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Experience Augmented Reality Use your phone to explore this magazine and unlock bonus content.

Photo by Megan Magray.

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St Louis’ Premier Winter Destination®

Steinberg Skating Rink in Forest Park Experience the Tradition!®



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@schlaflybeer © 2016 The Saint Louis Brewery LLC, Saint Louis, MO

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Keep your fashion forward. DMSALON.COM

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ALIVE Media Group President Elizabeth Tucker Editor-in-Chief Attilio D’Agostino

ALIVE Agency

General Inquiries

Co-founder/President Jennifer Dulin Wiley

Advertising Content in ALIVE labeled “featured partners or vendors” denotes sponsored and paid-for content. Thank you for supporting the businesses that keep ALIVE growing. For advertising rates and information, email

Account Manager Tipper O’Brien

Executive Editor Rachel Brandt

ALIVE Influencer Network

Editor Allison Babka

Co-founder/Director of Business Development Lindsay Pattan

Fashion Editor Sarah Stallmann Editorial Advisor Jennifer Dulin Wiley Copy Editor Brendan Beirne Creative Director Amanda Dampf

Account Executive Devon Crouse Account Executive Micaela Hasenmueller Business Manager Molly Fontana Office Manager Laura Runde

Contributors Katie Collier, Jennifer Goldring, Eileen G’Sell, Megan Magray, Dan Michel, Richard Nichols, Heidi Ross, Kayla Unnerstall

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Community Engagement Manager Laura Heying Photography & Styling Elizabeth Wiseman, Megan Magray, Kat Hinkle Interns Taylor Conran, Megan Cox, Daniel Darkside, Daniel Ditch, Abigail Diers, Bryant Finerson, Katelyn Howell, Courtney Kluge, Mack Korris, Erin McKee, Kathleen McMahon, Kristen Pruser, Patricia Witt Cover photo Photography: Attilio D’Agostino Featuring: Daniel Caudill of Shinola alivemagstl @alivemagstl @alivemagstl alivemagstl Contact 2200 Gravois Ave., #201 St. Louis, MO 63104-2848 Tel: 314.446.4059 Fax: 314.446.4052 Sales: 314.446.4056

Subscriptions Subscribe to ALIVE Magazine, view our free digital issue and purchase reprints on, or call us at 314.446.4059 to order a subscription. Contribute ALIVE accepts freelance art, photo and story submissions. For more information please email Printed in Canada by Hemlock Printers at their Carbon Neutral printing facility using vegetable-based inks and FSC®-approved paper containing recycled fibers. ALIVE, Volume 15, Issue 6 (Periodical #025092) is published by ALIVE Media Group, L.L.C., 2200 Gravois Ave., #201 St. Louis, MO 63104-2848. Periodicals Postage paid at St. Louis, MO, and additional mailing offices. POSTMASTER: Send address changes to ALIVE, 2200 Gravois Ave. #201 St. Louis, MO 63104-2848. © 2016 ALIVE Media Group, LLC.

Masthead artwork by Vita Eruhimovitz.

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Open Tuesday–Sunday, Always Free | #stlartmuseum

Seated Bodhisattva Avalokitesvara (Guanyin), 11th century; Chinese, Northern Song dynasty (960–1127); wood, gesso, and pigment with gilding; height: 39 inches; Saint Louis Art Museum, Museum Purchase 110:1947

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Publisher’s Note WHEN I MOVED into my apartment, the manager of the complex showed me where to take my trash and where to recycle. The trash shoot was on the same floor as my apartment, right next to the elevator. She showed me how easy it was to toss out the trash in two simple steps. Then she showed me the recycling room on the first floor. She took me down the elevator and went through three different doors that required keys to drop off the recyclable items. For the first couple of months I was separating the trash and recyclable items, but when I’d go to toss them out I’d end up putting the recycling down the trash shoot. Every time I’d take the easy road, I’d spend the next 20 minutes beating myself up. Finally, a couple of months ago I committed to taking the few extra steps to do the right thing. Being good isn’t always easy. Eating right, recycling, keeping my place decluttered and going high when others go low are all things I struggle to do consistently. I depend on daily rituals to help me live out my values, and I’m always looking for new tips and tricks on how to be fully present. Advocating for positive social change, creating jobs with fair wages, going up against an unjust system and rebuilding neighborhoods takes a whole other level of dedication. As we travel across the middle of America, going from one emerging neighborhood to the next, we are learning about inspiring people who have done just that. They have risked it all, fought against the odds and are courageously living their personal truths. We are confident that these stories of artists, activists and entrepreneurs will inspire good in everyone who comes across them. And we know that the more we tell these stories, the more people will realize just how much potential is in America’s heartland.


Elizabeth Tucker @eliz_tucker

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Letter from the Editor AMID THE FAMILIAR SIGHTS, smells

and sounds of the season, this time of year is often described as giving people “the spirit.” This means something different for everyone, even from year to year. For me, I’m overcome with a soulful spark as the last leaves fall from the trees and the first frost hardens the ground, because the pleasure of giving is one I look forward to all year long. From the smallest gesture to the biggest surprise, seeing the pure joy on someone’s face when they unwrap a thoughtful gift cannot be matched. These warm feelings are no doubt amplified when one dedicates their time and work all year long to improving the lives of others. That’s why for our final issue of the year we’re using these pages to feature not only the creatives of the middle of America, but the artists, makers, entrepreneurs and organizations that also make a conscious effort to do good. Restaurateurs Katie and Ted Collier have built a wildly successful business in Katie’s Pizza & Pasta Osteria in Rock Hill, Missouri. To support the community that has embraced them, they’ve created Giveback Tuesdays a monthly program that has raised more than $90,000 for local charities. Katie shares her Italian-inspired stuffing recipe to warm our hearts and appetites this season (page 14). Artists Vita Eruhimovitz, Basil Kincaid and Bloom all comment on cultural happenings, stereotypes and the power of self-expression while producing visually and sonically striking work in their most recent projects (pages 16, 22 and 26, respectively). None

of the three simply make art for art’s sake; instead, they always have greater motives in mind. In Nashville, we’re introduced to Becca Stevens of Thistle Farms, a woman who has dedicated her career and much of her life to aid the victims of sex-trafficking. Her powerful story and dedication to the mantra “Love heals” is truly an inspiration (page 20). In our cornerstone stories, we profile two companies and the creative leaders working within them who are making an impact on their surrounding communities. Shawn Askinosie of Springfield, Missouri, has built a small-batch chocolate factory sourcing 100 percent of the beans directly from cocoa farmers. Moreover, he’s the only chocolate maker working directly with farmers on four continents and has recently been noted by Forbes as having “One of the 25 Best Small Companies in America” (page 54). Travel 750 miles north and you’ll find Daniel Caudill in Detroit, Michigan. Caudill is the creative director behind Shinola, a company truly built with the American dream in mind that creates luxury products—including its nowfamous watches—and works to return jobs to one of the United States’ most prolific manufacturing cities of years past (page 40). Perhaps it’s the nostalgic feeling of time gone by, or perhaps it’s the cold Midwest weather that brings us all a bit closer and leaves us inspired. Whatever the reason, I hope the stories of these vibrant individuals add to your spirit as you turn the page on 2016. When you unwrap a fresh journal to start anew, perhaps the first line of your story can be, “I plan to make someone’s life better this year.”


Rachel Brandt @RachelEBrandt

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Give the gift of art. 4733 McPherson Ave • 314.696.8678

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Wai Ming Bedford wrap top. Photo by Attilio D’Agostino.


14 Food | Katie Collier

26 Music | Bloom

16 Visual Art | Vita Eruhimovitz


Style | “Sacred Geometry”

67 Partners | Give Back

20 Change Maker | Becca Stevens


Fashion | “Wishing You Well”

78 Calender | Find Us Here

22 Studio Art | Basil Kincaid

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40 Shinola | Daniel Caudill

54 Entrepreneur | Shawn Askinosie

80 Poem | Jennifer Goldring

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2325 S Brentwood Blvd, St. Louis, MO 63144

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Katie’s Italian–Inspired Stuffing A local chef has created a culture of compassion. BY ALLISON BABKA + PHOTO AND RECIPE BY KATIE COLLIER

For Katie and Ted Collier, co-owners of Katie’s Pizza and Pasta Osteria in Rock Hill, Missouri, every day is like Thanksgiving. When the pair opened the restaurant in 2013, they were bolstered by a $40,000 Kickstarter campaign. “It was such a cool thing because we had 250 backers—a lot of people we didn’t even know—and we were so appreciative of that,” Katie Collier says. Ever grateful, the couple instituted Giveback Tuesdays at the restaurant, a monthly event that benefits a rotating roster of St. Louis charities.

Katie’s goes a step further than other fundraisers, though; instead of donating a portion of a meal’s proceeds as many restaurants do, the Italian eatery commits 100 percent. After two years with the program, Katie’s has raised a combined $90,000 for Miriam School, Downs Syndrome Association of Greater St. Louis, Animal Protective Association of Missouri and more. Chef Collier continues giving back with her Italian-inspired stuffing recipe below, just in time for the holidays.



10 cups Ciabatta bread

3. Cook Soffrito in sauté pan over high heat in 3 tablespoons melted butter. To make Soffrito combine 2 cups diced white onion, 2 cups diced fennel bulb and 1 cup diced celery. Season with kosher salt while cooking. 3a. Sautée for 10 minutes, stirring occasionally, until golden brown. Set aside.

4 fennel sausage links 1 cup dried currants 1 cup pine nuts 1/4 cup fresh sage 3 eggs 4 cups chicken stock 2 or 3 red pears

4. Fine chop fresh sage. Set aside.


5. Whisk eggs. Set aside.

2 cups diced white onion 2 cups diced fennel bulb 1 cup diced celery 3 tablespoons melted butter Kosher salt

Preparation: 1. Cut Ciabatta bread into 1/2 inch pieces. 1a. Toast in oven on cooking sheet for 10 minutes at 350 degrees. Set aside.

6. In a large mixing bowl, combine toasted bread crumbs, cooked sausage (fat drained), Soffrito, sage, pine nuts, currants, chicken stock and eggs. Mix thoroughly with hands until combined. 7. Put mixture into roasting pan. Top with 2 or 3 sliced pears. 8. Bake in pre-heated 350-degree oven for 45-50 minutes. Serve!

2. Cook fennel sausage links (casing removed) in sauté pan for 10 minutes or until just cooked through, breaking up sausage as you cook. Set aside.

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What Are Men To Rocks And Mountains? Introducing worldly artist Vita Eruhimovitz.


Just as Rembrandt amassed shells and Andy Warhol had an assortment of cookie jars, artist Vita Eruhimovitz can’t help but collect items that speak to her. Eruhmovitz guides us around her studio showing off a treasure trove of mountain-inspired paraphernalia. This love of mountains isn’t simply vague inspiration for Eruhmovitz’s work. She incorporates the ranges into her mixed-media pieces, using the jagged peaks to lay the foundation for her exploration of a fragmented natural environment. The results can be seen in “Synthetic Landscapes,” her solo exhibition on view at Kranzberg Arts Center in St. Louis running Nov. 4 through Dec. 18. Raised in Israel, Eruhimovitz was inspired to create mountains after a hike in Europe. “I noticed some very interesting differences between how Israelis and Europeans hike. Israelis take their coffee with them, and once they reach the top they sit and walk around and relax,” she explains. “But Europeans go to the

top without stopping. They take the camera out, take photos, look around and then go back down. Then they chill out at their campground the rest of the day. To me it was amazing to see how they turned this experience of being inside the land into something so limited.” Finding the cultural variation amusing, Eruhimovitz began shaping her own mountains. Eruhimovitz’s models aren’t simply sculptural, though; they’re informed by a heavy digital component. Inspired by satellite imagery of mountains she’s climbed—and those she plans to climb—Eruhimovitz uses 3D printing and laser cutting to highlight what will ultimately become artificial nature, far removed from the actual landscapes where they might reside. The bottoms of her pieces resemble the mountains’ roots, tangled and raw in stark comparison to their shiny, polished tops. “It’s not interactive, but it’s all digital sculpture,

so most of it starts as a digital model,” Eruhimovitz explains. “The method of making begins as something virtual and goes through stages from binary file to tangible object.” “Synthetic Landscapes” tackles themes of artificial nature and our perception of the real natural world—how and why humans turn natural elements into commodities. “It’s interesting to me how the physical world is expanding into the virtual world and how the virtual world is expanding into the physical world,” Eruhimovitz says. Calling this dual space “techno-nature,” Eruhimovitz allows each piece of her art to flirt with both worlds, from cartoonish Plexiglas clouds inspired by her favorite video game to her collections of 3D-printed mountains. Eruhimovitz’s path to art was littered with its own mountains. Born in Ukraine, her family emigrated to Israel when she was nine. “My VOLUME 15 // ISSUE 6 17

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mom could easily occupy me for hours by giving me some colored chalk to draw with. I actually thought that I would be the most famous painter in the world,” Eruhimovitz says. “But when we came to Israel my parents were really struggling to survive, so they were pushing me in more practical directions.” Though she continued with her art as she grew up, she put less effort into pursuing it professionally, instead earning a bachelor’s degree in computer science from Hebrew University in Jerusalem. It was the practical choice that her parents had suggested, but Eruhimovitz wasn’t satiated and began her master’s degree in bioinformatics, applying computer science to understand biological data. Completing that and moving on to her Ph.D., Eruhimovitz still felt unsatisfied. “I wasn’t interested in anything but rock climbing. I quit pursuing my Ph.D. and moved as far away as I could to Australia,” Eruhimovitz shares. 18

Living and working in Australia for more than a year, Eruhimovitz dedicated her free time to climbing and art. Casting sculptures and molds in a makeshift studio in her living room, she eventually realized that it was time to go back to school yet again—this time for art. While listening to a speech by a Nobel Peace Prize winner at Shenkar College of Engineering, Design and Art in Israel, Eruhimovitz had a major revelation about how all of her past experiences could come together. She moved to pursue her MFA at Washington University in St. Louis, and it was there that Eruhimovitz finally combined elements of biology, computation, and art—the unlikely trio that she’s now known for. Eruhimovitz’s 2015 installation “The Chatting Room,” which featured chatbots that communicated with the viewers and with each other, explored the idea of making the virtual tangible. These chatbots had handmade bodies that were crafted to hold their machine-made

intestines. “There’s this new media art that everyone is talking about, but the way it’s been done is 70 percent screen, projection, or something so mechanical,” Eruhimovitz says. “With my art, I need it to be tangible. I want the viewer to be able to connect on a physical level, so I wanted to take this new media art off the screen and into sculptural objects—objects that you can touch and objects that you can interact with using your own body.” Eruhimovitz recently relocated from St. Louis to the East Coast, though she maintains deep ties with the St. Louis art community and plans yearly exhibitions here. “I feel like I am part of the St. Louis community, and I don’t want that to change,” she insists. “I like the less commercial direction of the St. Louis art scene. It’s rapidly evolving, and there are strong, dedicated and interesting people who get things done and move the city forward.”


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You Can’t Kill Hope A conversation with Becca Stevens of Thistle Farms in Nashville.


When we reach Becca Stevens, founder and president of Thistle Farms, she’s sitting on a shuttle bus at Reagan National Airport in Washington, D.C. She’s just left a lecture at Shenandoah University where she spoke to 300 freshmen about the global issues surrounding human trafficking and how students can stand in solidarity with survivors. Her next stop? Haiti, to meet with potential partners on future projects. A frenetic travel schedule is regular for the Nashville-based author, priest, social entrepreneur and mother of three. After opening Magdalene—a sanctuary and home where victims of trafficking live independently—in 1997, Stevens spent the last 17 years building a movement known as Thistle Farms. This community celebrating women’s freedom has birthed more than 50 sister organizations and a handmade product industry whose proceeds have now surpassed $1,000,000 in sales worldwide. Better yet, all of these organizations employ residents and survivors of trafficking, and directly promote a healthy, autonomous lifestyle. Thistle Farms operates under the mantra “Love heals,” an idea that Stevens exudes during our conversation. As she moves between shuttle buses and flights with her team, she shares a bit about her history, happiness and the power of healing. Do you remember how you felt the first time you met someone who had been trafficked? I am with a woman right now, Regina, who was one of the first residents of Thistle Farms 20 years ago. She helped hone my understanding of how advocacy work should be done and how community can heal. She was and is a true hero. Can you talk a bit about your personal connection to abuse and how it brings you closer to your work? My abuse started after my father was killed by a drunk driver when I was five. I don’t think my abuse, which lasted almost three years, really compares with the horrific stories I have heard over the years. I know it gave me an understanding of how abuse effects all areas of your life, undermines your sense of justice and seeps into all your relationships. I believe that in early childhood trauma, the seeds of trafficking are sown. I also believe that even in

that trauma, the seeds of compassion and freedom can be sown as well.

recover and how we can stop being a country that tolerates the buying and selling of women.

How has your strong spirituality and faith impacted and contributed to your work with Thistle Farms? Love is the most powerful force for change in the world. I believe that with all my heart. It impacts my work, allows me to abide in hope and frees me to work without judgment. I used to stress about women I was working with in the community, money or even just the small things. The more I have learned to trust love, the less stressed I have become. It impacts my relationships, my work, my dreams and my daily peace. Even sitting on this bus, I can feel love all around.

What would you tell someone reluctant to get involved because they didn’t think they could make enough of a difference? We are a thriving and growing movement about women’s freedom because people keep hoping with us. This movement is scalable and sustainable. If people are reluctant, it is because of their own internal fears, cynicism or stress. I know I have all those voices, but I do the work and then those voices soften. What’s important is that we keep sharing our gifts with one another so love is present and washing over all of us. Volunteer, speak your truth, donate money, be a conscientious consumer, become a social media advocate, go on a journey, do what feels right to practice how you can love the world.

After starting the residential program, how did you make the decision to branch out by creating bath and body products? The women in the program weren’t getting hired, even after they were doing incredible work on recovery and making restitution with the courts, so we just decided to start our own company. If you are talking about loving women, you have to be concerned about their economic well being. We’re now sitting on the plane on the tarmac. I am still amazed that this work carries us around the country and into the wider world to share the story. I love sitting on this plane with Regina and a current resident who is making her second trip as a Thistle Farmer. She is a former runaway, inmate and street woman. She is just beginning to come into her own. She is an entrepreneur, a friend, a woman in recovery, and she is just beginning to get glimpses of her own beauty and power. The Thistle Farms model has expanded to include many additional programs, including Magdalene in St. Louis, Missouri, where ALIVE is based. How important was it for you to branch out nationally and even globally? Branching out is critical to the mission of Thistle Farms. Our National Thistle Network is comprised of more than 50 organizations around the country that bring together advocates and survivor leaders. This network increases our capacity to serve more women, allows us to share best practices with each other, and increases our ability to speak to the country about how women

Who are your role models? I love Dorothy Day and my mom, Anne Stevens. Tell us about your family and free time. When you are not saving the world, what are you doing? My husband Marcus Hummon and I have three sons—Levi, Caney and Moses. Marcus is a songwriter who has a Grammy for writing “Bless the Broken Road.” He is a loyal, talented, patient and good man. Our oldest son, Levi, is a country music artist in Nashville establishing himself as one of the Top 10 new acts Billboard says to watch! Caney is a junior at the University of the South, and Moses is in his junior year of high school. As a family we love eating, hiking and taking long vacations. I take time to practice yoga almost every day, and to walk in the woods whenever I can find them. What are some tools you use to stay inspired and positive? I am sometimes in the presence of tragic stories, but I am also invited to be in the presence of great joy and wonder. We laugh as much as we cry in the community of Thistle Farms. Our story is more than just the scars of our past—it is the hope and dreams we carry. You can’t kill hope in women. You can rape them, jail them, cause them all kinds of pain, but you can’t kill hope.

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Core Strength St. Louis Artist Basil Kincaid and “The Reclamation Project” turn to the past to build the future.


It’s almost 90 degrees on a September Sunday and we are searching for shade. A weekly flea market hugs a grassy corner; late morning Cherokee Street in St. Louis is quiet.

Louis, segregation, nothing new—trying to find a way with our various talents to come together and do something to address the city that made us who we are,” Kincaid explains.

I am trailing artist Basil Kincaid, no stranger to this turf. Heading down the sidewalk into Master Pieza, we swap friendly hellos with owner William Porter, and the pair push a couch from inside the shop toward a sunless spot outside. As we wait for the arrival of lyricist and storyteller Eric “Prospect” White, jazz floats from the storefront. A soft breeze follows.

Dividing its collaborative output into thematic “chapters,” Reclamation is at heart a narrative endeavor, no less conscious of its story’s progress than a novelist toiling in solitude. But it’s the Western valorization of the individual artist that the Project heartily rejects. “One of our core concepts is interdependence,” says Kincaid, “the premise that as artists, we can do more together than we can individually.”

We are steps from where the two friends met five years ago—Blank Space’s 2011 “Double Consciousness” show. I comment that the music, the setting and the heat remind me of Spike Lee’s “Do the Right Thing.” Kincaid smiles and Prospect arrives, taking a seat across from us. Both artists grew up in St. Louis neighborhoods, Kincaid in suburb Rock Hill, Prospect in south city. With interdisciplinary artist and music producer Damon Davis of East Side provenance, the trio founded The Reclamation Project in 2012. “It all began because the three of us were looking at our environment—the nature of housing in St.

And what are they reclaiming? St. Louis itself—a place as rich in creative legacy as it is fraught with a history of racial tumult. They are “repurposing the ruins. Taking back our community, our identity, our culture,” as Davis describes it later on the phone.

anywhere else, mining St. Louis’ heritage and presenting it anew across artistic genres. Launching a first chapter in 2012 that was thematically linked to housing, Kincaid included media such as oil paint pigmented with reclaimed bricks. Prospect’s lyrics reference “cinderblock smacking asphalt…the reflection of a wrecking ball on a chain,” and the music, produced by Davis, situates famous St. Louis residents within a fresh hip-hop framework. “If you listen to the first album, we turn to city greats like Josephine Baker, Miles Davis and Scott Joplin,” explains Prospect. “Whether with the vocal samples or the choice of instruments, we take old things and make them new again.”

“St. Louis is like the Bermuda Triangle of the United States,” claims Prospect. “Things happen here that wouldn’t happen anywhere else.”

“Each chapter, no matter where it takes place, uses culturally relevant materials,” adds Kincaid, pausing to wave from the couch at a familiar passerby. “And each exhibition has been a portrait of the city in terms of the type of audience it has drawn, bringing together people from different parts of the city, different backgrounds and socioeconomic classes.”

In its four years, Reclamation has made things happen that wouldn’t—and couldn’t—happen

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cross-continental, Pan-African approach based partly on Kincaid’s artistic residency in Ghana. Artwork and costumes were assembled from Ghanaian prepaid phone cards—one vibrant installation still on display on Jefferson Ave. next to Nebula Coworking Space. The musical album (out this winter from Davis’s label, FarFetched) reflects on the climate of St. Louis in the wake of Mike Brown’s death and the Ferguson protests. “This second chapter,” says Kincaid, “searched for belonging and a sense of home amidst multiple displacements within St. Louis and also from where our original homes may have been— so much so that we don’t even know where those original places are.” The Project’s third chapter channels public exigencies into a more personal community process, taking the quilt as its central metaphor and source of inspiration. “The goal of this chapter is to make it more interactive—pretty much all the materials have been donated from people all around the city,” Kincaid shares. “We


are reclaiming bits of collective memory and building new stories.” For the many contributors to this chapter, these discarded elements forge a healing practice meant to confront and push through traumas experienced by the city. Collaborating with St. Louis citizens across race and class, the act of quilting becomes a means of both self-exploration and acknowledgment of a shared humanity. Prospect is quick to interject, “The people themselves are the stitches.” “My grandmother was a quilter, and wrapped in one of her quilts, you could feel the love in every stitch,” says Kincaid. “Quilts act as vessels for ancestral energy—we’re not alone or isolated from those that came before us. I feel like that’s important right now because it helps to situate ourselves within a legacy.” When asked what challenges might confront such a collaborative, interdisciplinary project and its impact on the community, Kincaid cheerfully

turns the question on its head. “I feel like the collaboration was an answer to a challenge. There are questions that can’t fully be answered on one’s own,” Kincaid says. “Someone might see a piece of work and not get everything out of it, but then hear the music or have a different sensory experience that illuminates it later.” As for the quilt’s figurative merits, Davis is quick to stress its literality. “The quilt metaphor is not just a metaphor—historically, quilts were made by slaves, as a means of escape and of survival,” he explains. “The quilt is about the survival of your body, your mind, and your soul, and we seek to take back that tradition and recontextualize it for present times.” “The country and the world are looking at St. Louis right now,” emphasizes Kincaid. “Politically, artistically, St. Louis is being watched. The work and the steps toward doing what’s right force me to use whatever platform I have to do the same thing. All of this plays a small role in the larger picture.”


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Blooming A conversation with a fresh St. Louis singer about to blossom.


At only 26, Bloom (as she prefers to be called), speaks with a self-awareness of someone twice her age. Recently making a major career shift most people would be afraid to attempt, the successful makeup artist turned singer song-writer describes herself as finally blooming into the person she was meant to be. After recording her song “Raindrops” with St. Louis artist and producer Dylan Brady, the duo teamed up with videographer Lewis Grant to film an artful video. The singer’s first official release amassed more than 53,000 plays on SoundCloud in its first month and doesn’t show signs of slowing its momentum. Brady, known for supporting and launching the careers of countless St. Louis artists, says, “It was one of the first songs we did together. When she recorded it I was in awe.”

In “Raindrops” the production is soft and sultry, and then with the chorus there’s this surprising boom. You really showcase your powerful voice. What gives you the confidence to express yourself that way? That’s where The Bloom Experience comes in [how Bloom refers to her band, collaborators and performances]. For me, music is an experience and I love the space that you can offer. Giving it all up right away takes away from that. There’s a beauty in singing softly, using that control and then letting it all out. It’s exciting. Music should be unexpected. It’s nice to sometimes be caught off guard.

When we meet Bloom in St. Louis’ London Tea Room, she looks chic and natural with a clean face and form-fitting workout clothes— ready to head to the gym after our interview. A vegan leather jacket hangs off her slim shoulders. Among the first things we talk about is her renewed commitment to wellness and living a cruelty-free lifestyle. As she sips her black tea we dig into her music, the successful recent release of “Raindrops,” and her big plans for what’s next.

“Raindrops” is your first release, but you speak like a musician that has been writing and performing for a long time. I’ve been writing since I was 13. When I was 7 or 8 my mom (who was a jazz singer) would bring me to practice with her and I learned to harmonize. Then in eighth grade, I discovered Garage Band. I would make little beats with my voice and started recording and now I probably have 200 songs sitting on my laptop from back then. But it was always a challenge finding a producer that understood me or just getting out there and singing for people. I don’t know if I was blocking myself because I just wasn’t ready, but recently it all came together and that’s really when I became Bloom.

Why the moniker Bloom? I used to be such a people pleaser. I was very much a homebody, very much an introvert. And after I had my son, I realized I had this power. This confidence came over me and I was able to look people in the eye. So, for me, Bloom means a lot. It’s about me becoming who I am and being comfortable with that. It’s about not caring what people think so much, because at the end of the day if I’m not happy with what I am and I’m not living my truth, than what’s my purpose?

How did you meet “Raindrops” producer Dylan Brady? My boyfriend is an artist and inspired my entire EP. He went to high school with Dylan. He played me Dylan’s music and I became a super fan immediately, Dylan’s a genius. I reached out to him and when we first met, we recorded two full songs in two hours. He moves so quickly and started making a beat for the songs I was singing immediately. We recorded “Raindrops” in one or two takes. I could cry just thinking about the experience. He changed my life.


How important is it to you to perform live and create a visual and sonic experience for people? It’s extremely important to me. My goal is to collaborate with artists—visual artists, painters and dancers—and to do small projects like five-song EPs with different producers that create different experiences. This one is all about sexuality—leather, chains and lights—and I plan to do totally different things in the future. For me, that’s something that is needed in the music industry, more collaborations with different genres. How do you feel living in St. Louis influences your art? I plan to stay here. I love that St. Louis isn’t oversaturated. There is so much uniqueness here. I moved to Chicago and came back, and St. Louis has allowed me to grow. It’s more laid back and that inspires me. I believe in St. Louis and I’m happy here. Who are some artists that inspire you in St. Louis? What really inspired me to start performing were some of the visual artists. I started singing at First Fridays in Old North at an open mic. I wasn’t Bloom yet, but I was blooming. I stood on top of a stool in the middle of this boutique and everyone sat on the floor and just stared. It was amazing. Also, my boyfriend Cameron Williams is a visual artist and a painter and he doesn’t let anyone get in the way of his art and that keeps me going. Rell Finesse, who was recently killed in St. Louis, has inspired a lot of people and he has inspired an entire community of artists, including me. You care about lifting other artists up and collaborating with a lot of people. It’s refreshing. It’s important. You of course have to do things for yourself, but selfishness is just played out. If you’re happy and confident, you should spread that. Helping someone else will never take away from my success.


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Sacred Geometry Shapes collide in an array of materials that are a natural fit.


Right: Koon Yai Studio Missouri concrete studs + gold concrete half-moon necklace— Phillip Finder dipped bar necklace + Carmelita Nuňez hand-painted necklace + earrings—Urban Matter, Dutchtown.



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Left: Koon Yai Studio half-moon concrete loop earrings in black and natural + silver concrete half-moon necklace + black geometry concrete set— Phillip Finder dipped bar necklace—Urban Matter, Dutchtown. Above: Koon Yai Studio statement geometric necklace + abstract geometric earrings + deer antlers geometric necklace + black concrete bar necklace—

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Wishing You Well Clean and cozy handcrafted pieces from the heartland.

PHOTOGRAPHY BY ATTILIO D’AGOSTINO Stylist: Fashion Editor Sarah Stallmann Model: Sienna Fehrer for Centro Models Hair + Makeup: Whitney Reynolds Assistant: Bryant Finerson



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Previous spread: Hadley striped crop top + Velvet Roses striped pant— . Skif shoes—SKIF International, The Hill. Left and above: Hackwith Design House hooded duster + wide leg trouser— Skif shoes—SKIF International, The Hill.

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Right and above: Hackwith Design House tie-back top + tapered trouser— Skif shoes—SKIF International, The Hill.



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Left: Hackwith Design House Caldwell tank + wide leg trouser— Skif shoes—SKIF International, The Hill. Scarf + glasses—stylist’s archive. Right: Zenobia dress—Byrd Designer Consignment Boutique, Ladue. Glasses—stylist’s archive.



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Designing America Daniel Caudill, creative director of Shinola, defines a country’s sensibilities through simplicity and design.


American design at its very foundation revolves around one element more than any other: it’s something that influences everything from the appliances in our kitchens to the clothes on our backs—especially in the Midwest. What’s more, it speaks to our sensibilities and forms us as people. “Purpose,” says Daniel Caudill. The tall, strongjawed creative director of Shinola shares his views while sitting at his wooden desk in the brand’s corporate headquarters—formerly the General Motors building—in midtown Detroit. “It’s the basis for all of our designs. We stay true to how things are used, and we seek out the best raw materials. That’s where it starts.” Caudill, 50, has always had a strong sense of purpose. Born in Trinidad and Tobago, his parents were Christian missionaries who later moved the family to rural Montana where he would develop a strong Midwestern sensibility. He went on to study at the Fashion Institute of Design & Merchandising in Los Angeles and then to design for brands like LA Gear, Fossil Watches and Adidas before taking the helm at

Shinola, where he continues to create purpose-driven products from high-end materials. Take, for instance, leather—the centerpiece of the brand’s fashion collection. Many big brands sand down their leather to hide imperfections, but Caudill insists on using only full-grain hides that show more detail and take on a rich patina. “If there are any flaws in the raw leather, they stick out like a sore thumb,” he says. Caudill also refuses to distract from his designs with fringe or gaudy hardware. It’s a design philosophy that runs through the brand’s entire line. “We have simple, streamlined products,” says Caudill. “The leather is the star. But all our products work well because we pay attention to the handwork and the details.” Aside from small leather goods, the rest of Shinola’s collection is a wide spectrum: watches, bicycles, notebooks, pocket knives—even cola. They all evoke a simple, nostalgic, beautifully uncomplicated feeling that’s unmistakably American. The brand’s image has caught the eye of President VOLUME 15 // ISSUE 6 41

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Barack Obama, who has visited the store while in Detroit. The president even gave a Shinola watch with the presidential seal engraved on the back to former British Prime Minister David Cameron earlier this year. That’s a far cry from the modest brand that started in the late 19th century in upstate New York. Back then, it was known for its dark shoe polish, which gave way to the famous saying “you don’t know shit from Shinola.” The brand went out of business in 1960 and remained another bygone relic of American manufacturing until 2011 when Tom Kartsotis, owner for parent company Bedrock Manufacturing (which also owns the iconic American label Filson), sought to revive the brand and its nostalgic potential. Despite the throwback vibe that many of the brand’s products have, Caudill and the Shinola team always design through a 21st-century lens. “Our designs aren’t about making something look vintage or old,” he says. “Whether it’s our notebooks or our bikes, we’re always trying to take something classic and make it feel new again— make it modern.” Maintaining that level of consistency throughout their entire, admittedly disparate, product line is no easy undertaking, says Caudill. “It’s surprising for a company that’s relatively new to have products in so many different categories,” says Justin Fenner, a staff writer for “It sends a clear message that Shinola wants to be a part of people’s lives as much as possible. And it’s hard not to appreciate a brand of that size championing American raw goods and manufacturing at a time when foreign fashion and lifestyle brands are dominating the conversation.” Indeed, the company’s slogan—”Where America is Made”—rings true not just because of how Shinola products are made, but also where and by whom. One floor below Caudill’s office, teams of workers conceive, design, manufacture, assemble, market, ship and sell Shinola products—all of them citizens of Detroit. Hiring relatively expensive American labor over cheap, skilled workers in Asia is a gamble that many brands don’t dare to take, but Caudill says investing in Midwest workers was one of the things that attracted him to this job and that it’s paid off. “Most people don’t realize what exists in Detroit,” says Caudill. “The level of talent here is so good. You really don’t have to go to New York to find great design.” Keeping the brand’s designs and manufacturing stateside benefits the company’s workflow as well as its public image. For many labels, design happens in one place while the manufacturing happens in another—often times in different parts of the globe. “When you’re working overseas, you can’t send a sample back and forth multiple times,” says Caudill. Because Shinola doesn’t have to ship

samples with every change, it can turn around a product quickly. “Here, we can tweak and change something to make it better over and over. It makes the product better from a construction and fit standpoint.” They can do this because the brand performs every step of the design process in house. “The designers sit right next to the leather factory. And they work closely with our in-house production engineers,” says Caudill. “Most places don’t have this luxury.” Making an image out of reinvesting in American jobs and infrastructure has drawn its criticisms from those who question the brand’s true motives, but it’s largely been overshadowed by praise from fans, many in the Detroit area. “Seeing how many people came to embrace the brand during the Detroit store opening was exciting and humbling,” Caudill says. “It felt like being embraced by the whole city.” Indeed, Shinola has come to represent the Motor City and the return of American manufacturing power. That’s also reflected in the brand’s business partners throughout the country. It gets paper supplies from Edwards Brothers Malloy in Ann Arbor, Michigan; leather from Horween Leather Company in Chicago; and bike frames from Waterford Precision Bicycles in Waterford, Wisconsin. Only parts of Shinola’s watch movements are imported from Switzerland. It’s a strategy that’s boosted the brand’s image and its revenue—topping $100 million in 2015. Shinola intends to keep its American-made heritage strong with its upcoming products, including a new high-end women’s jewelry line featuring precious stones and an audio division that will showcase high-quality turntables, speakers, and headphones, all of which workers will assemble in the Detroit store while visitors watch. The crown jewel in Shinola’s arsenal will be its namesake hotel in Detroit, which will come to embody the brand’s aesthetic. “As a designer, it’s exciting to be able to complete the whole Shinola environment,” says Caudill. “We aim to make it a place that’s beautiful, but still inclusive, warm and inviting.” Shinola Hotel is set to open in fall 2018. Although the Shinola brand has grown and produces more now than it ever has—200,000 watches every year—Caudill doesn’t always have his eyes set on something bigger and better. He still sets his sights on items that embody the brand’s DNA. “I want to develop a toaster,” he says. “We’ve been talking about it for years.” It seems paltry compared to the large-scale projects that Shinola currently has in the works, yet it captures not only the nostalgia that the brand’s been known for, but also Caudill’s personal design mantra: “Building products that are easy to use, made for function, and have a clean aesthetic.“

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From Bean To Bar A Missouri chocolate maker shares how social responsibility is its own sweet reward.




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Many people claim that chocolate is essential to life, especially as a savory morsel melts on the tongue, warmed before sliding down the throat and sending dopamine to the brain. For Shawn Askinosie, it’s no exaggeration. The founder of Askinosie Chocolate uses his entire chocolate-making process – from bean to bar – to provide education, construct partnerships and strengthen communities around the world. Millions of chocolate bars a year building “kinship,” as Askinosie calls it. It’s life-affirming stuff for the Springfield, Missouri, company, and it’s a vital mission for everyone involved. That’s not why you should pick up the chocolate, though. “I want you to buy chocolate because you love the product, you think it tastes great, it’s an awesome value and you want to share it with your friends,” Askinosie says. The path to such a delicious, transformative chocolate bar – one that means so many things to so many people – is a long, thoughtful one. After 20 years as a successful criminal defense attorney, Askinosie hungered to do something new and substantial with his life. Overworked and disillusioned, he began releasing his frustrations through food, enjoying grilling succulent steaks and whipping up cupcakes so much that he nearly opened a bakery in Santa Fe, New Mexico. But it wasn’t until Askinosie decided to make chocolate from scratch that he stumbled upon his new vocation. “I’d been making chocolate desserts, but I had zero idea that chocolate came from a bean. I thought, ‘Oh, from scratch, that’ll be cool. Maybe I’ll melt something and mold something and mix something,’” he remembers. “But within a few months of that I was in the Amazon learning from farmers, and then I came back home and realized that’s what I was going to do.” Using some of the research skills he’d honed as a trial lawyer, Askinosie sought out cocoa farmers around the globe whose beans and techniques offered flavor and quality like no other. Beans with a caramel flavor from Davao, Phillipines. Fruity notes from Mababu, Tanzania. Citrus and molasses hints from Cortés, Honduras. Vivid earthiness from San Jose Del Tambo, Ecuador. The undisputed best beans and flavors in the world became the foundation for Askinosie Chocolate. But Askinosie wasn’t content to simply jump into the chocolate-making fray as many others had done; instead, he was—and is—determined to create a purposeful, ethically sound business from the ground up. Askinosie Chocolate is based on Direct Trade, in which the chocolate maker develops long-term, mutually supportive relationships with cacao farmers and gives them a share in the company’s profits. Cutting out costly middleman brokers, Askinosie can afford to pay farmers significantly more than Fair Trade market prices while promoting humane, sustainable processes that deliver the best flavor from the beans. Moreover, every bar of Askinosie Chocolate can be traced directly back to its bean and farm; in fact, the wrappers for the chocolate bars feature the faces of the farmers who cultivated that particular batch of beans. This model, also called single origin, has become increasingly popular

in craft coffee, but Askinosie is one of the few chocolate makers in the world to successfully implement it. “Some people really want to know where a thing comes from. They want to know the source, and they want to know who [produces it],” Askinosie says. “For those people, they want to know that there’s a relationship between the maker and the producer of the bean. And that relationship gives the chocolate, I think, even more meaning for people.” The relationship is meaningful to Askinosie, too. Practicing open-book management and providing full financial information about the company, Askinosie makes sure that everyone who touches the chocolate has a complete understanding of the business’s revenues and expenses. From the farmers to the factory workers, contributors can go line by line through the books in their native language to learn about how their efforts impact the company’s bottom line. But even more than being financial partners, Askinosie sees his collaboration with cocoa farmers as simply the right thing to do. Viewing the farmers as neighbors and friends, Askinosie takes an honest interest in their communities, getting to the heart of what each location needs to thrive. Since its founding in 2005, Askinosie Chocolate has partnered with farming communities to help provide school lunches, offer children business exposure and factory tours through Chocolate University, and present gender equality and empowerment education. In turn, Askinosie continues to find that spark within himself that pushes personal and communal transformation. “We want to do what we can to partner with them on projects that are of interest to them, not us,” Askinosie says. “My goal is not for us to raise a bunch of money to drill water wells all over Africa. My goal is to, myself, be transformed, and you can’t do that if you just write a check. You just can’t. We need checks, we need money, but we need to experience kinship, and kinship is where transformation occurs.” “Really small businesses and small groups of people can engage in meaningful work that makes an impact, even if it’s small,” he continues. Good works beget good chocolate, Askinosie asserts, and the numbers have proven him right. With $2 million in revenue as of January 2016, the company is as successful as it is ethical. But, as Askinosie says, it all still comes back to the chocolate. “If we don’t make great chocolate that people love and find to be some of the best chocolate in the world, then we won’t be able to do all these other things,” Askinosie says, adding that the best endorsement for his product often comes from the cocoa farmers themselves when he visits with bars of the sweet stuff built with beans from their own crops. “I’ve done this on every origin trip I’ve made for ten years. I’ve been on 31 origin trips, so I’ve brought a lot of chocolate back to farmers,” Askinosie says with pride. “And the reaction, the response, the appreciation and the gratitude that they have is probably the best compliment that I will ever receive.”

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BOUNCE // An Innovative Playground of Possibilities Stimulating thought leaders // Local exhibitors Saturday, December 10, 2016 // 11 a.m. - 6 p.m. Tickets:

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Give Back and Get Involved Introducing this year’s giving guide.

Throughout the region, passionate forces are affecting positive change year-round. In the next several pages, we’d like to introduce a handful of our featured partners and show you why we believe that they are moving our community forward. Together, and with your help, we plan to make a difference.

After taking in this section, head to to engage with more of our partners’ compelling stories.

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As the region’s leading presenter of jazz, Jazz St. Louis teaches the cultural significance and historical importance of the genre while encouraging appreciation for the music itself. Jazz St. Louis aims to draw diverse groups of people from all walks of life into jazz music. The organization’s unique model of requiring visiting artists to engage in education and outreach activities such as lectures, master classes and in-school performances allows it to introduce children and adults to the music, develop current and future musicians and create a sense of community. For more than a decade, Jazz St. Louis has worked with under-served districts such as Normandy and East St. Louis to provide arts programming

and music education that gives students the opportunity to experience jazz, learn an instrument and be inspired by the power of music. Additionally, the new Harold & Dorothy Steward Center for Jazz is one of the St. Louis region’s prime cultural attractions and has had a significant economic impact on the Grand Center arts district. When investigating ways to give back this season, we recommend considering Jazz St. Louis. The organization relies on financial support from individuals, corporations and foundations to ensure that it offers the highest quality performances to the community and continues to provide education and outreach opportunities at no cost to adults, students and schools.

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To co-owners and operators Katie and Ted Collier, their successful restaurant is much more than a food service. “We are building our brand with value and hope. St. Louis has molded us into who we are today and we appreciate every opportunity the city has given us. We think it is only right to give back, and it benefits our neighbors, customers, friends and everyone in between,” Katie Collier says. The Giveback Tuesday program at Katie’s Pizza and Pasta Osteria reserves 100 percent of all earned proceeds on one Tuesday each month for a designated charity or non-profit organization. “There are so many great charities in St. Louis, we couldn’t pick just one so we decided

each month will benefit a different one, all very different. We like to choose charities that serve the neediest in our community,” Collier explains. Since beginning the program in July of 2014, Katie and Ted have donated more than $80,000 to local non-profit initiatives. The team at Katie’s truly believes that giving back helps us all become better people. Collier continues, “Giveback Tuesday creates a healthy and positive culture for our staff. It’s our way of saying ‘thank you’ to the community that supports us and our families.”


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Artmart owner Keith Baizer is passionate about giving back to the community. Since 1952, the family business has adhered to the philosophy that good things come to those who create, and their generous support of the St. Louis art community is legendary. The Greater St. Louis Art Association (GSLAA) recently recognized Baizer by presenting him with the Champion for the Arts award. Baizer has worked within the St. Louis art community for more than 30 years to promote the importance of art and how it enriches the community. During this time, Baizer has generously donated supplies for hospital programs and space to host “Arts As Healing” art classes for cancer patients, provided supplies for Craft Alliance and St. Louis Artworks in support of local children’s programs, and endowed art scholarships at both Washington University in

St. Louis and Webster University. “We support St. Louis artists and then they come back and support us,” says Baizer. “Caring and giving back is always at the core of my personal beliefs and our company culture at Artmart.” Among Artmart’s many philanthropic initiatives is “Say Yes to Art,” which is dedicated to giving back to the local art community in St. Louis. As part of “Say Yes to Art,” Artmart supports a new local organization every month. The chosen organization receives a percentage of art supply sales and receives additional support through social media posts, professionally produced videos and a space in the store to showcase their organization. Clearly, this locallyowned gem values the importance of giving back.

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If you believe good karma can extend to the success of small business, entrepreneurs Arlene and Stanley Browne have many happy lives to look forward to. The husband-and-wife team behind Robust Wine Bar is dedicated to giving back to the city they call home. “Arlene was born and raised in St. Louis. Together we have built businesses and are raising a family here. It is our responsibility and privilege to support the community in which we live, work and play,” Stanley says. For the pair, it’s not just about donating money or auction items to fundraisers; it’s also about volunteering their time and supporting

causes and organizations that they believe will truly make a difference in the community. “From soup kitchens to lemonade stands, it’s a family affair. Our kids volunteer with us. It’s our way of saying thank you to the community that supports us,” Stanley shares. In the past year, Robust has donated to more than 120 non-profit organizations, dedicating more than $30,000 in cash and in-kind donations and an additional 100 hours of volunteer time. Some beneficiaries of their goodwill have been Marygrove, Pedal The Cause, College Bound and Center of Creative Arts (COCA). The couple agrees, “When it comes to giving back, everyone wins.”

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The 327 acres of this Clarksville, Missouri oasis serve as more than a backdrop for a beautiful evening. Owner Nathalie Pettus—along with her work family of more than 60—is dedicated to sustainable practices that extend to every piece of their business. Upon entering the many historic buildings on the farm, one is flooded with an inner peace that can only be granted by the fresh air and slow-living dedication to supporting nature. Organic growing practices and soil rejuvenation are incorporated into farming to produce the healthiest, freshest and best-tasting food possible. Moreover, Overlook does not use soy or artificial sweeteners, nor does the farm source from the Gulf since the BP oil spill or from the Pacific

since Fukushima. The farm-to-table plans are directly related to fruits and vegetables that flourish in Missouri, ensuring that guests receive the most high-quality product. The farm houses a sizable animal rescue population that includes 39 goats, a llama, a donkey, two mules, more than 60 cats, a dog and five horses. The business allots no special funding for this; they simply believe in granting each animal a decent life. It is this same concern for decency that guides Overlook Farm in raising livestock. Hormones and antibiotics are avoided, as are chemical fertilizers and pesticides. Kindness, calm handling and humane practices are incorporated at every turn.

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With every purchase of 4 Hands Brewing Co.’s City Wide, consumers are empowered with the ability to give back to the St. Louis community. A portion of the proceeds from every four-pack purchased will be donated to a local non-profit organization.

OCTOBER - DECEMBER City Wide Donation Recipient

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Winter Arts Guide Discover inspiration in all its forms.



“The Little Dancer: J’adore Paris,” running Dec. 9-11, is an adventure through the City of Lights that features Josephine Baker and her famous chorus girls. This re-imagined story ballet is part of COCA’s 30th anniversary season and directed by Antonio and Kirven Douthit-Boyd.

This season, visit the Gallery Shop for holiday gifts, including handblown glass ornaments, or present loved ones with a hands-on class or workshop in clay, metal, fiber, wood or glass. Support art throughout the St. Louis community by giving handmade this year.

Original Broadway cast members Sydney Lucas & Michael Cerveris. Photo by Joan Marcus.

Medardo Rosso, “Carne altrui (Flesh of Others),” 1883–84. Wax with plaster interior. 13 × 14 1/2 × 11 3/4 in (33 × 37 × 30 cm). Private Collection—Courtesy of Amedeo Porro Fine Arts, Sa Lugano. Photograph by Luca Carrà.



Fox Theatricals’ production of “Fun Home” debuts at the Fabulous Fox Nov. 15-27. The new musical was the event of the Broadway season, receiving raves from critics and audiences alike and winning five 2015 Tony Awards, including Best Musical.

“Medardo Rosso: Experiments in Light and Form,” on view Nov. 11, 2016, through May 13, 2017, is the first comprehensive U.S. museum exhibition of the artist’s work in more than fifty years, featuring around 100 works that include sculptures, drawings and photographs.

See expanded Arts & Culture offerings in St. Louis on FEATURED PARTNERS

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Nov 11, 2016–May 13, 2017

Opening Reception Fri, Nov 11 6–9pm Curatorial Tour Sat, Nov 12 11am

Wed–Sat, 10am–5pm; open until 8pm on Thu & Fri Admission and parking are free 3716 Washington Boulevard, St. Louis, MO 63108 | @pulitzerarts Medardo Rosso, Bambino ebreo (Jewish Boy), 1892-1894. Wax with plaster interior. 9 1/2 × 7 1/2 × 6 1/4 in (24.2 × 19 × 16 cm). Amedeo Porro Fine Arts SA. Lugano/London.

January 17-29

November 15-27

December 6-18

February 7-19

March 7-19

Tickets for these shows & many more at

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Winter Arts Guide Discover inspiration in all its forms.

Taguchi Beisaku; “Distant View of Fengtianfu: The Bivouac of Japanese Troops,” 1894; woodblock prints; Gift of Mr. and Mrs. Charles A. Lowenhaupt 271:2010ac



Now on view, “Conflicts of Interest: Art and War in Modern Japan” showcases materials documenting Japan’s military rise in East Asia. The exhibition includes paintings on screens and scrolls along with woodblock prints depicting battles and propaganda.

Enjoy your favorite artists surrounded by the perfect acoustics of The Sheldon. From jazz and folk to classical and bluegrass, the season features Anat Cohen, Sierra Hull, Judy Collins, Etienne Charles and many more! Call MetroTix at 314-534-1111.



The fifth-annual Holiday Gift Show Nov. 19-Dec. 30 will feature more than 100 local artists creating gift-sized artwork, handcrafted and priced for the holiday season. Share locally-made jewelry, ornaments, photography, holiday cards, paintings, toys, sculpture, drawings, etchings and more!

Located in Forest Park, Steinberg Skating Rink is the largest outdoor skating rink in the Midwest, boasting more than 27,000 square-feet of frozen fun. It’s a truly magical experience and is open all day, every day for public skating, including all holidays.

See expanded Arts & Culture offerings in St. Louis on FEATURED PARTNERS

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Caleres Fashion Entrepreneur Competition November 10. Photo by Attilio D’Agostino.

CALENDAR WHITAKER ST. LOUIS INTERNATIONAL FILM FESTIVAL Nov. 3 - 13 • Multiple Locations The annual film buff-haven produced by Cinema St. Louis returns for the 25th year. An assortment of films from various genres will be screened over the course of 11 days in several theatres across the St. Louis metro area.


Nov. 5 - Jan. 29 • Laumeier Sculpture Park As part of the 2016 Kranzberg Exhibition Series, the outdoor amphitheater will host this massive structural installation on Way Field. Park-goers will view five sheet-metal megaphones inspired by the St. Louis artists’ previous “Tone Deaf” series.


Nov. 6 • Lafayette Square St. Louis chef and food blogger Sherrie Castellano continues her underground pop-up dinner series with a four-course plated meal in Lafayette Square. Hand-crafted cocktails and local beer will be served alongside local seasonal bounty. Tickets are available through



Nov. 10 • Majorette This season’s signature Saint Louis Fashion Week event is the all-new Caleres Fashion Entrepreneur Competition. In a fashionmeets-Shark-Tank-style competition, five St. Louis-based fashion makers will present their brands and vie for a $10,000 grand prize.


Nov. 11 - May 13 • Pulitzer Arts Foundation In the first comprehensive U.S. museum exhibition of the Italian artist’s work in more than fifty years, guests are invited to enjoy nearly 100 works of sculpture, drawings and photographs depicting heads, figures and more in a variety of emotional states.


Nov. 15 - 27 • The Fabulous Fox The 2015 Tony Award-winning Broadway musical makes its way to St. Louis. The critically acclaimed show follows main character Alison

through childhood memories of her dysfunctional family as she reflects upon them with adult eyes.

ILLPHONICS: A FORMAL AFFAIR FOR CHARITY Nov. 25 • The Sheldon Concert Hall + Art Galleries St. Louis hip-hop group iLLPHONiCS, in partnership with Music for Lifelong Achievement, presents an evening of performances benefitting disadvantaged children. A percentage of the proceeds from the evening will go directly to the purchase of instruments for St. Louis youth.


Dec 11 • Downtown St. Louis The cool-weather racing series returns to Soldiers Memorial for health enthusiasts and chocolate aficionados alike. Participants are rewarded at the finish line with a mug of delicious hot chocolate and a finisher’s medal in the shape of a chocolate bar.


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I could not stop thinking so I listened to French opera uncorked a bottle of Tikal Malbec washed the dishes and left my hands wet fed the dog again and he did not eat so I sliced apples and ate the slivers with an English cheddar stripped naked and looked at my form in the mirror took a shower and the mirror fogged so I used my finger to trace my figure sleep was out of reach, I recited Roethke I made up stories about you in California I thought about your wrists the thick bone and blue-green veins on the smooth underside I considered your hands and the last time they touched me the phone never rang and I checked the connection BY JENNIFER GOLDRING

Jennifer Goldring is a writer, photographer and editor in St. Louis. She has an MFA in creative writing and a BA in economics. When she isn’t writing, taking photos, or hanging out with her two children she is Managing Editor for december magazine. Her poetry can be found in Architrave, Tar River Poetry and other publications. Her photography can be found at

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Volume 15 Issue 6  

Do Good

Volume 15 Issue 6  

Do Good