ESTILA Vol 14 ANTHOLOGY OF WELLBEING by Estila Magazine

ANTHOLOGY OF WELLBEING VOLUME 14

ESTILA

COVER PHOTOGRAPHY

EDITORS Karolina Barnes Pauline de Villiers Brettell

Tse Kao

GRAPHICS ASSISTANT

A big thank you to all our editors, contributors and

Ellie Shirley

everyone who continues to support ESTILA.

PHOTOGRAPHERS

ESTILA bookazine is designed and published by STUDIO/ESTILA t/a Palantti Ltd. The entire con-

Susan Castillo

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Tse Tao

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ESTILA BOOKAZINE - FOR CREATIVES BY CREATIVES ESTILA bookazine tells the unspoken and powerful stories of amazingly talented creatives who have gone through frustrations, tipping points and aha-moments that have led them onto a path of entrepreneurship. From art and design to lifestyle, we touch on issues faced by modern creative businesses. But more importantly, with each issue we are growing a community of newcomers, changemakers, forward thinkers and inspirers, connecting designers, brands, artists and other creatives to one another. This is your networking and inspirational resource on paper.

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WELL BEING

VOLUME 14

Featured brand stories RISK TAKERS

CHANGE MAKERS

FORWARD THINKERS

INSPIRERS

Art by Punam p6 Kleensoaps p14 Tatie Lou p18

Heather Shields p24 Spritz Wellness p30 Oubas p34 Graphenstone p 44

Oliver Heath p52 London Sock Company p62

Tse Kao p70 Grace Han p78 Cotswold Grey p82

BLACK BOOK p 88

EDITOR'S NOTES

ver the past couple of years, we all have realised how important

feeling and being well is in everyday life. The awareness of the quality, or the lack of it, of the environment we spend the most time in drives more and more interest in how to lead a better, healthier and well-balanced lifestyle. This edition focuses on some of the key aspects of "wellbeing", taking you on a journey with the creative businesses featured on the following pages. We start with an abstract landscape artist Punam Sanghrajka, who with her art, tries to trigger memories of places where you can stop, take a deep breath and unwind for a moment. Then, we have stories of small independent brands such as Kleensoaps and Spritz Wellness, who provide "feel good" experiences and help you embrace self-care daily rituals. From the design world, we bring you one of the most talked about concepts - biophilic design. We asked the global expert on this subject, Oliver Heath, about how this evidence-based wellness design can help people and enhance their experiences in workplaces. Staying in interiors, we chatted to Patrick Folkes, the director at Graphenstone, about their groundbreaking eco-friendly paint that is good for people and the planet. Materials and colours we wear play a key role in the way we feel. Brands such as Oubas and London Sock Company pay attention to every detail to ensure that you feel confident and comfortable when facing the world. But there is so much more to discover in this edition, so find a quiet moment and take each story in with a nice cup of tea (or coffee). As always, thank you for reading and your continuous support. It truly means a lot. Without you, we wouldn't be able to provide such a supportive platform where independent lifestyle businesses can share their stories. Karolina Barnes / editor-in-chief 5

CHAPTER ONE

RISK TAKERS

Moonlight Dance

definition

Without risk-takers, the world would look very different. Quite bland, in fact. Risk-takers have a sense of adventure and are not afraid to try new things. Once they decide on the direction they want to go in, they go ahead almost straightaway. Not afraid of failure, they are comfortable making big decisions and stand by them, always eager to learn on the way. 7

Whitstable 01

Whitstable 03

Artist story

Punam Sanghrajka Giving a memory of somewhere to stop, breathe and unwind for a moment interview by Karolina Barnes, images provided by Punam Sanghrajka

ecently I discovered the beautiful art by abstract landscape artist Punam Sanghraj-

ka. Drawn to her textured and layered work, Punam's signature style features blended colours, broad brushstrokes and textured marks (using fabric) to create a subtle movement, bringing the warmth, hope and lightness of the Kenyan skies into interiors. She hopes that each piece will trigger a memory of somewhere where the viewer can stop, breathe and unwind for a moment. Let’s start from the beginning. What has been your journey so far and how did you get into the art world? The beginning is a great place to start! I studied art at school (both GCSE and A-level) and completed a foundation in Art at Loughborough University. I went on to finish a degree in Graphic Design at the UAL: Camberwell College of Arts in 2003. It was after I finished my degree that my creative career took a halt as it was unfortunately very difficult to get an art / design related job as a foreigner in England (I was born and raised in Kenya). It took a while to find my feet, but I always knew I wanted to have creativity in my career in some way. I became a client services lead at a marketing agency, working with art directors, designers and creatives, solving strategic problems and then working with creative teams to bring the solution to life, visually. I met many inspiring creative souls and at the same time, learnt the value of excellent customer service, detailed financial planning and great project management. 9

It wasn’t until 2014 that my art career started again. Following a 10-year career in corporate marketing, my employer’s lack of support for part-time hours (as a new mum) allowed me to capitalise on the opportunity to channel my energy into creating skyscapes and bring my visual language to the world. I started painting again and launched a business while raising my son to offer me the flexibility and fulfil a long-standing dream. Friends and family started asking if I would sell the paintings I was making and I was accepted into a local gallery where I exhibited successfully for a few years. I learnt how to grow my online business and I have been able to use my art practice to support a wide variety of charitable organisations. The rest, as they say, is history… You have a very interesting signature style with storytelling layers in your work, could you take us through the process you take to create your art pieces? It starts with a rough idea - usually from when I’ve been out gathering inspiration whether that’s a walk in local woods or a trip to the beach, it could even be through looking at old photos and looking through old work to see if there’s an idea I can further develop (I particularly enjoy these escapes into my previous work/sketches). From there, I create rough line sketches of the composition and flow of the texture and landscape. Then I start looking into colour - over the years I've realised how much I’m being influenced by the seasons. In the spring and summer, I crave softer, lighter, brighter palettes, but in autumn and winter I choose rich, velvety, bold jewel tones. Once I have the palette, I start painting. Over the years, I have learnt to work in batches and will sometimes have 4 or more paintings on the go simultaneously. This allows me to create harmony in my work and I’m able to build up collections this way. The first layers happen quite quickly, as I can work fast with acrylics. I lay down the main areas and create blends of colour to block out key areas - the sky, the sea, the land, etc. The other reason for working quickly is because I have very small pockets of time in between looking after my young kids, so learning to work quickly has been the key to moving forward. Once I’ve blocked in the main areas, I start to bring in the darker tones and mid-tones where needed. Finally, I’ll add highlights. Each painting is different, some are complete in 3 layers and others need more than 10-15! Over time, I’ve learnt to trust my gut and stop as soon as I start to feel a slight uneasiness about adding more paint. I like to walk away from a painting for a few days before coming back to see if it’s really finished - I sometimes do this 2 or 3 times.

Who and what inspires you? I wrote my dissertation on the impressionists, focusing on Monet. The freedom of the brushstrokes, his use of texture and the play on light are huge influences in my work. I also love looking at wildlife photography, especially Kenyan photographers as they connect me to home and bring the inspiration of the landscape to me. I have some very talented and generous friends who allow me to use their photos for inspiration. I look at sky photography on social media, following specific hashtags so I can see the differences and similarities between clouds, movement and colours around the world. What is the concept behind your current work? All my work is about learning to sit in silence for a little while. I’m hoping that by escaping into one of my paintings you can tap into the feeling that makes you feel calm, that moment when you sit back and say ‘wow’ to something amazing, perhaps a memory. Something that creates a sense of content, awe and wonder. My latest body of work, called ‘a quiet adventure’, was inspired by a summer trip to Whitstable, my first ever trip to the Kent Coast. It was full of warm salty air, turquoise pools of water, cloudy days and the contrast of light against storm clouds. There were hints of sunshine breaking through the clouds and I relished that moment when the light breaks through, giving us a sense of warmth and hope, the happiness of feeling the sun kissing your face and stopping to savour every moment. It was built up from the excitement of finding somewhere new, the feeling of discovering a hidden gem and the pure joy in escaping into this newfound space, but going at your pace and adventuring at your leisure. We ended the year in Whitstable and I started the year with painting - the perfect end to a difficult year and the perfect start to a hopeful one.

Irradiate

What is the best advice you ever received for life and business? Feel the fear and do it anyway. Running a business is hard work, being a mum is hard work and doing both can sometimes feel impossible! We come across all sorts of challenges in our everyday lives and there are moments when we truly feel scared about the next step. I felt all kinds of doubt and fear creep in over the years. But each time I have felt that fear, I made a plan, worked through it and moved forward. I have made mistakes along the way and learnt some great lessons. I have also had great successes from having the courage to put myself out there. So, if there’s something you can’t stop thinking about, I’d say, feel the fear of realising it and find a way to make it happen. What are your dreams, plans and aspirations? I’m currently focusing on continuing my exploration of colour and texture. My work is moving into a more abstract realm and I’m really enjoying it. In terms of how I see my career developing, I’d like to continue to use my work to help people find inspiration and calmness in their everyday. Given that everyone’s journey is so different, I wouldn’t like to define exactly how I see the future unfold, I’d like to leave some of it open to new opportunities and grow with the business. Having said that, I know I would like to start working with more interior designers, as I find the design and commission process to be very rewarding, especially as I involve the client in the decision making too, so it feels like they were fully involved in creating a piece just for them. Lastly, I would like to have a piece of art hanging in every corner of the world! I have managed to reach 6 continents and I can’t wait to keep spreading the calming abstract sky and sea vibes.

Into the Deep

Website: artbypunam.com | IG: @artbypunam

Beauty brand story

KLEENSOAPS On a mission to bring back the traditional soap-on-the-rope to help combat out-of-control plastic consumption interview by Karolina Barnes, images provided by Jutta Klee

hen Jutta Klee, the founder of KLEENSOAPS, could not find a soap-on-a-

rope that suited a seemingly simple requirement; affordable and sustainable with natural ingredients, she decided to do something about it. Her own experiences and frustrations led her to start Kleensoaps, with a mission to bring back the traditional soap-on-a-rope to help combat our out-of-control plastic consumption. Conceived to help reduce the use of plastic by ensuring that no soap is unused through a centred cotton rope, Kleensoaps redefines the classic idea of soap-on-a-rope to give a long-lasting, waste-free natural skincare product. Kleensoaps are all about feel-good experiences, they put a smile on your face, make your body feel beautiful and help preserve our planet. Here we chat with Jutta about her journey and plans for the future. Can you tell us why and when you started KLEENSOAPS? I have been working as a beauty and portrait photographer since I arrived in London from Germany, aged 21. On a regular assignment for WRAPLONDON I had the privilege to meet the most inspiring young women. Makers, chefs, writers, shopkeepers - all entrepreneurs. Working with these women and hearing their stories convinced me that life is all about being the person who does it, taking the risk to set up their own business. This was the fertile ground for the idea of Kleensoaps to grow.

In spring 2019, I was trying to find a soap-on-a-rope that suited a seemingly simple requirement; affordable and sustainable, with natural ingredients. Struggling to find one, I realised that this was the gap in the market I had been looking for. I booked myself on a soap-making course and was instantly hooked. It’s always been about the rope! There are some great natural soap companies out there, but my experience with soap going mushy in wet dishes and chasing a bar around the bathtub one too many times convinced me that I had to make soap-on-a-rope cool again. My mission is to spread the word about soap-on-a-rope to a generation that’s actively looking for sustainable ways to reduce their use of plastic. How important is sustainability to you? What kind of measures do you take to be a more sustainable brand? Kleensoaps is all about providing a luxurious vegan alternative to plastic bottled shower gels. According to a 2009 Swiss study, the carbon footprint of liquid soaps is 25% greater per wash than bar soaps; liquid soap also requires 5 times more energy to create and 20 times more energy to package into a plastic bottle in comparison to its humble competitor - the bar.

All Kleensoaps packaging is recyclable and our labels are crafted from recycled coffee cups made in the UK. Our ropes are manufactured in Europe from recycled cotton thread. As Kleensoaps is growing, I am very conscious of also cutting down on hidden plastics in the supply chain, working with companies that avoid plastic packaging. Can you take us through some of the benefits of the ingredients you use in your products and how important they are for our wellbeing and health? The beauty of solid soap bars is that they have no need for added preservatives and are made with almost all edible ingredients. Lye gets mixed with plant-based oils and butter in the process of saponification, this turns it into glycerin, so you are just left with all of the natural skin-loving ingredients of our soaps. I make them with no animal products, no palm oil, no parabens and no synthetic colour or fragrance. Only telling you what isn’t in Kleensoaps is not going to do our soaps justice though. My star ingredient is the organic unrefined shea butter that leaves the skin plump and moisturised and of course, the essential oils which give the soaps their aromatherapeutic qualities. It is such a gift from nature that the essential oils in our soaps have the power to uplift or calm your mind, just by taking a shower. What is your favourite product? Tall Dark & Handsome is our bestseller and my favourite too. Equally beloved by dads, uncles, and husbands for the exfoliating coffee grounds, I just love the way the coffee brings so much stimulation, with the nourishing oils and butter leaving your skin rejuvenated. I always recommend customers to buy a pair, one smooth and purifying, another exfoliating and invigorating. A favourite combination of mine is Good Vibrations, a gentle lemongrass and pink clay soap, teaming up beautifully with Foot Loose, the exfoliating pumice soap made with poppy seeds and Himalayan rock salt. What are your plans for the near future? 2022 is all about spreading the word. I’ve been so busy setting up the soap making process at our studio in Kent and keeping up with the demand that I’ve neglected the campaign aspect of Kleensoaps. I’ve decided to share my method via social media to encourage others to produce this fabulous product and raise awareness of its benefits. I would love to do workshops for teenagers educating them on what goes into skincare and make-up products to demystify an industry that has serious ethical and environmental issues. Crafting simple skincare products and learning about ingredients might even inspire them to become a maker. Our latest soap-on-a-rope Blue Velvet is a smooth, sensual, activated charcoal soap - a great example of how a greener choice can be beautiful, fun and luxurious.

Website: kleensoaps.com IG: @kleensoaps

Tatie Lou

Creating unique designs inspired by nature, travel and Japanese craft interview by Karolina Barnes, images provided by Louise Wargnier

ounded in 2019 by a print textile designer and expert in the Japanese art of shibori,

Louise Wargnier, Tatie Lou's collections of wallpaper, textiles and accessories are inspired by the brilliance of Mother Nature, the magic of India and the beauty of ancient Japanese crafts. Created through a mixture of shibori dyeing, hand and digital drawing and painting, each signature print is digitised and transformed into a suite of different colourways before being applied to wallpapers, fabrics, cushions and lampshades, as well as blankets and table linens. Here we chat with Louise about her journey into interiors and retail, her inspiration and the importance of sustainability.

Hampi Emerald

Can you tell us about your journey and what has led you to start Tatie Lou? From about six years of age, when my nan first taught me how to knit, I was always knitting or sewing something. As I got older, I would make things and sell them to my friends in the playground, mostly knitted snails or cushions with "I love you" written on them. Then, as I went into secondary school, it was apparent that I wanted to go into printed textiles as loved block and screen printing. I even created my own business name, "Zip off" - so 1980s!! This love for pattern and print continued as I went to study B(Des) Hons in Printed Textiles at Duncan of Jordanstone College of Art and Design in Dundee and graduated in 1996. After travelling the world for two years, gaining inspiration for my future design work, I set up an accessories business in early 2001 where I sold my handbag collections to shops in the UK and internationally. As a solo businesswoman in her mid 20s getting handbags manufactured in India way before online bank transfers, Google (the top search engine was Ask Jeeves), let's say it was very tough. I wasn't taken seriously, despite many attempts to go over to India and oversee production etc. I decided to hit it on the head for a while. It was character building and taught me some very good lessons in business. Skip ahead a few years, I taught textiles to secondary school kids for several years and in 2013 and 2014 created my two best creations, my children Woody and Aggie. I started using indigo and shibori in 2015 to create patterns and wanted to create a duvet cover as I did not like any in the shops. As well as duvet covers, I started hand dyeing babies and children's clothes which sold well when I started my Etsy shop.

Hampi Mint

Phoenix Turquoise

My Etsy shop grew and grew with my shibori creations and it wasn't until I was on a trip to Marrakesh in early 2019 that I decided I wanted to try my shibori designs on wallpaper. With a lot of research and hard work, I launched my first homeware collection at Top Drawer 2019 and the rest is history. Most of that time has been during the pandemic and various lockdowns, but Tatie Lou is growing gradually in the right direction. Your design signature features influences from nature, India and Art Deco. How do these influences guide you through the design process? I have always loved travel and India especially holds a special place very close to my heart. I am always drawn to the colour and pattern of this beautiful country. Mumbai has the second largest Art Deco building concentration in the world, so I loved bringing the Indian influence into some of my art deco designs. I have so many ornaments, books, fabrics and photographs that I have collected over the years from my visits to India. It is a natural reaction to draw inspiration from them somehow, even if the actual design is not an obvious representation of India in the end. I can't wait to go back! I use a mixture of hand-drawn, painted images alongside digital drawings in my work. I also look to my shibori practice to create pattern ideas. I am currently working on a few designs that were created from sun dyeing during the first lockdown. My children and I had so much fun doing these as it was sunny. I don't have one type of technique as such. I like to explore different styles.

Soltar Raspberry

From left: Garden of India Ruby | Phoenix Fern

As demand for British made interiors products is increasing, how important are sustainability and UK manufacturing to you? It is essential to try my utmost hardest to keep everything sustainable. Having a made-to-order model allows me to do this as there is no wastage. All my wallpapers, fabric, lampshades and cushions are printed and made sustainably in the UK. Even our cushion fillers are made from 100% traceable wool. The only product which is made overseas are the woven throws. However, these are woven from 90% recycled cotton. What do you find most challenging while growing the Tatie Lou brand? The biggest challenge has been launching in late 2019, and pretty much ever since the pandemic has been there, every event out there to promote Tatie Lou to the interiors world has been cancelled. I'm praying the Clerkenwell Design Week will go ahead this year..two years later, but better late than never, I suppose. Instagram is great to get your name out there, but it's not easy and takes up a lot of time. Now the world is opening up again, I hope to exhibit further afield too. What are your plans for this year? I am at present in the final stages of finishing my 4th Collection. I will be launching this at the Clerkenwell Design Week in May 2022. Fingers crossed! I hope to get some new stockists in the US soon, which is very exciting. I loved collaborating with Bravery, the Australian scarf company, last year. Bravery gives a percentage of each of their sales to cancer research. I am always on the lookout for collaborations and would love to do more in 2022. So, if there are any companies out there looking to collaborate, please feel free to contact me. E Website: tatielou.co.uk IG: @tatieloudesigns 23

Future of Dreams

CHAPTER TWO

MAKERS

CHANGE

definition

Changemakers have one mission in common - to change the world for the better. Whether it's for people, society or the planet, changemakers are driven by positivity, optimism and passion for life. They want to inspire others to make a change too and use their character traits in their own stories of change and progress. Here we share some of those stories.

Textile Designer Story

Contemporary Scottish textiles by Heather Shields interview by Karolina Barnes, images provided by Heather Shields, photography by Susan Castillo

tarted with an idea to offer a contemporary alternative to the traditional fab-

rics Scotland is associated with, over the past eight years, Heather Shields has been building her textile design practice with distinct patterns, strong graphic edge and a playful approach to colour, applying her designs onto fabrics, homeware and accessories. Based in Gourock on the west coast of Scotland, Heather designs her cloth using both traditional and electronic looms, hand weaving samples with carefully selected yarns in bold colour palettes. All fabrics are either hand woven by Heather in her home studio or woven in small batches at a mill in Scotland. Each piece is then handmade in-house before being inspected and packaged up, ready to go to a new home. On the following pages Heather shares her passion for textiles, sustainable design and producing high quality products.

Tell us more about the beginnings of your brand. What sparked the idea for Heather Shields? After graduating from Glasgow School of Art with a degree in woven textiles I decided quite early on that I'd like to have my own textile design practice. I knew I wanted to continue weaving and I was lucky that a secondhand loom became available for sale not far from my home. I started my own business in 2014 as I felt like I could offer a different design aesthetic to the traditional fabrics such as tartans and tweeds that are usually associated with Scottish textiles. Now I find myself thinking beyond design and provenance and a lot more about sustainability, durability and the full life cycle of my designs. Your products are absolutely beautiful. Where do you find inspiration for the graphic pattern designs and colour combinations in particular? Thank you very much. I find inspiration in everything really, in everyday experience, nature, architecture, domestic settings or unusual objects. As Paul Smith once said; 'You can find inspiration in everything (and if you can't, look again!)'. I also think inspiration and influences change as your skills develop, we are drawn to different things at different times. My new collection is primarily inspired by basalt rock formations on the Isle of Staffa but also by Scottish cliffs and coastal landscapes in general.

Having taken up rock climbing over the past few years I've found myself exploring areas I would otherwise never have access to and starting to notice different geological features and characteristics of these wild and unpredictable places. The repetitive linear forms also reminded me of modernist architecture, such as Finlandia Hall by Alvar Aalto, which then became a secondary influence on how I developed my designs on the loom. Choosing a colour palette often feels quite instinctual, my current palette is much moodier and darker than my previous work partly to reflect the intensity and contrast of the rock with the surrounding sea and the infamously changeable Scottish weather. Deep, inky blues, greens and greys capture this stormy nature and give the designs a timeless and sophisticated feel. Can you tell us more about the manufacturing process? You use both, traditional and electronic looms, right? How do you find working with both methods? Yes, I have a traditional George Wood dobby loom and an electronic dobby loom, which I use most often as it is smaller - unfortunately, my current studio space won't allow for a 6 foot high loom! Both looms have their advantages and disadvantages and both require the weft to be inserted by hand using a shuttle, so it's a slow process. However, whilst I prefer weaving on my traditional loom, the electronic loom saves me a bit of time when making the pattern as instead of hammering sequences of wooden pegs I can design and edit the pattern on my laptop. The designs also evolve during the weaving process when experimenting with different materials and techniques, the loom acting not only as a means of manufacture but as an integral design tool. My pieces are either hand woven in my home studio or mill woven at Drove Weaving, a mill in Langholm with whom I work with for larger pieces and collections.

You have done some amazing collaborations. Tell us more about creating partnerships within the industry. What is your favourite project so far? Forging partnerships is incredibly important to me as I often work on my own and so having another creative perspective to bounce ideas off is invaluable. My favourite industry collaboration was with Roger Oates Design, as it was such a fun and rewarding process from start to finish. Visiting their studio and workshop in Ledbury and viewing the archives was a particular highlight. It was such a thrill to see the final pieces after hand-weaving the sample designs at home and then overseeing the mill production of the final cloth. Any plans for the months ahead? I'm itching to get back to the loom and plan on balancing the new mill woven collection with some hand woven one-off pieces. I would like to take some time to reflect on my practice, learn some new skills and experiment with different materials and yarns. E Website: heather-shields.co.uk IG: @heathershieldswoventextiles

SPRITZ WELLNESS

Enhancing a sense of wellbeing through aromatherapy And building a meaningful wellness brand interview by Karolina Barnes, images provided by Laura Colucci

ver the last few years, we have all realised how important it is to slow down and take

time for self-care. Spritz Wellness is on a mission to encourage its customers to rest and embrace selfcare rituals through the power of natural aromatherapy. As a passionate practitioner of holistic living, founder Laura Colucci shares the inspiration behind her vision, combining nature, the sea and wellbeing into Spritz Wellness products. Tell us about your journey to creating Spritz Wellness - and your vision for the brand. The inspiration for Spritz Wellness came from my interest in aromatherapy, essential oils and my 20 years of practising yoga. The Spritz Wellness brand was born in 2017. I am a yoga teacher and I initially created the room sprays, yoga mat sprays and eye pillows for my own yoga practice and teaching. Almost five years on, the brand has now evolved to produce products that help to enhance one’s overall sense of wellbeing. I feel using aromatherapy, be it through an atmosphere mist or a scented eye pillow or mask, is just one way to be grounded and find calm in a very busy, and at times, uncertain world.

The Spritz Wellness brand embodies timeless style, passion and quality. Great care and attention to detail are put into our products, with each designed to stimulate the senses, calm the mind, energise the soul and enhance the sleep experience. All products are lovingly crafted in small batches in the UK with natural ingredients. How important is sustainability to you? What kind of measures do you take to be a more sustainable brand? Sustainability is very important to me personally and for Spritz Wellness. Considering the sustainability of the product and packaging are essential. At Spritz Wellness we aim to do our bit by offering refill eye pillow inserts so the customer can refresh their eye pillow without having to purchase a new cover. We strive to be a 100% natural company. All spray products are made of glass with very minimal packaging. All atmosphere mists, yoga mat sprays and body soap packaging can be reused or recycled. We have a strong affinity for the sea and are dedicated to keeping it clean. A portion of proceeds from products sold is donated to Surfers Against Sewage. We regularly partake in beach cleans to keep the coastlines of Britain clean and safe.

Can you take us through some of the benefits of the ingredients you use in your products and how important they are for our wellbeing? I strongly believe in the benefits of aromatherapy and how a scent can help shift a mood, calm the mind and body and aid with sleep. I feel more than ever there is a trend toward wellness and self-care and people are looking for little ways to find “me time” or as I like to refer to as “mindful moments.” By misting a relax atmosphere mist or just placing an eye pillow over the eyes for 5 minutes to just take some time to reset. The ingredients in our Spritz products are made with pure essential oils. Blends have been created purposely to calm, energise and relax the body and mind. Our body soaps use pure essential oils and are composed of olive oil, coconut oil and sustainable palm oil as their base as these are nourishing and cleansing. Some of our soaps contain the hydrating ingredients of aloe butter, pink and green clay. Our Cleanse body soap contains activated charcoal. This gives the soap its rich colour and nourishes and detoxifies the skin. What is your favourite product? What would you recommend to a stranger or someone who doesn’t know your brand yet? Oh, that’s really tricky…I have designed and created all the products, and I use them all! However, I would say right now I am loving the Exfoliate body soap. The coffee grounds act as a natural exfoliant and the lemon and rosemary invigorate me in my morning shower. I also can’t sleep without my lavender eye mask and my nightly Spritz of my Sleep pillow spray. Finally, I love my yoga mat spray to refresh my yoga mat and my aromatherapy eye pillow for savasana. So, it’s tricky for me to choose just one! What are your plans for 2022 and beyond? In 2022, I’m personally looking forward to attending more trade shows, events and store visits. It’s been difficult the past couple of years not interacting with customers and buyers. This year Spritz Wellness has plans to expand its current product lines through the launch of exciting new products. Also, look out for our new range of essential oil bath salts, launching soon. E

Website: spritzwellness.com IG: @spritzwellness

Brand story

How Oubas continues the long tradition of knitwear production in Cumbria

words and photography provided by Kate Stalker

ith a vision to build an independent brand that has a positive and lasting

effect on local employment as well as keeping the skills associated with knitwear and clothing production in Cumbria alive, and passing them on to the next generation, OUBAS is a great example of a small business that is turning traditional way of mass production on its head. Built on the community at its core, the brand creates more intimate relationships between the customer, the garments and its location rich in woollen trade history. Founded by Kate Stalker, who grew up in Ulverston where the brand is based, OUBAS garments are made from high quality yarn, making them not only highly sustainable but also extra special to customers who want subtle and understated elegance. Here Kate explains more about OUBAS values, sustainability and mission.

WHERE IT ALL BEGAN OUBAS was launched for a few different reasons, encouraged primarily by intuition and a desire to be a positive force within the fashion landscape. Having gained skills in traditional knitwear production, I wanted to create something that was a slow, local alternative to a vast global industry. The complexities of the industry brought insight into what needed to shift over the coming decades, if, as a population, we are to stop damaging both people and the planet.

Through OUBAS we offer a hopeful and positive community where a closer relationship between ‘consumer’ and a clothing label can be enjoyed. A greater personal connection to an item of clothing is encouraged through our limited run collections and transparent processes. In all of history, there have been trade and art and we believe creativity is needed in these times more than ever. Our vision is to build something that has a positive and lasting effect on employment in our local area and the skills associated with knitwear and clothing. We are changing the model and switching the traditional way of producing in large quantities and pushing the stock into the market. We are now able to collaborate with trade customers on their collections and our make-to-order model for end customers allows us to hold only small batches of our most popular knitwear styles. By offering these services our items are cherished and appreciated more. Our belief is in celebrating the different relationship that comes with an item of clothing that has been made especially for you and being able to do that commercially is something we are proud to offer through OUBAS. HOW OUR GARMENTS ARE MADE We make all of our luxury knitwear designs in-house within the OUBAS studio situated in Ulverston, Cumbria. We combine heritage with modern knitting technology to produce traditional ‘fully fashioned’ knitwear, meaning each piece is shaped to fit with very little to no waste. Unlike with cut and sew clothing where there is fabric waste, with knitting you only use exactly the amount of yarn needed to produce the item; it is already very low waste. For OUBAS knitwear we use pure, natural fibres such as wool, linen, cotton and cashmere which are all known for their soft hand feel and longevity. We do not work with complex patterns but instead with the simplicity of yarn drape and the way that natural fibres take colour and dye. Using natural fibres means our items can easily return to the land after we use them or be recycled into new yarns or items. We select quality yarns that will last, making sure our finishing and overall construction of garments is robust and designed in a way where we eliminate weak seams and stretch where damage may occur through regular wear. We use Stoll CAD knitting machinery - they can produce a very fine fabric down to a heavier chunky knit. We also have traditional knitwear linking machines for fine fabrics and mid-weight fabrics, so we link the fine lambswool, cashmere and merino on the fine machine and the Donegal and British wool styles on the chunkier one. These machines join together panels of knitting and attach necklines onto garments. 37

We also have specialist hand tools that we use to finish our pieces; latch tools to hide the ends of seams and needle hooks to catch any dropped stitches when mending items. We have high pressure steam irons and steam benches to press the knitwear, setting the fabric and settling the structure of the knit. It is the innovation in this machinery and our direct to community concept that allows us to operate on a made-to-order and small batch model, building a resilient and truly more regenerative model as we do not buy in large amounts of stock and then discount at the end of a season, but offer timeless styles that are not trend-led but can be styled in different ways. SUSTAINABILITY AND MATERIALS OUBAS styles are very linked to the tones and shades found in the landscape around us. The connection to natural beauty seen in the landscapes and using these shades in our knitwear means that they are always harmonious and the palette has a timeless quality to it. There are shades of mosses, lichens, stones, the brackens on the fell sides and the deep greens found in the local forests that come into the collections. That sense of place gives us a connection to nature that we seem to have lost. On a human level, using natural fibres breathe with wear, and are therefore much more comfortable. There is a natural drape and loftiness to using pure wools, and its natural characteristics are both antibacterial and insulating. It is a diverse fibre and using different breeds of sheep means we can achieve different textures and structures within a knit. Environmentally, we are using a natural resource which can be replenished and doesn’t use harsh chemicals or finite resources such as oil to be produced. The organic cotton we use has grown sustainability, the landscape where it grows is managed regeneratively, and the farmers are treated fairly. We source our yarns from both UK and Italian yarn mills, known for the quality of the raw fibres they use, and also their environmental credentials. We select our yarns for their inherent characteristics and also for the process involved in their production. We look at the dyes used and

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the standards adhered to.

That sense of place gives us a connection to nature that we seem to have lost.

We use a British wool spun in Yorkshire, which was in our Men's Cable Sweater in 2020. Furthermore, we are working closely with local farmers here in Cumbria to develop our own yarns for our knitwear in the Southern Lake District. These are a blend of different fleeces working with the properties of each fibre to create something unique. We source our cashmere from a Scottish cashmere mill who have been spinning cashmere for the last 150 years. Generations of knowledge have passed down within this mill, and it is these ancestors who we honour today by using their yarns. Since 1897 they have processed cashmere on the banks of Loch Leven in Kinross, and are now the only remaining cashmere mill in Scotland. Loch Leven hosts a world-renowned RSPB nature reserve. All the water the mill uses returns to the loch and is thoroughly cleaned to make sure the brown trout, pink-footed geese and 35,000 wintering birds can thrive. The cotton we use is organic, spun in an Italian mill with zero carbon emissions using organic dyes. It is one of the most sustainable cotton we could find due to its environmental and ethical credentials. It is sourced from farms that are part of the Better Cotton Initiative. This is a global not-for-profit organisation and the largest cotton sustainability programme in the world. It is a method of standardisation, meaning that the cotton is grown ethically, offering better working conditions and savings of up to 90% of water in its production. The farmers all care for the health of the soil and work to enhance the biodiversity of their land, using it responsibly.

The merino we choose for our knitwear is sourced carefully from non-mulesing farms. This is an often controversial practice to avoid 'flystrike' in sheep. Donegal is a traditional yarn spun in Donegal, Ireland. It has beautiful slubs within the yarn adding specks of colour to the knit. There is no other traditional Donegal, we use the only one still spun and dyed in Ireland. Merino sheep herald originally from Spain, originally the breed is thought to have been created around the 12th Century when farmers introduced breeds from the British Isles and North Africa to their local stocks, which is generally thought of as when the breed would have been created. Most of the lambswool shades we use are mélange shades, meaning that the fleeces are dyed into 5 or 6 shades before they are spun, giving a finished depth of colour which is rich and beautiful. The raw fleeces are sourced from South Africa due to the merino sheep needing warm, dry conditions. They are all from ethically certified farms that do not practise mulesing. In our Easy Tee we use a blend of organic cotton and linen spun by the Italian mill using GOTS certified dyes with no emissions. Linen itself is a strong fibre, second only to silk. It is durable and breathable and hypoallergenic.

OPENING THE DOOR OF THE PAST INTO THE FUTURE For centuries, our local area was famous for its textile manufacturing. The building which we currently occupy used to be a factory built by a local resident and inventor, Frederick Broome. Originally from Leicester, Fred, as they called him, made his fortune by manufacturing a textile spinning product which he invented. With a deep sense of public duty, during the Great Depression, by this time in retirement, Fred decided to use his wealth to create some employment in Ulverston with the aim to “get things going again”. First, he built eighteen houses up in Urswick Road. Then, he built a new factory to manufacture textiles. He developed machinery to make an entirely new product called Ulvex, made from cashmere wool and silk. This material could be used as very fine knitting wool or woven into a warm but silk-like cloth. Today, Fred Broome is still a celebrated figure and a local hero who at the age when others were putting their feet up, he gave back to the community and made it thrive again. Through opening our doors to the public, showing them and passing our knowledge on how our garments are made, we are very privileged to continue the local textile manufacturing heritage into the 21st Century and beyond.

OUBAS is keen to collaborate and work with fellow likeminded businesses and trade, please get in touch via email: hello@oubasknitwear.co.uk Website: oubasknitwear.co.uk IG @oubasknitwear 43

Brand Story

Graphenstone Paint How Graphenstone is disrupting the paint and coating industry with the most eco-friendly products on the market interview by Karolina Barnes, provided by Melissa Byrne

s one of the leading paint and coating companies for the green generation, Graphen-

stone story tells a tale of a human innovation, perseverance and the belief that in the 21st Century it is possible to produce eco-friendly paint and coating products that are natural, ecological and healthconscious. The story starts in Spain, where Antonio Leon Jimenez, a chemical engineer, committed himself to developing the most innovative and groundbreaking line of natural paints and mortars using high quality lime, reviving a tradition in the production cycle that otherwise would have been forgotten. Here we speak to Patrick Folkes, director at Graphenstone about the paints, its characteristics and benefits and his thoughts on greenwashing and the future of the industry.

Can you tell us the backstory of how Graphenstone paint came about? I have always been involved in healthy businesses and co-founded PJ Smoothies back in the day - a fascinating journey which ended with the sale of the brand to PepsiCo. In 2012 the founder of Graphenstone, who has a science background, was looking to find a super healthy mineral paint that also performed brilliantly. It just happened to be at the same time as an incredible new discovery - Graphene. Graphene was discovered in Manchester by two guys in 2004 - the strongest material on planet Earth sourced from inert carbon, with space age characteristics. Combining healthy air purifying lime with class 1 strength Graphene, Graphenstone was born. In 2016, I met with the owners of Graphenstone who are based in Spain and bought the UK rights. We launched The Graphene Company in the UK in 2017 and have not looked back. We are based in Norfolk. Was the intention from day one to create the most eco-friendly paint on the market? What are some of the frustrations you are trying to address? Paint is one of the most polluting products on earth, in both production and point of use, at home or in the office where we spend 90% of our time. Graphenstone paint is beautiful and healthy. One of the most frustrating issues is greenwashing. Many of the products on the market do not have the credentials to claim to be sustainable. We are the most certified paint on the market and from day one we have gone out to make sure we are independently evaluated in all aspects of our business. The Cradle to Cradle Institute is one of the most rigorous - we have Gold and Silver standards which is why Facebook and Zara use Graphenstone as well as other clients such as Historic Royal Palaces. We look at the real issue of sustainability and beyond - packaging, sourcing materials responsibly, energy and water use, everything we use in the shipping of the product is recyclable, we don't ship all the water needed in the paint but ask people to add some tap water locally, for example. We take it very seriously. Can you take us through some of the benefits of your products? It’s far healthier for people and the planet - there are no chemicals or plastics in the paints, only trace VOC’s (under 1g per litre) and no smell! The price point is competitive. We have 96 house colours but clients can choose from over 1,000 colours on our chart. We can also colour match, a service we often provide to interior design clients. The minerals and natural pigments are strong and rich which often means you only need two coats. We have products that actively clean the air with high lime (98%) content. Lime is a fantastic product - it has been around forever and was used by the Romans but it is brittle and not that strong - the introduction of Graphene is unique as it makes it class 1 strength too. It absorbs CO2 out of the air, so it goes on cleaning your environment as it cures, bringing bright energy to your space. And the rich mineral content reflects colour and light and looks so beautiful.

As a leading brand in ecological paint solutions, how do you see its role in the wider market, which is led by colour trends and encourages consumers to decorate and redecorate without thinking about the implications of their actions? I think if we step back a bit - just 5 years ago people just thought of colour and bought cheap acrylic paint. However, now people are becoming much more aware and conscious about ecology and health - many different factors have contributed to this awareness (Covid, climate change in the media / David Attenborough..) and it has accelerated sharply. People want a healthy paint product that does not pollute, yet performs brilliantly in beautiful rich pigmented colours - Graphenstone! E

Brand website: graphenstone.co.uk | graphenstone-ecopaints.store IG: @graphenstonepaintuk

CHAPTER THREE

THINKERS

FORWARD

definition

With their ability to see the bigger picture, forward thinkers never stay still. Their creative restlessness keeps moving them forward. They are the pioneers of new ideas, never afraid of reinvention or challenging the status quo. The following stories are great case studies to get inspired by.

OLIVER HEATH

How Biophilic Design improves the way we work written by Pauline de Villiers Brettell images provided by Oliver Heath

ong before Biophilic Design became a buzzword, designer Oliver Heath was

championing the concept and making sure that, if it was not yet top of the agenda, it was being placed firmly on the design radar. Fast forward to a post-pandemic 2022 and Biophilia is now an integral part of the conversation when discussing design, wellbeing and sustainability. With this in mind, we thought we would go straight to the source and find out a little more about it.

Kicking off the conversation - Biophilia, Biophilic Design – what does it actually mean? Biophilia means love of nature and that essentially is what it is all about – about restoring nature to our built environment. It is a term that was first invented back in the 1970s and 80s and is about identifying what was happening as we moved from rural dwellings to city centres. That urban shift brought with it all sorts of resulting physiological and psychological problems as a direct result of what became a fundamental disconnect from nature. So Biophilia then is both a love of nature and a design methodology that explains the reasons for our innate attraction to nature and natural processes, along with the benefits those bring when we connect with them in the built environment. These ideas developed into a set of design principles that allow us to reconnect with elements of nature. Humans have always existed in close connection with nature, it was necessary to survive, and as a result, we have the ability to recognise elements that we need not only to survive but to flourish - and the flourish part is what is key to a Biophilic Design. There are 3 principles behind Biophilic Design: 1. Direct connection: This is about how we introduce natural light, fresh air, water, plants as well as movement in nature and shifts in seasons into our environment. 2. Indirect references to nature: This covers how we go about creating a feeling of nature – how to evoke or mimic a feeling of nature through materials, shapes and textures through technology and patterns. 3. Human spatial response: This identifies what we can do to create spaces that are similar to those we sought out in the natural world, spaces that make us feel safe and places to recuperate, relax and restore. But it is also important to remember we need to create buildings that are exciting, aspirational and stimulating – buildings and designs to energise. One thing that unites us is that we have all, at some point, had a positive experience of nature, and the point of Biophilic Design is about referencing that positive experience and trying to illicit a similar emotional response in the built environment to reduce stress, to aid physical and mental recuperation, and to enhance the connection to a sense of space, place and the people within it. Quite simply, it is about reducing the negative effects of a space – the things that eliminate the response “I feel stressed, I feel exhausted, I can’t work in these conditions” - and in order to create positive outcomes, we need to look at how to create a positive space.

How do we create that with a universal design language, and what are the design elements that are there to use when creating a Biophilic Design? What makes Biophilic Design different to other styles – like modernism, classicism etc – is that it is a design style rooted in evidence – in other words, there is evidence that there will be a positive outcome when principles of Biophilic Design are introduced into the built environment. Biophilic Design is a multi-sensory design tool, can talk about the importance of senses? Incorporating the senses is really important to understanding Biophilic Design - the senses have always been important to our survival in nature, so are rooted in our DNA …we would have used all our senses not only to survive but also to thrive. Today things are shockingly different as we navigate around cities looking at our phones (we don’t listen out it for what is going on around us because it is overwhelming), headphones cancel out noises and the smell of processed food has no relation to where it comes from. As designers, we should be thinking about how to harness and design for all the senses, while considering how we can create spaces that are appropriate for an intended activity. How do you integrate all these elements into the design process while considering different personality profiles? It is important to recognise that in any building you are going to have a lot of different people using that space – 100 people in an office will give you 100 different personality profiles, all with different sensory thresholds. We need to understand those sensory issues and design for them, or with them in mind, and to do that it is about providing and designing for flexible space and options within that space to accommodate a varied spectrum of needs.

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It is important to recognise that we are all different and that we need to design spaces that consider people's sensory thresholds, spaces that deliver on diversity to make sure that everybody has a place to sit and work in a way that suits them best.

Because in any workforce you will have a mixture of people, it follows that you need a mix of spaces that include and move between high and low sensory thresholds. To look at in practical terms, we start with High Threshold spaces – these spaces are usually near the entrance, high traffic, high energy communal spaces with a lot of stimuli – some people can work in this environment, others can’t. We then progress into a Medium Threshold space where you start diversifying the workspace into co-working spaces and meeting pods – a mixture of spaces where the sensory input is toned down. Finally, we move into the Low Threshold spaces - these are usually quiet working spaces with reduced stimulation - recuperation spaces. It is important to recognise that Biophilic Design is not just about creating calming restorative spaces, there is also a lot in nature that is about stimulation and excitement. Using the principles of Biophilic Design is not only about calming and de-stressing, but also about creating engaging and stimulating spaces. How can Biophilic Design help with some of the most common issues in the workplace – like distraction, fatigue and stress? The first thing we can do is introduce elements of nature – the most obvious being plants and greenery as these immediately create the instinctive response that if plants can flourish so can we. Where there is light, water and growth, there is energy. As designers, we need to consider natural light and how to maximise that in a design. The circadian system and rhythms, based on the 24-hour period of light and dark, that affect our body along with mood, behaviour and energy, are key to this process. We need to be aware of the effects of different light and understand how to harness this. It could be about using technology to deliver on this front or it could be as simple as placing a desk by a window. Colour is also really important. The impact of different colours on how we feel or respond is clearly documented, and we know colour affects us all every day. Thinking about what colours do and where we use them and developing a conscious use of colour is an important part of our job. You don’t necessarily have to overwhelm a design with colour, but understanding the benefits of using colours in a similar proportion as they are found in nature is crucial.

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Biophilic design is not only about calming and de-stressing, it is also about creating engaging and stimulating spaces.

Another facet of the design process is identifying and understanding the difference between directed attention and effortless attention. With directed attention being all about focus, we tend to be good at zeroing in, but it is tiring physically, mentally and emotionally. When we need a break, there need to be opportunities for effortless attention. This is where nature comes into play again as a restorative force to help us regroup and rebalance. We are not designed to be focused and energised for eight hours solid, and the workplace needs to incorporate spaces that allow people time to stop and recuperate and get back to cognitive functioning at their best. What elements provide this effortless attention in nature? It usually comes in the form of movement, like wind through grass or ripples in a pond. It is often repetitive and seemingly random, but with an underlying order, which is so often the case in nature. A lot of our interiors are essentially static, so it is about introducing these elements through design. How do you bring that into a space – what kind of products or elements? The majority of spaces are quite closely connected to the outside environment, so opportunities to connect with the outside world are often quite straightforward on one level. It can be as obvious as arranging furniture and desks in such a way that maximises natural light and views outside. Or, it might require a little more lateral thought – for example, providing bike racks and showers in an office make it easier for people to walk/run/cycle to work. In that example, it is about removing obstacles to create opportunity. Once direct contact with nature is maximised you can then move on to look at things like colours, textures and materials within the space. There is a lot of interesting research that supports the use of natural materials in design – the use of timber walls, for example, has been proven to reduce heart rate and blood pressure. As the materials we use can have a physiological impact on people and actually improve their experience of a space, it makes sense to spend time considering the use of materials in a design project. E

If you are interested to find out more about Biophilic Design, Oliver Heath's website has helpful resources to delve into. Website: oliverheath.com Email: studio@oliverheath.com IG: @oliverheath

LONDON SOCK COMPANY

Transforming style and mind through the power of socks

interview by Karolina Barnes, images provided by London Sock Company

n 2013, two friends, Ryan Palmer and Dave Pickard, created London Sock Company to help

people add a splash of colour to their everyday. With their motto: "Great socks are not just a finishing flourish to an outfit, they are the key to walking brighter", their mission is to help customers embrace their personality and be inspired to be the best version of themselves. Since the launch of its debut sock collection and the UK's first sock subscription service, the brand has gone from strength to strength, making its mark in the fashion industry of independent brands with a purpose. Here we talk with them about the early days, sock collections and their special "buy a pair, share a pair" scheme in partnership with charities close to their hearts.

Can you take us back to the start and tell the story of the London Sock Company? What sparked the idea for the brand? My co-founder Dave and I met while working for a Fortune 500 firm in the City in London. We were surrounded by a sea of monochrome every day. Lots of smart suits but very few opportunities for showing any sort of personality or style. We saw socks as an amazing way for men, in particular, to add some colour and polish to their daily wardrobes. It’s amazing how pulling on a great pair of socks in the morning actually has the power to make you walk brighter – both literally and figuratively. It may sound a bit theatrical but a little thing like socks can transform your style, and also your state of mind. They can make you feel more confident, more put together, more optimistic even. In 2013 we started London Sock Company to offer people beautifully-made, stylish socks and a way to add a dash of colour to their wardrobe. We also launched the UK’s first ever sock subscription service, which delivers this sock style on autopilot, direct to your door every month. So much has changed since the early days when we were packing orders in our living room! Supermodel and entrepreneur David Gandy joined us as an early investor and remains involved and supportive to this day, our London-based team has grown as have our collections, we have shipped hundreds of thousands of socks to over 100 countries and you can see our pairs on the feet of celebrities all over the world. It’s been – and continues to be – a really exciting journey. We love how you give customers the opportunity to express themselves and be confident through the colourful choice of your products. How do you choose the colours when it comes to launching new designs? At London Sock Company we are all about the positive power of colour. Colours can influence our mood. They can transform an outfit. They can make us walk brighter. And every hue has its own power. When we think about new colours we will look at trends and how they are evolving, seeing how new shades and designs can fit into wider fashion movements. But ultimately, we see true style as timeless. New sock colours, designs and additions to our sock canon are always simple, classic and enduring. We choose colours that we know will elevate people’s looks, empower them and make them feel great. Our unique collaborations with celebrity stylists like Ilaria Urbinati (stylist to the likes of The Rock and Ryan Reynolds) and Michael Fisher (stylist to gentlemen like Hugh Jackman and Paul Rudd) also blend colour and pattern in a timeless way that goes beyond trends, championing the inspiring power of colour on individual style.

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We saw socks as an amazing way for men, in particular, to add some colour and polish to their daily wardrobes.

Can you describe how you came up with the designs for the Simply Dapper Collection? Were you drawn to a particular style or concept? The Simply Dapper collection is a trio of three of our signature Simply Sartorial range. It’s our flagship collection of ribbed socks crafted from Scottish Lisle Cotton in 27 beautiful block colours. We like to think of Simply Dapper as a kind of mini capsule collection – three Simply Sartorial sock shades that can be effortlessly styled with pieces across your wardrobe, no matter the occasion, for a dash of dapper. Routemaster Red is a vivid, vibrant red that looks as great with navy tailoring and a pair of polished black Oxfords, as it does with your favourite jeans and white trainers. East India Saffron has become one of our most iconic colours and it adds a warm, positive pop to charcoals and traditional checks, as well as navy and khakis. And then there is British Racing Green, a classy colour that adds understated elegance particularly to navy and browns – whether that’s in suits and tweeds, or chinos and trusty denim.

How important are quality and sustainability when designing and making your socks? Hugely important. From day one, crafting beautiful socks that are truly made to last has been our priority. Socks traditionally have been a bit of a throwaway item, but they don’t need to be. There is no reason why they shouldn’t stand the test – or steps – of time. Really, a key part of thinking more sustainably about your wardrobe comes down to longevity. Buying fewer but higher-quality items each year means fewer garments ending up in landfill. Socks may seem small but they can make a difference. Our socks come with a 12-month Sock Sure guarantee – we will replace them if you have any issues in the first year – because we are so confident in their quality. On a larger scale, as a company, we are committed to becoming a Net Zero business by 2025. The concept of ‘Net Zero’ is all about achieving an overall balance between our carbon footprint and the amount of greenhouse gas emissions that we can help remove from the atmosphere. For us, the only way to do this is to take a truly cradle-to-grave approach when it comes to the carbon footprint of our products. This means that we are accounting for the emissions produced across all stages of our supply chain – from the very beginning during cotton harvesting to end of life sock upcycling. This way we can account for the true impact of our business on the environment – and we won’t miss any opportunities to make positive changes.

You have a “buy a pair, share a pair” scheme where you work with two different charities. Can you tell us more about the scheme and how and why you chose these charities in particular? Doing what we can to help others has always been important to us. When we first started, Dave and I would walk around parts of London with a backpack full of warm socks and hand them out to homeless people who needed some extra warmth.

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Doing what we can to help others has always been important to us.

Our Share a Pair initiative is a natural evolution of this. With every order, we donate a pair of specially made warm socks to Crisis UK and Choose Love – two amazing charities that offer support to refugees and those affected by homelessness. Socks are a simple, transformative item for people in these situations. A little thing that can make a big difference.

Brand website: londonsockcompany.com IG: @londonsockco 68

CHAPTER FOUR

INSPIRERS

definition

Inspirers do things differently. They share their stories that open our eyes to new possibilities and opportunities. Stories that trigger a new thought process, stories that ignite action. They know who they are and have the courage and ability to persevere. We hope that the following pages will inspire you to do the same.

Photographer story

Tse Kao

interview by Pauline de Villiers Brettell and photography by Tse Kao

he work of photographer Tse Kao first came onto my radar when doing some re-

search for an article on Biophilic Design. Wanting to develop this concept beyond the realm of interiors to discover how it translates into fashion and other disciplines, his BLENDSCAPES images stood out and captured my attention and my imagination, both as a point of reference, but also as creative works of art in their own right. I chatted to Tse about his creative journey, the process of collaboration and, in fact, how he found his way from surgical assistant, to musician, to photographer… In the conversation, it soon became clear that this was a life journey and photography has been as much a part of this process as has the spiritual journey which he has been on. This spirituality does, I feel, see itself being expressed in Tse’s images, even when that photography is for essentially a commercial campaign. Looking at the images in the Blendscape or Social Stories series, there is an engagement with the subject that does speak of the photographer, and to the viewer. Better expressed in his own words…

“I was determined to live my greatest passion at that time, photography. However, that did not happen overnight. I had to grab a lot of sand, but everything fell into place in the end. I learnt that by going down deep, I started to revalue my life. I was under enormous financial stress and anxiety, but that was precisely what made me appreciate more what life was really about. As clichéd as it may be, it was all about the little things that really mattered. I enjoyed the birds that woke me up in the morning, new friendships and working relationships and the synchronicity that filled my life more and more.” This path has clearly been a mindful and a convoluted one for Tse, punctuated by contemplation and personal growth, and he now finds himself at a point in this journey where he can reflect and express himself creatively and spiritually through his work. “That synchronicity has led to me now living a dream life… if you want to label it (which is not important, but for the context of this story); as a photographer, studio manager, teacher and healer… although it is no longer a dream but a self-manifested reality. I am very grateful for the opportunities that I have had in recent years, the inner lessons and life lessons. Where the river has taken me and I fully enjoy the flowers that have been given to me.” Shifting from the philosophical and into the photography, if those two subjects can be separated, your BLENDSCAPES work was my first point of reference for you - so let’s start there. The photographs in combination with the garments were exhibited on the island where they were shot in 2016. The series was picked up by the online community and went viral. The story was covered by magazines and blogs from Russia to Indonesia to The United States. Can you tell us a little more about this project and the story behind it? ‘BLENDSCAPES’ was created as part of Wad & Design Symposium on the island Schiermonnikoog, in the northern part of The Netherlands. It is a collaboration with a fashion designer, Elsien Gringhuis. The designs of the garments are an abstraction of the landscapes of Schiermonnikoog. Elsien Gringhuis incorporated photographs of the island landscapes into the garments as prints. By photographing the garments in the exact same landscapes, we created ‘BLENDSCAPES’. As Elsien said: "Despite the number of visitors there you barely feel that there are other people on the island than you. You can move around without meeting anyone and thus disappear into the landscape. That feeling was the reason for a series of five outfits where you can literally blend into the landscape.”

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Due to the many apparent coincidences, I increasingly experienced that I had landed on the right path. I could play freely in life's playground, and the more I played and let go of my built-up frames, the more it brought me.

You are the in-house photographer for the sustainable fashion label Elsien Gringhuis - which you mentioned previously in relation to the BLENDSCAPE project. Could you tell us a little more about the process of collaboration and how it works for you? What makes a successful collaboration between a brand and a photographer? In the case of Studio Elsien Gringhuis, from our first collaboration everything came together. We discussed a concept for the first shoot and searched for inspiration online. We actually came up with the same images, which showed that we were very much on the same page. I met Elsien when I just started my career as a fashion photographer and she gave me the chance to grow and experiment as a photographer. Since Elsien is an inspirational designer and very specific about what she wants to see, this was a challenge but it was mostly inspiring to expand my creative skills as a photographer. Staying on the subject of collaboration, can you expand on how you approach collaborations and the process when creative minds come together? How do you come up with a concept and the story? When collaborating with others I either take the concept or initial idea of the client as a starting point or work on it together with my client. In some cases, a client comes up with a fully thought out concept to work with. In general, most of my inspiration for concepts comes from other inspiring artists, from nature, the city or even (sun)light can be the pacemaker for a photograph. I like to create stories. Every photograph has to tell a story in some way. Even a ‘dull’ e-com shot of a garment has to be as storytelling as a well thought out concept. It’s the story of the product in that case. Another thread that seems to run through your work is that of sustainability – can you talk a little more about this and how it impacts your work? Over the last decade, sustainability has become more and more important in my life and my view of the world. I’m trying to live my life as sustainable as possible since a better world starts with yourself. This is being expressed by maintaining sustainable habits, from being a vegetarian to only buying organic (preferably) locally produced food. I try to buy as consciously as possible when it comes to clothing or other products. I try not to buy anything if I don’t need it. Buy less, choose well. Consumerism has become the standard and it makes me sad to see the lack of awareness among the majority of the people. In my work, I am trying to incorporate my sustainable lifestyle by supporting sustainable brands. Together we’re stronger and can spread awareness.

You also offer photography workshops – from beginner photography through to more esoteric workshops where you talk about photography as a tool for meditation. Can you tell us more about the workshops you offer? A big aspect of my life is the fact that I love to teach. Since I became independent, I have taught everything I do, all my experiences and know-how from music to event production and photography. The esoteric aspect of teaching has developed in the past few years, we are living in a world where most people have forgotten what it is to be human. To live consciously, in harmony with nature, our true (higher) self and with each other. From my perspective and lifestyle and half a lifetime full of experiences and life lessons, I decided I’d like to help others on their path of enlightenment. After moving to a new home a few years ago, in the middle of the forest with likeminded (spiritual) people like my neighbours, I was inspired to contribute in my way to a new world, the new dimension that we are shifting to. I do Pranic Healings, teach Tai Chi, developed awareness photography workshops and founded Tao of Chi as the basis for the lightwork I do. In the workshop on intuitive photography (photography as a meditation tool) I try to give people the experience to see the world as they did when they were children. Amazed, unfiltered and free of labels or judgement. By being in the now, the present moment you can re-connect with yourself and with your environment, experience the visual appeal, connect with what you see and capture it as an image. One with yourself, connected with your environment, from the eye and heart, in the now, in your artistic power And in conclusion, a few quickfire questions: Q: Your favourite (inspirational) photographer? A: There are so many, but if I can only pick one, I choose Franceska Woodman Q: Your personal favourite of all your images? A: There isn’t any. First of all, there are too many… If I have a favourite one day, it changes the next and second I’m never satisfied with my work… Q: If and when we can travel, which will be your first place to visit? A: Of all the places I’ve travelled to Norway is my favourite destination. However, the Wudang Mountains in China are on top of my bucket list. Q: Do you have a brand you would love to work with? A: I don’t have a favourite brand. It’s the people behind a brand that are most important, inspiring and worth working with. A brand itself doesn’t mean anything. E

Please visit Tse Kao website: tsekao.nl | IG @casadekaophotography

Fashion brand story

Grace Han How purposeful design, timeless style and uncompromising quality contribute to keeping traditional craftsmanship alive interview by Karolina Barnes, images provided by Grace Han

ounded in 2019, Grace Han is a luxury leather and accessory brand defined by its focus

on exceptional craftsmanship, offering the perfect balance of timeless style, uncompromising quality and purposeful design. Dedication, authenticity and harmony within life's conflicting forces were elements that rung true for the founder, a Taiwanese born British designer Grace Han, when she set out to build her company, and have since remained the three key elements of her brand. With its roots in both London and Taipei, Grace Han is a brand that combines values from both the East and the West. The brand reflects softness and strength, emotion and logic, tradition and innovation. Here we spoke with Grace about her mission to keep traditional craftsmanship alive and her legacy. Can you tell us how Grace Han, the brand, came about? I grew up studying painting and calligraphy in my mother’s atelier. These childhood memories have been with me even after I grew up. After graduating from university, I went to work in a leather workshop and started creating. When embarking on the journey of creating the Grace Han brand, I per-

sonally selected every material, found the best Italian leather, drew each pattern by hand, and finally created the three representative collections - Ballet Lesson, Love Letter and Butterfly. In the end, I returned to the city where my parents studied and fell in love when they were young - London and opened my first store. This city is full of meaning to me. It is not only full of my childhood memories but also very inspiring to my creations. London is my place of unlimited inspiration. 79

Superior craftsmanship is very important to you. Can you take us through the process of creating your handbags? When creating a new handbag, I will design my new work in the sample chamber and discuss the outline, leather and details of the bag with two of my professional craftswomen. For me, the most important design pays attention to the smallest detail. We tried several different types of leather to find the perfect material that matches the bag design. Take the creation of pleats as an example, these pleats have a further significance in that every fold signifies a chapter of our lives and thus carrying the Ballet Lesson is like treasuring your life events. I developed the technique for the pleated panels in my studio and such was the expertise required that I have only found one workshop in Taiwan able to replicate my standard of finish. Each pleated panel featured on our iconic Ballet Lesson handbag takes over 24 hours to make, after which our craftswomen will invest a minimum of 12 hours to assemble the bag. The pleat itself is lambskin, which is very soft and delicate, so it has become quite a challenge when we were ironing the folds. The temperature has to be carefully monitored and recorded precisely when executing each creation. Your signature design “Ballet Lesson" has an interesting story behind it. Tell us more. The Ballet Lesson collection is a representation of Grace Han's artistry and craftsmanship and is a metaphor for my personal growth as a designer but also for anyone who has ever dedicated themselves completely to building their dream.

How would you describe your Grace Han customer? I think most women have experienced a lot of struggle between external values and internal self during the process of growing up, and what I admire most is the women who have achieved a balance between self-achievement and life after going through contradictions and conflicts, while pursuing after their own definition of success in life. I think such a person can become a customer who understands my design philosophy - exquisite, soft with rigidity and calm. What is your vision for the Grace Han brand? What legacy do you want to leave behind? Nowadays, modern technology develops rapidly and traditional craftsmanship skills are lost gradually. However, "craftsmanship" is something that I attached great importance to when I started the brand. Because of this, I hope that leather craftsmanship can be enhanced in this fast-developing world. To achieve this goal, I moved our leather workshop back to my home country - Taiwan, where we trained a group of our craftsmen. Every craftsman has gone through 3-5 years of study and practice, it is this kind of solid and hard training that achieves the perfect quality of every Grace Han bag today. I sincerely wish the craftsmanship can be passed on forever. E

Website: gracehan.shop IG @gracehanglobal 81

Interiors story

Cotswold Grey interview by Karolina Barnes, images provided by Cotswold Grey

uilt on a belief that "different is beautiful", an independent eclectic furniture and

homeware company Cotswold Grey brings global design to its customers. Based in the heart of the Cotswolds, this family-owned business is a small team with big ambitions, taking them on adventures all over the globe when sourcing products. Self-described professional collectors, they love nothing more than exploring distant countries and buying stunning pieces directly from artisans and artists, before bringing them home to share with their customers. Founded by Simon Jeffrey, Cotswold Grey now has two stores, an online destination and an interior design service, which keeps them very busy. Take us back to the very beginning of Cotswold Grey. How and why was the business started? Our founder, Simon Jeffrey, has always had a passion for collecting interesting furniture and homeware and had explored the idea of opening an interiors store in Marylebone, London. Simon grew up in Moreton-in-Marsh, so when the opportunity came along to purchase the building he was raised in, he knew it was the perfect place to begin the Cotswold Grey journey. The business is family owned and run by Simon, whose children have all worked here at various points but are now pursuing their own careers in London. We have since assembled a wonderful team here at Cotswold Grey and as a result, it very much feels like a family-run business. 83

Did you start online first or with the first showroom and/or the interior design service? Cotswold Grey first began as a showroom but offering an interior design service seemed like a natural next step for us. The team shares a love of interiors and a passion for design, so we began offering our expertise to a wide range of clients in the Cotswolds and beyond. We have a friendly, collaborative and hands-on approach to each project, and our recent schemes include the sensational Silk Mill House in the centre of Blockley, as well as several Cosy Cotswold Cottages and local Hotels / Restaurants. This is a side of the business that we continue to grow and we will soon be expanding our Interior Design team solely dedicated to adding the Cotswold Grey touch to any home. How do you curate the collections and products? What’s the process? Do you have certain criteria - quality requirements, style, concept? Our furniture lines have been carefully hand-picked and purchased directly from artisans and master craftsmen from around the world. From vintage distressed cabinets to luxury sofas and contemporary coffee tables, we pride ourselves on showcasing one-of-a-kind pieces. Our collections are varied and ever-changing and we're always looking ahead for our next piece of inspiration. Some of our most popular additions include stylish rustic stools, our mid-century writing desk and mango wood Oslo stools. Instead of solely buying from wholesalers within the UK, we have chosen to have a wide and far-reaching selection of suppliers from all over the world. We have wonderful relationships with suppliers from India, China, Belgium and many other countries across the globe, and our love of unique pieces means our store is full of one-of-a-kind items that you won’t find anywhere else. While Simon does most of the sourcing himself, many team members at Cotswold Grey also have an input into the buying side of the business and often make suggestions for new and exciting items that we can sell both in our shop and online. We regularly check in with our customers to find out if there are gaps in our collections and we always make an effort to fill them! How do you juggle store management with interior design services? Our Moreton-in-Marsh store is run by our wonderful Flagship Manager Jo, while the Interior Design side is run by our talented designer Natalie. Many customers have worked with Natalie for years and continue to use her creative talent to help them bring their vision to life. Often, customers simply pop into the shop for advice and help with the finer details of a room, which is where Jo and our wonderful in-store team step in to help. Both aspects of the business run alongside one another and our team is always on hand to offer their expertise and to help customers with anything they need.

Shield

What is your favourite project to date? We’re incredibly proud of Silk Mill House, our most recent design project with Luxury Cotswold Retreats. We worked hard to ensure this beautiful home offers a tranquil yet stylish space for guests to relax in during their stay in the Cotswolds. The sensational property has been carefully and thoughtfully designed and we wanted the Interior Design to offer the same attention to detail. Each item has been hand-picked to create a luxurious yet relaxing haven in the heart of the Cotswolds. Do you sell to trade/ interior designers, especially the one-of-a-kind pieces? Yes, we are incredibly excited to offer our wonderful collections to Interior Designers and Wholesale clients. Our fabulous sofas are always incredibly popular with our Interior Designers and range from modern and contemporary to timeless and classic designs. This season we’ve welcomed in a selection of premium linen sofas, a stunning range of artwork and have restocked our highly sought-after Frezoli lighting collection which we know our valued trade customers will love as much as we do! E

Website: cotswoldgrey.com IG @cotswoldgrey 87

BLACK BOOK As we are passionate about finding the best stories of creatives, designers and artists, we spend a great amount of our time scanning the market. We want you to be the first to hear about the amazing talent and brands we have on our doorstep. This BLACK BOOK has two purposes - a filter of quality and resource of industry contacts.

ART & DESIGN

ART BY PUNAM artist

KSE TAO

TATIE LOU

photographer, artist

art, wallpaper, accessories

w: artbypunam.com

w: ksetao.nl

w: tatielou.co.uk

@artbypunam

@casadekaophotography

@tatielou

HOMEWARE & INTERIORS

GRAPHENSTONE

OLIVER HEATH

COTSWOLD GREY

HEATHER SHIELDS

supplier

interior designer & consultancy

interiors store & interior designer

textile designer

w: graphenstone-ecopaints.store

w: oliverheath.com

w: cotswoldgrey.com

w: heather-shields.co.uk

@graphenstonepaintuk

@oliverheath

@cotswoldgrey

@heathershieldswoventextiles

FASHION

OUBAS

LONDON SOCK COMPANY

GRACE HAN

fashion accessories

fashion leather accessory brand

fashion brand

w: gracehan.shop

w: oubaskitwear.co.uk

@gracehan

@oubasknitwear

w: londonsockcompany.com @londonsockco

BEAUTY

KLEENSOAPS

SPRITZ WELLNESS

skincare

w: kleensoaps.com

w: spritzwellness.com

@kleensoaps

@spritzwellness

OUR STUDIO

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your brand personality At STUDIO/ESTILA we help ambitious purpose-driven brands, big and small, define their personality that customers love. We specialise in developing experiential and storytelling brand strategies for design and lifestyle businesses of the future.

BRAND STORY STRATEGY | VISUAL MARKETING | EXPERIENTIAL MARKETING BRAND POSITIONING | BRANDING & WEBSITE DESIGN Get in touch via email studio@estila.co | Visit our website for more details and portfolio studioestila.com 90

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ESTILA Vol 14 ANTHOLOGY OF WELLBEING

Articles inside

BLACK BOOK

Tse Kao

Transforming style and mind through the power of socks

How Biophilic Design improves the way we work

Graphenstone Paint

How Oubas continues the long tradition of knitwear production in Cumbria

Enhancing a sense of wellbeing through aromatherapy

Contemporary Scottish textiles by Heather Shields

Creating unique designs inspired by nature, travel and Japanese craft

Punam Sanghrajka