ETHNOTEK f w13
Celebrating and promoting world culture one bag at a time. ethnotekbags.com
FALL | WINTER
VOLUME ONE: FREE
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V O L . 01
ETHNOTEK The idea of Ethnotek began humbly, sprouting from our travels in Southeast Asia. In the highland villages of Hmong tribal communities, we discovered beautiful textiles, steeped in tradition, each telling a unique story.
Understanding those stories connected us to the Hmong people, shedding light on their experience, and inspiring us to learn more. That discovery is at the heart of Ethnotek. We believe in connecting across cultures. We’ve dedicated our lives and livelihood to the cause of building a bridge between artisan and customer. To elevate our global awareness and celebrate our cultural differences.
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We partner with indigenous artisans in Ghana, Guatemala, India, Indonesia and Vietnam to provide them with an opportunity to tell their story through direct trade. Without middlemen mediating the process, we’re helping artisans have a real say in their craft. But more than just connecting across the globe, we build laptop bags to get you there. Our designs were discovered while braving checkpoints in Bangkok, hopping dusty buses through Ahmedabad, and on whiteknuckle morning bike commutes through Los Angeles. So, whether you’re an artisan, an adventurer or just someone looking for an honest product, we can’t wait for you to join our Tribe.
V O L . 01
Dye bath at Batik Priyanagroyo, Surakarta, Indonesia.
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Hidden staircase to Mehrangarh Fort, Jodhpur, Rajasthan, India.
Cat Weaving Vietnam 4 Thread fabric in her home, Cham Village, Vietnam.
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VOL o N 01 006
TABLE OF CONTENTS
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THE KINGDOM WITHIN A COUNTRY
GAMELAN HARMONY
A COMMON THREAD
Our journey to the Champa Kingdom of Vietnam
Batik ingenuity in Java, Indonesia
Exploring the textile traditions of Ghana
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CROSS COUNTRY
SPIRITS IN THE LOMB
THE RAJA PACK
Discovering a world of difference within India
Finding meaning in Maya weaving
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THE WAYU PACK
THE ACAAT MESSANGER BAG
TOTES, SLEEVES & ACCESSORIES
Not too big, not too small, the Wayu easily packs everything for a day’s exploration
Perfect for travelling abroad, or just shouldering during the subway commute
The necessary gear for life’s great adventures
Block printed fabric by Ajrakhpur, Bhuj, India.
Daily commuter, weekend camper, and occasional cross-continental selfdiscoverer
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GETTING TO THE POINT Direct trade connects local communities across cultures. Direct trade, refers to direct sourcing from farmers, craftsmen and artisans. Often the standards of this trade are worked out between both parties on an individual basis, allowing the deal to be catered to each community’s needs. Direct trade is often seen as an alternative to Fairtrade Certification, because communities have more control over their craft. Some of the benefits of direct trade include:
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Larger premiums paid to local communities Ease of participation due to individualized partnerships Direct trade promotes direct communication and price negotiation between buyer and supplier, along with systems that encourage and incentivize quality and craft above all else. There is no universal definition of Direct Trade, because direct traders focus on developing individual community partnerships, and respecting the different situations each partner works within.
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A greater quality-incentive for craftspeople Lower costs due to fewer barriers between community and consumer
GETTING TO THE POINT
Cham village, (L to R) Hani head artisan, Hani’s son Jaka, Ethnotek founder Jake, packaging developer Bao, head bag developer Ai.
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THE KINGDOM WITHIN A COUNTRY 0 0 8
The first thing you notice when you touch down in Ho Chi Minh is the heat. The humidity soaks and surrounds you. It tells you you’re somewhere different, not just half a world away from home. Somehow you’re even further. I had come to Vietnam to join Ethnotek on a sourcing trip. We were going to travel deep into the country to connect with a village of weavers producing some of the world’s most beautiful textiles. But sweating away in the baggage carousel, as the airline told me their best guess for the location of my supplies was Hong Kong, I started to realize this wasn’t just a trip—it was going to be an adventure.
Hani and Jaka, Cham village, Vietnam.
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Next generation weaver, Cham Village, Vietnam.
THE KINGDOM WITHIN A COUNTRY
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Jake Orak, Ethnotek’s founder, greeted me wide eyed and eager outside the airport. We launched into conversation discussing plans, personal news, and of course... my current travel problems. As I explained the missing gear he calmly reminded me that everything is easier on a full stomach and, with those words in mind, we climbed aboard our mopeds and headed off in search of a late night noodle stand.
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Founder Jake gearing up for a photoshoot at the Phan Rang Thap Cham Temple.
THE KINGDOM WITHIN A COUNTRY
Over the next few days my luggage woes worked themselves out while we assembled a crew of guides and gurus from all over the Ethnotek Tribe. Our mission? Travel to central Vietnam, find the Cham Village, and see what would come of it.
If there is one universal truth in travel—it’s that bus drivers worldwide seem to have a death wish. Our route was white knuckle, and sleep would have been impossible save for the homemade moonshine our fellow travelers offered up.
The culture of the Champa kingdom, or Cham, is unique even within Vietnam. Though in existence since 192 AD, it has been shrinking for hundreds of years under the cultural and political forces of the Viet. Now what was once a large empire has shrunk to only a few small villages, and as part of Ethnotek’s mission, we wanted to see how we could support their unique, culture, and contribute to the fight for it’s existence.
A few sips and several hours later we awoke to the shifting and slamming of breaks, a signal of our arrival at the middle of nowhere. We stepped off the bus and watched the taillights trail away. As the sun rose Ai, Ethnotek’s head bag developer, called over a few locals and worked out motorbike rentals. We piled five bodies onto two bikes, and got back on the trail.
This ambitious journey began humbly on a sleeper bus from Saigon en route to Nga Trang. Bao, packaging specialist for Ethnotek, said we weren’t headed to the costal city, but this was the only bus that could get us remotely near the Cham Village.
Ox drawn cart, Cham Village, Vietnam.
Hours of small towns and massive landscapes later we passed under the gateway to Cham with promise. Slowly Ox drawn carts replaced cars and the local workwear shifted to bright, beautiful dresses. This was it, what we came for.
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As we unloaded our gear at the center of town Hani, our connection in the village, greeted us as if we were returning home. She showed us around, introducing us to the local culture and cuisine. After a breakfast of Bánh canh, a simple soup with countless variations across Vietnam, Hani’s son Jaka came coasting down the street on his moped. Immediately we could see what a unique spirit he was. He approached, guitar strapped to his back, offering guava picked on the journey down from Dalat, a small mountain town some four hours away.
We came to the village to work directly with Hani, Jaka and local artisans working together to keep their craft alive. Where we fit in to that structure is by helping to expand their market beyond the immediate area, connecting them to a global community, and allowing others to learn about their unique and beautiful values. Workers in Cham know how outsiders have come to communities in the past offering opportunities in fair trade. Often these deals don’t provide villages a real voice in, or even access to, the global economy they want to be a part of.
He was an expert on Cham culture, his knowledge of history and tradition astounds. If only we all were so connected to our own communities. Over the next few hours we were taught hundreds, thousands of years of history. We learned common courtesies, nuance and custom. We toured temples, courtyards and homes while Jaka picked fruit from streetside trees, explaining their flavors and medicinal qualities along the way. What makes Cham so striking is how everything seems in balance. Every man, woman, child, elder, plant and pet contributing in some way to a larger system. The way they handle the tradition of weaving is no different. Hani, Jaka’s mother first returned to Cham after years away to help rediscover it’s community of artisans. By hosting free workshops on how to spool yarn, dye, set warps, plan, map and design motifs, many villagers were able to return home and use their old family looms for a new source of income.
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Through direct trade, Ethnotek gives local communities and artisans a say in what is produced, allowing culture to be preserved while still being profitable. That means places like the Cham village get to grow on their terms. Which has been Ethnotek’s goal from day one.
Founder Jake inspecting the weave motif for VN4 Thread fabric, Cham Village, Vietnam.
THE KINGDOM WITHIN A COUNTRY
As night set in and we arrived back at the center of town from our tour, the group split, some setting off for bed while others, including myself, were still restless. So we walked with Jaka, out of the village to a crater lake formed by a bomb dropped during the American war.
Hani, weaving at the loom in the culture center, Cham Village, Vietnam.
Even here, in a quiet evening so far from my home culture, our presence is inescapable. But with hope, and help from every corner of the Ethnotek Tribe, we knew we could make that exchange a positive one. A story from the Traveling Shaman
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GAMELAN HARMONY 0 1 4
It’s a weird story, one that happened completely by chance. I arrived in Surakarta, Indonesia, or Solo, with little more than three weeks and even fewer ideas of where I would find the famed Batik fabrics of Java. I had a homestay, a tiny room with two beds and a whole lot of orders to fill. I needed to find another partner for our mission at Ethnotek; artisans who were also all about celebrating and sharing their culture with the world. And to that end, it’s interesting how things always have a way of working out. My homestay had a resident Gamelan player named Dwi. Like Batik fabrics Gamelan is a unique facet of Java culture. Unlike your average American indie quartette, Gamelan bands are built around their instruments, which are built in tune to each other. Each Gamelan band is subtly different, the tune and harmonies produced unique to the individual group. An instrument from one band will not work with another. It’s an amazing idea, and something I would begin to see over and over again in Solo.
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Shop worker boiling batik fabric to remove wax, Surakarta, Indonesia.
GAMELAN HARMONY
Indonesia 4 Thread fabric, made in Surakarta, Indonesia.
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One night sharing a drink, Dwi introduced me to his friend Iwan. He had told them I wasn’t here for tourist trinkets, but rather to set up a real relationship between the local economy and Ethnotek. Iwan was interested. So was I. See, everyone in Solo seems to be involved in the arts in some way. In Iwan’s case, it was making fabrics and textiles. He was part of a traditional family method going back further than the known history. But despite this ancient process, their method and management was revolutionary. Batik fabrics are famed in the region, distinct in their patterns and in incredibly high demand. So Iwan and his father had been trying to figure out new ways to compete with other workshops for years. Over many nights of tea, after packs and packs of Gudam Garam cigarettes, they realized that creativity comes from the spirit. They believed that improving the spirit of their artisans would improve quality and productivity. So, instead of
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increasing their scale by building a big factory, they decided to grow by shrinking. The production process would become hyper-localized, not just to cities or neighborhoods, but to the homes of their employees. They labored to install workshops in the rooms of every artisan, allowing them to work from home. No longer were hours cut short by long commutes, creative energy confined to set schedules, and workers kept far from their families. This was a bold experiment on any continent, and incredible within the Indonesian market. But Iwan and his father believed in allowing craft to create it’s own harmony—like Gamelan instruments naturally tuned to each other. And to everyone’s surprise but their own, it worked! Not only could they produce high quality, hand crafted textiles in volumes far greater than their competition, they immediately outpaced our other villages.
Batik dye being applied by hand, Surakarta, Indonesia.
GAMELAN HARMONY
It was an amazing solution, and traveling through Solo you see why it comes so naturally here. Creativity is all consuming. Shadow puppet theaters operate 8 hour shows to packed crowds while musicians and comedians filling the gaps and breaks between acts. There is never a second without art all around you. Even after you leave, just a few short hours before sunrise,
streets are still busy with women selling food from warungs, each offering it’s own unique take on local recipes. The experience of Solo, of Javan culture, and all of Indonesia is life changing. The Batik textiles speak to that wanton creativity, every thread seems to be an invitation to start another adventure. By Jake Orak
Teddy Priyanagroyo showing off various Batik motifs, Surakarta, Indonesia.
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A COMMON THREAD 0 1 8
If anything is the fabric of the universe, it’s probably fabric. Seriously! You can find it in virtually every corner of the globe. We source it woven, printed, and embroidered from places like Vietnam, Indonesia, India, Guatemala and recently, Ghana. Through our friends at the Ananse Village in Fort Bragg we were able to connect to one of the oldest textile cultures in the world, the Ashanti of West Africa. The strip weaving process that creates the threads they provide us is ancient. Their art form grows out of a tradition that travels as far back as the neolithic period. That’s because clothing created culture. Fabric is one of the first ways a community expresses itself. Take the Ashanti Tribes of Ghana, where color is king. Well, to be specific, the color gold is king. Black symbolizes maturity, blue peacefulness, green vegetation and purple femininity. In the villages
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that make our textiles, every color imaginable says something different. Though Kente cloth, it’s colors and symbolism are uniquely Ghanaian, giving art that kind of meaning is universal. You find it in every culture, country and continent. In a sense, the fabrics the Ashanti make weave into the larger global fabric, and when you begin to see the tapestry that emerges, you realize how unique cultures interconnect despite our differences. We discover that every time we’re backpacking across continents, out on adventures in search of new communities to partner with. There’s a human truth to the work weavers do, how they do it, and what it means to them. By respecting those traditions without controlling them, we earn the opportunity to change together.
A COMMON THREAD
Royal Kente, Bonwire, Ghana, Africa.
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CROSS COUNTRY 0 2 0
We first met Arushi through a mutual friend of Jake’s. He was a professor in Industrial Deisgn in Pune and had invited him to come speak during an intensive course on bag design. Jake had asked the students if any of them were familiar with Gujarat, specifically the Bhuj area, which was known for it’s textiles.
But one student, Arushi, raised her hand. She had been there before, helping a woman in Dehli write a book about textiles in the area. Though traveling there as a photographer, she returned with much more than just photos. She jumped at the chance, knowing the experience that was at stake and soon after, a plan was in play.
Most of the students remained quiet, Buhj was something of... well, the sticks. Sitting in the northwest corner of India, with most of it’s territory the inhospitable Kuch desert, it wasn’t exactly a popular destination amongst cosmopolitan coeds in Mumbai.
Ethnotek would fund Arushi’s trip to the Great Rahn of Kutch, and because traveling alone in the region was often a more foreign experience than traveling abroad, her mother would join her to help. With travel booked and bags packed, they boarded the train and headed north.
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Desert courier, Bhuj, India.
Preparing the warp for loom set up, Shamji’s workshop, Bhujodi, India.
CROSS COUNTRY
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Hours, days, and a flat tire or two later they stepped out of a beat up taxi and into a small town. There they found a hotel Jake had recommended and set up shop. Soon after they were wandering into restaurants and markets searching for a lead, trying to find a connection. That connection was found in Shamji, he and his family were in the business and interested in partnership. He showed them to his home where the rest of the family greeted them with ample food and tea, as is custom in the region. As soon as introductions were finished, they were shown to the workshop. Though more open and adventurous than most, Arushi would be the first to admit her
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preconceptions about the people of Bhuj. Her expectations were to see a simple, if not primal, system. Ancient crafts had ancient means, she thought. But touring the facility she was surprised to find a level of technology unimagined. Computers connected to printers and internet, sons had studied technology and were using their skills to make the family trade part of the global marketplace. Shamji’s rationale challenged the metropolitan conventions of Arushi’s upbringing. While many city dwellers would believe they were miles ahead of all others, Shamji’s family suggested otherwise.
Master Weaver Vankar Shamji testing PH of indigo dye vat, Bhujodi, India.
CROSS COUNTRY
Anyone can go to school, he said. Our art form takes a lifetime of learning. Women and men work side by side, each mastering a different segment of the incredibly complex process. Through the fingertips of a trained weaver, one with a life spent studying the craft, they can feel snags and imperfections in the finest threads. There is no school to offer such enlightenment. It was a simpler task to send their sons and daughters off to study, so that they could return and apply their knowledge to help grow the craft of weaving. It was a waste to give up a gift that only they had been given.
Pit-loom process, Great Rann of Kuch, India.
Busy streets of Ahmedabad.
And it’s true. The craft of weaving, despite its complexity, often exists only on a community level. Arushi knew that though the patterns and methods of the fabric could be recreated, their spirit, their story, could never be stolen. Returning home she had not only helped Ethnotek share that story, but realized she had another story to tell. She explains: We need less needs. Craft is not about creating need, it’s about eliminating it. By creating beauty that works, we make the world a better place. We couldn’t agree more.
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What You Bring Back 0 2 4
More than just riding motorbikes through busy Saigon streets or getting lost trying to find an ancient Indonesian temple, what makes Ethnotek tick isn’t just going out on adventures, it’s what you bring back. James Laver, an art historian that anyone interested in fashion should read up on, once described clothing as the furniture of the mind. Out of all the places we have been, all the cultures we have come across, no where is that wisdom more true than in the Maya. Modern day Guatemala was once part of that civilization. Growing up you might remember from school that the Maya spanned from Mexico in the north, to El Salvador in the south. Though the arrival of Spanish conquistadores signaled big changes in their future, even today much of Maya tradition lives on in the cuisine, art, and weaving of equatorial Latin America.
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We were first connected to these traditions through Little Mango imports out of Boulder, Colorado. Like us, they believe in building positive global culture through cross cultural partnerships. With their help, we met and began working with the Sic Tzunun family, Maria, Juan and Manuel, of Chichicastenango, Quiche, Guatemala. For thousands of years their family and people have taken part in weaving textiles in the traditional styles of Maya culture, and you can see that history and experience in every thread they produce for us. Though the textiles the Sic Tzunun’s create are incredibly beautiful, perhaps even more amazing are the meanings behind every arrangement of thread. Depending on the pattern, color, and arrangement of colors, each piece can tell a completely different story.
WHAT YOU BRING BACK
Mayan Treadle Loom, Chichicastenango, Guatemala.
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Head weaver Maria Sic Tzunun, Quiche, Guatemala.
WHAT YOU BRING BACK
Sometimes thread colors change in the on the eighteenth, twentieth, nineteenth and fifth rows to make the eighteen months of twenty days and the nineteenth month of five days that comprise the Mayan calendar. Others illustrate the solstices by placing two bright spots in their designs.
Human shapes indicate ancestors, watching and guiding the living and speaking to them in their dreams. These woven figures don’t represent specific individuals but instead our shared ancestors, the first people to plant corn and live as humans.
Symmetric, spiraling diamond patterns often have four sides representing the boundaries of space and time. Small diamonds in each corner indicate the cardinal directions. Often the east and west sides are colored blue to represent the Caribbean Sea to the east and Pacific Ocean to the west. At times a thin yellow line connecting east to west shows the sun’s path across the sky.
It’s amazing the amount of culture that is crafted into Guatemalan textiles. Each piece tells it’s own story and the story of the Maya people. Hiking the ancient temple grounds at Tikal in Northern Guatemala you can find the same thousand year old aesthetic that still lives in the looms of our partners in Guatemala. It’s an experience that connects you not only across cultures, but centuries.
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Yogi Sara Robinson with Indonesia 1 Raja Pack, Rajasthan, India.
Rajasthani footwear
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THE RAJA PACK
The Raja Pack is purpose built for the daily commute, a weekend camping trip, and the occasional cross-continental journey of self discovery. It’s forged from 840-denier water resistant ballistic nylon and lined with hand woven fabric from our partners in the Cham village of Vietnam.
Dimensions: Main bag: 15” x 22” x 9” (38cm x 56cm x 22cm) Laptop compartment: 10.6” x 17.3” x 1.2” (27cm x 44cm x 3cm) Weight: 2.6lbs Laptop Fitting: 15-17”MacBook Pro & Most 15” PC laptops Volume: 46 liters
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Left-side water bottle slip and easy access into main compartment, with slots for sunglasses & pens. Right-side pocket is quilted and fuzzy tricot lined to keep gadgets safe from scratches Right-side exterior slip pocket for maps and travel manuals. Laptop compartment zips open to fit 15-17” Macbook Pros and most 15” PC laptops. Comes with interchangeable THREAD front panel. Easy access pockets for passports, plane tickets, and cafe punch cards.
FEATURES– Interior main compartment contains a document slip for A4/ Letter sized magazines, papers and folders. Interior Stretch-mesh zip-pocket scaled for laptop power-adapter and other accessories.
Padded shoulder straps and back panel keeps you comfortable while air-mesh keeps the wind at your back. Compression snap buckles attach THREADs and life’s accessories including yoga mats, tent poles, tripods and skateboards.
Giant waterproof roll-top with super-secure 38mm snap-buckle.
Fully adjustable sternum strap keeps bag stable under heavy loads.
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Tea plantations en route to Candi Cetho, Java, Indonesia.
What 3 generations of a batik workshop looks like. Surakarta, Indonesia.
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THE WAYU PACK
This pack is named after our kind hearted, adventure seeking, futsal playing friend from Surakarta, Wayu. Like him, it’s always ready for another day’s adventure. Not too big, not too small, it packs everything you need for exploration, making it perfect for students, hikers, and urban travelers.
Dimensions: Main bag: 12” x 18.4” x 7.2” (30cm x 46cm x 18cm) Laptop compartment: 10.6” x 16” x 1.2” (26.5cm x 40cm x 3cm) Weight: 1.8lbs Laptop Fitting: 13-15”MacBook Pro & Most 13-15” PC laptops Volume: 25 liters
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Logo loop on shoulder straps to attach sunglasses or pen.
Top handle for moving the pack to-and-fro
Padded laptop compartment for 13-15” MacBook Pro and most 15” PC laptops. Two side zipper pockets for quick access without having to take the bag off
Water-resistant 840-denier ballistic nylon main material Interchangeable THREAD front panel
FEATURES–
Front pocket THREAD contains slip pockets for phones, cables and pens.
Two internal slip pockets and pen slots
Internal zipper mesh pocket for laptop accessories
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Lunchtime with the Inra’s, Cham Village, Vietnam
Aaron Fryman, Uptown commute, Minneapolis, Minnesota, USA.
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THE ACAAT MESSENGER BAG
Whether you want the perfect bag for exploring abroad, or just in search of something easier to swing over your shoulder on the subway, this bag is for you. It’s forged from 840-denier water resistant ballistic nylon and lined with hand woven fabric from our partners in the Cham village of Vietnam.
Dimensions: Main bag: 17.2” x 11.6” x 6.4” (43cm x 29cm x 16cm) Laptop compartment: 16” x 11” x 1.2” (40cm x 27cm x 3cm) Weight: 1.8lbs Laptop fitting: 13-15” MacBook & MacBook Pro and most 13-15” PC laptops. Volume: 20 liters
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Two slip pockets on front for sunglasses, keys and other small accessories.
Padded laptop compartment with removable bumper inserts to snuggly fit 13-15 inch MacBook Pro and most 13-15” PC’s. Laptop compartment with built-in letter/ A4 sized document pocket, for loose papers, magazines and notebooks. Laptop compartment has scratch saving fuzzy poly-tricot lining and seals shut to stop dirt or moisture from entering. Luggage trolley pass-through on the back that zips shut to double as a large exterior pocket.
FEATURES– Heavy-duty, fully adjustable shoulder strap made from nylon seatbelt webbing. Removable shoulder pad with ambidextrous cross strap for stability while cycling. Front zip pocket with built-in organizer easily fits iPad, pen, phone and wallet.
Interchangeable THREAD flap
Main compartment expands to fit bulky items. Main compartment contains two velcro slip pockets for mouse, power adaptor, Moleskine notebook and other small and medium sized accessories.
Compression straps double to carry yoga mats, beach towels or jackets. Webbing loop to hang bag so it doesn’t get soaked from sitting on wet or dirty ground.
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Fabric Bazaar, Jodhpur, India.
Clock tower night market, Jodhpur, India.
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THE DEP TOTE
Whether the day’s plans include class, the market, or the beach, the Dep Tote is ready to get you there. It’s simple construction makes it the perfect carryall for any and all items.
Dimensions: Main bag: 19.6” x 13.6” x 6” (49cm x 34cm x 15cm) Laptop compartment: Removable padded sleeve for MacBook Pro 15” Volume: 25 liters
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THE DEP SLEEVE
These aesthetic wonders are not only padded for impact resistance and lined with fuzzy tricot to prevent scratches, they are covered in culture. The entire exterior is made from Thread fabric handmade by our artisans in Ghana, Guatemala, India, Indonesia and Vietnam. Perfectly scaled to fit your Macbook Pro 13 or 15 inch laptop and your iPad Mini or iPad 3.
Dimensions: 13” MacBook Pro Sleeve: 14.2” x 10.8” x 1.2” (35.5cm x 27cm x 3cm) 15” MacBook Pro Sleeve: 15.4” x 11.2” x 1.2” (38.5cm x 28cm x 3cm) iPad Mini Sleeve: 6” x 8.5” x .75” (15cm x 21.3cm x 1.8cm) iPad 3 Sleeve: 8” x 10.25” x .75” (20cm x 26cm x 1.8cm)
Dep Sleeve for iPad Mini
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THE VARUNA RAIN COVERS
Hindu myth tells of Varuna, the water god, battling the celestial ocean to save his wife Sita. Luckily, he’s also signed up to save your gear. Slap our VaRuna rain cover over your Acaat Messenger, Wayu, or Raja Pack and you’ll have the strength to stand up to any storm!
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Worlds largest Buddhist monument, Borobudur Temple, Kedu Valley, Java, Indonesia.
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V O L . 01
We Dream of Dirt. Dirt from dusty roads, kicked up off the terra firma of each and every country we explore. Dirt that covers our skin and coats our mouths while riding trains and buses wide-eyed with jaws dropped across the countryside—always in search of new cultures to celebrate. Embrace that emotion, pick experience from between your teeth. Lean into the storm and satiate your thirst for adventure! Trust us, our Tribe knows the feeling. From village artisans to office admins we want it forever more. More connection, more inclusion, more cooperation and most of all, more action! And in pursuit of that mission, always remember: Don’t ever be afraid to get dirty.
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ETHNOTEK
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