Issue Five
S P E C I A L
E D I T I O N
Summer 2016
CONTENT RANGE ISSUE SUMMER
2 6 . Towards The Sea
0 3 . Foreword far out ( doors )
05 2016
0 4 . CORDURA® cordura® tough |
THISISRANGE.COM @THISISRANGE
gently tripping down california ’ s central coast
ringtail collab
0 6 . Arc’teryx
#RANGEMAG
the secret art of color theory
0 8 . Steven Harrington x Parks Project Collab 0 9 . Free Range Art cabin - time ’ s creative retreat
for artists
1 0 . The Water’s Fine steven nereo is making waves
1 2 . Neptune Mountaineering climbing approved since 1973
1 3 . Rad Retailers sidewalk surfing and offline shopping
ON
THE
COVER
STEVEN
NEREO
a story of river surfing
3 0 . Designers on Holiday 3 1 . Far Out Future polartec ’ s 2016 apex
awards
3 2 . Wild Visions + Utopian Spaces alternative dwellings in the american west
3 4 . Seeing Trails 3 6 . New Hues plant dyes : a
modern field guide
3 7 . Off the Grid
1 6 . The Modern Wild Feminist
3 8 . All Tomorrow’s (Desert) Parties
how wylder grew out of an apple orchard
a west texas oasis where land meets sky
2 0 . Earth, Wind & Fire ali beletic ’ s expansive art
FOUR”
2 8 . The Montana Experience
1 4 . Film in Distress
wildfang
“VINEYARD
2 7 . Adventure Local woolrich ’ s ss17 collection
2 2 . Chaco
3 9 . Experimental Soundtrack how sound affects our consciousness
on fes tiv a l gr ou nds
publisher
contr i b utors
s pecial s hout-out to
RANGE
Jen Abercrombie, Kristen Blanton,
Molly Ambrogi-Yanson, Ali Beletic,
Carson Brown, Lisa Dougherty,
Gerhon Burkholder, Julie Campagnoli,
Lindsey Elliott, Alex Gomes,
Jimmy Collins, Butchy Fuego,
Brandon Herrell, Veronica Meewes,
Molly Gavin, Cooper Gill,
Hilary Oliver, Corrina Peipon,
JulieAnna Giannini,
art di r ector
Andrea Praet, William Rauscher,
Tripp Gobble, Phil Gordon,
Jonathan Cammisa
Angelo Spagnolo, Nina Stotler,
Raffie Gordon, Tom Gottelier,
jon@thisisrange.com
Celine Thibault, Jeff Thrope, Luke Woods
Tory Hayssen, Geoff Holstad,
e ditor ial di r ector
Jeanine Pesce jeanine@thisisrange.com
photog raph e rs
manag i ng e ditor
Alex Gomes alex@thisisrange.com
Joel Barhamand, Ali Beletic,
Rachel Stevens, Julie Atherton,
Kristen Blanton, Carson Davis Brown,
Caitlin Chassler, Gary Neptune,
Shaun Daley, Jules Davies, e ditors
Jainee Dial, Jerry Dodrill,
Nina Stotler
Lindsey Elliott, Brandon Herrell,
nina@thisisrange.com
Steven Nereo, Jay Ritchey,
Luke Woods
Nick Simonite, John Watson, Yuki Yanagimoto
social media
/
press
i l l u s t r ato r s
/
artists
Lisa Dougherty
Steven Harrington, Arthur Jones,
lisa@thisisrange.com
Celine Thibault
h ug e than ks to ou r sponsors
CHACO
Kyle Kelley, Liz Lambert,
Steven Nereo, Hall Newbegin, June Okada, Chelsea Parrett, Marvic Paulo, Karuna Scheinfeld, Amanda Leigh Smith, Samantha Siermine, Strongwater MTN Surf Co., Sean Talkington, Taralyn Thuot, Benji Wagner, Andrea Westerlind, Caleb Woods, We Are Unicorns
C O R D U R A ®, WOOLRICH, POLARTEC, LEATHERMAN AND MONTANA TOURISM BOARD
2
Im a g e : K ri s t e n Bl a nt on
Far Out (Doors)
“Tur n on, tune in, drop out” - Timothy Lear y
FOREWORD
O
ur Summer 2016 issue is inspired by the utopian movements of the late ’60s and the alternative communities that redefined progressive culture. Utopia , a Greek word that means “an imagined place or state of things in which ever ything is perfect,” remains a destination both physical and mental, one where people seek refuge and retreat from the harsh realities of society. Right around the same time these creative communes, art collectives and environmental gra ssroots organizations were flourishing, the backpacking craze of the ’60s and early ’70s was gaining momentum. L ong-haired climbers inspired by this counter-culture mentality would go on to build brands like The North Face, Sierra Designs and Dana Design, working out of their garages and kitchens in towns like Berkeley and Bozeman. Wi t h a n od to the se tumultu o us an d tran sc en den t al tim e s, we ar e s to ked t o f e at u r e s t ori e s that ce leb rate a n a ltern ative to o ur in cr ea sin gl y p r e f ab r icated l ive s. C ome w i t h u s a s we go r oa d “ tr ippin g ” up th e P C H, inve s tigate p l an t- b a sed dyein g t e c h ni q u e s , and p rofile a n e w gen eratio n o f ico n o c l a s t s a s th e y sur f th eir way do w n f r e s h wat e r rive rs , b uild co mmun itie s o ut o f “wa s te” m ater ial s, an d dec l ar e th e b ir th of t h e w i l d fe m i nis t mo vemen t . Just remember: The more far out(doors) it feels, the better.
-Jeanine Pesce, Founder 3
A R U D R CO TOUGH ®
d , CORDURA® bran ul ha ng lo e th r Built fo ts that supports produc gy lo no ch te ic br fa bility CORDURA® dura . st la to e ad m were ars and ise. It resists te om pr m co t n’ d es do the extremes an on s ke ta It s. on abrasi sh and lizing in the thra ia ec Sp s. re du en RA® ventures, CORDU ad ay yd er ev of slash ome of s are the epit er om st cu d an br H. #CORDURATOUG
Levi’s® Skateboarding Collection is #CORDURATOUGH
W
hether you’re pushing around town or cruising to your local skate spot, Levi’s® Skateboarding Collection is STRONG MADE S TRONGE R be cause i t’s po wered by CO R DU RA ® b ran d fab ri c . Reimagined basics, designed and constructed to endure, Levi’s® Skateboarding Collection features pants made with comfortably durable stretch CORDURA® Denim and CORDURA® Canvas fabric technologies. In addition to enhanced mobility and freedom of movement, both fabrics offer four times the abrasion resistance of comparable weight 100% cotton fabrics. Each model boasts extra stitches to protect against blow-outs, plus double layered back pockets and bar tacks for extreme reinforcement. New for Fall ’16, Levi’s® has rounded out their Skateboarding Collection to include corduroys with the same features and functionality found in their denim and work pant styles.
Levi’s® Commuter is #CORDURATOUGH
F
eaturing added strength for durability and engineered for comfort using advanced water-resistant fabric to stay dry, the Levi’s® Commuter™ Collection makes it easier than ever to switch gears from your daily commute to your daily grind. The collection features jeans made with strong, durable CORDURA® Denim fabric designed to protect and withstand tears, scuffs and scrapes, as well as “endurance fabric,” which features a special blend of premium cotton and CORDURA® fibers. Levi’s® Commuter offers three backpacks that allow you to move from point A to point B, hassle-free. Constructed of durable CORDURA® brand fabric, all three bags offer different functionality and style options that protect your belongings while accommodating your individual lifestyle. The collection is designed for enhanced mobility, durability, reflectivity and water repellency to help you stay prepared for any situation—day or night, rain or shine. The Levi’s® Commuter™ Collection is designed to keep you going.
Fox is #CORDURATOUGH
W
hen designing the all-new Legion line, Fox set out on a journey to find the most durable, versatile and reliable fabrics in the world. Knowing the importance of those three key factors for off-road products, they felt it was critical to partner with a brand like CORDURA® fabric to ensure the Legion line would exceed the demands of off-road. Trusted for nearly 50 years, CORDURA® fabrics are known for their durability, versatility and reliability. The combination of Fox’s forward-thinking design and engineering and CORDURA® brand’s industry leading fabric development is the perfect partnership to deliver the best product to the off-road motorcycle market.
4
Im a g e s : John Wat s on
CORDURA® knows a thing or two about making durable fabrics that last, but did you know they also specialize in ultralight, water- resistant fabrics? They recently teamed up with Los Angelesbased cycling apparel company, Ringtail, to create a collaborative, tie- dye windbreaker sure to turn heads on any ride. We talked to the Ringtail founders to learn more about their creative process, and how they kicked off the collaboration with CORDURA®, which launches Fall ᾿16.
We A s k e d Tell us a little about the CORDURA® x Ringtail collaboration.
W hat CORDURA® fabrics are you usi n g spe c i f i c al l y ?
Ringtail USA was established less than two years ago. Being a new brand has its advantages. There is something rewarding about starting a project like this from scratch and watching it evolve, but we are still a really small company. Our primary goal is to domestically produce quality cycling apparel, and have some fun, too. As fun as it may be most of the time, there is no denying that small apparel companies like ours have major challenges when sourcing quality materials. The minimums are usually pretty insane. The opportunity for our brand to work with CORDURA® opens doors that we could never access on our own. This jacket will be our first official piece with CORDURA® brand fabric, and we are pretty excited to include more from CORDURA® in the future as well.
We are using a CORDURA® Ultralite fabric. All of our Breeze Breaker Jackets and Breezer Vests will also soon be built with CORDURA®. Why the windbreaker? The Breeze Breaker Jacket was our first production piece. We wanted a jacket that was functional and lightweight, but most importantly, it shouldn’t look like “exercise clothing.” We live in Los Angeles at sea
tio ora b a oll . l c .com i a t il ing gta x R thrin ® i RA ew DU w.rid R CO w he or w t m ut bo ra.co a e u r o ord n m ww.c r a le w To to
level, but are right up against mountains in the Angeles National Forest that go up to 10,000 feet. That kind of difference in altitude can lead to some serious changes in temperature. You can start with a warm weather ride in L.A. proper and find yourself freezing a few hours later up on Highway 2. When you’re on a bicycle, a jacket can take up a lot of space, so we wanted to create a no frills, basic jacket that someone could take with them on any/every ride. That way you have it even when you might not think you need it. Both our jacket and vest are less than 100 grams and you can stow them under your saddle. Are there more projects in the pipeline?
h n,
ov ead
er
The next year is set to be pretty exciting for us. The line will be growing quite a bit this next Winter/Spring as we get set with our new synthetics lineup.
5
ARC’TERYX The secret ART OF color theory
6
W
hen it comes to eye-catching color Rather than staking their company’s aesthetic combinations, British Columbia-identity on a single color, spectrum or based Arc’teryx has been long palette, Arc’teryx instead se eks to create an regarded as a standard bearer in organic motion from one season to the next, the world of alpine and outdo or apparel. Since as last year’s primary colors become harmothe company’s inception in 1989, Arc’teryx nizing accents on the next season’s line. has built, and built upon, a seemingly preter- “We’ve be en a lot more focused on building natural sense of color theory to design a line those beautiful balanced harmonies more so that is as singular as it is stunning. than a single color, particularly over the last eight years,” Kristi explains. “We’re creatively But coming up with a lasting color palette problem solving a puzzle, and then all the isn’t as simple as ke eping on trend and challenges that come with that because there pivoting according to the market’s whims. are a ton of constraints.” Carmen adds, “I do There is a mystery in the work, as intu- think it’s those beautiful colors and color combiition and inspiration hold equal importance nations that will always resonate no matter with market research and brand identity. what. Whether it’s 10 years ago or 10 years Talking with Carmen Worsfold, Manager of from now, I think beautiful colors are beautiful Product Merchandising, a n d K r i s t i B ir ni e , colors, and they’ll always have a place.” Dire c to r of Co l o r D e s i g n a n d Co l o r Even as the industry M e rch a n d i s in g , i t moves away from becomes apparent the “pink it and that the landscape shrink it” paradigm of British Columbia of women’s outdoors informs the compaw e a r , Ca r m e n i s ny’s designs as much ca ref ul to p o in t as the traditional o u t t h a t a ny co l o r to o l s of li g ht n e s s , can be powerful, saturation and hue. as long it is harmo“In terms of gaining nized in fresh and in spira tion, I think interesting ways. “I a lot of it comes more from the designers, think that if there is a unique way in which the color designers’ more instinctually fe el, Arc’teryx can do some sort of a bubblegum but also lo oking outside, lo oking to nature pink with kind of an earthy brown color, then for inspiration,” says Kristi. “If you come to I don’t think that should be off limits. I think it’s our offices, you’ll se e that we kind of face more about reinventing that bubblegum pink the mountains, beautiful north-facing views, and putting more of an Arc’teryx spin on it.” so I think a lot of the inspiration in general is coming from the outside world, certainly “Of course, we’re always trying to pick a from nature. The influence from fashion is very ‘power pink.’ That’s the difference, more predominant than it used to be, but I right?” says Kristi. “A baby pink motorcycle think a lot of it is happening subconsciously. helmet or jacket is very patronizing, but if Arc’teryx is a little more independent or it had guts a nd glory undertones, then I revolutionary than ever wanting to fit in for think it would be something people would be lu ke woods the sake of fitting in. So I think that the nature proud to wear.” of artists being on the forefront of color naturally puts them on a similar cycle of when certain colors get old and when other colors lo ok fresh. I think a lot of it is the work of a collective subconscious.”
“I do think it’s those beautiful colors and color combinations that will always resonate no matter what. Whether it’s 10 years ago or 10 years from now, I think beautiful colors are beautiful colors, and they’ ll always have a place.”
7 7
Artist Steven Harrington Gets Lost in Big Sur
Exclusive New Work in a Collaboration with the Parks Project
Steven Harrington has a signature Aalwaysrtist psychedelic-pop aesthetic, creating playful and far out work while partnering with the biggest
a collaboration was born. Commissioned to create a collection of exclusive art to support the area, Harrington says his oil-on-canvas designs “reflect the Big Sur experience as a whole. From the delicious food to the curvy roads to the wild escapists and raw beauty, Big Sur does have it all.” Colorful and certifiably trippy, his pieces are available as limited edition T-shirts on the Parks Project website with a portion of sales funding art programs at the Henry Miller Library Arts Center nina stotler inside Big Sur National Park.
names in fashion, media and technology. A longtime California resident, Harrington is well-acquainted with the state’s gorgeous coastline, connecting with the outdoors during retreats to Big Sur. While chatting with Keith Eshleman, Co-founder of conservation group Parks Project, the artist discovered they both consider this special portion of the coast their “happy place,” and
8
A R
R re
e
a
to
St
ut
th f o
r ei
St
Instead of inviting creatives to a retreat where they hole up to work on their own personal projects irrelevant to the local scenery, Cabin-Time challenges residents to engage both with each other and the environment around them. It’s a special time to feel free from typical creative
N
os
ep
ve by H ilary Oli
r
I
s it just me, or do campfire conversations and meandering wilderness walks seem to nurture creative thoughts more effectively than sitting in a studio and swiping a smart phone? Thoreau knew it when he packed up for Walden Pond, and Geoffrey Holstad and Ryan Greaves knew it when they dreamed up Cabin-T ime, a roaming creative residency that takes a handful of artists and makers into the wild each year to connect with nature and each other—and produce work they’d never dream of back in their four walled studios.
i ud
d
o
re
Im a g e s : Ca rs on Da v i s Brown
E E F R A
C
iv at
Re s t tis r A or f at e r t Re
O
dy
an
T
A
E G N
t in
u at
egalitarian creative environment close to nature. Picture this: adult summer camp for free thinkers. Residents have knotted works of fiber art in the Idaho wilderness, shot documentary film at Michigan’s Rabbit Island, and composed melodies and songs along the Green River in Utah.
“It’s a special time to feel free from typical creative constraints and interact intimately with flora, fauna, water, and earth.” constraints and interact intimately with flora, fauna, water and earth. “Often projects that residents bring will be scrapped midweek, being trumped by new chances to collaborate, new ideas,” Holstad says. “Painters writing music, writers inventing constellations. This surprise is so inspiring to me.” Cabin-Time is no posh, all-inclusive glamping retreat either. It’s a nonprofit and residents share in the camp chores, fostering an 9
Sound like your dream trip? The Cabin-Time crew curates its residents by applicant responses—they typically receive about 150 proposals—to a series of prompts about how their personal work might take shape off the grid, among nature and a small group of creative strangers. They are taking applications for CT8 in the Eastern Sierras, so if you think you’ve got what it takes to live and create off-grid, head over to c a b i n - t i m e . o r g t o s u b m i t a p rop osa l .
The Wa t e r ’ s Fine: Ph otog ra ph e r Steve n Ne re o is Ma k ing Wa ve s by Jen Abercrombie
10
L
os Angeles photographer Steven Nereo began taking snapshots between waves while surfing Malibu and Venice Beach. “I got a waterproof case for my phone and started shooting in the water. It was really fun, so I wanted to do more. I just went out and bought a film camera and a waterproof housing on Craigslist. It was a dive housing, which is weighted to compensate for trapped air, so when you’re 20 feet underwater, it’s stationary. Even without the camera and the weights, it’s 15 pounds. I finally figured out that what I needed was called a splash housing for shooting above the water.” Perhaps it’s these heavy beginnings that give his photos their immersive quality. Viewing his oversized prints feels like floating in the water, not standing on a beach. He refined his process through trial and error. “As someone who lives in Southern California, surf photography just comes into your life. You walk into the lobby of every building, and you see a lot of sunsets and waves. It just all felt like the kind of art you see if there was a beach photo in Bed Bath and Beyond. I wasn’t interested in pictures like that. I wanted more shapes and color. I like the light on the water.” Nereo’s work often resembles color field paintings more than photographs. He tracks the weather and watches surf cams for ideal conditions for photography, if not surfing. “I like it if it’s a really hot January. The waves are kind of flat, and then the ocean gets really still. You get a lot of cool patterns with the light. It’s like this dead calm. It doesn’t happen that often here, so you really have to watch for when it does.” See more of Steven Nereo’s work at stevennereo.com.
11
B N M B II N M
G
NEPTUNE
II
A
PP
E D
C L
1973 S inc e VV PR P O RO
Mo u n t a i n e e r i n g In 1973, Gary Neptune opened the doors to Neptune Mountaineering in Boulder, Colorado. What started as a retail store for climbing enthusiasts later evolved to offer ski equipment. Eventually, Gary even added a climbing and skiing museum to the store, one which features the most extensive collection of its kind in the country. Neptune Mountaineering has always been a place where
you can share your love of the outdoors and adventure with those who shop and work there. When Gary decided to sell the business to devote more time to climbing and skiing, he chose Backwoods Retail, a family- owned business based in Austin. However, he still owns and is actively involved in the museum, and takes time to meet with visiting groups to share his love of mountaineering history.
We A s k e d W hy did you choose Boulder as the l o c at i on for N e ptu ne Mo unt ai neeri ng back in the '70s? I chose Boulder for the location because I lived there. When I moved to Boulder, I was fortunate to get a job at Holubar, which was then one of the premier outdoor stores in the country, and I chose to live there because it was one of the few places where I could climb before and/or after work. Boulder also offers a huge variety of climbing that suited my broad interests. Skiing came later and revolved around all forms of touring and even track skiing. When someone visits Neptune Mountaineering, what can they expect? I did my be st to make the sto re a p la c e w he r e I w ou l d l i ke to sho p and w o r k. I wanted to be able to outfit climbers for any sort of climbing adventure, support important aspects of the climbing community, and inspire climbers with shows, events and what became the museum. The shows
occurred more than weekly for over 30 years and continue to this day. Since I no longer own the store, I cannot speak for the goals of the current owner, but I think the potential is huge and wonderful. I do know that the staff is absolutely super. They are a big reason why I am happy to spend time there. Having a museum inside a retail store is pretty unique. W hat sort of artifacts and exhibits do you have there? In the museum, you'll currently find a very complete history of climbing gear, which dates from the late 1800s. The display includes hardware from the first ascent of the North Face of the Eiger, which was donated by Anderl Heckmair, who led most that climb. The museum also exhibits artifacts from the high mountains, including boots and crampons from the first ascent of Mount Everest. Peter Habeler donated the down suit that he wore on the first ascent of Everest without bottled oxygen. Additionally, a friend of the store donated a big toe, one of two that was lost to frost12
bite. There is also a large selection of alpine and Nordic touring gear. You can see some of the first Rottefella six-p in ski bindings and the heavier Zdarsky and Bilgeri bindings, both of which are over 100 years old. A f e w y e a rs a g o, y o u s o l d N e p t u n e Mountaineering to Backwoods Retail. W hy did you choose a family-o wned retailer to sell to rather than a big corporation? W hat positive aspects have they preser ved from the original store? I had promised that I would sell the store by the time I turned 70. While we were preparing all the various reports and other information to do the job, a mutual friend introduced me to Jen Mull, CEO of Backwoods. Neither of us was quite ready to buy or sell, but it seemed reasonable. I really hadn't done any significant searching, and I haven't looked back. Jen has retained a superb staff, and allowed me to keep the museum there. The store has also continued to host weekly shows and more. alex gomes
S idewalk S urfing
Po ler / L a g una B ea c h , C A Poler Outdoor Stuff recently opened a concept store and event space in a spacious converted Laguna Beach greenhouse. Strategically placed in the O.C. to connect surfing with the rest of the great outdoors, it brings a pop of Portland to sunny Southern California, while paying homage to the area’s history of bohemian surf culture. The new shop carries a selection of Poler’s bags, apparel and outdoor gear, including beach essentials like Poler x Pendleton towels and ponchos. Northwest favorites like Stumptown cold brew and Salt & Straw ice cream are also served. The flagship store will host events, parties and workshops in the new space, situated alongside the iconic Pacific Coast Highway. Installations by Long Beach artist Eric Trine and a mural by Lori D. are not to be missed.
Retailers and Offline Shopping
by Jen Abercrombie
Individual Medley / Los Angeles, CA Individual Medley in the Atwater Village neighborhood of Los Angeles offers an imaginatively curated selection of goods for the home, as well as clothing and accessories for men, women and kids. The emphasis is on natural fibers and an earthy aesthetic. Canvas drapes and a wood installation by artist Jay Nelson lend a rustic cabin-like feeling to the serene, light filled interior. Standout items include ceramics by Helen Levi, jewelry by Nikki Montoya, and scents by Poppy and Someday. Cards and paper products make it a one-stop shop if you’re looking for the perfect gift.
Belief NYC / Astoria, NY Belief is located in Queens near Astoria Skate Park, stocking decks, clothing and footwear for skaters and streetwear fans alike. Flanked by a bar and a tattoo parlor, the low-key, friendly vibe keeps regulars coming back for brands such as Carhartt WIP, Only NY, Nike and Vans. Belief also sells their own line of hats and shirts, some emblazoned with the brand’s motto “Ever Upward” inspired by the New York state motto “Excelsior.” Phil Gordon, who co-owns the shop along with his twin brother and their childhood friend, says the phrase “sums up our belief that if you strive to do what you love, you can reach your full potential in the face of any adversity.”
Wildfang / Portland, OR Wildfang started as an online-only boutique for the modern tomboy, selling menswear-inspired clothing for bold, badass ladies who want tailored clothing cut for the female figure. When locals wanted a place to try on the goods, they opened a brick a nd m ortar store in Southeast Portland. Fresh from the success of that first store, WIldfang has opened a second location in the tony West End neighborhood, one that is double the size of the original. All that extra space contains some fun additions like a carving wall so customers can leave their mark, and a bar so you can sip Union Wine or crack a PBR while you take in Wildfang’s selection of graphic tees, suits, joggers, button ups and one-o f-a-k ind gifts. Keep an eye out for their exclusive collection of suiting by Lucca Couture. 13
images + words by kristen blanton
I
I began distressing every roll I touched: boiling it on the stove, washing it in my laundry, peeing on it, soaking it in cleaning solution, bleaching, soaping, and dumping it in coffee, beer, alcohol and vinegar. No household liquid was safe from my brew.
have a deep appreciation of all things destroyed, perhaps due to my clumsy nature as a child, and the inevitable brokenness of whatever I touched. I was working in an analog camera store during my senior year of college when I learned about the process of distressing film. A fool for nostalgia and dreamlike states, I wanted to create these elements in my own photo work preÂp roduction. PostÂp roduction editing started to bore me. I needed a change, a challenge. This was my sweet answer.
Some of these potions were disastrous, leaving my film black or so corroded the negative fell apart while trying to load it. During my four years of distress14
Leave t he film t o dr y f o r t wo week s. Load up your camera and start shooting!
During my four years of distressing, trial and error has been the best way to discern which methods gave me my intended effects. ing, trial and error has been the best way to discern which methods gave me my intended effects. Today I use two simple ingredients: water and lemon juice. If you want to give this a whirl, I’ve shared my, now, very simple process. • 1 cup pure lemon juice • 3 cups hot water Boil 3 cups of water on the stove. Right before the water boils, transfer it to a lidded liquid container—I use a cleaned pickle jar. Add lemon juice, and add the film. Shake for a few minutes and let sit for 20. Repeat the process five times. After an hour, take the film out and put it on a plate near a well lit window or outside.
15
I suggest experimenting. The process you fall in love with will be uniquely your own. I can guarantee you’ll enjoy the long strange trip that gets you there.
W I LD THE MODERN WILD FEMINIST Images by Jules Davies
Sarah Kue is a musician and front woman for Moon By You, performance artist and photographer.
Kristina Narayan is a policy and research coordinator at APANO, a social justice organization. She is also the director for Skate Like a Girl’s PDX chapter.
Katie Beasley is a designer and Illustrator who has worked on projects for Vice, Broadly and Bitch Media.
FA N G A merican suffragettes began fighting for women’s voting rights in the mid-1900s, but we can thank the second-wave and ecofeminist movements that arrived a century later for broadening the equality debate to include sexuality, the workplace, reproductive rights and environmental issues. Flash forward to 2016 and we find ourselves still fighting. But with the gifts and lessons passed down from history, we hear the voice of our sisters ringing louder and stronger than ever before.
Featuring the Wild Feminist tee by Rad Retailer Wildfang 16
Chelsea Parrett is a stylist, photographer and producer who has worked for Bridge and Burn, Jungmaven and Chaco Footwear.
Margaret Jacobsen is a mother, activist, photographer and writer for Momdotme and Romper.
Amanda Leigh Smith is a creative director and photographer specializing in 35mm film. Defying gender norms with her progressive tomboy style, the Modern Wild Feminist is politically charged and known for wearing her beliefs on her sleeve. A boss from 9 to 5 and a freak of nature on the weekends, she breaks down the labels and stereotypes set out to define her. She explores the unknown, creating new platforms and changing industry standards for both women and sustainability. Individually, she is creative in the ways she fights for equality: art, activism and music. Collectively, the Modern Wild Feminists come together to form a pack, and their voice is louder than ever before. The Modern Wild Feminist rises.
Rat n a n ja l i A d h a r i s a N at i o n a l P ar k s physical science technician and Oregon Department of Fish and Wildlife Biologist.
by li s a d o u g h e r t y
17
18
19
EARTH WIND & FIRE
full moon rose, drummers hidden from view played a rhythmic score, filling the rock rimmed wash with echoing drums.
by Corrina Peipon
T
hrough her paintings, sculptures and environmental installations, Ali Beletic searches for our latent empathy with nature. Driven by an unwavering conviction that our humanity is best reflected by the natural environment, Beletic uses air, earth, fire and water in combination with organic materials like metal and wood. Weaving ephemeral, sensory elements like light and sound into her installations, she creates physically immersive experiences. Her 2015 Illuminated Passage installation in the Mojave Desert guided visitors on a path through a jumble of ancient boulders that seemed to be lit from within, while visitors to her 2013 installation, Pray for Rain , walked a mile through the Sonoran Desert at dusk to encounter rectangular cisterns made of glass and wood filled with rainwater. As the light weakened and the
Images: J ay Ritc hey
Ali Beletic’s Expansive Art
As a physics student, Beletic found academia’s reliance on constructed knowledge too restrictive, and she longed to find a more open approach to understanding the world. Her interests led her to naturalist and wilderness awareness training with mentors like Tom Brown, Jr. and Jon Young. A child of avid outdoor enthusiasts, Beletic was already comfortable outside, and her naturalist training quickly began to dovetail with the art and music she was making in her studio. Reaching a critical juncture in her practice, and inspired by the Earth Art pioneers of the 1960s, such as Nancy Holt, Walter de Maria and Robert Smithson, Beletic left Brooklyn for Arizona. This protracted engagement with the wide open desert yielded her ongoing series of artwork situated in remote landscapes, as well as paintings on paper made with ground mineral pigments and functional sculptures modeled on ancient stone fire bowls and other ritualistic objects.
Images: Ali Beletic
Leaving her high desert studio, Beletic wanders the desert, occasionally settling in to be still and take it all in. The regular practice of untethering herself from the familiarity, comfort and relative safety of her studio gives her a perspective on nature’s boundlessness and her necessarily impermanent place within it. Respect and humility are side effects of these meanderings, and so are her expansive temporary sculptures. “I like the aspect of my work being so demanding of my sense of 21 21
independence. Everything depends on me, my skill level, my awareness, my ingenuity and my knowledge of the interdependence of nature.” Over time, Beletic has developed a conversation between the artwork she makes in her studio and outdoors, which reflects her own conversation with the natural world. Perhaps if more of us connect with nature, our obligation to protect it will grow. Beletic’s art suggests such a homeopathic remedy for the Internet age.
I
could feel the anticipation as I walked through camp. Headlamps flashed like show lights as festivalg oers eagerly set up their quarters. I made my way through a sea of glowing tent clusters emitting the sounds of giddy chatter with the sweet and skunky smell of smoke and a booming bass line in the distance. Everything in its right place. Midway through my trek across the grounds, I came into contact with some sort of cosmic pixie. She approached with a smile that was as bright as her LED lined fairy wings. Through strands of silver tinsel hair she sweetly asked, “Hey friend, do you have any Kitty?” “Oh, I’m sorry, I don’t. Good luck, though!” I replied. I don’t consider myself naive to mind-a ltering substances, but I had zero clue what she was talking about. I’m sure, though, my pixie was
Images + Words: Carson Davis Brown Styling: Grace Kelly
22
looking for an experience like everyone else. Psychedelic or straight edge, everyone in this campground is looking for an experience. Brian Eno, the musical pioneer responsible for ambient music and a slew of acclaimed productions from U2 to James Blake, talks about imagination as an outcome of surrender. Surrender as an active verb, an active choice, “...where you stop being manipulators of your surroundings and become recipients.” The festival grounds were on the brink of this surrender. Its inhabitants were shedding constraints, altering views, and expressing themselves through art, fashion and music. Campers setting up their tents were preparing for this. My terrestrial pixie friend was preparing for this. And soon enough, I was preparing for this, too.
23
24
25
TOWARDS THE SEA Gently Tripping Down California’s ast Central Co
Images + Words by Brandon Herrell Every American owes themselves the drive through the redwood canyons and sage bluffs of California’s Pacific Coast Highway. When it came time to set off with my friends Brad and Kit, the three of us agreed we’d do it with minimal planning. No itinerary. Just go.
Kit’s last day before moving to Paris was the day we’d be returning home. With our camping gear, cameras and some tricks up our sleeves to enhance the psychedelic effects of the experience, we set out on our Beatnik-inflected ramble through Kerouac and Miller’s Big Sur. We’d give our buddy a proper goodbye, and give our heads a stretch along the way. Tripping along Highway 1, some things have just a little extra magic. The music seems to crescendo with the curves in the road (there are many curves), the moisture in the air in the purple hours after sunset feels like it buzzes on your skin, and some things—I like to think important things—just seem clearer. Meanwhile, your rational mind is there to say, “Yep. This is what’s happening. It’s really like that.” There’s no way to tell what was really affecting our perception. Climbing down a mossy rock face with your two best friends, misty sea spray illuminated by that certain brand of golden hour exclusive to the West Coast, you just feel something. Maybe Big Sur is psychedelic on its own, or maybe it was just us making the landscape feel so far out. Dirty, sleep deprived, too many joints and coffees, or hours on the road—ultimately it doesn’t matter. We were three best friends catching once-in-a-lifetime moments by the handful. The warmth in my chest looking at those two guys, the awe of the colors and sounds enveloping us, sitting there passing beers around, legs dangling toward the Pacific—it was real. We were there.
26
W
Ad VEN TURE LOCAL
oolrich has been making quality outdoor products and sharing a love of the outdoors with employees, partners and customers since 1830. This provides the brand with the luxury of being able to look back at its extensive archives to draw inspiration from past designs to inform its present collections. For SS17, Woolrich has revisited aspects of its ᾿70s and ᾿80s backpacking and hiking styles, while incorporating design cues and color stories that speak to its “Adventure Local” concept, which is about celebrating some of the most beautiful underappreciated destinations in our backyards. “Woolrich was the outdoor clothing of choice for backpackers in the 1970s—simple, functional silhouettes and premium materials,” says Karuna Scheinfeld, Woolrich’s VP of Design. “Back in the day no one needed head-to-toe super technical everything to enjoy the outdoors. You just put your clothes and boots on, and you went. We are all feeling that spirit of simplicity and wanting to keep things classic and easy.” Their SS17 Adventure Local concept seeks answers to questions for consumers: “Where are you going?” and “What are you going to take?” The folks at Woolrich shared some of their favorite Adventure Local destinations in the United States, and the corresponding SS17 designs inspired by those locations, many of which feature the use of sustainable fibers, fabric and practices as part of the company’s new Eco-Rich sustainability alex gomes initiative.
WOOLRICH’S SS17 COLLECTION FOR GETTING OUTDOORS IN YOUR OWN BACKYARD
e r e Wh
y e ar
in o g ou
CAPITOLA BEACH, CA The low-key California coast vibe of Capitola Beach requires apparel that is equally relaxed. The men’s button up Coastal Peak Eco-R ich Shirt keeps things easy breezy in 100% organic cotton double cloth, and features a camp collar, left chest patch pocket with button closure and side vents for comfort.
h W g?
r a at
g u o ey
DRAGONFLY CANYON, UT To c omp l emen t Dra g on fl y C an yon ’ s nat u ra l c ol or p al et t e of fl a mi n g red s an d oran g es, l a d i es sh ou l d pack the Harrington Eco-Rich Full Zip Hoodie, which sports Woolrich’s iconic Original Buffalo Check™ pattern. Made of 100% organic cotton dobby twill, the second layer hoodie features side seam pockets and a full front zip, making it the perfect morning or early evening layering piece.
27
o t g oin
? e k ta
CASCADE FALLS, NY All New York City dwellers know that taking a summer trip upstate to hike and cool off by a waterfall is key. When hitting this part of the Appalachian Trail, you’ll definitely want to wear breathable clothing to beat the East Coast heat and humidity like the women’s Outside Air Eco-R ich Short, which is made of a linen c otton chambray blend and features a relaxed elastic waistband with a functional drawcord and rolled cuff. These get bonus points for having 15 UPF sun protection.
T THE M O N
A
N
A
E X P ER IEN
Su
r fi
ng
Images by Shaun Daley
28
Drae Howell (green) and Cameron Fuller (pink) paddle under the Higgins Street Bridge to Brennan’s Wave in downtown Missoula.
or y of R t S A ive r
E C
R
ugged mountain ranges, vast wilderness and charming countrysides define the Montana experience, but it’s the rivers of Montana that are inspiring, quite literally, a new wave of opportunity to connect with the outdoors. Raging rapids formed from glaciers and snowmelt create a canvas. Free flowing and honest rivers invite us to be our most “wild” selves, provided we’re willing to answer the call. Enter the Montana River Surfers.
Kevin Benhart Brown, a.k.a. “KB,” climbs down a bluff over the Clark Fork river after
spotting a wave the crew has never surfed before.
Raging rapids formed from glaciers and snow melt create a canvas. There is an art to pioneering a culture, a sport, a movement. The time and energy it takes to explore new terrain, combined with trials and tribulations of doing so, both challenges and humbles you. As leaders of the mountain surf culture, Strongwater MTN Surf Co. is redefining the sport of surfing and using Montana as their platform. Running through downtown Missoula, east and west of the Continental Divide, Montana rivers like the Clark Fork and Yellowstone were once uncharted waters. By harnessing the energy found in nature, the Montana river surfers have established a new platform for their sport, while shaping a truly unique and captivating lifestyle: li sa doug h e rty their own Montana experience.
Montana native Cameron on Brennan’s Wave, a man-made wave on the Clark Fork river in downtown Missoula. 29
by Angelo Spagnalo
T
his summer, 20 or so creatives will assemble on the Swedish island of Gotland for two weeks and with one goal: to make. It will be the third running of Designers on Holiday, a summer camp of sorts created by Tom Gottelier and Bobby Petersen, the duo behind London-b ased design firm Featuring-Featuring. This year, a new set of campers will add to the creations already scattered about the grounds—a wood-burning sauna, a limestone hot tub, a 14-foot sailboat.
The camp was conceived as a recess from the artistic constraints of the “creative” industry. Although the name includes the word “designer,” the group, compiled both of friends of the creators and applicants from around the world, spans discipline. Architects and biologists join potters and bakers. The only rules: no hippies, no students and you have to share something with the camp, whether a physical creation or knowledge and skills.
THE CAMP WAS CONCEIVED AS A RECESS FROM THE ARTISTIC CONSTRAINTS OF THE “CREATIVE” INDUSTRY. The remote island of Gotland is Swedish, but has its own language, history and culture. The site is rustic, but DOH isn’t entirely a back-tobasics retreat. “It’s an exercise in exploring off-t he- grid living in the most luxurious way possible,” say Gottelier and Petersen. “This is, after all, a holiday.” Hence the hot tub and outdoor cinema screen. The campers build with local pine and limestone, but there are trips to the city for extra building materials. Power tools run off generators and solar- 30
powered batteries. The fabric is from Ikea. Th e campers eat bread from a wood-fired oven they built on-site, sleep in tents they construct for themselves on the first day, and take time off from building to explore the scenery of Gotland. The island then inserts itself back into the work. “[Ideas] come about through the campers’ interaction with the site,” say Gottelier and Petersen. “They are forced to design around the site, adjusting to best suit the environment and the aesthetic.” With plans to open the site to creative firms in need of a one-w eek retreat and an additional site somewhere in the U.S., Designers on Holiday will soon be expanding its unique footprint. Summer camp with talented people, creating a one-o f-a -kind luxury experience in a beautiful setting? Sign us up.
LOOKING FORWARD WITH POLARTEC’S 2016 APEX AWARDS
T
he 18th annual Apex Awards were developed 20 years ago to recognize the best uses of Polartec fabrics. Much of the award recognition has been given to outdoor industry innovations, but the brands and uses have expanded well beyond the outdoor industry. In 2016, the award celebrates diversity of use across all sectors from outdoor athletics and action sports to fashion and lifestyle.
Championing futuristic and innovative ideas, Polartec will debut a cyborg-themed campaign, featuring all 13 winning pieces in urban outdoor environments. We spoke with Global Product Director Michael Cattanach to learn more about Polartec’s advanced materials and history of technical innovation.
We A s k e d W hat i s t he mai n i de a be hi n d t he A pe x Aw ards?
Tell us about the Polartec Alpha material used by several Apex Award winners.
The Apex Awards are our way of rewarding people who create something genuinely special with our materials. We love putting cool products in the hands of smart designers to see what they can do. They’re constantly surprising us.
Initially, Polartec Alpha was our solution for the U.S. Special Forces. They needed something that could be worn all day, but stay breathable when they were working hard. It’s a replacement for fiberfills, and in the consumer space, we see variations in usage wider than we ever imagined, including garments for exercise. We never thought someone would make a jacket for running built with an insulative product.
What is the most common design problem you’re trying to solve? We consider ourselves experts at warmth without weight. That made Polartec fleece great in the first place and people still come to us asking to make things lighter, but with no compromise in performance.
What are the latest innovations in waterproofing? Anyone can make a waterproof product, but we want to make something comfortable to wear. Polartec Neoshell is a 100% waterproof fabric, but unlike some of the competition, it’s also completely breathable. You can blow air straight through it. That means you can use it for high alpine activities, but also for fast aerobic activities like cycling and running. 31
Ho w closel y do yo u de v el o p fo rw ardthinking new products in collaboration with designers? Throughout our history, we’ve worked with some of the biggest brands out there, but we also love to work with the new guys, the little guys, the Kickstarters to find out what their challenges are. We believe we’ve got the best engineers in the world here at Polartec. They’re never content with what they have, and work with brands to think of something new to help them stand out. It’s no accident the Apex Awards campaign this year looks futuristic and innovative. Those are the things that Polartec wants to be known for as we continue as a company. n i na stotle r
+
S
S
PA C E
DWELL ING S
IN
A
irbnb’s most eyeo pening quality might be its ability to let people discover unusual spaces. Beyond traditional apartments, users can bo ok stays in yurts, geodesic domes, castles, caves, clock towers, and the occasional converted scho ol bus. If you’re searching for lodging in the Pacific Northwest, you’re likely to come across a listing for The Stump House. Nestled by a placid pond in Washington, The Stump House, a hexagonal wo oden structure
THE
AN C I R E AM
S WE
T
built around a tre e, is the design of 64-year-old SunRay Kelley. An accomplished builder with over 50 unconventional structures across the country, SunRay calls the nine- acre homestead that includes The Stump House his “magical forest retreat,” offering guest access to a trout pond, sauna, composting toilet and two - story tre ehouse, all sheltered by towering cedar and fir tre es.
by W illi a m Ra us
ch
e
r
32
Image: Yuki Yanagimoto
ATI V E N R TE AL
S
unRay is a scion of a quintessentially American tradition of alternative builders, a lineage of experimenters and crackpots, squatters and visionaries, each with their own particular agenda for bypassing the conventions of mainstream architecture. Mostly originating in the counterculture era of the mid to late ’60s, their dwellings feature o f f - t h e - g r i d a n d s u s t a i n a b l e e n e r g y , cheap or recycled building materials, and expressive designs executed with varying degrees of foresight and whimsy.
Elsewhere, alternative dwellings come wrapped in bigger dreams, so big that in some cases, they’re still unfinished. In 1970, Italian architect Paolo Soleri founded Arcosanti, an experimental town in Arizona. Guided by his concept of “arcology,” Soleri imagined an entirely self-contained and off the-g rid society with plans so elaborate, only a fraction to date have been built. Today, a visit yields an alternate reality still in progress, and perhaps a bronze bell from Arcosanti’s foundry, its main source of income.
The American West has become a magnet for these builders. Space is abundant, the people few and the skies vast. Today, a number of their constructions are publically accessible, open to anyone seeking inspiration for alternative living. A snowbird community deep in the California Badlands, Slab City is a thriving architectural ruin.
Outside of Taos, a traveler would find yet another form of alternative dwelling, one sharing both Slab City’s fondness for recycled materials and Arcosanti’s vision for an alternate human future. What the Greater Earthship Community adds to the mix is a hyperp ragmatism and acute knowledge of building design. Unlike Arcosanti, however, the Earthshippers do not focus on a new society, but instead on perfecting a new form of dwelling. Here, low-t ech doesn’t mean low quality. In a number of ways, an Earthship is more ecologically efficient than a conventional home. Made of discarded materials, including glass bottles and tires, Earthships are completely off-the-grid, passively regulate their temperatures, and reuse their collected rainwater four times before discarding.
Occupied by squatters since the mid ’60s, the City takes its name from large concrete
Once again, the ruins of contemporary society stand to become the foundations of t h e f u t u r e . L e d b y f o u n d e r Mi c h ael Reynolds, the Earthship community works to realize the open-s ource Earthship concept in third-w orld communities, where funds for homebuilding can be scarce, but garbage is plentiful. It is a step in the right direction for the roughly 1.7 billion people on the planet already living off the grid, whether they like it or not.
slabs remaining from an abandoned military base. Slabbers embrace spartan living, reject materialism, and forage building materials from scrap. They value desert solitude, living according to a romantic, libertarian sense of freedom, and allergic to most forms of political order. At Slab City, the ruins of the past become echoes of the future. The roughshod architecture has a post apocalyptic flair, where scavenging and salvaging reign supreme. A Slab City visit is not complete without attending its neighbors, a Burner-style arts commune called East Jesus and Salvation Mountain, a terrific mound of clay slathered in psychedelic paint and the heartfelt gospel messages espoused by its visionary builder, Leonard Knight.
33
by Jeff Thrope
I
t was another sunny day in Southern California as we drove up the Angeles Crest in an old stick shift Montero. The driver and owner of the navy blue SUV was Butchy Fuego, a founding member of Los Angeles-b ased hiking club Seeing Trails. We weren’t exactly sure of our final destination, but that’s half the fun of driving up into the mountains on the city’s best road. Seeing Trails is much more than a hiking club. In fact, it’s not really a hiking club at all. There are no “meet up at this trail at this time on this day” t ype gatherings. While Butchy started Seeing Trails to find hiking partners, the group soon evolved into something more unique: a collective of artists and outdoor enthusiasts. They quickly started putting on events and turned the backyard of a fellow member’s house in Lincoln Heights into their “lodge,” complete with a cabin/studio that bears a Seeing Trails sign modeled after those of the National Forest System.
In addition to hosting music events, cookouts, a book club called Cliff Notes and film screenings, Seeing Trails has gained recognition around Los Angeles for their patches and T-s hirts. Designed by member and designer/animator Arthur Jones, the original creations include John Muir with a third eye, a naked couple floating in a river, and a hand that’s going over a waterfall in
dinner party with live music and a Lebanese feast prepared in cast iron dutch ovens cooked over coals. The event, which Fuego and the rest of the Seeing Trails crew planned and organized, took place at the Chilao campgrounds in the San Gabriel Mountains. “We talk about hiking as art,” says Fuego. The members of Seeing Trails believe that to truly “see” our surroundings, we have to engage with the environment in ways that subvert the traditional. They look to people like Reinhold Messner, who talks about feeling and living the imaginary lines that he writes while climbing a new peak. They’re trying to start a dialogue that explains “the relationship a k ayak while holding a j oint . His between contemporary culture and the hallucinatory illustrations are a perfect landscape in which it exists.” contrast to the sterile outdoor patches of yesteryear, which are fitting for an As we finally reached a turn out en route outdoor club that’s trying to redefine to Mount Wilson, we got out of the car and talked a bit more about Seeing Trails, what it means to be “outdoorsy.” upcoming events and where he sees the Butchy was getting ready for “Pass whole thing going. But first, a hike. The Dutchy,” an extravagant 65-person
“We talk about hiking as art.”
34
35
Image: Arthur Jones
W
hen I tell people I dye fabric with plants, they immediately paint me as a some sort of bohemian earth mama. In reality, I’m more of a type-A workaholic with a love of plants. This perception has more to do with what people have heard about “natural dyes” than first-hand knowledge. Indigo is the only plant dye that’s become a part of mainstream culture, but it’s quickly paving the way for others.
I learned to dye in Oaxaca, Mexico, and can remember pulling out my first sample from a pericón bath. Hummingbirds floated above the courtyard as I removed my lemon-ocher silk yardage. Then there w a s p o m e g r a n a t e (saddle brown to black), cochineal (lavender to red), and the most famous of all plant dyes, indigo. When I moved to the Bay Area, I dyed with California sage-
brush and extracted an earthen yellow with a clean, sweet fragrance. I dyed with Toyon, an evergreen shrub that produces caramel hues and fills the air with the scent of marzipan.
In the Mojave Desert, creosote bright yellows and sage greens by the wet clay fragrance of petrichor. The colors were rich
Harvest 4-5 handfuls of plant material, leaving branches or stems intact. Never harvest more than 20% of a plant. That ensures the plant’s survival from one year to the next. Soak the plant material in water overnight in a 5-gallon bucket. Wash your natural or un-dyed cotton yardage with hot water and 4 teaspoons of soda ash to remove any surface dirt. Tumble dry on high heat. Cut a few sample squares about 3 inches by 3 inches from your cotton yardage. Fill a pot with enough water to cover your fabric. Bring to a simmer and add 3 tablespoons of alum. Add the fabric and samples to the bath and simmer for 45 minutes, stirring occasionally. Remove the fabric and rinse. If you’re using wool, never move the fabric from a hot bath to a cold rinse or vice versa. To finish wool blankets, you will use a blanket stitch versus a rolled hem. Fill the pot again, this time with enough water to cover your plant material and fabric. Put the plant material in the pot, bring to a boil, and then reduce to simmer. Simmer for 30-45 minutes, and then put a small piece of fabric in the bath to sample the color. Leave the sample in the simmering bath for 15 minutes. Pull out the sample to check the color. If you’re happy with it, ring out your cotton fabric and add it to the bath. Simmer it with the plant material for 45 minutes or until you’re happy with the color. Remember, the color always turns out lighter once the fabric is dry. If the color is too pale or there is no color, try a different plant or kitchen scraps. Once you’re happy with the color, remove the fabric, rinse it and hang to dry. Now it’s time to construct your blanket. Roll your hems to ¼ inch and iron flat. Roll the hem and iron again. Now you have a rolled hem you can sew using a straight stitch on a machine or with a seed stitch using a needle and thread. 36
bush yielded accompanied desert rain: and comple-
mented their natural habitats’ sight and smell. In Texas, you can achieve rust to black with green pecan hulls, abundant from late summer to early winter. As I’ve moved around, plant dyes have become a framework for exploring place. Designers are experimenting with local color to reconnect with their materials and with the act of making. Dyer and artist, Rowland Ricketts, said that working with plant dyes creates “a connection to making from within the immediate environment and a connection to greater human traditions of making.” Dyeing with local plants gives each project an origin story detailing time and place through color palette. The process requires few basic tools to get started, and this basic recipe can be used for all natural fibers and done at home, but be careful! You might turn into a bohemian earth mama like me.
OFF THE
HOW WYLDER GREW OUT OF AN APPLE ORCHARD by Lindsey Elliott
W
est Sonoma County, California, is known for alternative lifestyles and abundant landscapes. It is an enchanting mix of redwood forest, coastal prairie, oak woodland, farm and pastureland, and the close-k nit community makes up the most progressive group of foodies, activists, urban farmers, artists and adventurers I’ve ever known. For three years, I homesteaded on an old Gravenstein apple orchard. Our small community, “The Branch,” grew into its name as we slung cargo nets high up in redwood trees, built gardens and trails, tended to the native plant communities, restored the old orchard, raised ducks, built an art studio and a woodshop, and even converted an old diesel school bus into a guest house p arty shack hybrid. My office was across the street at the Occidental Arts & Ecology Center, a short, pedal-less downhill mountain bike ride away if I worked it just right. I met Jainee Dial at the mouth of the Russian River. We bonded instantly over our love for the mountains, and quickly became best friends and adventure buds. Soon we were dreaming up a way to blend our community’s ethos with our outdoor pursuits. This was the inception of Wylder, our online marketplace for the Modern Outdoors Woman. West County became the inspiration and incubator for Wylder’s purpose and values. From this abundant ecosystem grew our desire to be a mission d riven company, a benefit corporation that partners with both existing nonprofits and “everyday stewards” because this is what our community is filled with: people taking action for what they believe in and living their priorities. Im age s: Jai n e e D i al , L i nd sey Ell io t t , J er r y D o d r i ll
4
ALL TOMORROW’S (DESERT) PARTIES
A West Texas oasis where land meets sky by Veronica Meewes
T
he road to Marfa may be long and flat,
“I
galactic skyscapes and dusty purple
movement,”
but payoff comes in the form of inter-
mountain vistas, maybe even a double
rainbow if you’re lucky. Located roughly 400 miles from both Austin
have
always
loved
the
Whole
Earth
El Cosmico is host to a number of events
think
Camping Cooking, a weekend long outdoor
Catalog and the 1970s self-empowerment says
Lambert.
“I
hippie culture in general has been a big influence—getting off the grid, spending
throughout the year, such as Big City
cooking workshop led by Liz Lambert’s brother, chef Lou Lambert, and his partner
James Smith; Camp Design
and San Antonio—and about
Build Adventure, a four day
60 miles from the Mexican
community-focused design
border—this one s top light community
maintains
immersion; and the pièce de
its
résistance, an annual music
ghost town feel despite the
and lifestyle festival called
presence of a gemstone
the TransP ecos Festival of
shop, a tiny natural grocery
Music + Love. This year’s
store and a late night
featured
grilled cheese counter filled
include
with vintage TVs. While
contemporary
workshops will range from welding basics to botanical
beverage curation. Campers
Marfa Film Festival attract
may rise early to do yoga,
artists and bohemians from
jump in on a
across the country certain
medicinal
the famous and unexplained
simply
Lights—El
has
made
’ 90s
jazzer-
cise class, take a leisurely
times of the year—as do
Cosmico
Neko
& the Night Sweats, and
art
dation and the acclaimed
Mystery
Calexico,
will
Case and Nathaniel Rateliff
events at the Chinati Foun-
Marfa
musicians
plant
soak
in
burning hot tub.
the
walk,
a
or
wood
quirky West Texas town
Although events like the
tion.
to
year
round
The
destina-
Trans P ecos
campgrounds
Image: Nick Simonite
a
and community center are curated
by
lifestyle
guru
Liz Lamb er t, the h otel i er behind Austi n’s h i p H otel S a int
Ceci l i a
and
H otel
San Jose, as well as San Antonio’s Hotel Havana.
do,
offer
Lambert
plenty hopes
visitors get just as much
out of doing nothing at all. In fact, she’s written a
“M a ñ a n ife st o , ”
wh ich
you can read on the El
Cosmico website, detailing that very sentiment. “It is
a tribute to the surrender
Set on 18 acres in the high
required to survive in places
plains desert, the nomadic oasis allows
time in immense wide, open spaces. I’d
like Marfa,” says Lambert. “Things just
a spacious 22-f oot Sioux teepee, Mongolian
called ‘all the oddities freedom can
expectations can be waylaid in a great
guests to camp in their own tent or opt for
yurt or one of seven refurbished trailers from the 1950s, outfitted with creature comforts
like
vintage
serape
robes,
a
Chemex glass coffeemaker and a Geneva
love for people to feel what Molly Ivins produce.’ I hope people get a sense of the incredible natural landscape, both on the land and in the sky.”
don’t m o v e a t t h e s a m e p a c e h e r e , a n d way. You’ve got to roll with it and embrace adventure.”
f o r m o r e i n f o r m at i o n o n e l c o s m i c o a n d t h e u p c o m i n g t r a n s p e c o s f e s t i va l , v i s i t
sound system.
e lc o s m i c o . c o m .
38
OU SN ESS
HOW FF EC TS
OUR
CO
N
S
Image: Joel Barhamand
D
C
N
I
U SO
A
A
s Co - founder of The Uplift Project, I get to experience all kinds of wellness methods from ancient techniques to the latest fitness trends. One of the most far out experiences was a sound meditation led by Alexandre Tannous. If you’ve never been to a sound meditation, it goes like this: you lay down and get super comfortable, put an eye mask on, and actively listen. Then the practitioner begins to play instruments such as Tibetan Bowls, gongs, crystal bowls and shruti box. The purpose of using these instruments is that it’s easier to hear and feel the harmonic overtones. Say what? Alexandre is unlike anyone I’ve ever met: totally fascinating and deeply knowledgeable. Born and raised in Lebanon during a civil war, Alexandre found peace and a healthy distraction from reality through studying and playing music. This was when he first experienced the effects of sound, which became the basis for a life long thesis. “Having experienced what sound can do in that context eventually
“The universe started with the primordial Om in Hinduism, the concept of Akasha, the first sentence of the Gospel of John, the Big Bang—this is all about sound. Sound is it. Sound is the creator of this reality.” made me investigate how sound can be used to preserve one’s sanity, to establish a meditative state, and for therapy and healing and revealing the self.” After immigrating to New York in 1989 and attending graduate scho ol at Columbia University, he began field work
39
to understand the therapeutic and esoteric properties of sound and their effects on consciousness through three different perspectives: the western scientific, shamanic societal beliefs and eastern philosophical. “I participated in various shamanic ceremonies because I realized that sound was an important part and wanted to know why. By having a direct experience, I gained insight into what sound was doing to my consciousness.”
“Sound is essential in shamanic ceremonies, and brings the self into a state of resonance, where healing and revealing lives. The real alignment between mind, body and heart. The universe started with the primord i a l O m in H in d ui s m , t h e co n ce p t of Akasha, the first sentence of the Gospel of John, the Big Bang—this is all about sound. Sound is it. Sound is the andrea praet creator of this reality.”
To
lear n mor e about
Alexan dr e Tan nous’s
w o r k , v i s i t w w w . s o u n d m e d i tat i o n . c o m , a n d to le a r n m o r e a b o u t
T h e U p li f t P r oj e ct ,
v i s i t w w w . t h e u p li f t p r oj e ct . c o m .
Leatherman SignalÂŽ: Ready for any challenge Mother Nature throws your way.
See the Signal at leatherman.com | @leathermanusa 40