I just got a nice email from Raj Dagstani, a favorite collaborator, with the spectacular news that his Pear Vanilla preserves won a Good Food Award. The panel of judges included Alice Waters, Ruth Reichl and June Taylor. I can't wait to dig in to my jar for my birthday.
{Photo by Michael Wright}
When I leave the factory, as I can feel myself being rewritten from the inside out, the way I see everything is starting to change. I keep thinking, how often do we wish more things were handmade? Oh, we talk about that all the time, don't we? "I wish it was like the old days. I wish things had that human touch." But that's not true. There are more handmade things now than there have ever been in the history of the world.
Everything is handmade. I know. I have been there. I have seen the workers laying in parts thinner than human hair. One after another after another. Everything is handmade.
It seems appropriate to post a follow up about Steve Jobs's passing with this story that aired last week from This American Life and Mike Daisey on what he saw in China while visiting the Apple factory. Everyone I know in the creative industry uses Apple products (I'm looking at five on my desk right now). For the entire hour, I was frozen to my seat. It is a masterful combination of information, storytelling, emotion and balanced reporting and left me with so much to think about as we speed through the digital age with our cornucopia of consumer electronics. Because of the quote above, I now have a very different perspective on Etsy and artisanal and hand-crafted products (like mine). We can quite easily get caught up in the preciousness and sanctimoniousness of it all, and forget about the millions of others who join us, working under completely different conditions. Thank you, TAL + Mike.
Do you know about the awesome project that the awesome Jessica Hische created called 52 x 52? The premise is that you commit to giving a certain amount to charity every week. And every week the site offers you a suggested charity. You can learn more about it here. I jused signed up. It raises the issue of creative types and charity, which I try my best to be mindful of (and very often scrutinize blogs who aren't charitably inclined). But if you are affiliated with a charitable organization out there, and can think of a way I might be of assistance other than cash donations (certificates for volunteers, auction items, place cards for an event, a pretty banner) please don't be shy about getting in touch. I always like to learn about new causes.
And while I'm in mind of Jessica, her recent post on Inspiration vs. Imitation is a MUST READ for anyone interested in design (and very much applies to calligraphy...as does everything else she writes). Lately I've been getting links from concerned colleagues who come across work that looks eerily like mine (and what I find so interesting is how immediately I know it isn't mine, but others may not). I don't have the time or inclination to write the note of concern she suggests, but I'm so glad she brought these issues up.
When Norrinda passed along these shots of her envelopes taken by the gifted Max Wagner it sent me on a surprisingly emotional trip down memory lane.
I worked with Norrinda and Fareed over two years ago-- they were some of my first clients, and Philadelphia locals. This is what I remember: 1. The couple had the most specific and beautiful ideas about stamps. They wanted a collage of marigold and fuschia and were committed to showcasing the spectrum of beautiful black heritage postage. These Dr. Martin Luther King, Jr. and W.C. Handy stamps were the perfect fit (along with a slew of others). 2. Norrinda is just a wildly radiant person, and this radiance has been well-documented in the tremendous press she's garnered from the cupcake empire she started with her mother and grandmother, Brown Betty Dessert Boutique. Every time she appeared at the door it was as though I was being visited by the Patron Saint of Creative and Intellectual Pursuits (she is also a practicing attorney).
And finally, as you can read on their wedding blog, Norrinda and Fareed both come from tight-knit families who are bedrocks of their urban communities. This was immediately apparent as I started in calligraphing the guestlist and, as I've snapped above (but changed the house numbers), guests literally lived right next door to one another, or down the street, or around the block. Envelope after envelope of the same zip code. At a certain point I put down my pen and -- this is one of the few times I remember this happening -- and I teared up thinking about these two communities on both coasts who, with their love and support, shaped these two remarkable, visionary young people.
So! You can see more photos of the celebration of this love and community on Max Wagner's blog. And, next up, a little collaboration with Brown Betty. Thank you, Norrinda, Fareed, Max, 90047 and 19131.
I'm adding to my list of small business crushes Hotel Parq Central in Albuquerque, New Mexico. I had the pleasure of staying there before the final leg of my holiday travels to Chicago and it was charming (thanks to Kristina for the suggestion).
It was originally built in 1926 as a hospital to treat employees of the Atchison, Topeka and Santa Fe Railway, then became a psychiatric hospital, and was repurposed into a hotel last year (more here). Heather Van Luchene Interiors oversaw the decor which included so many thoughtful details (from top): framed, enlarged historic postcards sent from residents of the hospital (this one says "Having a fine time" from the 1930s) in the guestrooms; mini cabinet of curiosity-esque exhibits throughout the hallways on the five senses, medicinals, old diagnosis codes, hat boxes (is this a trend? Mounting exhibit vetrines in hotels? If not, it should be); vintage inspired lighting. There's a writing desk off of the lobby that features cubbies with old photos, stamps, telegrams, coupons and railway ephemera of the day. The shutters in the hallway are industrial plastic (?), with a pattern that calls to mind hospital wards of yore. And the rest of the interior design can only be described as comfortable, institutional chic evocative of the sanatorium from Thomas Mann's Magic Mountain: terrariums, sun-drenched sitting rooms, comfortable reading chairs (the design of that green one is amazing). This, to me, is a model revitalization project.
You'll find Apothecary Lounge on the roof with great views of the city. My three minor quibbles (only because it stands in such sharp contrast to the rest): the interior space could be so much cozier, and atmospherically lighted (recessed track lighting? Really? May I suggest something closer to this from Gjelina in Los Angeles, with maybe more of a modern Shane's Candy Store quality (in Philadelphia)?). And why not list the drink prices on the menu? It's no fun making guests ask the price of a half dozen different brands of scotch ranging from $9 -$25 a glass. And I feel like implementing a dress code in Albuquerque is exclusive and off-putting, especially if you are trying to build goodwill in a community where you have to include this (admittedly endearing) disclaimer on the website:
The Apothecary Lounge is not a licensed pharmacy and does not fill prescriptions or practice pharmacy.
But overall, three cheers for the developers, designers, city of Albuquerque and Huning Highland Historic District Neighborhood Association.
{Photos by Neither Snow}
I visited the recently opened New Mexico History Museum, a grand new addition to Santa Fe's cultural scene that documents the area's tri-cultural history. The exhibit design is impeccable: juxtapositions of Indian and Spanish serving utensils, projecting past and present images of Santa Fe's streets on the interior canvas of a caravan, audio of the articles of various treaties with Indians read in both English and native languages, old steamer trunks of families who traveled from out east, a haunting room of quotes devoted to the secrecy surrounding the Manhattan project, lantern slides, and an engrossing interactive exhibit on the Segesser Hides from the 1700s-- beautiful, detailed animal hides that depict a battle between the French and Spanish, and their Native American allies. The interactive was designed by Second Story Studio (which seems like an amazing place to work) and you can explore for yourself here. I think what I like most are the gold outlines that emphasize the historical players (including rabbits), and the way that you can zoom in to every square inch and notice things like body paint, flora, fauna and ornamentation.
I am over the moon happy to share this project with Raj Dagstani of Dagstani and Sons: A Very Fine Fruit Company (who is a collaborator par excellence and found me through Ingrid).
Raj got in touch to collaborate on a little thank you card that would be sent along with his small batch, artisanal preserves, marmalades and jams. Once in a blue moon a collaborator comes along whose craft and passion is so obvious that it doesn't make sense to exchange money. And so, we traded "jam sessions" subscriptions (for us, for friends) for calligraphy. I waited to open this month's box, which included the card printed by the talented Thomas Printers, until the morning before I left for Santa Fe. It was my reward for completing a heap of projects before the new year. Every aspect - from the packaging to the three color + one blind press labels-- is so thoughtful. As I was readying to dig in to the Cranberry Raspberry it occurred to me that it'd be much better shared which meant swaddling it in my suitcase and bringing it to New Mexico where Andrew and I savored it on toast from Sage Bakery in celebration of our 10 year anniversary. (We are saving the Pear Vanilla).
I'm not sure what magic Raj possess, but every spoonful contains an alchemical mix of delight, comfort, and love. I can think of no better gift to give or receive, and no more worthy enterprise to support. Here's to another year of satisfying, inspiring collaborations
I was saddened to hear of the death of artist Helen Frankenthaler. Photographer Ernst Hass made a terrific series of Frankenthaler at work, which you can find here. I also love the two top images -- with slippers -- by Burt Glinn.
{Images via Ernst Hass estate and I'm not a person in this dream. I'm a place}
Of the many interesting nuggets in the Sunday New York Times, two caught my eye: the first is the passing of François Lesage, the "pope" of French embroidery. NPR's Susan Stamberg visited his embroidery studio in Paris earlier this year and took the time to interview his petites mains-- the hands behind Lesage's designs. There is also Ecole Lesage. Can you imagine taking a 30 hour class in sculpting roses? And then the book review for Hedy's Folly: The Life and Breakthrough of Hedy Lamarr, the Most Beautiful Woman in the World. How could I not buy a book with this description?: "What other book brings together 1920s Paris, player pianos, Nazi weaponry, and digital wireless into one satisfying whole?"
{Images via Just Be, The Gold Book d'Odette, This is Not a Shoe, the L.A. Times, the Atlantic}
No Plastic Sleeves (a site devoted to photographers' promotional material-- who knew?!) recently featured my collaboration with photographer Natasha Nicholson whose work is off-the-charts beautiful. I want to crawl inside these photos and never leave. Fingers crossed you'll be seeing more of Natasha's work here soon. Thanks to all!
{All photos by Natasha Nicholson}
