Refueled issue 15 by Refueled

REFUELED S/S

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T WO THOUSAND FIFTEEN

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ISSUE NO. S/S

COMMUNITY. HERITAGE. DISCOVERY.

REFUELED

15/15

C O M M U NI T Y. HE R ITAG E . DI S CO V E RY.

REFUELED

CONTENTS LETTER

PUBLISHER / CREATIVE DIRECTOR Chris Brown

DENIM DUDES

SENIOR PHOTOGRAPHER Gustav Schmiege

CAMPOVER

OUTSIDE IT’S AMERICA

FORAGER CO.

CAMP COOKING

GARZA MARFA

DESERT MORNING

106

STEWART EASTON

114

CONTRIBUTING EDITORS Michelle Brown, Amy Leverton & Bryan Norris CONTRIBUTING PHOTOGRAPHERS Paul Anderson, Dean Bradshaw, Albert Comper, Molly Cranna, Katrina d’Autremont, Kyle Ferino, Larry Niehues, Ulysses Ortega, Claire Scilly, Takuya Shima & Adam Katz Sinding COVER/BACK PHOTOGRAPHY Dean Bradshaw

© 2015 Refueled Magazine. All Rights Reserved. Any commercial or promotional distribution, publishing or exploitation of contents, is strictly prohibited unless you have received the express prior written permission from our authorized personnel or the otherwise applicable rights holder.

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LETTER

THE SOUND OF A ISSUE. There is a soundtrack to every issue. One that sets the tone and aesthetic, and sometimes directs the features themselves, whether obvious to the reader or not. Each time I begin to curate a new issue, I’ll gather together a collection of music. Sometimes various songs from different artists, sometimes a single album and sometimes a group of albums from an artist or group. The music is never really conscience - it’s more a certain feeling. I will listen to these songs/albums for the duration of the issue - while driving, writing notes, sketching, curating and designing the layouts. Most would not guess that Paul McCartney’s first four albums that followed the breakup of the Beatles would blend so well with desert adventures, open roads and the search for one’s self-made America. So, while flipping through this issue, put on one or all of these vintage McCartney albums and listen to issue 15 the way I heard and invisioned it.

- Chris Brown, Publisher

(Left to Right) McCartney 1970, Paul & Linda McCartney | RAM 1971, Wings | Wild Life 1971, Wings | Red Rose Speedway 1973

PHOTOGRAPHY BY GUSTAV SCHMIEGE

DENIM DUDES 01

STYLE .01

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“I’VE BEEN BREAKING IN SELVEDGE RAW DENIM FOR OVER 20 YEARS - EVER SINCE I CAME ACROSS A PAIR OF 1950s DEADSTOCK LEVI’S FROM A VINTAGE STORE IN SAN FRANCISCO BACK IN ‘91.”

GREG CHAPMAN CREATIVE DIRECTOR OF H.W. CARTER & SONS BROOKLYN, NEW YORK PHOTOGRAPHY BY ADAM KATZ SINDING

STYLE

DENIM DUDES STREET STYLE. VINTAGE. WORKWEAR. OBSESSION.

AMY LEVERTON It’s a bold statement to say that “denim is the most important fabric of the twenty-first century” but one that surely must resonate with a world in which half of its population, at any one time, is wearing a pair of jeans.

Shot on the streets of Paris, Tokyo, London, New York, LA, Milan, San Francisco, Amsterdam, Stockholm, Barcelona, Melbourne, Gothenburg and Sydney, by no-less than 14 different photographers, the book explores the great versatility and allure of denim in all its different guises; from changing styles and cuts to classic items that never go out of style.

From founders of denim companies to designers, actors, musicians, creative directors, CEO’s and store owners, Denim Dudes leaves no sartorial stone unturned in the quest to hunt down the perfect pair of jeans and discover the most desirable denim, asking what exactly makes this once working-men’s fabric just so appealing?

Denim Dudes offers unrivalled insight into the stylish and sometimes eccentric ‘dudes’ involved in this fascinating and diverse industry.

“THIS DENIM JUMPSUIT SPEAKS TO ME IN SO MANY WAYS, IT’S A MIX OF SHIRT AND DENIM OVERALLS, WHICH WERE BIG GROWING UP IN NEW YORK.”

OLU ALEGE CO-FOUNDER OF STREETLEVELCULTURE.COM NEW YORK PHOTOGRAPHY BY ADAM KATZ SINDING

“I USE TO WORK FOR A BIG FARM-EXPORT COMPANY WHO COMPRESSED BIG 150 Ib. BALES OF HAY. I USED TO LOAD THE BALES ON AND OFF THE TRUCK AND THIS IS THE DENIM APRON I WORE WHILE DOING THAT.”

KEN ITO CEO OF A SF BAY AREA ASSISTED-LIVING FACILITY INSPIRATION LA SHOW, LONG BEACH PHOTOGRAPHY BY MOLLY CRANNA

“THE SET OF CLOTHES THAT I AM WEARING IN THIS PICTURE HAS BEEN MY GO-TO FOR A WHILE NOW. I’M WEARING A BEANIE, AN INDIGO-DYED TERRY CLOTH WESTERN SNAP SHIRT, MY CUSTOM JACK/KNIFE JEANS AND MY WORKBOOTS.” 17 JOHN ALBURL CO-OWNER OF JACK/KNIFE OUTFITTERS SAN FRANCISCO, CA PHOTOGRAPHY BY ULYSSES ORTEGA

“I FOUND THESE OVERALLS WHEN I HAD A JOB INTERVIEW FOR LIGHTNING MAGAZINE FIVE YEARS AGO. THEY WERE DEADSTOCK AND I FELL IN LOVE WITH THEM. I ONLY WEAR THEM ON SPECIAL OCCASIONS. I LIKE THEM BECAUSE THEY ARE SO SIMPLE; THE DETAILS ARE QUITE BASIC BECAUSE THEY WERE MADE DURING WORLD WAR II.” 18 SHOGO KOIKE EDITOR OF 2nd MAGAZINE TOKYO PHOTOGRAPHY BY TAKUYA SHIMA

“IN THIS PHOTO I AM WEARING SOME VINTAGE JEANS I CUSTOMIZED BACK WHEN I FIRST STARTED GETTING INTO DENIM. THE JACKET IS FROM THE 1950s. I BOUGHT IT ABOUT TEN YEARS AGO FROM A GIRL IN KANSAS WHOSE FATHER HAD JUST PASSED. HE LITERALLY SPENT HIS LIFE WORKING IN DENIM: I ENDED UP BUYING HIS WHOLE WARDROBE. THE VEST I BOUGHT FROM AN OLD BIKER IN PASADENA WHO USED TO BE PART OF THE ORGINAL ROAD CREW FOR BLACK SABBATH THROUGH THE 1970s AND ‘80s, SO IT’S A SPECIAL PIECE.”

ANDY PALTOS CO-FOUNDER OF ROLLA’S, MELBOURNE COLLINGWOOD, MELBOURNE PHOTOGRAPHY BY ALBERT COMPER

“I WOULDN’T CONSIDER MYSELF A DENIM NERD, EXPERT OR CONNOISSEUR, BUT I AM VERY PARTICULAR ABOUT MY JEANS AND WHERE THEY COME FROM. IT’S ALL ABOUT THE FIT, THE FABRIC, THE BRAND PHILOSOPHY AND, OF COURSE, THE ALMIGHTY CUFF - THE HIGHER THE BETTER.”

OUIGI THEODORE CREATIVE DIRECTOR OF THE BROOKLYN CIRCUS BROOKLYN, NEW YORK PHOTOGRAPHY BY ADAM KATZ SINDING

CAMPOVER 02

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BORN OUT OF WEEKEND TRIPS TO THE CALIFORNIA COAST AND THE JOSHUA TREE DESERT, THE JOSHUA TREE DESERT, THE CAREFULLY DESIGNED COTTON CANVAS CONSTRUCTION OF CAMPOVER’S ALL PURPOSE FIELD BLANKETS ARE AS HONEST AND UTILITARIAN AS THE SIMPLE BEACH COTTAGES AND HOMESTEAD CABINS THAT INSPIRED THEM.

About then, we started looking around Venice for another space to put our mark on, not really knowing exactly what we were going to do. An industrial space above a metal fabricator opened up down the street from my house, and together with another friend, we decided to turn it into a coworking space for creatives. The space had killer bones you entered the first level through a large trap door and came up under a loft suspended from the high, corrugated metal ceiling—and we spent about a year customizing it further. The space having no heat, and being by the beach, got pretty chilly in the winter. So it was in this space that the discussions happened more frequently and turned into the first development phase.

How did Campover come about? And why blankets? Brett Woitunski: This is a question you get asked a lot when you're two guys selling blankets. It kind of evolved from other things that Paul and I were getting into a several years ago. My wife and I have a little fixer in Venice and I was spending a lot of time working on it back then. I was fascinated by some of the unique spaces we had come across living in Venice-homes and workspaces that people were customizing themselves, being really resourceful and creative. I knew Paul had a bit of a background in plants and vintage furniture, and had reached out to him for help pulling my place together.

Paul Anderson: At first the idea of building a business around blankets seemed a little crazy, especially within the context of an environment where projects typically included welding. But then the more we talked about how we used blankets—pulling them off our beds for road trips, packing them for the beach, or laying them out at music festivals, and wrapping up by a campfire—it made perfect sense. Not to mention, they were our very first building materials as kids.

We were digging around flea markets and making things from discarded lumber I’d found in the alleys around the neighborhood, and it reminded us of the forts we’d built growing up… simple structures filled with personality. I’d had some trouble finding blankets that fit well in this aestheticcarefully designed, could meld with worn surfaces, and not too precious to be used. That’s really where the first conversations began.

INTERVIEW BY CHRIS BROWN PHOTOGRAPHY BY PAUL ANDERSON & DEAN BRADSHAW

.02 MADE

Tell us a little about the Field Blankets. What is different about/makes them stand out?

WE WANTED IT TO BE MORE THAN JUST YOUR BEACH BLANKET OR YOUR CAR BLANKET, OR THE SOFA BLANKET.

Brett: The Field Blanket is our first product and embodies our core vision—to create a simple, functional blanket that you’d want to take with you everywhere. The requirements were comfort, simple care, and easy on the eyes. We knew that if we missed the mark in any of these areas, we wouldn’t be filling the void that inspired the company. Paul: Needing to dry clean after each trip to the beach just didn’t make a whole lot of sense to us, and we didn’t want this blanket to be relegated to serving only a singular purpose. We wanted it to be more than just your beach blanket or your car blanket, or the sofa blanket. We really feel like one good blanket should be all of those things. Brett: We spent a lot of time researching quilts and quilting, and worked through prototypes with a woman in LA who has a longarm quilting machine in her house. To ensure durability, we settled on a cotton canvas that’s similar to what is used to make men’s work pants. The fabric goes through a machine softening process and ends up feeling like a really wellworn pair of khakis or old french military jacket. (At one point, during a meeting with a small LA factory, Paul was pushed by the owner to cut swatches from a pair of pants he loves.) Paul: The problem we were running into is that this fabric is much thicker than traditional quilting fabric, so when combined with a typical batting (the inner layer of a quilt), the result was much too heavy, and too puffy for our taste. Brett: We spent more time digging around and found a few articles that referenced quilters in the early 1900s using flannel for their inner layer. This turned out to be the perfect solution. It added enough weight and warmth, but without the bulk—making it much easier to fold up and stuff in a small pack. It also allowed for us to sew the layers together in a much wider pattern, distinguishing it further from traditional quilts. What is the dyeing process?

The All Purpose Field Blanket is constructed of

Paul: The blankets are sewn in a small facility in Downtown LA, and from there they go to a dye house where they are garment dyed in small batches. The dye house is run by a father and son and they’ve been instrumental in helping us get off the ground. The two of them have a menswear line together, and were able to use their experience in materials sourcing to help us track down the perfect fabric.

a sturdy cotton canvas outer layer that is garmentdyed and subjected to light abrasion to produce an incredibly soft feel.

We experimented with a number of different dye techniques before we landed on the right tone and finish. We’re also doing tests right now with a woman who hand dyes fabrics using natural sources, and plan to add several one-of-a-kind pieces in the coming months.

.02 MADE

What inspired the colors? Paul: We wanted our initial pallette to be mellow and straightforward. Our immediate environments definitely played a part so our time in LA, Venice, and Joshua Tree are a constant inspiration. In addition, we pulled references from menswear, workwear, and other utility driven products. A maybe less likely inspiration has been ceramics there are a lot smaller ceramicists that have popped up whose color and design we love. Brett: We wanted to develop classic colors that didn't feel too precious, but at the same time were sophisticated enough to go anywhere. Let’s talk about the Joshua Tree cabin project. Paul: The two tiny homestead cabins we each ended up purchasing were built in the late 1950s as part of the Small Tract Act of 1938. These cabins, and the land they sit on really serve as a reflection of the vision for Campover. A reminder that something simple can provide great comfort, and that you don’t need much to gather a group of friends for good times.

THE TWO TINY HOMESTEAD CABINS WE EACH ENDED UP PURCHASING WERE BUILT IN THE LATE 1950S AS PART OF THE SMALL TRACT ACT OF 1938. THESE CABINS, AND THE LAND THEY SIT ON REALLY SERVE AS A REFLECTION OF THE VISION FOR CAMPOVER.

The projects and activities that revolve around these little structures aren’t much different than the fun we had as kids building teepees in the woods, making fires, and shooting slingshots. Brett: The Cabin Project is a documentation of the renovations, small building projects, and recreation that goes on at our two locations in Joshua Tree. As time goes on, we’ll host dinners and small events to connect a wider circle of friends to the desert. Paul: Our friend Matthew owns a severalacre parcel of land in the high desert, that he’s had for years. He's the metal fabricator and furniture maker below the industrial space we built out in Venice. Having just finished working on that spot, we were both looking for new projects, and the idea of small cabins somewhere quiet seemed ideal. Brett: My wife and I had begun exploring areas we could drive to for the weekend to get out of the city. Having suggested we look in the desert, Matthew connected us to an artist friend who had just renovated a place, and moved out there from Venice. She gave us a briefing on buying in the desert, and the number of someone who could help us hunt down places. We fell in love with Joshua Tree immediately and started scouting regularly, becoming more and more familiar with the area. Paul and I were in the development process for the Field Blankets, and we were all heading to the desert just about every weekend. These little road trips became not just a source of inspiration, but also the perfect real world product test.

.02 MADE

What’s the allure of the desert for you personally?

our friend Stephanie. When I first moved to California I used to go to all the small state beaches up the coast for day trips. It was how I started to learn the coastal landscape of Southern California. At the right time of day, they were little pockets of stillness that actually remind me a lot of the desert. Vastly different experiences, but you’re essentially stuck in a massive landscape.

Brett: There’s something amazing about how open, quiet and slowed down everything feels in the desert. You can be hauling ass down one of a handful of long, paved roads north of 62 and there’s still a feeling of slowness. And that absence of being in any kind of rush is a big draw.

Being based in Venice, the coast is a constant inspiration. Venice has definitely carved out something really particular for itself. It’s the one place where the creative vigor and grit of the city really feels like it meets the beach.

For a place that can easily feel like the middle of nowhere, there’s also a sense of culture and the unexpected. You immediately feel the art and creativity as you drive through town, but may not realize the depth until you’ve spent more time in the area. Nationally touring bands regularly come through the small music venue in Pioneertown, and if you dig a little, you’ll find the work of artists in seemingly unlikely locations throughout the high desert.

Through our features section on the site we hope to highlight these experiences and outings: our favorite spots, how to get there. Do you see or plan for Campover to create/produce other products?

And considering the extreme desert weather there’s sometimes a surprising element of preservation. Drive down any of the roads outside of town, and you’ll see the little homestead cabins—many unchanged since being built in the 50s and 60s. And some, while long abandoned, are still arranged exactly how the last inhabitant left them several decades ago. I love that sense of the unexpected. That we may be hiking around the land behind our cabin and find something that was last touched by a homesteader sixty years ago.

Paul: Blankets are definitely our core, and we want to stay focused for now. We’re currently developing new colors, sizes, and exploring different designs and construction. There’s still a lot of ground for us to cover. That said, we’ve come up with ideas for a few new products, and will likely be launching a handful collaborations not too far down the line. Brett: At this point, any departure from blankets needs to be very intentional and in strong support of the core vision.

Paul: In a similar vein, there are always discoveries to be had— little holeinthewall places tucked away throughout the area. At first glance it’s barren and desolate and unchanging, but once you spend some solid time here it's the exact opposite—there’s something honestly unchecked and mysterious about it.

What inspires you? Brett: I think we’re ultimately inspired by the people around us who have been able to simplify their lives and build a sustainable existence through their passions. We’re driven by the idea that, beyond being a business, Campover can be a source of adventure, and a part of our lives that enriches our experiences with family and friends.

You also have a real affection for El Matador beach. Quite a contrast from the desert or is it? Paul: The El Matador beach feature was a day trip we did with

OUTSIDE IT’S AMERICA 03

ADVENTURE .03

C O M M U NI T Y.

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PHOTO ESSAY BY LARRY NIEHUES

ADVENTURE

ASHES TO ASHES, DUST TO DUST WORDS BY WOODY GUTHRIE

ASHES TO ASHES AND DUST TO DUST, SHOW ME A WOMAN THAT A MAN CAN TRUST. SNAKES ON THE DESERT AND FISH IN THE SEA, A RATTLESNAKE MAMA MADE A SUCKER OUT OF ME. O TELL ME HOW LONG MUST I HAVE TO WAIT? CAN I GET YOU NOW OR MUST I HESITATE? BACON TO BACON AND BEANS TO BEANS, I GOT A CORNBREAD MAMA IN NEW ORLEANS. TURTLES IN THE RIVERS, ALLIGATORS IN THE SWAMP, A LOUISIANA MAMA KEEPS A MAN ON THE JUMP. O TELL ME HOW LONG MUST I HAVE TO WAIT... IT'S BEER TO BEER AND ALE TO ALE, I GOT A L.A. MAMA IN THE FRISCO JAIL. GOLD IN THE MOUNTAINS, COPPER IN THE HILLS, THEY CAUGHT MY GAL WITH A FORTY GALLON STILL. O TELL ME HOW LONG MUST I HAVE TO WAIT... HAM TO HAM AND EGGS TO EGGS IF I DON'T GET A PENSION I'LL HAVE TO BEG. THERE'S A LOT OF CROOKED POLITICIAN MEN; IT WOULD BE ALL RIGHT IF IT WASN'T FOR THEM. O TELL ME HOW LONG MUST I HAVE TO WAIT...

BRYAN

I TRIED TO GET A JOB ALL OVER TOWN; SEVEN HUNDRED PLACES THEY TURNED ME DOWN. THEY TOLD ME SIX WEEKS I COULD GET RELIEF, BUT I AIN'T GOT A BITE TO EAT. O TELL ME HOW LONG MUST I HAVE TO WAIT...

FORAGER CO. 04

PHOTO BY KYLE FERINO

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WHAT WE SEE DEPENDS MAINLY ON WHAT WE LOOK FOR. - JOHN LUBBOCK

FOR ME, FORAGING IS ABOUT GENUINELY CONNECTING TO THE MATERIAL WORLD, STARTING IN THE NATURAL WORLD AND THEN VENTURING OUTWARDS. IT INTRODUCES US TO A RELATIONSHIP WITH THINGS THAT CAN BE HEALTHY AND LIBERATING IN THIS TIME OF EXCESS AND OVERPRODUCTION. WE TAKE WHAT WE CAN USE. WE USE WHAT WE HAVE.

WORDS BY BRYAN NORRIS (LEFT) PHOTOGRAPHY BY KATRINA d’AUTREMONT

A forager can be defined simply as one who searches for things. It is in this way that I have always been a forager. It is instinctual to me, as I believe it is in many of us, a vestige from the days when mankind hunted and gathered to survive. I have loved the hunt since I was a kid searching for arrowheads, rocks, and feathers in the fields of Lancaster, Pennsylvania, where I grew up. Today, my search has changed very little; in fact, it has only expanded. My life is now furnished with pieces found through untraditional channels, objects that have been discovered in places such as flea markets, thrift shops, dumpsters, auctions, and makers’ shops. My eye is drawn to the beautiful odd bits, often old and worn, whose value is in character, not price. I have always believed that our individual values are illuminated by what we take and by what we leave behind. In my 20s, I took my passion for collecting vintage textiles and clothing and built up a career designing menswear for companies including American Eagle Outfitters, Nautica, and Eastern Mountain Sports. Curiously, it was not my background as a designer, but rather my involvement with a wild foods foraging group, which ultimately lead me to start Forager Co. I had begun to step away from any interest in newly produced clothing after coming face-to-face with truths about the oftentimes toxic fashion industry. Only when I was out in the wild collecting plants was I able to feel how much a part of me this process was and how I might apply it to making products from foraged materials. I envisioned an entire line I could produce using foraged resources: medicinal and edible plant-based products, wooden furniture, repurposed clothing, etc.

ONLY WHEN I WAS OUT IN THE WILD COLLECTING PLANTS WAS I ABLE TO FEEL HOW

I began with what I had and with what I knew: a stockpile of old textiles and some qood vintage menswear. I used handsome old blankets and quilts I had been collecting to make a version of the 1950s blanket-lined denim vest I have now been wearing for years. It was a simple, functional, reversible design created with fabrics that have a unique history. I was on a mission to avoid traditional production, but also to stay close to my family in Lancaster. A tall order, but the universe listened: I was soon introduced to Javan Lapp and Faith Fisher, the family who runs Plain Stitches, a small sewing business operated out of their family farm. There, a very small team of Mennonite women sew clothes for the Amish community – “plain people,” as they are called (including by one another). At one time, almost all Amish clothing was made within the family household. However, now, with more Amish spending more time working away from home, there is growing demand for a business that sells traditional Amish clothes. Plain Stitches meets this demand, all while maintaining close ties with the rural community. Javan and Faith agreed to work with me. They admired my intention to repurpose textiles in utilitarian styles and took on a firm commitment to small batch production. They also took on the challenge of working with several one-of-a-kind pieces and a wide variety of often complicated antique and vintage fabrics.

MUCH A PART OF ME THIS PROCESS WAS AND HOW I MIGHT APPLY IT TO MAKING PRODUCTS FROM FORAGED MATERIALS.

(LEFT) PHOTOGRAPHY BY KYLE FERINO

.04 MADE

PHOTOGRAPHY BY KYLE FERINO

Our first pieces were men's vests, antique quilts, and vintage wool blankets (early military stripe or stadium blankets, mostly from old US mills and makers), all of which reversed to old stock denim. The rush of seeing an idea turn into something real… this was it. I now found myself able to forage for materials in addition to having the privilege of working with a small community of talented makers.

Having an affinity for city energy as well, I spent a good deal of time in Philadelphia. There, I became a regular at a family-owned fabric store that has been in business since the 1930s. One day, I was told that they had an old fabric warehouse as well and that I was welcome to come visit. Finally, the part where being a nice guy pays off: I was now able to regularly rummage through bins of old denim, canvas, and tons of other varieties of fabric and trim. Most of the denim I use today is from similar old stock material; not necessarily vintage, but not newly produced. I go to great lengths to avoid the direct chain of new production and consumption. It’s a lot of work and a time-consuming way of sourcing materials, but the reward is clear: the satisfaction that comes with sticking to my vision.

Forager Co. is now produced in a sunny room located in a barn overlooking open fields plowed by teams of horsedrawn equipment. Each piece is hand-cut and sewn by a Mennonite woman on the farm and possesses an authentic history in either content or design. It’s a mix of mindful materials, makers, and consumption without waving any banners or making any statements. It’s a very slow, expensive process, but the tradeoff, to me, has made it all worth it. To the people of Plain Stitches, it’s not only about money, it’s about the labor of positive, patient support, and stems from a genuine desire to see Forager Co. flourish.

More recently, when I showed up at the farm with a prototype of a leather bag, Javan introduced me to a neighbor, Daniel, an Amish man who runs his family’s 85-year-old harness shop, a place which has changed very little throughout the years. It runs off-the-grid, Amish style, with gas and coal providing energy for operating the light, heat, and antique leather working machines. There are layers of history to the well-worn workbench, with its vintage tools and piles of leather illuminated by gas lamps – it’s truly like stepping back in time. Photographs are not even allowed here, adhering to Amish biblical interpretation. As a core value, the Amish want no attention on the self, but instead, on their community. It is through this focus on community, not the outside world, that they have been able to flourish alongside modern distraction and development. It is a beautiful culture of horse and buggy, simple dress, and very little convenience (zippers are too easy and flashy, outside pockets too convenient, etc.). Even electricity invites the outside temptations and distractions of television and radio.

The farm where Plain Stitches is located had been Joe Fisher's parents’ flower farm, but is now ready for a new life. The greenhouses and barn need restoration, fences need mending, and new fields need to be established. It’s time to reinvent the old family farm to serve a new generation. Joe ultimately decided to turn the day-to-day operations of the property over to two of his young adult children. Now, Rosina, his daughter, works with her husband and mother running the sewing side, and Jethro, Joe’s son, and his wife work on the agrarian side, which includes small-scale permaculture and organic-based plant and animal production. It’s a humble property, surrounded by Amish farmland and full of dreams -- my own included. It’s a good place to be; it’s the farm where Forager Co. grows.

PHOTOGRAPHY BY GUSTAV SCHMIEGE

.04 MADE

I grew up with the Amish in my world, but through Forager Co. I am able to experience it intimately for the first time, as friends. I now have the chance to make leather goods using the shop’s vast accumulation of leather and hardware, and in the most amazing of old world spaces. I have been working with Daniel using early leatherwork construction to hand-lace belts, bags, and other small leather goods. We are both very proud of our projects. Daniel will spend an entire day cutting and hand-lacing a Forager Co. bag; there are no die-cut pieces, as is a common practice, and even the lacing strips are cut by hand. Daniel says I am a connection to the outside world, as he puts his trust in me to market our goods. Indeed, I want Forager Co. to succeed not only for myself, but for the two families that make up my team as well. At the heart, it truly is divine motivation. Look for us. We are a family-centric, slow-sourcing design and production company that takes pride in using an alternative process of production, from start to finish. I source unique materials as a nomad and then transform them in a way that’s as personal as it is hyper-local. I get the chance to bring work to a conservative farm community that was once self-reliant, but which now must supplement its income. Ironically, part of this work includes posting images on Instagram, a platform that not only enables me to share the visual language of Forager Co., but also to draw inspiration from others on similar journeys. I could list so many people who have shared their support, encouragement, and ideas and I often ask myself if I would even be here if it weren’t for social media. So many positive things continue to happen for Forager Co., and it is this modern way of communicating and connecting that’s making it all possible. A friend once said that Forager’s work skips the 20th century by going straight from gas lamps to Instagram. We both laughed, but she is so right. Now, here I am in the 21st century, hoping that people slow down long enough to find us.

WE ARE A FAMILY - CENTRIC, SLOW - SOURCING DESIGN AND PRODUCTION COMPANY THAT TAKES PRIDE IN USING AN ALTERNATIVE PROCESS OF PRODUCTION, FROM START TO FINISH.

PHOTOGRAPHY BY KYLE FERINO

CAMP COOKING 05

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BIG CITY CAMP COOKING A CULINARY ADVENTURE THE HIGH DESERT TOWN OF MARFA, TEXAS, WITH ITS SURROUNDING MOUNTAINS AND ROLLING TERRAIN FILLED WITH CACTUS, TUMBLEWEEDS AND OCCASIONAL WILD AOUDAD SIGHTINGS SERVES AS THE BACKDROP FOR A WEEKEND EXPLORATION OF THE TASTE PALATE OF WEST, TEXAS. BIG CITY CAMP COOKING IS HELD ON THE GROUNDS OF EL COSMICO - A 21-ACRE COMMUNAL CAMPING RETREAT FEATURING STYLIZED WALL TENTS, TEPEES AND VINTAGE TRAILERS OPERATED BY AUSTIN HOTELIER LIZ LAMBERT. THE EVENT IS LED BY HER BROTHER RENOWNED CHEF LOU LAMBERT.

WORDS BY MICHELLE BROWN PHOTOGRAPHY BY GUSTAV SCHMIEGE

.05 COMMUNITY

COOK, EAT AND EXPLORE THE IDYLLIC HIGH PLAINS DESERT TOWN OF MARFA, TEXAS AND SEE HOW THE LANDSCAPE AND CULTURE OF THIS UNIQUE PLACE INFLUENCE ITS RICH CULINARY HERITAGE.

Lambert does make a great pot of beans. Lambert instead takes the ingredients indigineous to the area and takes them to a new level, creating a feast that would be welcome at any gourmet table nationwide.

Lou Lambert The Lambert name is a staple in West Texas cuisine. Does Lambert’s Downtown Barbecue in Austin ring any bells? Lambert grew up in the region, spending summers on his family’s cattle ranch. While other kids were riding horses or out in the swimming holes, Lambert was hanging out with the ranch cook learning the tricks of the trade. The love of cooking stayed with Lambert as he grew up. He went on to attend the renowned Culinary Institute of America in New York. Classically trained in French cuisine, Lambert went to work beside illustrious chefs such as Wolfgang Puck. However, Lambert never lost his passion for the food he grew up with. “Once I trained at culinary school, I found a way to take the food of my heritage to a higher level, marrying generations of Texas/Southern ranching culture with classic culinary training to produce a style of cooking all its own,” says Lambert.

Marfa Bound As you make the trek on I-20 west and pass through the windmill energy fields near Sweetwater, the oil well pumps of Odessa and the Monahans Sandhills Sate Park, you begin to feel you’re driving into a different world. But once you’re heading on 67 south and through the mountains surrounding Alpine it really hits you. And when you pass the Marfa lights viewing center, you are gone. Marfa - located between the Davis Mountains and Big Bend National Park - is a world unto itself. It’s an oasis in the desert for artisans and craftsmen. A place where the quirky is the norm. A place that is so laid back that everything is put off for “manana”. This I kid you not. Although there are several restaurants and bars in town, finding an open place to grab a beer and a snack at 4:00 pm on a Friday was a challenge.

I was fortunate enough to attend the recent Big City Camp Cooking workshop. Over the course of three days, Lambert and his team demonstrated Texas cuisine at its finest. This is not your typical cowboys beans and brisket. Although

(PAGE 72 - LEFT TO RIGHT) JOE REALE, DAN DYER, JAMES SMITH, CHRIS REALE & CHEF LOU LAMBERT.

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Welcome to Camp First on our weekend foray into the tastes and sounds of Texas was a welcome reception at El Cosmico. Lambert decked out in a cowboy hat and chef’s apron introduced us to his culinary team--James Smith, Chris Reale, Joe Reale and musician Dan Dyer. “I am thrilled to work with these guys. They are my best friends,” Lambert remarked about his team. While we met other camp participants, we were treated to classic southwestern fare--chips, salsa, guacamole, grilled three cheese quesadillas, adobo pork street tacos and cookie with fresh stawberries. And let’s not forget the margaritas touted as the “best you’ll ever have.”

“THE PURPOSE IS NOT A RECIPE,” SAYS LAMBERT. “THE PURPOSE IS THE METHOD AND HOW YOU DO IT.”

On a side note, I expected Texas to be heavily represented by camp participants--especially Austinites. I was a bit shocked to find out people had traveled from as far away as San Francisco, South Carolina and Washington, D.C. to attend the workshop. Two of the participants were repeat campgoers. And one gentleman said he didn’t know who Lambert even was until he happened upon Lambert’s “ Big Ranch, Big City Cookbook” in a bookstore. Wanting to find out more about Lambert he went to Goggle and then discovered the weekend of camp cooking. While drinking margaritas, we were treated to “Tequila 101” led by Chris Reale, a bartender at the trendy Grace restaurant in Fort Worth, Texas and an aspiring chef and restauraneur himself. Reale explained that there are two basic types of tequila--100 percent Blue Agave and Mixto which can have a minimum of 51 percent Blue Agave with the remaining 49 percent coming from other sugars. These categories are then divided into five types of tequila--white, gold, resposado, anejo and extra anejo. Reale said that you are more apt to get a hangover from drinking the less pure Mixto version of the spirit. One interesting fact, Mexican laws state that tequila can only be produced in the state of Jalisco and surrounding areas.

Ancho Chicken Tortilla Soup 1

1 whole cooked chicken, 3 /2 to 4 pounds, roasted or poached 2 tablespoons vegetable oil 1 large onion, small dice 4 cloves garlic, minced 1 1/2 cups ancho chili puree 2 teaspoons kosher salt 1 teaspoons freshly ground black pepper 1 teaspoon sugar 1/2 teaspoon dried oregano leaves 1/4 cup cilantro, rough chop, plus more for garnish 1 (28 ounce) can chopped tomatoes, liquid drained 1 quart chicken stock 8 corn tortillas, cut into 1 1/2 inch squares and fried Juice of 1 lime 1/2 cup sour cream, for garnish 2 ripe Hass avocados, large dice 1 cup granted Monterey Jack cheese

Reale then mixed up his take on the margarita. A refreshing blend of lime juice, tequila and cucumber in a glass rimmed with chile powder and salt. Refueled publisher Chris Brown who doesn’t much care for tequila even liked this drink. Our night concluded with a performance by folk duo The Wasted Hearts. I watched on in true El Cosmico fashion curled up in a hammock under the stars. Prep and Eats at El Cosmico

Remove the skin and bones from chicken. Shred the chicken meat into bit size pieces and set aside.

Let me say that I never thought I’d wake up so refreshed after sleeping in a tent. However, just maybe the posh queen bed and linens had something to do with that.

Heat a heavy bottomed soup pot over medium high heat and add the vegetable oil. Add the onion and sauté until it becomes soft, about 4 minutes. Add the garlic to the pot and cook for 2 minutes. Add the chili puree, salt, black pepper, sugar, oregano and cilantro, cooking out the chilies for 2 minutes, constantly stirring to avoid scorching.

We met in the El Cosmico kitchen to prep lunch to take to the grill out back. The entire thing felt like I had landed on a Food Network episode as I sat across the bar from where the chefs were chopping and dicing. It’s here that Lambert gets to the nitty gritty of the workshop. “The purpose is not a recipe,” says Lambert. “The purpose is the method and how you do it.”

Add the tomatoes and chicken stock and bring the soup to a boil. Turn the fire to low and slowly simmer the soup for 20 to 30 minutes. Taste the soup and adjust the seasoning, if needed. Add the chicken and the juice of 1 lime to the soup. To serve, place a few corn tortilla chips in the bottom of each bowl. Ladle the hot soup over the tortilla chips and garnish with a dollop of sour cream, diced avocado, granted cheese and a sprinkle of cilantro.

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In addition to recipes and techniques, Lambert also focused on getting the most out of your culinary lifestyle. He gives tips on how you can throw a dinner party or barbecue without being stuck in the kitchen or at the grill away from your guests the entire time. He said that everything is about planning and preparation and suggested finding things you can do ahead of time if you are cooking at home or at a remote site. “Whether I am having a party or going camping, I prepare everything I can ahead,” Lambert explained. He also said to not be afraid to take short cuts. “Fresh tomatoes are always best when in season” explained Lambert. “But if they aren’t available or if you’re looking for convenience when camping, there is nothing wrong with using a tomato puree”.

sherry shallot and fine herbs, wood grilled ribeye steaks with border chimichurri, ancho grill gulf shimp skewers with romesco and apple/blackberry crisp with homemade Mexican vanilla ice cream. The perfect ending to the evening was gathering around the campfire where Dan Dyer played guitar and sang as the sun set over the mountains. In true cattle ranch form, as we drove away from the Bunkhouse on our way back to El Cosmico, we had to stop and shoo a herd of cattle out of the roadway. Once back at the campgrounds, an impromptu party broke out and the whiskey flowed. The Wasted Hearts joined in with their banjo and guitar. Laughter and conversation were heard way into the early hours of the morning.

After finishing up prep work, Lambert and the crew hauled everything to the grill out back. We watched as they put the finishing touches on our lunch - Romaine salad with lemon dressing and avocado, Far West vegetable passole, grilled adobo beef tenderlion with rajas con crema, camp beans and Spanish rice. Dessert was a to-die-for tres leche short cake topped with mixed berries.

Farewell Brunch The next morning, with many moving a little slowly, we met up at the outdoor kitchen on the El Cosmico grounds for brunch before hitting the road. James Smith shared his grandmother’s buttermilk biscuit recipe and demonstrated how to make this staple of any good southern breakfast. In addition, we devoured campfire corned beef hash with poached eggs, green chile grits, omelets cooked to order and griddled pancakes with berries and maple syrup before packing up and saying goodbyes and going our separate ways.

Destination Bunkhouse After lunch, camp participants were given free time to explore Marfa. Refueled staff was invited out to the Bunkhouse on the Taylor Ranch to hang out with Lou and the staff while they prepped for dinner.

Big City Camp Cooking provides a culinary journey into the tastes and flavors that Lou Lambert was raised on. Immersing camp participants into the heart of the West Texas high desert gives them a greater appreciation of this type of cuisine. Think weekend get-away meets cookbook come to life.

The Taylor Ranch, located about 30 minutes outside Marfa, is a working cattle ranch operated by Lambert’s cousin. Lambert explains that he and his sister claimed the Bunkhouse, an old abandoned ranch foreman’s house that had not been occupied for 20 years, as their own retreat in the desert. It has since been renovated in typical Liz Lambert style and a kitchen had also been added. The Bunkhouse consists of several small out buildings and a stone water tank used for swimming, all situated at the base of a mountain. The surrounding area of hills and cactus make it an idyllic spot to get away from city life and decompress. And by get away, I mean get away. Cell phone reception is sparse. Hold your cell phone just right on the front porch of the main house and you may get a bar or two if you are lucky.

Border Chimichurri 2 large shallots, finely diced 1/2 cup flat leaf parsley, medium chop 1/4 cup cilantro, medium chop 4 green onions, thinly sliced 1 serrano pepper, stemmed, seeded and finely chopped 1 teasppon granulated sugar Kosher salt and ground black pepper 1/2 cup red wine vinegar 1/2 cup olive oil

It was at the Bunkhouse that I was able to spend some oneon-one time chatting with Lambert on the front porch. I talked about cooking with my Jewish grandmother when I was young which led to a discussion on the virtues of skimming the foam when poaching a chicken. Lambert recalled an instructor in cooking school telling him to “skim the scum” in his thick German accent. We talked about the differences between cooking and baking. “Bakers are a different breed,” says Lambert. “Bakers use their heads. Chefs use their guts and instincts.”

Combine all the ingredients in a small bowl and mix to combine. Store the chimichurri in a covered container in the refrigerator for up to 2 days.

After the other camp goers arrived, we all convened on the back porch where Lambert and his team fired up the huge grill. We were treated to a hearty dinner of chopped salad with honey ctrus dressing, dutch-oven three onion focaccia braed, roasted cream pesto potatoes, grill asparagus with

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“I GREW UP EATING GRITS FOR BREAKFAST, LUNCH AND DINNER, SO I JUST ASSUMED THAT EVERYONE KNEW WHAT GRITS WERE AND LOVED A BIG BOWL OF THEM WITH A LITTLE DAB OF BUTTER ON TOP, LIKE ME. I FOUND IT CURIOUS WHEN I LIVED IN NEW YORK AND CALIFORNIA THAT THERE ARE PEOPLE (EDUCATED NICE FOLKS) WHO TURN THEIR NOSES UP AT THE THOUGHT OF EATING GRITS. THEIR PROBLEM IS THAT THEY HAVE NEVER EATEN MY GREEN CHILE GRITS. YOU CAN’T GO WRONG WITH THE FLOVORS OF SWEET CORN, BUTTER, CREAMY JACK CHEESE AND ROASTED GREEN CHILIES ALL SWIMMING TOGETHER IN A BIG BOWL OF GRITS. THROW IN SOME BUTTERMILK BISCUITS AND YOU’RE IN HEAVEN.”

Green Chile Grits

Brunch Buttermilk Biscuits

4 cups milk 1 teaspoon salt 1/2 teasppon freshly ground pepper 1 cup grits 4 tablespoons unsalted butter 1/2 cup green chile puree 4 ounces Jack cheese, grated 2 green onions, finely chopped

3 cups all-purpose flour 2 teaspoons salt 1 tablespoon baking powder 2 teaspoons baking soda 1 tablespoon sugar 6 tablespoons butter, cold 1 1/2 cups buttermilk Preheat the oven to 425 degrees. In a large bowl, whisk together the flour, salt, baking powder, baking soda and sugar. Add the cold butter and work with a pastry cutter until the mixture resembles coarse meal. With a rubber spatula, fold in the buttermilk until the dough just comes together.

Bring the milk, salt and pepper to the boil in a heavy bottomed pot. As soon as the milk comes to the boil, gradually whisk in the grits. Turn down the heat to a simmer and slowly cook the grits, stirring to keep from sticking, until thick and creamy, about 15 to 20 minutes.

Transfer the dough to a lightly floured work surface. Lightly dust the top of the dough with flour and roll out to about 3/4 inch thick. Cut out biscuits with a 2 1/2 inch biscuit cutter and place on a greased baking sheet about 1/4 inch apart. Gather up the biscuit scraps and gently fold together. Roll out again and cut a few more.

Remove the grits from the fire and stir in the butter and chile puree. Fold in the cheese and green onions and serve immediately. Gree Chile Puree

Bake the biscuits until they are golden brown, about 15 minutes. Serve the hot biscuits with plenty of whipped butter, jam and honey.`

1 large poblano pepper, roasted, stemmed and seeded 1/4 cup spinach leaves, stemmed 1/4 cup flat leaf parsley, rough chop 1/4 cup boiling water Pinch of kosher salt Put all the ingredients in a blender and puree until smooth. Green chile puree can be held in the refrigerator for up to a week.

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GARZA MARFA DESERT INSPIRED FURNITURE & TEXTILES DO YOU KNOW WHY THE TREES BEND AT THE WEST TEXAS BORDER? DO YOU KNOW WHY THEY BEND AND SWAY AND TWINE? THE TREES BEND BECAUSE OF THE WIND ALONG THAT LONESOME BORDER. THE TREES BEND BECAUSE OF THE WIND, ALMOST ALL THE TIME. THE TREES BEND BECAUSE OF THE WIND, ALL ALONG THE LINE. - JOE ELY

PHOTOGRAPHY BY GUSTAV SCHMIEGE

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After living on the West Coast for several years, Jamey and Constance Garza turned their gaze to Texas when they designed and created the furniture for the renovation of the Hotel San Jose in Austin, Texas. They finally took the plunge and moved to Marfa, Texas in 2003. After a few years of living in the high plains desert of the Trans-Pecos, they realized they were in Marfa to stay and started developing a product line inspired by their new high desert surroundings. By 2011 they had created their core group of designs that you see today — The Saddle Leather Collection and Table Tops. Jamey and Constance debuted these designs at Heath Ceramics’ Los Angeles location in 2012 and haven’t looked back since.

WELDED STEEL. LEATHER. RURAL TEXAS WOOD. ORANGE, AQUA. PALE PINK AND DESERT RED. ANGULAR BASES. MADE (RIGHT)

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30.3119째 N, 104.0247째 WEST MODEL: CONNIE MOBLEY LOCATION: TAYLOR RANCH /MARFA, TEXAS

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05 QUESTIONS & ANSWERS INTERVIEW BY CHRIS BROWN PHOTOGRAPHY BY CLAIRE SCILLY

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01. What is your Craft? I would say I'm a visual storyteller. I tend to work across quite a wide spectrum in my practice though, it totally depends on the project which I am working on and how I want to convey a certain message or narrative. For instance, at present I am working on an interactive embroidery which will allow the viewer to manually manipulate a soundtrack through touching the stitches. Alongside this I am about to start an illustration project which will involve all of the work to be totally hand drawn. Most of the work I make is gallery based too. Therefore, this takes me out of the field of being an 'illustrator' as such and allows me the freedom to label myself as a visual storyteller and gives me the opportunity to work on some super projects. 02. What inspired you to choose your craft? I was brought up on a council estate (public housing) in the West Midlands, England. Poverty was pretty much the norm, and being a boy meant you were to be strong, aggressive etc. From my teenage years I never wanted this. Then I heard Morrissey! He changed it all, showed that to be a boy you didnt need to be all of the above things. You could be sensitive and kind and still be a chap. You could portray a sense of romance in your everyday. From that time on I chose a different path. Now with my art work I am massively interested in the language created by the choices we make to work (specifically art) in the fields which we do. So, working with embroidery and stitch has allowed me as a male to make a stance against male macho agression. It's a natural progression from my teenage searching and striving. Also there is a visual element which embroidery adds to my work. It allows me to soften a line. I can never do this with a pen. Though I do tend to mimic my own personal weight of line in stitch. It is still softer and more gentle than ink.

pencils which are a must for any case. Along with sketchpad, pens- various from fineline to paintpens. Then there is sewing equipment threads, needles, hoops and fabric. And of course an apron.

03. Where do you live, and how does the location, if at all, dictate how you work? I have recently relocated from Coventry, England to London. Prior to this move I was working four jobs and making artwork in the little spare time I had. The move was a collossal step for me. I went from no time to draw and sew to all the time to draw and sew. My days now are full to the brim with working, but the working now is for myself and not to make some corporate body bigger and wealthier. I'm finding that living in London is feeding into my work creatively in the means of the parks and greenery. Before my move, London was a sprawling grey metropolis....man, it's full of parks, woods and squares. There's a real sense of greeness here and I try to get out and about daily or I go crazy with cabin fever.

05. How would you describe your personal style?

04. What are your trade tools?

I would say a wee bit wonky. I always aim to make work which will effect folk in the way that I'm affected by a Grandma Moses painting or Stig Lindberg's fabric. I'm interested in the visual aesthetic of the handmade (hence wonky) and the visual language of European folk art, culture and story. This feeds into my work in the settings and themes of the narratives I create, along with the rural pioneer woodland life and atmosphere of rural American pioneer life. There is also a nod to some of the sinister 1960's â&#x20AC;&#x201C; 80's childrens British TV...... Mix with this the photography of Soloman D Butcher and the America of the 1800's, and the pioneer folk and its pretty much there.

Pencil, pens, needle and thread! Once again it totally depends on the project I am working on at the time. I suppose that a peek into a case I use for any travel trip will give an indication of the tools which I can't leave home without. I have 0.5 mechanical

So in a nutshell my work is a 'giant cooking pot of European pre-war folk culture, children's British TV and 19th century Americaica' mix all this together and you have something resembling my style.

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“...WITH MY ART WORK I AM MASSIVELY INTERESTED IN THE LANGUAGE CREATED BY THE CHOICES WE MAKE TO WORK (SPECIFICALLY ART) IN THE FIELDS WHICH WE DO.”

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