Shibui Issue 5 by SHIBUI & Co.

BAGS OF TALENT FROM

GHANA snap to it

The Safarer WHEREFORE ART THOU

Wow? culture

craftsmanship

global connection

will you

? s s e n r i a Stand 4 F

11-13 May 2018

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S H I B U I HELLO

state of origin Welcome to SHIBUI Issue 5! Where do your worldly artisan treasures come from? And how did they make their way to you? While the hint of a bargain can get most pulses racing, if it came with a description written by the maker… one of hope, pride and great sense of responsibility to preserve and share their cultural traditions and craftsmanship to the rest of the world… does that make it a precious commodity? You have to admire the art, skill and effort that goes into each and every handmade piece. Not to mention the laborious dedication to deliver items safely, often from remotely accessible villages to the reaches of global consumerism. That effort alone is worth more than the price tag. This edition we take you from India to Africa, Greece and the UK. Plus throw in a tease of travel photography and luxe dream destinations to add to your getaway wish list. With every edition we hope to bring the true roots of a culture closer to you, remembering that a longer-term retail ‘high’ lies in the knowledge you’re supporting a unique community of origin. Happy reading!

and

THIS PHOTO Riding in style. Handmade in Northern Ghana, each AAKS raffia basket bears the fingerprint of the artisan who fashioned it. (Turn to page 39.) Photo Akosua Afriyie-Kumi

SHIBUI Issue is a free, bi-monthly online magazine PUBLISHED BY S H I B U I & Co. GLOBAL DISTRIBUTOR PressReader S H I B U I & Co. Est. July 2017, Australia. CO-FOUNDER / CURATOR / OPERATIONS KARINA EASTWAY CO-FOUNDER / CURATOR / CREATIVE BRISEIS ONFRAY PROOFREADER MERAN SALSKI ALL ENQUIRIES hello@shibuiandco.com SUBSCRIPTIONS & MEDIA KIT shibuiandco.com © Copyright 2018. ALL RIGHTS RESERVED

HELLO S H I B U I

CONTENTS

SHIBUI. A JAPANESE WORD USED TO DESCRIBE AN UNDERSTATED, CLASSIC KINDA COOL. ITâ&#x20AC;&#x2122;S AN ENRICHED BEAUTY ACHIEVED THOUGH MINIMALISM AND PURPOSE RATHER THAN ADORNMENT AND EXTRAVAGANCE. ITS VALUE MUST BE DISCOVERED AND UNDERSTOOD RATHER THAN BOUGHT OR WON.

S H I B U I CONTENTS

DESTINATION DESIGNER MEET THE MAKERS

5 INDIA Go behind the scenes where traditional wooden blocks are hand carved in intricate designs.

SNAP TO IT

12 FRANCE Hamza has been wandering the globe since 2011 with an insatiable appetite for creating understanding between cultures.

TRAVEL MODE

20 DESTINATION GETAWAYS Two obscenely beautiful locations that will have all of your senses craving in awe.

24 GREECE Urban calligraphy takes the ancient art form from pen and paper to modern streetscape.

MODERN MAKERS

32 ENGLAND Elizabethan society was climbing high on poetry, literature and music, but wherefore art thou Tudor style fashion now? 39 GHANA Harvest, twist, dye, weave, repeat. How one designer is taking on the fashion world in an explosion of colour.

DIRECTORY

47 Find our SHIBUI makers, photographers and designers here.

COVER IMAGE AAKS Ghana is taking generations of weaving tradition to the world in an explosion of colour, style and authenticity. Photo Akosua Afriyie-Kumi (page 39). THIS PAGE FROM LEFT TO RIGHT Studio Bagru in India shares a 2000-year-old tradition of creating an intricately carved piece of hardwood for block printing, (page 5). Simon Silaidis is a unique calligraphy artist from Greece. He takes pen and paper to large scale with his bold work adorning abandoned buildings and landscapes, (page 24). Pumphouse Point, Lake St Clair, Tasmania is the perfect place for a getaway vacation. Photo Adam Gibson (page 20).

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CONTENTS S H I B U I

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meet the maker

AROUND THE

BLOCK curator karina eastway the makers STUDIO BAGRU INTERVIEW WITH JEREMY FRITZHAND PHOTOS CONTRIBUTED BY JEREMY FRITZHAND COUNTRY INDIA

JEREMY FRITZHAND FROM STUDIO BAGRU, INDIA, TALKS US THROUGH THE 2000-YEAR-OLD TRADITION OF CREATING AN INTRICATELY CARVED PIECE OF HARDWOOD FOR BLOCK PRINTING BESPOKE LINEN, SARIS AND SCARVES.

STUDIO BAgRU S H I B U I

S H I B U I MEET THE MAKER

YOUR NAME AND POSITION AT STUDIO BAGRU? My name is Jeremy Fritzhand and Iâ&#x20AC;&#x2122;m the Founder and Managing Director of Studio Bagru. CAN YOU TELL US A LITTLE ABOUT BLOCK PRINTING AS AN ART FORM? Block printing is said to have a 2000 plus year history, originating from the Han Dynasty in China. In the 15th and 16th centuries block printed fabrics started showing up in Europe and India. In Rajasthan, the towns of Bagru and Sanganeer have histories of block printing dating from the early 17th century. Block printing was used on fabrics for special occasions, and as a way to differentiate between different cultural communities throughout the country. Since the 1970s, companies like Anokhi, Brigitte Singh, and Soma Textiles have taken block print to the global stage with modern styles and incorporating more vibrant pigmented colours.

CAN YOU TELL US ABOUT THE STORY BEHIND THE BLOCKS, HOW THE DESIGNS AND COLOURS ARE CHOSEN? Traditionally, specific motifs and designs were used for special occasions, community meetings, and as a cultural differentiator. Something called a jajam is in an intricately printed floor covering approximately 10-12 feet long and 8 feet wide, which is used to decorate the floor of temples and homes for special occasions. Rekh blocks are outline blocks that act as a guide for the datta (accent) blocks. Gadh blocks are the background colour blocks which are used to print colour on the background instead of dye. ARE THE CARVED DESIGNS SYMBOLIC? Yes, most communities have their own specific bhuti (floral motif). You can often find these motifs on the > turbans of village elders.

PREVIOUS PAGE Block carvers in Bagru use a wooden hammer and steel chisel to carve the intricate designs used for printing. A border block like this will take three days to carve by a skilled artisan. THIS PAGE LEFT TO RIGHT Wood carving artisans at Studio Bagru. After the wood is polished, a thin layer of white paint is applied, then the design traced onto the surface of the block. Using a steel chisel and wooden hammer, the design comes to life; Studio Bagru founder and managing director Jeremy Fritzhand.

STUDIO BAGRU S H I B U I

S H I B U I MEET THE MAKER

CAN YOU DESCRIBE THE PROCESS OF CARVING A WOODEN BLOCK FOR PRINTING? The most common wood used in Bagru for blocks is sheesham wood (similar to cherrywood). It is a hardwood that maintains its shape over time, and has good durability. After the wood is cut into 1.5-inch slices, it is stacked and aged in the back of a workshop for over a year, until it is thoroughly dried. After the wood has been dried, the surface is polished again, and then a thin layer of white paint is brushed on. From this stage, a block carver traces the motif onto a piece of transfer paper from a printout. The transfer paper is then placed on the top of the wood,

and using a very fine steel chisel and wooden hammer, the outline of the design is carved onto the surface of the block. Once the outline is completed, the carver will remove the transfer paper, and fill the missing lines using a pen. From this stage, he will use various steel chisels to carve away at the block, and the design comes to life. HOW LONG DOES THE CARVING PROCESS TAKE? The carving process usually takes two days for a 6-inch moderately detailed block design â&#x20AC;&#x201C; one day for the preparation of the block (stenciling, outline and beginning of carving), and one day for

THIS PAGE Hand carved printing blocks at Studio Bagru.

STUDIO BAGRU S H I B U I

completing the carving and finishing. After the block is carved it is soaked in peanut oil for 5-7 days in order to extend the life of the block. WHAT WOULD BE THE USUAL LENGTH OF CLOTH WHICH IS PRINTED WITH A DESIGN OR WHAT’S THE LONGEST YOU’VE PRINTED AT STUDIO BAGRU? Typically fabric is printed on 5-12 metre segments. 5 metres is for kurta pajama sets (2.5m each product), 6-metre segments are for saris, and 7-12 metre segments are for plain running material that will be used to make garments. Bedsheets and scarves are also printed at various sizes and lengths.

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MEET THE MAKER

ARE THERE DESIGNS CARVED INTO THE WOOD WHICH ARE UNIQUE TO STUDIO BAGRU, JAIPUR OR THE REGION? Most regions around Jaipur use floral motifs and tribal designs as cultural differentiators. Studio Bagru is currently only using our signature flower wheel design (phul chakra) on products we make. This is the same design that is incorporated into our logo. DOES THE BLOCK CARVING SKILL TRADITIONALLY STAY WITHIN THE ONE FAMILY AND IS IT A COMMON PROFESSION IN JAIPUR? HOW LONG DOES IT TAKE TO LEARN? Block carving is traditionally passed on from father to son. Apprenticeships commence around

the age of 12, and then they start working full time from 18. Similar apprenticeships happen in the block print community. CAN YOU TELL US ABOUT YOUR VISITOR WORKSHOPS AT STUDIO BAGRU? Our workshops are open to all people interested in learning more about block printing. Our one-day workshop starts at 9am in Bagru and for the first hour we walk around the town visiting the different places where parts of the block printing process occur â&#x20AC;&#x201C; block carvers, the washing area, dyeing, printing, and packaging. From 10-12 participants get the chance to print their own THIS PAGE LEFT TO RIGHT Bhagwati Devi stands proud in front of a field of fabric she created; Printed fabric drying in the sun in Bagru.

scarves using our collection of over 200 designs, including geometric shapes. The one-day workshops finish with a traditional lunch served in Bagru. For participants interested in a more in depth experience we create custom tailored 2-7 day workshops. HAVE YOU GOT A LOCALâ&#x20AC;&#x2122;S TIP FOR VISITORS TO JAIPUR? One of my favorite places is Cafe Quaint at JKK (Jawahar Kala Kendra, an art and performance space). Have a glass of kombucha and munch on some delicious bites with local ingredients. I also enjoy visiting Surya Mandir at the top of the Monkey Temple (Galta Gate) to watch the sun set over Jaipur. studiobagru.com/tours Instagram.com/studiobagru

STUDIO BAGRU S H I B U I

snap to it

FAR FETCHED

curator briseis Onfray photographer Hamza El Arabi (The Safarer) COUNTRIES Morocco and fRANCE

NEVER CERTAIN WHERE TO NEXT, HAMZA EL ARABI (THE SAFARER) HAS AN INSATIABLE PASSION FOR MULTI-CULTURAL EXPERIENCES AND ALTHOUGH A CHARTERED ACCOUNTANT (CURRENLTY STUDYING A PhD IN PARIS), HE HAS FOUND HIS FOOTING AS A TRAVEL PHOTOGRAPHER THAT REWARDS HIM WITH A PRICELESS FEELING OF FREEDOM.

S H I B U I SNAP TO IT

Hamza El Arabi S H I B U I

WHERE ARE YOU ORIGINALLY FROM AND WHERE ARE YOU BASED NOW? I am from Morocco although based in Paris at the moment.

around Latin America. This journey had a huge impact on me and influenced the way I see the world. I have never stopped packing since.

YOU HAVE AN IMPRESSIVE IMAGE LIBRARY. WHEN DID YOU START WANDERING THE GLOBE AS A PHOTOGRAPHER? Thank you so much! I started wandering the globe in 2011. At this time, I took my very first long trip

WHAT CAMERAS/VIDEOS DO YOU SHOOT WITH?Â I usually shoot with my old Canon 650D that I love. But I also use my iPhone a lot to catch unexpected beauty.

S H I B U I SNAP TO IT

TRAVELLING FOR WORK IS AN ENVIABLE GIG TO MANY. HOW DID YOU START A CAREER IN TRAVEL PHOTOGRAPHY? Ha! I think this question might interest a lot of people. Working as a travel photographer is not an easy job. Since sharing platforms went worldwide you really need to have great photography and communication skills to stand out.

It is also a job that requires being adventurous, resourceful, very open-minded and able to put aside comfort most of the time. Few people know, but I have two Master Degrees in Management Sciences. I am primarily a chartered accountant and currently finishing a PhD in Paris. I have the opportunity to collaborate during some of my travels, but a lot >

PREVIOUS PAGE Ait Ben Haddou, Morocco THIS PAGE LEFT TO RIGHT Fashion Shoot for Bakchic, Morocco; ShanghaĂŻ.

Hamza El Arabi S H I B U I

“

I HAVE THE OPPORTUNITY TO COLLABORATE DURING SOME OF MY TRAVELS, BUT A LOT OF WHAT I DO IS DEDICATED TO SHARING MY PASSION FOR CULTURES AND PEOPLE AROUND THE PLANET.

”

HAMZA EL ARABI

S H I B U I SNAP TO IT

SHIBUI CLOCKWISE FROM FAR LEFT Ouarzazate, Morocco; Jama Masjid, New Dehli, India; Salar de Uyuni, Bolivia.

Hamza El Arabi S H I B U I

S H I B U I SNAP TO IT

“

TRAVEL AS MUCH AS YOU CAN AND AS FAR AS YOU CAN. IT WILL MAKE YOU A BETTER PERSON.

”

HAMZA EL ARABI

of what I do is dedicated to sharing my passion for cultures and people around the planet. WHAT DO YOU LOVE MOST ABOUT WHAT YOU DO? Being on the road and exploring unknown places gives me a priceless feeling of freedom. People that usually travel with me are now used to getting up at sunrise and exploring non-stop, trying to get in touch with people to understand their cultures and beliefs. My curiosity about the world is just insatiable. I portray cultures of the world through social media because I believe it is a great way to allay irrational fears and participate in intercultural dialogue on a global scale. FROM PARIS TO THE PHILIPPINES, WITH MANY EXOTIC DESTINATIONS BETWEEN, WHAT IS YOUR MOST MEMORABLE ‘WOW’ TRAVEL EXPERIENCE OR SCENE? The most memorable is probably Bolivia. The impressions of the Bolivian Altiplano (Plateau) have never left me. It’s the first time I have cried because of beauty. I didn’t even expect this feeling to exist. HOW DO YOU CHOOSE WHICH DESTINATION TO GO NEXT? I do watch a lot of documentaries on a daily basis and most of the time, this is where I get my inspiration from. But sometimes just the name of places can make me book a ticket. LEFT El Nido, Palawan, Philippines.

YOU ALSO DO DOCUMENTARIES. DO YOU HAVE A FAVOURITE SUBJECT OR PLACE THAT YOU LOVE TO PHOTOGRAPH OR RECORD? I would say I am learning to do so, on my own, just like photography. Making documentaries would be a fabulous outcome. There are so many subjects around the world! Basically, every subject that would help us understand and respect the Other in all of their differences. TOP PHOTOGRAPHY TIP FOR THE BEGINNERS? Follow your emotions and instinct in the things you capture. If it has a meaning for your heart it will definitely have a positive impact on the others. HOW DO YOU KEEP YOUR CAMERA GEAR SAFE WHEN TRAVELLING? I carry it everywhere, around me. DO YOU HAVE A LOCAL’S TIP ON WHAT TO SEE/VISIT WHERE YOU ARE CURRENTLY BASED? Paris is even more beautiful at night. WHAT INSPIRES YOU TO TRAVEL? Having a dual Moroccan-French cultural identity and contributing to the intercultural dialogue between people around the world are what inspires me the most. IS THERE ANYTHING ELSE YOU WOULD LIKE TO SAY? Travel as much as you can and as far as you can. It will make you a better person. instagram.com/thesafarer/

Hamza El Arabi S H I B U I

travel mode

n o i t a n i t des s y a w a t e g

DID SOMEONE JUST SAY VACATION? MAKE YOUR NEXT GETAWAY A DESTINATION EXPERIENCE THAT WILL LINGER IN THE MEMORY BANK FOR A LIFETIME. LOCATED ON OPPOSITE CONTINENTS OF THE GLOBE, BOTH PUMPHOUSE POINT IN AUSTRALIA OR MONT ROCHELLE IN SOUTH AFRICA WILL HAVE ALL OF YOUR SENSES CRAVING IN AWE. YOU ONLY LIVE ONCE. TAKE YOUR PICK!

S H I B U I TRAVEL MODE

Photo Adam Gibson

Autumn/winter is the time for open fires, toasted marshmallows and delicious warm mulled wine and you can find it all at one of the most unique luxury accommodation locations in Australia, PUMPHOUSE POINT. This recently restored 5-storey, 1940s pumping station sits suspended 250m out on glacial Lake St Clair Tasmania, which means youâ&#x20AC;&#x2122;re in one of the worldâ&#x20AC;&#x2122;s most pristine and remote environments. Keep an eye on their website for details of a special partnership with the iconic Dark Mofo Festival to celebrate the winter solstice in mid June. pumphousepoint.com.au

travel mode S H I B U I

Mist-covered mountain ranges surround one of the most beautiful parts of South Africa… Franschhoek. The town is less than an hour from Cape Town and is home to Richard Branson’s hotel and vineyard, Mont Rochelle. If food and wine are your thing, you’ll be in the right place: two stunning restaurants plus bar (including vineyard-cultivated red and white varieties), a 150-year-old cellar and wine tasting. But there’s also spa treatments, poolside lounging and 39 hectares of grounds to explore… not to mention Branson’s private Sabi Sand game reserve in the north. virginlimitededition.com/en/mont-rochelle

S H I B U I TRAVEL MODE

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PHOTO FRANK MCKENNA

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destination designer

BRUSH script

curator KARINA EASTWAY DESIGNER SIMON SILAIDIS PHOTOs Contributed BY SIMON SILAIDIS COUNTRy GREECE

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DESTINATION DESIGNER

SIMON SILAIDIS IS A UNIQUE CALLIGRAPHY ARTIST, TAKING THE TRADITIONALLY PEN AND PAPER ART FORM TO THE STREETS. HIS BEAUTIFUL FLOWING WORKS OF ART ADORN ABANDONED BUILDINGS AND LANDSCAPES IN A WAY WHICH CREATES HARMONY BETWEEN THE NATURAL ENVIRONMENT, ARTWORK AND THE VIEWER. >

Simon Silaidis S H I B U I

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FIRST OF ALL, CONGRATULATIONS – YOUR WORK IS JUST STUNNING! WHAT IS ‘URBAN CALLIGRAPHY’ AND WHERE DID THE CONCEPT OF TAKING CALLIGRAPHY FROM TRADITIONAL PEN AND PAPER TO LARGE SCALE MURALS COME FROM? Calligraphy is both image and text. Considered by some the highest form of art, the choice of characters and all the different ways in which they can be brushed seems limitless. Urban Calligraphy, as the term suggests, is calligraphy in rural, urban and suburban surroundings. It is a unique form of calligraphy which escapes from the ink to the paper within the boring surroundings of a calligraphy lab, and frees itself in abandoned buildings, streets and on all sorts of surfaces. It is an attempt to expose the atmosphere of the location through calligraphy. Taking calligraphy to a larger scale came from my need to give my artwork more impact on the viewer, to be part of their world and at the same time to speak louder to them. WHERE ARE YOU FROM ORIGINALLY AND WHERE ARE YOU BASED NOW? I am from Athens, Greece. I feel myself lucky and proud that I live in the country where calligraphy and all basic forms of art were born. I have had the chance through my work to travel all over the world and meet a greater variety of people and cultures than I ever imagined. CAN YOU TELL US A LITTLE ABOUT THE CULTURAL TRADITION BEHIND CALLIGRAPHY AS AN ART FORM? Calli-graphy in Greek means “beautiful writing” and is used to define a type of writing which can be considered a work of art. Modern calligraphy gives letters and signs a completely different meaning to their original wording. It expresses the feeling of the word, the harmony and beauty of the word’s significance in the most skilful way. Lettering and > PREVIOUS PAGE Simon Silaidis painting ‘Voyage' CLOCKWISE FROM TOP ‘Aura' (Mykonos Island), ‘Voyage', ‘Aura'

Simon Silaidis S H I B U I

signs don’t need to be distinctive or readable to be considered works of art. A calligrapher ought to be broadminded and exercise both classical and non-classical hand-lettering. Creating such art is not an easy task. Passion is not the only advantage that a calligrapher requires. The calligrapher has to be patient when he presses the brush on the surface to create his characters. The dexterity needed to write with a brush rather than a pen is extremely difficult to obtain. A person must possess the values of precision, patience and hard work in order to become a true calligrapher. WHEN DID YOU FALL IN LOVE WITH CALLIGRAPHY AND WHERE DID YOU FIRST LEARN THE ART? My journey in calligraphy started back in 1998, when I visited an arts festival in Athens. By 2001, I was experimenting with many different styles of letters, researching all I could find in a variety of sources. My later journeys to different countries have

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led me to discover new typographiccalligraphic styles by studying the lettering of their scripts. Nowadays, I use the experience and emotions I acquired throughout my travels to create a fusion of Western-AsianArabic calligraphic styles. YOUR WORK BLENDS SO BEAUTIFULLY WITH THE BUILDINGS YOU CHOOSE. HOW DO YOU FIND YOUR ‘CANVASES’ AND IS THERE MEANING BEHIND THE ABANDONED SPACES AND LANDSCAPES? The most important thing for me is how my work blends with the environment. I really don’t give much attention to painting in central spots; this is something too common amongst many other artists – everyone trying to get as much exposure as possible. I try to get the exposure of a single person finding the spot that I decorated. That way I am sure the wall will communicate with them. I get many emails from people or groups like abandography photographers who explore these

kind of spots writing back to me about the way the mural spoke to them. This is my reward, the communication. Art, after all, is about expression and communication, and that’s why I spend so much time finding the ideal location that will merge perfectly with the art, rather than the other way around – searching for a place where many people can see it. I also prefer to work on the natural environment of a wall because I firmly believe that time is the best background for every piece, that way it blends 100% and creates a better physical appearance. When I return back after some time, I can see parts of the wall destroyed… this is art with the help of nature. CAN YOU TELL US ABOUT THE STATEMENTS YOUR MURALS MAKE? I collect all emotions that surround me – whether bad or good, I keep them all. The words I select are a combination of my own life path and the atmosphere of the spot that will accommodate my art.

The ‘Grace’ mural was made in an abandoned place on the island of Mykonos. My inspiration came from the view and the way in which the sunset was hugging the leftovers of the building. If someone were to see this view at this specific moment, the only thing that would come into their mind would be that we should be graceful about all this magic given to us by the Creator. The ‘Life’ mural was inspired by a difficult period of my life. I had some health issues and spent a lot of time waiting for all this to pass. ‘Life’ was stuck in my mind, giving me the strength to fight and recover, in order to do all the things that I love. ‘Dare to Dream’ has a different story. It is a reminder for those who need motivation in their life. I wanted to create something that speaks directly to the viewer’s heart and mind, and helps them understand that we should never give up chasing our dreams. It might need some time to get the desired result, but if we continue fighting for the things we >

ABOVE 'Dare To Dream', brush and acrylics by Simon Silaidis

Simon Silaidis S H I B U I

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DESTINATION DESIGNER

“

IT MIGHT NEED SOME TIME TO GET THE DESIRED RESULT, BUT IF WE CONTINUE FIGHTING FOR THE THINGS WE LOVE, LIFE WILL ALWAYS HAVE THE ANSWER FOR US.

”

SIMON SILAIDIS

love, life will always have the answer for us. IS THERE A WRITTEN LANGUAGE YOU PREFER TO USE FOR YOUR CALLIGRAPHY AND HOW SYMBOLIC/IMPORTANT IS THE LANGUAGE TO THE FINAL DESIGN? I think that every language has its own beauty for those who understand it. Personally, I think that it's not the language itself that matters the most. I focus on the word, not the language. The power of the word can overcome any language. It’s enough for someone to understand the meaning when the composition is balanced and complete. WHAT INSPIRES YOU AS A PERSON AND MORE SPECIFICALLY, WHAT INSPIRES YOUR DESIGNS? I enjoy losing myself in nature and this is the greatest inspiration in my life. Wherever you turn your eyes you can find beauty and uniqueness. Travelling and exploring are also both important influences. Experiencing different cultures all over the world and sharing their traditions, their scripts and their history, gives you a different perspective. All these inspire the emotions which I try to translate into my art. HOW LONG WOULD YOU SPEND ON YOUR LARGE SCALE BUILDING PIECES… AND WHY AREN’T THEY SIGNED? Usually it takes me around three days to finish a mural. In the moment of creation, I always try to isolate my brain from any thoughts except the drawing. I have to bring my body and brain together into harmony to accomplish this. I work 100% of the wall texture and I don’t buff anything, so at the same time I must be very careful about any mistakes LEFT Simon Silaidis, ‘Zeus'

I might do. Mistakes happen quite often because you are on a ladder all the time, which demands a lot of balance and stability. Arm movement is limited as you are on a medium that can extend extremely wide. So you have to “invent” different movements to draw everything. Sometimes the movements are in reverse to what they would be on canvas or paper. Over years of evolving my style, I understood that signing my murals is not necessary. I never wanted the viewer to focus on the “name” of the creator, but on the creation itself. Also, I feel that signing an artwork is not part of a balanced creation, and for me balance is the key in my calligraphy. CAN YOU TELL US ABOUT ANY EXCITING PROJECTS YOU’RE WORKING ON AT THE MOMENT? At the moment I’m moving to a bigger studio and it needs a lot of time and preparation. This change will help me to evolve my skills, since the new studio will give me more space to practise with scale and complexity, and help to improve the movements that I use when I draw on the outside walls. CAN YOU GIVE US A LOCAL’S TIP FOR WHERE YOU LIVE? Visit the Technopolis and Exarcheia areas where you can find the work of many artists, who have decorated the walls using their talent, and get inspired by the urban art. COULD WE GET A FINAL INSPIRATIONAL QUOTE FROM YOU? Every painting rises from the brushstrokes, as poem rises from the words. The meaning comes later… INSTAGRAM.COM/SIMONSILAIDIS urbancalligraphy.com

Simon Silaidis S H I B U I

MODERN maKER

curator BRISEIS ONFRAY THE MAKERS Royal Shakespeare Company, Costume Makers INTERVIEW WITH Alistair McArthur, Head of Costume PHOTOS Â© Royal Shakespeare Company COUNTRY England

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THINK ELIZABETHAN ENGLAND… A GENERATION OF SOCIAL HIERARCHY CLIMBING HIGH ON THE ROMANCE OF FRESH POETRY, LITERATURE AND MUSIC PROLIFIC TO ITS TIME. BUT WHEREFORE ART THOU EXQUISITE TUDOR STYLE FASHION NOW?

Today, the Royal Shakespeare Company (RSC) draws over 1 million visitors to its stages in Stratford-uponAvon each year and also broadcasts productions ‘live’ to cinema audiences in 20 countries, including China. With a global audience still enamoured by Britain’s rich, cultural heritage, the team at the RSC have an impressive responsibility to bring Shakespearean script back to life on the stage. Alistair McArthur is the Head of Costume with 15 years working at the RSC up his sleeve. He shares this wonderful world of Shakespearean theatre from behind the scenes. HOW LONG HAS THE COSTUME WORKSHOP BEEN AN INTEGRAL PART OF THE RSC, AND HOW MANY MAKERS ARE ON THE TEAM TODAY? The Costume Workshop has been operating at the RSC since the 1940s and is the largest in-house costume> making department of any British LEFT TO RIGHT Costume workshop: Making costumes for King Lear and The Rover, July 2016; Head of Costume, Alistair McArthur

RSC, Costume Makers S H I B U I

CLOCKWISE FROM ABOVE Stitch in Time behind the scenes: making the campaign trailer; Costume workshop: Making costumes for King Lear and The Rover, July 2016; Behind the scenes; Love's Labour's Lost/ Love's Labour's won costume progress, 2014; Costume workshop: Making costumes for King Lear and The Rover, July 2016 CENTRE Costume workshop: Making costumes for King Lear and The Rover, July 2016

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theatre, employing over 40 people. From skilled pattern and costume makers to milliners, jewellers and wig, hair and make-up artists, the craftsmanship involved in every costume and how a costume looks and feels, enables the actors to bring their characters into life on stage. HOW DO THE COSTUME MAKERS VISUALISE A PRODUCTION OR CREATIVE BRIEF? Each production has a designer appointed by the artistic director, but the RSC costume teams are responsible for taking the lead designer’s two-dimensional drawings and making them into threedimensional costumes. Everything we do is in response to what the designer requires. WHAT SKILLS ARE REQUIRED TO BE A COSTUME MAKER? That really depends upon the field in which the makers work. Advanced construction techniques are needed for both male and female costumes, and millinery and block printing to jewellery making, colour matching, fabric dyeing and leather work techniques are all required for costume props. All of our makers can usually sew by hand or machine sew to a very high standard. We make everything from shirts to suits, ball

gowns to cloaks, and breast-plates to turbans. We also dye and print fabrics on-site. The only things we don’t make on-site are the footwear and any metal work. We do not use bought patterns. Our cutters draft each pattern from scratch, to fit to each performer’s measurements. The costumes are all hand or machine made by our costumiers, milliners and leather workers. WITH SO MANY PRODUCTIONS IN PLAY, HOW MANY COSTUMES ARE MADE PER WEEK, MONTH OR YEAR? That’s impossible to say as each production is different. We may make a lot of period costumes from scratch or alter costumes from stock for some shows. For some modern dress shows, we may buy more items than make. On average though approximately 4000 to 5000 costume items may go through our workrooms annually. THERE MUST BE SOME TIGHT BUDGETS AND CRAZY DEADLINES AT TIMES. WHAT IS AN ALMOST IMPOSSIBLE PROJECT THAT COMES TO MIND? We are proud to say that we view nothing as impossible. Sometimes the deadlines add extra pressure when we are making costumes for four different shows at the same time. ‘A Soldier in Every Son’ was a great example – even though it was really >

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THE RSC COSTUME MAKING WORKSHOP VENUE RESIDES IN A HERITAGE LISTED BUILDING BUILT OVER 120 YEARS AGO. IT IS LITERALLY BURSTING AT THE SEAMS AND RESTORATION PLANS ARE UNDERWAY. For more information on how you can make a contribution to help restore this wonderful facility visit rsc.org.uk/stitch-in-time

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THIS PAGE Queen Anne, 2015 on the Swan Theatre. Actress Natascha McElhone as Sarah Churchill; RIGHT Costume Craft room

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varied, exciting and challenging work, it required full collaboration between the makers of the workrooms to create the extraordinary designs and vision of the costume designer. WHERE DOES THE INSPIRATION FOR EACH COSTUME COME FROM? The designer normally does their research from a wide variety of sources: art galleries, museums and the plethora of reference books available. The internet is a wealth of inspiration of course. WHAT MATERIALS AND TOOLS ARE USED TO MAKE THE GARMENTS? The costume supervisor and the costume designer will sample fabrics first and then decide which fabric is appropriate for which part of the costume. Sometimes, if we can’t find the exact item that the designer needs, we dye or print the fabrics before constructing the costumes. We buy fabrics from all over the world. A lot of our material comes from woollen mills around Bradford with a huge

array of fabrics coming from London. We also buy fabric from Germany, Italy, France, India and the USA. The majority of our thread is from Coats, the world’s leading industrial thread manufacturer. Depending on what the production designer needs, our daily tools include sewing machines, anvils, vac formers, dye vats, dye powders and hat blocks, just to name a few. WHAT IS THE SHORTEST AND LONGEST TIME IT HAS TAKEN TO MAKE A COSTUME? It is almost impossible to answer this as the variety of tasks at hand is so large. A shirt may take two to three hours, yet a full doublet and hose could take a week and a half. WHAT HAPPENS TO ALL OF THE COSTUMES AFTER PRODUCTIONS? All of our costumes make their way to RSC Costume Hire where they can be hired out by professionals and amateurs all year around. rsc.org.uk support the restoration program rsc.org.uk/stitch-in-time

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WWW.PADRECOFFEE.COM.AU

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BAGS IT curator KARINA EASTWAY Maker AAKS BAGS INTERVIEW with AKOSUA AFRIYIE-KUMI PHOTOS CONTRIBUTED BY AAKS BAGS COUNTRY GHANA

IT’S ALMOST IMPOSSIBLE TO COMPREHEND THE QUANTITY OF RAW RAFFIA FIBRES WHICH PASS THROUGH THE SKILFUL FINGERS OF WEAVERS IN NORTHERN GHANA. AFTER HARVESTING, AROUND 10,000 STRANDS ARE HAND-TWISTED IN PREPARATION FOR DYEING, BEFORE THE RAFFIA IS WOVEN BY HAND INTO BASKET BAG SHAPES. AKOSUA AFRIYIE-KUMI IS THE LOCAL DESIGNER BEHIND THE FASHION LABEL A A K S, TAKING HER COUNTRY’S GENERATIONSOLD WEAVING TRADITION TO THE WORLD IN AN EXPLOSION OF COLOUR, STYLE AND AUTHENTICITY. >

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THERE ARE NO MACHINES USED IN THE WEAVING PROCESS. BECAUSE THE BAGS ARE HAND WOVEN BY INDIVIDUALS, EACH BAG RETAINS AN INHERENT UNIQUENESS AND THIS IS WHAT OUR HANDCRAFT ENTAILS.

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AKOSUA AFRIYIE-KUMI

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NAME AND POSITION AT A A K S? Akosua Afriyie-Kumi, owner and creative director. WHERE ARE YOU FROM ORIGINALLY AND WHERE ARE YOU BASED NOW? I am from Ghana and currently based in Ghana. WHAT INSPIRED YOU BECOME A DESIGNER AND IN PARTICULAR, WHAT IS YOUR CONNECTION TO THE TRADITIONAL CRAFT OF WEAVING IN GHANA? WHAT’S THE STORY BEHIND YOU CREATING THE BRAND A A K S? I grew up around basket bags as a child in Ghana, I used to give them as gifts and also use them for storage. I remember having a lot of ‘I wish it was more like this, I wish it was more like that’ moments… I wanted it softer, almost foldable and also more colourful with blends of colours which were tasteful and modern with a beautiful finish and detail. Building on this idea, I started

researching into bag designs and fibres and found a lot of attractive benefits which were in line with the vision and ethos I had for my dream brand. I established A A K S after seeing a gap in the market for beautifully handcrafted bags. I knew I wanted to go out on my own and pull together all my passion and talents to create something unique that would be fulfilling both personally and professionally, so after my studies in the UK, I embarked on my journey to Ghana to make this happen. TELL US ABOUT THE PRODUCT AND VILLAGE WHERE THE BAGS ARE MADE? The community that I work with to produce my AAKS bags uses a traditional weaving technique to produce the main body of the bag which has been passed down through generations in Ghana’s northern region. There are no > machines used in the weaving

PREVIOUS PAGE Baw pot handmade raffia bags THIS PAGE, CLOCKWISE FROM LEFT The beautiful process of making Belle Ruffle bags: legs intertwined, materials, community spirit and togetherness Crafting the Baw pot bags; Oroo tote bag in the making

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CLOCKWISE FROM TOP LEFT Ashanti region home; Belle Ruffle raffia bag; Hana Mini raffia bag; raw raffia; dyed raffia; weaverâ&#x20AC;&#x2122;s family homes in Northern Ghana

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WE ALSO ENCOURAGE WEAVING TO BE VALUED AS A MAJOR INCOME EARNER FOR MANY IN THE COOPERATIVE. I HOPE THAT OUR BRAND WILL GO SOME WAY IN CONTRIBUTING TO THE REVIVAL AND SUSTENANCE OF WEAVING AS A THRIVING ART.

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AKOSUA AFRIYIE-KUMI

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manoeuvre the strands between their fingertips, skilfully handling the raffia until the bags take shape. The woven body is then transported back to my studio for finishing, a 12-hour drive away in Kumasi. This is where the sewing of linings, the hand stitching of buckles, and leather handles complete the bag. After a final quality control check, the bags are ready for postage to stores such as Anthropologie and Urban Outfitters in the USA, as well as other clients worldwide. HOW DO THE A A K S BAGS SUPPORT THE MAKERS? Through my work in Ghana, we support the community greatly, by providing employment to local weavers and ensuring the continuity of weaving as an art/technique that can be passed down to the younger generation. We also encourage weaving to be valued as a major income earner for many in the cooperative. I hope that our brand will go some way in contributing to the revival and sustenance of weaving as a thriving art.

process. Because the bags are hand woven by individuals, each bag retains an inherent uniqueness and this is what our handcraft entails. The weaving process starts by twisting the raw raffia fibres by hand after they have been ecologically harvested. After twisting about 10,000 strands, we gather the raffia and prepare a dye bath. The dye bath consists of natural and a few chemical dyes mixed into boiling water. Sometimes even natural tree bark is used in the bath to create good colour intensity. It takes approximately 10-30 minutes to dye each strand, depending on the colour we want to achieve. The dyed raffia is dried in the direct sun. To create the base shape of each bag, weavers CLOCKWISE FROM LEFT A A K S founder and creative director, Akosua Afriyie-Kumi with Baw pot bags; Lamé handcrafted raffia bag

CAN YOU TELL US A LITTLE ABOUT CULTURAL TRADITIONS IN GHANA AND WHAT ITEMS THE WEAVING TECHNIQUES WERE ORIGINALLY USED FOR? The baskets were originally made as home décor, shopping baskets and storage baskets. CAN YOU RECOMMEND SOMETHING A TRAVELLER TO GHANA SHOULD DO (TRAVEL TIP)? My ‘must do’ in Ghana is to visit the Cape Coast coastal beaches and go on the adrenaline rush canopy walk through the Kakum Forest! COULD WE GET A FINAL INSPIRATIONAL QUOTE FROM YOU? She was born wild and curious. A cage is no place for someone like that. I play with the fire of my own truth. I'll burn for the things I love. (Mia Hollow) aaksonline.com instagram.com/a.a.k.s

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Quality pieces handmade in Mexico + Guatemala www.cielocollective.com.au