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Revolver Summer 2013 Lookbook

Posted on May 23, 2013 | 0 comments

Revolver 2013 Summer Lookbook. Shot by Carlos Chavarria. Styled by Marta Fernandez & Jonathan Hoyt. 


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The Greater Good in a Backpack: stone + cloth

Posted on May 19, 2013 | 0 comments
Matt Clough is a bag maker, an outdoors adventurer, and a humanitarian. After climbing Mt. Kilimanjaro as part of a quest to climb the highest summits on each continent, he was struck by the need to support education in Tanzania, and how a little money could go a long way there. Once back in the states he started a backpack company by the name of stone + cloth. Their bags are designed and made in California, and part of the sale of each bag goes directly to supporting the Knock Foundation, providing scholarships in education, as well as support to lunch programs, in primary schools in Tanzania. Matt was so kind to give us a fantastic interview about stone + cloth below. Read on. Better yet, come check out stone + cloth bags at Revolver and Voyager!


How long ago now was your trip to Tanzania that inspired your venture with stone + cloth? What was your initial inspiration behind travelling there to climb Mt. Kilimanjaro?

I was in design school at the time, and if I wasn't spending time in class, I was doing whatever I could to get outside and hike mountains. I had this dream of climbing the seven summits - the highest peak on every continent. My buddy presented me with the chance to take a free ride to Africa and climb Kilimanjaro, so I took it. It was my first opportunity to check one of those mountains off the list.


As seen from the mountain



What kind of physical and mental preparations do you have to make in order to undertake such a task? How long did you prepare to climb Kilimanjaro? How long was the actual climb?

Climbing Kilimanjaro involved a few months of training. The toughest part was the low levels of oxygen at the higher altitudes. The summit is above 19,000 feet. On the last night, I was experiencing hallucinations and a terrible headache and many in our group had to turn back before the summit because of the harsh conditions on the mountain. 


Matt Clough, at the summit of Mt. Kilimanjaro



How did you end up partnering with the Knock Foundation in order to insure that children in Tanzania would be provided with scholarships for education?

We are partnered with The Knock Foundation because they're well established on the ground in Tanzania, and are very dedicated to awarding scholarships to students. I met Kim, who runs the foundation, through a really good friend. The wonderful thing about working them is that I'm able to communicate with her on a regular basis.



About how many children have benefitted from scholarships as a result of stone + cloth? Have you connected directly with any of the individuals who have benefitted from scholarships?

The Knock Foundation awarded over 30 scholarships this year, and we're proud to say that after our first year of business, we contributed to that and to their lunch program at Mrupanga Primary school. Going forward, we'll continue to support Knock with their scholarship program to support those students year after year. We look at this as a 10-20 year project, and we're just getting started.



Why is it important that your backpacks are made in LA?

It boils down to two things: quality and relationships. We love being able to drive a few miles to the cut and sew shop and oversee production. It ensures our products are being made to the standard we expect, and it's really fun getting to know the people that make our products. For me, it's a really enjoyable part of the business. 

stone + cloth's Benson bag



I like in your About section on your website how you draw the connection between backpacks being used in both mountaineering and education. What considerations did you make in order to make your backpacks versatile enough to be used for both?

The design of our flagship piece, the Benson, was designed to represent the rucksack that my porter, Benson carried for me on the mountain. Taking a few simple elements from that (the rucksack flap and drawstring) seemed like a natural way to weave my journey into the product. Since we're focused on education, I took a lot of inspiration from my simple Jansport I used everyday when I was in school. The result is what is now our best-selling product. 


Matt Clough and his porter, Benson, on Kilimanjaro


Did you have a background in backpack construction before you began stone + cloth? What has your education process been as you've developed your bag company?

When I was in college, most of my time was spent at the School of Design. I couldn't really sit still in one particular area, so ended up taking a year of Landscape Architecture, a year of Fine Art, and a mess of Industrial Design, Urban Planning, and Architecture courses along the way. I've always loved making things, but when I started this project, it began with me on a really old sewing machine figuring out how to put two pieces of cloth together. 




Where is the future of stone + cloth headed? What are your goals?

Our goal is to continue to sell high quality products at good prices, build a brand that people trust, and use our business as a vehicle to help other people realize their dreams through education.



Get out and explore


What are the other highest peaks on the six remaining continents? Have you crossed any others off your list? Any plans to tackle another any time soon?

Elbrus - Europe
Acongagua - South America
Carstensz - Australia, Oceania
Denali - North America
Vinson - Antarctica
Everest - Asia

I have not crossed any of the others off the list, but get out and hike in southern california whenever possible.






What is currently inspiring you? Any future mountaineering plans?

Lately i've been really inspired by movement. I stayed on my buddies' boat for a few days two weeks ago and was in Colorado last weekend. It just seems that every time I'm moving, everything makes more sense. 






(All images here within courtesy of Matt Clough & stone + cloth- all images copyright © 2013 / All Rights Reserved)


Climbing kilimanjaro involved a few months of training. The toughest part was the low levels of oxygen at the higher altitudes. The summit is above 19,000 feet. On the last night, I was experiencing hallucinations and a terrible headache and many in our group had to turn back before the summit because of the harsh conditions on the mountain.

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A Young Dude on His Art Game Hustle- An Interview with Greg Ito

Posted on May 12, 2013 | 0 comments

Greg Ito is a force. If you are looking to meet someone more committed to his practice than most well-heeled, seasoned artists, who has his hands in more pots than most professional multitaskers, who is an Art World Jack Of All Trades and Master of All, look no further. Along with his friend and business partner, Andrew McClintock, Ito edits and produces San Francisco Art Quarterly, an international arts and culture magazine, and operates Ever Gold Gallery in the Tenderloin, as well as devoting himself to his own works of art. I was stoked to have the opportunity to interview Greg about his work and visit his incredible live-work studio space. Read on to learn more about what Greg has been up to. 


First off, how do you have the time to do it all? Do you sleep? You've got a lot going on between producing your own artwork, running Ever Gold Gallery and editing SFAQ. You must be a master doubletasker, or else really good at scheduling your time. 


Well to start, my endeavors at the Ever Gold Gallery and SFAQ are shared with my business partner and good friend, Andrew McClintock, who is also the interim director at the Walter McBean Gallery at SFAI. I do find time to sleep, which always seems to be too short, but I manage to find time to spend in the studio outside of the current extensions of my art practice (the gallery and publication). Every year opportunities come up to exhibit, which is great, but I learned to not double up, or even triple up the work load. Poor scheduling leads to catastrophe and frustration. Biting off too much to chew is a common mistake. I used to say that I would juggle all of my endeavors, but you can't do that forever, one day things can fall apart. So now I like to say that I balance all the tasks that I have obligated myself to doing, allowing everything to coexist in my schedule, to flourish and continue to grow. But there is always room for improvement, so it's still a learning experience.




It seems as though your past work lived in abstraction (and pattern) as opposed to representation. Some of your pieces reminded me of mandalas or yantras. How did you arrive in this place? Do you privilege abstraction over representation? It is something I think about a lot regarding my own work. Somehow the dogma of Capital "A" Art School and being trained to look at art has made me feel that working representationally is somehow of less value than working abstractly, yet I can not work abstractly with confidence at all. Has this always been your method of working of arranging your world?

My older works do exist as paintings. The way I would describe the work is geometric abstractions of the relationships observed between the Sun, Moon, Earth, and eternal through a lens rooted in human euphoria, the spiritual, and the distant relationship found between these monumental celestial identities and today's contemporary society. We just don't pay attention to our surrounds like the ancients did, and I found this disturbing. Again these paintings are older works, that I have chosen to discontinue, because they no longer have any resonance in my current mode of making, and the satisfaction of producing the work is no longer there. Visually I still find them beautiful and people ask me why I no longer make them, but this transition is a personal decision, for I recently regained an intimate relationship with my work through a new approach. Representational or figurative work has always been difficult for me to grasp. Acceptance of artists who do make representational/figurative work is present, but it's just not what I'm seeking as an act of creating an image or object. This is kind of funny, because currently I've been making new work which is investigating the relationship between image and object. This allowed growth in my practice to include sculptural elements and installation more effectively into the work, incorporating the readymade, distancing myself from being labeled purely as a painter. I still look at everything through the eyes of a painter, but this does not constrict my approach to making art. The same concepts that fueled my paintings are still present in my current works but the conversation has also expanded exponentially I feel, allowing more freedom in the decisions I make in the studio. The founding concepts in my work continue to be the driving force for my forward momentum into the giant realm of what art is, can be, and will become. My years at SFAI helped develop these ideas, and I am grateful to that school, which has an incredible history in San Francisco, and California in general. Amazing artists have taught there like Mark Rothko, Clyfford Still, Ansel Adams, Diego Rivera. Some of the more recent and current faculty include George Kuchar, Paul Kos, Tony Labat, Carlos Villa; the list just goes on.





In the bios and artist statements I've read regarding you and your artwork attention is drawn to your interest in our understanding of and measurements of time, the celestial, spiritual and how these ideas connect to our humanity. What is particularly fascinating about these concepts or phenomena to you? How does it relate to you personally?

The good ol' artist statement. Yes, time is important me. My time on this Earth, what I'm doing with this time in the present, the time that was spent before me in history, where we are now from the times in history, and how we move forward into the times of the future.  Spiritually moving through time, as well as culturally moving through time. Time in general is a strange subject. A moment in time that has been a very powerful influence on me is one that we experience everyday, twilight. Twilight is this ephemeral moment between day and night, the two halves to one whole, short lived yet epic. It is in these moments where I found clarity. I don't know really how to explain it, but it speaks to me, and it speaks to a lot of people. Watching the sunset is a shared experience between everyone on this Earth, now, before, and in the future. It just amazes me. I used to say, and I guess I still do, that twilight is the one moment where you can truly see time pass, with the gradients of color that effortlessly float through the sky then beyond the horizon along with the Sun and its immense presence. I think that our connection with time is one quality of being human, how we can address time, what it is, what it does for us, how we live through it, and knowing our time will end when we die. 




Who are your heroes? Who and what influences your work?

Heros would include Orion, the one constellation I would see in the night sky while growing up in LA. The stars of Orion are said to be associated with Osiris, who is the the Sun god of rebirth and the afterlife of ancient Egypt. My influences would include all the artists i have met, seen, and read about in my life. My family is really important to my career as an artist. My grandfather was a carpenter, sign painter, and cartoonist. My grandmother was a seamstress. My aunty is an animator (hand drawn) and her husband works in special effects for big blockbuster movies. My other aunty was an old school designer when everything was done by hand before computers and now manages her husband, Peter Shire's art career. He is part of the Memphis School and owns Echo Park Pottery too. His brother Billy Shire owned a gallery in LA and it was one of the first stores on Melrose that began the madness around that strip. And my dad was the one who got me into drawing and building things. He bought me a tool set when I was young for woodworking, and encouraged me to paint and draw. I still have this "How to Draw" book he had when he was a kid. And my mom is one of the most encouraging human beings I know, who was a musician, and I remember my earliest years as a kid listening to her play the piano at the house. And lastly, my younger brother, who is graduating from Pratt in Brooklyn, New York with an emphasis in Sculpture, who will be doing some big things this year. He has already been showing his work and has a residency planned with Stillhouse.






How did Ever Gold begin? What was your inspiration behind starting the gallery? What is the story behind the gallery's name?

The Ever Gold began with a group of 5 artists who graduated from SFAI, including Andrew and myself. We were all friends who opened and funded the space collectively. When we opened the space we learned it was an old shop that bought stolen jewelry and made them into gold fronts (grillz). It was called Ever Gold originally, and we kept the name. We figured that having an art gallery in that crack infested area was a slice of heaven for the block. Soon after opening the gallery some of the partners decided to go elsewhere and work on other endeavors, and then Andrew and I were the last two standing. It was at that point we realized we had to change it up somehow to keep the gallery open. We elevated our programming and did more solo shows and worked with more specific artists who we believed in. We also couldn't run the space on our own money and was on the brink of closing until the Kenneth Rainin Foundation decided to support us through a rolling grant which has been in effect through 2013 into next year. Also increasing our art sales helped immensely by doing fairs and getting our name out there. We truly appreciate the Kenneth Rainin Foundation's support, because without them the Ever Gold could have faded away long ago, but instead we are still here and exhibiting some amazing work by a range of artists based in the Bay Area, New York, and Los Angeles.




If you didn't live and make work in SF, where would you be? Do you think you'd be making similar work in that other place?

If I wasn't in SF I would be in Los Angeles. I moved to the Bay Area right after high school, and I've been here for 8 years now. Going back home seems to make the most sense. The only things keeping me here is Ever Gold Gallery, SFAQ, and my amazing live-work space that I built out 3 years ago. It's a 2000 square foot warehouse I live in with my cat, Luna. I have a woodshop with a gallery-eque space in it where I shoot installations and the work I make, an office area for computer work, and a clean wall for paintings and drawings I work on. I also have an art storage area with flat files, loft, and a materials section where I keep a lot of objects and stuff I use in arrangements. Then in the back is a kitchen, half bath, and my bedroom with a walk in closet and I put a claw foot bathtub across the room from my bed. Pretty crazy space, and when I first moved in it was completely empty with the exception of a toilet. If I were to move to LA, I'm sure the work will change because of the cultural landscape there and the activities I will find myself doing in my spare time, like going to the beach or the hills of LA. Also the ability to access fabricators and materials is mush easier, and the cost of living is so much cheaper. I'm trying to make it down there more often, which is great, and the past few trips has sparked some ideas for future exhibitions. In the end it's all Cali living, so as long as I'm on the West coast I'll be happy.


Greg Ito and Luna in his studio home


What is inspiring you at this moment?

Right now, it's work work work. I've been able to get into a pretty productive groove in the studio and with my other artistic endeavors here. I've been meeting a lot of people and scheduling more studio visits with artists to see their work and share mine. Also getting a lot of feedback from art consultants and collectors has been great for me just to get another perspective on the work. But as usual, sunsets, moon gazing, and staring at the sun are daily activities. I have been visiting the mall a lot to look at displays and window shop which gives me a lot of ideas for my installations and arrangements. I go to IKEA, Home Depot, and Lowes too for materials and find myself just staring at people shopping. It is so fascinating to me to watch the consumer in their natural habitat. I'm a consumer, too, but I think I have a different way of looking at things, but all artists do. We get weird.





What does the future hold for you, as an artist, curator and editor? You are young to have done so much professionally in the Art world. Where do you go from here?

The future is so full of unexpected experiences I guess. I don't really know what will come out of it. I have been nominated and become a finalist for some awards here in the Bay Area but never got it in the end. No worries, next time I guess. I did a couple residencies and I'm just open to new opportunities. I'll just keep making work, and contribute to the art community through the exhibitions at Ever Gold and editorial through SFAQ. I'll just keep trekking and see what's going to happen as it comes. Fuck it, the world is just a crazy place and I'm living in it so I'll just keep my options open. More art and more art. Hopefully traveling, too, sometime when I find a window of free time.



(All images here within courtesy of Greg Ito - all images copyright © 2013 / All Rights Reserved)

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ALITE Pop Up @ Voyager

Posted on March 11, 2013 | 0 comments


Alite Designs is excited to announce a new pop up shop at Voyager on Valencia Street! Entitled "Play Hooky with Alite Designs," this pop up would like to remind you that every now and then, a fake cough and forged doctor's note is necessary when it comes to L-I-V-I-N. Alite Designs will curate a special selection of outdoor bags, furniture, and accessories that are crucial when taking a few self-prescribed "sick" days.

Alite will also launch a brand new Made in California line that includes a versatile, leather and canvas "Bike to the Beach" Bag and leather water bottle holder! Both of them were produced right here in SF!

COME TO OUR OPENING PARTY at Voyager on Thursday, March 14th from 6:00-9:00pm! We'll have free beer provided by ASAHI and Lynchburg Lemonade on tap, corn hole games going down outside, sunny tunes on the PA, and the Alite crew peer pressuring you to take a few slags from our "To Hell With Work" flasks before passing out in our new Mayfly outdoor chairs. I mean, it is Thursday and all...

The Alite "Play Hooky" pop up shop will be at Voyager from March 14th to May 12th.

Play Hooky with Alite Designs
Pop Up Shop Opening Party at Voyager
365 Valencia Street
Thursday, March 14th
6-9pm

...Bueller ...Bueller ...Bueller ...Bueller ...Bueller

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Aoko Su: Symmetry and Muted Ornamentation, Chaos and Order, Transcending Place and Time

Posted on January 25, 2013 | 0 comments
We are so stoked to be carrying a new line of jewelry, Aoko Su, at both Revolver and Voyager. Drawing upon both architecture and the natural world as reference and inspiration, Aoko Su jewelry is elegant and minimal, but strong and beautiful in impact.  Recently I had the chance to interview Aoko Su designer Ashley Jerman about her career, travels, and inspiration. Here is what she had to say.



Did you always know you wanted to make jewelry? What started your career in jewelry design? Who, what, where were your initial inspirations?

I haven't always known that I wanted to make jewelry, but I have always known that I wanted to be a designer. The first time I ever remember feeling inspired and compelled to make jewelry was when I was 16 or 17. I was in Manhattan when I walked by some gallery in Chelsea with bright feather earrings in the window. This was the first jewelry that I remember seeing that struck me as unconventional and I thought it was the best. I loved the idea of wearing something that had once been living as accessory and I started making earrings out of flowers that I had picked. During and after college I always had a job or two. I consistently felt underutilized at jobs that I worked at and that my way of thinking was alien. Two years ago I decided I had had enough. I knew that I wanted to work for myself, assessed what I'm good at, and here I am.



What has been your trajectory? Are you classically trained or self taught? What is your advice for aspiring and up and coming jewelry designers?

I started taking jewelry making more seriously when I was 22 living in Montana. My friend and boss at the time, Jodi, showed me a couple of very simple techniques that made making professional looking jewelry seem accessible to me. After that point, I began consistently designing jewelry that was too complicated for my skill set and then figured out how to make it. My advice : the only thing that you can't do is what you think you can't do. That's it. I never let the constraints of my abilities affect what I want to make.




Reading your bio, it appears that you've lived in a diverse many places; Montana, New York, Seattle, now Richmond, Virginia. How have all of these places influenced you? Or is the act of being a nomad the main influence in your life and work?

I am inspired by manmade symmetry in urban areas and by the diversity of people that exist within them. Sometimes I will barely catch a glimpse of a woman that I walk by and see her hair pulled up a certain way and in a split second I will envision an earring on her empty ear. Then I'll go to the studio and make it. In contrast, I'm also influenced by the apparent chaos in the natural world and the order that lies beneath it. There is a sense of worldly-ness that is important to me to embed in my work; I think that is partially a product of traveling. I want my work to transcend place and time.





Your jewelry design has been compared to architecture (natural and manmade) in review. Is architecture an inspiration for you? How does architecture impact your life?

Yes. I am most inspired by Art Deco architecture right now. It represents the machine age. The symmetry and muted ornamentation - by our standards today - are almost too perfect of a balance.


I read in an interview that you mine your own rocks and cut your own stone! Amazing!! How did this interest and skill set come about? Why is it important to you that this be part of your process?


It all started out of necessity. I made a necklace out of a piece of fluorite from my mineral collection and started to get a demand for more. I couldn't find fluorite cut like this ANYwhere and miraculously found a lapidary machine over the summer in Montana. My soon-to-be husband is a glassblower and an expert with cold-working techniques that can be used on both glass and mineral specimens to grind, form, and polish. Together, we found beautiful rough fluorite specimens, among other gems, cut them into slabs and then hand-shaped and faceted each piece. As far as mining goes, I have an ever growing love and amazement for rough mineral specimens found within the earth and the time they took to grow. To find a pristine, double terminated Herkimer diamond within the dolomite rock of the Mohawk River Valley is something of a miracle to me. 


What is the future of Aoku Su? Where do you want to see yourself, and your jewelry, going?

I want to establish AOKO SU as a name in the fashion industry. My next project is creating a line that bridges between garment and accessory.


What are your current inspirations?


People and the myriad of styles that they wear on the street. I see potential for ornamentation when I see a striking woman.

Color exploration. I am becoming more enamored with colored stone every day. I love the brilliant hues of Pakastani tourmaline, and Mexican amethyst.


My blog is a direct reflection of images that inspire me.




(All images here within courtesy of Ashley Jerman/Aoko Su- all images copyright © 2013 / All Rights Reserved)


  


I haven't always known that I wanted to make jewelry, but I have always known that I wanted to be a designer. The first time I ever remember feeling inspired and compelled to make jewelry was when I was 16 or 17. I was in Manhattan when I walked by some gallery in Chelsea with bright feather earrings in the window. This was the first jewelry that I remember seeing that struck me as unconventional and I thought it was the best. I loved the idea of wearing something that had once been living as accessory and I started making earrings out of flowers that I had picked. During and after college I always had a job or two. I consistently felt underutilized at jobs that I worked at and that my way of thinking was alien. Two years ago I decided I had had enough. I knew that I wanted to work for myself, assessed what I'm good at, and here I am. 

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Farm Tactics Pop Up @ Voyager

Posted on January 10, 2013 | 0 comments

  
Farm Tactics - Shop in Shop at Voyager through January.

Farm Tactics is a California-based company dedicated to designing and producing high quality, American-made clothing, featuring beautiful fabrics that are milled in California, Canada and Japan.

Inspired by folk-based storytelling, Farm Tactics creates garments that tell simple narratives using textiles and colors.

Perfect wares for Spring Psychedelica 

Opening party January 11th - 6pm to 9pm @ Voyager - 365 Valencia!

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Can you diverge? Flex yo'self in 2013!

Posted on January 08, 2013 | 0 comments

This particular video pertains to radicalizing education, but it addresses a larger societal issue. Our culture is one that has favored Conformity, at the expense of Creativity, in the name of Industrialization (read: Capitalism.)

We ask you, dear readers, in what ways can you nurture Divergent Thinking, the essential capacity for Creativity, "the ability to see lots of possible answers to a question, lots of possible ways of interpreting a question, to think laterally, not just in linear, or convergent ways, to see multiple answers, not one" in your lives? 

At Revolver and Voyager we hope to continue to explore new ways of asking questions, new ways of resolving problems, and creative new forms of expression. Let's resolve to remain flexible in 2013. Limber up in spirit, mind and body! But first, maybe we start with some desk-side yoga?


Now, if only this involved taking Shavasana straight across your desk at the end! NAMASTE!!!

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Chamula - Holiday Knit Pieces

Posted on December 03, 2012 | 0 comments

 

Chamula is sub brand of Yuketen. Native American and Mexican inspired designs. Beautiful folk pieces that are modern and soft.
Chamula products are very warm and soft because they are made of Merino wool which comes from sheep grazing in the Mexican Mountains. Don’t confuse your grandpa’s itchy old sweater with Chamula! Chamula sweaters and knit caps feel great on your skin. Chamula products are made in exclusive small batch quantities. Mexican natives hand-knit each Chamula product one by one for a truly hand-made feeling. All production processes are done by hand such as spinning the merino yarn on small hand-built looms and hand-dyeing the rich colors so each product is one of a kind and very original. The indigenous design patterns appeal to both lovers of vintage styles as well as trendy shoppers. These rare qualities make Chamula the ideal garment for the winter! 

Shop Chamula!


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First Rite Video Lookbook!

Posted on November 14, 2012 | 0 comments

We love First Rite!

First Rite just shared with us their video look book for fall 2012. Amazing items. In store now. Online soon. Going fast!

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Block Party!

Posted on November 06, 2012 | 0 comments

 

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