identity, and how those feelings can be amplified, alleviated, exploited, or simply explored with technology. Things have changed so much in such a short amount of time —the way people share ideas, interact socially, and acquire knowledge—and cities, being composed of such a dense concentration of people and ideas and social technologies, are a natural place to reflect upon these kind of ideas. It’s usually too hard to draw direct lines when talking about inspiration. B+T - Those of us in urban settings often yearn for luxuries you can find in almost any other place— laundry machines, backyards, central air conditioning. What do you find yourself wanting the most when you are home in the city? It’s funny; it’s like that grass-is-always-greener conundrum. Whenever I’m visiting friends and family back where I grew up, I find myself longing for all the action of the city after a few days. But it’s just so totally different. You need to have both, I think. But anyway, when I’m back in Brooklyn, there’s always a dull, constant yearning for things that just can’t exist there. I miss being able to walk to the ocean in a few minutes, and just being able to sit there without thousands of other people around. I miss being able to see the stars at night, and I miss the awesome, penetrating silence that sets in around dusk. I miss being able to ride my bike at night and having my whole town to myself. I absolutely love living in the city at this point in my life, but at the same time, I’m waiting for the day when I can move to somewhere much more peaceful. B+T - Your tour bus is a new addition to your band family, and an environment that doesn’t change from city to city and season to season—what does the band miss most while traveling on tour?
B+T - Your current record delves into the world of technology and electronics. What sparked this thematic and sonic change? Or did city living spark this thematic and sonic change?
The hardest thing is being away from all of our girl- and boyfriends, friends, and families, and trying to establish some sense of normalcy and stability within the vacuum. Being on tour is a lot of fun, but it’s also very strange and taxing, and I look at it as something that needs to be totally surrendered to if there’s going to be any chance of survival. The bus helps a lot with overall comfort and logistics, but it also adds significantly to the feeling that touring can be like some deep space mission, where time is suspended and everything seems detached from whatever’s happening on the other side of the window. We miss being in our apartments, being settled, and having individual routines that are ours and ours alone.
I’m not so sure city living had much to do with the sound of the music directly, but it perhaps shed some
Hear Ra Ra Riot at rarariot.com. ..............61 Broadway+threshersummer2013............. Broadway+threshersummer2013
Broadway+Thresher is proud to support local and national organizations that promote education, rural preservation and equality and fair opportunities for all. Every month, Broadway+Thresher will sponsor one organization with free space within our pages and website. Please contact us at info@BroadwayandThresher.com for more information about our community sponsorship.
S e co n d Cl a s s Ci t ize n s Ca m p a i g n i s a s o ci a l m e d i a ca m p a i g n in w hi ch LGBT in d i v id u a l s a n d a lli e s a cro s s t h e co u n t r y p o s e to d e cl a re t h a t t h ey a re n o t s e co n d cl a s s ci t ize n s . 2nd classca m paign . com
fa s h io n
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more from s ki p p i ng rock farm David Gobeli | photos by Rachel Joy Baransi
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my Hamilton, owner of Granville Millinery Company, makes beautiful hats that have been seen all over the world and in the pages of many magazines and style blogs. Amy designed and made all of the hats featured at our cocktail party, as well as designed the dresses on our ladies. The ladies also are wearing vintage accessories and footwear. The gentlemen wear vintage clothing, accessories, and footwear from Mighty Hand Vintage. More about Amy Hamilton’s hats and dresses can be found at granvillemillinerycompany.com The Mighty Hand Vintage pop-up shop can be found at facebook.com/MightyHandVintage. Subscriber exclusive content including featured food recipes, more photos of Skipping Rock Farm, and a behind-the-scenes photo shoot video can be found at broadwayandthresher.com/skipping-rock-farm/
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s ou thern ga ts by style David Gobeli | photos by Luke Smith
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avannah, Georgia has always been the epitomy of class and style with its oak-lined streets, debutants, balls and world class architecture.
Brockington Hall in the downtown Historic District is no exception. With over 4,000 immaculate square feet, Brockington Hall is an event venue, inn and perfect locale to hold a celebration that is a bit more thematic than simply roses and tulle. Emerald, gold, and jewels play on The Great Gatsby theme, ushering in scenes of flappers, prohibition and extravagant excess. Brockington Hall is online at brockingtonhall.com Subscriber exclusive content including more photos of Brockington Hall can be found at broadwayandthresher.com/gatsby-savannah-style
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design by Atosha K. Barboza Bennett; styling by Taliyba Reinberry; hair and makeup by Simone Simons; desserts by Brown Sugar Custom Cakes; Jessica’s clothing by BleuBelle Bridal; Robert’s clothing by Simons Formal Wear; invitations by Wiregrass Weddings, bouquet and headpieces by EightTreeStreet Broadway+threshersummer2013.............77
Definitions of Traditional Craft Terms Woad and Wattle: plants used for traditional dyeing Logwood Dye: one of the oldest and most important dye methods in Great Britain, uses heart wood and is imported from Mexico Lost Wax Cast: one of the oldest known metal forming techniques, using wax and relief casts Bespoke: made to order, made to buyers specifications Left hand twill: a weaving technique used by premium denim companies; tends to wear down softer Raw Denim: denim that is not washed after dyeing, creates natural fading, particular to the wearer Repro Culture: transmission of existing cultural values and norms from generation to generation
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tender
Ruth Coffey | images courtesy Tender
hen I first came across the Tender website I was struck by the amount of care, the level of research and the lengthy, technical descriptions of the products. A belt has a four paragraph long description. Who has that much to say about a belt? Evidently, someone who’s spent years researching and distilling best practices that have centuries-old origins, someone who personally tests each product, who finds traditional artisans for each component of the design, who has worked as a tailor, and finds beauty in the Great British Steam Age. Someone like William Kroll. William Kroll is a man who can wax eloquent about woad and wattle, a man who spends considerable time thinking about leather and logwood dyeing, and how raw denim, artisanship and antique work-wear are the perfect foundation for a contemporary clothing line. Kroll has put together a small, concise line of products for his brand, Tender, which includes watches, eye wear, pottery, socks, belts and wallets—though the Broadway+threshersummer2013.............79
foundation is undoubtedly raw, indigo dyed denim: the type of denim you don’t wash, that ages like leather and gets softer and finer with time. The type that symbolizes a symbiotic relationship between garment and wearer. Still what belt could warrant a four-paragraph description? How about one that is dyed at the only logwood dyeing facility in the United Kingdom? A place that’s been around since the Romans. One that is cut from the strongest, thickest section of hide and dyed using oak bark, a process that takes over a year a half? And what about the metal closure? Oh, and it has been well researched, hand casted in wax, poured and sanded one at a time, the same as every other metal closure in the line. And yes, the belt has been cut, sewn and assembled all by hand, each one. Applying this same level of care to each product is not just what Tender is about but what Kroll is about. In the words of Tender, “just as a gardener tends to a vegetable patch, or a shepherd is the tender to a flock of sheep, so we hope that Tender’s owners will live with their clothes, wearing them hard, but respecting their provenance and the stories they have to tell”. Kroll originally went to school to study product design which comes across in the practicality and usability of all his pieces but his real education began while working in tailoring shops in England. From there he went into fashion design and after graduation he went to the home of denim production in Japan, Kojima. After spending some time working for other designers he went out on his own and began Tender. B+T - What inspired you to begin Tender? What is your brand about? I’d been working as a designer for another brand, and I was naive enough to think it couldn’t be too hard to give it a go myself. On the one hand, you have nothing to fall back on, but on the other, you can take the brand in any direction that seems interesting. The brand has evolved quite a bit already, over the past nearly-four-years, but it still feels very personal to me from the inside, and I hope that comes across from the outside, too. B+T - Your start in fashion began while working for a tailor delivering packages and working the front of the shop, so how did you end up with this job and what inspired you to apprentice as a bespoke tailor? I needed the cash and I was just walking past a shop with suits in the window. This was when I was eighteen and doing a foundation course in art at Central St. Martins College of Art and Design. I knocked on the 80.............Broadway+threshersummer2013
door and the shop manager was looking for someone to do deliveries and mind the shop front. I wasn’t doing anything technical, but I learned a bit about tailoring, and a lot about customers and good service. It was really interesting taking suits to offices in the closedoff London places like The Temple (where a lot of law chambers are) and the back streets of Bishopsgate (banking). Places you just wouldn’t go if you didn’t have a reason to. I also got to meet some of the periphery of Savile Row life—the ladies in attics making buttonholes, trimmings merchants who sell bamberg linings, selicia, haircloth. After that job I moved on to a bigger shop and started taking measurements for alterations, and eventually I graduated up to the bespoke department. My college course (by now I was studying Menswear) allowed for a year out in industry. I was lucky enough to be offered a paid apprenticeship with the bespoke tailor in the shop I’d been working in. I was there for 18 months, and I probably learned more than I ever have anywhere else. My boss was an excellent teacher, and, in retrospect, I realize he was incredibly patient.
B+T - Why did you go to Kojima? How did your experience there influence Tender? This was another bit of luck and opportunism really. I’d been to Kojima (a small town in Okayama prefecture, in the South of Japan, which is the center of the Japanese jeans industry) a couple of times with my previous job, and I’d met and made friends with a great guy who has his own little indigo dyeing atelier. He’d (probably jokingly) said he’d be happy to teach me, but I think he was quite shocked when I said I was giving up my job, and would it be ok if I visited in a few weeks time. Apart from some practical knowledge, the biggest thing I got from my time in Kojima was an appreciation for taking care over things. B+T - What is the smiling face logo about? I don’t know that he’s smiling exactly. Enigmatic perhaps. He’s called Plautus and he comes from a 19th Century advertisement that I found advertising the State of Nevada around the time of the Gold Rush. Plautus was a Roman playwright who translated littleknown works from Greek and passed them off as his
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own. He can be seen as the first plagiarist. Given that I like to put together ideas from the past into new forms, I think this is somewhat appropriate as a logo. B+T - You seem to enjoy every step of the design and production process so much, from research to drawing to finding particular artisans, where does that enthusiasm come from? I’m really enjoying the variety of running a small brand. There are all the things you mention, but also keeping track of the business, doing bits of press and keeping the websites and superfuture up to date, running our webshop, even packing deliveries- it means that for better or worse no two days are the same. B+T - You’ve begun work on a new brand, SLEEPER, how will this brand be different from Tender? SLEEPER’s a little side project, still in its very early stages. The idea is to make high level Japanese reproductions of some of the lovely bits of old British Rail uniform that I’ve picked up over the years. B+T - So what is the future of Tender? I don’t have very big ambitions for the business beyond its scope now—I’m selling to some fantastic retailers, and while it’s always nice to work with new people, I’m really concentrating on producing really good clothes and things, and keeping Tender’s stockists happy and the customers interested. It’s tempting to try to grow aggressively, but I’d like to keep the mainline a oneperson operation as long as possible. I’ll see what comes along. B+T - Your pieces are inspired by antique work wear and machinery. Have you ever had a heavy labor job? One where these clothes would have been perfect to wear? No, I haven’t. The closest I’ve had to a manual job was a paper round. B+T - Any plans for creating pieces for women or is Tender for the men only? Tender is produced down to an extra-small, and I sell to some excellent stores in Japan who present the smaller sizes as women’s wear. I don’t think I’ll be doing pieces explicitly for women in the near future, but if I did they’d be similar to the men’s clothes anyway. I think my stuff’s pretty unisex.
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B+T - Do you have any favorite designers? Artists or creators that inspire you? There’s a lot of very very good stuff out there. If I had to pick one fashion designer I admire the most I’d say Issey Miyake, I think he was an incredible innovator, and I love what has grown from his work. I love Angelus watches, too. It was a very highly regarded watch and clock brand in the first half of the 20th Century, and made some quite famous chronograph models. B+T - When you’re not working on Tender and Sleeper what are you doing? As well as the brand, I teach on the fashion design courses at Central St Martins and the University of Westminster, which I really enjoy. I’d love to do more teaching in future. That might be a big picture plan. B+T - In your opinion what is the perfect piece of clothing for both rural and urban settings? A good heavy overcoat. Mine’s a deadstock British Rail issue one, very very heavy black wool outside, and quite thick grey wool herringbone inside. It’s rainproof, thorn proof, windproof, and looks equally right with a suit or covered in mud. B+T - What is your favorite urban location and activity? Chinatown, eating noodles. Wherever, and whatever’s happening, I always feel good with a plate of noodles. B+T - What is your favorite rural location and activity? Standing in the field outside my grandma’s house in Devon at night looking up at the sky. Living in the city you forget how dark the nighttime can be. B+T - If you could pick one item from your line for the Broadway+Thresher crowd, what would it be? The lost wax cast solid brass whistle (pictured on page 81) is a lovely bit of engineering, and fits in your pocket, also you can pretend to be a Victorian policeman. Tender is online at madebytender.com
red-belly studio
Lee Kirkpatrick | images courtesy Red-Belly Studio
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he moment I grew hands, I needed to make things,” says Margie Criner, owner of RedBelly Studio. Founded in 2011 in Chicago, Illinois, Red-Belly crafts one of a kind handmade wool belts. Inspired by vintage European military and postal uniforms, the marriage of industrial wool and hand carved buckles makes sense, creating a strong yet minimalistic aesthetic while being functional and ecofriendly. The belts actually came as an after thought, with the buckles being constructed first. After carrying belt straps made by others, Margie stumbled upon the idea of wool and began manufacturing herself. Whether paired with a metal, wood, or a customer’s own buckle, the final product is modern and strong. In the beginning, the idea had been to use Pendleton blankets as the main component to bring color to the custom pieces. With not enough willpower to cut up these beautiful throws, colored topstitching was added, giving subtle strength and a pop of color while still keeping the cozy feel. The stitched belts have become more popular than the classic gray. Each belt is carefully designed with the wearer in mind with a lot of love and consideration going into each one. “It is all deliberate,” Margie says, “I want the belts to provide a grounded feeling for the user.” To view more of Margie’s work and order your own custom piece, visit red-belly.com.
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s e pte m b e r-o c tober 2013: the fa s hi on issue fall fa sh io n s a n d de sign e r profi les
s ubs c r ib e a t b roadwaya n dt h re sh e r.c o m /s ubscri be
+ l e o c i’ s in sava n n a h a n d fa ll t rends i n fo o d, h o m e , a n d ga rdeni ng
issu e 2, fall 2013
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