By Maryjo Cartier

LONDON–Jessica Russell Flint is a fun and quirky brand of pouches, pillows, prints, wallpaper and tea towels. It is Jessica’s own illustration’s that bring the punch to her designs: pink flamingos, prowling leopards and bright orange lobsters.  All the designs are hand drawn in quill and ink pen. Inspiration comes in all shapes and forms, but Jessica finds she is at her most creative on public transport. “Journeys are great for the thought process as there’s very little else for you to do,” said Jessica.

The Jessica Russell Flint journey began with a collection of limited edition illustrations showcased at a gallery in the hip Clerkenwell area of London, where she launched a makeup bag range featuring her hand-drawn images. Since then Jessica has amassed many successes, from showing at Somerset House during London Fashion Week to The Conran Shop reaching out to sell her Lobster Napkins and being featured in Elle Décor’s “Ones to Watch” .

On her pathway to becoming an illustrator and designer, Jessica did not take any shortcuts. Before becoming a successful business owner, Jessica amassed an impressive amount of experience and skills from a university degree in Geography, a graduate programme at an advertising agency and a part-time course at Central Saint Martins, all while blogging her illustrations in her free time. Reflecting on her pathway, Jessica muses: “It was a longer journey, but one I am now ultimately very proud of, and one that I think has been really helpful for setting up the business and the brand.”

Jessica is a perfect example of Roman Krznaric’s belief in doing what you love in your free time till it grows so big that it becomes your full-time job. “I worked until I literally couldn’t fit anymore in and was about to let balls drop,” said Jessica. In fact she was already stocked in over 30 stores before working on her own brand full time. So Jessica’s pathway is an interesting example for the many aspiring entrepreneurs wanting a life/work change fuelled by their passion.

Jessica takes a down to earth approach to business and life. Her brand’s motto is “See beyond the end of your nose.” This is a reminder to “see the quirky and cool in everything, to enjoy life, colour and people the most we possibly can and always remember to see the bigger picture.” Jessica doesn’t let minor problems throw her off and her brand is representative of her positivity but also her practical approach to achieving her goals.

What is your ultimate dream?

A house of Jessica Russell Flint! But it’s a BIG dream – once a product takes off, you end up investing it all back into that product to expand the range and meet demand so it’s all about siphoning off funds to develop new ideas. I think it’s important to do that or you end up getting stuck in a rut. I never want to be like that.

You do bespoke orders. What is the process of bespoke? Can you share any special bespoke projects that have really inspired you?

Yes – I do, I collaborate and also do bespoke commissions for certain people when they want them. I’m currently ensconced in about a million friends’ wedding invitations (the pitfall of being a friend who illustrates!) but on a more professional level, I did the Harrods Christmas baubles for their “Retro Champagne” themed Christmas, which was all flamingos and pineapples and all things pink. That was a fun project. A bit of a nightmare in terms of sourcing the suppliers – but a big kudos for me to have been asked.

You launched a Japanese website! Can you tell me a bit about this – why a Japanese website? Do you have a strong Japanese following?

Ha Ha – I know – it’s crazy! Last year I met my Japanese business partner, who lives in Tokyo. She was on a Tinder date with one of my photographers when she was over in London for the weekend. He showed her some of his photography and some of it happened to be shots he’d been taking for me.

She works as an agent and distributor for brands in Japan and asked to meet me the next day. It didn’t work out for her and my photographer, but it worked out for us! And yes, we’re getting a good following over there.

I LOVE the Japanese. They have an amazing sense of style, LOVE colour and are hilariously funny. It’s a good fit and I’m really excited about going over there next month for a visit. We are thinking of opening our cafe and show room in Tokyo, so looking at some venues.

Contact info: www,jessicarussellflint.co.uk & hello@jessicarussellflint.co.uk

By Maryjo Cartier

Marrakech, Morocco–Meeting Laurence, the Belgian designer behind LRNCE is like walking into a bohemian Moroccan dream. Laurence has a sparkle in her eye, is effortlessly stylish and oozes creativity. The budding designer navigates her way around the small and winding Medina streets in her bellowing Kimono and her hands embellished with rings and tattoos.

Laurence moved to Marrakech on a whim, having finished fashion school in Gent, Belgium and completed an internship at BLESS in Berlin. After spending time helping out at a camp in the desert close to the oasis, M’Hamid El Ghizlane, she decided to move to Marrakech with her sewing machine. LRNCE was originally born in Belgium and Berlin but it is safe to say it has taken shape in Marrakech. The brand quickly grabbed the attention of the international press and continues to gain a strong following with consumers on Instagram and Tumblr.

After meeting for tea at Le Jardin, I follow Laurence to her very own Riad in the Medina. The local stall owners all recognise Laurence on our way there and greet her with smiles. Laurence’s joie de vivre and vibrancy are clearly infectious. The front door to her home is down a dark and quiet alley, but as you step inside you are faced with a riot of colour, texture, objects and warmth. Laurence has filled her riad with quirky designs and objects – either collected or made by herself. Something catches your eye in each nook and cranny. After visiting her design “office” and her own room filled with several of her own creations, we walk up to the rooftop which has a 360 panorama view of Marrakech.

LAURENCE’s CREATIONS

LRNCE has grown into a lifestyle brand – Laurence’s creativity stops at nothing. She has developed an array of designs for leather shoes, kimonos, carpets, pottery and bags. Laurence shows no fear at the idea of expanding her product array further and is eager to try out new mediums.

Laurence’s style sense has seen her create cool editorial shoots of her designs – all spontaneously organised with her Marrakchi crowd and friends visiting from abroad. Laurence says: “I have beautiful friends. So when they come to visit I ask them ‘Please can you wear this and we take photos.’” It is through these cool photos that she has gained such a strong following online with not only consumers but also journalists.

As an emerging designer, Laurence has played it by ear and learnt how to make the best of these opportunities when they arise. Laurence recalls a recent visit of journalists: “I had four journalists coming to visit me from magazines. I had never done this before and I felt pressure to show them everything and make sure it went well.” The journalists experienced full immersion as they stayed at Laurence’s Riad (which has been a big success on Airbnb) and visited the different artisan ateliers.

WORKING HANDS IN MOROCCO

With her contemporary eye for design, Laurence brings a fresh take on artisanal skills found in and around Marrakech. Her ideas are often seen as peculiar by some of the craftspeople and Laurence has to engage in negotiations to get things made her way. Laurence is often greeted with remarks akin to “what are you wearing?” and she has had to convince shoemakers to use leathers which they don’t traditionally use to make footwear.

However, Laurence doesn’t deny that the craftsmen and craftswomen are very talented with their hands. Watching women make carpets, or men make sandals, continues to amaze her. In her time in Morocco, Laurence feels she has learnt far more than her years spent at school, just by doing and engaging directly with the artisans.

Developing her own network of artisans happened organically, often from word of mouth. Laurence points out how friendly people are here and so by asking questions, she has been recommended to different artisans. Laurence is careful in managing her relationship with her network of artisans and seems to have based them on mutual respect. Similarly to most relations, trust had to be built before they really thrived. She points out, “I think it is very important to work together with the people who produce,” and she is upfront about the fact that her handiwork is not her forte and so she relies on the hands of the artisans to execute her designs.

Laurence points out that women artisans tend to work from home, whereas the men are often the face of the craft. There also appears to be a gendered division of labour, with men engaging in leather and pottery crafts, whereas the women will weave carpets and sew.

Setting up her own business has not been without its challenges. For what Laurence may have lacked in experience, she made up with her creativity and fearlessness to take on any challenge. Her cool and contemporary creations combined with her courage and infectious happiness, are the magical ingredients that make Laurence the success she has become today.

Contact info: http://lrnce.com/ & info@lrnce.com

Playful colours and functional designs are the blueprint of Ciré, which means “waxed” in French. Don’t be fooled by the name though, these waxed canvas bags are 100% Made in Britain, by founder Alison Vard. The name is a clin d’oeil to her French father and her upbringing on the French Riviera in Nice.

Ciré was founded in 2014 by Alison, using her self-taught sewing skills, a chance experimentation with waxed canvas and an ongoing interest in long-lasting utilitarian products. Since then the brand has grown organically, through the testing of techniques, materials and shapes and by responding to customer feedback.

Alison is part of the growing maker movement and is the woman running both the creative and business show behind this sustainable accessory brand. In fact she has recently made a limited edition collection for LOIS , an independent online store founded in Peckham (London’s new up and coming hipster neighbourhood).

BACO’s Maryjo Cartier sits down with Alison and finds out more.

Can you tell us about the process of making a Ciré bag? 

I work from a small compact studio. I sew on an old Bernina sewing machine that is kindly being lent to me. It’s an incredible machine that seems to plough on regardless of what you throw at it. I use two grades of unfinished organic calico that I source from a lovely organic textile company in Wales. I then proceed to dye / screen – print the fabric and wax it using sustainable beeswax from the UK. I assemble all the bags myself at the moment, but I’m looking into getting a hand with sewing to build up stock.

You market your brand as sustainable – what is sustainable about it?

Building Ciré has been a slow process and I’m very happy to have recently been able to swap for sustainable products (ie organic cotton and local beeswax), as a tiny business it takes so much effort to create products I am happy with, it made sense to invest in good materials.

You’re an independent designer – what are the benefits and challenges of this?

It has been – and still is – an enormous challenge to make it work as an independent designer. I’ve learned so much on the way from mistakes and experiences. The benefits are obvious, working for yourself and having no restrictions on creativity but these are also the main challenges of working for yourself, not to get side-tracked and having no one else to blame than myself when everything goes wrong! It’s a lot of responsibilities and can get over-whelming but in the long run nothing beats that rush of adrenaline I get from work.

Did you study fashion or design at university? 

I don’t have a fashion background. I have an MA in painting conservation which has a lot of over-lapping skills. I learned the basics of sewing with my mother and learned everything else slowly on my own.

What inspires your different collections, colours and prints?

My bags are just a constant evolution of what interests me, new shapes, ways of applying colour. I put the bags to the test and what works stays in the shop, I like to think of it as a natural selection of my ideas.

What next for Ciré?

I want Ciré to continue to grow and evolve naturally. I really want to start offering a line of bags made with naturally dyed fabric, and so I’m working on that at the minute.

Zug, Switzerland–Few would have expected a designer who worked for Hermès and befriended Juergen Teller to set up shop in a quiet Swiss lakeside town.

But bespoke women’s wear designer Sara Schlumpf has brought her love of colour and red-carpet fashion to the wardrobes of the discerning buyers of Zug, a place best known for its kirschtorte and tax breaks.

Pedestrians stop and stare at the window displays of her boutique in the heart of the picturesque old town, opposite a fairytale fountain, where the upmarket designs transport shoppers to a world where fashion dreams come true.

Sara makes clothing, mostly exquisite evening wear for modern-day princesses, better known as the power dressers of Zug, the excited brides to be and the wives of the global elite.

As you enter her store, the rails are packed with garments, all designed by Sara and sewn by her two seamstresses, working in an atelier in Baar just 10 km away.

Each item seems to be patiently waiting to be introduced to its rightful owner. Quality, colour and movement are the pillars of her designs, with customers lured inside by the colours, then seduced by the quality of the fabrics and the intricately thought out designs.

Sara has the knack of making customers feel privileged and pampered. “An outfit should make you feel special, strong and yourself,” says Sara, who sometimes feels as if she’s a surrogate therapist, listening to the desires and indecisions of her clients. She uses her sewn art to help transform them, so that “suddenly they feel more beautiful and wonderful”.

Originally from Zug, Sara studied fashion at Studio Berçot in Paris, where the teachers encouraged her to find her personality through the creative freedom they offered.

She landed a stage at Hermès  working under Tomas Maier, which allowed her to perfect her couture skills and gain access to the maison’s artisan and material sourcing contacts book.

Marie Rucki the director of Studio Berçot, worked hard to get Sara an apprenticeship with Azzedine Alaïa. However it proved impossible to convince the Tunisian designer, renowned for his preference for working on his own, to accept an assistant – no matter how gifted.

That disappointment proved to be a springboard for Sara’s own career. She set up her own label in Paris, selling in showrooms before moving back to Zug in German-speaking Switzerland.

She quickly determined to work on a small scale after receiving orders from a fashion fair in Germany. In production, her smaller volumes were turned down by ateliers in the Sentier area of Paris, known for its multicultural textile production and garment making, because of their strict minimums of 100 pieces per colour!

Fortunately, her mishap forced her to work on her own account and gave her the possibility to make no compromises in the brand’s quality and direction. Sara is a strong believer in true luxury, and says one reason why she has built such a loyal clientele is because “they can feel it is luxury; they understand that, yes, it is worth the money”.

All clothing bearing the Sara Schlumpf label is lined in silk (no synthetics to be found here), with the designer stressing that “design always has to make sense and be about quality”.

Sara is the perfect example of a boutique owner who has succeeded in fashion business by staying true to her vision and principles of excellence, and it has helped her build a desirable address book of loyal clients.

The recognition she receives combined with the fact her business recently turned 20 proves that there are alternatives to working for big fashion conglomerates.

Find out more: www.saraschlumpf.ch

By Marie Josephine Cartier

Zurich, Switzerland–Kinsfolk tells a story of connections: the connection between sisters, artisans and countries.

Childhood summers spent in Sri Lanka was the starting point of Kinsfolk, a jewellery and scarf brand started by Josie and Jessica Fernando. Travelling from Switzerland, the sisters spent their holidays reconnecting with their father’s roots and gained exposure to the world of Sri Lankan handicrafts.

Although neither Josie nor Jessica studied fashion, in 2012, they took the plunge and set up their company in their spare time. With their fresh and contemporary style, they quickly gained a strong customer base in Switzerland. They recently set up an office in a quiet residential side street of Zurich’s Wiedikon district which seconds as a showroom to meet with retailers and customers.

The Kinsfolk jewellery is their main focus complemented by beautiful silk batik and handwoven scarves. In Zurich, they became known for their Mirissa ring which is made of seven aligned and connected thin bands. Their attention to detail reflects their Swiss upbringing where design details like using massive silver or seamlessly interlinking rings increases the quality and timelessness of each piece.

Semi-precious stones like sapphire, onyx and quartz are used in the colourful and chunky designs. Most of their stones have a geometrical triangle or rectangle shape but some pieces feature the traditional Sri Lankan teardrop.

Their most recent collection, Palmyrah, is inspired by the art of weaving palm leaves to make baskets and mats in Sri Lanka, working with artisans to recreate this weave  with thin strips of silver. The new batik scarf collection echoes the colours and shape of palm leaves.

But Kinsfolk is not just about beautiful jewellery, their brand is a perfect example of designers working closely with artisans. Speaking with Josie, she quickly dispels the myth that working with artisans is as easy as 1,2,3 and says that having a real connection makes the difference. Indeed, as with any business or initiative building a long-standing trusting relationship requires a significant time investment.

For their first collection, Jessica spent several months in Sri Lanka working directly with goldsmith and batik artisans to perfect the collection and achieve the finish required. Josie explains that a key step was getting over cultural differences: “The difficulty can even be convincing them to try and do it.”

For example, the goldsmith could not conceive that anyone would want to make triangle shaped stones. Other challenges arised when it was impossible to re-produce a popular batik scarf as the dyer could not replicate the exact same colours. Furthermore sometimes the artisans had an entirely different concept of order deadlines.

Building a strong relationship was a learning curve for both the artisans and the designers, with both parties learning from each other and often reshaping boundaries of the possible and impossible. Josie speaks fondly of their batik master who enjoys getting involved in the creation process and giving her input to improve the design.

Ultimately, Josie and Jessica overcame any issues and in retrospect these probably seem minor because of how far the brand has come and the positive feedback received from their customers. Their family link to the island is an undeniable advantage on the ground. However it also means that working in Sri Lanka is about more than just doing business. Their hearts are just as, if not more, invested in their brand as their money.

AVERAGE PRICE: CHF 70 – 790

HOW TO BUY: http://www.kinsfo.lk/, shop@kinsfo.lk

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 ALSO IN THE EMPOWERING ARTISANS ISSUE: Period Features: Japanese Design, Indian Sari Craft, BACO Getaway: Namibia, Kinsfolk: Sri Lankan Craft, Swiss Style , OWL: Paris’ Link to African Fashion, Hirofumi Kurino: Japan’s Oracle of Fashion, Rahul Mishra on Empowering Artisan Villages