B·COME: Ethical Fashion Studio Revving Up Radical Transparency

Sophie Breitsameter November 20, 2016

We were delighted to meet with Anna and Alba from B·COME Studio, find out more about their amazing brand…

Tell us about the team...

Most importantly, behind B·COME there is a team formed by individuals who are eager and committed to reach the entire world. B·COME is built upon a passionate team formed by multidisciplinary individuals who complement one another.

What was the catalyst that made you start B COME Studio?

As there couldn’t be another way, B·COME was born after the experience and the aim to become part of the change that the fashion industry is currently experimenting.

Alba Garcia, co-founder of B·COME, worked inside the textile industry for seven years. During this time she discovered the real system and impact of the fashion circle; which is mainly composed by processes that are increasingly standardised and don’t allow to take out the potential and the resources from others, especially from the providers. As a designer, one doesn’t take the time to discover the real value of each manufacturer, and the rhythm of the work doesn’t allow to explore it in depth.

At this moment Alba Garcia and her partner Anna Cañadell (co-founder) of B·COME, who has a significant relationship with entrepreneurship business, decided to invest on their first trip to India. As an opportunity to meet possible clients, discover their potential and understand their needs. From this moment on, the project has been evolving and adapting to each necessity.

"As a designer, one doesn’t take the time to discover the real value of each manufacturer, and the rhythm of the work doesn’t allow to explore it in depth."

What is your personal relationship with sustainability (Anna & Alba)?

For B·COME there is no doubt that, sustainable fashion is the future. It is not a passing fad nor a way to ‘greenwash’ clean the name of a brand.

Sustainable fashion at the moment has become a huge trend, and there is a big challenge for the next generations to value the importance to buy ethical/conscious and to start using quality products. It is important to understand that small changes can reduce the environmental impact and the social problem of mass production. At the end, everything is up to the decisions we make for ourselves.

Tell us about how you work with other brands to build relationships between suppliers, artisans and brands...

As a multitasking consultancy/agency specialised in sustainable fashion, we mainly advise companies from large corporations to providers who want to incorporate sustainable fashion and processes that are completely transparent within their production system.

We are the top of the triangle that unifies sustainable providers and European brands.

B·COME offers brands services including design and consultancy about quality and alternative techniques.

The main objective is to offer collections that not simply meet the normal standards required for a certain brand, instead we want to offer the most sustainable option. Always going a step ahead and by the hand of our provider.

Tell us about your manifesto...

RADICAL TRANSPARENCY:

B·COME believes in people. Together we are and we sum up. Our work consists on facilitating the communication between the retailer (brand) and the provider, throughout transparency and trust, with the final purpose of optimising their collaborations.

GREEN AND CLEAN:

Building a sustainable fashion business is about passion and seeing beyond present. B.COME believes that green and clean fashion is the future. Product quality and design is equally important as how sustainability it has been made. We support organisations who believe in ethical fashion and integrity, our aim is to endeavour for ALL of us to be a protagonist of change.

STAY CURIOUS:

Travel is what we do. To discover genuineness is our favourite.

"It is important to understand that small changes can reduce the environmental impact and the social problem of mass production."

Tell us about some of your recent projects and how B COME helped with the project...

At the moment we are working on several projects, we work with different kind of providers — from small artisans specialised in embroidery by hand (hand craftsmanship) with vertical providers as PRATIBHA (INDIA), who build organic cotton that produce large quantities of cotton, which allow them to work with brands, such as Patagonia, Inditex and C&A.

We adore to travel and we try to take advantage of our trips to get to know new products and providers. At the moment we fall in love with them, we do whatever is in our hands to introduce them into the European market.

http://www.bcomestudio.com

#WeAreTesting: Supermood Natural Holistic Beauty

Hanna-Amanda P. G. November 18, 2016

With the secret organic ingredients, such as Chaga mushroom, deriving from faraway Finnish forests, Supermood have chosen to implement a holistic, sensory approach to their facial products. Personally, I’m always more curious to test products that offer a soothing experience for all the senses, and these products are here to prove organic beauty doesn’t need to be less fabulous than your other luxury beauty counter friends. During the course of 10 days, in this competitive rabbit-and-tortoise style race for better, improved skin, I religiously applied these Supermood Holistic Beauty products every day, or some, like the Youth Glo luxury peel, 2-3 times a week, as per instruction.

As a foreword, I haven’t been gifted with exactly the best skin type — sensitivity and occasional allergies and redness are common guests unwantedly ghosting on my delicate facial area, especially before the approaching winter season. For years on end, before I could even think of any decorative cosmetics products I’d like to possess, my best friends were only the strongest apothecary products, promising their best to fight against allergies, rashes and unwanted blemishes. Not so long ago, I turned my beauty counter, then consisting of all kinds of fabulous chemical-induced products, into a cruelty-free, green beauty haven, and I’ve only encountered beneficial effects and lasting results after adapting to that change.

*SUPERMOOD Natural Holistic Beauty, 2016.*

Here is what I encountered on my 10-day journey of testing these six wonderful Supermood products.

1. Beauty Sleep Sweet Pillow Scent - Calming Herbal Scent for Sweet Dreams

Each night, just before prepping for bedtime, I sprayed 3 drops gently on my linen pillowcase and let the mist absorb for a few minutes. Although in the beginning, the aroma, reminding me of a mixture of lavender and moss handpicked from Nordic forests, might be slightly off-putting because of it’s strength, it quickly fades away and transforms itself into a milder, more delicate version of itself, awakening your senses to an aromatic experience featuring a herbal bonanza. All these nights, as if by magic, I fell asleep instantly and woke up all freshened and bright, so it surely is more effective than all sleeping pills combined, with a mind-at-ease blissful sleep guaranteed.

2. Beauty Sleep Absolute Bliss Serum - Youth Restoring Sea Fennel Serum

More often than not, it’s hard to find a serum that has that ideal, balanced texture — not too thick, not too liquid-y. The scent, boasting mild notes of sea fennel, also comes across surprisingly calming, not irritating. The serum is meant for overnight rejuvenation, aiming to deliver youth restoring qualities. By morning, the face is well moisturised, wrapped into a healthy glow and prepared to absorb all other products just perfectly. 10 points out of 10 go to mild, calming scent and light texture, exactly the basic comforting necessities you want to take into bed with you, all extra additives have been left out.

3. Beauty Sleep Youth Restoring Eye Serum with Sea Fennel Stem Cells

This overnight product ideally pairs with the Beauty Sleep Absolute Bliss serum. Yet it differentiates from the original facial serum by featuring a slightly thicker, creamy texture, which suits well the delicate skin surrounding the eye area. To avoid any irritation, I applied it very carefully with small drops in a circular mode. Waking up, the blue circles around the eyes, which usually derive from excessive hours spent staring at the computer screen and are difficult to get rid of just overnight, had faded away, and it truly seemed to fight redness. In addition, it soothes and softens the eye area, helping to get rid of fatigued skin cells.

4. Youth Glo Luxury Peel with Natural AHA-Acids and Fruit Extracts

I would like to highlight the first thing I appreciate is that the scent is again very mild and delicate, completely contrasting to what you would usually get with, although super-effective, yet chemical peel products. It is recommended to hold the product only for 60 seconds during the first times of use. You don't feel any effects during the peel, other than slight chemical reaction on the surface of the skin. Then the face, slightly irritated from the effects of bioactive ingredients, turns completely burnt red. For preserving your own sane mind, I sincerely recommend avoiding mirrors at that stage. After 30 minutes or so, the redness should gradually diminish, although some patches of redness and irritation may remain, hence this serves as the perfect pyjama-party, pre-sleep peel. I really wouldn't recommend using it on other occasions than before bedtime, when your skin can afford to have its ‘downtime', get restored and repair the healthy glow by the morning hours. After waking up, the skin tone is true-match-all-the-way even, and there are no irritations at sight. What a bliss!

5. Egoboost One Minute Facelift Serum

This product surely stole the show! The first time applying it can succumb your skin to a chain of chemical reactions, whereas the delicate Chaga mushroom scent only complements the product’s promising effectiveness. After at least a minute of absorption time, the product lifts the cheekbones a millimetre higher each time and offers bold definition of the facial contours. I've never encountered my cheekbones to be so clearly defined and toned, than after applying this wunderserum! In the first place, I didn’t quite seem to comprehend what the fun aspect of Supermood is about. The answer lies in this Facelift serum! You have to try this, it's so effective. Fun found in elevated cheeks in a minute.

6. Youth Glo Radiance Serum - Luminous Serum with AHA-Acids and Firming Moth Bean

Before the ten days, I would be the person blocking all their pores with layers and layers of heavily applied foundation. After familiarising myself with this Glo Radiance Serum, gone are the days! It has become the best part of my morning routine consisting of transforming myself from a Quasimodo-like, — one eye blue, another red, craving-caffeine-like-there’s-no-tomorrow —, to a Lets-Start-This-Motivating-Day-With-Glowing-Skin Queen. I hardly wear thick layers of makeup on my face anymore. It seems somewhat irrelevant, when skin can boast an even, irritation-free surface without. If this effective, calming product is not the best thing happened to mankind, it's at least the best thing ever happened to my face.

During these test days I learned that beauty really does begin from clean skin, which has been taken care of inside out, in a 360-degree way. Your dearest beauty products should not only look good, but offer pampering care for all senses. If you happen to be the person, like myself, who is extremely fuzzy about textures and scents, then this might just be the right everyday beauty range for you. And who could resist these wonderful, yet whimsical glass bottles and pastel packaging? It’s good to know honest products can actually honestly deliver. I found all that’s missing is a little bit more time for our phone-switched-off-it’s-me-time elevating beauty routine…

After all, outer radiance can only flourish, when inner harmony is in place.

nitsn: Bespoke Furniture Filling Living Rooms with Ideas of Eternity

Hanna-Amanda P. G. November 16, 2016

nitsn is a sustainable French furniture studio excelling in bespoke, one-of-a-kind furniture with a modern twist. In addition to the slow and carefully considered approach, the minimalist furniture — each wooden piece touched up with metal inlays, carved textures or laser engravings to boast unique identity — aims to recreate the short-lived moments of our existence. By connecting ideas of sustainability and renewal, the very essence of nitsn's bespoke pieces is to remind us that nothing is eternal, and that way bring the practice of mindful, circular economy closer to the end customer. Savant went into further detail with Roman Wisznia, nitsn's creative and technical mastermind, regarding what connects the creativity and sustainability behind the brand.

*nitsn sustainable bespoke furniture, 2016.*

What's unique about the way you imagine furniture?

I see furniture as pieces of nature that we shape to suit human needs. I like to work with natural materials — wood for structure, wool and cotton for fabrics, small touches of polished metals here and there — then shape them with absolute straight lines, like only humans can do. This way, the pieces reflect both the nature and the human side, a perfect balance between the two.

Because every tree is unique, every home is unique, and every person, too, it makes sense to me for each piece of furniture to be unique as well. I understand why mass production eventually has become a standard in the industry. Yet, I like to believe that there is space for a more meaningful approach to work, and to life. Humans have this wonderful ability to think of new things and be creative, and this should be applied every single day. Mass production doesn’t encourage creativity.

What are your brand’s values?

I try to develop genuine relationships with my customers. It matters to me that people who purchase my pieces, understand who I am, and how these pieces were made. My goal is to make sure the person, who will sit on my chair or put their vest on my coat-hanger, is conscious of the seed that was planted to provide the wood they are using. Perhaps even conscious about the person who planted that seed, and realise that everything works in a circular model. Having a neutral environmental impact is therefore an essential part of the consistency and sense I am looking for.

Do you think customers today show more interest towards one-of-a-kind pieces and furniture brands with a story?

I think our societies have reached the peak in bare buy-and-throwaway consumption model. We’ve come to realise that acquiring mass-produced things at an ever increasing pace does not contribute to filling the shells of our existence in any way. I believe we need fewer things, things which will make sense to us and that we will truly care for. Making one-of-a-kind pieces that will live once and never be produced again is a way to remind us that nothing on this planet is eternal, and that the shortness of life is what eventually gives it meaning. The story is equally important, and it has to be clear. If people don’t understand the story, they cannot understand the role they play in it.

What made you start with nitsn?

After I graduated from my mechanical engineering school in France, I went to Stockholm’s Royal institute of Technology, where I specialised in renewable energy systems. That Scandinavian adventure certainly played a role in giving me a taste of a slow and cosy lifestyle, as well as minimalist design. After that, I worked for an international organisation known as the authority in energy security and energy-related environmental concerns for three years. I enjoyed it, but quickly realised that I would feel more at ease creating my own means of expression in this world. nitsn appeared to be the answer, a creative activity that would gather all my interests — visual arts, craftsmanship, engineering, politics and environment — in one place. I taught myself woodwork mostly on Youtube, spent my first salaries on professional tools, and began this adventure.

"I understand why mass production eventually has become a standard in the industry. Yet, I like to believe that there is space for a more meaningful approach to work, and to life."

What’s the niche you aim to bring to the market?

With nitsn I chose the approach to have very simple designs for each piece, that I call my standards, and to differentiate them with subtle touches, so that every piece ends up being different. These touches can consist of metal inlays, carvings or laser engravings. They are usually fine-detailed and time-consuming works, but I make each of my pieces an artwork of their own. My standard designs are just like a blank canvas on which I can express my creativity to create a continuous sequence of unique pieces.

What's your opinion about sustainability trend in furniture design?

Making stools from recycled cardboard is great and can prove very useful. Finding uses for things that are abundant and that should be recycled is one important part of the equation. Another part of this equation is to reconsider the way we consume objects and furniture. My personal approach is to keep things simple and focus on the essential. Whatever I can do without, I’ll do without. Owning fewer things gives me extra freedom that I really enjoy. It doesn’t mean you shouldn’t redecorate your place when you feel like it, but perhaps there is another way than throwing away your sofa, chairs and coffee table, and replacing them with new ones. We never get tired of seeing trees in the forest. Yet they are the same trees, only the change in seasons make us see them differently, and their appeal is renewed every year. Perhaps there is something to think about there.

"Making one-of-a-kind pieces, that will live once and will never be produced again, is a way to remind us that nothing on this planet is eternal, and that the shortness of life is what eventually gives it meaning."

What’s your brand’s link with sustainability?

My approach to sustainability is to make robust and great looking pieces that my customers will want to take care of. The goal is for the piece to last at least as long as the time it took for the tree that provided the wood to grow. I also committed to planting one new tree for each piece produced. If my customers have a garden, I offer them to plant it there. This way, I create the missing link in completing ‘the circle’.

What are the materials you are using, where are they sourced from?

The wood I use exclusively comes from French forests that I know are managed responsibly. I have nothing against foreign woods, but the further away you get them, the harder they become to trace. It matters to me that I know exactly where the things I use come from. And using local resources simply makes more sense. Because France only produces linen and velvet, I had to look elsewhere for my wool. I’ve had a great experience with a Danish producer, which manufactures absolutely stunning fabrics made in a transparent and environmentally conscious way.

"My standard designs are just like a blank canvas on which I can express my creativity to create a continuous sequence of unique pieces."

What trends appeal to you personally in furniture design?

Because I don’t have an academic background in design, I really draw what comes to my mind and find a way to make it work once I am settled in the workshop. I don’t usually follow the design trends. I like things simple, and straight lines are usually the simplest way between two points. My engineering background encourages me to understand, how everything is made and how it works together. I think this is reflected in my designs in which every part is visible and every joint shows clearly. Nothing is hidden. Some of the decorations I make, like metal inlays, can require complex calculations and very fine adjustments of CNC machinery. Yet, when you look at the finished piece, a straight line of brass triangles inlayed in a piece of walnut, following an inclined plane, looks very simple. I think that’s where the beauty of the nitsn pieces really stands out — in this apparent simplicity.

Do you reckon French customers are more after comfort, visual appeal or a mix of both?

When it comes to comfort vs visual appeal, I am not sure what the French market is after. Because being ergonomic is such a crucial quality for a chair, I made the designs of my chairs entirely parametric, so that I can adjust any dimension and angle to precisely fit my customer’s body types. I just need the measurements of 5 parts of the body and my computer can instantly generate a fully bespoke chair according to their measures. I don’t think any mass-produced chair can achieve such a perfect fit. It’s like wearing couture as opposed to ready-to-wear.

Learn more:

http://www.nitsn.fr/

https://www.instagram.com/nitsn_france/

https://www.facebook.com/nitsn.fr

A Fond Adieu to Dark Circles: New! LUMI Superbloom Serum Duo

Hanna-Amanda P. G. November 15, 2016

Just last month we tested out their Tundra line and could not stop talking about it. Get excited - LUMI has launched a new serum duo Superbloom to boost your youthful look and restore your skin of the stress and imbalances obtained from the harsh Nordic climate.

Words: Johanna Raudsepp

*LUMI: Superbloom Face & Eye Serum duo, 2016.*

Superbloom is a magical natural phenomenon where a desert in perfect weather explodes in a sea of flowers. The high-end Superbloom serums will re-energise you and your skin.

LUMI Superbloom face serum heals and prevents signs of ageing, restoring the elasticity and giving your skin a silky-smooth finish. It’s especially suitable for those, who prefer a water-free product during winter.

Say goodbye to dark circles! LUMI Superbloom eye serum reduces swelling and gives a dewy finish. The ingredients in this cooling serum moisturise and smooth your skin. Your sensitive skin will be protected and rejuvenated.

Chic Made Consciously: How to be a Sustainable Shopper and Create a Lasting Wardrobe

Hanna-Amanda P. G. November 8, 2016

Sustainable fashion is on the rise and there is a shift in brands offering more eco-friendly and ethical goods. But what exactly does it mean to be a sustainable or conscious shopper?

Oftentimes, people assume that clothing or accessories deemed sustainable are not chic or trendy. In fact, it is extremely easy to stay fashionable and sustainable, too. I believe that being a sustainable shopper is about bringing more awareness to the present moment before making decisions surrounding what we buy. Stop and question how the company is operating in terms of social and environmental responsibility, and take the time to analyse your purchasing decision from a place of consciousness instead of impulse.

Author: Cassandra Ciarallo

*Coral Necklace by Cassandra Ciarallo, Chic Made Consciously 2016.*

Here are some simple guidelines to help reduce your fashion footprint:

Read your labels. By reading the label you can find out what country your clothes are made in and what material it is made out of. Did you know the average worker abroad makes .03 cents for every $10 t-shirt we buy? Unfortunately, there is a huge amount of human exploitation to make the items we wear, so ensure you are supporting companies that are FairTrade!

The material used also has a big impact on our environment. Choose fibers that are natural over synthetic: cotton, linen, silk, hemp, modal (beech tree pulp), tencel (tree pulp), rayon (if specified from bamboo or tree pulp) or wool. Any product made from recycled materials is also a great choice!

Buy less: Ask yourself: Do I really need this new thing? Instead of buying new, get creative with your closet by reusing old pieces in a new way, accessorising or repurpose an old piece into something totally new! One of my favourite quotes by Vivienne Westwood is: “Buy less, choose well, make it last”.

Shop second-hand: A fun way to spice up your closet is to visit your local thrift store for vintage clothing or swap clothes with your friends. It’s a great way to find some unique pieces and feel good about having a low environmental footprint.

Do your research: Google “brand name + sustainability/responsibility” or use http://projectjust.com/ to find out how the company is operating in terms of social and environmental responsibility. Once you know, then you can decide if you want to shop there!

Ask questions and demand transparency! I truly believe it is up to each and every one of us as consumers to make a difference. Ask as many questions as you can to help you decide if you are ready to support that brand. Ensure that the company is being transparent with how they run and what their impact is to the planet and the people. I like to think of it like we are casting a vote with each dollar we spend, so make sure you are doing so wisely!

Use these easy tips to reduce your fashion footprint and be a more conscious shopper! For more updates on how to live a more mindful life and be part of this global fashion movement join my Facebook group here.

Cassandra Ciarallo is the founder & designer of Chic Made Consciously, a social enterprise dedicated to social and environmental responsibility through fashion. Her line of handmade accessories are fair trade & upcycled from tire inner tubes. Visit her collection here at: http://chicmadeconsciously.com/

Behind the Brand: Getting Under the Skin of Supermood’s Holistic Approach

Hanna-Amanda P. G. November 7, 2016

Supermood is a holistic natural beauty brand from Finland, founded by Anne and Joni Kukkohovi, a charismatic duo and life partners. Both have background working in advertising and were settled in the bustling media industry until a few years back, when Anne, a former model and current TV host, was bidding adieu to her rewarding career, to set a base for something more close to heart — beauty with holistic approach.

Anne’s Nordic, but uncharacteristically lively character is a measured yin to Joni’s soft-spoken, calculated yang, whereas the couple is a living proof to the statement 'team work makes the dream work'. The duo essentially represents the core values of its brand — as I should know first-hand, being Scandinavian calls for a reserved, demure nature, which they bring to the table with an unusual, whimsical twist.

I shared a friendly coffee and a chat with the couple at Maison Assouline, my favourite secret hideaway in London, and explored the way they think — although the duo still adamantly insists I avoid the O-word — organic beauty and its role in the cosmetics industry today…

Egoboost: 'Inner Beauty' smoothie with nutritional supplement powder of Chaga and collagen. — *Egoboost: 'Inner Beauty' smoothie with nutritional supplement powder of Chaga and collagen.*

Anne (A), what’s your personal relationship with the beauty industry?

I’ve been breathing fashion and beauty since I was a teenager. First time, I was 12 and I saw ELLE magazine, that’s where it hit me. For years, I was a well-know model in Finland, and then I got into the advertising business. I have also been working as a TV host for many famous shows, such as ‘Finland’s Next Top Model’, and I’ve been an ambassador for different beauty brands before. Supermood is where everything combines — the communication, art direction, and my passion for beauty. I always knew I wanted to have my own brand at some point.

Joni (J), what does your role as a Marketing Director at Supermood incorporate?

First of all, we are married, so it’s a family affair! We both have a background in advertising and we also met through the industry. Then, we worked at the same agency for a while, which wasn’t such a great idea. Soon after, Anne decided to go for the entrepreneur route. She is taking care of the product concepts and the vision of the brand, and understanding of what sort of beauty trends there are, and how to approach it. Therefore, my job is to interpret her vision and then execute, so I am in charge of the branding and marketing, but I still do work as a ECD (Executive Creative Director) at an advertising agency.

You started in 2014 from scratch.

Both nod in agreement.

J: I think one of the things that really helped is our agency background in advertising. You’re used to story-telling, you have an idea [of what you want to produce], and then you just have to find the right people, brief them and direct the final outcome.

*Joni and Anne Kukkohovi, founders of Supermood.*

How does the whole process work with product concepts?

J: Firstly, Anne briefs the chemist at the factory, with some references and desired ingredients. Then what follows is that our chemists make samples and she gives feedback — this is too rich, too heavy, too intense, and so forth and so forth. The testing and trial-and-error lasts 4-6 rounds, until you find that product you’ve imagined.

A: For me it is important that they understand, how I want the products to feel, what are the ingredients, expected texture, and time it takes to show effects. They also ask, if we want to have a long INCI (ingredient) list. Of course not, because the cosmetics we are doing are very pure and transparent, so we try to avoid anything extra.

The direction you have chosen with Supermood is (excuse me for the categorisation) organic or green beauty. How does it resonate with our cultural climate and the current beauty industry trends?

A: This is the present and future already ingrained in any other field, it’s in cars, in textiles, in design— it’s everywhere — so I don’t even emphasise the green aspect so much.

J: People often ask, what’s the one thing that sets us apart, but it’s never just that, it’s more about our approach to beauty. It’s not about some compound or secret ingredient. We wanted to build a brand for women who love prestige brands, and are accustomed to using premium luxury brands, but are conscious about green beauty and also the fact that most of the established beauty brands are synthetic.

A: Unfortunately, there was not any kind of alternative for these women at the time, because most of the green beauty looks to be kind of home-made to an extent.

How do you see the industry change in the future?

J: We feel that in 10 years, it’s not about green beauty, it’s about just beauty. We have to be something else as a brand, not just organic beauty.

A: The way we see it, in 10 years, all production will have a greener approach and a more conscious impact. What we do emphasise on, is the holistic approach.

Could you elaborate on the concept of ‘holistic beauty’?

A: Holistic beauty means that you have edible things, then we have a range of ‘therapeutic’ products, we aim to bring together a ‘holistic triangle’ of beauty, so it’s not merely one-dimensional. The world around us inspired us for such approach — you see people and they want to eat well and they want to take care of themselves in a 360-degree way.

J: In the beginning it is about your skincare — what kind of things you put on your skin, whether it is artificial or organic, what gets into your system. That’s one part. Then it is about the edibles, what you put into your body as nutrition. Then the last part is, how do you sleep, how do you give your body time to recover.

*Beauty Sleep: youth restoring night cream.*

So that’s the holistic, conceptual approach. I saw a pillow in your range and then the moist for it…what’s the beauty pillow about?

A, J: This is also a part of the therapeutic aspect of the ‘holy triangle of beauty’, which comes with a scent for the pillow or bed linen.

A: Coming up with product concepts doesn’t need to be always led by one way of thinking — calming herbs and florals, they have been used for years and years, but you wouldn’t think of featuring a pillow in a beauty range.

What inspired you?

A: The idea came, when we were once staying at a hotel with huge and, by what they looked like, comfortable pillows, but when I woke up, I had deep ‘pillow lines’ (Anne illustrates theatrically, with bold gestures) all over my face. So the pillow I invented helps to avoid those lines and doesn’t give you any puffiness at all. When you think about it, you spend one third of your life in bed, so it is crucial to have special beauty equipment for bedtime.

J: We got the idea when we read about this surgeon, who developed a pillow for post-surgery patients. Obviously when you’ve had something done, you cannot sleep on a regular pillow, because otherwise your face will become disfigured. He had designed this kind of pillow that distributes the pressure differently; it doesn’t impact on your face, or leave any lines on your face, as it does with your regular pillow. It was based on a study about how blood circulation goes into your face.

Who is the buyer the pillow is meant for?

A: These niche items are for ‘beautyholics’, like me. I can make out the kind of people by looking in their eyes, sometimes they just grab the pillow and they don’t even talk to me, and then the others ask, ‘Why would you do this?’, and I would think, maybe it’s not exactly for you.

"We aim to bring together a ‘holistic triangle’ of beauty, so it’s not merely one-dimensional. The world around us inspired us for such approach — you see people and they want to eat well and they want to take care of themselves in a 360-degree way."

Who is that person who lives and breathes Supermood?

A: It is somebody who is in the radar of the new things, takes care of themselves; someone who is conscious about the natural environment and wants to do something about it, but also wants to look good and wants to look fashionable at the same time. I call it like the ‘W Hotel and Wholefoods person, or Net-A-Porter user, so this person is present all over the world. It’s not about age. It’s not about what ethnicity you represent. It’s not about where you live. It’s more about the way you think about things.

When it comes to working with your partner… do you experience any creative clashes at all?

J: Constantly!

A: It hasn’t always been easy, to be honest. But I think the vision we have is the same. We are a young brand, so it always comes down to those big decisions and projects. But vision-wise we don’t have so many differences —

J: Artistic differences!

A: But it’s more about, how to use time more efficiently and find the right deals.

J: We are both hands-on engaged in our other projects, like TV and advertising, so time is our biggest challenge. When we do have a lot on the table, we always consider all the options and priorities. Often Anne says adamantly, ‘this is more important, and we have to go forward with it!’. They’re not exactly arguments, but a way of making out what’s actually important.

And what saves you in those moments?

A: We are really passionate about the whole thing.

Meanwhile Anne tells a story about presenting to a bunch of male investors in a fancy, formal setting, whereas Anne, keeping her enthusiastic spirit, had invested a great deal of inner passion in storytelling. The reaction was the men going, ‘It’s just a beauty brand. Why are you so passionate about it?’, whilst Anne lost her temper explaining the passion comes from the fact that it’s her vision, and she has invested a lot of time and energy in it, ‘Of course I am passionate about it,’ Anne tells full of spark.

What brought you to London?

A: We are going to have a Space N K launch in December, which will be our biggest UK distributor. It’s a huge thing for us, as you have all the best boutique brands in there, so we are exploring the possibilities of publicising the launch and PR with them.

J: Other markets that we’ve been working with so far have had an incredible response. We are hoping that UK follows the same route, because it is such a big and important market. It is a priority for us to break through here.

Anne boasts such a radiant, youthful glow that I unapologetically turn to her, asking whether she uses her own products. Her confident smile reveals there shouldn’t be a degree of doubt.

What’s the absolute must-have product from your range?

A: 1-minute facelift. It’s one of our key products, although we think that there is no one main product on the importance scale. It does exactly what it says effectively — it really tightens your face and skin up. We also sell it in the States.

J: It’s the most effective sculpting and lifting serum, which also happens to be everyone’s favourite.

*Egoboost: 1-minute facelift serum with Chaga.*

A: We also have an eye serum, ‘Eyes Wide Open’. [To illustrate its effectiveness], first showing it to Joni, I put it on one eye and I said, ’compare it to my other eye’, — he is really suspicious about everything — and he said: ‘It’s really bigger than the other one!’. So it is very effective. For that we used a local Finnish ingredient called Chaga [immune-boosting medicinal mushroom]. That’s one of the main ingredients we use.

J: We do all the testing with Anne. As she said, I am fairly suspicious about claims of products. When we started, I wasn’t a big believer in organic cosmetics, so I told her strictly that it is adamant that our products are effective, it is not enough that we do great branding. That was like the first penny drop for me.

A: It’s still very few people, who want everything to be super clean, without any extra additives. We are not aiming for that, but the actual effectiveness.

*Egoboost: 'Eyes Wide Open' firming serum for the eye area.*

Where do you produce?

A: We found a local Finnish factory — despite exploring opportunities as far as up to Italy — but I wanted it to be closer to me to learn, too. They are the first Eco-Certified factory in Finland, so they know about that sort of [organic] cosmetics.

It is, of course, very difficult to get those 100% pure components. Where do the ingredients come from?

A: Chaga comes from a city called Kauhava in Finland, and it is handpicked. The other ingredients are the produce of organic farming in different places around the world. It does depend on the climate a lot — when you have monsoon rain somewhere, it might affect some ingredients. They cannot assure the stability of the supply country, but therefore they make sure it at least feels the same.

J: Chaga is basically forged — it grows wild on the trees and that’s the main reason why products with it cannot get eco-certified, because it’s not controlled by any agency, so it remains the type of product that you cannot classify as ‘certified or organic’, even though, in theory, it is found in its purest form. The EU legislation hasn’t quite figured it out, whether its a pharmaceutical, but through clinical tests it has been proven to be super effective.

A: Chaga has been used in folk medicine for thousands of years and also in Eastern countries, because it makes your skin really even. Also, when you consume it, it is really good for your immune system. It has a very strong effect — say, when you are taking antibiotics, then I would recommend using or consuming it.

*Egoboost: 'Beauty Chocolate', raw chocolate with collagen.*

J: We feature it in some of the skincare products — we have a collagen and Chaga powder, which is a nutritional supplement that you can blend into your milkshake or smoothies, and also with collagen we have beauty chocolate, which is a raw chocolate.

I saw it! Yes, it is the most interesting product. What’s it about?

A: Everybody says that. Whispers to Joni, ‘now you hear it’.

Laughter. Anne, it was your idea, of course.

A: It’s raw chocolate, so we are not talking about organic chocolate, which is heated up. Raw chocolate is cold-pressed, and it’s really expensive to produce. Often the issue is that the price and quality of cocoa varies seasonally.

J: When it comes to chocolate or coffee, it reacts to weather changes, which right away affects the price of chocolate. A lot of things are very expensive to produce, because you cannot have such volumes, where you could leverage the buying power. That’s why green beauty, as well as green fashion, is still highly priced.

"Brands have to evolve over time, but at the moment, I think the more layers and perspective you have as a brand, it becomes actually more interesting rather than having this Bauhaus-aesthetic approach."

In today’s visual culture, branding is very important. Advertising background and knowing you target audience well surely works in your favour…

A: People usually want to categorise into either ‘organic’ or ‘normal’, meaning synthetic cosmetics category. We are organic, but that is secondary. On the ferries that are going between Finland and Estonia, they’ve put us next to Dior. That’s exactly the perfect way to explain it, ‘just place it where the good brands are’.

J: It is less to do with the fact that it is green and more to do with communication and how we build the story and tell it, but it doesn’t have to scream ‘green’ at the display. It has to look nice on your bathroom shelf or nightstand. It has to fit in with your other luxury cosmetics.

I have even gone for some beauty stuff only for the packaging, then found out later, ‘oh, it’s 98% bio-organic, too’.

A: I remember one retailer telling me ‘I don’t care what’s in it, I take it!’, when they saw those pictures of what Joni did — illustrative mockup in 3D of all the range.

J: The first question is, ‘Is it appealing?’, when you see it in the store. Then the next question is, if it something that I would actually use for its utility.

*Youth Glo: luxury peel with AHA acids and fruit extracts.*

I am totally in love with the packaging!

J: The appearance is a bit whimsical, we felt that green beauty is often strictly about the environment, using green hues. With such personal product that should reflect the user’s values, we wanted to give ourselves that permission to be funny.

A: [It is] a little bit bold. Also flirty, because when you see all those lines that we have hidden in the packaging — if you find them, you find them. Those little messages.

J: If we would have chosen kind of a minimalistic and clean, too rigid, approach, I am not sure that would be as much fun to do, it just wouldn’t be entirely ‘us’. If we don’t get that first reaction that it looks good, then it’s a lost case.

There is this standard Scandinavian minimalism style and approach. Are these the end days?

A: There are so many brands doing this, so it’s already too repetitive.

J: I think this [Maison Assouline] coffee shop is a good concept — the new and the old meets. The age of ultra design and ultra clean is getting old, in my opinion. In that sense, brands have to evolve over time, but at the moment, I think the more layers and perspective you have as a brand, it becomes actually more interesting rather than having this Bauhaus-aesthetic approach.

*Egoboost: 'Inner Beauty' supplement with Chaga and collagen.*

Tell us an interesting story.

A: There was an online beauty retailer in California looking to buy our beauty chocolate — 2 pieces, which is a very small quantity. The argument was going on and on, because that comes without saying, sending them to California would have been much more expensive than the chocolate itself (8.00 euros per small chocolate bar). We were having this argument with her, because we couldn’t lose the money, when sending the package that far. It went on and on, and then we just told her to order the chocolate directly from our web store, if she really wants it, but we cannot sell 2 pieces of chocolate and pay for it ourselves. That’s how it goes, when you have a really small business and you don’t want to take the risk of losing the profit.

J: The comfortable things for us are to work on the brand and on the products, but what we didn’t have experience with, when we got into advertising or out of advertising, is how to handle logistics worldwide. The fact that we are based in Finland, Helsinki, doesn’t make handling international shipping any easier. I think that’s a crucial part of starting your own brand — that it’s a learning curve every day.

What is on hold for the near future?

J: Hopefully, what this UK opportunity brings is that we get more exposure and find new partners to work with, that way we can also grow the business and a bigger audience.

What are you missing?

A: We need some rest! I wouldn’t mind a nice holiday together…

That leaves Joni reminiscing about a personal father and son road trip in the States with their teenage son few years back, whilst Anne was working at the other end of the country in the midst of mid-summer blizzard. Both admit they haven’t gone on a holiday for long time.

All goes slowly, step-by-step.

A: Yes, because we’re still very young. Well, we’re not young, but at least the company is…

Anne says in her confident tone of wit. We then burst into laughter and finish off the — when so much effort goes into conversation — already cold cappuccinos.

I hug them goodbye, and rushing through the city’s marvellous Mayfair district, baby pink Supermood goodie bag loosely waving in hand, I soon find myself comfortably in a relaxed super mood.

www.supermood.fi

#FAQ Slow Living Philosophies

Sophie Breitsameter November 5, 2016

Roles reversed — what if the Brand Director of Savant, Hanna-Amanda, gets to reminisce about the philosophies of slow living and about what guided her to running a slow lifestyle publication strictly at her own pace?

Published as part of the study about the relevance of slow living philosophies amongst college students conducted by Aki Kei Maedomari, BA (Hons) Design Communications student at LASALLE College of the Arts in Singapore.

*Maison Assouline, London. Copyright: Maarika Talja.*

Aki Kei Maedomari: My project is on slow living specifically for college and university students.

Initially, when I started my research I found that Millennials are probably one of the most stressed-out generations, currently. I found that a lot of articles and books were talking about people, who are already working or more established, who have families, they don't really focus a lot on the younger generation. I wanted to see how slow living could maybe help students cope better with stress when they're in university.

Part of my research, I have done some reading and I've familiarised myself with it, but I am looking to explore some details that I don't really know about yet, or perspectives of other people who maybe know more about it.

Aki (A): Tell me more about you and your background.

Hanna-Amanda (H-A): The difficult part. I actually come from an interesting region at the border of Scandinavia and East Europe - from a tiny country called Estonia. To date, I’ve been officially away from there for four years. Initially, that’s right after graduating from high school, I moved to Paris to do some fashion networking and internships there. Soon after, I came to London to study Fashion Journalism, and my final project was about developing my current publication, Savant.

It naturally followed that I found what I really wanted to do just soon after graduating. I’m only 23 myself [laughs], such a baby! I’m planning to circulate the magazine in Scandinavia and here in UK as well, then let it spread out to different regions.

What do the philosophies of slow living mean to you and how would you describe the term to someone who’s not familiar with it?

H-A: To me, slow living is all about focusing on quality rather than quantity. It is actually paying close attention to what you're doing, without losing the goal. It's all about embracing life's little moments and the process itself. I think we should all fear waking up one day when we've been working, say, for 30 years, only to realise, what's the outcome? What have I done so far? What have I achieved?

We may, by that time, have the money and security, but we should ask ourselves, did we really enjoy the process? It's actually about creating a more meaningful path for yourself and enjoying the process, whatever you might be doing.

The key to slow living philosophy is embracing the process itself rather than the end result. I have faced people, who are questioning it, and they often think that [slow living] equates to aimless floating. Actually, it has nothing to do with moving at a snail's pace; rather it is to do with knowing what your priorities are and setting a pace for yourself to reach the end result. I also think that it's a natural backlash culture that follows suit the digitalisation of life’s every aspect, and all those fancy applications that we're so keen on using. It's about slowing down this speed culture that has exhausted us all.

That's actually is true, because when I was talking about slow living with my friends, they thought that it's about like doing everything at a slow pace. Like physically slow and being lazy.

H-A: [laughter]. Let’s just say that’s a common misconception. It's not about speeding up, it's not about slowing down, but just everyone should know what's the goal they want to reach. [It’s about] doing everything at the pace that's necessary for reaching it.

How did you become interested in slow living and when did you first come across the slow lifestyle?

H-A: Actually, I've been more interested in it from the time Kinfolk, the magazine, has been around, so roughly from 2011. But to reflect back, I also came across the concept when I used to live in Paris — the French have this term called joie de vivre, which means enjoying the cheerfulness of the everyday, taking time to enjoy life’s little moments. You see people sitting on those pavement terraces after long work hours, observing their surroundings with a hot or cold beverage, and doing absolutely nothing, like people watching. Because they really embrace absorbing these tiny little moments, rather than just running around, doing their eat-sleep-work-repeat [laughs].

Around the time, when I was researching slow living for my Final Major Project, I was stuck because what I felt when flicking through all those glossy magazines was that - aghhh! it's just all geared forward by consumerism. I also saw more and more young creatives turning to sustainability. It was like a wave bursting out on its own. These practitioners are really standing out, I feel like they’re not overshadowed by fast fashion producers anymore, or at least they don’t allow themselves to be. I quickly connected the dots between sustainability and fashion, and also gave more thought to the overwhelming blinking, blinding speed culture that has exhausted us all. Eventually everything - my love for slow living and slow fashion - connected. Or perhaps, to summarise, [people are] in general looking to move to a more slower pace of living, because that’s, in essence, our most natural way of being.

We yearn to go back to natural, authentic life as it should be. It's not a utopia anymore, we are really communicating with each other too often in digital worlds. Perhaps, it loops back to the backlash culture again — it’s just that, somewhere deep inside, we feel very isolated and we're looking for human connection again. Also, there's a book called In Praise of Slow by Carl Honoré that very much inspired me. I don't know if you've heard of it, but it collects all of them, slow philosophies. It's a very interesting read as well, which I recommend to all wanting to become connoisseurs of slow living.

"I think we should all fear waking up one day when we've been working, say, for 30 years, only to realise, what's the outcome? What have I done so far? What have I achieved?"

What does your typical day look like and what do you like to do to unwind, when you've had a particularly stressful day?

H-A: After familiarising myself with slow living principles, I'm not very receptive to stress anymore. Of course, we all experience stress, but every morning, when I wake up I just try to think about my priorities and set the direction for the day. I'm always setting it actually before I start with my day. As long as I accomplish the small things that I've set for myself in the morning, then I have no reason to feel stressed, so that's like a good tip to follow.

I'm also a very impulsive person and creative person, there are no two days that look the same for me. If I am really in London and it's my typical working day then I wake up roughly at 11:00. It may sound very late to someone, but I'm more like a night person. I do my emails for two hours from my bed and I just drink endless amounts of coffee, of course!

Then I make my way to my local coffee shop around one o’clock. I do proper research, I manage my team. I have very few people working for me, but I just give them directions, then I focus on the articles that need to be done. I can also get stressed, even from writing only. I experience some anxiety sometimes, because it's very difficult to just sit in one place and focus on writing for three hours.

When I experience this stress, I just write something on my personal blog quickly to unwind. In the evenings I usually go to some events and I finish quite late. I get home around midnight or one o'clock at night and then I actually continue on with writing until 3am, but it's a way to relax for me. I'm just writing constantly and then when things do get stressful, then I just have a nice glass of red wine. That's what you call slowing down the pace of ‘slow living.’

I would say that I'm a good example of that slow living practice, because I always make sure that I actually do enjoy what I'm doing. I don't wake up the next day and think that, “Oh, I don't like what I'm doing, I want to change,” That's why maybe also stress is not really bulking up in me as well.

"[People] often think that [slow living] equates to aimless floating. Actually, it has nothing to do with moving at a snail's pace; rather it is to do with knowing what your priorities are and setting a pace for yourself to reach the end result."

You write a lot about fashion and culture. They tend to have a stereotype of being very fast in nature in terms of trends. When you're coming up with the concept for Savant, did you find it hard to overcome the stereotypes?

H-A: Surely. I would say that at least 90% of the magazines out there are still focusing on this idea of glamour. But developing slow lifestyle principles is more oriented to the niche market, which makes marketing it more tricky. I was able to be at the right place at the right time and discovered that attitudes are changing, and there's actually hunger for a new kind of medium that celebrates the slow culture and sustainability, too.

I actually found that no slow lifestyle magazine is celebrating fashion very boldly. Perhaps, due to clichéd or outdated views that it may not be as glamorous. I would say it's always more complicated to market something that might not be as glamorous and requires a more niche audience for it. Especially when it comes to younger audiences, then they often get hooked by this term of glamour, or anything that's related to it.

I could sense that there's also this more intellectual audience growing out of this ‘bubble’, who want to familiarise themselves with the consequences of the fashion industry and what it does to our planet. I think we should always ask ourselves, is there a more meaningful way to living and what's behind the glamour?

I guess that ties into my next question, who is your main target audience and do you reach out for people, who are maybe not familiar with this culture, or skeptical even, or those who are actually already interested?

H-A: My key target audience is the generation what we call ‘isolated connectivity’. Generation, who is trapped in the scrutiny global capitalism and is yearning for escape. It's a very international audience formed of creative professionals and those aspiring to engage in creative practices. The age range is 25 to 35. Of course, there are variations and its potential is to offer stories and visuals to any audience, who is perhaps not so familiar with slow lifestyle, too. It has an inspiring, aspirational role in that respect.

"It's always more complicated to market something that might not be as glamorous and requires a more niche audience for it. Especially when it comes to younger audiences, then they often get hooked by this term of glamour, or anything that's related to it."

It aims to get more people interested, even those who are skeptical or would perhaps not consider learning anything about ethical fashion, slow art or slowing down the pace of life. Otherwise I would say, most readers come from the Scandinavian region, and also Central Europe, but they're still a bit behind.

I also wanted to say it's a very engaging platform. Those, who benefit the most from it, are the ones actually very interested in slow living practices. I encourage more people to come and see what's happening in this sphere.

Do you actually have people who give you active feedback from within your audience? Do they actually tell you what they enjoy about your magazine?

H-A: I think I've gotten a lot of positive feedback and people saying that it's something very unique to the market. Also, they always say they learn something new, so it has kind of a educative value to it as well. There are a few artists, who follow the stories actively and write me e-mails to be featured. They are interested in publicity, but I still say that it’s a very personal project. I'm trying to select very carefully, who I actually want to feature on Savant. But they seem to [enjoy the fact that] there’s an educative value to it.

"Often we set very high goals for ourselves and then we wonder why we aren't reaching them. If we break them down to smaller pieces and even tinier pieces, then it's easier to find the way out and actually achieve the larger goal. By completing all the small steps."

Since you've embraced slow living, do you find that there have been many differences in the way that you approach your work and daily life? Any positive or negative?

H-A: I'd say the overall quality of my life and work-life balance has improved. A fun fact is that I actually used to be a perfectionist all my life. I always took a lot of time to do things. Of course, there's this external pressure coming from your teachers, mentors, and then you just have to kind of work at a very speedy pace. I think I've never actually been a big fan of speed culture and I always questioned it. Even when I was studying myself, because I'm a very impulsive person, I get carried away easily.

I always felt that they should be more focused on the individual qualities we students have and we should be allowed to work on that skill-set rather than assuming that there are some kind of ‘universal’ qualities, and thus we can all maintain the same pressure and pace. I feel that when I started taking things easier or slower, then there's this — the negative side maybe — that you actually detach yourself from the understanding of pressure entirely.

Although in my industry, if I focus on the end result, if I focus on quality rather than quantity, it can be beneficial. I understand that in universities, there's so much external pressure that otherwise you just can't live up to it. I would say that everyone should choose the right pace for progressing with their own work rather than necessarily speeding up. Negative is that this is tricky in an environment when someone is pushing you for better results in a very tight timeframe and expecting certain (mostly high) results from you.

Would you say that it's easier for you to maintain your slow living lifestyle because you're your own boss?

H-A: Yes, of course [laughter]. But then again, there are still situations, when I am not my own boss, so I have to know how to handle both ways.

What would you say is the most striking quality in the artists you've interviewed or met or who have developed the slower approach to their work?

H-A: One word that comes to my mind, it's passion. They all share a very fiery passion. I feel that there's always like a force beyond money and success that gears them forward. They're actually all looking for improvement that could help many generations. For example, avoiding environmental harm, or helping to establish jobs in recycling.

They all have this deeper or more altruistic quality to them that they are actually looking to do things better for future generations as well. And they all show that it's possible to be productive without compromising the quality and the story of what they actually want to produce. I feel that mass production, digitalisation, and speed culture have had a somewhat negative impact on them. They are in search of improvement and they're working towards a larger social goal that's bigger than themselves.

My project is actually geared very much toward students. As you were recently a student, I assume you know maybe more about slow living now than when you were starting up the magazine. How do you think it would've helped you when you were a student?

H-A: I also mentioned earlier there are external circumstances that put us under pressure, regardless of what we ourselves want to do. Even though I perhaps knew about practices and principles of slow living, but our education system is built on getting the most out of us within a minimum amount of time. It's a quite a ruthless system that focuses on the end result. We don't really care about the process and the thinking process itself.

This external pressure often leads to losing focus, and interest, and motivation. I think it would be more beneficial if the overall education system would also cherish slow lifestyle principles and let us develop our skills in our own pace, but sadly, that's a utopia for now. Of course, I do understand why it functions the way it does, because there are still people higher up, who find that stress is a great motivator and maybe otherwise, we wouldn't do any work at all, because there's no external pressure.

"[These artists] are in search of improvement and they're working towards a larger social goal that's bigger than themselves."

The principle of self-motivation and self-development according to your own individual personality traits, or skill-sets should be definitely more encouraged, but it's fairly alien now to the education system. I think I also experienced often this external and internal conflict, because I was told to do so many things. There was this multitasking going on and, of course, I wanted to be good at absolutely everything, which is impossible.

I was often very, very stressed and I had to push myself in a very cruel way. I wasn't capable of doing absolutely everything perfectly. I often even collapsed or stayed up till late or did all-nighters. We should ask, if it's really what we want actually, for the students to push their limits to that extent? And it's not the answer.

Do you think that maybe it's perhaps not possible for students — because we're both from a creative background, would you say that it's maybe not possible at all for us to adopt philosophies from slow living or that it would be just harder as students compared to working individuals?

H-A: That's a tricky question. No, I think we all have to realise that we can't, humanly, be good at absolutely everything. We just can't. As soon as we selectively figure out what are the skills that need to be improved and what are our general priorities. We accept those, and that these are the important things, and these are perhaps not important things, and we only work towards the top priority things. Then, I think that's already a good starting point, a more balanced lifestyle.

Also, it's very good to just selectively choose the key areas that are good for you and improve them. Set the pace for your own work and also, set smaller goals for yourself. Often we set very high goals for ourselves and then we wonder why we aren't reaching them. If we break it down to smaller pieces and even tinier pieces, then it's easier to find the way out and actually achieve the larger goal. By completing all the small steps.

What advice would you give to a college student who is keen on adopting the philosophies of slow living and what would you say are the fundamental areas in their lifestyle that would need to change?

H-A: I would say that their way of thinking perhaps in terms of priorities and non-priorities and also letting go of this culture that celebrates, even idealises, achievement. Also, good understanding of your own personal skills that need improving — clear focus on those areas. It's useful to ask from yourself whatever you're doing, is it meaningful and how am I progressing? Is there actually a larger goal I'm working to or it's all meaningless or someone else is telling me what to do and I actually don't want to do it at all? Maybe there's a conflict going on so you should actually reconsider if it has a meaning at all to you and your personal development.

Also, letting go of any digital distractions can reduce stress. This helps to avoid procrastination. That's maybe pulling you down, that you're not progressing as fast as possible. It's crucial to understand that stress is often what kills creativity and your real progress.

I was going through your magazine and your articles and I find them all very interesting. The one that I found the most interesting was the one about the tapestry (Alex Keha). Which one do you think was your favourite artist that you met or the one that you found that maybe sparked your interest in any way?

H-A: The tapestry one is really good, but from the recent ones I would like to highlight this Danish brand called Aiayu. They are very unique because they have from beginning incorporated a social mission layer into their brand. They have put a lot of consideration into their values and principles. They're actually creating new jobs in Nepal, India and Bolivia.

They’re using the oldest artisanal techniques that have been established [in those regions] and all the clothes are still made by those old women, who really have the traditional skills. And then, all the production is actually brought into Europe. I would say that combining something very modern with traditional skills in a way that you’re actually helping to make this world better. This is a very altruistic, high-thinking prospect.

From Bowie Collection to Turning Inwards and Trying to Float: Your Culture Guide to November

Hanna-Amanda P. G. November 1, 2016

Eat: East by West by Jasmine Hemsley, the best-selling author, chef and entrepreneur has perfectly fused ancient Ayuryedic principles with the best British seasonal ingredients in her latest manifestation, East by West. East by West offers an amazing all day menu overflowing with bold flavours. The restaurant has opened as a pop up within the Maiyet Concept Store on Conduit Street and will be open until the 13th January.

Go: Louise Bourgeois: Turning Inwards, Hauser & Wirth, Somerset. For the first time, Louise Bourgeois’s series of 38 soft-ground etchings are on show together at Hauser & Wirth, Somerset, in the exhibition, Turning Inwards. The drawings are accompanied by a selection of the artist’s sculptures from 1970 to 2005, casting new light on the themes of femininity, sexuality, botany, family and infancy in her work. The all-encompassing exhibition mirrors the intricacy of Bourgeois’ work. Each room embodies something different: a theme, a memory, a moment in the artist’s life that has notably influenced her artistry. From 2nd October – 1st January 2017

From Louise Bourgeois: Turning Inwards, Hauser & Wirth, Somerset. — *From Louise Bourgeois: Turning Inwards, Hauser & Wirth, Somerset.*

Read: Trying To Float: Coming of Age in the Chelsea Hotel, by Nicolaia Rips Set in New York’s infamous Chelsea Hotel, this wry and occasionally cutting coming-of-age story gives us an exceptional glimpse into the eccentric world of the Chelsea Hotel, where the author Nicolaia Rips has lived her entire life.

Visit: David Bowie Collection, Sotheby's. This November, Sotheby’s in Bond Street will stage Bowie/Collector, a three-part sale encompassing over 350 works from the private collection of legendary musician David Bowie. At the heart of of the sale is a remarkable group of more than 200 works by many of the most important British artists of the 20th Century, including Frank Auerbach, Damien Hirst, Henry Moore and Graham Sutherland. On display to the public from 1st November – 10th November.

See: Rodin and Dance, Courtauld Gallery, Somerset House. Head over to The Courtauld Gallery to view the first major exhibition to explore Rodin’s fascination with dance and bodies in extreme acrobatic poses. The exhibition explores a series of experimental sculptures known as the Dance Movements made in 1911, offering a rare glimpse into Rodin’s unique working practices. From 20th October 2016 – 22 January 2017.

Steinway & Sons: 4 Sustainability Pillars to Piano Making

Hanna-Amanda P. G. October 29, 2016

What makes an honest company experienced in the craftsmanship of a single musical instrument? In the world of sustainable luxury, for Steinway & Sons, 4 base factors are the key — tradition, green issues, transparency and durability. In this world crammed with disposable items in every aspect of life, Steinway & Sons, with more than 160 years expertise in piano making, reassures our confidence in quality, sustained craftsmanship and environmental consideration, and as if by accident, connects with the most talked about emerging trends in the current global luxury sector.

Steinway & Sons, 2016. — *Steinway & Sons, 2016.*

Transparency and environmental issues are no longer living in an extinct, faraway land only concerning the global fashion superpowers, but are widely prioritised on the consumer awareness agenda, whereas it is a no-brainer luxury brands get more exposure on revealing their behind-the-scenes. With #whomademyclothes increasingly trending on social media as a form of attracting sustainable fashion more visibility, even companies with tradition and history have been affected, due to popular demand, by a new wave of embracing transparency. Yet, what if there is nothing to hide? Steinway & Sons is a company that unintentionally stands in line with the global trend of stripping ‘bare’ in the luxury industry. We may still consider fashion as the most obvious example of an industry aspiring to turn a great degree greener, but also a great deal of craftsmanship and environmental consideration can be put into making a piano — a Steinway piano, made of wood from sustainable sources, can be played and enjoyed for decades, and — coming without an expiry date — even centuries.

“In today’s marketplace, brands like ours must continue to innovate in order to remain relevant to the world around us, but that doesn't mean that quality and craftsmanship can suffer.”

Steinway belongs to the segment of sustainable luxury products, but understanding the real quality and durability often takes more than just a fancy exterior — it is easy to plaster a product with a luxury label, without making sure the product actually delivers towards the sustainability criteria. At Steinway, in addition to aesthetic appeal of the instrument, the role of actual craftsmanship, skills and the quality of raw materials is taken with utmost importance, where there is no compromise — it takes about a year to make one Steinway piano. In addition, the company boasts only two factories world-wide, based in New York and Hamburg. It takes only a glance under the lid to reveal the complexity of the artisan-built musical instruments measured with great care, assuring the customer that they are not simply paying for ‘luxury’ label, the name.

Steinway & Sons, 2016: Painting of the logo.

Similarly to the flourishing #whomademyclothes trend, the answer to questions like, ‘Who made my piano? How well treated the workers are? Where are they based? How much are they paid?’ , lies in highly-skilled craftspeople and artisans treated fairly and ethically. As a customer, in addition to the basics, like how, where, and by whom the product is made, we shouldn’t discard the most important question — whether the expertise is actually there. Like many other notable luxury corporations, Steinway has chosen to downplay the ostentatious label and opt for a greater degree of transparency — many of their staff have been at its workshops for decades and there are generations of the same family who have dedicated their lives to Steinway. At Steinway, interactive approach is also the key — customers frequently visit the workshops before moving on to the factory’s Selection Room, where they can try out a variety of pianos to find the one that feels right for them.

Steinway is also highly dedicated to the exclusivity aspect — any experienced pianist can tell that every Steinway piano sounds slightly different. Over the years, they have introduced a variety of limited editions — the Steinway Crown Jewel Collection is a range of visually striking pianos created from unusual, precious woods that challenges the perception of the ebony high polish concert grand, is typical of this trend. In 2015, in partnership with Wayne Stahnke, Steinway Spirio, the world's finest player piano system, available exclusively on select Steinway grand pianos, was introduced as a remarkable innovation, which is expected to last the full lifetime of the piano.

According to the brand's spokesperson, “Since the founding of Steinway & Sons over 160 years ago, innovation and craftsmanship have served as the core tenets of the company. In today’s marketplace, brands like ours must continue to innovate in order to remain relevant to the world around us, but that doesn't mean that quality and craftsmanship can suffer.” Relying on these core principles of sustainability, craftsmanship, tradition and environmental responsibility, and more than a century worth of expertise, no wonder Steinway is the choice of nine out of ten concert pianists as well as countless professionals and amateurs.

For years on end, Steinway proudly serves as a company that, first and foremost, has its core values in place.

http://steinway.com

Gudrun & Gudrun — Funky Knitwear Extravaganza from the Faraway Faroe Islands

Hanna-Amanda P. G. October 27, 2016

Gudrun & Gudrun, bringing sustainability to life using Faroese wool and traditional knitting techniques, is a fashion-forward knitwear brand gaining momentum with its bold heritage. Emerging from the faraway Faroe Islands, the remoteness of the geographical location inspired Gudrun & Gudrun to use the island’s scarce wool resources wisely, not to let them fade away. Adding a touch of women’s empowerment led thinking and mind-blowing creativity to Gudrun’s journey is what makes the brand as powerful as it stands today. We also never knew knits assembled of natural wool could look so good.

What brought together Gudrun & Gudrun and sustainability?

We didn’t start as some brands might start today, saying ‘we are going to make a sustainable brand’. We just discovered that all the resources on the Faroe Islands [located halfway between Norway and Iceland] were very limited and used poorly. We discovered that we must take very good care of the scarce resources, like in the old days. It’s to do with the heritage of the place, nothing can grow and it is very remote, so we just had to use what the nature has to offer — we have wool, we have sheep and we have fish, that’s all we have here on the Faroe Islands. Sadly, in the rapidly growing economy of the 1990s people didn’t care too much about the natural resources and the local produce, but thought that everything imported from abroad was much more valuable. We came to a situation where most of the wool was burnt and lambskins were destroyed completely, because nobody wanted to use them. Whereas we felt really upset about it, because these were not the values we were brought up with, what we had learnt to do. Then we thought we should put an end to it somehow, sooner rather than later, that’s where it all started…

So you would say that the isolation of your geographical position, Faroe Islands, closely connects with the story of the brand?

It has a lot to do with being from the Faroe Islands and seeing the natural resources go to waste, seeing that they’re not being used properly.

I see more and more brands turning to sustainability. What’s the importance of it, why do we need to move away from the fast-everything culture and mass production?

I think the answer lies in people being more conscious and aware after the financial crisis that really had an effect on their consumption habits. Getting through that crisis, we have learned not to blame the ‘others, or the big ones or the global superpowers’, which were the attitudes flourishing for long, but we have understood that we ourselves are to blame, and we have to take collective responsibility for changing the detrimental patterns. We are all a part of the world, so we all have to play our part in being responsible and making a change.

Also, you have a special kidswear range, which many brands have not thought of, or find too difficult to run. How did you come to this idea? It looks so playful… full of colour.

We started with womenswear only, but often the customers would be like, ‘Awww, I want this type of quality for my child as well’, because we are only using natural materials, and organic yarns, and on top of that, we have the contemporary design and modern thinking. So we have combined everything that has to do with sustainability with the modern, creative side, which is really cherished with kidswear. When it comes to sustainable clothing, I think parents are thinking, first of all, about their babies, who would need the comfort — clothes that don’t do any harm to them. The combination of having the sustainability element and also the design, the aesthetics, is what makes our knits so unique and popular. Kidswear is not found everywhere, but people often look for the quality, the natural materials and longevity, but with that often comes a high price tag, and people refuse to pay for it. Often it is the same price producing a kid's sweater and sweaters for grown-ups, but people are still looking to pay half the price for it. So we have reversed it.

How does the sustainability aspect come across in the production phase and use of materials?

We always use only natural materials. For example, Faroese wool — the sheep are in the mountains all-year round, they are never kept inside, so they are living on natural, unfertilised grass. The wool is not eco-certified, but just made using common sense and highest quality technology. For it to be the best possible [quality] is more important for us than just having a certificate to say that it is sustainable and organic. In addition to Faroese wool, we also use yarn from a lot of other places — we produce in Peru, using Alpaca wool from Peru, because that also makes sense for us to use the material from the place we produce and we learn a lot of techniques from the Peruvians… then we use organic Merino wool, for example. In addition, we use yarn from a lot of different places, from Italy, Norway, Iceland and Japan. But we always use natural materials, that’s one of our principles.

"We could not change the fact that the women have a specific role in the family and home, but we could help to empower them by giving them the opportunity to earn their own money."

That must be complex to produce. How big is the workforce?

All in all, we have about 100 knitters, and they are divided more or less equally between Faroe Islands, Jordan and Peru.

There’s also a link between women’s empowerment and your brand… what countries is it related to?

We have a group of women knitting for us in Jordan and Peru. The project in Jordan was started, because before Gudrun & Gudrun I had a completely different career. I was working as a consultant stationed in Jordan, namely as a UE expert, and I always met a lot of ambitious people, and we were talking about the possibility of giving those women a way to earn their own money, because when we are talking about women’s empowerment, we believe that earning your own money is the base of this, the first step.

"There are a lot of other brands that are so much better at making cheap T-shirts, but it’s not our field of expertise, so it is better that you concentrate on what you are good at, what you truly believe in."

In Jordan, for example, which is a restricted, patriarchal society, for a lot of women, it is difficult to get acknowledged outside the boundaries of their own home, so they are deeply ingrained in the role that they have to take care of the home and their children, there’s no option of having a career. We found that it would be a very good way, if we could fulfil that gap that they too contribute to the society. We could not change the fact that the women have a specific role in the family and home, but we could help to empower them by giving them the opportunity to earn their own money. I have been working with projects a lot and simple projects are often good projects that help to benefit the women the most. Also, for the husbands, it is not a threatening project, because the dinner is still served at the same time and they are still home by the evening, so that structure works for everybody. If it’s a project that the men will oppose, then the women would participate for a few times, and then they would not be allowed anymore, because they cannot take this discussion of freedom at home with them. They meet us in a charity organisation and surprisingly, some women, who started already 8 years ago, are still working with us.

"Getting through that crisis, we have learned not to blame the ‘others, or the big ones or the global superpowers’, which were the attitudes flourishing for long, but we have understood that we ourselves are to blame, and we have to take collective responsibility for changing the detrimental patterns."

Do you boast a global audience?

We have a very global audience, from Japan to Italy to U.S. We have our flagship store in Faroe Islands and pop-up shop in London at the time, and last year we had pop-ups in Oslo and Copenhagen as well, and then we sell wholesale to a lot of different stores.

What’s your message, how to give quality production more visibility and reduce the mass-production mania?

As a first thing, this is what we are good at — we are good at making hand-knit collections. We don’t know any other companies that make full collections in hand-knit, as it's not a machine, it is extremely difficult to execute and control. Quality production from natural materials is something that we have expertise in. There are a lot of other brands that are so much better at making cheap T-shirts, but it’s not our field of expertise, so it is better that you concentrate on what you are good at, what you truly believe in.

https://www.gudrungudrun.com