FOREWORD Understanding how something is made and why it is ade that way is more vital to modern life than ever. m In this mass produced society, we often do not know who made an item, how an item is made, where it was made, why or how it was made that way. Hence, craftsmanship is important to us because it is a return to the maker— the identity, intent and skill of the individual artist. In the early days, these traditional handmade goods played a part in helping to shape our culture and lifestyle in the past. But with the advancement in technology, our craftsmen have since been replaced by modern machines. It is important for us to appreciate role of crafting in our lives and hold on to the valuable knowledge of handmade crafts of Singapore before they disappear. Through Crafting Cultures, we hope to re-introduce the forgotten crafts of our culture to you.
Discover the beauty of handmade and celebrate the spirit of craftsmanship today!
He who works with his hands is a laborer. He who works with his hands and his head is a craftsman. He who works with his hands, his head and his heart is an artist. —Louis Nizer
T E NT S N O C THE ART OF HANDMADE 6
WEEKEND CRAFTER’S SHOWCASE 8
CRAFTS OF OUR CULTURE 11
MAKE AND TAKE WORKSHOP 32
WEEKEND CRAFTER’S BAZAAR 34
6 REASONS TO BUY HANDMADE 38
TH E ART OF
D M AD E N A H
Be it the rustic attention to details, or the tactile selection of materials—the crafter’s attention to details and uniqueness of every creation marks the difference between the quality of a hand-crafted good and a mass-produced item.
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APPRECIATING HANDMADE Although most handmade products sometimes carry a higher price tag than their mass-produced equivalents, there are many reasons that people choose to turn away from the mass production, whether they are looking for personalisation, or maybe looking for something that could hold a higher sentimental value to an individual. Also, human touch gives life to each handmade good, unlike items that are made by machines and basically untouched by hands. MASTERS OF THE CRAFT
Honed, refined, and practiced over the course of a career, craftsmanship is creating something with passion, care and attention to detail. This is what that defines the difference in the quality of a hand-crafted product and a mass-produced one. Becoming a real artisan requires a lot of commitment and the continuous development of the craft. It requires a great amount of time, patience, and effort. More than often, when one is looking for goods of exceptional quality, they would turn to someone who is skilled, experienced and knowledgeable in the field—none other than the craftsman himself. Knowing that your item will be made with the personal touch by someone who is passionate about their craft means that the quality should be of a very high standard.
THE ART OF HANDMADE
Traditionally, craftsmen developed their skills through apprenticeship. Today, the crafts of Singapore are dying off as these craftsmen do not have successors to learn the skills of the crafting trade.
THE INTANGIBLE VALUE Buying something that’s been made by hand often means that the item carries more meaning that simply being just a product. In fact, knowing that an item has been thought out carefully, designed and created is something that really appeals to consumers when they are looking for a special gift or special treat for themselves. When you decide to buy handmade you are a part of the whole story and not just a consumer, a number on a sales chart. The value of an object that are made by hand is attached to it, as it is made with care, skill and dedication. These items transcend the purpose for which they were created; they possess meaning beyond their functions and aesthetic beauty. In short, their value is attached to the fact that they were created by a skilled pair of hands, and the thoughts, experiences and visions of the crafter are embodied in the very object itself. This makes it so much more valuable than an item that simply came from the end of a factory line.
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W E E KE N D
T F ER’S A R C
S H O W AS E C
You don’t have to travel to back in time to experience the crafting culture of old Singapore. Look out for these exclusive traditional craft demonstrations and catch the last of Singapore’s traditional craftsmen in action on weekends!
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BEADED BEAUTY
BLADE & PAPER
1–3 AUG | 2–4 PM
22–24 AUG | 3–5 PM
Adore the beauty of Peranakan beaded art, the delicate hand-sewn craft that once adorned shoes and bags in early Singapore? Catch one of the last few practioners of this dying craft, Robert Sng, work on these intricate beaded pieces.
The art of paper-cutting is a distinctive visual art form of the various Chinese handicrafts. Come and admire the art of paper-cutting, which involves lots of patience, a keen eye and skillful hands. Join us at the demonstration to learn more about the craft.
WOVEN STORIES
SEALS & STAMPS
8–10 AUG | 10–11 AM
22–24 AUG | 3–5 PM
In the past, rattan baskets were popular as it is a cost-effective storage solution, because the only raw material necessary is the rattan palm. Witness the skills of Som Said, the traditional rattan basket weaver and try your hand at weaving one.
Seal engraving is one of the Four Arts in China. For many centuries, the seal stamps were a symbol of power. Make sure you keep a look out for our skilled seal carving craftsmen to get your very own personalised souvenir.
HANDS ON HENNA
WAX ON CLOTH
15–17 AUG | 1–3 PM
29–31 AUG | 3-5 PM
Ever wondered why most Malay or Indian brides in Singapore have their hands and feet decorated with henna before their wedding day? Learn more about this tradition Indian art from Alisa Parveen and get a henna tattoo.
Are you curious to learn more about batik and the traditional making process? The best place to start is to watch the reknowned Singaporean batik artist create beautiful designs with the humble wax by hand.
with Robert Sng
with Som Said
with Alisa Parveen
WEEKEND CRAFTERS SHOWCASE
with Jaxton Fu
with Shi Jin Bao
with Sarkasi Said
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Singapore has long been celebrated as a crossroad of different cultures. Traditional crafting trades around Asia have clustered here due to these unexpected connections. Since then, we have adapted them into our life, bringing us together as one, with a shared culture and unique identity. These valuable crafts of Singapore offer a window into the past and an intimate look at how they played a part in helping to shape our local culture and lifestyle.
B
T HE W
EA VE
S
EEN W ET
Handwoven products were a popular choice in the early days of Singapore as it was especially suitable for our tropical and humid climate.
Rattan is the long climbing plant with thorny leaves. As it is waterresistant, strong and durable, Rattan is an excellent material for manufacturing of furniture, especially due to its lightweight and flexible attributes. The most distinguishing characteristic of a handwoven rattan basket is its exclusive use of palm fibers. Even though we had practically no rattan resources of our own, Singapore earned considerable income from rattan trade in the past. As the country progessed, our lifestyle has changed and 12
these handmade rattan goods were gradually being replaced by modern day household items. GOODS OF THE PAST The expert craftsmanship is what that brings out the true beauty of rattan furniture. In the early days, local weavers would weave the stripped fibers into various items to sell and make a living. Hand-woven baskets used to be one of the most common household items used in the early days, and they came in all sorts of shapes and sizes.
Many larger storage baskets, particularly the wicker laundry baskets, are made with lids or handles. These baskets range in color from a light tan to a darker brown and require no staining or other treatment before use. Rattan furniture is especially suitable for tropical and humid climates like Singapore, as chairs made of rattan offer a cool and comforting seating unlike leather or fabric furnitures. In addition, rattan is also highly resistant to splintering and is especially suitable for families with young children. A piece of durable, well-used rattan furniture have
been known to last for decades, and it can be passed down from one generation to the next. MYTHS AND BELIEFS Depending upon the uses and purpose, ancient Malay beliefs maintain that using rattan can be the source of good luck or terrible misfortune. In Malay culture, rattan is also essential in courtship, birth and death rituals. Not to mention, the leaves of the rattan plant are believed to possess magical powers to drive away evil spirits.
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I W
DROP
OF
W
AX
TH
CH EA
Some batik designs have particular symbolic meanings and are not intended for everyday use; rather they are reserved for certain important functions and ceremonies.
Batik is a traditional textile that uses a wax-resist dyeing method. The name batik is thought to be derived from the Malay word ambatik, which means ‘a cloth with little dots’. Think of batik as reverse painting; instead of painting an area on the fabric that is to be colored, wax is applied to keep the area colour-free. The colours in batik are much more resistant to wear as compared to that of printed or painted fabrics. During the dyeing process, the cloth is fully immersed in dye. The areas not 14
protected by resist are allowed to absorb hues to the extent that the colors will not easily fade. Generally, there are two categories of batik designs—geometric motifs, which is more associated with the traditional designs of batik and free-form designs. Melted wax is applied to the cloth before dyeing. It is common to use a mixture of beeswax and paraffin wax, as the beeswax holds on to the fabric and the paraffin wax will allow cracking, a unique characteristic of batik.
Sometimes several colors are used, with a series of repeated dyeing, drying and waxing steps. BATIK IN CULTURE Batik fabric was reserved only for the upper classes and royal families for centuries. As the newly-weds are regarded as king and queen on their wedding day, batik design is an important part of the bridal attire in traditional Malay culture. Specific batik designs were also used for various ritual functions, such as during pregnancy, birth or burial.
MODERN BATIK Batik is not only used to make traditional clothes, but it is also made into modern-style shirts and blouses today. However, these prints are not limited to textiles, but they are also applied to objects as well. In modern batik patterns and designs, naturalistic motifs like leaves and flowers have been used to create elaborate and intricate designs. Today, batik cloth is also made into different modern- style shirts and blouses. Other than textile, batik prints are also applied to objects as well.
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AD BE
BY B E A D
Nyonyas devoted hours to sewing traditional beaded slippers. the intricacy and workmanship of a pair of beaded slippers is a hallmark of highly accomplished Peranakan women.
Peranakan beaded shoes, also known as kasut manek, literally means shoe beads. Kasut manek refers to beaded slippers worn by a nyonya to complete her kebaya sarung, together with chained brooches and a silver belt. These traditional beaded shoes were carefully handstitched, bead by bead. It is indeed a true testimony of the fine workmanship of our past. The traditional beaded shoes are made of manik potong, which are Peranakan faceted beads. These beads are treasured 16
as they are not manufactured anymore and are no longer available. Popular in the past, these beaded shoes were worn by both the babas and nyonyas. In Peranakan culture, traditional weddings require twelve pairs of beaded slippers to be worn, or one for each ceremony day. According to tradition, a nyonya must complete sewing enough intricate beaded slippers for their wedding ceremony when they become of age to marry. Since then, times have changed and fewer nyonyas learned the craft.
BEADS TO SHOES To sew the pattern, a laced-up wooden frame is used to provide the right tension for the beading. The beading process starts from the main motif of the design or pattern, then followed by the background and then the border, which may have a smooth or scalloped-edge. Upon completion, these beaded pieces would be sent to the local cobbler to be made into shoes. Leather is usually the preferred material for the beaded slippers, and may be either made with low or high heels.
MOSAIC MOTIFS The popular motifs found in Peranakan patterns were often flowers, birds, butterflies and fruits. These motifs appealed to the nyonyas, as Peranakans had influences from both the European and Chinese. The patterns used for the beaded shoes are unique in that even the background is quite ornamental, resulting in a very intricate and colourful mosaic, with a clean and well-defined border that follows the shape of the shoe.
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O
E
I T C H AT A T IM E
N
ST
Embroidery, also known as Sulam, is the art of decorating a piece of fabric with needle and thread, was an important skill that young Nyonyas had to master at a young age.
Sulam is used on the traditional Peranakan baju kebaya, and these intricate, elaborate and detailed designs are usually found on the front, bottom and joinings of the piece. The embroidery for the kebaya top is primarily done by hand, and it would take weeks, or even months to complete. Unfortunately, the industry for kebaya embroidery began to decline by the 1970s, due to the emergence of mass production technologies for clothes. Today, the motifs on modern kebayas are mostly sewn by machines. 18
Usually, the designs moves up the kebaya, and the pattern will be repeated on the back as well as on the sleeves and lining the base of the blouse. Highly-valued and yet the most demanding on the tailor is the open lattice work that link each image to the cloth. The material is stretched on an embroidery ring with the tailor running the machine over the design traced out earlier. The threads used in sulam bear two or three shades of one colour for each spool.
THREAD BY THREAD Usually, the three types of motifs embroidered on the traditional kebaya include the floral, figural and geometric designs. The tailor has to switch spools constantly in the process to add a variation of colours into the piece of work. To execute this traditional craft, the tailor not only needs skill, but also precision, creativity and patience. This traditional Peranakan embroidery method involves sewing the outlines of a floral motif on the fabric and cutting away the inside of the fabric. The end result is a fine lace-like embroidery on the
collar, cuffs, and hem and the two triangular front panels which drape over the hips, which is also known as lapik. When the piece of embroidery work is completed, ketok lobang is carried out, to tidy up some of the loose seams. In this process, the tailor uses a machine to punch out holes, simultaneously neatening the seams, creating an intricate and delicate webbing effect. However, the machines that are used especially for ketok lobang are no longer in production today.
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SPI U A
C IOU S C U
TS
Paper cut has a long and illustrious history and it is a very distinctive visual art of Chinese handcrafts. Today, only the decorative function remains.
Chinese paper cut originated from China, in the 6th century. Women used to paste gold and silver foil cuttings onto their hair at the temples, while men used them in sacred rituals. Later, paper cuts were used during festivals to decorate the gates and windows. Since then, it has become a very popular mean of decoration among people, especially amongst women. These paper cuts are commonly used as decorative ornaments during Chinese New Year or wedding ceremonies. 20
During these special or festive occasions, the windows and doors will be boldly decorated with red paper cuts and couplets. Generally, popular subjects for paper cut are the animals of the Chinese zodiac, flowers, people, or the Chinese characters such as xi, which means happiness, or fu, which represents good fortune. Today, most of the paper cuts found in Singapore are done by machines, and it is increasingly difficult to find traditional Chinese paper cut crafters.
MODERN PAPER CUT In traditional Chinese culture, paper cuts can be used to reflect the many aspects of life, such as prosperity, health, fortune, longevity or good harvest. Today, they are used mostly as decorations. Paper cuts can be used to adorn walls, doors, windows, columns, mirrors and lamps in homes. The Chinese believe that red paper cuts pasted on house doors will bring good luck and happiness to the house. These paper cuts are more oftenly seen during traditional Chinese festivals.
MASTERING THE CRAFT The main cutting tools needed are simple: paper and scissors or an engraving knife. It is easy to go about cutting a piece of paper yet difficult to master the art of paper cut with perfection. It is important for one to learn the right way of holding the blade, grasping the knife in an upright fashion and pressing evenly on the paper with the same strength when cutting. Decisiveness is also important in paper cut, as any hesitation or wiggling will lead to imprecision and damage the whole image.
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C
VED R A
IN STO NE
The Chinese seal carvers brought in this art form to us when they migrated to Singapore in the early days. These skilled craftsmen were mostly from Fujian, China.
A Chinese seal is a decorative sculptured stone with Chinese names inscribed on the bottom surface. The art of seal carving is called zhuan ke, while the seal is referred to as yin, which means a print or mark. Originating from ancient China, these traditional seals were used by the Emperor to authenticate official documents. Typically, the blank seals are first made in China and then imported into Singapore, ready for personalised hand-carving. The seals are available in various sizes and 22
some even come with exquisite, pre-carved knobs. The seals were used by Chinese merchants also uses seals as a signature or as a supplement to a signature to certify the validity of a document in the past. Similar to a signature, the words carved are unique to the individual. Seals are also used in calligraphy works and paintings, where a seal bearing the name or nickname of the artist. It is an indispensable part of the artwork. Sometimes two seals are used, one indicating the name of the artist and another expressing his or her emotions about the work.
THE ART OF CARVING The design and details of a seal can be compared to that of a miniature painting. On such a small stone canvas, the entire space must be carefully thought out as even a tiny dot is crucial in creating a harmonious design. The carving process is the most laborious part of seal making, as every curve, every thickness of line counts on that small surface. It takes a experienced and skilled hand and a keen eye to produce a fine seal. As an instrument of both traditional calligraphy and painting, seal carving is indeed a work of art in itself.
RELIEF AND INTAGLIO Traditionally, official carved seals in relief were referred to as yang style script, while intaglio seals were referred as yin style scripts. These seals were often made in pairs. Today, both the Western and Chinese characters can be incorporated in a single seal. INKED IN RED The seal paste, or zhusha, is just as important as the seal itself. However, some prefer to use handmade paste, which is believed to be of much higher quality as it helps to reveal greater nuances of detail in a handcarved seal. Today, red ink is mostly used as a cheaper alternative instead. 23
H
DS AN
OF G O LD
Traditional Indian goldsmiths created jewellery from ancient patterns and were very well-respected because they were the image-makers of the gods.
In the 1950s, large numbers of Indian jewellers and goldsmiths arrived in Singapore and turned the area around Buffalo Road into a traditional jewellery hub. Indian families who preferred to have customized jewellery for their wedding ceremonies, as well as discerning Chinese ladies, were the craftsmen’s regular customers in the past. These Indian jewellery crafters worked from their individual cubicles—a humble floor mat accompanied with a small work bench, adorned with pictures 24
of their favourite Hindu deities and family memorabilia. Most of the older goldsmiths were trained in India, becoming both competent and versatile for any type of gold crafting. The excellent craftsmanship and competitive prices have for some time attracted local residents and tourists to the area. Chinese goldsmiths have also mastered the art of forging Indian gold, and many of them have established their businesses along Serangoon Road, helping to add to the tourist traffic.
MATERIALS More than often, gold is the preferred material for Indian jewellery, and at times, silver. Gemstones that are believed to hold mystical properties are extremely popular with India jewellers. These include many precious and semi-precious stones including the diamonds, rubies and emerald stones.
THE PROCESS OF MAKING Some common tools of the trade were files, acid, water, hammers, sandpaper and sources of heat, such as a lamp. Crafting a piece of jewellery not only demands a lot of patience, but also creativity and skillful fingers. The making process starts off with drawing out a rough design on a gold bar. Then, the design would be cut out and carved into the desired shape using various tools and it would be moulded and shaped to the required design.
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SYMBOLISMS IN CULTURE Traditionally, Indian jewellery had always consisted of motifs rich in symbolism. Most symbols found in Indian jewellery act as a metaphorical language which is communicated from the wearer to the viewer. Such a jewellery is created from an infinite reserve of symbolically significant forms and images, some obvious while some subtle, and some whose meaning has been forgotten. These include motifs taken from our nature, like banana buds or sensual champa flowers. In Indian culture, these are all symbols of fertility, while other icons 26
include the sun and moon and arrowheads, the latter acting as protective amulets. From the simple plain circlets of metal, to ones decorated with etched and repousse designs, to detailed examples with bird and animalhead terminals and studded with gems, these circlets symbolize the potent energy of the sun. Indeed, the primary function of ancient Indian jewellery was essentially amuletic and even to this day, any piece of jewellery in India is believed hold the power of the entity it symbolizes. In addition, an Indian ornament marked with
the name of any particular god or goddess is said to be imbued with their protective power. BELIEFS AND TRADITION Marriages are synonymous to jewellery in the Indian culture. The beautiful and intricate sets of gold accessories is what truely makes Indian weddings so unique and exquisite in their own way. There are exclusive designs which complete the traditional look of the jewellery. Also, gold jewellery is passed on from one generation to another, just like a family heirloom. According to Hindu beliefs, gold is a sacred metal足as
it is associated with immortality. Interestingly, Indian ladies buy ear-rings that screw clockwise, a direction associated with things positive and good by the Hindus. In addition, Indians believe that elephant hair brings good luck. More than often, it will be found embedded in gold rings.
Some types of jewellery are believed to have healing powers and magical properties. In fact, Hindu devotees can even buy small silver representations of body parts and offer them to temples to heal any pain or discomfort in their bodies.
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I
T
G
S
N
E BL ES C AT SIN I R
A Hindu wedding includes a number of religious rites before and during the nuptials, and Mehndi plays a vital role in it, so much so that no Indian marriage is considered complete without it.
Henna is a a reddish-brown dye made from the powdered leaves of the henna plant. When it is applied to the skin, it produces a temporary rusty red stain that looks similar to a tattoo. Traditionally, the application of henna is also known as Mehndi, a form of body art that has been used for centuries by Indians and people of the Middle East. To Indians, Mehndi is perceived as intuitive, because the application process can be a deeply moving and communicative experience for both the bearer and the 28
artist. Indians believe that Mehndi opens a spiritual connection between them, where a gifted blessing can be received. Henna is extremely popular in Indian culture as it symbolises good luck and great blessings. It is a custom for Indians to adorn themselves with these henna designs, especially for weddings and other religious ceremonies, or special festivals such as Deepavali, as a part of the celebration.
HENNA IN WEDDINGS The use of henna on brides is a much celebrated affair in Hindu culture. This ritual is considered so sacred that unless the motherin-law has applied the first dot of henna to the bride’s hand, the henna painting cannot go ahead. The bride’s feet and palms will be decorated with beautiful and intricate henna designs. As the henna is believed to signify the strength of a marriage, the bride makes an effort to keep it on as long as possible.
the bride on the wedding night. If he fails to do so, he is expected to present a gift to his new bride. This encourages the new couple to be closer on their wedding night. Mehndi is just one of the rituals that signify the departure of the bride from her home to her husband’s home. Thus the beginning of an important new stage of life for the young lady.
OTHER ADAPTATIONS Henna is also commonly used in Malay weddings as it is a sign of celebration, and serves as The groom’s initials or the couples a visible marker to display an names are hidden in the patterns. individual’s piety and devotion He must search for the initials on to the traditions in their culture. 29
HANDS AND FEET While henna can be applied nearly anywhere on the body, certain locations have special meaning and significance to the Indians. It is commonly found on the palms of the hand and this allows the bearer to receive and offer blessings. Generally, henna that is placed on the top of the hands can be suggestive of protection and often includes shield designs. Also, the feet is perceived as a spiritual place to have henna, as Indians believe that they connect one’s body, mind and spirit with the earth.
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MYTHS AND BELIEFS Indians believe that the deeper the couple’s love, the darker the color of the bride’s mehndi. Another superstition is that if the henna lasts longer on the brides hands then her grooms, the bride will be treated very well at her in-laws’, meaning that she is spared from doing household chores. MOTIFS AND SYMBOLISM Most henna motifs begin with a dot, symbolising the starting point, like a seed where life grows from. Popular henna designs for the palms include mandalas, sun and flowers.
M AK E AND
TAKE
WOR
KS H O P
Discover more about the process of handmade and immerse yourself in the satisfaction of crafting. Drop by our exclusive crafting workshops and get your hands busy! Learn a craft. Create something. Turn an interest into a passion. To register or enquire, email to workshops@craftingculture.sg
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Date: 2, 9, 16, 23 and 30 August (Saturdays) Time: 11AM–1PM, 3PM–5PM $10 per pax 10 slots per session Registration required
RUBBER STAMP CARVING WORKSHOP with Jo from LoveSprouts
Don’t miss the chance to try your hand at this therapeutic craft of making your own stamps! Pick up some basic stamp carving techniques from this workshop and learn to design your own personalised gift wraps or fabrics with repetitive stamping. Also, you will get to bring home your very own handcarved stamps and handmade prints, with a handy set of stamp carving skills.
Date: 3, 10, 17, 24 and 31 August (Sundays) Time: 2PM–6PM
BASIC PERANAKAN BEADING WORKSHOP
$30 per pax 6 slots per session Registration required
Bead by bead, make yourself a beaded brooch with the traditional beading techniques, with help and guidance from Bebe Seet. Learn how to identify the different types of beads, read designs and patterns, set up the beading frame and canvas base, and learn different beading techniques. Registration fee includes all materials used.
Date: Daily Time: 10AM–12PM and 4PM–6PM
DO-IT-YOURSELF HENNA PASTE
Free for all No registration required
with Bebe Seet
with Shamali Verlu
Learn how to create your own henna paste using the traditional method of grinding the leaves to extract the dye. Get to bring home your own henna cones too.
MAKE AND TAKE WORKSHOP
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WEEKEND
T F E A R’S R C
BA Z AA R
Show your support for our local artisans at the Weekend Crafter’s Bazaar—a treasure trove for you craft lovers! These featured makers have been carefully hand-picked from a pool of applicants to create an unique and eclectic craft market just for you. With such a wide array of unique handmade goods, you definitely won’t leave the festival empty handed!
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KALA PATA
www.kalapata.com
Kala Pata creates stationery items inspired by the sights and colours of Singapore. The name Kala Pata is derived from a Bengali word, a direct translation for ‘banana leaf’. It is also a metaphor for Singapore. It also epresents the island with its vibrant colours and kaleidoscopic design.
ALISA PARVEEN
www.facebook.com/hennabyalisaparveen
Alisa Parveen has been doing Henna since she was 11, she has over 10 years of experience. Besides being the very first to introduce her henna crafts to Singapore, she has established herself well as a young talented henna artist.
WEEKEND CRAFTER’S BAZAAR
NEIGHBOURGOODS www.neighbourgoods.sg
Neighbourgoods makes everyday objects, inspired by the beauty and honesty of things and people close to home—close to heart. Founded on the belief that the good things in life are often not far away from us, we hope that anyone who comes across a Neighbourgoods product will be reminded and inspired to open their hearts, eyes and ears to see, hear and experience this. They respect the spirit and pride of craftsmen all around the world, and believe that they too reside on our island, Singapore. As such, wherever possible, Neighbourgoods try to work with the designers and producers in the neighbourhoods around them.
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THE FARM STORE www.farm.sg/store
THE J.MYERS COMPANY www.jmyersco.com
Believing that well-crafted goods have the ability to make people feel good, The J.Myers Company pride themselves on their craftsmanship. They create unique leather goods from scratch, made with top quality leathers and lots of love. The J.Myers Company offers you fine handcrafted leather goods and accessories that are designed to suit the modern purveyor while maintaining the beauty of the traditional leather craft. The J.Myers Company is founded by Jeremiah Ang, a self-taught leather craftsman who feels that the bond between craftsmen and consumers are drawing too far apart by massproduction and industrialization.
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THE FARM STORE is a place where you can discover and shop for our fun, quirky and always unique range of Singapore-designed products. THE FARM STORE is a result of a product-making system which collaborates with a network of local designers, institutions and manufacturers to make and distribute products with a twist on the Singapore identity.
DESINERE
www.desinere.com.sg
Desinere is a local studio that approaches design through the quiet reflection of relationships between items, people and experiences; to create authentic, honest objects that are refreshingly unexpected.
WEEKEND CRAFTER’S BAZAAR
STONEFORGOLD www.stoneforgold.com
I SPOT A POTTER
Founded in 2008, Stone For Gold has been making the finest and exquisite hand crafted leather products available. Stone For Gold was materialized from the love for leather craft and fashion accessories, and aims to produce hand-crafted accessories to the highest possible standards, utilizing the best materials and exploiting tested and proven techniques.
www.ispotapotter.com
I Spot a Potter is a collective group of potters who sells their beautful handmade ceramics during pop-up events all over Singapore. You can find functional and decorative objects that are simple, rustic and beautiful. All their pieces are 100% handmade, with care, with skill and with love and as a result every piece is unique.
LOVESPROUTS
www.lovesprouts.blogspot.com
Addicted to creating with her hands, Jo of LoveSprouts now combines her love for teaching and passion for stamp carving by conducting workshops around Singapore. LoveSprouts has everything you need to start off your very own stamp carving journey— from rubber blocks to inkpads. WEEKEND CRAFTER’S BAZAAR
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S 6 RTEOABUYONS
HAND M AD E There is an undeniable, irreplaceable element of the designer or producer in every handcrafted item—a spirit and soul that stamps each item in a way that mainstream production cannot replicate. The raw materials are better, the workmanship is superior, and the finished product is truly something to be treasured and enjoyed. Hand-crafted items have ‘life’, unlike items that are mass-produced by machines and basically untouched by human hands during the creation process. Each piece is made individually, and this creates the opportunity for items to be custom-made, one of a kind, and personalised. Handmade items last longer because they are made from high quality materials and handcrafted by trained artists. When you buy handmade, you are supporting traditional arts and crafts techniques that have passed down through generations. 38