ISSUE 12 SPRING 2018
NO SERIAL NUMBER
CRAFT | HERITAGE | ENVIRONMENT
FROM A CARDBOARD BOX TO WASTE, FROM WASTE TO ART
FROM FASHION TO UPCYCLING WITH DIY NATURAL COLOURS
AESTHETIC EXPERIMENTS WITH DRIED VEGETABLES WASTE
BRIDGET O’FLAHERTY: THREAD PAINTING ART
Dear Readers,
Credits
I am happy to share this new issue with you where we have continued to develop the content in partnership with our inspiring freelance writers. We have exciting new projects in the pipeline which will come into shape in future issues, including some brand new sections... so we are very excited about the year ahead! In this issue, we have featured an eclectic range of artists and creative projects in the traditional arts and crafts section. They are all different but connected by the same thirst for sustainable alternatives. The experimental art of Angelique van der Valk from the Netherlands has become one of our favourites (this explains why her work is now on the cover page). She works with the patterns, textures and colours of dried vegetable peels to explore both their functional potential of these materials and the sustainable messages they can convey to the onlooker. In the same section we explore cardboard art, sculptures made with natural and found materials, and the revival of basketry art. We also learn about a new school for sustainable textiles that is being developed in Canada and ponder on the challenges of doing ecofriendly crafts. Further in this issue, the fashion section is as eclectic: we explore jewellery from recycled silver, wooden accessories and the upcycling of vintage clothes, among many others! The upcycling hub explores dyeing plants in Brazil, which includes a tutorial to make ferrous impressions in a dye bath. The Zero Waste section this time looks at how people make and buy zero waste alternatives. In the same section we also explore Plastic Precious projects (originally started when Dave Hakkens developed a plastic recycling machine) from Denmark to Los Angeles among other exciting initiatives. I’ll leave you to explore the remaining sections of the magazine yourselves, but don’t miss the home decor section, the crowd-funding projects and our seasonal Eco-Friendly Crafter Awards! I look forward to hearing what you have to say about this issue on social media, so please share and spread the word about our magazine and tag us whenever you can. We welcome praise and criticisms alike, anything that can help us continue raising awareness of environmental sustainability through traditional crafts and innovative design.
Alessandra & NSN Team
Editor Alessandra Palange Art Editor Francesca Palange NSN Italy Editor Rosa Rossi Marketing Alessandra Palange Francesca Palange Translations Fuschia Hutton Subscriptions & Advertising info@noserialnumber.org Cover Photos Cover image and photography by Angelique van der Valk - ‘What If’ Back cover image by Mattricaria - Natural dyes Photography by Nathalia Frensch Graphic Content: Fonts by Creativeqube Design, By Lef Design, Mainfile, Freepik and desings by whiteheartdesign Copyright All images are copyright protected and are the property of their respective makers/owners as detailed in each article and photo. No Serial Number Magazine is published four times a year. No responsability will be accepted for any errors or omissions, views expressed or comments by editors, writers or interviewees. No Serial Number Magazine makes all efforts to advertise products that are in accordance with its ethos. However, goods advertised are not necessarily endorsed by No Serial Number Magazine. Information is correct at the time of publication. No part of this publication may be reproduced without permission. All prices are accurate at time of going to press but these may change at any time.
No Serial Number Team ALESSANDRA, EDITOR I am a qualitative researcher in the social sciences and education with a keen interest in citizenship. Being the editor of No Serial Number Magazine is a hobby for me, something that I do out of passion and with the belief that there are many things we can do to make the world a better place, one of them is producing and consuming more responsibly as a society. I originally had the idea of this magazine when I started networking with eco-friendly artists, artisans, and creative businesses online for a family start-up business. At this point, I realised how diverse and creative the environmental movement really is and thought it would be great to have a place where we could tell all these stories and explore the role of creativity in the search for environmental solutions. If you’d like to propose a story for No Serial Number Magazine you can email me here: editorial@noserialnumber.org
FRANCESCA, ART EDITOR After many years working as a retail manager in the fashion industry, I decided to leave the retail world when I became disenchanted with its focus on profits over the quality of products and the customer experience. I decided to take the leap and start my own business, first by collaborating with eco print artist Michela Pasini and then with my family on the development of No Serial Number Magazine. With time, I became more and more passionate about the graphic design process, so much so that I am now in charge of the design of magazine. I also keep track of emails, sales, and subscriptions, and run the social media pages. If you have any questions about your subscription, a wholesale inquiry or would like to talk about cross-promotion, I am the one to ask! You can contact me here info@noserialnumber.org
ROSA, NSN ITALY EDITOR I am a retired Latin and Greek teacher and an avid knitter and crocheter. I have published school textbooks and work as a freelance writer for Pearson Italia. I am also a consultant for various cultural projects in Italy. At the moment, I am managing the development of a new library within the theatre of Caffeina Cultura and Caffeina Cultura’s own bookstore. For No Serial Number Magazine, I am mainly in charge of finding eco-sustainable realities in Italy, where I am based, and writing about them. I also manage the Italian Blog of No Serial Number Magazine, so if you’re interested in No Serial Number Italia, please visit the blog it.noserialnumber.org or email me: noserialnumberitaly@gmail.com
Featured contributors ... Kate Stuart
I’m a practising artist, writer and craftswoman based in the North East of England. I specialise in upcycling, zero waste living, quilting, and painting with acrylics on canvas. I live with my partner, our two children whom we home educate, and a variety of pets. As a family, we aspire to return to the crofting roots of my ancestors, and to live a zero waste, self-sufficient life.
Etsy Shop: www.etsy.com/uk/shopThePhoenixGreenStore Facebook and Instagram: @thephoenixgreenstore
Paige Perillat-Piratoine
I am especially interested in growing the urban fabric. From urban agriculture to biomaterials, I work with projects that contribute to a more organic cityscape and report on the people that make the steps in that direction.
Lisa Cole
I’m an ethical website and graphic designer who specialises in working with creatives and an author of books about gentle decluttering. My background is in Fashion and Textiles, specialising in costume history. I’ve been brought up to make do and mend and I am fascinated with the bond we have to our belongings. I live in Bristol with my teenager and too many cats.
Website: www.nakedwebsite.co.uk , Twitter: @NakedWebsite, FB: @NkdWebsiteDesign Website: www.less-stuff.co.uk, Twitter: @lessstuffnow, FB: @lovelessstuff
Lucy Sobrero
I was born and grew up in London and then as an adult lived in rural Piemonte, Italy, where my father came from, for over 25 years. Language tutor, translator, mother, and grandmother, I am passionate about natural crafts and textiles and fiercely opposed to cheap mass production, sweatshop labour and throw away fashion. I love communal activities and projects that engage and inspire people of all ages without costing the earth. I particularly enjoy sharing NSN’s stories about Italian artisans, translating for NSN and contributing with articles on craftspeople and projects in the U.K. I also like sewing, felting and a make do and mend lifestyle. I volunteer at a refugee centre in Birmingham and also with my local park.
Email: lucy@sobrero.co.uk
Holly Float
As a freelancer, I’m passionate about supporting the local community and helping local businesses. I also work in ethical marketing, and enjoy promoting sustainable living and blogging about it. I’m a craft and upcycling enthusiast, especially textiles, although I rarely find the time to create as my two young children keep me busy!
Blog: www.noserialnumber.org/directory/author/holly-foat/ Facebook: @EthicalByHeart Twitter: @CaptainHolly
DO YOU WANT TO WRITE FOR US? GET IN TOUCH!! If you are passionate about crafts, art, design, social projects, zero waste and all the other subjects that we
cover on our magazine then get in
touch and you could become one of our contributors.
All you need to do is to send us an email to info@noserialnumber.org.
We also have opportunities to write for our blog so get in touch!
Contents TRADITIONAL ARTS, TRADES AND CRAFTS 6. 12. 17. 20. 24. 28.
Aesthetic Experiments With Dried Vegetable Waste: ‘Art That Could Be Food for the Earth’ From a Cardboard Box to Waste, from Waste to Art Crafting From Woodlands With Jane Bevan Sylvan Skills: From Woods to Home Mamie’s Schoolhouse: Sustainable Fibre Arts on Canada’s Cape My Journey as a Conscious Creative
17
Jane Bevan
44
SUSTAINABLE FASHION
Bridget O’Flaherty
30. Vintage, Organic, Handmade & EcoFriendly... In Search of the Perfect Eco Spring Look! 36. BeWooden: Handmade Wooden Ties UPCYCLING HUB 38. From Fashion to Upcycling With DIY Natural Colours 42. Rust Dyeing Tutorial HOME CHRONICLES 44. Bridget O’Flaherty: Thread Painting Art TRAVEL CHRONICLES 50. Live, Laugh, Learn - On a Journey of Indian Culture and Creativity
20
KITCHEN CHRONICLES
Sylvan Skills
54. Traditional Spring Table Decorations in Shades of Pastel ZERO WASTE 55. nibs etc. Tackling Food Waste in the UK 56. Democratising Plastic Recycling Around the World 58. Lifestyle Choices for the Earth-Conscious: Crafting or Buying? 60. Targeting Plastic Waste Across the Uk’s Tideline 62. Projects for the Planet MULTIFUNCTIONAL GARDEN 64. A No Air Miles Florist WORKSHOP STATION THE ECO CRAFTER AND ENTREPRENEUR AWARD ECO-FRIENDLY IDEAS
Mattricaria
38
28
Conscious Creative
SUBSCRIBE
Each issue is created with love: love for our world heritage and love for the environment. We are really passionate about meeting creative people that put all their effort in combining these two elements - that’s why this magazine exists! In this day and age we desperately need to change the way we live, consume and produce. We hope that with this magazine we are contributing towards this goal. If you love what you see subscribe today and help us grow and reach more people! www.noserialnumber.org
NEWSLETTER Sign up to the newsletter to receive free updates on our artist and shop directories, ethical shopping tips, zero-waste alternatives and news about campaigns that we are joining throughout the year.
SHOW US YOUR WORK Share your projects, photos or ideas with us, use the tag #noserialnumbermagazine Tweet and image of your work @N0serialnumberM Find us on Facebook @Noserialnumbermagazine Tag us on Instagram @Noserialnumbermagazine We’ll share it with our followers!
JOIN OUR FACEBOOK GROUP Search for “Eco-Friendly Crafters and Entrepreneurs” and get in touch with other like-minded people, we have over 4000 members in our group!
ARTICLE SUBMISSION & BOOK REVIEWS We are proud to have a global readership so we are always curious to learn of sustainable creative initiatives around the world. Get in touch and tell us your story: info@noserialnumber.org
PAST ISSUES Available to purchase on our website www.noserialnumber.org
SUBSCRIBE We want to keep the magazine affordable because we believe the content we publish can make a difference. You can subscribe online for only £28 / $36 (plus delivery) and you will receive four seasonal issues right to your doorestep!
TALK ABOUT US We decided to publish independently and grow sustainably and organically, so our success depends entirely on our readers. Please help us spread the word by mentioning us on Twitter, sharing our Facebook posts and blogging about us. In this way, you are supporting a small independent business dedicated to the promotion of other small creative and sustainable businesses.
RENEWALS You can decide to make a one-off payment for a subscription, in which case we’ll send you a reminder when your subscription is about to expire, or have your subscription automatically renewed every 3, 6 or 12 months. Find all our options on the website.
SELL OUR MAGAZINE We want to share our profits with like-minded artisans and creative businesses rather than big chain stores. We want our magazines to reach people who will appreciate and collect them. Please get in touch if you’d like display No Serial Number Magazine in your shop or in your workshop.
Summer Issue 2018 • Shades of green from wild herbs • Textile narratives • Recycling e-waste • Traditional stone carving • Earth skills • Innovative textiles • Up-cycling furniture • Zero waste survey findings & Much More ...
OUT ON 23.03.2018
Subscribe online: www.noserialnumber.org
PINTEREST Follow our Pinterest boards for vintage fashion, traditional toys, natural colours, textile design, ecofriendly ideas & recommended books www.pinterest.com/ noserialnumber
TRADITIONAL ARTS TRADES & CRAFTS
ISSUE 12 SPRING 2018
What If Deatail compare the images then and now: here the peels of broad beans photographed six months ago. In the cover image, the peels have been kept beetween sheets of acid free paper for six months and therefore have slightly darkened in colour.
6
NO SERIAL NUMBER
Aesthetic Experiments With Dried Vegetable Waste: ‘Art That Could Be Food for the Earth’ Interview by NSN Team Photography by Angelique van der Valk Angelique’s work is hard to describe. The first time we came across her art we had so many questions, what is her art about? What is it inspired by? We love her reflexive attitude to her art, which is conceptualised as a process of learning about the world and exploring aesthetics at the same time.
Hi Angelique, tell us a little bit about yourself, what inspired to get into visual arts and design? In my early twenties, I chose to work in the field of styling and visual merchandising. It was a creative, varied and dynamic job for 17 years, but very commercial. I didn’t want to grow old in that trend related and stressful commercial business. A long lasting dream to study at an Academy of Arts became stronger and stronger throughout the years. I decided to quit the job I had and switched to the world of visual arts in 2010. I studied Teacher Training in Visual Arts and Design at the Willem de Kooning Academy. After graduation in 2015, I started Studio Angelique van der Valk, a fine arts studio. How would you define your work? Is it more about aesthetics or function? In my visual arts painting, photography and dried vegetable waste materials are being combined to conceive art and to crossover disciplines. My work is about meaning, awareness and aesthetics. I will always make an aesthetic composition with the materials I use, a harmony in form, or make tension and friction visible. This has kinship with the work I used to do earlier, the stylist in me. Making aesthetic strong work therefore comes easy or naturally to me. As an artist I have the freedom but also a responsibility to create, to discuss current topics and to choose the materials I want to work with. Through your work, do you seek to find environmental solutions that could potentially be implemented in product design? Inspired by Cradle to Cradle, my work is based on using natural materials and exploring the possibilities of vegetable waste. Though I want to show the beauty of nature and its possibilities, I do not strive to find environmental solutions. But I recognise the new and see potential and applicational chances for the material I run into. For example, over the past few years, through experiments that combined old and new techniques I managed to make paper-like material out of vegetable peels and stumps. I call this material made of vegetable peels, which is less sensitive to losing colour, Vegetable Veneer. The Vegetable Veneer is a handmade material, made out of vegetable peels and its intrinsic cellulose only. It can be applied on wood or used between glass. The Vegetable Veneer material produced is labour intensive and can therefore be used on a small high-end object, or for a detail in a design, but is not yet suitable for larger application at the moment. The material has a nice pattern; each type of vegetable waste material has its own intrinsic colours, beauty and fibre structures. How did you get inspired by the Cradle to Cradle design? Do you think this philosophy is becoming more important in the design industry? In the summer of 2014, I read the book Cradle to Cradle by Braungart and McDonough. This was a month before the year I’d graduate. I instantly awoke and had a clear vision. I wanted to graduate with biodegradable art,
7
ISSUE 12 SPRING 2018
IN THE PICTURES Above: First draft (2014) and a reworking of the technique (2017). The sketches give an idea of the sheer amount of work involved, since Lussiana cannot benefit from techniques that others have adopted and tested. Below: The vase will be formed of staves, each in turn formed of 182 overlapping triangles of different sizes depending on their distance from the centre. A guide - or jig - is needed to align the triangles. The photographs show the jig being made and the finished jig. With this jig, four staves can be created at the same time.
From a Cardboard Box to Waste, from Waste to Art Interview by NSN Team From a cardboard box to waste - that is the usual destiny of a cardboard box. But Angelo Lussiana has given it a new destiny: it can become an object, a toy, a handbag, or a design item for the home, depending on where his whims and craftsmanship take him. Here is the story behind his creative journey, which began with early experiments in his childhood home.
How I Became a Cardboard Designer Since childhood, I have spent each day with a hammer, nails, wood, and any tool or material capable of bringing my imagination to life. My childhood home was my laboratory where I experimented by painting windows, turning antique candelabras into lamps, or repairing eighteenth-century clocks. I spent my life ‘making’, using materials that I had to hand and armed with a chisel, hammer, knife, or fretsaw, depending on the situation. I went through a stone age, when I carved stones collected from pebbly river banks. My bronze age was aided and abetted by a nearby foundry. And, of course, I went through a wooden age when carving, cutting, and restoring became my favourite activities. My creativity was repressed for years by my day job in finance until, around ten years ago, it returned with a vengeance. And thus, I decided to concentrate on woodwork and producing small, refined homewares from high-quality wood. But I needed a numerical control milling machine, which I could not stretch to at that time. While working out whether I could build one myself, a friend introduced me to a lady who owned one but did not know how to use it. We came to an agreement; I would learn how to use it and then teach her. Shortly after, I began using it and so I created the first objects. One day, my daughter asked me to make
12
NO SERIAL NUMBER
place card holders for the Christmas table setting. I drew the outline of a reindeer, planning to cut them out of plywood. But the task turned out to be too time-consuming, so I searched for a thicker material that would be quicker to cut. A large cardboard box caught my eye and I decided to try it.
– although a single sheet is fragile, it is sturdy if joined and folded well. It is relatively easy to work with, I only needed a few inexpensive tools, and could even create items with complex shapes. Day after day, my discoveries guided me towards new techniques. Reacting to a cut here, a wrong fold there, or a structure that didn’t work. I was constantly forced to find new solutions.
From that moment on, I fell in love with it. I learned to manipulate it, always demanding more of it until I worked out how to turn it into box hinges or gears for mechanisms such as clocks. I learned to make it soft and flexible enough to become ‘fabric’ for handbags. I learned to press it together into vases or objects in the round with the same consistent, sturdy, and uniform finish to the outside surface.
I aim to refine my lines, balance volumes, improve toughness and durability, create soft surfaces, and ensure that the objects are ergonomic and functional. I aim to develop this neglected material, changing it from ‘packaging’ to an artistic material that is highly-regarded for its environmental sustainability and the many ways it can be transformed.
Cardboard became the material of choice for my creations
IN THE PICTURES The construction phase of the vase begins. The photograph shows the abutments of each stave that will rest against the sides of the jig (above). Work continues by cutting the single triangles that will form the stave. To avoid mixing up the positioning, they are taken from the cutting bench one row at a time, at the precise moment they are placed along the jig (above).
13
ISSUE 12 SPRING 2018
Sylvan Skills: From Woods to Home The Basket-making Craft of Ruth Thompson Words by Kate Stuart and photography Ruth Thomspon
In the Spring of 1881, American watercolourist Winslow Homer took up residence at what was then The Hudleston Arms Hotel, in the village of Cullercoats, where the North East of England meets the North Sea. Homer’s paintings recorded, with realism and honesty, not just the working men and women of the area, but their tools and equipment. And their baskets.
artists across the world, continuing a craft that has changed very little in its methods and materials since the Iron Age.
Basketry pre-dates both pottery and the weaving of cloth to stand as one of the oldest crafts in our human history. Baskets have been an essential part of everyday life in practically every culture on every continent and could be considered amongst the earliest decorative art forms, used for everything imaginable, from household storage to fishing. Until that is, the 1950s arrived, when the introduction of plastic meant that the need for baskets lessened against the seemingly stronger, more affordable, lighter and more durable plastic containers that became so widely available, so quickly. When plastic became more popular than basketry, the skills began to fall away, and the basket weavers that had once been so many in number dwindled away as the product of their craft was needed less and less.
One of this number is Ruth Thompson, owner of Sylvan Skills – a business grown to share the basket making traditions with all ages, through workshops, demonstrations, school projects and commissions. Ruth is based near Stocksfield in Northumberland – a mere 20 miles or so from Cullercoats Bay where Homer immortalised the hand-crafted basketry of the local fishing industry. Ruth began her journey to basketry by first learning hurdle making, which are moveable fence panels made from coppiced hazel or willow, often used for livestock. Keen to learn more, she began to work with living willow, creating in situ structures like domes and tunnels that would continue to grow and provide continued habitats. In 2007 she met Liz Balfour, a skilled basketry teacher and fellow member of the Northumbria Basketry Group, who helped Ruth to develop her skills further to create not just baskets, but fences, arbours and spectacular sculptures, bringing the craft squarely into the 21st century. With an ancient craft such as basketry, it can be difficult
There is still, however, a fine collection of skilled basketry
Hazel Coppice
Coppiced Willow
20
NO SERIAL NUMBER
Bee Skep - with bee space for bees to enter
21
UPCYCLING HUB
Upcycling & Ferrous Impressions
Form the top:
Jatobรก sawdust, onion skins, annatto, hibiscus and pomegranate on a selection of cotton, silk and linen
NO SERIAL NUMBER
F r o m F a s h i on to U pc y c li ng W i t h DIY N a t u r a l C o lo urs Words by Maibe Maroccolo and NSN Team Photography by Nathalia Frensch Tutorial photograby by Artur Galeno
Natural Dyes in Brazil: Maibe’s experience natural plants and mineral resources are used in Brazil as raw materials for extracting a wide range of natural dyes. Many of these plants are used by traditional communities in their daily lives, such as annatto, genipap, saffron-the-land, anileira, açaí and many others. To this day, her brand, Mattricaria, is dedicated to carrying out intensive research of Brazilian dye plants, such as annatto, a seed widely used by Brazilian Indians for body painting (which produces a beautiful dye in shades of red and orange) the leaves of crajirú that are found only in the north of Brazil (which produce a beautiful reddish tone) or Jurema, a plant of the legume family, common in Northeast Brazil (which gives a beautiful pink colour). All of these plants are widely used in Brazil for their rich medicinal properties.
In 2011, Maibe was working within the fashion industry in Brasília. She worked there for four years before becoming frustrated with the fashion brands’ approach to environmental issues and labour exploitation. It was only later when she went to London to study Fashion Design and Development at the London College of Fashion that she really began to think deeply about the whole process, especially the amount of waste and pollution that the fashion industry creates. At that point, her interest in natural dyes began and when she finally returned to Brazil, Maibe was determined to make a positive impact. As a first task, she focused on mapping the plants of the Brazilian cerrado, a savannah-like ecosystem that covers a fifth of Brazil’s territory, alongside artisan cooperatives in Distrito Federal, Goiás e Minas Gerais that use traditional recipes of natural pigments and dyes. A huge variety of
pomegranate
hibiscus
onion skins
annatto
jatobá sawdust
39
TRAVEL CHRONICLES
ISSUE 12 SPRING 2018
50
NO SERIAL NUMBER
Live, Laugh, Learn On a Journey of Indian Culture and Creativity Words by Kate Stuart Photography by Creative Art Safaris India demands the attention of all your senses. A rich tapestry of textile heritage, light and colour like nowhere else on earth, contrasting soundtracks between chaotic city chorus, sweeping farmland and desert. India’s architecture will make you gasp and her people will welcome you in to share culture, colour and creativity – people like Fiona Wright and Praveen Nayak. This husband and wife team seamlessly blend their talents in textiles, teaching and tourism to run Creative Art Safaris and The Stitching Project in rural Rajasthan, bringing work to local people, and drawing textile creatives from every continent to savour the vibrant experiences of Indian Culture.
see how low everyone’s income is… our intention is to create work for as many hands as we can, with a strong emphasis on handmade.” Social enterprise is a given for them, after all, as Fiona and Praveen attest, “why would you work any other way?” Materials are sustainable and ecologically considered. Recycled sari silk is bought in from local dealers, handpicked by Fiona and her team, washed and hung to dry in great waterfalls of colour around the house. Once dried the silk is ripped into strips to be sewn back together as a patchwork of new fabric, ready to turn into garments and household textiles like quilts and cushions. “It is a very hard day’s work” Fiona tells me, “but then it comes back from the ladies all stitched, they are happy and it looks beautiful”.
The couple met in Delhi in 2003, and using Praveen’s extensive experience in the tourism industry, and Fiona’s award-winning textiles talent, they held their first Creative Arts Safari in 2006, taking small textile groups to places like Morocco, Ghana, Vietnam and their beloved India, and immersing them in local creative life.
Khadi hand-loomed cloth is the other main material used by The Stitching Project – bought direct from the weavers so they receive all the money for their skilled work. Khadi cloth is made entirely by hand – cotton, but sometimes silk or wool, is spun on a spinning wheel known as a charkha. Small, portable and operated by hand, it is amongst the oldest known spinning wheels in the world, and in a country where waste, especially from the textile industry, is a massive problem, keeping electricity out of cloth production is a great step to reducing the environmental impact. “Stepping lightly on the earth” is imperative to Fiona and Praveen, in business and in life.
In 2008 Fiona left her teaching and textiles career in Australia, moved to India, and The Stitching Project began - first as a sideline to the art tours, but a successful independent operation by 2012. Inspired by the Fairtrade Movement and self-sufficiency model of Barefoot College, The Stitching Project is a gathering of local textile talent, where each person is paid fairly and directly for the work they do. As Fiona says, “we started wanting to make work for local women, there is not enough work in India for everyone and woman are stuck at home, we live out in the village and can
51
ISSUE 12 SPRING 2018
A mAGAZINE ABOUT THE ENVIRONMENTAL CRAFT MOVEMENT Why the name “No Serial Number”? Because nature and craft share a common characteristic, they are not made in series. They are both the result of an organic, slow process of growth and development. Not one leaf is the same, nor is a handmade creation. Crafts remind us that our hands and minds can work in tune with our natural environment to make things that are useful, or simply beautiful. As a society, we are in urgent need to slow down and preserve our collective environmental and artisanal heritages from unsustainable production practices and corporate greed. No Serial Number Magazine is a humble attempt to explore how human creativity, nature and activism intersect in contemporary society. Who is it for? artists, artisans, casual makers, craftivists, and conscious citizens Topics textile arts • natural colours • traditional trades and crafts • creative upcycling and salvaging • slow fashion • zerowaste lifestyle • biodiversity • kitchen chronicles • grassroots environmental movements INDEPENDENTLY PUBLISHED BY NO SERIAL NUMBER ISSN 2516-1776 (Print) ISSN 2516-1784 (Online)
No Serial Number Magazine
£9
www.noserialnumber.org
+ Delivery
info@noserialnumber.org Fb: www.facebook.com/noserialnumbermagazine Twitter: @N0serialnumberM Use #NoSerialNumber
Printed
Pinterest: noserialnumber
on recycled paper
Instagram: @noserialnumber.com_magazine
at UEL Printers
80