SHIBUI Issue 4 by SHIBUI & Co.

PERU WOVEN IN TIME MOSAIC

magic

MOROCCO snap to it culture

Jody MacDonald

craftsmanship

global connection

WWW.PADRECOFFEE.COM.AU

S H I B U I HELLO

WILD AT HEART Hand made with love is something we seem to hear and say quite a lot at SHIBUI & Co, so we wanted to take a moment to reflect on what that actually means. On the surface, it’s an acknowledgement that the item has been produced with care and intention and carries a little bit of the artisan with it, wherever the item ends up. But it’s also more than that. Each skilfully created piece brings hours, if not years or even decades of skill with it. Dedication, perseverance, mistakes, achievements, pride, energy, patience and joy. And that, in anyone’s language, is only something that happens over time when it involves love. In the case of cultural tradition, that same love is spread across generations and dynasties, carefully handed down from family member to family member or from master to student. This edition we bring you tales from around the world which fulfil that criteria: Japan, Peru, Morocco, Indonesia and France. Although we’ll never know the lives which have gone before, we couldn’t be prouder to bring their stories to you. Happy reading!

and

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 CO-FOUNDER / CURATOR / OPERATIONS KARINA EASTWAY CO-FOUNDER / CURATOR / CREATIVE BRISEIS ONFRAY PROOFREADER MERAN SALSKI ALL ENQUIRIES hello@shibuiandco.com SUBSCRIBE TO THE SHIBUI TRIBE shibuiandco.com © Copyright 2018. ALL RIGHTS RESERVED.

THIS PHOTO Japanese floral artist Toru Watarai ©︎Tumbler&FLOWERS shares with grace, his country's oldest floral tradition, Ikebana. Turn to page 34.

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

4 PERU A language all its own is woven into the fabric of the remote highland communities of Cusco. 16 MOROCCO Souk & Co take us behind the scenes to meet ceramic tile artisans in the extraordinarily beautiful city of Fes.

SNAP TO IT

24 CANADA National Geographic photographer Jody MacDonald shares some unforgettable moments from life as an adventure traveller.

TRAVEL MODE

32 CARRY ON in style with these handy artisan-made bags.

34 JAPAN The Japanese tradition of Ikebana brings nature and humans together in one beautiful art form.

MODERN MAKERS

42 FRANCE Bleu de Chauffe reinvents the workbag with contemporary design and age-old tanning methods. 49 BALI A favourite destination the world over. Just donâ&#x20AC;&#x2122;t step on a Canang Sari.

WISH YOU WERE HERE?

48 We wish we were there too. Share your best travel memoirs with us.

DIRECTORY

55 Find our SHIBUI makers, photographers and designers here.

COVER IMAGE From the remote highland community of Cusco, artisan weaver Demesia Sinchi Echame partners with Threads of Peru. Photo Megan Revell (page 4). THIS PAGE FROM LEFT TO RIGHT Sally Cahalan from Souk & Co, leads us to magic Morocco to meet the makers of Zellij (page 16). Surf search in Mauritania. Photo by SHIBUI feature photographer Jody MacDonald (page 24). The Lotus flower is symbolic to Bali, as are the artisan-made Hindu ceremonial decorations and offerings (page 49).

CONTENTS S H I B U I

meet the maker

HEART OF

PERU

curator karina eastway the makers TEXTILE ARTISANS FROM CUSCO, PERU INTERVIEW WITH SARAH CONFER, DIRECTOR, THREADS OF PERU COUNTRY Peru

S H I B U I MEET THE MAKER

Photo Mariah Krey

THE REMOTE HIGHLAND COMMUNITIES OF CUSCO HAVE A UNIQUE LANGUAGE EMBEDDED IN THE DISTINCT CULTURAL DRESS TO RECORD HISTORICAL EVENTS AND DESCRIBE THEIR SURROUNDINGS. NOT FOR PROFIT ORGANISATION THREADS OF PERU IS BRINGING THESE STORIES TO THE WORLD.

threads of peru S H I B U I

Photo Mariah Krey

S H I B U I MEET THE MAKER

Photo Mariah Krey

PREVIOUS PAGE Upis weavers. CLOCKWISE FROM TOP LEFT Sarah Confer in Upis with Ruperta Condori Merma; Traditional weaving; Leonarda Warping; Plying; Naturally dyed yarn.

Photo Mariah Krey

WHERE ARE YOU FROM ORIGINALLY AND WHERE ARE YOU BASED NOW? I’m originally from Canada, and currently based in Cusco, Peru. WHERE ARE THE ARTISANS BASED AND HOW MANY ARE INVOLVED IN THE ENTERPRISE? We work with artisan associations in seven communities in four different regions around Cusco. These are mostly remote highland communities, located between one and four hours away from Cusco. Although these are all Quechua-speaking, indigenous Andean communities, each region has a distinct cultural dress and is known for specific weaving techniques or traditions. In total, we work with about 120 individuals, mostly women. HOW AND WHEN DID ‘THREADS OF PERU’ BEGIN? Threads of Peru was formed in 2009. The year before, Apus Peru Adventure Travel Specialists, a local travel agency in Cusco, worked with a group of design students from Halifax, Canada to create a website to promote the woven work of the women in the communities where Apus Peru operated trekking routes. This collaboration was called Project Peru. The project was so successful and so inspiring that two members of the design team and the co-owners of Apus Peru joined forces to found a non-profit organisation in Cusco called Threads of Peru. Since then, Threads of Peru has continuously evolved, improving the quality and design of the textiles produced, and helping the weavers hone their skills. WHAT IS THE PHILOSOPHY AND MODEL BEHIND THE SOCIAL ENTERPRISE? Threads of Peru’s mission has three pillars: to strengthen cultural traditions;

empower indigenous artisans; and connect global cultures. Threads of Peru seeks to alleviate poverty and revitalise cultural traditions in rural indigenous communities by providing sustainable markets for their incredibly fine textiles. Our commitment is to breathe life once again into the incomparable value and knowledge of natural fibres, natural dyes and backstrap weaving only found in this awe-inspiring corner of the world. By marketing the work produced by weavers in these communities, Threads of Peru is providing an opportunity for women to earn supplementary income while continuing to live a traditional lifestyle and care for their children. We dream that this will inspire young Quechua men and women to take pride in their cultural heritage and pass it along for centuries to come. We also aim to educate the global community about the value and unique beauty of Quechua weaving as well as how to be conscious consumers. Our website, blog and social media networks are collaboratively maintained by team members who have all been deeply inspired by the Threads of Peru mission and seek to share that passion with the world. The overall mission and model of Threads of Peru is concretised by reaching global citizens and communicating the importance of socially conscious investment. We believe in providing a more sustainable future for the textile and clothing sector, linking fashion with awareness and responsibility. We work hand in hand with artisans to create beautiful, handcrafted, natural accessories and home textiles, each piece carefully woven one at a time >

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WE ALSO AIM TO EDUCATE THE GLOBAL COMMUNITY ABOUT THE VALUE AND UNIQUE BEAUTY OF QUECHUA WEAVING AS WELL AS HOW TO BE CONSCIOUS CONSUMERS.

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SARAH CONFER,

S H I B U I MEET THE MAKER

Photo Mariah Krey Photo Mariah Krey

according to centuries of tradition. Our products foster ecological and cultural integrity, as we focus on producing unique pieces from 100% natural materials. CAN YOU DESCRIBE THE CULTURAL HERITAGE BEHIND WEAVING IN PERU? The tradition of weaving stretches back through 5,000 years of history

in Peru, from the coastal cities of Paracas and Nazca to the high Andean peaks of Cusco and Ayacucho. It is an ancient practice that was once invaluable to survival and social hierarchy. Today, backstrap weaving is still an incredibly important component of identity in the high Andes, as much as traditional alpaca herding and the native >

CLOCKWISE FROM ABOVE View of Parobamba, Peru; Creating the heddles; Hands dyeing with cochineal.

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Quechua language. Weaving is literally at the very core of the Quechua culture, shaping personal and regional identities, and acting as a form of inter-regional communication. Some people vest their entire sense of personal identity in their occupation as a weaver, stating that without weaving they would no longer have an identity. Textiles are also literally a language. Quechua was traditionally an oral language, so textiles were a means of conveying thoughts and impressions about one’s surroundings, and also of recording historical events. Everything from the spin of the fibre, to the selection and placement of colours and the combination of pallays (woven symbols) themselves has a role to play in conveying meaning. The weaving tradition also embodies a wealth of traditional knowledge, from techniques of spinning and weaving, to which plants are useful for dyeing – when and where they grow, and how to prepare them – as well as the range of symbols particular to a community and what they mean to that community. All of this knowledge is, in a way, embodied within the individual as well as the collective community, and nowhere else. If it is not passed down from one generation to the next, it will simply be forgotten. ARE THE DESIGNS (COLOURS AND PATTERNS) USED IN A GARMENT TRADITIONALLY HANDED DOWN OR INDIVIDUALLY INSPIRED BY EACH ARTISAN? Woven designs, called pallay, are handed down generation to generation, and some of them date back to pre-Incan times. All of the pallay used in our textiles are traditional designs. The combination Angelina Wrap in Pewter.

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of pallay and the overall design of the product may be the result of the artist’s own creativity or designed by us. Same with colours – we only work with natural dyes, and some textiles feature colour combinations inspired by the artisans, while others form part of a broader palette designed for a particular collection. We aim for a balance between tradition and modern design.

CAN YOU DESCRIBE THE PROCESS OF HOW PERUVIAN WOMEN LEARN THE CRAFT AND HOW IT IS PASSED FROM GENERATION TO GENERATION? Girls – and sometimes boys – start learning the basics of the textile process from a very early age, as young as five years old. It starts with spinning, and once they master that art, they then move on to weaving simple, narrow belts. A narrow belt consists of just one pallay, and, one by one, they master as many of the core pallays as they can. Once they become more adept, they will >

threads of peru S H I B U I

Photo Anna Watts

DO YOUR ARTISANS PRODUCE A SPECIFIC TYPE OF TRADITIONAL TEXTILES INDIGENOUS TO PERU? Yes. While backstrap loom weaving is practiced in many countries around the world, the Andean style is unique. The elements that distinguish Andean weaving from other traditions of backstrap loom weaving include the techniques employed, the designs created, and the materials. In the Andes, weavers use sheep wool or alpaca fibre; colours are derived from locally available plants, minerals and insects; and they create designs and design combinations that are unique to the region – even, in fact, unique to the community where they live. These textiles tell an Andean story, the story of where they are from.

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THE TRADITION OF WEAVING STRETCHES BACK THROUGH 5,000 YEARS OF HISTORY IN PERU, FROM THE COASTAL CITIES OF PARACAS AND NAZCA TO THE HIGH ANDEAN PEAKS OF CUSCO AND AYACUCHO.

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SARAH CONFER,

start to weave wider textiles that incorporate more than one pallay at a time, in different combinations. And as they grow in skill, their weavings will get more and more complex until they are able to complete a full-size manta (a blanket or wrap-around dress), which is considered the pinnacle of a weaver’s ability. The traditional way of learning is simply to watch and practise. An elder might start a weaving for the younger person, completing one full repeat of the design while the young person watches. Then, the belt is turned over to them to try to replicate the design in a second repeat – which is done by watching and counting the yarns. All the while the teacher observes and makes corrections as necessary. By the time they finish one belt, they’ve mastered that design, memorising the pattern. And then they move on to the next, steadily increasing their repertoire. CAN YOU DESCRIBE THE TYPICAL METHOD/TOOLS USED TO CREATE A GARMENT? Andean backstrap loom weaving is a long and labour-intensive process. Many steps are involved to create a single piece, from start to finish, from fibre preparation to yarn spinning, dyeing, warping and, finally, weaving. SPINNING After shearing fleece from a sheep or alpaca, and cleaning the fibre, it is spun into a fine yarn using a

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drop-spindle. Drop spindles are the oldest tool used for making yarn, and consist of a wooden stick with a weight (in this case, a wooden disk) at one end. Weavers clasp the stick in their hands and give it a spin, letting it hang freely as it spins. The energy and twist from the spinning motion of the spindle travels into the fibre, twisting the fibres together to form yarn. The weaver simultaneously draws the fibre out to control the thickness and evenness of the yarn. With each spin of the drop spindle you can form about 50cm of yarn. This spun length of yarn is then wound around the spindle in preparation for drawing out and spinning the next section. Spinning is the most time-consuming aspect of the weaving process, and can comprise up to 60% of the time involved in producing a finished product. It is also a very fine art! It is difficult to master the drop spindle, for which reason most people start learning at a very young age. PLYING After spinning, yarns need to be plied.This is a process that is also done with the drop spindle. Two spun yarns are essentially twisted together to form a slightly thicker, much stronger and more balanced yarn. Yarn needs to be strong enough to withstand the rigours of the backstrap loom, and so even prepared yarn passes through this

PHOTO ANNA WATTS PHOTO ANNA WATTS Photo Anna Watts

step â&#x20AC;&#x201C; called k-antiy â&#x20AC;&#x201C; in order to be ready to weave. DYEING In the Andes, there is a history of using locally available plants, minerals and insects to impart colour to animal fibre. This usually involves collecting the materials necessary, preparing them for use (for example, drying and grinding the leaves), and then adding them to boiling water in various quantities and combinations in order to produce a myriad of different shades.

WARPING Once a selection of yarn has been prepared, then it can be used to set up a weaving. The weaver must know ahead of time what she is going to make: what size and shape the final product will be, what colour combinations it will use, and most importantly, which designs she will weave into it. This will affect the number and order of yarns used in the warping process. Depending on the length, warping can be a two-person job. Wooden >

CLOCKWISE FROM ABOVE Warping; Qhapaq cross-body bag in Salt; Hatun Kimono.

threads of peru S H I B U I

stakes are hammered into the ground some distance apart, and the women toss balls of yarn back and forth, wrapping the yarn around the wooden bar at each end, until the all the yarns are in place. Once these warp yarns are all laid, the heddles must be attached and the shed created by tying additional yarns onto and around specific warp yarns. WEAVING Once that's finished, one end of the warp is attached to the ends of a strap that goes around the weaver’s waist, and she can begin weaving! The textile is woven row by row: the weaver selects each individual warp yarn by hand, picking up certain yarns while dropping others, and then passes the weft yarn through the space (shed) created between these upper and lower layers of warp yarns. This secures the particular selection of warp yarns in place. The heddles are used to change the shed and the yarns tamped down with wooden or bone tools to ensure a tight and compact weaving .... then the second row is begun, selecting each yarn necessary for the next line of design. Everything in our in-house collection passes through these steps, followed by a final wash for added softness. For made-up products, woven textile is taken to a local tailor in a nearby community to be sewn up into bags, change purses, pillows and more. WHERE ARE THE FINISHED PRODUCTS SOLD? We sell our products through our online store and to retailers located throughout the world. Most of our buyers have shops in the US, but we also have regular retailers in Europe and Australia.

WHAT DO YOU LOVE ABOUT PERU? What don’t I love?! There’s just something in the air about this place, it’s a bit hard to put your finger on. The people are incredibly warm and generous, and the culture so vibrant. Almost every day it seems, there are groups performing traditional dances in the main square, or saints and other religious figures being paraded down the street. The landscape is breathtaking – imposing mountains towering over verdant valleys. There is a richness to life here that seems one of a kind. COULD YOU PROVIDE US WITH A LOCAL’S TIP FOR VISITORS TO PERU? Don’t just stick to the main attractions. Get lost walking narrow, cobblestone streets of Cusco and you’re likely to stumble onto a gorgeous secret plaza, or a gem of a coffee shop. Or be adventurous and take public transit into the Sacred Valley, stopping in one of the local towns for a traditional meal. One of the most fun and somewhat hidden secrets of Cusco is a small brujo town about half an hour away, where you can have your fortune read in coca leaves. If my life is any measure, the most memorable moments happen when you get a little off the beaten path. One thing I would encourage any visitor to do is to come with an open mind. So often, when we visit a new place, we look at it through the lens of our own culture, and when we do that, what we see are differences, flaws. But if you look through clear eyes, what you see is simply another way of doing things, and you come away enriched with the knowledge of the possibilities the world has to offer. FINALLY, AN INSPIRATIONAL QUOTE? When we purchase a piece of handmade art, we are directly connected to the person who made it… and connecting with others is what being human is all about. threadsofperu.com Instagram.com/threadsofperu/

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PHOTO FRANK MCKENNA

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meet the MAKER

MOROCCAN

curator Karina Eastway THE MAKER FOUAD OF CRAFTSMANSHIP CO-OP POTERIE DE FES TRANSLATION HASSAN IDFATH AND SALLY CAHALAN (SOUK & CO) PHOTOs CONTRIBUTED by SOUK & Co COUNTRY MOROCCO

THE ARTISANSHIP OF MOROCCAN TILE MOSAIC – ZELLIJ OR ZELIGE (MEANING LITTLE POLISHED STONES OR TILES IN ARABIC) – IS A MEETING OF MATHEMATICAL PRECISION AND CREATIVE SKILL. TODAY THE AGE-OLD TRADITION WHICH HAS BEEN PRACTISED SINCE ROMAN AND BYZANTINE TIMES IS NOT JUST ALIVE AND WELL, BUT FLOURISHING IN FES.

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CERAMIC TILE MOSAIC IS AN INCREDIBLY INTRICATE AND SIGNIFICANT STYLE OF ARTWORK IN MOROCCO. CAN YOU DESCRIBE THE CULTURAL TRADITION BEHIND THE ART FORM AND WHERE THE TRADITION STARTED? The art form you come across in Morocco is referred to as HispanoMoorish design. It originated in Muslim Spain, where an interchange of Visigothic, Roman and Tunisian influences were very influential in the development of this style of architecture. The different dynasties that ruled Morocco imported artisans from Andalucia in the 11th and 12th centuries, bringing with them the tradition of zellij making. It is still prevalent, not just in buildings of worship like mosques, but also in private homes (riads) inside the medinas (ancient Arabic cities). WHAT IS THE PROCESS FOR MAKING THE INDIVIDUAL CERAMIC TILES, WHICH ARE THEN PLACED TOGETHER INTO LARGER MOSAIC PIECES? The process starts with the production of a simple tile – individually handmade and hand-cut – using the beautiful naturally occurring local > LEFT TO RIGHT Chefchaouen, Morocco; Sally Cahalan (second from left) with Fouad and his family.

SOUK & CO S H I B U I

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clay. After being fired, each tile is glazed on one side. Once these coloured tiles are produced, a specific geometric pattern is drawn and then manually cut using a very sharp hammer. The edges are then bevelled with a smaller hammer. Each little shaped tile is then meticulously placed together (upside down) to form the overall geometric pattern, before being grouted to form a solid single design piece. HOW LONG DOES THE PROCESS TAKE AND HOW MANY DIFFERENT ARTISANS DOES IT INVOLVE FROM START TO FINISH? Zellij making requires working in groups, with each group of artisans specialising in a particular skill. One group is skilled in drawing designs; others chisel the mosaic tiles into shapes using a sharp adze, before the pieces are perfectly assembled by a master artisan to form beautiful designs for tables or fountains etc. Being entirely hand crafted it may take a couple of weeks to produce just one table top. CAN YOU TELL US ABOUT YOUR PARTNERSHIP WITH SOUK & CO? We have a wonderful partnership with Souk & Co. We enjoy welcoming clients of Souk & Co, whether it be on one of their hosted tours or on a trip that theyâ&#x20AC;&#x2122;ve custom designed. We take pleasure in showing them the full process of tile and ceramic craftsmanship by our artisans firsthand, in the age-old tradition that has been passed down from generation to generation. We also work closely with Souk & Co. to produce custom designed tiles and ceramics by our artisans for their clients worldwide. These have ranged from traditional to contemporary designs. >

SOUK & CO S H I B U I

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HOW SYMBOLIC IS COLOUR AND GEOMETRIC SHAPE TO THE FINAL MOSAIC DESIGN? Traditional examples of zellij hold great symbolism, largely derived from Islam. Very early forms of zellij (around the 10th century) were probably inspired by Roman and Byzantine mosaics, and as such were white and tones of brown. The art of mosaics flourished in Morocco especially during the reign of the Merinid dynasty in the 13th and 14th centuries, and is characterised by the prominent colours of white, black, blue, green, red and blue, all of which hold significance and symbolism in Islam. Any form of Islamic art refrains from depicting animals and humans. Instead the artisans use a combination of florals, calligraphy and geometric patterns, which is widely evident throughout Moroccan design. Geometric designs come in many shapes and have different names in Arabic such as: murabaat (square) muthalathat (triangle) saft (hexagon) hilal (crescent) khatim (eight-pointed star) dirham (square on edge) majmat (rectangular) qandil (lantern â&#x20AC;&#x201C; a star with an elongated top) DOES THE SKILL TRADITIONALLY STAY WITHIN THE ONE FAMILY? The skill of making ceramic tiles is usually handed down from one generation to another, traditionally from father to son. This kind of job was a male preserve and has been in existence for centuries. > Now the Moroccan state sets up

SOUK & CO S H I B U I

apprenticeship centres where both boys and girls learn this craft. It involves lengthy training, mastering exceptional skills in craftsmanship as well as mathematics and geometry, and requires enormous precision and patience. WHAT TRADITIONAL TOOLS ARE USED AND HAS THIS BEEN MODERNISED WITH TECHNOLOGY? What is striking when we see these master artisans at work in their workshops is the contrast between the sophistication of the artwork and the rudimentary tools used. These tools include the adze (called menqash in Arabic) used to trim the zellij tiles into different shapes, horse hair to paint the pottery, and olive pits to bake the tiles. It is all a question of know-how. This art form has existed as it is for centuries without the interference of new materials and modern technology. Actually, the craftsman does not need much… clay, his arms, a board, legs, an oven, mineral dye and the sun. Zellij is a craft which could not be done with machines, because of the precise combinations of the small, individually-shaped pieces of tile which can be combined to provide a variety of endless designs. WHERE DOES YOUR DESIGN INFLUENCE COME FROM? The designs may have a religious significance like: Hilal (the crescent) – the Muslim calendar being a lunar calendar. Khatim (the eight-pointed star) – the seal of the Prophet Salomon. Designs may also come from florals or make use of Arabic script.

S H I B U I MEet the MAKER

CAN YOU RECOMMEND A ZILLIJ FOR TRAVELLERS TO VISIT IN MOROCCO? Some truly beautiful and aweinspiring examples of zellij and Moroccan design can be found in the Medrassas Attarine or Bouanania in Fes, as well as Ben Youssef Madrassa in Marrakech. The striking Hassan II Mosque in Casablanca has been meticulously designed and built using a huge array of artisanal skills, including zellij. These mesmerising examples of zellij are always included on any Souk & Co. journey, as well as endless other places that are adorned with these beautiful tiled patterns (including boutique riad hotels and tiled courtyards) SOUK & CO, HAVE YOU GOT A LOCAL’S TIP FOR VISITORS TO MOROCCO? Morocco is such an amazingly diverse country, so abundant in history, design, culture and colour. To truly immerse yourself in this fabulous kingdom, there’s no one better than a licenced, experienced guide who can unlock hidden treasures that you’d never find on your own (especially in ancient Fes)! It’s also a great way to meet some warm and hospitable locals!

PREVIOUS PAGE Madrassa Al-Attarine, Fes. CLOCKWISE FROM LEFT Moroccan Tannery; Marrakech, Morocco.

COULD WE GET A FINAL INSPIRATIONAL QUOTE? I was captivated by the magically exotic Morocco from the first instant. Immersing myself in this ancient land rich in tradition, incredible design and colour, and warm, hospitable locals constantly enlivens my senses. Souk & Co. allows me to share my passion for this incredible kingdom and its ancient traditions. (Sally Cahalan) soukandco.com Instagram.com/soukandco

SOUK & CO S H I B U I

snap to it

MEET THE MAKER

FOCUS AND

DEPTH curator karina eastway photographer JODY MACDONALD COUNTRies CANADA and USA

AWARD-WINNING ADVENTURE SPORT PHOTOGRAPHER JODY MACDONALD EXPLORES THE PLANET’S WILDEST CORNERS FOR NATIONAL GEOGRAPHIC, BBC, PATAGONIA AND RED BULL. THE ONE PLACE SHE WON’T BE IS FOLLOWING IN ANYONE ELSE’S FOOTSTEPS.

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Jody MacDonald S H I B U I

WHERE ARE YOU FROM ORIGINALLY AND WHERE ARE YOU BASED NOW? I am originally from Vancouver Canada and I now live in Sun Valley, Idaho in the United States. WHAT CAMERA DO YOU USUALLY SHOOT WITH? I shoot with the Canon IDX for sport photography and the Leica M and X-U for everything else. I use the Canon for the high frame rate and the Leica cameras for the aesthetic that they produce.

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WHAT CAME FIRST, THE ADVENTURE SPORT OR PHOTOGRAPHY, AND HOW DID THAT LEAD TO YOUR DECADELONG CAREER ON A 60 FOOT CATAMARAN? In university I majored in Outdoor Recreation so adventure sports was something I was always interested in. I took photography as an elective in university and fell in love with it as a creative medium. I decided to bring my camera with me on my outdoor adventures so it was a great marriage of both my passions.

PREVIOUS PAGE Rajan was the last elephant to survive from 10 that were taught to swim for logging in the Andaman Islands, between India and Myanmar. The elephants carried the logged trees from the islands to nearby boats. LEFT Mauritania.

FROM YOUR IMAGES AND TRAVEL DESTINATIONS, YOU WOULD APPEAR TO HAVE A DREAM JOB! WHAT’S YOUR FAVOURITE MEMORY – AN ABSOLUTE ‘WOW’ MOMENT? That is a tough question. One of the best memories I have from travelling was one time when we had sailed across the Mozambique channel and found a pristine 20 mile sand dune on an uninhabited island. We were so excited to fly (paraglide) the massive dunes. We managed to get through the shore beach break with our dinghy while our boat was anchored around the corner in the calm bay behind us. We ended up flying all day and in the late afternoon from the air one of us spotted our dinghy washed up on the beach. The dinghy anchor chain had broken and the dinghy went through the beach break and had washed ashore. The tide was high and we knew we wouldn’t be able to do anything about it so we just kept flying until sunset. When we landed, we checked the damage on the dinghy and knew we would have to wait until low tide the next morning to try to get off the island.

CAN YOU TELL US A LITTLE ABOUT THE PROJECTS YOU’RE WORKING ON AT THE MOMENT? I’m currently working on a project for Leica in Papua New Guinea and have just started with Sea Legacy. I will be working on projects that help bring awareness to ocean issues in the hope of it getting more protection. Those projects will be ongoing. I will also be working on a project for National Geographic Travel this year.

We had no water left and didn’t bring any food with us so we ended up sleeping in our paragliding wings. The next morning we couldn’t get the dinghy motor started so we decided to keep flying. That afternoon we managed to get it running and made it through the shore break and back to our boat. It was one of the best experiences I think any us of have had. Here is a caption I wrote for one of the images from that experience: "It was 2010 and the 4th year of our world kiteboarding expedition by catamaran and my 7th straight year at sea. Things were too dicey around Somalia to go up through >

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I WILL BE WORKING ON PROJECTS THAT HELP BRING AWARENESS TO OCEAN ISSUES IN THE HOPE OF IT GETTING MORE PROTECTION. THOSE PROJECTS WILL BE ONGOING. I WILL ALSO BE WORKING ON A PROJECT FOR NATIONAL GEOGRAPHIC TRAVEL.

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JODY MACDONALD

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CLOCKWISE FROM BELOW Mauritania; Panama; Mauritania.

the Red Sea so from Madagascar we changed the plan to go around Cape Hope instead. We sailed across to Mozambique and made our first stop in the Bazaruto archipelago, off the southern coast. Upon reaching land the largest sand dune I'd ever seen presented itself to us. No one had ever flown it before. No helmet, no shoes and sand as far as the eye could see. We destroyed our dinghy, we got marooned overnight, we had to sleep in our wings and it was magical.” CAN YOU TELL US A LITTLE ABOUT YOUR FAVOURITE DESTINATION TO PHOTOGRAPH? Like many photographers, one of my favourite destinations to photograph is India. It is such a geographic and cultural wonder. There is so much

to photograph at every turn. It’s almost overwhelming and with such a diverse geographical landscape you can almost find any kind of geographical experience you could be looking for… from deserts to the Himalayas and everything in between, India has it all. TOP PHOTOGRAPHY TIP FOR BEGINNERS? When you are taking photographs don’t just think about the subject, try to think about the whole picture. What is in the background and how is that adding or subtracting from the photograph. Try to place the subject within that background so that they compliment each other. This will help your images have more depth and > tell a better story.

Jody MacDonald S H I B U I

LEFT TO RIGHT Palau; Rajan with his caretaker of 30 years, Nazroo. Rajan died in 2016.

WHAT’S YOUR TOP TRAVEL TIP? Trust your instincts and always carry toilet paper ;) IS IT PEOPLE OR ANIMALS WHICH MOST FASCINATE YOU WHEN PHOTOGRAPHING THEM? I like both but my favourite is when they are interesting. The animals which I love to photograph are the ones that are very intelligent and I have amazing interactions with. I also love photographing unique, interesting people... it just depends on the situation.

30 S H I B U I

SNAP TO IT

WHAT WAS YOUR FIRST PHOTOGRAPHY AWARD? WAS THERE ONE WHICH REALLY MEANT A GREAT DEAL IN PARTICULAR? My first photography award was I think for PDN (Photo District News). It was a photograph that I took of Rajan the elephant walking in the trees in India. The award that has meant the most to me was winning the Red Bull Illume because it’s the best of the best in the adventure sport photography world so the competition is extremely difficult. Winning that was very much an honour.

“

LIKE MANY PHOTOGRAPHERS, ONE OF MY FAVOURITE DESTINATIONS TO PHOTOGRAPH IS INDIA. IT IS SUCH A GEOGRAPHIC AND CULTURAL WONDER. THERE IS SO MUCH TO PHOTOGRAPH AT EVERY TURN.

”

ON ONE OF YOUR INSTAGRAMS YOU’VE WRITTEN “ONE OF THOSE MOMENTS WHEN YOU LOOK UP AND THE PHOTOGRAPH JUST REVEALS ITSELF TO YOU.” DO YOU FIND THAT’S THE WAY YOU GET YOUR BEST SHOTS OR IS THERE A LOT OF WORK BEHIND THE SCENES GETTING THE LIGHTING, FRAME, COMPOSITION, ETC RIGHT? Getting good photographs is hard work. Yes, the majority of the time you are analysing the light, composition, timing, etc… sometimes you get lucky and things just align, but you do have to be paying attention so that you can capture that moment when it does happen.

PHOTO Gavin McClurg

JODY MACDONALD

WHAT’S NEXT FOR YOU? I will continue to work on projects for Sea Legacy, National Geographic and various personal projects. I just got back from Papua New Guinea and will definitely go back there in the new year as well as India. The world is a big, beautiful place, there is so much to do and so little time! jodymacdonaldphotography.com Instagram.com/jodymacdonaldphoto

Jody MacDonald S H I B U I

travel mode

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32 S H I B U I

TRAVEL MODE

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destination designer

savour the beauty SINCE ANCIENT TIMES, JAPANESE CULTURE HAS BEEN CLOSELY CONNECTED TO MOTHER NATURE. IKEBANA IS A TRADITIONAL, FLORAL CUSTOM IN JAPAN. SEASONAL FOILAGE AND FLORA HAVE BEEN ORNATELY ARRANGED FOR TEA CEREMONIES AND BRIDAL TRAINING FOR CENTURIES. FLORAL ARTIST TORU WATARAI IS KEEPING THIS BEAUTIFUL ART ALIVE.

curator BRISEIS ONFRAY THE maker Toru Watarai PHOTOs Contributed by Toru Watarai ©︎Tumbler&FLOWERS COUNTRy JAPAN

34 S H I B U I

DESTINATION DESIGNER

PHOTO Naoki Honjo

Toru Watarai S H I B U I

WHERE DID YOU GROW UP? I grew up in Chiba Prefecture next to Tokyo.

WHAT DOES THE JAPANESE WORD IKEBANA MEAN TO YOU? Ikebana is a technique for appreciating nature and making it closer by bringing it into your living space. Flowers represent nature, so keeping the flower alive and making use of it is the meaning of Ikebana. It takes human effort to create Ikebana. Also, through Ikebana work, I have Ikebana isthings a technique…! は春を迎えます。梅に桜、木 discovered I like about myself. 八百万の神がいる。そんな自然に対する感謝と畏敬の念が、日蓮、藤など木に咲く花が待ち遠花の命を預かる、活用する、そ本でIKEBANAがかたちづくられしいです。ブルーベリーやユーれがこの言葉に込められた意味カリも使いますた背景にあるのだと思います。であり、IKEBANAをする人間の今あるかたちでIKEBANAが成立努めだと思っています。花は自したのは600年ほど前だと言わ然を表しています。生活空間に When I gather… れています。もっともそれ以前おいて自然のありがたみを身近から神に奉ったり、仏さまに供に感じるための術がIKEBANAで IKEBANAに使うための花材を手 Ikebana is a technique…! えたり、鑑賞花として愛でたりは春を迎えます。梅に桜、木八百万の神がいる。そんな自然す。またIKEBANAを通じて、僕にした時点で、私が見せたい色する習慣はあったようです。に対する感謝と畏敬の念が、日蓮、藤など木に咲く花が待ち遠は自らの好きなものをさらけ出やかたちは決まっています。あ花の命を預かる、活用する、そ本でIKEBANAがかたちづくられしいです。ブルーベリーやユーしているのです。とはその花材が描く空間が、飾れがこの言葉に込められた意味カリも使いますた背景にあるのだと思います。る場所に及ぼす作用を見極めてであり、IKEBANAをする人間の My Ikebana is… 今あるかたちでIKEBANAが成立 DID努めだと思っています。花は自 YOU ALWAYS WANT TO WORK 微調整する程度です。したのは600年ほど前だと言わ It’s important to thank… WITH NATURE AND FLOWERS? 私のIKEBANAはトラディショナ然を表しています。生活空間に When I gather… It’s important to thank and respect れています。もっともそれ以前おいて自然のありがたみを身近ルとは言い切れません。しかしから神に奉ったり、仏さまに供 nature and it inspires me. With 身近な自然に感謝することは大 Flowers always bring… に感じるための術がIKEBANAでながらお稽古を重ねる中で少な IKEBANAに使うための花材を手 Ikebana, I feel that I am looking after えたり、鑑賞花として愛でたり切です。花に触れると新しい刺からずトラディショナルな感覚にした時点で、私が見せたい色 theす。またIKEBANAを通じて、僕 flower's life. On the other hand, する習慣はあったようです。激をもらいます。花の命をおす花は香りや色彩、形において常は身についており、影響も受けは自らの好きなものをさらけ出 living in Tokyo gives me different やかたちは決まっています。あそ分けしてもらっている感覚でに私に発見と刺激をもたらして inspiration. The cityscape with diverse ています。IKEBANAのかたちとしているのです。とはその花材が描く空間が、飾す。その一方で、都市部、東京くれます。バラの香りに気分が people and urban buildings also feels はある種の図面であり、取り扱る場所に及ぼす作用を見極めて My Ikebana is… で暮らす日々は花とはちがった organic to me. I believe that the 高揚することがあれば、ミントい説明書のようなものです。そ微調整する程度です。 balance between plants, flowers and 刺激をくれます。多様な人が集やユーカリの香りに心落ち着く It’s important to thank… れらを繰り返し練習すること私のIKEBANAはトラディショナ urban life forms my Ikebana. まり、スクラップ＆ビルドを繰こともあります。また、風土にで、バランス感覚や花の捉え方ルとは言い切れません。しかしり返す東京の街並みは、私には根付いた花木は季節の変化を知身近な自然に感謝することは大 Flowers always bring… を養ってきました。そうしたながらお稽古を重ねる中で少などこか有機的に感じられます。らせてくれる大切な存在です。切です。花に触れると新しい刺バックボーンを元に現在は私なからずトラディショナルな感覚 TORU WATARAI 植物や花、そして都市部での生また、風土に根付いた植物は季激をもらいます。花の命をおす花は香りや色彩、形において常りにただ花に向き合い、手にしは身についており、影響も受け活、これらのバランスが私の節の変化を私に知らせてくれるそ分けしてもらっている感覚でに私に発見と刺激をもたらしてた花材に見出した美しさや面白ています。IKEBANAのかたちと IKEBANAをかたち作っていると大切な存在です。春に桜が咲す。その一方で、都市部、東京くれます。バラの香りに気分がみを自分なりにとらえて、はある種の図面であり、取り扱思います。く、夏には水辺でLOTUSの花をで暮らす日々は花とはちがった高揚することがあれば、ミント IKEBANA作品に仕上げているのい説明書のようなものです。そ鑑賞する。秋には実りや紅葉を刺激をくれます。多様な人が集やユーカリの香りに心落ち着くです。れらを繰り返し練習すること楽しみ、冬に訪れる葉を落としまり、スクラップ＆ビルドを繰こともあります。また、風土にで、バランス感覚や花の捉え方 I studied the foundation… てあらわになる枝ぶりを眺めるり返す東京の街並みは、私には根付いた花木は季節の変化を知を養ってきました。そうした静寂もまた面白い。この移ろいどこか有機的に感じられます。 I am inspired… らせてくれる大切な存在です。バックボーンを元に現在は私な 2002年に小原流東京支部がスこそが季節感であり、我々が生植物や花、そして都市部での生また、風土に根付いた植物は季りにただ花に向き合い、手にしタートさせた”ビギナーズスクーきていることの証左です。私は活、これらのバランスが私の手にした花材一本一本の違いに節の変化を私に知らせてくれるた花材に見出した美しさや面白ル”で２年間基礎を学びました。 IKEBANAやアレンジにおいては IKEBANAをかたち作っているとインスパイアされています。枝大切な存在です。春に桜が咲みを自分なりにとらえて、その後、今の先生のところで月この季節感を愉しみながら作っのかたち、花びらに見える色彩思います。く、夏には水辺でLOTUSの花を IKEBANA作品に仕上げているのに１〜２回お稽古を続けていまています。そうそう、香りにのグラデーション。香りにイン鑑賞する。秋には実りや紅葉をです。す。フォーカスして花合わせをするスパイアされることもありま楽しみ、冬に訪れる葉を落とし DESTINATION DESIGNER I studied the foundation… のも楽しいですね。ヒヤシンスす。また花器が自分のIKEBANA てあらわになる枝ぶりを眺める

! ! !

36 S H I B U I

! !! !!

! ! ! FROM MOUNTAIN TO MOUNTAIN, ! AND ROCK TO THE ! WIND, THERE ARE ! ! EIGHT MILLION !! GODS IN JAPAN. !! I THINK THAT ! OUR GRATITUDE, ! RESPECT AND AWE ! FOR NATURE ARE ! THE ESSENCE OF ! HOW IKEBANA ! IN WAS FORMED ! JAPAN.

“

! ! !

! !

”

! !

It’s important to thank…

私のIKEBANAはトラデルとは言い切れません。身近な自然に感謝することは大ながらお稽古を重ねる中切です。花に触れると新しい刺からずトラディショナル激をもらいます。花の命をおすは身についており、影響そ分けしてもらっている感覚でています。IKEBANAのす。その一方で、都市部、東京はある種の図面であり、 CAN YOU DESCRIBE THE JAPANESE で暮らす日々は花とはちがったい説明書のようなもので HERITAGE BEHIND THIS FLORAL 刺激をくれます。多様な人が集 TRADITION? HOW OLD IS IT? WHERE DID れらを繰り返し練習するまり、スクラップ＆ビルドを繰 ITS PHILOSOPHY OF ‘ONENESS WITH で、バランス感覚や花のり返す東京の街並みは、私には NATURE’ ORIGINATE FROM IN JAPAN? を養ってきました。そうどこか有機的に感じられます。 Japanese people are an agricultural バックボーンを元に現在植物や花、そして都市部での生 race and since ancient times the lives りにただ花に向き合い、 of our ancestors have been closely 活、これらのバランスが私のた花材に見出した美しさ related to nature. The production IKEBANAをかたち作っているとみを自分なりにとらえて of crops depends on the weather, 思います。 most of all drought or heavy rain. The IKEBANA作品に仕上げ autumn harvest brings rich fruits such です。 as grains and nuts. From mountain I studied the foundation… to mountain, and rock to the wind, there are eight million Gods in Japan. I am inspired… 2002年に小原流東京支部がス I think that our gratitude, respect and タートさせた”ビギナーズスクー awe for nature are the essence of 手にした花材一本一本のル”で２年間基礎を学びました。 how Ikebana was formed in Japan. It インスパイアされていま is said that Ikebana was established その後、今の先生のところで月のかたち、花びらに見え about 600 years ago. However, it に１〜２回お稽古を続けていまのグラデーション。香り seems す。there was a long custom of dedicating an Ikebana arrangement スパイアされることもあ to a God, serving Buddha and also す。また花器が自分のI の発想を広げてくれるこ loving it with an appreciation of its Japanese people… original found beauty. ります。

! ! ! ! ! !

Ikebana is a technique…! 花の命を預かる、活用する、それがこの言葉に込められた意味であり、IKEBANAをする人間の努めだと思っています。花は自然を表しています。生活空間において自然のありがたみを身近に感じるための術がIKEBANAです。またIKEBANAを通じて、僕は自らの好きなものをさらけ出しているのです。

! ! !

It’s important to thank… 身近な自然に感謝することは大切です。花に触れると新しい刺激をもらいます。花の命をおすそ分けしてもらっている感覚です。その一方で、都市部、東京で暮らす日々は花とはちがった

日本人は農耕民族であり、古来より私たち日本人の生活は自然と密接な関わりを持ってきました。作物の出来は日照りや大雨などの自然に左右されます。その一方で、秋になると豊かな実りをもたらしてくれました。樹木に山に、岩に風に。日本には八百万の神がいる。そんな自然に対する感謝と畏敬の念が、日本でIKEBANAがかたちづくられた背景にあるのだと思います。今あるかたちでIKEBANAが成立したのは600年ほど前だと言われています。もっともそれ以前から神に奉ったり、仏さまに供えたり、鑑賞花として愛でたりする習慣はあったようです。

! ! !

My Ikebana is…

! ! !

I like branches…

枝ものが好きです。多岐れた枝の中から、私好みけてIKEBANAにする。白いことはそうありませ木はいいですね。これかは春を迎えます。梅に桜蓮、藤など木に咲く花がしいです。ブルーベリーカリも使います

! ! !

When I gather…

IKEBANAに使うためのにした時点で、私が見せやかたちは決まっていまとはその花材が描く空間 > る場所に及ぼす作用を見微調整する程度です。

! ! !

私のIKEBANAはトラディショナルとは言い切れません。しかし Flowers always bring… ながらお稽古を重ねる中で少なからずトラディショナルな感覚花は香りや色彩、形におは身についており、影響も受けに私に発見と刺激をもたています。IKEBANAのかたちとくれます。バラの香りに Toru Watarai S H I B U I 37 はある種の図面であり、取り扱高揚することがあれば、い説明書のようなものです。そ

の神がいる。そんな自然る感謝と畏敬の念が、日 BANAがかたちづくられにあるのだと思います。かたちでIKEBANAが成立は600年ほど前だと言わます。もっともそれ以前に奉ったり、仏さまに供、鑑賞花として愛でたり慣はあったようです。

ana is…

HOW SYMBOLIC IS COLOUR AND SHAPE TO THE FINAL ARRANGEMENT? は春を迎えます。梅に桜、木 When I gather the flower materials 蓮、藤など木に咲く花が待ち遠 for Ikebana, the colours and shapes that しいです。ブルーベリーやユー I would like to show are already evident. It’s a seasonal influence. The カリも使います trick of the final design is the extent to which I finely adjust the space so that the arrangement becomes aesthetic When I gather… and decorative.

! ! !

IKEBANAに使うための花材を手にした時点で、私が見せたい色やかたちは決まっています。あとはその花材が描く空間が、飾る場所に及ぼす作用を見極めて微調整する程度です。

! ! !

BANAはトラディショナ言い切れません。しかし Flowers always bring… お稽古を重ねる中で少なトラディショナルな感覚花は香りや色彩、形において常ついており、影響も受け 38 S H I B U I DESTINATION DESIGNER に私に発見と刺激をもたらしてす。IKEBANAのかたちとくれます。バラの香りに気分が

からずトラディショナル激をもらいます。花の命をおすは身についており、影響そ分けしてもらっている感覚でています。IKEBANAのす。その一方で、都市部、東京はある種の図面であり、で暮らす日々は花とはちがったい説明書のようなもので刺激をくれます。多様な人が集れらを繰り返し練習するまり、スクラップ＆ビルドを繰で、バランス感覚や花のり返す東京の街並みは、私にはを養ってきました。そうどこか有機的に感じられます。バックボーンを元に現在植物や花、そして都市部での生 HOW OR WHEN DID YOU LEARN りにただ花に向き合い、 ABOUT IKEBANA? 活、これらのバランスが私のた花材に見出した美しさ I studied the foundation for two years IKEBANAをかたち作っているとみを自分なりにとらえて at a ‘Beginners School’, started by 思います。 IKEBANA作品に仕上げ Ohara School of Ikebana, Tokyo campus in 2002-3. Since then, I take です。 lessons once or twice a month with studied teacher. the foundation… myIcurrent

! ! !

2002年に小原流東京支部がスタートさせた”ビギナーズスクール”で２年間基礎を学びました。その後、今の先生のところで月に１〜２回お稽古を続けています。

! ! !

It’s important to thank… 身近な自然に感謝することは大切です。花に触れると新しい刺激をもらいます。花の命をおすそ分けしてもらっている感覚です。その一方で、都市部、東京で暮らす日々は花とはちがった刺激をくれます。多様な人が集まり、スクラップ＆ビルドを繰り返す東京の街並みは、私にはどこか有機的に感じられます。植物や花、そして都市部での生活、これらのバランスが私の IKEBANAをかたち作っていると思います。

! ! !

I studied the foundation… 2002年に小原流東京支部がスタートさせた”ビギナーズスクー

! ! !

DO YOU THINK YOUR STYLE IS Japanese people… TRADITIONAL TO JAPAN OR HAVE YOU 八百万の神がいる。そんな自然 CREATED YOUR OWN STYLE? 日本人は農耕民族であり、古来に対する感謝と畏敬の念が、日 My Ikebana is not traditional. より私たち日本人の生活は自然本でIKEBANAがかたちづくられ However, as I have practised I have と密接な関わりを持ってきました背景にあるのだと思います。 acquired some traditional influence. た。作物の出来は日照りや大雨今あるかたちでIKEBANAが成立 Ikebana is like a kind of drawing and also like an instruction manual. などの自然に左右されます。そしたのは600年ほど前だと言わ By practicising over time, I have の一方で、秋になると豊かな実れています。もっともそれ以前 acquired the sense of balance and りをもたらしてくれました。樹から神に奉ったり、仏さまに供 how to place the flowers in position. 木に山に、岩に風に。日本にはえたり、鑑賞花として愛でたり Starting with a stem as a backbone, する習慣はあったようです。 I can place the flowers into a design that captures their beauty and life, just like the way I found the flora when gathered My IIkebana is…it in nature.

! ! !

私のIKEBANAはトラディショナルとは言い切れません。しかしながらお稽古を重ねる中で少なからずトラディショナルな感覚は身についており、影響も受けています。IKEBANAのかたちとはある種の図面であり、取り扱い説明書のようなものです。それらを繰り返し練習することで、バランス感覚や花の捉え方を養ってきました。そうしたバックボーンを元に現在は私なりにただ花に向き合い、手にした花材に見出した美しさや面白みを自分なりにとらえて、 IKEBANA作品に仕上げているのです。

! ! !

I am inspired…

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I am inspired…

手にした花材一本一本のインスパイアされていまのかたち、花びらに見えのグラデーション。香りスパイアされることもあす。また花器が自分のI の発想を広げてくれるこります。は春を迎えます。梅に桜蓮、藤など木に咲く花がしいです。ブルーベリー I like branches… カリも使います

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枝ものが好きです。多岐れた枝の中から、私好み When I gather… けてIKEBANAにする。白いことはそうありませ IKEBANAに使うための木はいいですね。これかにした時点で、私が見せやかたちは決まっていまとはその花材が描く空間る場所に及ぼす作用を見微調整する程度です。

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Flowers always bring…

花は香りや色彩、形におに私に発見と刺激をもたくれます。バラの香りに高揚することがあれば、やユーカリの香りに心落こともあります。また、根付いた花木は季節の変らせてくれる大切な存在また、風土に根付いた植節の変化を私に知らせて大切な存在です。春に桜く、夏には水辺でLOTU > 鑑賞する。秋には実りや楽しみ、冬に訪れる葉をてあらわになる枝ぶりを静寂もまた面白い。この Toru Watarai S H I B U I 39 こそが季節感であり、我

神がいる。そんな自然感謝と畏敬の念が、日 ANAがかたちづくられあるのだと思います。たちでIKEBANAが成立 00年ほど前だと言わす。もっともそれ以前奉ったり、仏さまに供鑑賞花として愛でたりはあったようです。

活、これらのバランスが私の IKEBANAをかたち作っていると思います。

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I studied the foundation… 2002年に小原流東京支部がス FRESH FLOWERS WILL ALWAYS BRING タートさせた”ビギナーズスクー A SMILE. WHAT MAKES BEING AN ル”で２年間基礎を学びました。 IKEBANA FLORIST ENJOYABLE TO YOU? その後、今の先生のところで月 Flowers always bring discovery に１〜２回お稽古を続けていま and stimulation to me through their す。 and shapes. If the scents, colours fragrance of roses is something that は春を迎えます。梅に桜、木 raises your mood, then you may 蓮、藤など木に咲く花が待ち遠 feel a sense of calmpeople… with the scent Japanese しいです。ブルーベリーやユー of mint and eucalyptus. Plants are カリも使います important signals that inform me of 日本人は農耕民族であり、古来 seasonal changes. Cherry blossom in より私たち日本人の生活は自然 spring. In summer, lotus flowers in full と密接な関わりを持ってきまし bloom byI gather… the water. In autumn we When た。作物の出来は日照りや大雨 enjoy fruit and autumn leaves. The silence of life by branches dropping などの自然に左右されます。そ IKEBANAに使うための花材を手 their leavesの一方で、秋になると豊かな実 at the coming of winter にした時点で、私が見せたい色 is also interesting. This change is りをもたらしてくれました。樹 theやかたちは決まっています。あ seasonal feeling, and the proof 木に山に、岩に風に。日本にはとはその花材が描く空間が、飾 that we are alive. I feel this sense

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moods with every る場所に及ぼす作用を見極めて a is… is a technique…! of seasonal ebana 八百万の神がいる。そんな自然 arrangement of Ikebana. 微調整する程度です。に対する感謝と畏敬の念が、日 Also, it’s fun to focus on fragrance の命を預かる、活用する、そ ANAはトラディショナ本でIKEBANAがかたちづくられ and make up flower matching. ie. がこの言葉に込められた意味い切れません。しかした背景にあるのだと思います。 hyacinth cinnamon Flowersand always bring… chips etc. あり、IKEBANAをする人間の稽古を重ねる中で少な今あるかたちでIKEBANAが成立めだと思っています。花は自ラディショナルな感覚したのは600年ほど前だと言わ花は香りや色彩、形において常を表しています。生活空間にいており、影響も受けれています。もっともそれ以前に私に発見と刺激をもたらしていて自然のありがたみを身近。IKEBANAのかたちとから神に奉ったり、仏さまに供くれます。バラの香りに気分が感じるための術がIKEBANAでの図面であり、取り扱えたり、鑑賞花として愛でたり高揚することがあれば、ミント。またIKEBANAを通じて、僕のようなものです。そする習慣はあったようです。やユーカリの香りに心落ち着くり返し練習すること自らの好きなものをさらけ出こともあります。また、風土にンス感覚や花の捉え方ているのです。根付いた花木は季節の変化を知きました。そうした My Ikebana is… らせてくれる大切な存在です。ーンを元に現在は私なまた、風土に根付いた植物は季 s important to thank… 花に向き合い、手にし私のIKEBANAはトラディショナ節の変化を私に知らせてくれる見出した美しさや面白ルとは言い切れません。しかし大切な存在です。春に桜が咲近な自然に感謝することは大なりにとらえて、ながらお稽古を重ねる中で少なく、夏には水辺でLOTUSの花をです。花に触れると新しい刺作品に仕上げているのからずトラディショナルな感覚鑑賞する。秋には実りや紅葉ををもらいます。花の命をおすは身についており、影響も受け楽しみ、冬に訪れる葉を落とし分けしてもらっている感覚でています。IKEBANAのかたちとてあらわになる枝ぶりを眺める。その一方で、都市部、東京はある種の図面であり、取り扱静寂もまた面白い。この移ろい暮らす日々は花とはちがった ed… い説明書のようなものです。そこそが季節感であり、我々が生激をくれます。多様な人が集れらを繰り返し練習することきていることの証左です。私はり、スクラップ＆ビルドを繰花材一本一本の違いにで、バランス感覚や花の捉え方 IKEBANAやアレンジにおいては返す東京の街並みは、私にはイアされています。枝を養ってきました。そうしたこの季節感を愉しみながら作っこか有機的に感じられます。、花びらに見える色彩バックボーンを元に現在は私なています。そうそう、香りに物や花、そして都市部での生ーション。香りにインりにただ花に向き合い、手にし、これらのバランスが私のフォーカスして花合わせをするされることもありまた花材に見出した美しさや面白のも楽しいですね。ヒヤシンス EBANAをかたち作っていると花器が自分のIKEBANA みを自分なりにとらえて、とシナモンチップ、など。います。広げてくれることもあ IKEBANA作品に仕上げているのです。

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tudied the foundation… hes… I am inspired… 40 S H I B U I DESTINATION DESIGNER 02年に小原流東京支部がス好きです。多岐に分かートさせた”ビギナーズスクー

節の変化を私に知らせて大切な存在です。春に桜く、夏には水辺でLOTU 鑑賞する。秋には実りや楽しみ、冬に訪れる葉をてあらわになる枝ぶりを静寂もまた面白い。この I am inspired… こそが季節感であり、我きていることの証左です手にした花材一本一本の違いに IS THERE A PLANT OR FLOWER THAT IKEBANAやアレンジにインスパイアされています。枝 YOU LOVE TO WORK WITH THE MOST? この季節感を愉しみながのかたち、花びらに見える色彩 I like branches: the diversity and ています。そうそう、香のグラデーション。香りにイン shape of branches inspire how I フォーカスして花合わせスパイアされることもありま create Ikebana. But that’s not so す。また花器が自分のIKEBANA interesting to look at during winter. のも楽しいですね。ヒヤ Anの発想を広げてくれることもあ old tree is nice but from now on, とシナモンチップ、など weります。 celebrate spring in Japan. I can hardly wait for flowers to bloom in trees such as cherry blossoms, plum trees, magnolia and wisteria. I also I like branches… use blueberries and eucalyptus. た花材に見出した美しさや面白みを自分なりにとらえて、 IKEBANA作品に仕上げているのです。

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枝ものが好きです。多岐に分かれた枝の中から、私好みを見つけてIKEBANAにする。こんな面白いことはそうありません。古木はいいですね。これから日本は春を迎えます。梅に桜、木蓮、藤など木に咲く花が待ち遠しいです。ブルーベリーやユーカリも使います

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DOWhen YOU HAVE A FAVOURITE I gather… PLACE YOU LIKE TO VISIT? It is the home where I was born and IKEBANAに使うための花材を手 raised. The backyard is the most にした時点で、私が見せたい色 familiar environment that inspires myやかたちは決まっています。あ love of Ikebana. There was a bamboo forest and I created flower とはその花材が描く空間が、飾 vases from the bamboo. This gave る場所に及ぼす作用を見極めて me the passion to learn Ikebana. 微調整する程度です。 Even now I am connecting with nature when I return home with my children annually. It is my roots. Flowers always bring…

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花は香りや色彩、形において常に私に発見と刺激をもたらしてくれます。バラの香りに気分が高揚することがあれば、ミントやユーカリの香りに心落ち着くこともあります。また、風土に根付いた花木は季節の変化を知らせてくれる大切な存在です。また、風土に根付いた植物は季節の変化を私に知らせてくれる大切な存在です。春に桜が咲く、夏には水辺でLOTUSの花を鑑賞する。秋には実りや紅葉を楽しみ、冬に訪れる葉を落としてあらわになる枝ぶりを眺める静寂もまた面白い。この移ろいこそが季節感であり、我々が生きていることの証左です。私は

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DO YOU THINK THE ART OF IKEBANA IS STILL POPULAR IN JAPAN? Once upon a time in Japan, Ikebana was recognised as floral art for tea ceremonies and bridal training (a woman's skill to acquire to get married). There was a time when many women were learning the art of Ikebana. But the number of people learning Ikebana has declined. However, I still think that Ikebana is full of subtleties to live by now. I also think that Ikebana will regain its value and appreciation in a different way in the future. I changed my job as a fashion editor to an Ikebana teacher six years ago, to preserve and share the charm of Ikebana. Since then, I feel inspired to teach this art form, not only to the Japanese, but for people interested in other parts of the world.

tumblerandflowers.com Instagram.com/watara_ikebanaÂ InstagraM.com/tumblerandflowers

Toru Watarai S H I B U I

MODERN maKER

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THERE IS NO DOUBT THAT FRANCE STILL HOLDS ITS REPUTATION AS ONE OF THE WORLD'S GENERATORS OF HIGH-LUXE/FASHION BRANDS.

OUT OF

LE BLEU curator BRISEIS ONFRAY THE MAKER BLEU DE CHAUFFE INTERVIEW WITH ALEXANDRE ROUSSEAU (OWNER AND BRAND DESIGNER, BLEU DE CHAUFFE)

PHOTOS CONTRIBUTED by BLEU DE CHAUFFE COUNTRY FRANCE

FRENCH DESIGNER ALEXANDRE ROUSSEAU UNDERSTANDS WHY. HE WORKED IN THE INDUSTRY FOR YEARS, BUT IS NOW CO-OWNER OF HIS OWN LUXURY RANGE. BLEU DE CHAUFFE IS AN ECOCONTEMPORARY LEATHER GOODS MANUFACTURER IN THE SOUTH OF FRANCE, WITH A TEAM OF TRAINED ARTISANS WHO MAKE AND THEN SIGN EVERY PRODUCT BY HAND. TELL US MORE ABOUT THE ORIGIN OF BLEU DE CHAUFFE? WHY AND WHEN DID BLEU DE CHAUFFE BEGIN? I started my career path as a designer 15 years ago for French luxury and sportswear brands such as Lancel and Le Coq Sportif. Bleu de Chauffe was the meeting of two guys at a ‘Bread and Butter’ show in Berlin in 2009. My partner (Thierry Batteux) and I are passionate about workwear style, design and marketing. We decided to launch Bleu de Chauffe in 2009, to meet customer demands, designing a high quality, fashionable, eco-friendly bag, made in France. Our goal was to reinvent the ‘work’ bag into a more contemporary design. WHERE IS THE FACTORY BASED? IS LEATHERWORK A WELL-KNOWN CRAFT IN THIS REGION? The factory is based in Millau, in the south of France. The speciality of the area is leather gloves which have been in production since the 18th century. Not so long for the leather > bag!

BLEU DE CHAUFFE S H I B U I

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PREVIOUS PAGE Owner and brand designer of Bleu de Chauffe, Alexandre Rousseau. THIS PAGE, FAR LEFT Millau, south of France.

WHAT ARE BLEU DE CHAUFFE KNOWN FOR THE MOST? We pride ourselves that all of our products are made in France by our trained artisans. The signature style we are known for is workwear spirit mixed with urban fashion. Everything is designed and manufactured in-house. We are ecologically conscious, using only organic and naturally tanned leathers. Bleu de Chauffe use vegetal tanning agents. The Bleu Chauffe leather bag Éclair is our most popular bag.

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EVERYTHING IS DESIGNED AND MANUFACTURED IN-HOUSE. WE ARE ECOLOGICALLY CONSCIOUS, USING ONLY ORGANIC AND NATURALLY TANNED LEATHERS.

”

ALEXANDRE ROUSSEAU

THE BLUE JACKET WORN BY FRENCH FACTORY WORKERS INSPIRED THE NAME BLEU DE CHAUFFE. HARD-WORKING AND DURABLE, HOW DOES AN ARTISAN CHOOSE THE LEATHER TO BUILD A PRODUCT WITH? All leathers are organic tanned leather (only natural tanning). The skin must be strong, but not stiff, smoothly finished with a regular thickness. Each artisan specialises in certain specific models. The leather’s type is selected when the bag is created by the designer. WHAT IS IT ABOUT LEATHER THAT MAKES IT SO FASHIONABLE? Because we use the best quality leather, produced by the best French tanneries. The leather is naturally tanned. This process gives the leather an authentic look and a long-term life. EACH PRODUCT IS HAND-MADE AND SIGNED BY THE ARTISAN. THERE IS OBVIOUSLY GENUINE CARE AND EXPERTISE PUT INTO EACH PIECE. HOW MANY ARTISANS WORK WITH THE COMPANY? AND, HOW DO THEY TRAIN TO QUALIFY AS A LEATHER WORKER? Nowadays, 20 artisans are working for Bleu de Chauffe. Among them, >

BLEU DE CHAUFFE S H I B U I

“

TO BE INSPIRED, YOU HAVE TO BE OPEN MINDED, CURIOUS, INTERESTED, POSITIVE. IT IS AN ATTITUDE WHICH BRINGS YOU INTO A VIRTUOUS CYCLE.

”

ALEXANDRE ROUSSEAU

five are trainees. Each of them has a tutor. If everything goes well, trainees will be able to join the team as 'official” leather workers. THE BAGS ARE VERY ‘SHIBUI’. WHERE DOES THE DESIGN/STYLE INSPIRATION COME FROM? Inspiration comes from everywhere and everything: daily life, fashion, travels, culture, music, food, nature, books etc. I think that inspiration is linked to mental and emotional characteristics. To be inspired, you have to be open minded, curious, interested, positive. It is an attitude which brings you into a virtuous cycle. WHAT IS ‘VEGETABLE TANNED LEATHER’ AND WHERE DOES THE ‘ORGANIC’ LEATHER COME FROM? Organic, tanned leather is from the cow and is tanned exclusively with

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natural tanning. Most of our leather comes from the Massif central region of France. Vegetal tanning is the process of transforming leathers by means of natural agents like oak, quebracho, mimosa, chestnut and acacia. The Bleu de Chauffe tannery in Aveyron takes strict precautions with water treatment. After use, the water is left to settle and then clarified and released into the river, just as pure as it was before using it. CAN YOU DESCRIBE THE TYPICAL METHOD/TOOLS USED TO CREATE A FINISHED PRODUCT? In the factory, equipment is all new including a press and sewing machines. All the processes are integrated in the workshop. WHAT IS THE BEST THING ABOUT WORKING AND LIVING IN YOUR REGION? The best thing is that we are in a very welcoming region. Millau is well located and full of local talent! It is also a sunny region and an extremely pleasant area to live in. WHAT IS YOU LOCAL’S TIP FOR VISITORS TO YOUR VILLAGE? The factory is located next to the very famous Millau viaduct in Aveyron, made by Norman Foster, a very inspirational English architect. Aveyron and the Larzac region in particular, have always been at the forefront of alternative initiatives. We are also inspired by this trend. And the famous, strong, blue cheese ‘Roquefort’ was born in Aveyron in the 11th Century. DO YOU HAVE ANY UPCOMING WORKSHOPS AVAILABLE? In the next few months, it will be possible (for groups and individuals) to come and visit our workshop. bleu-de-chauffe.com Instagram.com/bleudechauffe

BLEU DE CHAUFFE S H I B U I

wish you were here?

eir ts pay th a o b n e d o n wo ribbons o l u f r . u o l Co of travel s s e d d o g , the ae Yanang M o t s n t c respe et monsoo w e h t e r befo aken just t s a w t o This sh n of the tensio e e s t s o lm you can a set in and n the air. i y t i d i m hu

wish you were here?

Rawai Bay, Phuket, Thailand

KARINA EASTWAY

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much everything relating to TRAVEL, culture AND artisan traditions.

modern MAKER

PEACE LOVE BALI curator BRISEIS ONFRAY Maker NI KETUT MINIASIH (BALI ECO STAY LAND OWNERâ&#x20AC;&#x2122;S WIFE) INTERVIEW JOHNNY BLUNDSTONE (OWNER OF BALI ECO STAY) PHOTOS NINA TROMP COUNTRY INDONESIA

BALI IS A FAVOURITE TRAVEL DESTINATION FOR TRAVELLERS NEAR AND FAR. FONDLY KNOWN FOR ITS STUNNING SCENERY, HAPPY BALINESE CHARM AND COLOURFUL HINDU CEREMONIES. JUST DON'T STEP ON A CANANG SARI.

BALI ECO STAY S H I B U I

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GALUNGAN IS THE MOST DECORATIVE TIME OF YEAR IN BALI, WITH PENJOR DECORATIONS MASTED AT THE FRONT OF EVERY HINDU HOUSE. WHEN IS THIS HOLIDAY AND WHAT DOES GALUNGAN REPRESENT TO THE BALINESE PEOPLE? Galungan Day occurs every six months in the Balinese calendar (210 days). Galungan is a Balinese holiday celebrating the victory of Dharma (cosmic law and order) over Adharma (dignity and respect). It marks the time when the ancestral spirits visit the Earth. WHAT MATERIALS ARE THEY MADE FROM? AND, ARE THEY ETHICALLY SOURCED FROM DESIGNATED PLANTATIONS? The ceremonial decorations are made from bamboo, coconut and palm leaves, and colouring. The materials are all taken from family gardens or bought in a traditional, local market.

WHO MAKES THESE INTRICATE PENJOR STREET DECORATIONS? Everyone can make the Penjor. Usually the women make the decorations for the Penjor and the men collect the bamboo and leaves and then set the decoration to the bamboo stem. DO ALL HINDU FAMILIES PARTICIPATE TO MAKE DECORATIONS AND OFFERINGS? WHO ARE THE TRADITIONAL ARTISANS OF THE FAMILY AND WHO TEACHES THIS CRAFT IN THE COMMUNITY? Yes. It is customary to our tradition and belief to participate. It is a spiritual and community celebration. The women or parents of a family are the artisans and they are the teachers for the community to continue to celebrate and pass on this tradition. >

CLOCKWISE FROM LEFT Penjor decorations are masted at the front of every Hindu house during Galungan; traditional Balinese weaving and ceremonial decoration workshops are available for guests; Bali Eco Stay; traditional artisan weaving workshop.

BALI ECO STAY S H I B U I

“

TRI HITA KARANA: HARMONY AMONG PEOPLE. HARMONY WITH NATURE OR ENVIRONMENT. HARMONY WITH GOD.

”

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FROM LEFT TO ABOVE Ni Ketut Miniasih teaches ceremonial decoration workshops at Bali Eco Stay; the lush property setting of Bali Eco Stay.

HOW SYMBOLIC ARE THE LITTLE, WOVEN BASKET OFFERINGS TO THE BALINESE PEOPLE? THEY ARE SPRINKLED EVERYWHERE YOU WALK. The offerings are made to please the good spirits and appease the bad. They are called Canang Sari – (daily offerings). They are a symbol of thankfulness to the Hindu God, Ida Sang Hyang Widhi Wasa. It is offered every day as a way to show gratitude for the peace given to the world. WHERE DOES THE COLOUR AND DESIGN INFLUENCE COME FROM WHEN MAKING CEREMONIAL DECORATIONS AND OFFERINGS? Balinese avoid dark or black clothing as the colour is often associated with black magic, evil spirits and peace disturbance.

In contrast, white is believed to be the colour for the peaceful spirit. Yellow (or golden yellow) is also a favourite as it represents God Wisnu, the preserver of the Universe. WHERE CAN A VISITOR GO LEARN THE ART OF BALINESE DECORATIVE AND BASKET WEAVING? Any village artisan will be happy to teach the art form. We also offer these workshops for guests on request. DO YOU HAVE ANY WORKSHOPS COMING UP IN 2018? Yes, workshops are offered to guests all year round. HAVE YOU ANY LOCAL’S TIP FOR VISITORS TO BALI? Be patient and don’t show outward anger or frustration and you will have a wonderful time. baliecostay.com Instagram.com/baliecostay/

BALI ECO STAY S H I B U I