No Serial Number Winter 2015 Issue 3

alehermes@libero.it 23 Dec 2015

ISSUE 3 WINTER 2015

An Eclectic Lifestyle Magazine about Eco-Conscious and Heritage Craft, Design & Fashion

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Saffron Harvest on the Navelli Plateau

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This Winter’s Eco-Friendly (and Handmade) Outfit

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From Nature to Nature: the Textile Art of India Flint

alehermes@libero.it 23 Dec 2015

Dear readers, A warm welcome to our friends who have joined us on this adventure, as we seek out sustainable enterprises, activities and lifestyles, across all aspects of human life, and in all four corners of our earth. Our journey has only just begun and our ‘wandering’, to use a term beloved to India Flint, guest of honour of this issue of No Serial Number, is taking us to faraway and unusual places.

We will be able to make it with the help of our followers and fans. We ask those of you who would like to help us, to interact with us in any way; whether that be through clicking on links to discover things that we think might interest you or through sending us messages about your latest discoveries and allowing us to deepen and widen our own research.

In this winter edition we are delighted to begin with a story about India Flint who, all the way from her home country Australia (and a country where summer has just begun), has made discoveries about the properties of leaves from the eucalyptus tree, which is native to her country. She has shared and continues to share with the world her experience in textile printing, wandering and immersion in nature.

We then let ourselves be transported to Galicia, one of Spain’s autonomous communities, and take a look at the different types of baskets used in local communities, according to their various traditional uses.

Errata Corrige: In the Autumn Issue, on page 9 there was reference to “mordanting” as ‘softening the fabric’. This was a translation mistake. The mordant is a substance used to set dyes on fabric, not softening. Many thanks to the kind reader who informed us of this mistake.

Different and unique experiences have taken us all over the United Kingdom: from Haddington in Scotland where the artist Alice Meynell carries out her work combining her delicate drawings with items found abandoned along the seashore, via Derbyshire where ‘Woodscraft Man’ Paul Adamson tells us about the manual skill involved in his wood work, via Bath in Somerset where, with your help, we have set the scene for our winter outfit.

From Italy we find out about the centuries old tradition of saffron picking in Navelli, Abruzzo, the story of a magical encounter with a ‘tramp’ who rediscovers the desire to create objects, and the revival of rust printing techniques in Romagna.

The recipe comes from our family archives; also here we invite our readers to open up their personal cook books or salvage old recipes that have been passed down the generations and to add them to our shared patrimony.

All the best,

No Serial Number Team Sixty Years of Italian Handmade and Bespoke A Vibrant Spring Look From the UK Brazilian Shoes: Salvaging Natural Latex from the Amazon The Origins of Italian Organic Farming In the Next Issue

Are you an artisan or designer working with traditional techniques and/or eco-friendly, organic, locally sourced or recycled materials?

Do you have a small-scale production? Are you in London (UK)?

Or would you be interested in travelling to London to participate at trading/design shows?

If you answered YES to these questions please contact Francesca: francesca@noserialnumber.com

alehermes@libero.it 23 Dec 2015

This is a quartely magazine that will be released on the following dates: Spring 23 March - Summer 23 June Autumn 23 September - Winter 23 December

TRADITIONAL TRADES AND CRAFTS

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CONTENTS TRAVEL CHRONICLES

43 Discovering the Traditions of Galicia: Basket Weaving

rom Nature to Nature: F the Textile Art of India Flint

COUNTRY CHRONICLES

10 Art and Pleasure:

Giving Back Life to Unloved Beach Debris

15 From Tree Surgeon to

WoodcraftER: the Secret of a Wooden Spoon

CO CRAFT SHOPPING E

46 Exclusive Winter Offers and

REGULAR

COLUMN BY CLOTHO LONDON

49 F our Ways to Make

Sustainable Fashion Desirable

THE SANDPIT

SUSTAINABLE FASHION

19 The Renaissance of an I-Guana 23 This Winter’s Eco-Friendly

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(and Handmade) Outfit

HOME CHRONICLES

34 Risonanze Lab:

The ‘Voice’ of an Ancient Craft Finds a New Form of Expression

KITCHEN CHRONICLES: Cooking With Local Produce

37 Grandmother’s Hazelnut Cake:

a Taste of Home, Family and Childhood

MULTIFUNCTIONAL GARDEN

39 Saffron Harvest on the Navelli Plateau: a Centuries-old Tradition

Promotions

Games, Competitions and Giveaways

CREDITS Editors and Creative Directors Alessandra Palange Francesca Palange Rosa Rossi

Translations

Fuschia Hutton

Graphic Design

Graphic designer: Caterina Sebastiani Arti Grafiche Aquilane www.artigraficheaquilane.it

Cover Photo

Photography by India Flint

Copyright

All images and materials are copyright protected and are the property of their respective makers/ owners as detailed below.

From Nature to Nature

Photos by India Flint Interviewer: Francesca Palange

From Tree Surgeon to Woodcraftman

The Renaissance of an I-Guana Photos by Eletta Revelli Text by Eletta Revelli

This Winter’s Eco-Friendly Outfit

Photography by Mitchell Williams MW Portrait Photography www.facebook.com/ mwstudiophotography/timeline Model: Emily Savage Stylist and Interviewer: Francesca Palange

Risonanze Lab

Photos by Maria Teresa Romolo Viviana Casadei, Elia Palange Text by Simona Campagna

Grandmother’s Hazelnut Cake Photos by Elia Palange Text by Rosa Rossi

Saffron Harvest on the Navelli Plateau Photos by Elia Palange Text by Rosa Rossi

Photos by Paul Adamson Interviewer: Francesca Palange Text by Paul Adamson

Discovering the Traditions of Galicia

Alice Meynell

Four Ways to Make Sustainable Fashion Desirable

Photos by Alice Meynell Interviewer: Francesca Palange Text by Rosa Rossi

Photos by Jose Jvazquez Text by Jose Jvazquez

Photos by Clotho London Text by Vivien Tang

alehermes@libero.it 23 Dec 2015

TRADITIONAL CRAFTS

ISSUE 3 WINTER 2015

From Nature to Nature: the Textile Art of India Flint

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ince you are recognized as the initiator of the Eco print technique, what I am interested to find out is what exactly brought you to this technique, was it for example chance or the result of an intentional long-term process of research?

It was a mixture of both. I was researching plant dye techniques for eucalyptus and decided to combine the process for dyeing Easter eggs used in Latvia with shibori-zome practice from Japan but use eucalyptus leaves in place of

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the traditional onionskins.

The outcome was immediately magical.

I then used the process as part of my Master’s research, as I realised it was a relatively quick means of assessing the potential dye colours available from eucalyptus (in pure water).

What I didn’t really anticipate was that ecoprinting would come to dominate my work in that it gives such beautiful results using so few resources.

Again and again it delights me when students decide to discard synthetic dye practice as they develop an understanding of the joy to be had from using weeds and windfalls in an ecologically sustainable manner

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ISSUE 3 WINTER 2015

‘I

am a wanderer, artist and writer specializing in bio-regional, ecologically sustainable plant dyes’, this is the way India Flint describes herself, the botanical alchemist.

By visiting her blog and website you definitely can discover India’s work and her passions. Those two are rich of information and ideas. The blog in particular lets you wander into her world and learn how to look at the world with special attention to the little things but also at the beauty of Nature.

On both the blog and the website one can easily access the list of scheduled workshops (I have already marked the one I would love to attend, in Scotland, on my diary!). On her blog, you can find all the necessary information about exhibitions in which India Flint takes part around the world before landing back on the Austral-

Jetty Dijkshoorn and Barbara Munsel from ArteKlatsch Schiedam in the Netherlands, say: Her book ‘Eco Colour’ is like the bible of eco printing to us. We read in it regularly and are inspired and motivated by it to try new recipes and follow her advice. We get better every day!

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ian soil. I cannot help but feeling that her idea of wandering in different lands is her way to keep a window always open on the natural world.

Her ‘classic’ books are: Eco Colour: Botanical beautiful dyes for textiles, 2008 Second Skin, 2011

For those who want to wander between the words and images of India Flint, I suggest also the following two eBooks: On a Wandering Wind (eBook) Fieldnotes In these texts, few words accompany precious images of experiments, exhibitions and wanderings, which confirm that the poetic world of India Flint stems from the happy union of word and image.

Barbara Rowell, from North Berwick, Scotland, says: I was inspired by India Flint’s Blurb Book ‘Stuff, Steep and Store’. It has beautiful images detailing with the process of eco bundle dyeing. My first work ‘Lilith’s Babies’ comprised a jar of 11 eco-bundles in organic and metal matter with cochineal, sealed with beeswax.

The idea was that each of the eleven bundles would be incorporated into future works. So far I have used three in a Bojagi work, along with other eco-bundle dyed textiles, and some more bundles were incorporated into a sculptural installation ‘All That Will Be’. I have also used the process to mordant scraps of fabric for future use. I love the whole process and have jars on display on a windowsill in my studio at all the various stages.

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Come on Board with Us! Would you like to have your advert displayed here?

Do you run a business or an organization with a commitment to social, environmental and ethical responsibility?

Contact: francesca@noserialnumber.com to receive a rate card and information pack.

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alehermes@libero.it 23 Dec 2015

COUNTRY CHRONICLES

ISSUE 3 WINTER 2015

Art and Pleasure: Giving Back Life to Unloved Beach Debris

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y first encounter with Alice Meynell was through Instagram, a tool that the artist describes as the “most amazing creative space�.

When I first stumbled upon her profile, I was entranced by the delicateness, outward simplicity and elegance of her work.

ity and a deep love for nature.

I immediately decided to get in touch to find out more about her.

We have a long conversation, and the fact that she gives me so much of her time is so precious because she opens up for me a wondrous artistic world where there is little separation between lifestyle and art.

artistic sensibility.

Through the way that Alice describes herself and tells her story, it is obvious that her life and her art are one and the same.

She tells me about her formative years; her school days, her experiments and studies. She tells me about her time at art school in her ScotEven from a small mobile I feel almost as though my tish homeland, which she put phone screen, it is clear from questions are obvious, banal on hold to chase a fantaher pictures that hers is a even, but her replies reveal sy of Italian art in Florence, world full of artistic sensibil- her rich inner world and a rare her time studying at a jew10

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I gather all of my wood locally, and I use a combination of hand tools and a chainsaw. I volunteer to help manage woodlands in my area in exchange for the wood, a means of keeping fit and enjoying the outdoors.

of time as running the actual session. Working in batches is the key to saving time when making, collecting or running sessions and going above and beyond as often as possible to make things a success.

What kind of public comes to your workshops?

A real mix. All abilities and personalities come along, which keeps things fresh and me on my toes.

Do you source the majority of your wood locally? If yes how?

What kind of wood do you use?

For carving I use woods that last as a working product but aren’t too hard on the hands or tools. Birch, Cherry, Rowan, Syamore, Aspen, Lime.

For furniture I’ll use Yew, Oak, Ash, and Sweet Chestnut.

lows is a quick run through of the method of spoon carving I use, the simple tools involved, and form and function of spoons I’ve devolved for the kitchen.

It all starts with wood, good fresh greenwood, and some of the best to carve for ease are Lime, Willows, and Poplars but can be a little soft so the best one is probably

The process Spoon Carving was my introduction into the world of wood carving. I got interested in the subject when I started bringing strange looking pieces of wood home from my job as a tree surgeon around 15 years ago but took it more seriously when I was shown a method of making one. What fol-

Birch as its a little stronger in carving and use. Sycamore and fruit woods follow on being a little harder on the hands, but make wonderful items. All can be gathered sustainably from young planted woodlands requiring thinning works to allow them to reach maturity. Waste products from tree safety works are also a good source, and its a shame to put all of it in the wood burner.

The tools I use are a small axe, straight knife, saw, and a bent spoon knife. The only other things needed are a chopping block and a baton for splitting.

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CITY CHRONICLES

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The Renaissance of an I-Guana

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he brand I-Guana comes from a very unconventional urban friendship that led to the creation of exceptional jewellery.

Two very different people crossed paths in a soup chicken in Como, she is a volunteer in the food delivery, he’s a guest. Because of some personal vicissitudes, the loss of his job and few occasional works, most of the time unpaid, this man gave up and became homeless, vagabonding around Como town.

Wine and going on a binge were his major interests … his job, a faraway souvenir, was a locked door he thought he could never open again.

But chance can often disconcert and give awesome surprises, just like that August afternoon, a couple of years ago, under the Volta Temple in the Como gardens where

My life, now, is full of forks! Everywhere I look, in my house, on my desk, in my bag, in the car, I’m surrounded!

I was knitting with a couple of friends. I’d have expected anything but what did happen. This man was walking around the gardens, he saw me and came nearby to say hey. Just a greeting, few words but from that, a strong and beautiful friendship came out.

Over time, I tried to understand the reasons of his lifestyle, I got in touch with him more and more, and one day he told me that he 19

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This Winter’s Eco-Friendly (and Handmade) Outfit

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ere is a number of eco friendly makes that we have put together to design an outfit that truly celebrates the seasonal changes that we witnessed in the past three months‌ We have chosen to celebrate the end of the summer on a beautiful September sunny day in Bath (UK). We had pinny by Alison Hulme and a handbag by Caroline Bell, which represent the falling leaves that characterised so much of our autumnal scenery. The cream and white colours of the natural wool in the earrings and the necklace by Laura Mabbutt and the hat by Rosa Rossi give us a sense of anticipation for the colder months ahead where many living beings find rest in the warmest parts of the earth awaiting springtime.

We have also asked these artists many questions about the materials and processes involved in the making of these products. These detailed descriptions can be found at the end of this article. Feel free to email us your thought at francesca@noserialnumber.com 23

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Win this Hat on page 51!

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The Hat

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alehermes@libero.it 23 Dec 2015

HOME CHRONICLES

ISSUE 3 WINTER 2015

Risonanze Lab: The ‘Voice’ of an Ancient Craft Finds a New Form of Expression

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isonanze Lab (lit. Resonance Lab) is the result of my two passions coming together; the textile printing tradition of Romagna and woodworking.

After having developed my fabric printing skills over the

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last decade in a social cooperative in Riccione, the time came for me to express myself in a new way. This came about through my own personal search for a style that was simple, light and refined; one that I could use to express my idea of beauty and simplicity, which is inspired by oriental patterns.

This has brought a different perspective, new and enhanced, to this traditional craft from Romagna, which has always been a part of my life, and has brought to it influences from faraway places. The combination of a typical craft from Romagna and Eastern influences has led to the development of this ancient cultural tradition in my

work, but without losing any of its original identity. Following this personal development, Risonanze Lab was born. Through the use of ancient traditional techniques (including cutting and sew-

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Saffron Harvest on the Navelli Plateau: a Centuries-old Tradition

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hree generations all work on it - grandparents, sons, daughters and grandchildren. For seven hundred years, the spectacle of crocus sativus picking begins every October in the early morning light, resulting in one of the most prized spices used in gastronomy. Once it was sought after for the tables of Lords, now it is used by anyone wishing to create a special dish and, of course, by celebrated international chefs.

Saffron bulbs, which are dug out of the earth at the beginning of August, cleaned and then replanted into a different soil, start to flower at the beginning of October and continue to produce flowers up until the beginning of November.

For the farming families of the Navelli Plateau (a plateau that lies about 750 metres above sea level, in the Abru-

zzo mountains), this is when a task of great patience and precision begins. Every morning they go out into the field where the bulbs have been planted. If the night temperatures have been on their side then the flowers will be peeking through the earth, and they will begin the picking which takes up the first few hours of daylight. In order to make sure that the saffron is of excellent quality, they pick the still closed flowers as they just show through the slender leaves lining the long furrows of earth.

Adriano Cantalini’s family, who we join on their plot of land given over to saffron, is one of the many families in the area that participates in the Cooperativa Altopiano di Navelli (Navelli Plateau Cooperative) which brings small

the multifunctional garden

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Saffron bulbs, which are dug out of the earth at the beginning of August, cleaned and then replanted into a different soil, start to flower at the beginning of October and continue to produce flowers up until the beginning of November producers together. The cooperative was set up on the 8th March 1971 by a farmer, Silvio Salvatore Sarra, in order to recoup and bring the practice of saffron farming back to the fore, which had been set back by a difficult start to the twentieth century after being hit by war, the brutal wave of 39

alehermes@libero.it 23 Dec 2015

ECO CRAFT SHOPPING

ISSUE 3 WINTER 2015

Exclusive Winter Offers and Promotions Doodle Ink Jacques 10% off any natural ink pet/animal portraits (normal price £65 for unframed originals or £30 for prints) The portraits are done on 300g watercolour paper. All painted in natural products.

To claim: Email me at jacqueshilaryillustration@gmail.com with the code PETN10DDoodle

https://www.facebook.com/ doodle2ink

gone rustic etsy shop 10% off items in the Use coupon code NSN10 at checkout Available 21 Dec – 22 Jan 2016

https://www.etsy.com/shop/gonerustic

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ISSUE 3 WINTER 2015

Winter’s Photo Collection Violin found in a charity shop painstakingly restored and decoupaged with an assortment of coloured tissue and old music manuscripts.

By The Kitchen Witch

Indigo vats

by Mona Lewis.

By Sunsprite Handwork

Would you like to share stories about sustainable initiatives, business or otherwise realities related to natural crafts or ethical fashion and design?

We are looking for short contributions (400-600 words max.) to help us expand our blog. www.noserialnumber.com Send your articles to Francesca@noserialnumber.com Or click here to submit your articles online 48

Scarf woven by hand loom made with wild silk (tussah) and linen

by Bleupom design&fabric

Teddies made with fabrics bought in a charity shop.

By Gray’s Cornucopia

alehermes@libero.it 23 Dec 2015

4 Ways to Make Sustainable Fashion Desirable

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ay ‘sustainable fashion’ or ‘ecofashion’ to the average person, and at best they will picture Julie Andrews refashioning old curtains into outfits for those Von Trapp kiddies. At worst they will imagine dull hemp dresses embellished with recycled bin bags. One of the challenges that we have encountered during our year of running our business, Clotho London, is finding ways to dispel the misconception that environmentally responsible fashion is dowdy and only for hardcore vegan eco-warriors.

REGULAR COLUMN

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Involve emerging young designers The future of fashion will be determined by the bright young things studying the discipline at universities right now - that is why we recently collaborated with PSD Falmouth (Fashion + Performance Sportswear Design) on an upcycling coursework project. Aside from lending us their creative skills to come up with commercially viable cool designs check out these raincoats made from surplus car tarpaulin covers:

To a certain extent, most people of our generation care about the fate of our planet – enough so that when I tell people what I do they will probably reply “Cool! I’ll check out your site!” but probably not enough for them to drop their fast fashion dependence anytime soon. For an actual disruption of the fashion industry, consumers must desire ecofriendly clothing - pieces so covetable that they would rather buy them than returning to Topshop and Zara. And so from our own little corner in London Bridge, we have been trying different ways to do just that: making sustainable fashion cool, fun and accessible for the modern twenty something.

The Raincoats

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