ESTILA Vol 13 FUTURE OF DREAMS

FEATURED : SHELLEY-ANNE GRAHAM | TAYLOR YATES | UPCIRCLE BEAUTY | FAWN INTERIORS STUDIO | LALIQUE | EPARA | W.A.GREEN AND MORE

FUTURE OF DREAMS VOLUME 13

ESTILA

EDITORS Karolina Barnes Nicola McCullough / strawberryblondebeauty.com GUEST CONTRIBUTORS Paula Rhone-Adrien

PHOTOGRAPHERS Black Ash Studio Mad Seventies Anna Pluskota

COVER ART Shelley-Anne Graham A big thank you to all our editors, contributors and everyone who continues to support ESTILA. ESTILA bookazine is designed and published by STUDIO/ESTILA t/a Palantti Ltd. The entire content of this publication is protected by copyright and may not be reproduced without written consent from the publisher.

CONTACT estila.co / IG @estila.co Tell us your story: editor@estila.co Community website: estilacircle.com STUDIO/ESTILA: studioestila.com

The views expressed in this publication are those of the respective contributors and are not necessarily shared by the publisher. Original work and photography are copyrighted by its owner.

ISSN 2398-9041 Printed in the United Kingdom.

©Copyright 2021 ESTILA

WELCOME TO THE WORLD OF ESTILA

“ The way to your dreams, the way to make your visions come alive is by taking a journey inside your soul. ” Melody Beattie

OF DREAMS

FUTURE

VOLUME 13

Featured brand stories NEWCOMERS

CHANGE MAKERS

FORWARD THINKERS

Taylor Yates p6 B-lvd Interiors p14 Ketevanna p20

Shelley-Anne Graham p26 Bay Gallery Home p34 Epara Skincare p40

Lalique p46 W.A.Green p58 UpCircle Beauty p64

SPECIAL GUEST ARTICLE Science of passion p86 BLACK BOOK p 88 4

INSPIRERS Fawn Interiors Studio p70 Danic Lado p80

EDITOR'S NOTES

D

o you ever wonder how vastly different the future would be if every-

one followed their dreams? This is a question our cover artist, South African based Shelley-Anne Graham, was asking when creating her Future of Dreams art piece. "Of course, it is not always possible to follow one's dreams, but if those that could, did, and if those that "did" helped those who couldn't. Well, I would imagine that the future world would function on a much brighter and lighter note.", she continues.

Inspired by Shelley-Anne's wise words, this edition aims to lift your spirit and mood, giving you hope and an optimistic outlook for the future. Let's move away from the bleakness of uncertainty and look forward to a world where fashion is transforming the lives of those who make it as well as those who wear it (read the stories of Taylor Yates on page 6 and Ketevanna on page 20), where design is meaningfully sustainable and fun (read the stories of B-lvd Interiors on page 14 and W.A.Green on page 58) and where ethical and upcycled beauty becomes mainstream (read the story of UpCircle Beauty on page 64).

Learning from the lessons of Lalique story (on page 46), the future is what we make it to be. The future is in our hands.

As always, thank you for reading and your continuous support. It truly means a lot. Without you, we wouldn't be able to provide such a supportive platform where independent lifestyle businesses can share their stories.

Karolina Barnes / editor-in-chief

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CHAPTER ONE

COMERS

NEW

definition

Industry shake-ups very rarely happen without new businesses who enter and disrupt it with a different way of thinking. Newcomers such as the ones in the following pages are those exciting brands that will shape our future of how we buy and consume everyday products. With fresh energy, enthusiasm and passion for purpose, they are set to make an impact.

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Fashion brand story

Taylor Yates How to build a sustainable fashion accessory brand with social innovation interview by Nicola McCullough, images provided by Taylor Yates

T

he search for something missing in the market... a conversation with her daugh-

ter... determined resilience... just a few of the elements engrained in the beautifully made, luxurious leather bags by Taylor Yates. Growing up, the women in Karen Yates' life instilled an ethos that if she worked hard she could achieve anything, an approach she would pass on to her daughter, Ellen.

Together, the mother and daughter duo created Taylor Yates, exquisite bags named after the women who inspired them. Designing with a purpose to change lives and protect the planet, the young brand constantly endeavours towards greater sustainability, creating collections that customers will love for life.

Founded on a strong belief that social innovation and business can create powerful value, and give something back that will have a positive impact on the world, Karen's drive for social change elevates Taylor Yates brand to new heights and a positively optimistic future. Already been awarded the prestigious Butterfly Mark by Positive Luxury for sustainable practice and choice of material - its soft, tactile leather is sourced close to home as a by-product of food production, tanned and hand made into bags here in the UK. We spoke with Karen about her aspirations, challenges and how to blend business and social innovation.

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We love that storytelling is so central to your work and would love to hear your own, including the inspiration behind Taylor Yates.

Our story started with a realisation that brands needed to change. Increased access online meant people wanted to know more, they expected more and we believed they deserved more. An early aspiration was to create the ‘Toms Shoes’ of handbags, which isn't easy as a start-up with small funds. This thought coincided with my daughter, Ellen passing her driving test, getting her first ‘proper’ part-time job and starting to carry a handbag. She was 17 and I wanted to buy her a beautiful bag for her 18th birthday, seeing this almost as a rite of passage moment.

There were lots of lovely ones available but they were either too obvious, too expensive or just not the look we liked. I talked to Ellen about it, a clichéd ‘kitchen table’ chat. We knew what we wanted; it was understated, unstructured and beautiful as well as sustainable, practical and socially responsible. We launched with five styles and four colours, two years later in November 2016.

What inspires you each day?

The generosity of people and the power of saying yes is inspiring; we have had a lot of help along the way and believe we have helped a few other people too. Ellen has started and finished her degree... I have been working full time and building Taylor Yates. People's kindness and support is a constant inspiration.

Tell us about the important women in your life and your Giving Back policy.

We knew early on that we wanted to name the designs. We were talking about helping women to gain confidence and grow, which reminded me of the women I had grown up with, how strong and determined they were and how they had somehow instilled in me that if I worked hard I could achieve anything. They were Alice, Mary, Mavis, Tilly & Doris - my Nana, Mum, Aunts - and Doris the hairdresser we spent every Saturday morning with.

Working with charities to support women and now planting a tree for each bag is central to our desire to give back.

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An early aspiration for us was to create the “Toms Shoes of handbags“, which isn't easy as a start-up with small funds.

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Our purpose is to grow a profitable, sustainable business that exists to delight our customers and give the freedom of choice that we enjoy to mothers and daughters around the world.

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What makes a successful design - and where does your design process begin?

I suppose it's only a success if other people love it but for us, it's about the simplicity of shape and form - and letting the material inform the end result. We often start with something from the past, either an actual product or a shape... we are quite practical so a need can also inspire a new design. We are seasonless and would like the collection to evolve over time rather than be completely trend-led.

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What do you consider to be the most important qualities in running a successful business?

Patience and tenacity, especially if you are going to start from scratch; you need a lot of determination.

What was the most challenging element of establishing your brand?

Confidence can be a huge challenge. Part of building a brand is creating a visual identity, an aesthetic, an authentic narrative. This can make everything look wonderful, which is great, but it can be very challenging to keep up the momentum on the inside.

And your greatest highlight(s) to date?

An early highlight was being invited to London Fashion Week in 2018. Since then we have had some amazing press and some amazing people now have a Taylor Yates bag in their wardrobe. But honestly, seeing the joy on someone's face or getting an email to say 'thank you I love it' is always a highlight. Recently Nicola Coughlan (Bridgerton + Derry Girls) posted a pic with our Alice bag on Instagram and had a quick chat, which was a definite wow moment.

What's the best piece of business advice you've ever received?

Always keep an eye on your cash burn.

Where would you like to see your business in five years?

We would love to see it in all the fashion capitals and worn by understated stylish people all over the world.

Describe your perfect day.

At work, we are happiest talking colour, texture and design along with planning the next campaign or our next sustainability project. Outside of work... sunshine, great company and music somewhere beautiful.

E

Website: tayloryates.com IG: @tayloryates.co

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B-lvd Interiors

Future design today interview by Karolina Barnes, images provided by Lucy Bunhill

W

hile there is certainly more awareness about sustainable design, there is

still a long way to go to making sustainability mainstream. Designers like Lucy Bunhill play a major role in this shift. By collaborating with sustainability-driven suppliers on one hand and educating and informing clients on the other, future design can potentially improve the lives of everyone on this planet.

Originated from using elements of her initials Lucy Victoria Bunhill, along with a desire to create a business people could relate to and create a connection with (Be loved), B-lvd Interiors mission is to present environmental conscious interior design in a whole new light, creating inspiring, elegant designs and spaces while considering our environmental impact for future generations whilst supporting talented craftsmen and women within the UK. Lucy's upbringing not only shaped her passion for creativity, design and love of nature but also led her into a career in the creative industry, where she developed twenty plus years of experience in the advertising and branding world, working in graphic design, styling, photography and project management before completing a Diploma in Professional Interior Design to reach her ultimate goal.

Here we chat to Lucy about using her previous career experiences, creativity and knowledge, and how it fuels a new direction of her life and the business she started last year.

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Can you tell us about your journey and what has led you to start B-lvd Interiors?

B-lvd Interiors was the result of being made redundant while self-isolating with suspected Covid just at the start of the pandemic, back in March last year. Rather than sitting about and worrying about what to do, I decided to set up a business I had only dreamt about, and turn it into a reality.

Having worked in the commercial industry for many years in advertising and branding, working as a project manager and in client facing roles, more recently working on commercial interiors for branding projects I saw an opportunity for an interiors business that specifically explored more sustainable interior design opportunities. Providing clients with the opportunity to make more informed decisions about the products available to them, working with recycled and reclaimed high-end products and suppliers, sourcing high-end second hand furniture and working with businesses that specifically explore more sustainable practices and methods. I am particularly keen to work with British designers, craftsmen and women and explore a more circular economy within this industry. Creating spaces using our homegrown talent, with a special interest in those designers and suppliers who are more sustainably considerate, is so important. .

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How has your upbringing influenced your values and passion for sustainable design?

Having moved from the outskirts of London and then grown up surrounded by beautiful Hampshire countryside for the best part of 40 years, my father a builder and my mother a professional singer and creative, who always built and renovated their own homes and interiors. I was always surrounded by sympathetically created and meticulously redesigned homes and beautiful outdoor spaces. My father is known for repurposing anything he can get his hands on, whether that is building a greenhouse using old scaffolding planks and anything else he can find or repurposing shelving units to create a beautiful study. My mother, a professional singer and musician by trade, a talented artist and keen landscape designer, has always created the most welcoming of homes and has definitely played a huge role in the direction I am now heading with my own business.

Biophilic design is not a new concept but there is definitely more awareness about it. How do you work with clients who want to go down this route? Do they request it or do you educate them and propose the direction?

Biophilic design has been around for many years, whether it has been used subconsciously or consciously in our homes and offices today. I feel it has certainly become a buzzword more recently. I don’t think people really appreciate what it actually entails or even means or even how it can influence and support our day to day lives. I have found, however, that when discussing incorporating biophilic design into clients' spaces, they have all been very receptive and embraced it.

I work with both commercial and residential clients and more often than not I will incorporate elements of this within the spaces I design, whether that is through the use of more sustainable materials, exploring more environmentally safe paints or wallpapers, exploring how the light works within a room and embracing and enhancing it, or even creating connective and engaging experiences within a space and including greenery and live planting. These simple elements can make a huge difference to interior spaces.

I'm working on an exciting project at the moment at a children’s school, I’m keen to create a space they can feel inspired and excited to encourage learning, a space that can help support their wellbeing and for them to feel safe. The board and all the team members involved have been completely supportive of the ideas I have proposed and absolutely love it. It is going to be an amazing space for the children once it’s completed and I’m thrilled to be able to work with people who completely embrace this way of thinking especially for the next generation.

“

I am particularly keen to work with British designers, craftsmen and women to explore a more circular economy with this industry.

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What’s your favourite product you came across recently and thought was a great sustainable alternative?

I've been exploring a number of incredibly talented furniture makers recently, all of whom are particular driven towards a sustainable business mindset, in particular; Angus Ross who sources the wood for the furniture from his own woodland, which he monitors and manages as well as Simon Whatley both of whom are from Scotland. Also, people like Konk Furniture, Tom Raffield, Fuzl, and Forest and Maker all UK based designers, who create beautiful sustainably sourced modern furniture pieces.

I guess if I was to pull one of these out though, while they are all sustainably driven, Fuzl are specifically looking more into the practical elements of packaging design to fit their products as well as how their products are built and put together. They don’t use nails or glue for their pieces, they are simply linked together using clever interlocking elements within their designs, putting another spin on the flat pack living element, their packaging design replicates this theory using recycled cardboard and clever origami folding and fixing methods, each piece is ‘cut to order’ meaning there is no unnecessary waste. Packaging is a huge part of the problem still with all the products we purchase and this company, in particular, is exploring new methods of how to address this with their pieces.

As a society, we are changing the way we shop, while we are looking more into the sustainability, provenance and even the very material sourced and ethical standard of a company, we also need to explore more about the very packaging these products are delivered in too, these items will become a primary consideration for our purchases in the future. From the ergonomics furniture and toxicity of our furniture through to the packaging used.

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Apart from your interior design work, you also design your own wallpaper and textiles. Can you take us through the process and who you work with?

I am very lucky to work with a number of very talented people who understand the importance of supporting sustainable production methods, for my fabrics and wallpaper, in particular the Silk Bureau (www.silkbureau.co.uk) for my digital fabric printing. But more recently I’ve been working with the team at Addicted to Patterns (www.addictedtopatterns.uk), who is helping me with one project in particular and the team at Wall Murals (www.wallmurals.co.uk), both of whom have been actively supportive, finding the best solutions for the clients using sustainable papers and inks.

You are very passionate about sustainable products in interiors, what are your plans for the future?

Sustainability within interiors still has a way to go, but we are making progress, and while companies seem to say they are sustainable, actively being it and saying you are are two different things.

Some clients are on board, but some find it still a struggle to pay a little over the odds for sustainable fabrics for example, which means that only those with the bigger budgets tend to be willing to spend more on this. Hopefully, in future, these more sustainable methods of production will go down in price to ensure the average person can have a greater selection that helps the planet too.

For me personally, I’m keen to explore more in this area and liaise with those working with sustainable products and methods to showcase their work to the masses, and get them known. I have a few ideas up my sleeve that I’m working on and hopefully soon I’ll be able to share more with you.

E

Website: b-lvd.co.uk | IG: @b.lvdinteriors

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Ketevanna

Making fashion kind words and photography provided by Anna Megrelishvili

W

hile growing up in Tbilisi, Georgia, Anna used to watch her mum Ketevan

create beautiful garment pieces for her friends, family and neighbours. In those days, limited clothing options meant that clothes especially for women were boring and uninspiring. Ketevan wanted to change that so she bought more exciting fabrics from the black market and designed new pieces for her friends. It was her way of empowering them and giving them confidence.

Moving to London over ten years ago, Anna’s passion for designing and creating clothes got absorbed

by London’s captivating lifestyle. Only when she decided that she was going to design her own wedding dress, she reconnected with her roots and working with her mum created a completely new design. After this wonderful working experience, Anna started creating more pieces with Ketevan which has led them onto founding KETEVANNA, a new independent fashion label to empower and inspire women, showing them that sustainable and ethical clothing doesn't have to be a compromise and that fashion can be kind to people and the planet!

In the following pages, Anna tells us more about her vision and mission for KETEVANNA. 21

THE CONCEPT When I was thinking about starting KETEVANNA, I was frustrated with the lack of options on the market for women like me - women who want to shop sustainable and ethical fashion but don't want to compromise on expressing themselves through clothes. I found most brands were offering bland and boring items which didn't fit my personality.

To me, it's not sustainable having to make compromises between values and wanting to express yourself through the clothes you wear. I believe that monochrome colours and capsule wardrobes are not the way of convincing people to wear sustainable clothes. I wondered if another model could solve this problem. What if we put our planet and community at the centre of everything we do while offering wardrobe items that can be fun and self-expressive too? KETEVANNA was born from this idea.

DESIGNING COLLECTIONS FROM DEADSTOCK FABRICS AND RECYCLED MATERIALS Our collections are made from deadstock fabrics so even though I get inspiration from almost everywhere - architecture, nature, art, social events, people - the final design inspiration comes from the fabric itself. The process is therefore slightly different to traditional fashion design. From the onset, we set out to be a responsible fashion brand and so we source sustainable fabrics first and then work with them. Even though this can present itself with more challenges, we don't have the luxury of a lot of choices, as you have to work what you find and what is in front of you, it pushes me creatively. To me, it’s almost like the fabric communicates to me with its feel and drape.

What keeps me coming back to deadstock fabric, in particular, is knowing that by rescuing textile waste and upcycling end of roll materials, we reduce the carbon footprint of each garment by around 30%, according to estimates provided by Carbon Trust. Aside from minimising the volume of waste and GHG emissions, we are able to reduce the need for production using new or raw materials which means a reduction in air pollution, water pollution and conservation of resources.

While working on our latest collection, we have introduced innovative regenerative and recycled materials, which is very exciting. This will bring us closer to our goal of making our clothes fully biodegradable or fully recyclable.

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By rescuing textile waste and upcycling end of roll materials, we reduce the carbon footprint of each garment by around 30%.

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OUR MISSION AND VISION It is our mission to create high quality fashion not only beyond seasons and changing trends, but more importantly make a positive change through our 4-dimensional sustainable development plan, which includes environmental, social, cultural and financial aspects of running an independent fashion brand like KETEVANNA. We care deeply about the makers and our aim is to empower them by creating an environment where they learn new skills and feel valued, and by providing them with fair living income and economic empowerment so they feel proud and fulfil their potential in their personal and work life. Our goal for 2025 is to help 300 people into work and give them the professional skills and opportunities they need to progress in the future. We are fully committed to creating and running a fully traceable and transparent supply chain.

E

Website: ketevannaofficial.com IG: @ketevanna_official

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Future of Dreams

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CHAPTER TWO

MAKERS

CHANGE

definition

Changemakers have one mission in common - to change the world for the better. Whether it's for people, society or the planet, changemakers are driven by positivity, optimism and passion for life. They want to inspire others to make a change too and use their character traits in their own stories of change and progress. Here we share some of those stories.

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Artist Story

Future of dreams with Shelley-Anne Graham words by Shelley-Anne Graham

I

never bought into the follow your dreams paradigm. It seemed unrealistic, ideal-

istic and out of touch with reality. So I didn’t. I didn’t follow my heart until one day my life was stripped of all certainty and at that crossroad, I took the path contrary to all reason and sensible advice.

My name is Shelley-Anne and this is my story.

In no particular order I am, mother of two phenomenal boys, collector (of things I don’t need) and full-time artist working from my studio in Nelson Mandela Bay, South Africa.

I always paint women. I have yet to uncover the reason for my fascination with the female form, but she really has been, and always will be, my muse eternal. I create mixed media artworks of delicate feminine beauty. The images are a fusion of subtle emotion, symbolic pattern and fashion. My technique, a mix of digital and traditional approaches. I use oils, acrylic, collage and whatever else beckons me in the moment.

A beautiful word in Xhosa is “Ubuntu”. It means “I am because we are”. It’s a whole heap more than collaboration, it’s about overcoming together. In the spirit of “Ubuntu” I have started adding embroidery and beadwork to my art. This I entrust to other crafters as a humble means of supporting the story and lives of local people. We are not in this alone.

It takes a village to conquer, no?

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WHERE IT ALL BEGAN My story began in 1969 in Cape Town. I was born amidst one of the worst earthquakes to hit South Africa. New mothers grabbing their hysterical babies and screeching out hospital doors in fear of their lives. Shaky start, you might say.

As a shy little girl growing up I was constantly doodling and drawing. School was repetitive in that teachers scolded me, “beautiful illustrations Shelley, what about the text”.

Hence going to art school and studying fine art was a no-brainer. Four years of happiness, dedicated learning and carefree living followed. I also happened to meet my photographer husband on the beach during one of those breezy moments.

Fast forward two decades and a continent change. Add my gorgeous Adrian, two little boys, plus a career path that included graphic design and lecturing art. Such was my life in the United Kingdom. Then came one fine day when the big blue skies of Africa beckoned just a little too strongly. Plans were made, containers were packed, flights were bought and in 2011 the Graham family started a new adventure on home soil in Port Elizabeth.

This should have been the happy-ever-after part. You know, where Adrian and I built our creative empire and grew old graciously together. Devastatingly enough, this chapter was to hold my darkest hour.

Bloom 29

At home, on the evening of 20th Oct 2016, I experienced what every wife and mother dreads. My husband of 18 years died. Just like that. I had no warning. The four of us were at home alone. One minute I was married and the next, I was “that thing” called a widow. The chaos and agony, indescribable. The blackness of life without Adrian encompassed me like hell itself. My 8 and 10-yearold boys instantly fatherless. Well, no earthly father anyway. I now walk this road as a mother and an artist, hoping that the grief, pain and regrets direct me to another side of myself, an altered state, one where I walk in time with God. My husband is forever free, a being of light and love, but I am on the other side of eternity. What do I do with the here and now? Seeing death up close makes life on Earth seem awfully fragile and short. However, every day is beautiful in its purpose. The goal is to make each one count. Where I was always too nervous to take up a paintbrush full-time, I’ve done that now. I am following the longings of my heart.

MY INSPIRATION Well, from my subject matter, you might guess that my main inspiration comes from women. I find incredible beauty and strength in them. Mind you, it is not necessarily “normal” standards of perceived beauty that sparks something. My late husband used to know exactly what inspires me and would always point those girls out. Really, really special, don’t you think? On a side note, I find it rather ironic that ever since I was a little girl, I have drawn female figures by themselves, and now I am that “lone female” (insert sad emoji). Well, let’s rephrase that one, lone parent with two teenage sons, that’s the hard part.

Moving swiftly on. Other things that inspire me are nature, fashion and pattern. Nature for its endless supply of innate pattern, and fashion for the glamour it offers. Although it has to be said, the glamour does not transpose to my life. In fact, going clothes shopping is a chore I try to avoid at all costs. I prefer happily taking friends cast out clothes. Supporter of slow fashion in every sense.

Lastly, the pattern itself, I am totally obsessed. So much so, that it was a close call between studying textile design or fine art. The only reason art won in the end, was because I theorised I could teach myself surface pattern over time and not the other way around.

HOW I APPROACH COMMISSION WORK A commission involves firstly a good fit between the client and me. If I can’t relate to the subject matter or what is being asked of me, I don’t take it on. I have learnt this through trial and error.

Mostly error. My passion is people, their lives and their hopes. However, a standard portrait is not what I propose. What I really want to capture is who a person is. “That thing” that makes them unique. I like to think of this as person’s wings. Finding those wings is a journey, probably a lifelong one for most of us, so in reality, I capture but a moment in time. This “capture process” could be done quite decoratively, not necessarily have to be realistic representations either. They could be substituted with a mandala or symbolic pattern, etc. Alternatively, a simple monotone painting where the emotion in the face tells its own tale is also a possibility. The process varies and is very personal.

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Paradise lost I work with acrylics, collage and oils on either paper or canvas. My planning process involves sketches as well as computer work. The final composition is done in Photoshop and presented to the client so that they have a fairly good idea of the end product. This eliminates any “happy surprises” come the completion of the commission. My hope, as an artist, is that the final painting is an intimate (if not esoteric) post-it note of hope. One that offers a moment’s diversion from life and a reminder of the uniqueness of each of our journey to find our wings.

WHAT IS UBUNTU? “Ubuntu” is one of those amazing words in Xhosa that cannot be replicated in English. It means “I am because we are”. We in South Africa were privileged, for a brief moment, to have been led by one of the greatest leaders ever, Nelson Mandela. Mandela lived out the Ubuntu legacy. He used the power given to him to change the course of a nation. Imagine if we lived in a society where the concept of Ubuntu was standard. It doesn’t come naturally to Western Society and we can’t all be president of a country but we can apply the concept to our lives, however big or small that works out to be. Hence, my idea of adding embroidery and beading to my art, and handing that over to other crafters to carry through. It is literally in the beta phase, but if I don’t set it in motion on a micro scale now, it will never happen.

Sadly my embroiderer died last year of Covid. She was young, far too young to die. To replace her I have just reached out to an amazing NGO called Keiskamma Trust. They are also in my region, the Eastern Cape, the poorest province in SA. In fact, the little town of Hamburg and its surroundings has an unemployment rate of 90%.

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Bloom

The trust was started by a doctor and artist Carol Hofmeyr with a vision to restore dignity to those with few resources by providing training and work. The Art Project, where embroidery skills are taught, is only a portion of the project and vision. So much good is happening there.

My beader has another story to tell. He lives in Kwazulu-Natal, that’s a 1000km away, hence the postal system is our friend. His name is James Katiyo. I met him at a holiday market 4 years ago and have kept in contact ever since, patiently waiting for the day I could set this process in motion.

James is Zimbabwean and much the same age as me. He came over the border, to start a new life and escape the extreme poverty in Zim. Beading offered an opportunity for self-employment but ironically, as it would mean a loss of income to other crafters, no one would teach him the skill (not a very Ubuntu start there). So James merely taught himself. He now makes the most extraordinary works of beaded art. His hope is to export his craft and in turn, my hope is that this chance encounter with me will be the reason his fortune changes from eking out an existence to a flourishing life.

FUTURE PLANS Should I sound organised and in control or should I be truthful? Ag, I’ll go for the no-holds-barred option.

Step 1. I have loads of unfinished paintings that I need to complete. Ones that haven’t cut the grade.

I suspect they might be quite acceptable, just not in my mind. So, step one. Get over myself.

Step 2. Finish the commissions that have come my way.

Step 3. I have so many ideas in my head that they completely overwhelm me. Each day I have a serious chat to myself, “Concentrate Shelley-Anne, focus is key. Eat this elephant one day at a time.”

So my plans are mighty, but the minutes in the day, few.

After that ramble, I would like to say that my mission is to make the most extraordinary pieces of art that include beading and embroidery. I really feel that these crafts could be elevated to an art form. After all, there does seem to be a rather perplexing difference between the prices art commands and that of craft. Possibly determined by whether you sell on the side of the road or exhibit in a gallery. Highly contentious subject matter but so many more would benefit if the price gap wasn’t so large. If you lived in my country, and even more specifically my region, and saw the political corruption, poverty and desperate state of affairs, I promise you, you would also want to do whatever you could to help. And by help, I do not mean hand-outs. I mean provide a platform for talented, hardworking souls to earn a decent living, to prosper and pass on generational craftsmanship that will otherwise be lost forever.

I want to be that person. The one that makes hope, not just visible, but possible.

FOR ME. FOR YOU. AND EVERYONE IN BETWEEN.

E

Website: shelley-anne.com IG: @shelleyannegraham

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Joycie Yellow Cushions

Brand Story

Bringing Aboriginal art culture into the limelight words and photography provided by Alexandra O’Brien

B

orn in Sweden, Alexandra O'Brien's family emigrated to Sydney from the UK when

she was four years old. Coming from a family of long-time collectors of Australian Aboriginal artwork, it was a natural career progression for Alexandra to found Bay Gallery Home, the UK's only dedicated Aboriginal art gallery back in 2008. She arrived in London almost 10 years earlier, instantly feeling at home working as a journalist and film maker - fondly remembering her time working with the executives at Channel 4. But one painting acquisition changed everything for her.

Here, in her own words, Alexandra shares with us her passion for Aboriginal people, their culture, heritage and art.

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SYMBOLISM AND WISDOM Australian Aboriginal People don't use written language. The way they communicate instead is through symbols/icons featured in their storytelling artwork. Important information is passed on to preserve their culture as well as teaching survival and use of the land.

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WHERE IT ALL BEGAN Bay Gallery Home started with one painting! I bought a painting by the artist Rebecca Taber and that acquisition led to me working with her on group shows. I discovered that I had an eye for art and loved working in the art market. At that stage, we held shows at my home in London. In 2008, the Aboriginal art dealer Fred Torres came to one of these and subsequently asked me to deal on behalf of his family. Since then, my focus has been on dealing in work by artists from the Australian central desert.

The paintings are bold, beautiful abstracts based on the Aboriginal mythology and culture, featuring the landscape, plants and animals found in the Australian outback. My litmus test for art is that I have an emotional and physical reaction to it, and for me, these works generate that very strong emotional pull.

THE ARTISTS The gallery represents around 30 Aboriginal artists. You can choose from paintings by very wellestablished artists as well as a selection by new generation artists: the “ones to watch”. I work with several Aboriginal communities, so the artists often share a surname; for this reason, each artist’s work is normally referred to by his or her first name. For example, I show paintings by Athena, Alma, Peggy and Nathania Gratines.

I visit Australia around once a year to choose works for the gallery. Although I have a huge intuition for the artworks I choose, the paintings are also selected for the quality of the artist and where they are in their careers. I pick a mixture of emerging and established artists so we offer people an affordable price range, from £120–£4,000. I also assist customers who are after very collectable pieces.

THE AUSTRALIAN ABORIGINAL PEOPLE Despite a way of life that continues to be endangered, the Australian Aboriginal people continue to exhibit the incredible resilience and adaptation to change that has sustained them over the many millennia they have inhabited Australia. Yet, they are at a crossroad. The creation of artwork, in particular the instigation of the contemporary art movement, has unquestionably improved the physical and mental wellbeing of the Aboriginal people. In those communities, where they are provided with the materials to paint, there is a palpable sense of pride and purpose.

The majority of artists Bay Gallery Home represents are from local art centres, earning an income to provide for their children. The money generated by the Aboriginal owned corporations creates mobility, educational and work opportunities across the community. Our artists are remunerated for the purchase of their works and receive a percentage of any interiors' sale.

Previous page: Alana Pink Wallpaper and Cushions

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Melita Dusty Pink Cushions

MY COUNTRY INTERIORS COLLECTION Aboriginal art has always struck me as having a graphic dimension perfect for interior and object design. Luckily, I represent two very forward thinking communities in the Central Desert who are not only artistically innovative, but gave me permission to take their work and turn it into a high-end interior design collection. This personal relationship with Aboriginal communities has meant I have access to a wide scope of paintings, which allowed me to launch myself into creating "My Country". .

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Bush Onion Tiles

Water Dreaming Rug

We launched "My Country" collection with a mission to expand the global awareness of an ancient culture whilst providing Aboriginal communities with additional revenue streams. We are proud to have been awarded World Interiors 2017 award for this collection which features a range of wallpapers, fabric, ceramic wall tiles, rugs and furniture as well as recently added cushions and pouffes.

WHERE THE COLLECTION FITS IN HOME SETTING The layered colours and abstract nature of designs in the "My Country" collection make them surprisingly versatile in interiors – they suit the simplicity of modern white interiors as well as the more adorned Arts & Crafts and eclectic styles.

For example, the botanical wallpapers (on page 36) work well in country farmhouses and the geometric tiles (previous page) look fabulous around pizza ovens, Aga ranges, swimming pools – think Ibiza.

We work with private clients and trade too, so get in touch if you'd like to request samples or more information about our products.

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Brand website: baygalleryhome.com IG: @baygalleryhome

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EPARA SKINCARE

Changing the landscape of inclusive beauty Building a premium, multicultural skincare line interview by Nicola McCullough

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espoke beauty brand, Epara Skincare is the result of one woman's search for luxury skin-

care that caters to the unique issues affecting women of colour. Fired by a lifelong passion, acute attention to detail and scientific evidence, Founder and CEO, Ozohu Adoh shares the inspiration behind her vision - and how Epara has changed the beauty landscape.

Tell us about your personal journey creating Epara Skincare - and your vision for the brand.

I started the line because I couldn’t find solutions that addressed my concerns while appealing to my taste for well-considered offerings, having suffered from skin issues for 10 years with several misdiagnoses. As I was looking for solutions to treat the skin flareups, I happened upon a formulation that worked for me. With the encouragement of a good friend, I decided to carry out more research into the industry and solutions for women like me. I found that there was a gap in the market and the skincare needs of women of colour were highly underserved.

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HYDRATING MIST Plant extracts and botanical brighteners in Epara Hydrating Mist leave skin beautifully nourished while evening skin tone and tackling hyperpigmentation. Instantly refreshing, it provides lasting hydration while natural active ingredients combat dryness and imperfections.

Ozohu worked closely with a lab in the UK to develop formulas that address skincare issues faced by women of colour, from dryness and discolouration caused by the sun to free radicals and air pollution.

Each of the ten products in Epara's skincare line is formulated with the finest African botanicals, essential oils, and plant extracts, to create indulgent skin treatments scientifically proven to leave the skin beautifully moisturised, healed and protected.

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What is the story behind your brand name?

Epara literally means to wrap around which we have summarised as ‘to cocoon’. The idea was I wanted to create a brand which when interacted with, evokes a sense of being wrapped in luxury.

What was your greatest challenge when establishing Epara?

There were quite a few, but finding the right distribution was a big one. Luckily, we found some visionary people who gave us a chance.

And the brightest highlight to date?

The day we actually launched the brand still remains indelible in my mind. It was so many months and years of hard work finally crystallising. It evoked a true sense of achievement.

Your product ingredients list is incredible... we would love to hear more about the nurturing properties of African botanicals.

The efficacy of African botanicals has been attested to by our forebears for centuries. These ingredients are generally very moisturising and give suppleness to the skin. They do also contain a lot antioxidants which help to combat the effects of free radicals and pollution in the environment.

Typically, you needn’t use very much of it as a little goes a long way.

Talk to us about melanin and hyperpigmentation.

Melanin is responsible for determining skin and hair colour and can also offer some natural protection against sunburn and other visible signs of UV damage such as wrinkles. Darker skin tones contain a higher concentration of the brown/black melanin (known as eumelanin). Hyperpigmentation is the over-production of melanin caused by factors like ageing, hormonal changes and sun exposure leading to the appearance of uneven pigmentation and age spots together and a decrease in skin’s luminosity and colour uniformity.

Epara’s products contain actives that address areas of hyperpigmentation in the skin without changing the basal skin tone. This is because our active targets only cells where hyperpigmentation have occurred, while not altering the skin tone of the rest of the skin.

You seem to have successfully combined both a scientific and holistic approach to skincare?

Very true. When I sought to create the current Epara products, I wanted to bring the traditions passed down by my forebears about skin care but predicated on strong scientific evidence to support their claims of efficacy. So it was truly important to understand the basis of the efficaciousness of the plant and how it interacted with the skin.

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“

I was hoping to be able to offer the customer experience I would like to have when interacting with a brand, where my custom is valued and respected.

Epara Skincare products have won multiple awards to date (congratulations!) ...what sort of feedback have you had from real women?

The first reaction I get is how well-considered the product is both in its presentation and the efficacy of the product. The truth is that we tried our best to pay attention to the little details. In my mind, I was hoping to be able to offer the customer the experience I would like to have when interacting with a brand, where my custom is valued and respected. And from the feedback we have had, it does seem our effort has been appreciated.

What is the most satisfying element of your working life?

Right now, I like the flexibility I have with this business. The way we are configured allows me to devote time and energy to things outside of work and amazingly, this gives me even more satisfaction in my working life.

Your most used product from the range, if you can narrow it to one?!

The Brightening Night Balm! I love it for its ultra-rich, luxurious and nourishing ingredients, which are naturally-derived skin brightening actives that hydrate, target imperfections, even skin tone and reduce hyper-pigmentation, leaving the face feeling hydrated, smooth and youthful.

Ingredients include Moringa and Marula Oil, Mango Butter, Lipex Shea Butter, Oat Silk and Frankincense Oil. What does the future hold for Epara Skincare?

The future is promising. We are launching a few more products over the next 18 months and we will be extending the brand with our first ancillary product in the next few months.

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Website: eparaskincare.com IG: @eparaskincare

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CHAPTER THREE

THINKERS

FORWARD

definition

With their ability to see the bigger picture, forward thinkers never stay still.

Their creative restlessness keeps moving them forward. They are the pioneers of new ideas, never afraid of reinvention or challenging the status quo. The following stories are great case studies to get inspired by.

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LALIQUE

The Spirit of Lalique How legacy and heritage are shaping the future of reinvention interview by Karolina Barnes, images provided by Melissa Byrne

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ecognised today as an Enterprise du Patrimoine Vivant (a living heritage en-

terprise), the Lalique luxury brand is constantly reinventing itself to express its artistic individuality. Inspired by its faithful muses and the swallows, Lalique has yet more beguiling pages to add to its story.

Before we chat to Frederick Fischer, the managing director of Lalique UK, first read the fascinating story of René Lalique and how he became the master jeweller and Art Deco glassmaker of the late 19th and early 20th Century.

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History and heritage of Lalique René Lalique was born in Aÿ-en-Champagne in the Marne region of France in 1860. Even though the family moved to Paris and his journey took him away from Aÿ, René remained deeply attached to his birthplace throughout his life. Following the death of his father, he became an apprentice to craftsman and jeweller Louis Aucoc. It was during this time that he learnt jewellery-making techniques, while attending classes at the École des Arts Décoratifs in Paris. He then left for England where he continued his studies for two more years. In 1885, after gaining recognition as an independent designer for some of the great jewellery Houses such as Jacta, Cartier and Boucheron, René took over the workshop of jeweller Jules Destape on Place Gaillon in Paris. In 1887, Lalique set up business on Rue du Quatre-Septembre. As early as 1888 René designed his first parures in finely-wrought gold inspired by Antiquity and Japonism, and broke with jewellery-making tradition by including innovative materials in his pieces. At the time, originality and creativity had been abandoned in favour of ornate and lavish styles with an abundance of precious stones. René made the materials he used central to his designs. He chose them for their power, light and colour, whether they were precious or not. He combined gold and gemstones with semi-precious stones, mother-of-pearl, ivory and horn, in addition to enamel and glass. He engraved the unique pieces with his trademark RL stamp.

Over a few following decades, René gained in popularity, with three workshops to run as well as building his reputation. He won competitions, exhibited his work and created jewellery for well-known entertainers such as actress Sarah Bernhardt. His desire to “create something that had never been seen before” earned him the accolade of the “inventor of modern jewellery”. He revolutionised jewellery styles of the period, becoming a favourite with leading socialites, and was admired by the most distinguished of his fellow-jewellers. His work was commissioned by the great courts and collected by the world’s wealthy.

When, in 1900, he took part in Great Exhibition in Paris, it was the crowning moment of René Lalique's career as a jeweller. It was that same year he was also named Officer of the French Legion d'Honneur. In 1905 René opened a shop at 24, Place Vendôme, where he exhibited not only his jewellery but also the glass objects crafted in his workshop at his estate in Clairefontaine, near Rambouillet. Perfumer François Coty was so impressed by René's designs that he asked him to put his talent to work for the perfume industry. Their collaborative work together revolutionised the perfume industry and made it possible for the first time to offer perfumes in attractive bottles at affordable prices. From then on, René worked increasingly on designs for the perfume sector, finally devoting himself entirely to more industrial techniques of glass production. René Lalique, Art Nouveau master jeweller, was to become an Art Deco master glassmaker. He devoted himself to glassmaking for several years. His quest for a suitable location to produce glassware and a qualified workforce led him to Alsace. He founded the Verrerie d’Alsace glassworks at Wingen-sur-Moder in Alsace, at the heart of a region with a strong and historic glassmaking tradition.

This is now the world’s only Lalique factory.

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René participated in numerous architectural projects. The 1925 International Exposition of Modern Industrial and Decorative Arts in Paris marked the climax of René Lalique’s career as glassmaker, and a triumph for the Art Deco movement. His techniques with glass gave rise to a style that was essentially expressed through the contrast between clear and frosted glass. He sometimes added a patina or enamel or used stained glass. When luxury was involved, René Lalique’s name was right alongside. He was inundated with commissions and undertook some large-scale interior design projects such as decorating the famous fashion designer Madeleine Vionnet’s haute couture salons, designing glass doors for Prince Yasuhiko Asaka’s residence in Tokyo and creating the fountain which for a time decorated the Galerie des Champs-Elysées in Paris. He then participated in the interior design of the vast first-class dining room of the luxury liner Normandie. He designed lighting columns and chandeliers for this colossus of the seas.

When René Lalique died in 1945, his son Marc took over as head of the business. He was to bring Lalique into the age of crystal. In 1977 Marc’s daughter Marie-Claude Lalique became CEO of the company. She renewed the tradition of jewellery design and developed the fragrance business.

The history of Lalique has always been closely linked to that of perfumery. When Marie-Claude created the eponymous fragrance, "Lalique de Lalique" in 1992, her initiative was more than legitimate. Lalique Parfums has a unique signature that combines creativity in its bottle design with a quest for exceptional quality within its fragrances.

In 2008 Swiss group Art & Fragrance under the management of Silvio Denz acquired Lalique with the aim of developing it globally and increasing the production capacity of crystal glassworks. A new tank furnace was inaugurated at the Lalique crystal glassworks, demonstrating the commitment to modernising the Wingen-sur-Moder factory. The Lalique museum opened its doors in Wingen-sur-Moder after two years of construction. The museum houses over 650 pieces by René Lalique and his successors. The building designed by Jean-Michel Wilmotte contains a collection of jewellery, glass and modern-day crystal presented in a bright and luminous environment.

In recent years Lalique as a brand has expanded into furniture design, home accessories and even hospitality. The former villa, built by René Lalique in 1920, has taken on a new lease of life as a showcase for Lalique’s flair and expertise. Purchased in 2014 by Silvio Denz, Château Lafaurie-Peyraguey is getting ready to greet a new dawn. Redesigned as a luxury hotel with a gourmet restaurant, the entire establishment has been decorated by interior designers Lady Tina Green and Pietro Mingarelli.

This latest Lalique hotel, managed by Christophe Noulibos, comprising ten rooms and three suites, is intended as a place where four worlds: wine, crystal, gastronomy and hospitality come together.

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How are Lalique’s product ranges put together and designed with the use of their signature material and style?

The main inspiration is our founder, René Lalique combined with the creativity and innovation of our creative director Marc Larminaux and his team in Paris. Gaia is our latest collection for Spring Summer 2021 and is a homage to Mother Earth – a subject that was very close to René Lalique – nature was a source of inspiration throughout his career. Many of his original designs feature in Gaia which is a testament to his incredible creativity. For example, in 1928, René Lalique designed the Merles and Raisons decorative panels, in pressed glass on a silver background to adorn the Cuban mahogany woodwork of the legendary Orient Express. The Lalique Studio has today reinterpreted this creation in new expressions through vases and a bowl which is both beautiful and practical – a celebration of the heritage of the house in a contemporary shape.

How important is customer experience for building loyalty?

I recently celebrated 20 years at Lalique – customer experience is at the heart of all we do - Lalique is a lifestyle that celebrates the French art of living well.

As well as decorative items, perfume, jewellery and art, we have hospitality venues in France and the UK. Three hotels in France – two in Alsace including Villa René Lalique the former family home of René Lalique which is now a 5 star hotel and 2 Michelin star restaurant set on the edge of the Vosges and Château Lafaurie Peyraguey in Bordeaux a hotel and Michelin star restaurant overlooking the Sauternes vineyards. We will shortly be opening a restaurant and whisky bar at The Glenturret, the oldest distillery in Scotland which will open at the end of June.

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How do you work with interior designers?

We work closely with interior designers on global projects via our London Boutiques in Conduit Street, Burlington Arcade and Harrods offering a seamless service that can be totally bespoke to suit each project. We work with our dedicated design studio in Paris and the Lalique factory in Alsace. The factory, which is situated in Wingen-sur-Moder close to Villa Rene Lalique and the Lalique Museum, still produces all Lalique pieces today and will celebrate 100 years in 2022.

Many of the artisans are intergenerational craftspeople. This kind of know-how enables us to work very closely with the designer, match their requirements and go the extra mile at the factory to ensure each piece is created to suit with unique flair and creativity.

Can you tell us more about some of the interesting design projects Lalique has been involved in?

Lalique has been involved in some of the most beautiful jewel-like interiors across the world. This season, we launched a wider collection with the interior designer Mr Pierre Yves-Rochon ‘Signature’, a collection of lighting and furniture items that was originally launched in 2017. Mr Rochon has long been inspired by Lalique and has used our creations for some of his finest hotels including The Four Seasons in London and Florence, The Shangri-La in Paris, The Waldorf Astoria in Beverly Hills, and Claridges and The Savoy in London where he was instrumental in locating the Lalique Poisson Fountain in the now iconic entranceway.

Other recent Lalique projects include Singapore Airlines where you will find Lalique glassware and toiletries in its premier class cabins, The Prince de Galles hotel in Avenue George-V in Paris and some of the world's finest superyachts and private residences.

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LALIQUE BOUTIQUE 47 CONDUIT STREET LONDON W1S 2YP Tel: 0207 292 04 44 Website: lalique.com IG @lalique 57

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W.A. Green Story

Delivering dopamine for home

words and photography provided by Zoe Anderson

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ooking for a “happy present” for her friend, Zoe Anderson, a self-proclaimed max-

imalist, realised how little there was on the market to provide homeware accessories for people who don't take themselves too seriously and seek out fun, colourful and interesting items for their homes.

While searching the market, and identifying what was lacking, Zoe formed the concept for her store W.A.Green which she opened in Shoreditch back in 2016. From the onset, she decided to curate only “happy homeware” that’s built around the idea of creating “Dopamine for the home”.

Over the years Zoe has managed to build a loyal following of customers who are happy to take the time to discover something different and new. They love the quirky accessories, the joy and pleasure you can get from a brilliant product - from textures, colours and craft or just the sheer delight of owning something wonderful.

Here Zoe takes us through the recent changes she had to make during the pandemic and tells us more about the future of W.A.Green.

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“

I learnt so much about supplier relationships and understanding the origins of products from my grandfather.

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WHERE IT ALL BEGAN I founded W.A.Green in 2016, and the idea was born out of a struggle to find a gift for a close friend. Wanting to buy something that symbolised our fun friendship, I found every shop selling the same, vanilla products. And from there, the idea was born. 12 months, lots of frustration, hundreds of meetings with the bank and what seemed like 1000 potential shop viewings, I opened the flagship store in Charlotte Road, the heart of Shoreditch in London in 2017.

The name came from my grandfather, who started a successful greengrocery business after leaving the Army at the end of WWII. His first store had the name ‘Elizabeth’s’ above the door, on the bags and floristry paper and he couldn’t afford to change it. The brand stuck and as he grew and opened up more outlets, they all had the name Elizabeth’s.

I learnt so much about supplier relationships and understanding the origin of products from my grandfather. As well as trips to wholesale markets he would take me to visit farmers in their orchards and nurseries where we’d be talking about orders for the fruit growing on the trees. I have taken his hard work ethic and an understanding of relationships and the stories behind the products (that was way before its time) with me.

I thought it was about time a man I admired so much (and inadvertently learnt so much from) had his name - W.A.Green - above the door.

PIVOTING DURING PANDEMIC What seemed like a tragedy struck in March 2020, the National lockdown meant we had to shut the doors on the Shoreditch store and concentrate on the online business until things got better. They didn’t. Watching high rent pour out of the bank account with nothing to show in return forced the painful decision to give back the keys and pivot entirely online, having to find new premises, new ways of working and whole new energy to propel the business forwards. It’s not been an easy journey but with the help of new and existing customers W.A.Green can see a bright future stretching out ahead of them.

Eye of the leopard cushion by Silken Favours from £95

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WHAT'S THE ETHOS? I am passionate about working hard to be sustainable and conscientious about the planet and people. As a small independent business ourselves, we are keen to foster young independent designers just starting out and I enjoy being part of the design process with them. When dealing with larger design brands, I question everything to ensure the processes and factories they use are as kind to the planet as well as the people who are making them. We seek out companies who support fair trade and give back to local communities through school funding and educational projects. While W.A.Green also works with far-flung brands, it ensures that such companies covet craftsmanship to help preserve traditional techniques and remote communities. In short, we care about every stage of their products to make the world a better place.

CARING FOR CUSTOMERS When customers order from W.A.Green, all orders are beautifully prepared and packed by a small team in Shoreditch. Caring for every customer is important to us, we ensure that every order is special by adding W.A.Green personal touches. This very personalised service sets us apart while building customer loyalty.

WHAT DOES THE FUTURE HOLD? By carefully curating products by the best independent designers alongside global brands, offering top class customer service and always going that extra mile for our customers I believe that there will always be a place for retailers like us. Retailers that want to offer amazing, affordable, sustainable and lasting pieces to give you the best looking home.

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Website: wagreen.co.uk IG @w.a.greenlondon

Selection of coloured Raawii ceramics from £45 63

Reused, repurposed, reloved.

UpCircle's vegan and cruelty-free Lemongrass and Coffee Exfoliating Body Scrub buffs away dry, dead cells to leave skin feeling soft, smooth and refreshed.

Made with repurposed Arabica coffee grounds from London cafés, a blend of sea salt, Shea butter, lime and coconut essential oils refine and moisturise the skin.

Photo by Klaudia Nowak

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UPCIRCLE BEAUTY

Breaking beauty boundaries

interview by Nicola McCullough and photography credits Mad Seventies and Anna Pluskota

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hen UpCircle Beauty founder, Anna Brightman, first suggested turning

salvaged natural ingredients into quality skincare, mentors and investors said that the beauty industry wasn't ready. The rapid growth of this award-winning ethical brand has proved that not only was her vision possible, but extremely popular.

The concept is simple: UpCircle Beauty elevates leftover natural ingredients, from used coffee grounds to residual chai spices, and brings them back to life as stellar beauty products. With beauty consumers demanding more transparency and ethical ingredients, UpCircle Beauty belongs to one of an increasing number of brands paving the way towards creating a positive environmental impact, with products that are 100% natural, sustainable, vegan and cruelty-free.

Here we spoke with Anna about overcoming challenges, self belief and going a step further to stand out.

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We love a good back story and yours is inspirational. Tell us how UpCircle Beauty evolved?

I came from a fairly corporate background but was left feeling ultimately unfulfilled. I wanted to start a business with a purpose beyond profit, a business that left the world better than I found it.

It all started five years ago. I asked a local coffee shop what they did with their waste coffee and was shocked to hear that they were producing so much that they had to pay the council to have it removed and disposed of on landfill sites. Throughout my teenage years, I wanted to be a makeup artist so always had a keen interest in beauty and skincare. I knew that coffee had loads of great skincare benefits, so…that was my lightbulb moment! Why not repurpose the coffee into sustainable circular skincare products? We began our journey collecting coffee grounds from one coffee shop, we now collect from hundreds of coffee houses across London – our list is always growing!

So, it all started with coffee, but why stop there? Our palm oil-free soaps are made with residual chai tea spices left over after making chai syrups. The UK produced 23,000 tonnes of fruit stone waste in 2012 alone, so we knew something had to be done there too. We’ve now released our “fruit stone range”, within which each product is made with the powder of a different discarded fruit stone.

Nothing is safe from being UpCircled – only our imagination can limit us! Next up, we’re saving flower petals from florists and wedding venues.

As a relatively young brand, UpCircle has grown extensively since its inception. What's the most significant business lesson you've learnt to date?

I’ve learnt not to take on board too many people’s opinions. I’ve come to believe that this was in fact distracting, and only served to water down my ideas through fear of offending or minimising my audience. I now think you risk being pulled in too many different directions at once if you take on too many opinions. We underwent a rebrand two years into our brand journey to undo all the advice we received from people we thought knew better than us. Turns out they didn’t! Instead, be bold, have conviction and don’t be afraid to be the first to do something.

The very existence of my brand, given the brand mission and model, is a demonstration of taking the lead with regards to sustainability within our industry. We’re the only brand to scale up repurposing ingredients into skincare formulations. The pioneering nature of what we do is illustrated by the extent of the opposition to our idea at the start, mentors and investors alike told us that the industry was not ready, that tackling issues of waste in the “shallow” beauty industry would not work. Our rapid growth has proven that not only is it possible, it’s in fact extremely popular.

We hope our success will inspire the industry as a whole to become less wasteful - without compromising on quality or style. The circular element to UpCircle is what makes journalists write about us, retailers stock us, and customers try our products.

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We hope our success will inspire the industry as a whole to become less wasteful - without compromising on quality or style.

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Which elements set UpCircle apart from other skincare brands?

Skincare is a crowded market. Lots of skincare brands can claim to be vegan, natural, handmade, organic, cruelty-free etc. and so can we.. but we want to go a step further. How many brands can claim that their products have saved literally hundreds of tonnes of valuable skin-loving ingredients from ending up in landfill?

We say, “natural” is the new “normal” and normal is boring. To stand out you have to go a step further and that’s why we create waste-fighting formulations. We are the only brand who recycle coffee grounds into skincare products at scale, so the range is the definition of innovative! Our tagline is “Pioneering skincare that’s regenerative by design”. We are challenging people’s perceptions of what they consider as waste. Rather than bombarding people with doom and gloom headlines about the scale of environmental issues, we focus on positive change and that we can all make a difference in small steps. Rather than saying 500,000 tonnes of coffee grounds are sent to landfill in the UK each year, we say, each of our face scrubs rescues the equivalent of four espresso shots from being discarded. It’s tangible, it’s uplifting, it makes you feel good, it’s something to be proud to support.

We like sharing our ideas for making things better, we like asking questions of our audience, we like being held accountable, we like discussion – we pride ourselves on transparency!

At UpCircle we’re not trying to save the world, or scold others for not doing more. We're never preachy about what we do. We're conversational and down to earth. That's why people listen to us, and it’s how we make an impact.

Photo by The Dot Factory

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Photo by The Dot Factory

We admire your ethical ethos... do you think creating a positive environmental impact is becoming increasingly important to customers?

Not so long ago, the gold standard for beauty brands was to deliver a great product. Now brands are expected to go much further, to stand for something beyond their products. Beauty brands must prove that there is a reason for their existence, one that contributes in some way positively to the environment, to society, or to supporting individual expression. Our products are natural, organic, vegan, cruelty-free, palm oil-free, sustainable, handmade in the UK and housed in 100% recyclable packaging. We back this up with certification from Soil Association and COSMOS. In terms of brand morals, it’s important to us that we represent inclusive skincare. The beauty industry that we DON’T want to be a part of can make women feel insecure, intimidated or like they are not good enough. Exclusivity is a social sustainability issue in the industry, and people need to see themselves represented to feel engaged and empowered. As a female-led business, with a predominantly female team, we want our brand to represent skincare for all. We’re body positive, gender neutral, represent all ages, and encourage diversity in all forms. Our products are modelled by real customers, family and friends and we are passionate about using authentic visuals that are never Photoshopped. We stand for authentic, real beauty in its many forms.

What's the best feedback a customer could give you?

That our products have made them feel more confident. When customers take the time to email or even send letters, showing before and afters of their skin and letting us know how much they love UpCircle – those sorts of things are what I value more than anything. Growing our team is also something that excites me greatly. With each new member, we have a new wave of excitement, passion and personality. We hired our first ever staff member in 2019, in 2020 we grew to a team of eight and only three months into 2021 we now number eleven!

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What are you most proud of to date?

It’s so hard to choose one! Having 3 dragons fighting over us on Dragons’ Den was certainly a high!

Last year I won a live pitching event to Sainsbury’s buyers which led to our range being launched in their stores nationwide… that was obviously pretty amazing too. In 2020 we launched our range into over 800 stores with one retail partner in America – that was a pretty big deal!

Which must-have UpCircle products do you include in your daily skincare routine?

At the moment I am particularly loving our Cleansing Face Balm and our Face Moisturiser. I wear our Moisturiser every day and think the texture is unbeatable! It’s so light and yet deeply hydrating. It doesn’t feel greasy and makeup sits really well on top of it. I love our Cleansing Balm for the scent alone… and love that its bright yellow! It melts onto your skin as you massage it in, lifting off dirt, grime and all traces of makeup – including mascara. It’s magic! It leaves my skin glowing, I’m obsessed.

If we were to splurge on only one element of a skincare regime, which would you recommend?

Moisturiser. It’s a product that can vary vastly in quality and it’s the product that is the absolute staple in anyone’s routine. SPF must also be treated as an absolute essential.

What's the highlight of your working day?

I love first thing on a Monday and last thing on a Friday afternoon. At the end of the week we like to round up our wins and fails, one shared character trait of each person in our team is the ability to find humour in any situation. You need this in a fast paced brand like UpCircle.

During Covid, we've all kept in touch closely as a team with regular virtual socials and constant daily banter and chit chat via Slack. As soon as the roadmap was announced we booked in a weekend in the summer to all catch up for beers in the park! This is the sort of thing that makes me look forward to coming to work each day.

Your vision for the future of UpCircle?

Our product launches for this year include an ocean-friendly SPF, a Hand Wash, Hand Lotion and Hand Sanitiser Trio which we plan to launch widely into restaurants and hotels. We’re also developing a Night Cream and Lip Balm – all set to launch in 2021. The repurposed ingredients for those include seaweed extract and kiwi water! It’s still early days and we’re eager to be able to offer a full skincare offering, to cater to whatever skincare concern you may have, so new product development is a big focus for us. We’re highly motivated to continue sourcing varied ingredients that are ending up being thrown away prematurely.

In 2020 we launched our sustainable skincare range into 2000+ retail doors across the UK and USA, tripled the size of our team and launched seven new products. All in the height of a global pandemic. So it's safe to say we have bold ambition for the years to come!

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Brand website: upcirclebeauty.com IG: @upcirclebeauty

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CHAPTER FOUR

INSPIRERS

INSPIRERS

definition

Inspirers do things differently. They share their stories that open our eyes to new possibilities and opportunities. Stories that trigger a new thought process, stories that ignite action. They know who they are and have the courage and ability to persevere. We hope that the following pages will inspire you to do the same.

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Natural luxe interiors

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Interior designer story

Fawn Interiors Studio

interview by Karolina Barnes and photography by Black Ash Studio

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efore FAWN INTERIORS STUDIO was founded by husband and wife duo Robert

and Tamsin Allen in 2014, they both had successful careers in creative industries. While Robert was a professional photographer, Tamsin was an accomplished art director and designer in London, with a passion for arranging things of beauty whether on a page or in a room.

When they decided to leave the busy London life behind and move to the countryside, they not only changed their lifestyle but also joined forces to start Fawn. With already a few projects under their belt, and in combination of shared love for elegant, modern yet practical interior design, they brought their strengths together, creating truly distinctive and highly-finished spaces. Whether it's a private home, hotel, spa or office, the duo aims to always achieve a premium finish with bespoke elements and in their trademark Natural Luxe style.

Here we chat to them about their design journey, projects and how nature inspires their work everyday.

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What has been your journey so far - how and why did you start Fawn Interiors Studio?

We moved to the countryside in 2014, in pursuit of a better quality of life. In London, we had completed quite a few successful property projects (alongside our creative careers) for ourselves and for family and friends so we thought it would be great if we could combine our creative backgrounds and practical knowledge gained over the years, and fill the gap in the market for country properties with a designer twist.!

What is different about your interiors studio? How are you solving your clients problems?

We like to mix and match styles (modern with traditional, masculine with feminine) - I think having a husband/wife team as creative directors really helps us understand and solve the issues that our residential clients have. Very often whoever is commissioning the interiors (husband or wife) tends to lead the project and the other partner's needs can sometimes get forgotten; it's never out of meanness, it's just that the commissioner is very focused on getting the job done. Or, even if both are fully-involved, their styles/tastes/requirements can be quite different. We help to find the balance between the two and create spaces that everyone loves.

You have relocated to the countryside. How does nature inspire your design work?

We really love to incorporate organic colours and textures into our designs. Whether the project is modern or traditional, we always try to have elements that feel natural and authentic, rather than overly-glitzy.

How do you deal with challenges especially now during the pandemic?

Covid has been a challenge for everyone, and for us the biggest challenge has been finding the trades to do the work on our renovation projects. This has led to us expanding and taking on employees (rather than always using contractors) to get the work done. Many other moving elements in the business are just out of our control (supplier delays as one example), and for that, we employ deep-breathing techniques!

Can you tell us a bit more about your bespoke joinery arm of your studio?

Our joinery arm produces all the joinery for our interior design projects and we currently have a wide range of jobs in the schedule: wardrobes for awkward spaces, bespoke doors, a room divider and a couple of kitchens. To each project, we try to bring our design ethos - beautiful items, well-designed and traditionally-made, from quality materials that will last the test of time.

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What has been your favourite project or client and why?

Oooo, it would be very difficult to choose but if we had to, our Winchester project was a perfect balance of lovely design features, innovative space-planning, bespoke joinery and a great relationship with the clients.

What are you currently working on?

We have lots of lovely projects in the pipeline which are a mixture of full renovation projects, and projects that are serviced remotely and design-only. Altogether they span around 400 years of architectural examples! We are also working on concepts for a few commercial projects (which have unfortunately been delayed due to the pandemic) and we are hoping to work on more commercial projects as the business develops.

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Please visit Fawn Interiors Studio website: fawninteriors.co Email: projects@fawninteriors.co IG @fawninteriors

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Unbroken

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Artist story

Transforming feelings into art with Danic Lago interview by Karolina Barnes, art images provided by Danic Lago

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ainter, textile artist and printmaker, Danic Lago, creates beautiful art collages using

recycled materials and acrylics on paper or wood. Inspired by her background in fashion, Danic is skillfully fusing portraiture, nature and beauty, layering each story to form something extraordinary and inspiring. Even though Danic is based in the United Kingdom, her works have been also exhibited in Brazil, Italy and Spain.

Let’s start from the beginning. What has been your journey so far and how did you get into the art world?

Having lived in Switzerland, London and Mexico, I have always been an explorer: a collector of small treasures, textures and experiences. I started work in the fashion world, specialising in trend research. The restless nature of fashion led me to experiment more with my creativity. I personally started using collage as a healing mechanism, to channel feelings into shapes and colours, all mixed in with natural and exuberant elements. Materials that I once used as sources for mood boards and trend analysis became tools for my own self-expression - there’s an immense freedom in that. Taking inspiration from my own experiences of the world, I can create narratives through collage - and the moment where you feel that a piece is finished is hugely fulfilling, in a way I hadn’t experienced before.

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You have a very interesting signature style with storytelling layers in your work, could you take us through the process you take to create your art pieces?

The inspiration of my work almost invariably starts with a protagonist: an image, look and body posture that sparks a potential for something beyond what is already there. The process from that point I can honestly not explain in words, it involves going through several textures, materials and pieces, dressing the model gradually until the final artwork emerges quite naturally. What I love the most about art is the process of making it - the act of having to be so physically in the moment cutting fragments of paper and making them fit together like puzzle pieces is almost therapeutic. I truly believe that creating art transforms feelings into something substantial that you can touch - a physical representation of your own mind at that point in time. A huge part of my art is how it is composed of several layers of elements and different media existing in harmony - I love experimenting with a diverse range of materials, I have worked with everything from taxidermy butterflies to ceramics! The creation process - with all of its twists and turns - is a big part of what makes my art interesting to look at. People are always discovering new details that they had not noticed before because they were hidden away beneath the surface.

Who and what inspires you?

I would say that my biggest inspiration is my life experience, being Brazilian and having lived in so many places across the globe has shaped who I am today, so it only makes sense to constantly pull inspiration from my own culture and those cultures that have touched me throughout the years. Having worked in fashion for so long, it would be remiss to ignore the influence that the world of fashion has had on my work, Tim Walker’s photographs in particular - which are playful but also incredibly well put together and harmonious. The portrait work of Gustav Klimt is so enchanting, the colours and textures and the way he dresses his subjects - almost an intersection of art and fashion. Music also is a huge part of my work, I always listen to music that I feel matches the pieces I create as I put them together. A huge range of things fuel my creativity, and I think that they’re all linked by love and beauty - such simple parts of life come together to breathe soul into my work, it’s magical.

There’s a quote by William Blake that always stands out in my mind as well: “If the doors of perception were cleansed everything would appear to man as it is, infinite.” I think it encapsulates the concept of how we all have limitless potential to create and how the act of creation is infinite.

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Shield

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Abundance

What is the concept behind your current work?

Currently, I have been working with religious and sacred artistic inspirations, not only Christian, but also African heritage with the Orishas of West African culture, which are so important in the NorthEast of Brazil, which is where I’m from. I have been savouring working with religiously-connoted materials like mosaics, stained glass and golden textiles, and they have become incredibly prominent in my recent artworks.

What is the best advice you ever received for life and business?

Always have a curious mind and don’t be afraid to try new things. Believe in your abilities and keep exploring different possibilities because if nothing else, they’ll make for good stories! Everything eventually works itself out for the best in the end.

What are your dreams, plans and aspirations?

A huge dream of mine is to have my art exhibited in the V&A. I adore spending time at the museum, walking among the exhibits and feeling inspired by all of the wonderful objects and art - it would be amazing to think that my work would be among them.

Most of all, I love to see my art in people’s homes! I am so thankful to play a small part in their day to day. I am in love with what I do, and seeing my pieces around the world touching people’s lives is immensely rewarding, so I would absolutely love to have a homeware collection with my art. Things like fine bone china plates and teacups, it would be so lovely!

Artist website: daniclago.com | IG @danic.lago

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The science of passion words by Paula Rhone-Adrien

Is your career something you can do, or something that you love to do?

I ask because I understand the dream is the latter, whilst the reality is often the former.

When I answer, I say “I’m lucky, I’m living the dream because I am doing the job I love”.

Sickeningly, I don’t even call it a job - it’s what I do!

I always knew I wanted to be a Barrister and coming from a childhood where domestic abuse featured in my life, I knew I would always do something that meant I could fight for those who, for whatever reason, felt as if they couldn’t be heard, that their voice had been locked down.

With this passion firmly held in my heart and mind, my drive transcended the reality of my situation: poor, black, female immigrant living in the east end; to one of overcoming obstacles that were high, but for some reason never seemed impossible.

Often I was faced with an option to leave the path I had chosen, sometimes the offers were extremely tempting. However, my passion had engendered a pinpoint focus so I could only see an outcome whereby I became a Barrister. The passion that drove me to attain my goal meant that 20 odd years later, I am still here.

The science of passion I appreciate that those with a sceptical eye, may take some light relief from my story, but struggle to understand the link between passion and industry as a whole. Well the ‘Passion Principle’ as it is fondly termed, is a well scribed psychological term used to encapsulate the theory of how passion impacts industry, be that your own or the workers that you employ to bring the factory you created to life.

It’s essentially about creating tools to identify how you can understand and effectively utilise your passion for a particular subject matter to achieve your ultimate goal.

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So is passion a key to success in business?

There are some who would argue that allowing your passion (an emotive urge) to rule your decision making process is a recipe for disaster. We can all recognise the job hopping actor waiting, waiting… waiting, passionately, for their big break.

However, what I am talking about is not just a liking or penchant for something. It’s a vocation, a calling if you like. When you look around you, undoubtedly, it is passion that has created the seat you are sitting on, the table you eat at, and the industry that you work in.

Passion is the only foundation required to create an idea that could change your life, the life of another or the world. We can all recognise people who have either lost their passion, are fearful about following their passion, or who have allowed their passion to dance wildly, unfocused and uncontrolled.

5 Top tips for following your passion 1. You have a passion for a reason, don’t be frightened to find out why.

2. When following your passion constantly assess reality. I came out of university with an excellent law degree but had to take a 6 month night class in typing skills because I knew nothing about working in an office.

3. Following your passion doesn’t mean you will achieve nirvana, there will be days when you wonder if the struggle is worth it. Depending on your answer will define whether this was truly your passion.

4. If you don’t know what your passion is don’t despair! People often believe that a passion needs to achieve the biggest or the best of something, not so. A passion is what drives you, and if that means sitting quietly and reading, or walking or painting, then so be it. Only you can define your passion.

5. Finally, ENJOY it when you can. Life is filled with hurdles, don’t waste time focusing on them. If I had I would never have followed my passion.

Good luck!

Paula Rhone-Adrien is an award winning and renowned Family law Barrister with over two decades of experience practising from Lamb Building Chambers in central London. Paula has been at the Bar for over 20 years and is widely known and respected as a leader in her field of work by the likes of the BBC and The Times. She recently achieved the highly prestigious industry award of Lawyer of the Week by The Times.

Keep up to date with her on social media @familylawguruuk

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BLACK BOOK As we are passionate about finding the best stories of creatives, designers and artists, we spend a great amount of our time scanning the market. We want you to be the first to hear about the amazing talent and brands we have on our doorstep.

This BLACK BOOK has two purposes - a filter of quality and resource of industry contacts.

ART & DESIGN

SHELLEY-ANNE GRAHAM

DANIC LAGO

BAY GALLERY HOME

artist

art, wallpaper, textiles & objects

w: shelley-anne.com

w: daniclago.com

w: baygalleryhome.com

@shelleyannegraham

@danic.lago

@baygalleryhome

artist

HOMEWARE & INTERIORS

FAWN INTERIORS STUDIO

W.A.GREEN

interior designer

interiors store

w: b-lvd.co.uk

w: fawninteriors.co

w: wagreen.co.uk

@b.lvdinteriors

@fawninteriors

@w.a.greenlondon

B-LVD INTERIORS interior designer

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BLACK BOOK As we are passionate about finding the best stories of creatives, designers and artists, we spend a great amount of our time scanning the market. We want you to be the first to hear about the amazing talent and brands we have on our doorstep.

This BLACK BOOK has two purposes - a filter of quality and resource of industry contacts.

FASHION & LIFESTYLE

LALIQUE

KETEVANNA

TAYLOR YATES

glassware, lighting, jewellery, furniture

w: lalique.com @lalique

fashion accessory brand

fashion brand

w: tayloryates.com

w: ketevannaofficial.com

@tayloryates.co

@ketevanna_official

BEAUTY

EPARA SKINCARE

UPCIRCLE BEAUTY

skincare

skincare

w: eparaskincare.com

w: upcirclebeauty.com

@eparaskincare

@upcirclebeauty

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OUR STUDIO

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BRAND STORY STRATEGY | VISUAL MARKETING | EXPERIENTIAL MARKETING BRAND POSITIONING | BRANDING & WEBSITE DESIGN Get in touch via email studio@estila.co | Visit our website for more details and portfolio studioestila.com 90

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