SHIBUI Issue 7

stamp

of approval

india slow-woven wonders

ghana slow stay

BERBER

dreaming shibui store

now open!

TRAVEL IN TIME WITH TRADITIONAL CULTURES. SLOWLY…

SHIB-OOM! Just as Covid-19 was declared a global pandemic, SHIBUI & Co. was announced WINNER, ‘Best Cultural Tourism Publisher 2020’

by Acquisition International (UK). A serendipitous moment, but nothing short of a wonderful sign of encouragement to keep the SHIBUI spirit alive.

We take this space to thank our wonderful global community for their valuable contribution and ongoing support. The time is now!

ANNOUNCEMENT

WINNER

‘Best Cultural Tourism Publisher 2020’ Acquisition International, 2020 Business Excellence Awards (United Kingdom).

“Whilst it is certainly a challenging time for businesses of all shapes and sizes, there are still causes for celebration to be found in every industry and sector. Indeed, even now, we endeavour to recognise those that are, and have been doing, incredible things. After all, success can be found anywhere – whether a large international conglomerate or single-person firm. That was really the goal of the Business Excellence Awards when they were launched over half a decade ago: to shine a spotlight on some of the quiet achievements of entrepreneurs, managers, owners and founders around the world.

Acquisition International prides itself on the validity of its awards and winners. The awards are given solely on merit and are awarded to commend those most deserving for their ingenuity and hard work.”

To learn more about our award winners and to gain insight into the working practices of the 'best of the best', please visit acq-intl.com Steve Simpson, Awards Coordinator, Acquisition International, UK, 2020.

Reflection

Altered state… recalibrated life… whatever way we look at this year the world has been shaken, not spun, to reveal very raw, deep, sad, difficult and also beautiful truths. Humanity lost momentum in the face of uncertainty while Mother Nature went wild with the 'slow' down. But with adversity comes courage and whether individually, locally, nationally or globally it seems resilience, sufficiency, compassion and patience may be spinning the world into a new way. Change is inevitable.

It's happened here. As the global pandemic grounded the world, SHIBUI & Co. was awarded winner, ‘Best Cultural Tourism Publisher, 2020’. Ironic but cool. Because 'winning' in 2020 redefined SHIBUI's core.

From here, we publish slow made, slow travel and slow stay stories to deeply engage world tourism with indigenous cultures so they are never lost. And we travel in time with them. Slowly.

With this glorious burst of extraordinary content to deliver, our beloved digital magazine, SHIBUI Issue is back! And with reflection to current realities around the world, we reached out to our previously featured indigenous artisans to tribute this re-launch edition in their honour! For their slow world existence has been tried and tested since ancient times. Their stories on the following pages restore hope and highlight the importance of global connection, contribution and resilience.

And to wrap this year up with a little more artisan love, we welcome you to our (new) slow world SHIBUI store! (Flick to page 45 to gauge our excitement.)

Phew! So much to share in this edition but hopefully it instils an element of trust that the world is still spinning with extraordinary people and places to visit. Even our global distributor Press Reader reassures us that online travel magazines have hit the sky in readership this year. World travel is missed by millions.

Until next edition, stay well, embrace change and subscribe below if you haven't already. #shibuilove

SHIBUI hello

a time for 'slow'

Editor-in-Chief

Photo Eric Mindling

EDITOR-IN-CHIEF/CURATOR BRISEIS ONFRAY DESIGN & PRODUCTION SHIBUI STUDIO GRAPHIC DESIGNER (INTERN) HAYLEY MOORE PROOFREADERS JANET ONFRAY, ROBERT ONFRAY AND MELISSA SYME HOSTED BY ISSUU GLOBAL DISTRIBUTOR PRESS READER FOLLOW US @shibuiandco SUBSCRIBE shibuiandco.com SHOP shibuiandco.com/store

ENQUIRIES Email hello@shibuiandco.com | Phone +61 434 385 841 SPECIAL THANKS to the following amazing humans: Akosua Afriyie-Kumi, Emily Lush, Janet Onfray, Janine Garrett, Jeremy Fritzhand, Mihai Patru, Oana Befort, Romain Michel Meniere, Sapna Shah, Sarah Confer and every single artisan working behind these stories…

SHIBUI Issue is a quarterly, global, e-magazine owned and published by SHIBUI & Co. All content is copyright and lawfully protected worldwide. In all instances, complete content or parts-there-of extracted from this publication for re-distribution or circulation must be accurately accredited to both the publisher, SHIBUI & Co. and contributing photographers. SHIBUI & Co. curates 'socio-enviro' responsible travel content to help preserve 'slow world' cultures and empower indigenous communities in the modern world. SHIBUI & Co. was awarded 'Best Cultural Tourism Publisher' in March 2020.

SHIBUI Issue 7 October 2020 | © SHIBUI & Co. All rights reserved.

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SHIBUI. A JAPANESE WORD USED TO DESCRIBE AN UNDERSTATED, CLASSIC KINDA COOL. IT’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. COVER IMAGE: AAKS with their artisan team in Ghana are taking their cultural weaving traditions to the world by the bundles, to keep up with this year's great burst of worldwide demand. (Page 55). PREVIOUS PAGE: Weavers from the Ticllay Huarmi Weaving Association in the remote village of Chaullacocha arrive for a meeting with Threads of Peru. (Page 5).

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CONTENTS 55 BAGS OF TALENT With adversity comes a shift for change and when the wave for 'black lives matter' flooded deserted cities and lonely streets, Akosua Afriyie-Kumi, owner behind AAKS and her artisan team in Ghana have been super busy 'slow' making bags since, to keep up with an exciting burst of demand worldwide.

MEMORY MAKER

SLOW MADE

5 THREADS OF RESILIENCE Cusco is tucked far from reach and still hums with precious existence from the ancient world. We reached out to Sarah Confer, director at Threads of Peru to see how this year has impacted Cusco's precious artisan world.

27 IT'S A SLOW-WOVEN WORLD Working on a daily basis with artisan communities in Ghana and Rwanda is the not-for-profit guiding force behind Indego Africa. This partnership has made all the difference this year… restoring artisan morale, workflow and inspiring joy to the world.

48 STAMP OF APPROVAL Woodblock printing in India is an old-world trade still producing mileage after mileage of fabrics that could easily wrap the world!

Jeremy Fritzhand, founder at Studio Bagru in Rajasthan has been working with the local artisans long enough to know just how important it is to protect these hard-working communities and crafts.

15 MOMENTS TO SAVOUR…ROMANIA! A country of contradiction…hard-working, extraordinary, broke, yet rich with an opulent past, fascinating influence of cultures and great pride for traditional crafts. In this tribute edition, we honour two very talented, Romanian women.

STORYTELLER

20 WILD TASTE OF WONDER-LUSH With 50 countries in five years mapped out in her soul, it's fair to say Emily Lush loves to travel.

She's a storyteller with all the savvy social skills to manage work on the roam. Not to mention an enviable portfolio of photos.

SLOW STAYS

34 BERBER DREAMING This is an elegant love story between the village Oumnass, Berber life and owner Romain Michel Meniere, a french-swiss interior designer who has created an authentic, Moroccan dream located in an ancient valley of olive groves at the foothills of the Atlas Mountains. Berber Lodge will take your mind a million worlds away…

SHIBUI STORE

45 SLOW WORLD LOVE Yay! SHIBUI & Co. has opened a 'slow world' store for worldy hearts seeking travel-eco-friendly, artisan brands. This year ends with every reason to act worldly, wise and kind.

For optimum viewing, download either of these free apps to your reading device…

CLOCKWISE FROM LEFT: A woman sells pickles at the GUM Market in Yerevan, Armenia. Photo by Emily Lush. (Page 20); Slow made in Rwanda by the artisan team at Indego Africa. Photo by Anna Watts Photography. (Page 27); Authentic to the Berber way of life is the elegant simplicity of interior style at Berber Lodge, Marrakech. Photo by Brogan Chidley.

(Page 34); Namdev Krishi Farm communal drying space in Bagru, India. Photo by Studio Bagru. (Page 48).

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global scents by SHIBUI & Co.

deeply.

SHIBUI STORE

BLEND OF THE MONTH PRE-ORDER NOW! PROMOTION IN AUST. ONLY PURCHASE BY 30 NOVEMBER 2020 BATCH & DISPATCH DECEMBER 2020

b r e a t h e.

deeply. it's been a big year.

100% natural. certified organic. slow made. a refreshing, cleansing, anti-bacterial, travel-friendly blend to help inspire respiratory calm. add a few drops to face mask or massage into chest and breathe… deeply. $29rrp (AUD 40.00) (PLUS POSTAGE)

Ingredients: Illicium verum (Anise), cymbopogon flexuosus (Lemongrass), melaleuca viridiflora (niaouli) leaf, myrtus communis (Myrtle) and thymus vulgaris (Thyme) therapeutic grade essential oils, diluted in a base of fractionated (unscented) coconut oil. ocean aerial 'fury' by @jacksononfray

BATCH #1. DEEPLY | PRE-ORDER BY 30 NOVEMBER 2020 HAND BLENDED AND BOTTLED IN NOOSA, QUEENSLAND. AUSTRALIA AVAILABLE AT SHIBUIANDCO.COM

slow made

THREADS OF RESILIENCE

CUSCO IS TUCKED FAR FROM REACH AND STILL HUMS WITH PRECIOUS EXISTENCE FROM THE ANCIENT WORLD. THIS YEAR HAS BEEN A GREAT TEST OF SURVIVAL FOR MODERN TIMES. SO HOW ARE THESE REMOTE COMMUNITIES SURVIVING RIGHT NOW? WE REACHED OUT TO SARAH CONFER, THE DIRECTOR AT THREADS OF PERU. A NOT-FOR-PROFIT, SOCIAL ENTERPRISE THAT HAVE BEEN WORKING WITH THE ARTISANS OF CUSCO FOR A DECADE.

SLOW made Threads of Peru and artisan partners interview with Sarah Confer (Director, Threads of Peru)

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Photo Eric Mindling

destination Cusco, Peru

Photo Amy Chen Photo Amy Chen

Photo Amy Chen PREVIOUS PAGE Juliana and Matiaza discuss new Threads of Peru designs brought to their community, Rumira Sondormayo. THIS PAGE, CLOCKWISE FROM TOP LEFT: Yanali is another natural dye common in parts of the Cusco region. Its bright orange inner bark produces a rich, mustard yellow colour when dyeing yarn; K'insachucho is one of our favourite natural dye plants, producing shades of teal and turquoise. It's actually a fungus growing on the plant leaves that colours the yarn; Skeins of freshly dyed yarn hang to dry in the yard of Master Weaver Daniel Sonqo's house in Parobamba; Sarah Confer, (Director, Threads of Peru) with the artisans.

THREADS OF PERU IS A NOT-FOR-PROFIT SOCIAL ENTERPRISE THAT CONNECTS THE WORLD TO THE UNIQUE HANDMADE WONDERS OF THE ANDES, TO HELP EMPOWER TRADITIONAL ARTISAN CRAFTSMANSHIP AND COMMUNITIES. WHEN AND HOW DID THIS COLOURFUL VISION 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 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 6

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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 DRIVING AMBITION BEHIND THREADS OF PERU? 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.

Photo Jaime Ho

Photo Eric Mindling

Photo Alliyah Wheaton THIS PAGE, CLOCKWISE FROM TOP LEFT: A traditional wooden spindle, called a P'ushka, lays on the ground at an artisan's feet.

She is wearing ojotas, traditional sandals made from recycled tyres; Leonarda picks out bits of k'insacucho leaves from yarn fresh out of the dye pot; A weaver in Upis stakes out a loom in order to continue weaving one of our Pallay pillows.

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 in 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 according to centuries of tradition. Our products foster ecological and cultural integrity, as we focus on producing unique pieces from 100% natural materials.

WHERE ARE THE ARTISANS BASED AND HOW MANY WORK WITH YOU? 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 > threads of peru S H I B U I

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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.

CUSCO IS TUCKED FAR FROM REACH AND STILL HUMS WITH PRECIOUS EXISTENCE FROM THE ANCIENT WORLD. HOW FAR IS THE CLOSEST TOWN FOR SUPPLIES AND HEALTHCARE FACILITIES? 2020 HAS BEEN BRUTAL FOR MANY. IN ONE WAY, TRAVEL BANS HAVE BEEN A BLESSING TO HELP PROTECT PLACES LIKE CUSCO. WHAT DO YOU THINK HAS HELPED KEEP ARTISAN MORALE STRONG DURING THESE UNCERTAIN TIMES? Since the beginning of the pandemic, Cusco has been largely cut off from the rest of Peru, and the world.

There have been restrictions on regional, national and international travel and shipping which has put pressure on a lot of industries. Luckily, these restrictions have not affected the production or distribution of essential services, including food and medicines. We are also lucky in that so much food is produced locally; we have not faced the same shortages or

price gouging felt in other countries.

The communities where our artisans live are located between one and four hours away from Cusco itself, though there are smaller urban centres around 30 to 45 minutes from each community. These towns are their go-to source for a lot of basic supplies and healthcare.

Many of our artisan communities have wisely been even more restrictive than Cusco or the rest of the country in terms of limiting access to their communities. As a result, they have largely been able to keep the virus out, which is good because treatment options nearby are very limited for this illness.

The restrictions on mobility and the ability to engage in other economic activities has been hard for everyone, and the weavers are no exception. However, I think they are at an advantage compared to many of us who live in the city as they are used to living a self-sufficient lifestyle. >

“

THE RESTRICTIONS ON MOBILITY AND ABILITY TO ENGAGE IN OTHER ECONOMIC ACTIVITIES HAS BEEN HARD FOR EVERYONE, AND THE WEAVERS ARE NO EXCEPTION. HOWEVER, I THINK THEY ARE AT AN ADVANTAGE COMPARED TO MANY WHO LIVE IN THE CITY AS THEY ARE USED TO LIVING A SELF-SUFFICIENT LIFESTYLE. SARAH CONFER (DIRECTOR, THREADS OF PERU)

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Photo Eric Mindling

THIS PAGE: Melchor stands on the hills surrounding his home community, Pitukiska. Melchor and his wife Narcisa do most of the natural dyeing for Threads of Peru.

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Photo Eric Mindling

THIS PAGE: Ruperta, one of the Upis weavers, has a bubbly personality and an infectious laugh. Here she is spinning some alpaca fibre, freshly shorn from her own herds.

I have seen communities face hardship before – crop failures, devastating floods – and their spirit never falters. Although this crisis is lasting much longer than other crises have, I have no doubt that their reliance on traditional ways will see them through.

HOW ARE YOUR ARTISAN FAMILIES GOING NOW? HAVE YOU BEEN ABLE TO CONTINUE WORKING WITH THEM DURING THE PANDEMIC? For the most part, no. In the early days of the pandemic, we were completely shut off from the rest of the region beyond Cusco city’s borders, and all but essential businesses were closed.

As a result, we could not travel to any communities, and we could not even purchase materials like yarn to send to them. We were in touch by phone with those that we could reach, but others live in areas with no cell service.

It was very nerve-wracking to not know how they were doing!

We had a reprieve in July when borders reopened and businesses started to operate again. We still wanted to limit our travel, for the safety of our team and weavers, but we did manage to purchase a batch of yarn, get it dyed in one community and send to other communities to continue with weaving projects.

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Then the borders closed again, before we were able to pick up the final products. By a combination of radio communications (that is, we ask the local radio station that we know the weavers listen to, to announce a special message over the air on our behalf), personal connections, and more than a little luck, we managed to coordinate a reception of all the finished weavings in August to send to our clients.

That has been it for now, though we are hoping that over the next couple of months we will be able to arrange a few more orders to be produced, even though we likely won’t be able to visit the communities ourselves.

HOW IMPORTANT IS THE TRADITION OF 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. Still today, backstrap weaving is an incredibly important component of identity in the high Andes, as much as traditional alpaca herding and the native Quechua language.

Weaving is literally at the very core

Photo Eric Mindling Photo Eric Mindling THIS PAGE LEFT TO RIGHT The village of Upis is surrounding by some stunning landscapes, including the snowy peaks of Ausangate, the tallest and most important mountain in the region; Angela, one of the artisans from the community of Totora.

of the Quechua culture, shaping personal and regional identities, and acting as a form of inter-regional communication. Some people invest 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 have 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.

DO YOUR ARTISANS PRODUCE A SPECIFIC WEAVING STYLE 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.

ARE THE COLOURS AND PATTERNS TRADITIONAL OR ARTISAN INSPIRED? Woven designs, called pallays, are handed down generation to generation, and some of them date back to pre-Incan times.

All of the pallays used in our textiles are traditional designs. The combination of a pallay and the overall design of the product may be 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.

THE ARTISANS SHOW AN EXCEPTIONAL LEVEL OF PRIDE AND SKILL. HOW DO THEY CONTINUE WITH THIS CULTURAL TRADITION OVER GENERATIONS? 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 > threads of peru S H I B U I

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Sarah Confer, (Director, Threads of Peru)

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 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 practice. 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.

AS THE FOUNDER OF THREADS OF PERU, THIS MUST ALL BE A VERY REWARDING EXPERIENCE FOR YOU. WHAT IS IT ABOUT WORKING WITH THE PERUVIAN ARTISANS THAT YOU LOVE MOST? DO YOU LIVE IN THE REGION TOO? Working with Threads of Peru has been extremely rewarding for me over the years. Since I began in 2012, I have seen it grow and develop as our 12

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product quality improved, the number of weavers involved grew, and all the interesting projects we’ve been able to be a part of, from tourism initiatives to a BBC film.

I love everything about what we do – exploring colour stories and dreaming up new products with our designer; filling up our office with yarn and textile samples. Seeing freshly dyed yarn hanging to dry in the courtyard fills me with incredible excitement.

But my favourite thing to do is actually spend time in the communities. I don’t get to go very often, and when I do, it’s usually just a day trip. On rare occasions, we’ll spend an overnight, sometimes hiking to and from the community. I love the crisp, fresh air, the still, pastoral surroundings, and of course, spending time with the weavers, enjoying a snack of boiled potatoes and home-made cheese.

Their hospitality is always so warm and welcoming, and every time I go, I am reminded about the importance of what we do, and it renews my drive to work harder to bring them more opportunities.

At the moment, I do call Cusco my home. Since around 2009, I have been splitting my time between here and Canada, where I’m from, but I made Cusco my base in 2017. Even after all these years, I never cease to be amazed at the weavers’ skill when I see them working on a new piece, and I am awe-struck at how nimbly their fingers move through the warp, dreaming up complex designs as if by magic.

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.

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WHEN PURCHASING HANDMADE, WE ARE CONNECTING WITH THE PERSON WHO MADE IT… AND CONNECTION IS WHAT BEING HUMAN IS ALL ABOUT.

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SARAH CONFER (DIRECTOR, THREADS OF PERU)

TRAVEL WILL RETURN EVENTUALLY. CAN YOU SHARE ANY LOCAL TIPS FOR VISITORS TO THIS REGION? Don’t just stick to the main attractions.

Get lost walking the narrow, cobblestoned streets of Cusco and you’re likely to stumble onto a gorgeous secret plaza, or a gem of a coffee shop. Be adventurous and take public transport into the Sacred Valley, stopping in one of the local towns for a traditional meal. One of the most enjoyable 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. My most memorable moments have been when I have ventured off the beaten path a little.

Definitely come with an open mind.

Rather than experience local life with comparison to familiarity, seek the unique differences for the most authentic way to discover another way of doing things. That's the beauty of travelling to a foreign place… feeling enriched with the knowledge of the endless possibilities this world has to offer.

WHAT HAVE THE TRIALS OF 2020 AWAKENED FOR YOU? 2020 has been a brutal year, for everyone. Whatever plans we had for this year went out the window and in many ways forced us to just stop.

As an organization we have faced a number of setbacks: sales dried up; with what few sales that did come through, we still had delays in delivery due to restrictions and lockdowns.

We've also been unable to travel to the artisan communities to check in with their situations, or give them more project work, so production of goods also dropped.

I’ve had to learn to let go a little bit, because we are not in control right now. It’s scary, but freeing at the same time. We’ve had to dramatically change how we do things at Threads of Peru, and we’re taking the time to brainstorm what comes next. In a way, it’s good to have a break from our routine which normally sweeps us up and keeps us from thinking beyond the day-to-day. threadsofperu.com |

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Photo Miguel Palomino

THIS PAGE: Ponchos date back to pre-Incan times, and remain part of the traditional dress in Andean communities. Our alpaca ponchos, like the Mayu featured here, are warm and stylish.

Photo Eleonora Collini

artisan tribute

IN LOVING MEMORY

Regina Chillihuani 1982 - 2020 Since the age of 18, Regina Chillihuani played an integral role as a key member of the Saya Ccocha Weaving Association in Upis, Peru. A small, remote community in the district of Ocongate, four hours drive from Cusco.

Sadly, Regina (38) passed away in August this year. Regina learnt to weave by her elders from the age of 7. She was highly-skilled with a charismatic personality and her invaluable contribution to the association, her community and as a lead partner with Threads of Peru since 2012, has been tremendous.

When not weaving, she also worked with her husband Victor, in agriculture and tending their herd of alpacas.

Regina is greatly missed by her family, including her husband and two children, (aged 11 and 17), her friends in Upis and of course, her extended family at Threads of Peru.

May she rest in peace and may her legacy continue to inspire and preserve this fundamental community tradition for generations to come.

THIS PAGE: Regina Chillihuani. After battling an undiagnosed illness for months, she finally succumbed on August 13th, 2020.

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S H I B U I artisan tribute

memory maker

Romania moments to savour

memory maker oana befort master artisan tribute by Mihai Patru (co-founder, Mozaique artisans) destination romania 'Quilt' illustration by Oana Befort.

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A COUNTRY OF CONTRADICTION… HARD-WORKING, EXTRAORDINARY, BROKE, YET RICH WITH AN OPULENT PAST, FASCINATING INFLUENCE OF CULTURES AND GREAT PRIDE FOR TRADITIONAL CRAFTS… ROMANIA! SHIBUI & CO. WILL PUBLISH A 'SLOW MADE IN ROMANIA' STORY IN A FUTURE EDITION, BUT THIS YEAR, WE WISH TO HONOUR TWO VERY TALENTED, ROMANIAN WOMEN…

ROMANIAN-BORN AND EDUCATED GRAPHIC ARTIST OANA BEFORT, ILLUSTRATES WITH BEAUTIFUL REFLECTION, ROMANIAN FOLK CULTURE AND HAPPY CHILDHOOD MEMORIES… WHERE DID YOU GROW UP IN ROMANIA? I grew up in a city in the northern part of Romania, surrounded by mountains.

Even though we lived in a flat, my sisters and I spent a lot of time outdoors because our grandparent's lived in either a house in the city with a garden with cherry trees that we often climbed, or a house in the mountains where we could explore forests nearby.

PLEASE SHARE A LITTLE ABOUT YOUR MEMORIES OF ROMANIA AS A CHILD. I could say I have many beautiful memories, but the first one that often comes to my mind is sitting on top of the roof of our grandparents home, eating cherries from the tree and drawing away in my sketchbooks. My most favourite memories are the ones spent outdoors exploring, caring for, or playing with animals and pretty much drawing all the time.

YOUR ILLUSTRATIONS HOLD COLOURFUL STORIES OF EVERY DAY LIFE BUT THERE IS ALSO A BEAUTIFUL LINK TO ROMANIA IN YOUR STYLE. WHAT IS ROMANIAN STYLE TO YOU? Thank you! To me, the Romanian style is heritage. I was blessed to grow up seeing my great-grandma and one of my grand mothers work on various textile projects, either using a weaving loom or working on embroidered

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CLOCKWISE FROM LEFT: 'Folk Lady'; the Poster Stamp. A collaboration with The Portlant Stamp Company for their 25th Artist Stamp (Limited Edition). Printed on water-activated, gummed paper and pinhole perforated by hand on their vintage machines; Oana, (pronounced 'Wanna') in her studio in the Midwest, United States.

aspire to do the best I can in the place where I am. With all of its ups and downs, this is still what I try to do now.

pieces. Some of these folk motifs stuck with me and I have since learnt to appreciate them more and more, the further removed I became.

YOU HOLD A MASTER'S DEGREE IN GRAPHIC DESIGN AND VISUAL COMMUNICATION AND NOW A VERY BUSY VISUAL ARTIST IN HIGH-DEMAND. WHAT WAS STUDENT LIFE LIKE AT THE NATIONAL UNIVERSITY OF ARTS IN BUCHAREST? DID YOU EVER IMAGINE MOVING TO THE USA? It was crazy-busy, scary, fun and a good learning experience overall.

When I went to college I practically had to learn how to live on my own, while learning how to navigate a huge, new city, make new friends (I still have them now), and do my best.

In 4th year, I started working as a full-time graphic designer in an international ad agency. Shortly after that, I started my Masters, got married, then a few years later, decided to freelance. I never imagined I would end up living in the States, but I always THIS PAGE: 'Feeding Time' and a folk motif printed to cards, based on Oana's hand-painted watercolour and gouache designs. Both inspired by Romanian folk culture.

YOU LIVE IN MID-WEST USA NOW. WHAT IS IT LIKE TO LIVE SO FAR FROM ROMANIA? WHAT DO YOU MISS MOST? I mostly miss the people. My parents still live in Romania and so do a few of our close friends. We were planning a trip this year with the kids, to visit some favourite spots in Bucharest, (my home for about 12 years), as well as outside the capital city.

WHAT IS YOUR FAVOURITE PAST TIME OR PLACE TO VISIT IN ROMANIA? I still can’t decide if I like the mountains or the seaside more but there are so many beautiful places to explore along the Carpathian Mountains… the castles and lakes, or in Bucharest… the Dimitrie Gusti National Village Museum is a must visit.

WHAT WOULD YOU SAY TO A FELLOW ROMANIAN HOPEFUL TO FORGE THEIR FUTURE, WHILE IN ROMANIA TODAY? I think this is a little tricky, because I don’t live there now, but like I said before, while I was living in Romania, I tried to do my best in the place with context to where I was. I also try to treat others the way that I want them to treat me. At least maybe this is a start. To make the most of where you are with what you have, and to do things you enjoy, everyday. oanabefort.com |

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artisan tribute

in loving memory

Maria Zapca kindly contributed by Mihai Patru (co-founder, Mozaique artisans) destination romania

1962 - 2020

MARIA ZAPCA WAS A MASTER OF TRADITIONAL WEAVING IN ROMANIA AND AN INTEGRAL PARTNER WITH MOZAIQUE ARTISANS, WHO WORK CLOSELY WITH TRADITIONAL ARTISANS IN ROMANIA, GUATEMALA AND IMMIGRANT GROUPS IN CALIFORNIA. CO-FOUNDER AND CEO, MIHAI PATRU IS ALSO ROMANIAN, (BASED IN CALIFORNIA).

HE'S AN ADVOCATE FOR SLOW MADE CULTURES AND HAS DEVELOPED A FINANCIAL SUPPORT SYSTEM TO EMPOWER THESE TRADITIONAL COMMUNITIES FOR MODERN TIMES. MIHAI KINDLY PAYS TRIBUTE TO A GREAT ROMANIAN LADY, WHO'S LEGACY WILL CONTINUE THROUGH THE HANDS OF ARTISAN WEAVERS FOR MANY YEARS TO COME. Our collaboration with Maria Zapca started in 2018, following a couple of years working with master artisans in the Western Highlands of Guatemala. Working with Romanian artisans had been our priority from the start.

On our first visit toSapanta, (Maramures County) where Maria lived, we were looking for an artisan partner who was open to new design possibilities while able to use traditional techniques.

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Our mission was to develop a system allowing artisans to preserve their traditions while creating opportunities and financial security.

Maria was the perfect person to partner with. She was more than an experienced and outstanding weaver. She was a keeper of traditions, a fabulous storyteller, an educator and a community leader. She was a visionary who understood that traditions, although about the past, should be glorified in the future. Her entire life was about protecting, preserving and passing on Romanian traditions, stories and history.

There are still some amazing weavers in Romania but Maria also had the energy to make things happen. She was constantly on the move making sure that no day passed without trying something new, pushing her creativity and challenging herself.

Maria was not only an exquisite weaver, but also an outstanding embroiderer.

Anything that involved wool, cotton… any natural fibres… Maria was able to turn into amazing functional art pieces. Her storytelling skills were equally as important, contributing to local culture and weaving traditions. All of these attributes make up… 'made by Maria Zapca'.

We had the privilege to work alongside Maria over two summers prior to her unexpected death earlier this year. Spending time with Maria was an experience in itself… a mix of weaving, sharing stories, ideas and learning about village life and traditions. One day, a group of about 20 children stopped to visit her workshop. Instantly, Maria changed from 'weaver sitting silently on her wooden chair in front of the heavy foot loom', to an energetic storyteller capturing everyones attention for over an hour. The way she presented herself… always wearing the local, traditional outfit… some elements inherited from her mother and grandmother, other elements created by herself.

Maria will always be remembered as an inspirational force, whether locally or at a national level. We hope there will be a collective effort to preserve her legacy by sharing her stories and protecting her notes and books about weaving, patterns and colours. But the most important way to preserve Maria's legacy, is to continue her efforts to protect local traditions and crafts.

Maria is dearly missed, not only in her village, or nationally in Romania, but by weaving enthusiasts all over the world. May she rest peacefully. mozaique.co | THIS PAGE: A Romanian artisan weaver, beautifully illustrated by Oana Beford, inspired by Romanian folklore. oanabefort.com/collections/folk-collection

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storyteller

WILD TASTE OF

WONDER-LUSH GLOBAL STORYTELLER EMILY LUSH

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WITH 50 COUNTRIES IN 5 YEARS MAPPED OUT IN HER SOUL, IT'S FAIR TO SAY, EMILY LUSH LOVES TO TRAVEL. SHE'S A STORYTELLER WITH ALL THE SAVVY SOCIAL SKILLS TO MANAGE WORK ON THE ROAM. HER PASSION FOR INDIGENOUS AND CULTURAL SUSTAINABILITY ARE WELL-PRESERVED IN HER WORDS AND IMAGERY. SHE'S A 'BRISSY' GIRL (AUSTRALIAN), NOW BASED IN TBILISI, GEORGIA. THE CAUCASUS REGION IS HER CURRENT LIFESTYLE MUSE. WOW. OVER 50 COUNTRIES EXPLORED IN 5 YEARS. WHERE AND WHY DID YOU START TRAVELLING AND HOW WILL YOU KNOW WHEN IT IS TIME TO STOP? I’ve travelled my whole life, starting with family trips when I was 5 or 6 years old. While studying at university I took my first trip to Southeast Asia with my then boyfriend (now husband), and fell completely in love with that part of the world. So much so, I returned a year later to do an internship in Luang Prabang, Laos, and that’s when I became interested in a different kind of travel style – spending longer periods in one place and really getting to know a town, city or region.

That first ‘expat’ experience shaped the way I travel today.

Last year (2019), I travelled non-stop for 10 months. Even though it was a great experience, I pretty quickly realised that moving around at such a fast pace just isn’t for me. But this year (2020) is quite different. I now

have a home base in Tbilisi, Georgia and enjoying the focus on local travel around the Caucasus.

I will never stop travelling either.

It’s always been my passion and is essential to my work.

IS THERE ONE PLACE OR TRAVEL EXPERIENCE THAT WAS SO PROFOUND IT CHANGED YOU AS A PERSON? My first trip to Southeast Asia almost 10 years ago had a huge impact on me.

Prior to that, I had only really travelled in the US and Europe and a few places in East Asia. That trip opened my eyes to a number of global issues I was naïve to, which influenced me to look beyond journalism and writing, to pursue a career in International Development.

After I finished my Masters degree in Communication for Social Change, I eventually lived and worked in many of those countries I visited. >

FAR LEFT TO RIGHT: A market vendor’s basket parked outside Central Market in Phnom Penh, Cambodia; The guest storyteller herself, Emily Lush; Waiting for a marshrutka (taxi), at the bus station in Vanadzor, northern Armenia.

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WHAT CAME FIRST FOR YOU... WRITING OR YOUR SENSE OF WANDERLUST? Writing. I studied Journalism as my undergraduate degree and have always loved writing. I love researching, interviewing people and the process of putting a story together. Travel provides so many opportunities for that. In the past couple of years, I’ve gravitated more towards photography and visual storytelling, but writing will always be my first love.

YOU ARE AN AUSTRALIAN NOW BASED IN TBILISI, GEORGIA. HOW DID YOU FIND YOUR WAY THERE AND WHAT IS ABOUT TBILISI, OUT OF ALL THE OTHER PLACES, THAT HAS YOU GROUNDED FOR A WHILE? I first travelled to the Caucasus in 2017 and have been back twice since. This part of the world really resonates with me… the history, the culture and the food in particular.

Georgia is a small country but even if I stayed here for the rest of my life, I wouldn’t run out of things to do or places to see. Now is a very exciting

time to be here, as tourism is getting off the ground and there are new projects popping up all the time. It’s exciting to be involved in that, and it’s a privilege to be able to support community initiatives and small businesses that prioritise responsible tourism. I will always keep coming back here; it’s my happy place.

WHAT IS THE FIRST COUNTRY YOU VISITED AND WHAT OTHER COUNTRIES HAVE YOU LIVED IN? My first overseas trips were to Fiji and Vanuatu with my family. Apart from Australia, I’ve lived in Thailand, Vietnam, Cambodia and now Georgia.

PLEASE TELL US A LITTLE ABOUT YOUR CHILDHOOD AND WHERE YOU GREW UP IN AUSTRALIA. A COUNTRY SO FAR AWAY FROM MOST PLACES, WHAT OR WHO WAS IT THAT INSPIRED YOU TO EXPLORE THE WORLD SO INTENTLY, AND ESTABLISH YOURSELF AS A FULL TIME TRAVEL BLOGGER? I grew up in Brisbane. I’m very fortunate that my parents are both >

FAR LEFT TO RIGHT: Morning market in Hanoi, Vietnam; A monk walks in front of the gates to the Royal Palace in Phnom Penh, Cambodia.

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passionate travellers and thought it important for my sister and I to have those experiences at an early age.

I never intended to become a blogger, but I always wanted to be a writer. When I first left Australia, I didn’t really have a firm plan. I started blogging for fun, never thinking it would turn into a source of income or a career. It wasn’t until about 3 years later that I started taking it seriously and setting goals.

I’m not a full time travel blogger – I also freelance as a writer, photographer and communications consultant. Blogging takes up about 75% of my time.

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YOUR INSTAGRAM PAGE IS AN ENVIABLE COLLECTION OF STUNNING IMAGES FROM ALL OVER THE WORLD. YOU TRAVEL, YOU WRITE, YOU TAKE PHOTOS AND YOU HAVE A GREAT PORTFOLIO OF STORIES PUBLISHED WITH AN IMPRESSIVE SOCIAL MEDIA FOLLOWING TO PROVE IT. THERE IS NO DOUBT YOU HAVE NAILED A WAY TO TRAVEL FOR WORK SUCCESSFULLY. CAN YOU SHARE ANY HIGHLIGHTS AND/OR HURDLES THAT MADE YOUR CAREER TAKE OFF, (LITERALLY)?

Looking back, the most important step was the first one – having the conviction to leave Australia and go live in Southeast Asia when I didn’t have a plan and a lot of people

FAR LEFT TO RIGHT: Architecture in the Old Town of Tbilisi, Georgia; An alleyway in Ipoh, Malaysia; Colourful buildings in Lisbon, Portugal.

more, start a second blog, write a book, the list goes on.

I’m extremely lucky to have the support from my partner and family. I really couldn’t do all this without them.

WHAT DO YOU LOVE MOST ABOUT WHAT YOU DO?

around me were sceptical. I always try to have an abundance mentality and put (often blind) faith in the belief that opportunities will come up and things will work out.

Another important thing has been finding my voice and understanding my audience. Travel writing is a very crowded space, so you really need to work hard to stand out. Figuring out what I’m passionate about and how to find those stories was crucial.

I’ve always been interested in culture, especially handicrafts and textiles, so I started writing on those topics and things progressed from there. It’s a constant process though. There are so many things I’d love to do – freelance

The best thing about my job is meeting people and sharing their stories. I always seek out social enterprises, community based tourism projects and the like when I’m travelling, and I try to highlight these as much as possible on the blog.

WHAT HAS BEEN YOUR MOST TREASURED TRAVEL MEMORY SO FAR? It’s hard to pinpoint a specific memory, but it’s usually the small things that I remember most fondly.

My first trip to the Caucasus is packed with so many experiences that I treasure. We stayed with a family through Airbnb and one Sunday, they invited us over to learn how to make khinkali (Georgian dumplings) before serving up an amazing spread of food.

We sat and talked with them for hours. >

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“

IN TERMS OF TRAVEL, I THINK 2020 WILL REMIND US THAT NON-ESSENTIAL TRAVEL IS AN IMMENSE PRIVILEGE AND NOT A RIGHT. AS THE INDUSTRY REBUILDS, IT’S AN OPPORTUNITY TO LEAN TOWARDS A MORE ETHICAL AND SUSTAINABLE KIND OF TOURISM. I HOPE THINGS CONTINUE TO MOVE IN THAT DIRECTION.

”

EMILY LUSH

AS A TOTAL TRAVEL ADDICT, HOW DO CHOOSE YOUR NEXT DESTINATION? I very rarely travel for leisure, so deciding where to go next is a strategic business decision. I consider what areas my readers would want to learn about, what would compliment my existing content, and where I might find a good story. It sounds boring, but that’s the reality of being a blogger.

On a personal level, I know the places I love spending time, and I tend to re-visit places I have a strong connection with. I’m not interested in counting countries or going everywhere – quite the opposite.

Southeast Asia and the Caucasus are the two regions I’m most interested in. As well as revisiting those countries already mentioned, my focus going forward will be on ‘stitching’ the two regions together by exploring more of Central Asia and Eastern Europe.

THIS YEAR HAS PRESENTED A GREAT VOID FOR TRAVEL. HOW HAS COVID 19 IMPACTED OR INSPIRED YOU? DO YOU KNOW WHERE YOU WANT TO TRAVEL TO NEXT WHEN THE WORLD OPENS UP? The pandemic has obviously had a huge impact on my business and livelihood. It’s been tough, but at the same time it’s been an opportunity to re-evaluate my goals. In an industry that’s very go-go-go, it’s rare that you get a chance to pause. In the downtime, I’ve been focusing on addressing small jobs that were constantly put on the back burner – mostly behind the scenes stuff.

When I start moving around again, it will be very slowly and cautiously.

I don’t plan on travelling beyond Georgia until I go back to Australia next year. Apart from that, I’m hoping to get back to Southeast Asia at some point in the next 24 months.

WHAT IS YOUR ‘MUST DO’ TRAVEL TIP THAT YOU CAN’T WANDER WITHOUT? Be open-minded, have an abundance mentality and don’t be too steadfast in your plans. As someone who loves spreadsheets and usually breaks everything down into minute details, it’s a challenge!

But having more flexibility and going with the flow sometimes (not always, but sometimes) is the only way to open yourself up to new experiences.

WHAT A YEAR. HOW DO YOU FEEL IT HAS ALTERED THE WAY WE VIEW THE WORLD? IN A FEW YEARS FROM NOW, HOW DO YOU SEE 2020 IN REFLECTION? Yes – in every way imaginable. 2020 will probably be looked back on as a turning-point year. I hope that in the long-term 2020 will make us think more seriously about things like sustainability and self-sufficiency. It’s shown us just how interconnected our planet is.

In terms of travel, I think 2020 will remind us that non-essential travel is an immense privilege and not a right. As the industry rebuilds, it’s an opportunity to lean towards a more ethical and sustainable kind of tourism. I hope things continue to move in that direction. wander-lush.org |

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SLOW MADE

COLLABORATING ON A DAILY BASIS WITH ARTISAN COMMUNITIES OF WOMEN IN GHANA AND RWANDA, IS THE NOT-FOR-PROFIT GUIDING FORCE BEHIND INDEGO AFRICA. AS 'THE YEAR OF TESTING RESILIENCE' GLOBALLY, COLLECTIVE RELATIONS TO SUPPORT INDIGENOUS CULTURES IS URGENT. THIS PARTNERSHIP HAS MADE THE DIFFERENCE. RESTORING WORKFLOW, ARTISAN MORALE AND INSPIRING MORE JOY TO THE WORLD,

IT'S A SLOW-WOVEN

WORLD SLOW MADE Indego Africa and artisan partners

Interview with Sapna Shah (Director of Brand and Operating Strategy, INDEGO AFRICA) photography contributed by INDEGO AFRICA COUNTRies Rwanda & Ghana (INDEGO AFRICA is based in New York, USA)

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Anna Watts Photography

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Anna Watts Photography

Abstract Form Plateau This is a signature color blocking design that is fun and vibrant. Using a timehonored Rwandan weaving technique, our artisan partners use a needle and thread to wrap handdyed strands of sisal (the inside fibers of an agave plant), around bunches of sweetgrass to create tightly coiled, durable baskets in an impressive range of patterns and colors.

HOW, WHEN AND WHY DID THE INDEGO AFRICA VISION BEGIN? Since 2007, Indego Africa has been propelling the creation, growth, and sustainability of women-owned businesses in Africa by providing artisans with a global market for their handmade products and investing in their education.

What began as a model to empower artisan women in postgenocide Rwanda has grown into an unwavering commitment to help artisans, unemployed youth and refugees across Rwanda and Ghana participate in the artisan economy.

As a not-for-profit, we invest donations plus profits from product sales into the business, vocational and leadership training for two generations of women who handcraft our products.

IT MUST BE AN ENRICHING EXPERIENCE TO BE COLLABORATING WITH THESE COLOURFUL AFRICAN COMMUNITIES ON A DAY-TO-DAY BASIS. WHAT IS THE MOST REWARDING PART OF PARTNERING WITH THE ARTISAN WOMEN OF GHANA AND RWANDA? Fostering a collaborative partnership with our artisan partners has been really rewarding. Whether working together in person or communicating virtually, Indego Africa has a culture

where everyone’s voice is heard.

Engagement and feedback from the artisans is truly valued. I’m constantly inspired by how much dedication and passion for craft our partners have.

Their resilience to continue working through business challenges that arise, and the pride they share during their cooperatives’ successes makes our mission even more tangible.

WITH ALL THAT CONTINUES TO RAVAGE THE WORLD THIS YEAR, HOW ARE YOUR ARTISAN FAMILIES DOING? HAVE YOU BEEN ABLE TO CONTINUE WORKING WITH THEM DURING THE PANDEMIC? WHO DO THEY TURN TO FOR SUPPORT DURING DIFFICULT TIMES? As an organization committed to deep engagement in the communities we work in, our local teams in Rwanda and Ghana kept in touch with our artisan partners throughout the lockdown to help address the effects the pandemic is having on their lives.

Rwanda went into lock-down for 6 weeks, and Ghana for 4 weeks. The economic fallout from the pandemic was truly global, and this time of uncertainty has taken a financial and emotional toll on our artisan partners.

With 75% of our artisan partners being the primary earner of their family, a pause in income is not sustainable for their family’s basic needs. >

LEFT: Artisan weaver Gloriose makes beautiful baskets in partnership with Indego Africa and Cooperative Weaving.

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Geo Plateau (Black and White) One of Indego Africa's best-selling signature plateaus with a one-of-a-kind handwoven design. Made from locally sourced fibres, hand dyed and made with strands of sisal wrapped around bunches of sweetgrass.

Slow made in Rwanda.

To address this period of continued global economic uncertainty, Indego sent out a call to action to donors to form an Artisan Livelihood Protection fund to provide steady income for 1,000+ artisans and their families through steady product purchases from July – December 2020, bearing the commercial risk and building inventory. As government lock-down restrictions eased in May, 83% of the women were able to travel to their cooperatives to begin working on Indego Africa purchase orders.

By June, following social distancing procedures, all the artisans were back at work.

HOW DOES IA WORK WITH THE ARTISANS? WHERE DOES THE CREATIVE INSPIRATION BEGIN? There is such a rich history of craft that has existed for generations

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within the communities we partner with in Rwanda and Ghana. Part of Indego Africa’s mission is to preserve the integrity of these crafts and collaborate with the artisan women in creating beautiful, modern pieces that connect with a global market. From developing new shapes and patterns for our woven baskets, accessories, and home décor collections, the design and development process is a true partnership, where we learn from each other on what is possible and what would work best within our expanding collections.

Both Rwanda and Ghana are immensely inspirational in their landscapes, lush natural colors, bustling street markets and vast agricultural fields. It’s impossible to not find an array of ideas for patterns, textures and colors amongst these

Anna Watts Photography Anna Watts Photography

Copabu Wood and Raffia Tray a new artisan design that combines hand-woven strands of raffia wrapped around bunches of sweetgrass and tied to a hand-crafted timber base.

scenes and landscapes. We strive for authentic storytelling through our product and programming and connect the customer with the artisans who make these unique, handcrafted pieces. Our Indego teams on the ground in Rwanda and Ghana play an integral role and are the ones communicating and traveling throughout each week with all of the artisan cooperatives. They keep the production moving and it is an incredible process to witness as there is a lot behind the scenes that goes into each Indego Africa product.

SHARE AN INSPIRATIONAL MOMENT? A truly inspirational moment occurred this week – five artisan women from two cooperatives we partner with at Mahama Refugee Camp in Rwanda applied and were accepted to repatriate back to Burundi through UNHCR and the governments of Rwanda and Burundi. These women have been at Mahama Refugee Camp for five years and are part of the inaugural group of 558 Burundians who are repatriating.

Since 2016, Indego has been training and working with Burundian refugees at Mahama to improve their livelihoods and build long-term and transferable careers in the global artisan industry. It is beautiful to see how impactful our work with the artisan cooperatives in Refugee Camps .The five who are repatriating have all expressed their desire to carry forward their weaving and entrepreneurship skills back to their home country of Burundi. One of the five women, Jacqueline, stated, “Weaving is the key in my life when I will go back to Burundi because there are no people who are weavers like us where I will be living. Hence it will be the key skill to sell and teach the rest of my community in terms of making money.”

WHAT IS A FAVOURITE PLACE TO TRAVEL TO AND WHY? The first time I visited Rwanda, I was in awe of the country’s rich landscapes and the endless lush green farms spread across the many rolling hills.

You immediately understand why >

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BOLGA SHOPPER-ORANGE BATIK HANDLE is woven out of local elephant grass using a quintessential Ghanaian technique hailing from the country’s northern Bolgatanga region. Artisans first soak the grass in water, then twist the strands together in small bunches to create durable baskets and handbags. An added bonus, the handles are wrapped in hand dyed batik fabric made by women artisans in the Tamale region of Ghana.

the country is called the Land of a Thousand Hills. Visiting countries in Africa immediately draws you in, not only because of the beautiful, unique landscapes, but the diverse cultures and humbleness and heart of so many people you meet, and Rwanda is no exception. It is a country that has proven its resilience and strength in rebuilding communities post-genocide. The Rwandan people are kind, full of hope and vibrant and share a drive and enthusiasm to collaborate and create. I look forward to visiting again when possible and working alongside our team and artisan partners.

ALREADY REMOTE BY LOCATION AND NOW WITHOUT TYPICAL TRADE AND TOURISM, WHAT HAS BEEN THE MOST VALUABLE WISDOM THAT IA HAS NOTICED, THAT IS HELPING KEEP ARTISAN MORALE AND POSITIVE COMMUNITY SPIRITS GOING STRONG? The global pandemic has really amplified the fact that community based, women-owned artisan cooperatives play such an important

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Anna Watts Photography

Anna Watts Photography

BRAIDED RAFFIA TRAY is handwoven and inspired by natural coastal textures and natural color. Slow made from locally sourced, handbraided raffia with double handles that makes it a sturdy yet lightweight and functional design.

role across Rwanda and Ghana in not only generating employment and reducing intergenerational poverty, but improving emotional quality of life.

Our artisan partners have expressed to us that just being able to gather in small numbers again, within their cooperative, has lifted their spirits and increased their joy.

2020 IS UNLIKELY TO BE FORGOTTEN IN A HURRY. WHAT HAS BEEN LEARNT AND HOW CAN THE WORLD COLLECTIVELY HELP TRADITIONAL CULTURES AND ARTISAN COMMUNITIES SURVIVE INTO THE FUTURE? At Indego, our ethos has always been grounded in caring about the lives of others through

Brittany Barb Photography

leadership, action and collaboration. It is important for us all to remain open to sharing our resources in order to help other individuals and organizations move through difficult times. Living through a global pandemic has truly reinforced this sentiment.

IS THERE ANYTHING ELSE YOU WOULD LIKE TO ADD? Indego Africa is a global team that truly prides itself on maintaining a collaborative culture and a connected relationship with the artisans we work with. Our artisan partners share our passion for education, design, and the future of their country, and it’s a common bond that connects us as partners.

ABOVE: Artisan weaver Josepha in Ghana.

Our wonderful local teams in Rwanda and Ghana oversee and implement Indego’s direct social impact programs and production logistics, so they are with the artisans, day-today, sitting down with these women and discussing their lives, their goals, and their insights into our work and our partnership. Many of our programs and educational initiatives, including the Artisan Livelihood Protection Fund, were started because of feedback from our partners. We are deeply invested in these communities, and it is so important to us to make sure the opportunities and support we are providing are relevant to and helpful in their lives. indegoafrica.org |

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BERBER

dreaming

SLOW STAY Berber lodge interview with Romain Michel Meniere (owner and interior designer, berber lodge.) photography contributed by Debbie trouerbach and brogan Chidley destination OUMNASS, morocco

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slow stay

IF YOUR TRAVEL DREAM IS TO GET LOST IN THE CHAOS OF SOUKS AND SIDE STREETS IN MARRAKECH, THERE'S A SLOW STAY NOT FAR AWAY, TO REST YOUR WEARY FEET AND TAKE YOUR MIND TO A MILLION WORLDS AWAY…

Photo Brogan Chidley

BERBER LODGE IS AN ELEGANT LOVE STORY BETWEEN THE VILLAGE OUMNASS, BERBER LIFE AND OWNER ROMAIN MICHEL MENIERE, A FRENCH-SWISS INTERIOR DESIGNER WHO HAS CREATED AN AUTHENTIC, MOROCCAN DREAM, LOCATED IN AN ANCIENT VALLEY OF OLIVE GROVES AT THE FOOTHILLS OF THE ATLAS MOUNTAINS. AND, B R E A T H E...

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Photo © Berber Lodge Photo Brogan Chidley

TRADITIONAL CULTURE, CRAFTSMANSHIP, CUISINE AND ARCHITECTURE, BERBER LODGE REPRESENTS AN AUTHENTIC, SLOW STAY EXPERIENCE INTO THE BERBER WAY OF LIFE FOUND IN OUMNAS VILLAGE, NOT FAR FROM MARRAKECH. WHAT IS IT ABOUT BERBER LODGE THAT CONNECTS IT SO CLOSELY TO THE LOCAL WAY? Berber Lodge is a beautiful love story between myself, the village of Oumnas and its inhabitants.

I’m Swiss-French but moved out to Morocco in 2002. As an interior designer it was important to me to really connect with the Berber culture and lifestyle before starting this project. Their customs, craftsmanship and the wonderful simplicity of their local architecture… I wanted to create a place with the deepest regard for their local way. Above all, the Berber way of life is a state of mind. They are modern men who have retained

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much of their traditional culture, cuisine, contemplative practice and joyful zen. This is what I hope resonates for guests with their stay at Berber Lodge.

WHAT ARE SOME OF THE HIGHLIGHTS FOR GUESTS STAYING AT BERBER LODGE? It’s very simple as I describe. The notion of nothing but everything all at the same time. There is a magical ambiance that can only be described as a ‘vibe’ that resonates from the peaceful surrounds. It’s a very relaxing place to recover after an experience amidst the hectic pace of Marrakech.

Berber Lodge is a wonderful place to unwind and let time pass with quality moments to enjoy comfort with stylish simplicity. By the pool is a restorative retreat, or there is a nice, little hill where guests (and locals) can walk to watch the sunset, which is a beautiful way to surrender into Berber time.

Photo © Berber Lodge Photo Debbie Trouerbach Photo © Berber Lodge

Our dining experience is another wonderful way to relish local ways.

Our chefs recreate meals inspired by local cuisine using only fresh local produce or daily harvests from our own garden.

Our wine menu is a unique selection of organic, Moroccan wine (sulfatefree) from the region of Val D’Argan, Essaouira and the cocktails are handcrafted with fresh, local twists.

Everything we do here is authentic to the lifestyle and region.

THE GENTLE BEAUTY OF COLOUR REFLECTED FROM THE SURROUNDING LANDSCAPE INTO THE ARCHITECTURE AND INTERIOR OF BERBER LODGE CREATES A VERY CALMING BACKDROP TO SURRENDER EACH DAY. IS THIS A TYPICAL STYLE TO THE REGION? WHAT ARE THE BUILDINGS MADE FROM? Thank you. Our lodge is a tribute to the local way of life and particularly the Berber architecture found in Arabic-styled medinas, called Arabic Andalous. Classic Berber >

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Photo Brogan Chidley

Slow stay

Photo Debbie Trouerbach

Photo Š Berber Lodge

Photo Brogan Chidley Photo Debbie Trouerbach

The beauty of functionality with simplicity of traditional Berber architecture has inspired some of the most famous, modern architects, such as Mexican architect Luis Barragán or Swiss-born architect Le Corbusier.

Photo Brogan Chidley

Photo © Berber Lodge

Photo Debbie Trouerbach

architecture is made with earth, as most Berbers were located in the north of Africa. But as you get closer to the Atlas Mountains, many buildings are made with stone or a mix of earth and stone.

(Editor's note: In 2016, 17 of Le Corbusier’s buildings in various countries were added to UNESCO’s World Heritage List.)

ARE BERBERS STILL MOSTLY NOMADIC? HOW FAR DO THEY ROAM AND WHAT IS THEIR MODE OF TRANSPORT? No. Berbers, being one of the oldest social groups are in fact a mix of ethnicity, but they share same traditions, culture, language and history. Some were desert nomads… >

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Photo Brogan Chidley

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WHERE DO WE FIND BERBER LODGE?

Berber Lodge is located only 25 kms from Marrakech, between the desert of Agafay and the foothills of the Atlas Mountains. It is in an ancient valley that is a 100 year old olive grove.

HOW DO WE GET THERE?

By car or taxi from Marrakech. A bus is also available but there is a 20 minute walk from the bust stop and the possibility of getting lost is likely.

WHAT DO WE BRING?

Bring a book and the person you love… your child, your best friend, your sister… it’s a place to escape the crowds with your loved one.

WHEN IS THE BEST TIME TO VISIT?

There is no best time. We adore every season here. Mid-summer can get hot although many like this dry time of year.

Generally, guests from Europe start arriving from the beginning of their winter, making from mid-September to later in June a popular time. February here is amazing too!

HOW DO WE BOOK?

Bookings can be made directly via our website. Please visit berberlodge.net Email enquiries are also welcome: hotelberberlodge@gmail.com

Photo © Berber Lodge

Photo Brogan Chidley

SLOW STAY FAST FACTS:

like the Tuareg people who travelled with camels on the Sahara Desert… but today, most Berbers have settled in the valleys near here. As an easy way to organise and manage a sustainable lifestyle around agriculture. These Berbers originally relocated inland to escape foreign invaders, such as the Arabs and Greeks who were more interested in staying close to maritime trades at the time.

Not all Berbers have crafts though.

The Berber d’Oumnes, (same region Berber Lodge is located) are traditionally shepherds and olive grove farmers. However, the Berbers further inland in the middle Atlas Mountains region specialise in textiles and rugs.

IS THERE A TRADITIONAL CRAFT THAT ORIGINATES FROM THIS REGION? There is a little village close by that is renowned for textile weaving. This tradition is very important to their community. We support locals as much as we can. The guest towels and dining napkins are all handmade by the weaving artisans of this village.

Some of the interior features are also locally made. >

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Photo Brogan Chidley

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Slow stay

Photo © Berber Lodge

“

EVERY STAY AT BERBER LODGE IS A REFLECTION OF YOUR SOUL AND A TOTALLY UNIQUE EXPERIENCE. MOSTLY UNFORGETTABLE FOR ITS AUTHENTICITY TO THE LOCAL WAY OF LIFE. BERBER VIBES INSPIRE JOY. THIS CREATES AN HONEST MOROCCAN MEMORY TO SAVOUR FOR A LIFETIME. ROMAIN MICHEL MENIERE

Photo Brogan Chidley

MARRAKECH IS A MUCH LOVED TRAVEL DESTINATION NOT FAR FROM BERBER LODGE. WHAT MAKES THIS PART OF THE WORLD SUCH A DESIRABLE EXPERIENCE? Wow! Marrakech is definitely a travel experience to make in a lifetime!

Morocco too, has so much to offer.

Marrakech is definitely not a ‘slow’ experience. It’s exactly the opposite in a culturally rich and authentic way. That is what makes Berber Lodge such a great ‘slow stay’.

Guests can escape the hustle of Marrakech to slow things down to a local level.

”

Photo Debbie Trouerbach

Every stay at Berber Lodge is a reflection of your soul and a totally unique experience. Mostly unforgettable for its authenticity to the local way of life. Berber vibes inspire joy. This creates an honest Moroccan memory to savour for a lifetime.

berberlodge.net |

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100% Cotton Face Masks made by artisans in Bagru, hand block printing every mask using generations-old techniques

U S D 5 5 F O R A P A C K O F 5 A S S O R T E D M A S K S

F R E E S H I P P I N G W O R L D W I D E

Support Local Artisans https://www.studiobagru.com/masks

WELCOME TO OUR (NEW) SLOW WORLD STORE*

SLOW. FAIR. NATURAL. TRADITIONAL. WORLD-CLASS.

SHIBUI STORE

PRODUCT OF THE MONTH PRE-ORDER NOW!*

Photo @AAKS

PROMOTION IN AUST. ONLY PURCHASE BY 30 NOVEMBER 2020 DISPATCH DECEMBER 2020

THIS PAGE: 'Product of the month', AAKS Sinsi Dot bag is available in Australia on pre-order during November 2020 at shibuiandco.com. Details page 47.

* We only support slow, fair, natural and traditional artisan brands.

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ALBION 360 DESKTOP GLOBE by Bellerby & Co. Globemakers* Handcrafted and hand-painted by a highly-skilled artisan team in London, every globe is a bespoke work of art and timeless collector piece. Artisans work directly with customers to finalise details including; colour, illustrative or painting styles, featured destinations and historic or personal travel routes. The base is handcrafted and turned by Bellerby & Co. using only the most beautiful pieces of wood. The globe sits on ball bearings to spin 360 degrees in a fluid motion by hand and easily lifted from its base to be explored from any angle.

Size: 36cm diameter (The Albion 360 globe sizes range from 22cm to a huge 127cm diameter, suitable as a small desktop globe or as a statement floor or large table globe, for interaction at super scale.)

Colouring: 'Gagarin', which is an artistic representation of earth from space, hand-painted with reference to satellite images and named after Uri Gagarin, the first human to venture to outer space.

Shipping: The Albion Globes (22cm, 36cm and 50cm) are packed in an attractive 'flight case’ for safe shipment from London, worldwide.

Pricing starts from $3530rrp (GBP 2708.00)

Available at bellerbyandco.com

* Meet the artisans behind Bellerby & Co. in our next editon, SHIBUI Issue 8

SLOW WORLD LOVE

COMFORT SELF WITH WORLD IN MIND. THIS YEAR ENDS WITH EVERY REASON TO ACT WORLDLY, WISE AND KIND...

Love Stories Bali is a women-led, slow-fashion brand wearing the concept that the world needs more kindness and every garment made, is handcrafted by local artisans, using traditional craftsmanship.

SARI BOXY LOVE TEE (one-size) is made with organic cotton and comes in 3 lengths and various plantbased colours, dyed by hand. (Blue is extracted from the strobilanthes cusia leaf and black is extracted from the ketapang leaf.)

Every purchase supports a cause with 50% of net profit donated to a local preschool fund to help set up a 'model' green school, while providing under-privileged Balinese children with early-learning opportunities.

$44rrp (IDR 704,350) Available at lovestoriesbali.com

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(January 2021).

Whether for self love or for sharing love with others, PURE LOVE AURIC SPRAY

by Bali Pura is a beautiful way to start every day, harmonising the heart chakra to inspire a deeper sense of self-awareness and inspiring confidence to face the world with compassion and grace.

Crystal-infused and handblended in Ubud with a mix of 100% pure essential oils, Bach Flowers and locallysourced, volcanic, spring water that is cleansed, then blessed under the full moon by a Balinese priest.

Ylang Ylang and Cempaka enhance the love vibes. $29rrp (AUD 40.00) Available at shibuiandco.com

This POSITIVITY MALA from the Promise Yourself collection by Aum Radraksha Designs has been handcrafted in Bali with traditional Rudraksha seeds, the most ancient prayer beads in the world, sourced locally and sustainably grown in Indonesia.

"WHEN YOU ARE JOYFUL, GRATEFUL AND PROJECT POSITIVITY INTO THE WORLD YOU WILL SHINE LIKE THE SUN." This mala features Smoky Quartz which helps relieve stress and anxiety, calms the mind and disperses fear to lift negativity to encourage positive thoughts.

Details: 108 Rudraksha beads (7mm), gold-plated detail with Smokey Quartz and a natural, cotton tassel. 49cm long.

$30rrp (IDR 440.000) Available at aumrudraksha.com

* All prices are shown in USD. We only support slow, fair, natural and traditional artisan brands.

SHIBUI STORE

PRODUCTS OF THE MONTH

BLEND OF THE MONTH

Details: Woven raffia, 100% leather strap and linen lining with inner pocket. H 15cm x W 24cm. $180RRP (GBP 140.00) + postage.

PRE-ORDER NOW!* 1

SHIBUI STORE

2 The BAW POT NATURAL mini bag is a cult favourite for AAKS, skilfully made and decorated with a fringe detailing.

This wearable bucket shape features a cross-body strap and fresh, natural colour combo to wear with almost everything.

PROMOTION IN AUST. ONLY PURCHASE BY 30 NOVEMBER 2020 DISPATCH DECEMBER 2020

PRE-ORDER NOW! PROMOTION IN AUST. ONLY PURCHASE BY 30 NOVEMBER 2020 BATCH & DISPATCH DECEMBER 2020

Details: Woven raffia, 100% leather strap and linen lining with inner pocket. H 15cm x W 16cm. $160RRP (GBP 120.00) + postage.

* Both products are available in Australia on pre-order during November 2020 at shibuiandco.com

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Akosua Afriyie-Kumi is the owner/ creative director behind AAKS. All bags are handcrafted in Ghana and her team of traditional weaving artisans are passionate about preserving the character of traditional influences and have recently been super busy 'slow' making to keep up with an exciting burst of worldwide demand.

(Turn to page 56 for Akosua's inspiring 'slow made' story.)

Available worldwide at aaksonline.com

"… WE HAVE ONE FINAL CHANCE TO CREATE THE PERFECT HOME FOR OURSELVES AND RESTORE THE WONDERFUL WORLD WE INHERITED.' A legacy-defining and most timely book by SIR DAVID ATTENBOROUGH, reflecting on his life's work, the dramatic changes to the planet he has witnessed, and what we can do to make a better future.

See the world. Then make it better. $29rrp (AUD 40.00) Hardback, audio and e-book available at penguinrandomhouse.com

SHIBUI STORE

1 The SINSI DOT bag is a fave summer pick and ideal for travel too, (whenever that happens). It's a perfect size and shape to carry the daily essentials everywhere.

b r e a t h e… deeply. It's been a big year. 100% natural. Certified organic.

Slow made. deeply by SHIBUI & Co. is a refreshing, cleansing, anti-bacterial, travelfriendly blend to help inspire respiratory calm. Add a few drops to face mask or massage into chest and breathe… deeply.

Ingredients: Illicium verum (Anise), cymbopogon flexuosus (Lemongrass), melaleuca viridiflora (niaouli) leaf, myrtus communis (Myrtle) and thymus vulgaris (Thyme) therapeutic grade essential oils, diluted in a base of fractionated (unscented) coconut oil.

$29rrp (AUD 40.00), 20ml.

Available at shibuiandco.com

Huggably soft, this PALLAY PILLOW is handwoven on the traditional backstrap loom by the artisan weavers of Upis in the Peruvian Andes, using their own hand-spun, 100% alpaca fibre. The name 'Pallay' comes from the Quechua word pallay which means ‘to pick up’ and is used to refer to the intricate designs found in Andean weaving, as made by picking up different sets of warp yarns Threads of Peru are a not-for-profit, social enterprise that have been working with the artisans of Cusco for a decade.

Every product 'slow' made is a step towards helping support these remote artisan trades and communties for generations to come.

(Their colourful story about remote life survival by resilience is on page 5.)

This NAMJI BEAD DOLL is inspired by the traditional fertility dolls of Ghana.

Crafted with delicate detail

by Indigo Africa's artisan partners, the dolls are handcarved from local Cedrela wood and hand-beaded with needle and thread, with beads sourced from the local Ghanaian markets.

Details: 50 x 50cm with four hand-knotted tassels.

(Turn to page 27 for Indego Africa's story.)

$179rrp Available at threadsofperu.com

$110rrp Available at indegoafrica.org

* All prices are shown in USD. We only support slow, fair, natural and traditional artisan brands.

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OF APPROVAL

SLOW made studio bagru interview with JEREMY FRITZHAND (Founder/Managing Director, studio bagru) photography contributed by JEREMY FRITZHAND destination india

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S H I B U I SLOW MADE

SLOW MADE

WOODBLOCK PRINTING IN INDIA IS AN OLD-WOLRD TRADE THAT STILL PRODUCES MILE AFTER MILE OF BEAUTIFUL FABRICS THAT COULD EASILY WRAP THE WORLD! JEREMY FRITZHAND IS THE FOUNDER BEHIND STUDIO BAGRU IN RAJASTHAN. HE'S BEEN COLLABORATING WITH THESE TRADITIONAL ARTISANS FOR YEARS AND IS ON A MISSION TO HELP PROTECT AND EMPOWER THESE HARD-WORKING COMMUNITIES, SO THAT THEIR ANCESTRAL CRAFTSMANSHIP NEVER FADES. HE TAKES US THROUGH THE PROCESS OF THIS 4000-YEAR-OLD TRADITION… ONE MANUAL WOODBLOCK PRINT AT A TIME. STUDIO BAGRU S H I B U I

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WHERE IS STUDIO BAGRU AND WHAT INSPIRED YOU, AS THE FOUNDER, TO WORK WITH THE ARTISANS IN INDIA? Studio Bagru has a retail shop in Jaipur and a production studio in Bagru, Rajasthan. We are continually inspired by the traditional motifs and process of block printing in Bagru.

Indian block printing has made its mark onto textiles and fashion industries around the world since the 70s. Our recent collaborations with Mahila Print, ImPrinted.Story and CIPRI Cultural Intellectual Property Rights Initiative have provided a new 50

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model to help protect collaborative partnerships that rely on local artisan craftsmanship, designs and adapted innovations into the future.

WHERE DOES THE CREATIVE DIRECTION FOR A STUDIO BAGRU PROJECT ORIGINATE? Studio Bagru brings artisans and designers together to create truly unique pieces of textile art. The creative directions often overlaps between traditional craftsmanship and modern design requirements.

It is a collaborative process where

PREVIOUS PAGE: Namdev Krishi Farm communal drying space in Bagru.

THIS PAGE, CLOCKWISE FROM TOP LEFT: Preparing fabric for Dabu (mud resist) printing; washing away the mud resist; Dabu printed and indigo dyed Dupatta (long scarf) drying out at Namdev Krishi Farm, Bagru; Mud resist and woodblock stamp; Dabu technique is underway; lucky local resting at the communal drying space in Bagru; vats of fabric in indigo dye.

all parties involved are equally respected for their creative skills, inputs and outputs.

DO YOU LIVE IN INDIA TOO? IF SO, WHAT IS THE BEST THING ABOUT YOUR EXPERIENCE AND HOW HAVE YOU AND YOUR ARTISAN PARTNERS MANAGED THROUGH THE GLOBAL PANDEMIC? Yes, I am based in India. At the early stage of the pandemic we started an emergency fund for women artisans in Bagru. This experience has made us realise how important it is

to have this type of fund ready for the artisan community ongoing. It is still unclear of the long term effect the pandemic has on the handicraft industry worldwide, but we hope it encourages consumers to appreciate and support slow-made production much more.

CAN YOU SHARE A LITTLE ABOUT THE HISTORY OF WOODBLOCK PRINTING IN INDIA? In India, block printing is said to be a 4000+ year old trade, dating back to the Harrapan Civilisation from the > STUDIO BAGRU S H I B U I

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Indus Valley. In the towns of Bagru and Sanganeer, block printing dates back to the 17th century. Woodblock fabrics were printed for special occasions and also as a traditional way to differentiate cultural communities throughout India.

WHAT REGION IS WOODBLOCK PRINTING RENOWNED MOSTLY? There are many unique, woodblock printing communities across India, starting from Ajrakpur in Gujarat all the way to Kolkata in West Bengal.

Bagru is most renowned for using red and black inks as well as an ancient reverse printing technique called ‘Dabu’, or resist printing, using a resist mud mix and indigo dye.

WHAT IS THE HISTORY BEHIND USING WOODEN STAMPS AND HOW ARE THE DESIGNS CHOSEN? Traditionally, specific motifs and designs were used for special occasions and as a cultural differentiator. For example, a Jajam is an intricately printed floor covering approximately 10-12 feet long and 8 feet wide used to decorate the floor of temples and homes for special occasions. Rekh blocks are outline 52

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blocks that act as a guide for Datta blocks and a Gadh block is used to stamp the background designs with colour instead of dyeing the fabric.

WOODBLOCK CARVING IS AN ADDITIONAL SKILL TO WOODBLOCK PRINTING. ARE THE TWO PRACTISED

BY THE SAME ARTISAN COMMUNITIES OR ARE THEY CONSIDERED SEPARATE TRADITIONS? The carving and printing communities are considered two separate traditions that play complementary roles in the making of woodblock-printed textiles.

BOTH OF THESE HANDICRAFTS ARE MANUALLY INTENSIVE YET HIGHLYREGARDED TRADES , BY TRADITIONAL ARTISANS TO THE REGION. DO THESE SKILLS REMAIN WITHIN ONE CASTE (OR FAMILY)? 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 the age of 18.

Similar apprenticeships happen in the block printing communities also.

THIS PAGE LEFT TO RIGHT Namdev Krishi Farm communal drying space, Bagru; Artisan Suman Chhipa with her Tulsi woodblock design © Mahila Print 2018; Namdev Krishi Farm communal drying space, Bagru; Detail of the Tulsi woodblock stamp designed by Suman Chhipa © Mahila Print 2018.

“

A LEADER IS BEST WHEN PEOPLE BARELY KNOW HE EXISTS… WHEN HIS WORK IS DONE, HIS AIM FULFILLED, THEY WILL SAY… WE DID IT OURSELVES.

”

LAO TZU. (PROVIDED BY JEREMY FRITZHAND)

WHAT IS THE PROCESS OF CARVING WOODBLOCK STAMPS?

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. Once the wood is dry the surface is polished again and a thin layer of white paint is brushed on. From there, a block carver traces the motif onto a piece of transfer paper from a printout. The transfer paper is placed on top of the wood. 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 removes the transfer paper and fills the missing lines using a pen. He then uses various steel chisels to carve away at the block until the design comes to life.

The carving process usually takes two days, for a 6 inch, moderately detailed block design. One day for preparation, (ie. stencilling, outlining and the start of carving), and one

day for carving to finish. Once the block is carved it is soaked in peanut oil for five to seven days in order to extend the life of the block.

ARE WOODEN STAMP DESIGNS SYMBOLIC? Yes. Most communities have their own specific Bhuti (floral motif) and you will often find these motifs printed onto the turbans of village elders.

ARE YOUR DESIGNS UNIQUE TO STUDIO BAGRU OR INSPIRED FROM THE ARTISANS? Most regions around Jaipur use floral motifs and tribal designs for cultural definition. Studio Bagru is currently only using our signature flower wheel design (phul chakra) on products we make. The same design incorporated into our logo.

WHAT IS THE TYPICAL LENGTH OF FABRIC PRINTED BY HAND AND WHAT’S THE LONGEST PIECE YOU’VE PRINTED AT STUDIO BAGRU? Typically fabric is printed on 5 to 12 metre segments. 5 metres is good for kurta pajama sets, 6 metre segments are perfect for saris and 7 to 12 metre segments are for running fabric that > STUDIO BAGRU S H I B U I

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SLOW MADE WORKSHOPS* Studio Bagru hosts both in-situ and virtual workshops for people interested in learning about the tradition of block printing in India.

COVID-SAFE VIRTUAL WORKSHOPS Visit @studiobagru for latest updates.

POST-COVID WORKSHOPS Studio Bagru, Bagru, India

1 DAY

Start the day with a walk around town visiting the different communities that make up the block printing process. ie. the woodblock carvers, washing, dyeing, printing, and packaging areas. Participants get the chance to print their own scarves using a motif from our collection of over 200 designs. Enjoy a traditional lunch served in Bagru.

2-7 DAYS Studio Bagru can design custom-tailored workshops, perfect for participants interested in a more in depth experience during their visit to India.

For information on future workshops visit studiobagru.com

will be used to make garments.

Bedsheets and scarves are also printed at various sizes and lengths.

2020 IS UNLIKELY TO BE FORGOTTEN IN A HURRY. WHAT HAS BEEN LEARNT AND HOW DO YOU THINK THE WORLD CAN COLLECTIVELY HELP TRADITIONAL CULTURES AND ARTISAN TRADES SURVIVE INTO THE FUTURE? The last three decades have been disastrous for the handicraft communities worldwide. It’s only in the last five years that advocacy for these industries has been taken to the frontline, with mass consumerism finally awakened by the environmental and social impact that fast fashion has had on the world. Thanks to a more conscious consumer, these high risk communities of craftspeople are seeing light in a previously dim landscape. We must all now do our part to amplify their voices and help support their traditional culture, knowledge and skills to help empower artisan communities whenever possible. studiobagru.com |

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SLOW MADE

BAGS OF

TALENT SLOW MADE AAKS Interview with Akosua Afriyie-Kumi (owner/creative director, AAKS) photography contributed by AAKS COUNTRY Ghana

2020 IS UNLIKELY TO BE FORGOTTEN IN A HURRY. BUT WITH ADVERSITY COMES A SHIFT FOR CHANGE AND WHEN THE WAVE FOR 'BLACK LIVES MATTER' FLOODED DESERTED CITIES AND LONELY STREETS, THIS SMALL, ARTISANAL BRAND FROM GHANA WENT FROM UNCERTAINTY TO SELLOUT AND GAINED OVER 15,000 NEW INSTAGRAM FOLLOWERS, ALMOST OVERNIGHT! AKOSUA AFRIYIE-KUMI IS THE OWNER AND CREATIVE DIRECTOR BEHIND AAKS. HER TEAM OF TRADITIONAL WEAVING ARTISANS HAVE BEEN BUSY 'SLOW' MAKING BAGS TO KEEP UP WITH THEIR EXCITING WORLDWIDE DEMAND. DREAMS COME TRUE… > slow made S H I B U I

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AAKS owner and creative director, Akosua Afriyie-Kumi.

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S H I B U I slow made

SHIBUI STORE

PRODUCT OF THE MONTH PRE-ORDER NOW!* PROMOTION IN AUST. ONLY PURCHASE BY 30 NOVEMBER 2020 DISPATCH DECEMBER 2020

AAKS Baw Pot Natural bag is available in Australia on pre-order during November 2020 at shibuiandco.com.

Details page 47.

WHERE ARE YOU FROM ORIGINALLY AND WHERE ARE YOU BASED NOW? I am from Ghana and currently based in Ghana, as is AAKS studio.

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 CREATING YOUR BRAND AAKS? 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 many attractive benefits in line with the vision and ethos I had for my dream brand.

I established AAKS after seeing a gap in the market for beautifully handcrafted bags. I knew I wanted to go out on my own and pull > aaks S H I B U I

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“

THROUGH MY WORK IN GHANA WE SUPPORT THE COMMUNITY GREATLY, PROVIDING EMPLOYMENT TO LOCAL ARTISANS, ENSURING CONTINUITY OF TRADITIONAL WEAVING, SO IT CAN BE PASSED DOWN TO THE YOUNGER GENERATION.

”

AKOSUA AFRIYIE-KUMI

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S H S I BHUI B I U slow I slow made made

AAKS Hana Mini Stripe

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 PRODUCTS 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 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 raw and ecologically harvested raffia fibres by hand. After twisting about 10,000 strands we gather the raffia and prepare a dye bath, which consists of mostly natural dyes mixed into boiling water.

Sometimes we use natural tree bark 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 thread the strands between their fingertips, > AAKS S H I B U I

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skilfully handling the raffia until the bags take shape. The woven body is transported back to my studio (a 12-hour drive away in Kumasi), for finishing. This is where the sewing of linings, 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.

CAN YOU TELL US A LITTLE ABOUT CULTURAL TRADITIONS IN GHANA AND WHAT THE WEAVING TECHNIQUES WERE ORIGINALLY USED FOR? Ghana is a burgeoning creative hub. There are great skill sets here which haven't been explored fully or artistically. Traditional techniques such a tie-dyeing, weaving, batik making are being revived on an international level by many and its appealing to the new African person who cares about where their products are made and of which I am excited about.

The technique of weaving has been there for thousands of years which has been passed down from generation to generation.

Baskets were originally made for either home dĂŠcor or used for shopping and storage baskets and still are today. They have been refined more, and now, have more value than before.

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WHERE DOES YOUR CREATIVE INSPIRATION COME FROM? I seek inspiration from everything around me, be it nature, photography or people. So many ideas come from my observation while travelling around Africa and Europe, which influences my design aesthetics.

HOW DOES AAKS HELP TO SUPPORT THE ARTISANS? Through my work in Ghana we support the community greatly, providing employment to local artisans, ensuring continuity of traditional weaving, so it can be passed down to the younger generation. We also encourage weaving to be valued more, as a major income resource 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 craft for generations to come.

2020 IS UNLIKELY TO BE FORGOTTEN IN A HURRY. WHAT HAS BEEN LEARNT AND HOW CAN THE WORLD COLLECTIVELY HELP TRADITIONAL CULTURES AND ARTISAN COMMUNITIES SURVIVE INTO THE FUTURE? The pandemic has been a very strange time for everyone around the world and for our brand too. We had to put our heads together to figure out our next steps and working in the now ‘new normal’. We think Covid-19 has given our customers the opportunity to interact with the brand more sincerely and we have worked hard to provide safe environment for our workers. The 'new normal' has not yet been defined for us, but we are excited about this new challenge.

WHEN THE WORLD OPENS UP TO TRAVEL AGAIN, WHAT WOULD A LOCAL IN GHANA RECOMMEND TO DO OR VISIT?

My ‘must do’ in Ghana is to visit the Cape Coast beaches and go on the adrenaline rush canopy walk through the Kakum Forest!

WHAT HAS BEEN THE MOST VALUABLE WISDOM THAT YOU HAVE RECOGNISED IN HELPING KEEP ARTISAN MORALE AND POSITIVE COMMUNITY SPIRITS GOING STRONG THROUGH THESE DIFFICULT TIMES? I always advise my group of artisans to work to their best ability and they have a wonderful skill that the world appreciates and through this we can create more work and a better livelihood for all. aaksonline.com | aaks S H I B U I

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DESTINATION MAKERS

GUATEMALA snap to it

Mr Wonderlust

THE WOVEN WAY

WE TRAVEL IN TIME WITH TRADITIONAL CULTURES. SLOWLY. IF YOU LOVE SLOW MADE CRAFTSMANSHIP, SLOW STAYS AND SLOW TRAVEL EXPERIENCES SHIBUI & CO. IS CURATED FOR YOU. SUBSCRIBE TO JOIN OUR SLOW WORLD COMMUNITY TODAY. YOUR SUPPORT WILL EXTEND BEYOND SHIBUI & CO. TO HELP WEAVE TRADITIONAL CULTURES BACK INTO THE (NEW) WORLD. TRAVEL WITH US. SHIBUI STYLE.

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