The Art of Brand Storytelling With Cinematographer & Shopkeeper Toby Strong

In a small Devon shop, centuries-old Tibetan fabric, brass jewellery from Nairobi, and ceremonial Maasai beaded necklaces sit beside locally thrown pottery and whittled wooden spoons. Each object tells a story - of hands that shaped it, of traditions passed down, of connections made.

But perhaps the most remarkable story belongs to the shop’s owner…

Toby Strong on the right (it’s not often you ask for a profile picture and get sent one with David Attenborough!)

Toby Strong is a multi-Emmy and BAFTA-winning wildlife cameraman whose work has taken him to some of the most remote corners of the world for documentaries like Planet Earth. When I worked at the BBC, I was in awe of the Natural History teams. They had a kind of wildness about them - out of place in the corporate corridors and meeting rooms, with their deep tans, athletic builds, and tales of epic encounters with polar bears, whales, and elephants. They were master storytellers. And Toby is one of the best.

He’s also a shopkeeper, a dream he has held onto since childhood;

“From when I was maybe in my teens, there was a sketch of this shop I wanted to create - craft and art from around the world. It’s always been there.”

Some brand stories go beyond just beautiful products. They create an emotional connection, a sense of belonging, a feeling that something real and deeply personal has been woven into the business. Craftmongers, in Ashburton; on the edge of Dartmoor, and within distant sight of the sea, is one of those magical places — where story and people are at the heart of everything they do, create, and sell.

It was such a pleasure to interview Toby about his journey, his work, and the ethos behind Craftmongers. What made it even more special was that our conversation took place through voice notes sent from his filming location in Africa, transporting me from my desk in Wales in winter.

It’s a long read, but I promise it’s worth your time.

Q: Craftmongers shares a beautiful narrative of a slower, more sustainable way of life, of the changing seasons and the beauty in the handmade. Can you share the story of the shop and how and why you started it?

I grew up in Dorset in the countryside. My father was a carpenter, my grandmother and grandfather were gardeners, so nature, making and craft, and working with your hands have been an innate part of my life. I always saw beauty and wonder in the natural world, so I wanted to follow that. Initially, I led expeditions, and then I was introduced to a camera, and I realised that through that, I could reach so many more people and tell the wonderful stories of the world, but also highlight the wrongs and the injustices. So that started my career as a wildlife conservation documentary cinematographer.

As I travelled, I'd work with a lot of indigenous peoples around the world, and I would always be drawn to the craftspeople, the makers. I brought back so many things. I was clearing out a drawer the other day, and it had things from when I was maybe in my teens, and there was a sketch of this shop I wanted to do, of craft and art from around the world even then, and so it's always been there.

Filming can feel quite ethereal. I wanted something tangible and real. I've never had the opportunity because of always moving and then I got the chance in Ashburton of a space where I could live upstairs with my son, with a shop downstairs. That's how we started it with a few things I’d brought back, some rugs and some jewellery and bits and pieces collected over the years that, one day, if I have my shop, I could use.

We grew from there, and now we support dozens and dozens of local makers, but also still those from around the world. I was filming hyenas in the Maasai Mara, and as I came out through Nairobi, I stopped at a little market and met this lovely lady. She makes brass jewellery, and we've always supported her and a mother and daughter in Turkey with their linens. There's a cooperative of Maasai women we buy beaded, beautiful necklaces and jewellery from and I love that we have both local and international. We have never wanted it to feel like a space where you move from one maker to the next, and they're isolated, almost like in a museum or gallery.

You'll pick up a piece of clothing that we've made and designed in the shop, and it'll be sitting on a piece of fabric that's 300 years old from Tibet. And then next to it is some chocolates that are made just up the road from us, two or three doors up, and some dried flowers that were grown in somebody's garden, and the thing weaving through them is the texture, the colors. I love that we can do that, and you don't know if what you're picking up has something antique from faraway lands or something made yesterday. We all love that, and with regard to the question of a slower way of living,

We've lived a very similar way for 70,000 years, and our hands always worked. So in the evenings, in the winters, we would sit, and we would tell stories and mend and make. That's still in our DNA, and I feel evermore so in how our world is that we need it.

We desperately need to slow down, and we need to make. We need to be creative. We need our hands to be doing. Everything is so fast and everything revolves around money, and this striving and grasping for money that we need, but it shouldn't be the be all and end all.

So the unwritten code and rule of the shop was that we wanted people to come in and just, (exhales). We were always changing and evolving and moving things around, but we had all the books upstairs at one point, and we had a lovely old armchair in there, and we wanted people just to sit and read. I remember someone saying, but I might not be able to buy a book. It doesn't matter. Just sit all day and read a book, have a coffee, just stop. And the conversations that people have, they chat and meet, it's so vital. So, for us, it was about building community.

We decided to create our own, not to create something new, although it is new, but to champion those things that we value so highly, integrity, gentleness, empathy, kindness, creativity, love, compassion, and to weave those into the very fabric of the building.

People have responded so beautifully to it; the gifts of the conversations and the interactions we've had with people have filled our hearts a thousand times over.

Q: Why is it important to you to share the story of the items you stock, the makers, materials and processes? Do you think it matters to your customers, and how do they respond?

I think it's vital. I think now the vast majority of things are bought at the click of a button and arrive end of the day or the next day, and they come out of the same brown packet.

As I sit now talking to you, I have a cup I'm drinking coffee from made by Cliff, who lives five minutes away. And the coffee I'm drinking, I know where it's come from. And the plate in front of me is really old. I bought it from a little brocante in France.

The table this phone is on that I'm talking to you on, I made it, and it makes the everyday magical, the knife you cut with, the plate you eat, from the jumper you wear. It has a lineage and it has a story. We crave it. We want that more than ever now.

And how do people respond? People adore it, and they'll come in and go, what's this? who made it, and where are they from?

Each of us has our own compasses with regard to the shop, but one of us, at different times or another, will hold the others to account as well. We know we cannot stock that, we cannot buy this. Craftmongers isn't just about us who run it. It's about the community, and the community has defined what Mongers has become. It is all part of the same thing. It's not just a shop, it's a community.

I am blessed in that I get to travel the world and make wonderful films and work with extraordinary people and animals and in the most extraordinary places, the wild edges of this planet, but me doing that means I am not back working in the shop. Running the shop would be utterly impossible without everyone in it, and Jody and Lauren, who manage it, are extraordinary. My part is small now; I do what I can when I can, and often that’s putting up a shelf or painting a wall, but it’s them and everyone else who works in Craftmongers. That is why it is magical. It is a cooperative of extraordinary talents.

Q: Natural elements invariably feature in many of the products you stock as well as in the styling of the store itself; how do you use nature and the seasons in your brand storytelling?

A: Last Christmas, we put some beautiful birch that the National Park had cut down and thinned out the forests. We brought them down and put them in the window. I want to shout out to Judy, who's been a sort of horticulturalist in that, and we've had gone from winter with the sparsity of the birch and Christmas decorations, and then spring with primroses growing through moss and then strawberries. We want the outside to be inside. What we don't want is to people to walk into a shop and for it to be a year round, identical thing as you walk into a supermarket and can buy your avocados or your blackberries year round. We want to bring nature in, so you'll walk in and there may be autumnal leaves scattered on the floor. You can pick strawberries in the window, the first strawberries, and we want children to be impassioned by that. We sit inside and watch as they go to school. We want people to come back, not just to that way of life, but it's about reattaching us, inserting us back into nature, back into ecology. We are all animals. We are not separated from the natural world. We have to be reminded of that. So yes, come in and be reminded that it's spring and summer and autumn, and the amount of people who'll come in and go, oh, that reminds me. I must go blackberry picking, or I must go and find wild garlic and make pesto.

It's all about weaving magic and storytelling. We weave the stories on many levels. The greatest gift of Craftmongers is the people who work there. They’re all artists, they're all makers. They all step lightly on this earth through the natural world, and they bring that in, and they will weave it in their song and their words and how they interact with everyone. And it really does feel like magic.

The shop is imbued with the magic that is grown and added to by each Craftmonger, who joins and it's a very special thing.

Q: You’re a master storyteller capturing breathtaking footage of the natural world, including for the BBC programmes Planet Earth and Blue Planet. Those series are known for taking, often complex, scientific research or a particular act of nature or animal behaviour and communicating that through a story that audiences can understand and connect to emotionally. How do you approach creating stories, and what are the key elements of telling a story well? 

A: It's really interesting. If you look at what Craftmongers put out to the world on social media, there are very few videos. There are very few films, and I've deliberately and maybe subconsciously not done that. It feels like Craftmongers has its own life and a different way of telling stories. Everyone in the shop is really good at photography, and everyone is a storyteller, whether it's signwriting, oil paintings, watercolours, photography, or writing; the talents we have amongst everyone who works there are extraordinary.  Storytelling does not just have to be film. Storytelling is audio, it can be dance, song, it can be how a product is displayed.

Everything does come back to storytelling, and we crave storytelling. Storytelling has been stripped from us, and we must regain it. It's what all of our ancestors going back did, we fell asleep to stories as children and entertained our children in those long nights and summer evenings by fires and we see it as utterly vital to tell stories.

Q: How do you think storytelling can be used in business, and what do you think makes a great brand story?

A: Look at great brands. It's always storytelling. Look at Guinness. They have their lineage of the story and then each of their commercials that come out are the most exquisite stories told visually and narratively. They are absolute masterpieces.

The great brands all have stories. I think stories are told on many levels, and you build your brand as you tell your story and your story evolves. You need to know who you are, where you're going, and why and who you're telling your story to.

It's vitally important, I believe.

Q: What’s the next chapter for Craftmongers?

A: We are in a difficult period with the cost of living crisis and the economy as it is everyone is struggling. At the end of 2023, we were doing wonderfully, and we decided to try and expand, so we moved into probably the most wonderful spot in Ashburton. We moved all of the retail things down there, and in our old building, we had a bookshop at the bottom, a little cafe at the back, and we’d be making our clothes that we were designing upstairs and a space for workshops, and at the back was going to be a ceramic studio that we rented out to artists. It was very exciting.

Sadly, footfall, economy and planning for the building did not go our way, and we struggled. What we’ve had to do is to withdraw, as in the winter, sort of when you lose feeling first in your fingers and your toes; we need to withdraw to our core. So we’ve closed one building, and we’re keeping the core business of the crafts and the arts with some of our clothes and some books back to one property.

We’re going to ride out the current economic unknown, and then we will grow again.

As light follows dark and spring follows winter.

We have many ideas and really exciting things that aren’t just about support and buying and selling from artists and makers. We want everyone to make, and from my travels around the world, I want to support crafts and arts that are vanishing, not just here in Devon or England or Europe, but all around the world, everywhere I see it, the masters are vanishing, and these skills are going so we want to be able to support cooperatives in learning and supporting and making traditional skills and crafts around the world that we can then bring back and help support.

The greatest story ever told on crafts and art still needs to be told, and we want to be part of that narrative.

Thank you to Toby and the wonderful Craftmongers. Like all good love stories, it’s a story full of heart and hope.

You can visit their website here, follow them on Instagram, and the shop is at 4 East Street, Ashburton, Devon, TQ13 7AA

Toby also has a beautiful series of audio stories from his travels and adventures which I love listening to with my daughter https://podcasts.apple.com/gb/podcast/through-a-wild-lens/id1503466490

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The Art of Visual Brand Storytelling With Photographer Ellen Christina Hancock

Shot by Ellen Christina Hancock for Atelier Ellis

“I like the in-between moments because they make us human. How we move in a space, our rituals, our physical dialogue of movement. How you take your tea, your favourite seat with your imprints of calm moments left behind. It says a lot about us, and I am always curious to observe it.”

In this blog post, I want to introduce you to one of my favourite visual storytellers, photographer Ellen Christina Hancock. If you’re familiar with the brand Atelier Ellis (featured in this previous blog post) you’ve likely already seen Ellen’s distinctive work. 

Her images, characterised by their striking simplicity and stillness, capture the feeling and atmosphere of a space and moment, evoking an emotional connection.

Ellen talks to us about the art of visual brand storytelling, how she developed her creative style by noticing the beauty in the ordinary, and how she approaches capturing each still or moving image to portray the heart of a brand story.

Q: Can you share your story, how you became a photographer and how you developed your style?

Like lots of people, it wasn’t a linear trajectory. I remember very early on having a discomfort, a yearning to be able to articulate things, the world around me, other people, myself. I was always creative and always exploring but couldn’t find any coherence and was often left very frustrated. 

My mum was a photographer. She would endlessly photograph me and my siblings and document her experiments in bursting notebooks. I spent a lot of time watching her in her tiny makeshift darkroom and what I remember most is experiencing the moments of clarity she had, when everything aligned and she created a moment of purity. I longed for the same thing.

For the longest time I just wasn't sure what career I wanted. In the end, purely for the love of it, I decided to study Fine Art and History of Art at Leeds University. During this time I always used photography as a means to explore my work and document things but mostly I worked with sculpture and interactive design. I studied abroad as part of the Erasmus scheme in Istanbul where I also specialised in sculpture but this time in more traditional forms; metal, stone and clay. I spent a lot of time there photographing and taking videos particularly of my daily crossing between Kadıköy (the Asian side) where I lived and Eminönü (the European side) where I studied and the birds that would ceaselessly follow the boats. But during this time and my degree, although I did it a lot, I never considered photography as a path, it was a means to an end, a way to document. It simply didn’t cross my mind to take it further. 

Portrait of Ellen Christina Hancock

At university I would often gravitate to roles that assisted or engaged with other artisans. I was much more interested in organising our degree show and the work others were producing than my own. When I left university this continued. I worked for an architecture magazine and directly for architects doing marketing roles, content creating, editorial - enhancing the work of others. I felt ultimately that this was my place. That I wanted to be in the creative world but I wouldn’t be a creative myself.

While at the architecture magazine I started to do a piece documenting architecture studios, a sort of ‘Day in the life of…’. To save money and time and to give it a more relatable feel, I did the photography. This piece became a regular feature and I started to do more and more photography. There was not a lightbulb moment just a slow realisation that actually I really enjoyed this. I started to carry a camera around with me more, take one on holiday and for several years this went on. 

I then went part time while working at an architecture practice and tried to get some professional photography work. This was a long and laborious slog! I took every job I could get, in every field, of every type. I finally started to get some traction and lockdown hit. 

To cut a long story short, lockdown is when I found my style. I had to move back in with my parents, had no work and like all of us was struggling with the enormity and devastation of what was going on around me. It was a year and a half before I could afford to move out again and return to London but in that time, having reached a version of rock bottom, I photographed and studied every day, relentlessly. I was very lucky to have my parents and their support so I took the opportunity to learn as much as I could. Walking the same route everyday, observing the same four walls, the same people within them, I observed all the small changes. The light throughout the day, flutters of transition as the seasons began to change and tried to find purpose in these moments rather than relying on interesting buildings or overt beauty in front of me. 

Towards the end of this time and as lockdown was lifting, we visited The Weald and Downland Museum nearby. As we were walking in the gardens I noticed some berries starting to ripen and some dappled light calling them to my attention. This was one of the first moments I played with underexposing and overriding the camera’s meter reading. This was a pinnacle moment, probably the only one I can recall in my life, this was my way of seeing and my way of communicating it. A moment of hope in the darkness, a longing acknowledged. 

Eltham Palace shot by Ellen Christina Hancock

Q: You describe approaching your work with curiosity and a desire to encourage natural and authentic imagery that tells a story - can you expand on what you mean by that and why you always want to tell a story?

I think really it comes down to connection. I have such a strong desire to be heard and understood - to connect - truly and deeply with someone and so I would like to allow that space for others. It is fascinating to me that I can turn up to a complete strangers house/studio/place of work, they allow me into their safe space and within a couple of hours we have shared something really special and hopefully had a moment of genuine connection. I try to honour the trust they have given me, whether in shooting their work or themselves and to show it as earnestly and truthfully as I can. It is that connection between us that I want to show, not my interpretation. I do not want to come in, take over, share a curated version or just my version of events. It is the shared experience we have had - how they have told their story and how I have heard and received it. 

Alexander Griffin shot by Ellen Christina Hancock for Inigo

Q: You capture light and dark so well. How do you use the qualities of both to enhance the storytelling in your work? 

I think it is an understanding that there are wonderful things in both. There is great depth to be found in the dark and hope in the light but the two can only exist and are at their best in the presence of each other.  I want things to be seen and admired as they are. 

It is, of course, inextricably tied to me as a person too. I am not an overtly and consistently joyful, upbeat person - I am glass half empty to be sure. But I am thoughtful, kind, reflective and considered and try to be accepting of my nature and its complexities - there is good in it all and I want to show and see value in showing these variations. 

Shot by Ellen Christina Hancock for Atelier Ellis

Q: You seem to work closely with a small number of clients. I especially love the images you create for the paint company Atelier Ellis. There’s so much atmosphere, the sense of peace and the feeling of home - how do you work together to create such beautifully rich storytelling and does it help creatively to have a long-term relationship?

There is a lot of preparation beforehand that allows for spontaneity and creativity on the day. I will ask for details of the project, what the aims are, particular shots, any inspiration and also images or things that are not right. I find a lot of the people I work with find inspiration in a variety of places like I do so there may be a visit to a gallery, a novel of importance, a film to watch but there is a lot of gathering of inspiration. 

We then try to create a bit of structure to the day depending on the light, priority images and peoples’ availability. Some formality to create foundations but as I say then on the day we try to keep it as free as possible. We try things and if they do not feel right we will not continue on with them, we will explore something new if it presents itself and we always have our notes and brief to refer back to and check in regularly. 

I am particularly lucky with Cassandra from Atelier Ellis, she lives and breathes what she preaches and is an inspiration to work with, as is her team. Our long-term relationship is now a friendship and a shared love of art, literature, fashion, food, ceramics, an appreciation for kindness, all of which informs what we do.  Nowadays we have a visual language together and can work very seamlessly. What really elevates this from both sides is trust - I fully trust and am invested in her vision and she trusts in the way I translate it. 

I think the key with a long-term relationship, and this is something Cassandra and I strive for, is to continue to grow. We are always questioning what worked well, what didn’t, thinking how, can do that better, striving for more.

Shot by Ellen Christina Hancock for Atelier Ellis

Q: The short film clips have your distinctive artful look, but the subtle movements you capture always have a sense of life, a hint of a person in the room, it’s as if they’ve just popped out…the whiskey settling in a decanter, the rising smoke from a candle, a linen curtain gently moving in the breeze. How have you translated the storytelling of your stills photography into moving images? 

On a practical level - I started video because I felt if I wanted my business to last, I had to. However, I took the approach that if I started on my own terms I would be able to do it in a thoughtful way and with the emphasis on enhancing my work.

I observed that when I was shooting there were moments where natural movement occurred that would suit the format. We might have the window open to shoot because it is warm and a breeze comes through and brings it alive for video. Or we are having a coffee break and the setting catches my eye and looks appealing. I do not however force the movement. The photography comes first, the frame is set and then the movement extends on from there, this way the two can sit comfortably along side each other and elevate one another. 

On another practical note, shooting video is very different to photography, you are almost trying to shut out the light rather than let it in. There are stages with video though that mean I can break my learning into manageable chunks and progress technically in quite a methodical way. Cine stills are a useful and obvious way to start, then you can introduce more movement, come off the tripod and then start thinking about sound which is a whole other kettle of fish.

It’s always helpful to be learning and thinking about new ways of seeing. This learning then engages my photography and new challenges and parameters push me to keep thinking of other ways to tell stories. 

 Images above show details of Nancy Nicholson, weaver and textile artist photographed by Ellen Christina Hancock

Q: How do you capture people in your images - you seem to always be able to show so much character? And then in your moving stills - I’m thinking of the ones you created for Berdoulat - but in others too, people are often only slightly in the frame, in the distance or walking away. Why do you choose to capture it that way and how does it add to the story you want to tell?

Ultimately, I want to enjoy my days. I have taken a huge risk working for myself and one of my main intentions in doing so is to have more control over my life and to enjoy my time as much as possible.

I want to meet new and interesting people and hear about their lives. I think it is about prioritising the person not the shot. I take the time to talk to them, to find out about what they are doing, how their day was. I hope what is coming across in the imagery is our connection, me being genuinely interested in their character and who they are and giving them space to be that person. With this approach I find the best shots follow. 

I like these in between moments because they make us human. How we move in a space, our rituals, our physical dialogue of movement. How you take your tea, your favourite seat with your imprints of calm moments left behind. It says a lots about us and I am alway curious to observe it. I think we often say more about ourselves in those moments and people are more relaxed and comfortable being observed in this way. 

Part of it is also about not wanting to invade peoples’ space or force them into being front and centre if they do not want to. As a female photographer, it is hard for me to photograph certain situations - I am not necessarily safe doing street photography for example and in the past have put myself in situations I shouldn’t have. I already have one eye on my surroundings to make sure I am not in danger, I cannot always risk averting my gaze further for the sake of a beautiful shot. Equally as a woman I feel I am often watched and observed when I don’t want to be. I try always to think how would I feel if I had a camera shoved in my face on the street, or was forced to perform in a certain way. If it is uncomfortable, unsafe, or uneasy for someone I will not ask them to do it. It is not a common view but the shot is not always worth it and I would rather respect people. If I observe people in a beautiful composition, I can appreciate and take on the moment in person, enjoy it as a nice composition then walk away knowing it will have informed and inspired in some way.

Planque restaurant shot by Ellen Christina Hancock for The Modern House

Q: Your work really stands out. Its crafted simplicity is visually striking and bold amongst the noise and busyness of so much online content. Do you think there’s a power in being quieter and slower?

That is a very nice thought and I hope so but I also think I am unable to be otherwise, to be loud! 

With social media I really am just not able to show up other than how I already do. I try to craft longer captions, to say more on stories and it just feels forced, therefore I would rather not do it. I would rather save my energy to engage with people in person, on shoots and then let the photography talk for me.

But the people I really engage with online are those who produce at a slower pace, a quality over quantity approach. I look out for their content, I save it and refer back to it regularly and I think that is powerful. It becomes knowledge that informs me rather than a fleeting interest. 

Q: How do you work creatively with your clients to ensure you’re capturing an image that always works for them commercially?

I think this is again about understanding your role in the process, not being too dominant with your own vision as a photographer and knowing the importance of the function of the image. There will be times when the primary focus of the image is to create an atmosphere and a feeling and these can be more loose but when an image has a commercial function, whatever is being sold must be the most important thing and be made to look its best. Beauty is still very important but is not the primary function and that must be remembered. If everything is well prepared and carefully considered then the imagery will be consistent and multifunctional. 

I find for a more commercial image, often it is key to pare things back, especially props, and play a bit more with the light. I am always thinking about whether something is distracting me, is my eye being pulled away to something else. If it is and it is not to the thing you are selling then you need to rethink. Everything must be focused on enhancing the subject. 

Planque restaurant shot by Ellen Christina Hancock for The Modern House

Q: What other brand(s) have visual storytelling that you particularly love?

I am particularly invested in brands that keep me looking at their content and products. I may not be able to afford their product yet, or I haven’t visited the city they are in but they stay ever present in my mind as an aspiration and thing that I can envisage adding joy to my life. Most of the time this is because they are showing the time, effort and skill that goes into their product.

I love seeing how things are made, the materials used, where they found the materials, the techniques they use - I am ever curious and brands that show this kind of content will always have my interest. 

Runaway Bicycle is a constant source of inspiration for me. It is all about the handmade. It is about them as people and the community that supports them. 

I think restaurants are doing really well at promoting themselves at the moment. Albers is a new restaurant in London and they share really joyful humorous posts that really appeal - I adore this video. I haven’t eaten there yet but am desperate to try. Bistro Freddie also share very relaxed videos on how they make their dishes - they are consistent and very alluring! 

I always love to see work by Studio Lineatur. Again, they share their process a lot, mood boards, construction site images. We see the team a lot, just doing their thing and they put a lot of time and energy into creating really beautiful imagery but of the whole process not just finished product. I would love to be their friends which I always think is a good sign!

Q: What’s the next chapter for you?

My main goal is always to keep learning - I still feel at the very beginning of things. With video I have much more to learn practically and with photography I feel there is still so much more to explore, especially with portraiture. 

I would also like to develop a few more personal projects. I am working on one at the moment exploring wool - its journey from sheep to loom, in collaboration with Nancy Nicholson and I would like very much to do more things like this. 

Lastly I am always seeking a way that my work can offer some good back into the world. I think perhaps this is taking on a more documentary journalistic stance and this is something I would like to explore within both photography and film. 

Thank you to Ellen for her beautiful answers and sharing her insights on visual brand storytelling - we have been left feeling very inspired. You can find Ellen’s latest work on her website and follow along with her story on Instagram.

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Want to discover more brilliant brands? The stories continue on Instagram @simplemattersmedia and sign up for our monthly newsletter ‘StoryWorks’

The Art of Brand Storytelling with WAX Atelier

“We imagine stories before we do anything.

The story is definitely the beginning, and it runs all the way through.”

Image shot by Aloha Bonser-Shaw, all images courtesy of WAX Atelier

Wax Works: A Story Of Light And Delight.

In this enlightening conversation, we talk to WAX Atelier co-founder Lola Lely about discovering the warm and fragrant world of wax, the importance of fostering connections and collaboration, and why everything begins with imagining the story.

WAX Atelier is a London-based studio created in 2017 by Lola and Yesenia Thibault-Picazo. Using natural materials and traditional techniques, they make hand-dipped candles and a seasonal collection of distinctive wax-based objects and textiles.

Their goods are stocked worldwide. They’ve collaborated with Toast, Liberty, and Burberry and created a wax sculpture for the Royal Academy of Arts.

Read on to discover the creative joy of exploring one material, the challenges of scaling an intentionally slow business and the importance of nurturing young talent through ancient craft.

Q: I’m curious why you are so fascinated and obsessed with wax. What is it about the material and why did you choose it as the one you wanted to work with?

A: WAX Atelier was founded in 2017 by Yusenia and me. We both come from a design and craft background. Craft wasn't what we studied, but this is where we found our interest and curiosity because we both explore ideas through materiality and making. 

Craft led us into the world of all these fascinating traditions and materials that have been around forever. How we came to wax was through our teaching roles. We both taught at Central Saint Martins on a course called ‘Material Futures’. One of the briefs to the students was to choose a material and really go into depth, to understand everything about it from its cultural history to its future potential. 

The outcome was so interesting that we became fascinated with that approach. We’ve never given ourselves that kind of task and that sort of focus to look at a material and really understand its breadth and what its future possibility could be.

So we both discussed what material we could look at, which had been overlooked, perhaps, or something that was almost in front of us that we hadn't really thought about very much. We came to the conclusion that wax featured in both our works, many times on different projects. 

So we said, well, it must be wax. 

Once we started thinking about wax, I thought, actually, this is such a universal material. Everyone knows what wax is and what a candle is. But I bet you nobody actually really knows the material or has touched the raw material, including ourselves. That's when we really went deep into it and decided to find some wax and to start playing with it. 

Luckily for us, just around the corner from our workshop is a beekeeper - The London Honeyman and he gave us some wax and we just thought this was an incredible material because it features in so many different disciplines from food to fine arts to everyday households and we just said, okay, so let's start exploring wax. And it all took off from there. 

We learned how to make our first candles. We looked on YouTube and found all of these obscure videos about people making candles in their backyards. So we invented some tools of our own, started making some candles, and just found the whole material fascinating. 

After that, we held some workshops. We like to share our craft and see how other people engage with it.

From then on, it's just become something much bigger and broader than we imagined. It's turned into a business, but it has created opportunities for ourselves, the brand, and other people in the community. Since 2017, lots of people have come through our doors, whether through collaborations with brands or through employing and training local people.

When we're working with others, it's the vehicle for us to connect with other people. Making is so tangible and tactile, which is something we're losing more and more because lots of people aren't connected to materials or making anymore, and so much is digital now. 

We've shown that it's beyond fun, you can turn it to business as well.

Q: I'm very interested in the stories of brands and particularly with makers and people that are really skilful at something and have really mastered a particular craft. I was interested in the meaning of candles. If we focus on that as the main way people encounter or think of wax. There's so much significance, isn't there, to candles in our cultures and in our daily lives and the way we use them, is that something you've looked into?

Definitely. We always consider the user experience and rituals and traditions because having a ritual connects you to moments, the past, and the present. Also, you can create new rituals that are completely your own. 

Our starting point was something very traditional. We're always looking or thinking about the way we live now and the potential of how we could live and our spaces in the future. That's where we create new products or have a twist on something traditional to create something innovative. It's always going backwards and forwards and having those cross-references, which intrigues us. 

It's a bit of anthropology, so you've got this candle, but now we have lighting, we turn on a light bulb and you get bright light, and the candlelight isn't as strong as, say, a light bulb, but it gives you a different type of light and it creates a different type of mood. Candlelight really does create a different atmosphere. Or if you light a candle early in the morning, it does something, it sort of opens up another realm and a different kind of perspective. 

It's perishable, and it's precious. Some people say they don't want to burn their candles because they’re too precious. But when you do it, you realise the beauty of things. Sometimes, you have to lose things as well. But then, on the reverse side, we make these wax flowers. It's a bit of a dialogue about things that are to be thrown away. We want to create a really lifelike flower that lasts almost forever, that goes against cut flowers. 

So we’re always slightly controversial in a very light way, where we're sort of saying the opposite of things, because we want to make a point of that. But we try to do it in a beautiful and functional way by just making people think, and because we've come from a place of naivety as well.

Q: I love that you still have that same curiosity for what else is possible. You're always approaching everything with that thought and interest. We've covered the craft side of WAX Atelier really beautifully. I'm interested in how you balance that with the commercial parts of the business. It’s been really interesting to watch how you've grown and to see the success you're having. But how do you balance this very slow, thoughtful, beautiful craft that you're doing with the realities and practicalities of making it a business?

Well, in terms of the practicality, we've had to upscale quite a bit. It's still handmade, but the actual tools that we have are scaled-up versions of what we were doing when we were making a batch of five candles. So we've just had to design things. We have this carousel, it's almost like a contraption basically, it goes around and around, and then you have its cantilevers, and we designed that and got that made in Denmark. It's looking at our tools and thinking about problem-solving and finding ways of making the process more efficient for us without compromising on the quality.  We had to think about maintaining the craft, but also commercially and on a humanitarian level.

We’re always thinking about how we can improve, how we can do things better. By default, I think that’s helped us produce more candles or products because the orders started to come in. It's really lovely to have people like your products and want to buy them.

Q: From a brand story point of view, your storytelling hasn't changed. It’s so consistent and still feels very personal, slow and beautiful. How have you managed to maintain that despite scaling up?

From day one, we've always been like that, maybe sometimes to our detriment, where we imagine stories before we do anything.

We're very visual people, and thankfully, because we have a design and practical background, we can make certain things a reality. We've got lots of different skill sets in the studio — a photographer, a designer, makers, and people who can write and speak well. We're a team of just five people, but it feels very natural. It's the business side that we've had to learn to navigate rather than the design and storytelling side.

Q: I love the expression you used of ‘imagining the stories at the beginning.’ Can you tell me a bit more about that? Is it the final product or how you present it to people? 

The story is definitely the beginning, and it runs all the way through. In the beginning we're influenced by lots of different things in terms of our cultural background and where we live in East London. It's very multicultural, history, film, theatre, all these sorts of things we pick up and we have a conversation about, and it's just the way we work; it's very collaborative. These ideas almost percolate and build on it, and then it's always based on what we feel we would like to manifest.

We don’t ever think, ‘Oh, you know, maybe people would like this’, we don’t ever say that to ourselves when we decide to do something; we're very impractical. We just think, ‘Oh, we like that’ and therefore we just go and do it. 

Then we buckle down and get to the practicalities, and we do things on a shoestring most of the time. There has been no investment in our business; we've just done everything with our own money from our own pockets, and we give it a shot and see where it goes.

When people ask us where the ideas come from, that's where - we give ourselves time to reflect and allow inspiration to come. Then we just go and do it and see what happens. If it’s successful then great we'll make another batch, but if not, it doesn't matter we still enjoy just doing it.

We’ve been quite lucky most of the things that we've tried out it's been really well received. 

Q: I think that can be really helpful to creative people running businesses. There can be so much pressure as you've got to think of the market, and actually, your confidence and clarity of your purpose and vision are obviously so strong that you can create things with this sense of risk and freedom that you believe and trust in it. When you're willing to go all in and not doubt or compromise, it creates something that's so much stronger and really resonates.

Definitely. There are a few brands out there that we've encountered that are doing great work. But most of the time, we don't look outside. A business guru would probably say you should do your market research, you should look at everything, but sometimes you shouldn't because the minute you do that, you start to self-doubt, and it's quite intimidating. I mean, you can look all day. And I think sometimes it’s good to think about what you would want. 

We would never release anything or do anything that we didn't enjoy or thought didn’t have some sort of value or purpose to us. That has been our philosophy from day one, and it hasn't changed. That is why we just really like coming to work and doing what we're doing. 

Q: What's the next chapter for the WAX Atelier story? What's the thing that you're curious about at the moment and that you're experimenting with?

The next chapter is that we have a new premises in Abney Park in Stoke Newington, that was granted to us by Hackney Council and the Abney Park Trust. It's a place where we are going to create and interact and engage more with the public. So that's very exciting. It's going to be an experimental space and it's right in the middle of the cemetery so we'll see the changing seasons as there are about 180 species of trees in the park. And there's all this history in terms of the people who were in the artistic community who lived here and they are buried in the cemetery. So it has quite a powerful history and narrative with the nature around it. 

Our first project is going to be with young people between the ages of 18 to 24. We're going to be working with them, with the raw materials and inspiration from the Park to create a collection of unique things. We can't say what yet, but it's going to be really interesting. Collaborating with that age group is going to be interesting because they've got a lot of ideas, but also a lot of challenges. So we're really keen to tap in and cross-pollinate ideas and create something new for us as well 

And the other new chapter is that WAX Atelier will be delving into the world of aromatics. So we're looking at one species - which is going to be the orange - and we're going to explore it in all its different guises to create a collection of very naturally fragrant things. 

Q: I love the way you say things with the openness to what that might be. You mentioned you don’t like to look at what your competitors are doing but are there other brands, perhaps in totally different industries that you really love, particularly in terms of storytelling? 

There's a collective called Assemble, they’re taking architecture into art and into this whole culture of making and living. They're so interesting. They are curators at the Royal Academy of Arts this year, and they won a Turner Prize. It's interesting how thinking of the practice that is about the built environment, but can steer and veer into all sorts of directions. But there's definitely a running thread, and you make connections.

The other brand is Ffern. We love that they work with the seasons, launching projects, creating beautiful films and the narrative around it all is quite special. We’ve had a conversation with them in the past about collaborating, so there’s definitely something there, a synergy between us. I think they work in a very inventive and imaginative, but also sensitive, way. And you can feel that through their imagery and the product is very special.

Thank you to Lola for taking time to share her insights on how they approach so many aspects of their business, it was such an interesting and inspiring conversation. You can find WAX Atelier’s latest work on their website and follow along with their story on Instagram.

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The Art Of Creative Brand Storytelling With Potter Jacques Monneraud

All images courtesy of Jacques Monneraud

This story begins with a simple Malteser chocolate.

Jacques placed the little brown ball on a pottery wheel and slowly shaped it into a tiny vase. I smiled watching the Instagram film, then laughed out loud when he ate the ‘vase’.

That playful video has since had over 1.5 million views.

Frenchman Jacques Monneraud shares and sells his pottery with brilliantly crafted storytelling full of delight and wonder.

"The world of ideas is a bit like the one of dreams," Jacques muses. "I constantly ask myself…'What would make me fall in love with ceramics although I don't care about it?'"

With a background in advertising, Jacques understands the power of brand storytelling. In this Q&A, he generously shares his creative process, his humility and humour belying the thought, talent, and effort involved.

I'm thrilled to share this conversation with you.

Q: Before studying ceramics, you worked for 12 years in the advertising industry. Can you tell us the story of how and why you left that all behind to become a ceramist? And what drew you to working with clay?

I started as a graphic designer/illustrator and quickly became a Creative Director in an advertising company. During those years, I gradually drifted away from what I loved to do in the first place, which was creating. As someone who grew up in a family of artists and makers, I always pictured myself working with my hands someday. But here I was, spending hours in meetings discussing brand strategies. When I realised that, I decided that it was time to give this dream a try. After a few months searching for this "maker job", I stumbled upon a video of someone working at the potter's wheel. It randomly appeared on my feed and totally caught me off guard. I was instantly hooked. I loved everything about it, the material, the fact that it's just you and a lump of mud, the variety of things you can make out of it... I booked a class the same day and quit my job a few weeks later. 

Q: Your creativity comes across in everything you do, from the innovative designs of your ceramics to the playful way you present them, with product descriptions full of character and the stories you tell in the films you share on Instagram. Where do your ideas come from, and how do you approach the development and innovation required to bring those ideas to life?

That's a tricky question. The world of ideas is a bit like the one of dreams. Of course there are ways to find a creative idea. You can approach a subject from different angles in order to make it look funny, original, crazy etc, depending on the message you want to convey. But it would be very hard to dissect and analyse all the brain connections that play a role in the birth of an idea.

I constantly ask myself the following questions: What would I love to see/watch/touch/read? What would be so cool that I'd want to share it? What would make me smile? What would make me fall in love with ceramics although I don't care about it? Because at the end of the day, it all boils down to you and someone else's interest.

As for bringing those ideas to life, it depends... Some projects are easy to make and others very hard. But whichever it is, I always start with the same state of mind, the one of MacGyver (I loved that show when I was a kid). You have to pick a lock with just a chewing-gum? Okay. Let's find a way. 

Q: The cardboard series is incredible. I remember the first time I saw the pieces, I couldn‘t believe they were made of clay. The attention to detail of the glaze that looks like tape is so clever and skilful. Can you share the story of the process of that collection? It’s such an original idea, and it must have been so hard to get right. Were there moments when you questioned if it would work?

Thank you :) I must say that research is part of my daily routine, in parallel to my more classic tableware pieces. I'm always exploring ideas. I like to open doors, even though they end up nowhere. I have dozens of unfinished projects and ideas. As for the cardboard, it's failure that pushed me towards this collection. I was unsuccessfully trying to obtain a specific glaze effect that I love, so I started thinking about a ‘raw collection’, made of unglazed pieces. From that moment on, I started to explore different clays and combinations of clays mixed together, with no particular idea in mind other than finding a nice balance between colour and texture.

One day, I obtained a mix that made me think of a cardboard chunk. I thought about pushing it further and because I have always been very sensitive to things that time deteriorates, things that don't last, I instantly loved the paradoxical nature of this project: unalterable cardboard. I really liked the idea of ​​being able to freeze fragility.

From that moment on, I did dozens of tests, be it about the colour, the texture, the optical illusion, the fragility, etc. Until one day, a ceramist friend of mine drops by and, staring at a ceramic prototype, says "oh you're working with cardboard now?". It was a small coffee cup and she was just centimetres away from it. I thought to myself ‘time has come to make a real collection out of this’. 

Q: For someone relatively new to their craft, you seem unafraid of setting yourself challenges. Creating the Roland Garros trophy using the clay of the Philippe-Chatrier centre court is a brilliantly ambitious idea. Can you tell us more about the King of Clay project and the film you made, which has had two million views on Instagram?

This illustrates what I was trying to say earlier about creativity and its mysterious ways... One day you buy some Mentos, and a few days later you buy a can of Coke. You fall asleep and when you wake up, your brain suggests that you put the Mentos in the can of Coke. You've made no effort to think about it, yet the idea is here. I've always loved tennis and I watched every game of Rafael Nadal. That's the Mentos. A few years later, I was researching ceramics and read this surprising story: tennis clay was invented by two players who decided to crush vases from Vallauris. And that's the Coke can...  

It quickly became clear that, for the idea to be pure, the clay had to come from the real Parisian court. This was my first challenge. With no connections whatsoever to the Tennis world, I thought that I could better my chances with a prototype, so that's the first thing I made.

Once I had it, I knew that the time of the people I was trying to reach was precious, and that I'd need a strong, clear presentation. With the help of a talented friend, I created a mobile website to explain the project. By doing so I ensured that the idea wouldn't be distorted along the way.

From this point on, I followed the "six handshakes rule" (the idea that all people are six or fewer social connections away from each other), and started making phone calls. It actually took me a lot more than six friends but I eventually found a way to reach Roland-Garros' staff. They loved the idea and sent me several kilos of the real clay.

Then the biggest challenge started... because until then I had completely underestimated the complexity of the trophy. In the video, I say that I really came close to giving up. It's sincere. The only thing that kept me going is the "I've gone too far to give up now" feeling. I'm sure you know what I'm talking about :). 

Replica of the Roland-Garros trophy using the clay of the Philippe-Chatrier center court. It took Jacques one year and five months to complete. Within the first 24 hours the full film (which you can watch on his Instagram) was viewed half a million times.

Q: Ceramics have such a high risk of failure - from the modelling to the firing to the drying process - so much can go wrong. It must take a lot of bravery to undertake some of your projects. How do you cope with the failures, mistakes and setbacks?

Not well! When I first started working in advertising, my teammate and I created an ad where you see Jesus walking toward water and, although you expect him to walk on it, he eventually drowns. The copy was saying this: ‘There is no miracle. Just a lot of work.’ To this day, I still think it's very true.

People tend to believe that working with clay is relaxing and that quitting your job to become a ceramist will allow you to have more time to yourself... It's the complete opposite. In fact, I dare you to find a job this hard, where you need to turn mud into gold every day and be both Steves at the same time (Wozniak and Jobs).

How do I cope with failures and setbacks? I listen to Kendrick Lamar, read the Harvard Business Review and watch Little House on the Prairie. It goes something like this: Stay humble, work hard and be nice. 

Q: You are a talented storyteller. There’s a playful quality to everything you share, and you often talk about a ‘touch of foolishness’ - can you tell us more about why you take that approach? Does it help creativity to have fun and not take it too seriously?

First of all, I think that unless you're a doctor in South Sudan fighting hunger and poverty (my younger brother does that), nothing is serious.

Then, I choose to base my business on social media platforms. Not because I like them, but because in my opinion, it would be a big mistake to close a door to the whole world when you aim to sell things.

Today, these platforms are all about entertainment! How can you have fun watching my content if I'm not having fun making it?

There is this ad agency mantra that I love, "We're not invited to the party, so at least let us bring some champagne". 

Q: Your films are brilliantly entertaining to watch, and it seems like you enjoy making them, but they’re also so well produced - they must take a lot of time to plan, film, and edit. Artists and makers often struggle to balance the time they spend creating versus the time they give to marketing and selling their work. How do you manage the creative side of your business and the more commercial aspects?

I do enjoy making them :) I would have loved to be a film director, but I'm way too shy. I know that what I'm about to write here will annoy some people, but nowadays, being a ceramist is 30% being a good maker and 70% being a good salesman. I knew that before I started and that's probably why I took the leap. After years selling things I can focus on becoming a good maker. It's impossible, but I want that balance to be 100%-100%. 

Q With your background in advertising, why do you think storytelling is important to a business and selling? What do you think makes a great brand story?

We used to buy products. But now that we have made so many of them, in every colour or material possible, we want them to come with a story. It's one of the few good aspects of our society, because we tend to give more attention to what we buy and own. I think that brands shouldn't be so different from people, and the same goes for their story. Burger King is a funny dude you know, Nike is someone who inspires you, Apple is your crush and Patagonia is the friend you respect... A good brand story is a true and honest one. A great brand story is one in which there is also audacity, courage and loyalty.

Q Are there any other brand stories that you especially admire and enjoy?

I recently discovered this French brand named Kidur and beyond its exceptional products, I particularly loved its story. Two Frenchmen set up this fabric company just before the Second World War. During the German occupation, they hid Allied soldiers and used the company's premises for resistance work. Once the war was over, it was the foreign soldiers who helped the company get through the fabric shortage that hit Europe. The brand survived and thanks to Kidur, the whole region prospered. Magnificent. 

Q What advice would you give someone wanting to change career and industry and follow a creative passion in the way you have? Is there anything you wish you’d known when you first started out or that you would do differently?

I'm tempted to say "Just do it". But Dan Wieden once explained where the inspiration for the famous Nike "Just do it" came from. It was inspired by the final words of a death row inmate who was facing execution and said, "You know, let's do it." So... I don't know. Depending on your situation, I think it's a bit more complicated than the usual "life's too short, let's go!". If you allow me I'll rather leave this decision to them and say this: If you did "just do it" and changed career, do "think different". 

Thanks to Jacques for taking the time to share his thoughts and insights with us in this interview. You can find Jacques’ latest work on his website and follow along with his story on Instagram.

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Brilliant Brand Stories of Creativity

From around the world, each in a different industry, all committed to daring to do business differently.

Cat Spilman ‘Mama’, image with permission from the artist

1. “to lose that sense of self-consciousness, that anxiety for perfection”

Artist - Cat Spilman

For Cat Spilman, painting is a meditative process, where rather than having any preconceived idea on how the piece should look, it is instead an expression of a particular moment and feeling.

In this way, each painting becomes a kind of self-portrait, 

“They’re all snapshots of who I am in the moment and what I’m dealing with… When I’m painting I’m not trying to paint with any kind of message or specific thought in mind, I’m just painting based on how I’m feeling in the moment. Then when I look at the painting days or weeks later, I can see what that was about.”

Cat Spilman in her studio with ‘The Cineman’, image shared with permission from the artist

Using mainly housepaint and house painting brushes - originating from her background as a scenic artist in film and television - Spilman consciously limits her colour palette to encourage creativity in her work.

Part of her practice involves attempting to let go of any expectation or self-criticism and she is endlessly inspired by the innate creativity of her own daughter. 

“I used to be so precious with sketchbooks. If a page wasn’t aesthetically successful I would tear it out and feel upset and annoyed with the process. Now I buy thick, cheap notebooks and try to be as loose as possible - ignoring pages that are ugly and just taking inspiration from the tiny bits that do work. One of my goals is to lose that sense of self-consciousness, that anxiety for perfection. It hasn’t happened yet…”

Spilman’s current solo exhibition is "Days in Goodness Spent" at Bark Berlin Gallery. She also has a group show opening in Copenhagen at Gallerie Christoffer Egelund on the 21st of June.

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Images with permission from London Cloth Co, shot by Carmel King.

2. “No one parties like a weaver”

Weaving & textiles - London Cloth Company

London Cloth Company is the brainchild of Daniel Harris who, completely self-taught, made it his mission to rescue and restore a number of original looms dating as far back at 1890. He opened the first mill in London for over a century and is currently restoring Elvet Mill in West Wales back to its former glory. Daniel now has the largest collection of restored looms in Europe.

He shares his journey on Instagram with honesty and humour. From the highs:

 “It’s go time. The day we made a warp and started weaving on a loom that had sat for over 30 years.”

to the lows: “I cannot even begin to list all the nightmarish things about setting up this loom.”

Images with permission from London Cloth Co, shot by Carmel King.

It is Harris’ creativity that has got him where he is today and it shines through across all parts of the business, from the products he makes, to his Instagram captions to the heroic job of dismantling and reassembling the often rusting, neglected machinery that has sat unused for over 30 years and get it working once again.

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Food portrait of Camilla Wordie’s grandmother, photography by Natasha Alipour-Faridani

3. “moving objects by millimetres, adjusting angles by the degree”

Art director and stylist - Camilla Wordie

Camilla Wordie understands it’s the little details that make a big difference. Whether the micro-adjustments in styling a shoot to how the small habits in our everyday lives can spark conversation, connection and joy with others. 

Inspired by routine and daily life, Wordie uses everyday objects to tell the stories behind her compositions with a playful yet minimal aesthetic.

One such example is Wordie’s brilliant recent exhibition ‘Eat to Live or Live to Eat’, where she interviewed 10 individuals, from artists to shop owners, designers, chefs and storytellers to learn their food habits. Based on each interview, Wordie created a ‘food portrait’, telling the stories of each person’s food habits, memories and the 10 ingredients they couldn’t live without.

Portrait of art director and stylist Camilla Wordie

“From anchovies to tinned peaches, ingredients you may love or hate”

Prints, plates and postcards from the exhibition can be viewed and bought online here. 

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Rosa Harradine in her studio in Wales

4. “slightly wonky with a beautiful indentation along the handle where a vine has grown around the hazel”

Brush and broom maker - Rosa Harradine 

All Rosa Harradine’s brushes and brooms are made entirely by hand in her studio in West Wales. From sorting the broomcorn, cutting the sticks for handles, carving, sanding oiling, binding and finally stitching. The only mechanised part of the process is using a small chainsaw to cut the sticks for broom handles.

“I measure every piece of broomcorn by hand and sort it by length, and then quality. The scruffiest bits go on the hidden inside layers and the nicest pieces go on the outside. I stand at my workbench in front of the window and listen to a podcast as every single piece of broomcorn passes through my fingers.”

Image shared with permission, shot by Tara Juno Rowse

For Harradine, it is essential that her items are both functional and beautiful in their own right. Designed to feel tactile, something someone doesn’t want to put down (or put away), intended to be used just as much as admired hung on a wall.

As Harradine so beautifully puts it, “There are two types of people in this world. Those who think a brush would make a great present, and those who don’t”. 

I am certainly one of the former.  

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Brilliant Brands Sharing Seasonal Stories

From around the world, each in a different industry, all committed to daring to do business differently.

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Jess Wheeler with limited edition Bronze Rhubarb Side Table. Image with permission from Jess Wheeler

1. “elegant, poetic and rooted in the raw beauty of nature”

Artist & Designer - Jess Wheeler

“In a world where so much of what we surround ourselves with are carbon copies, delivered in highly manufactured packages, I want to create objects where you can see the touch of the hand, that are full of wobbles and imperfections.”

Encompassing fine art, sculpture and interiors, Jess Wheeler’s playful creations draw inspiration directly from the wonders of the natural world. Jess transforms natural forms from giant cabbage and rhubarb leaves to mushrooms and ivy garlands, forging them from an ever-evolving array of materials including brass, bronze and plaster.

Finding inspiration from her own garden to her daily foraging walks, Wheeler’s latest collection, ‘Left, Right & Rhubarb’ is inspired by childhood memories of spring…

Image with permission from Jess Wheeler

“Rhubarb grows from a bright pink knuckle in the wintered soil, slowly at first and then with increasing luxuriance, announcing the new Spring. As children, our Granny would take my siblings and me to her rhubarb patch, whose leaves towered over us like fairytale parasols, to collect the bright pink stems, cook them, pickle them, share with each other.

In this collection, I’ve tried to preserve the sense of occasion, magic and playfulness that I associate with rhubarb. I cast huge leaves from life, and playfully articulate these joyous springlike forms into tactile usable sculptures.”

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Natoora founder Franco Fubini with one of Natoora’s growers and suppliers. Image with permission from Natoora

2. “Microseasons to unlock flavour at every stage”

Food Supliers - Natoora

“Each fruit and vegetable has its own season, with subtle shifts that happen every day. We follow each one through its microseason — early, peak or late — noticing subtle shifts and hitting on unique flavours.”

Natoora exists with one clear ambition; to fix the food problem, working to reconnect people with the origins of the food they eat. Theirs is one of “radical seasonality,” with flavour at the heart of everything they do. 

“We sought out flavour by connecting with small-scale growers across Europe. We knew that fruits and vegetables grown in their natural seasons taste best, but our mission led us to growers who also preserve local growing artistry, work with diverse varieties and enhance their ecosystems.” 

From the varieties in their produce boxes to the recipes they share online, to the campaigning they do across the food industry, seasonality is at the root of their brand storytelling.

A favourite example of their creative approach to communicating their mission, is their ‘Radicchio Not Roses’ campaign, now in its third year. 

Every year 250 million roses are grown for Valentine’s Day, when they are not in season. Natoora’s campaign encourages people to choose a seasonal alternative…

Pink Radicchio and Rosella di Lusia from Veneto, Italy. Arranged by Frida Kim. Image with permission from Natoora.

“Deep purple with tight, curled leaves or rosette-shaped with red speckles, bright red with crisp white veins or all hues of pink; we challenge you to find flowers more striking and vibrant than these radicchio heads.”

“At the end of their life as centrepieces, radicchio plants are eaten, not wasted. Their bittersweet complexity makes them ideal for cold-weather salads. Try with lemon, anchovy and garlic dressing or preserved lime and rose vinegar. Mix with fennel and blood orange or try it wrapped around hot smoked trout and kabocha squash onigiri (as an alternative to seaweed).”

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Fforest owners Sian Ticker and James Lynch. Image with permission from Fforest

3. “the result of a dream….trying to remember what ‘simple’ can look, feel and taste like”

Accommodation, camping & events - Fforest

“A place to enjoy the simplicity, pleasures and beauty of outdoor living in an outstanding natural environment.”

Fforest is the result of owners Sian and James’ dream of ‘the simplest and purest of things wrapped up in a magical setting’. 

I was lucky enough to stay at Fforest for their Gather festival with four friends and our kids. It was a magical time. We cooked, ate, played and slept outdoors, lighting fires, climbing trees, building dens, crafting, dancing, and swimming in the sea, closer to the weather, the tides, stars, the moon and each other. It’s a truly special place, that really does feel like the result of a dream. 

Image with permission from Fforest

Sian and James’ connection with the land is evident throughout their storytelling, sharing the simple pleasures as the seasons shift. They host a range of events to celebrate those changes, from feasts to getaways to creative weekends.

“What makes Fforest? Care, growing, cooking, eating, learning, living, fire, adventure, community. Simple.”

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The Natural Dyeworks founder Ros Humphries. Image with permission from The Natural Dyeworks, shot by Dave Bullivant.

“Hand coloured slowly with plants and care”

Homewares & Accessories - The Natural Dyeworks

“Crafting an ever evolving palette of colours through the use of petals, leaves, bark, roots & seeds”

The handcrafted, hand-dyed ribbons, homewares and accessories created by owner Ros tell the story of the seasonal year. Using ingredients foraged from the Kent countryside or sourced from food waste collected from local cafes, Ros uses the alchemy of plant-based dyes to capture the essence of the seasons.

“Our palette changes continually with the seasons, and the spectrum of colours available is dependent on the ingredients available such as nettles in spring for cool greens, coreopsis in summer for wild oranges, hollyhocks in autumn for soft blues, alder cones in winter for burnished golds.”

Working exclusively with natural fibres and dyes, Ros’ process is 100% natural. Collecting only what is needed for a single dye pot, all the products show a deep respect for nature and leave as little footprint as possible, “Waste water is reused on the garden and allotment, dye pulp is composted which in turn feeds our soil”.

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Brilliant Brands Sharing Stories of Sustainability

From around the world, each in a different industry, all committed to daring to do business differently.

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Image with permission from Atelier Ellis. Photographer Ellen Christina Hancock

1. ‘complex and deep, but also quiet and cocooning’

Paint Company - Atelier Ellis

‘the colours are deeply rooted in the natural world, as well as personal memories, marks, and fragments.’

Atelier Ellis makes quiet, beautiful, handmade paint. Everything is done with exceptional care and thought and a deeply personal touch, including their hand-painted paint charts. 

There is a calm confidence to their brand presence, with words and images rich with atmosphere and feeling. 

‘Inspired by the way we live in nature, cities, and society, the distinctive shades are designed to create quiet, joyful backdrops to people’s homes and lives, helping them tell their unique stories of home.’

Describing themselves as a ‘human-scale business, ’ founder Cassandra Ellis is aware of the responsibility of running a business and its impact.

“How we consume affects not only an individual’s life but also our society and the environment…I believe in true stewardship - taking care, being in service, producing what we need, and communicating the benefits clearly and simply.

Their paint, ‘True Matt Emulsion,’ is now made using a bio-based formulation, including vegetable oil, sugar, and bio ethanol. Based in Bath, 90% of their materials come from the UK, the remainder from Europe. 

The ultimate stewardship is to make the best quality paint in unique colours. As an independent business, we are free to choose best practices and materials, while manufacturing in a fair and equal way.’ - Cassandra Ellis

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Image with permission from Silo

‘A Restaurant without a bin.’

The world’s first Zero waste restaurant - Silo

‘Imagining a world without waste.’

A story of daring to think differently and find a better way. ‘Silo’ is the determined vision of Chef & owner Doug McMaster who believes, ‘waste is a failure of the imagination.’

‘a restaurant that doesn’t have a bin: from that simple limitation grows a big tree. 

At Silo we choose to provide quality through purity, adopting a more primitive diet with techniques both modern and ancient. Zero waste Silo is a restaurant designed from back to front, always with the bin in mind.

The production of waste has been eliminated by simply choosing to trade directly with farmers, using re-usable delivery vessels and choosing local ingredients that themselves generated no waste. Any remaining scraps of food are then composted, closing the loop.’

It’s not just the food, every detail from the furniture to the plates have been made using recycled materials, developed through experimentation, innovation and of course, imagination.

As well as deliciously creative food (how does quaver and vegetable treacle sound?), there’s a book, ‘The Zero Waste Blueprint’ which is part cookbook, part manifesto.

For more inspiration, this film is definitely worth a watch…

Film by Matt Hopkins of Progress Film Company as part of their series ‘England Your England’ which focuses on individuals in society who are breaking ground from an underdog position.

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Image with permission from New Dawn Traders

‘buy less, buy better, buy local, by sail.’

Food Suppliers - New Dawn Traders

‘From across the oceans by the power of the wind, we welcome a new dawn for shipping cargo under sail.’

New Dawn Traders is a Cornish company, that wants to change global trade, offering an alternative and more sustainable way to transport goods.

An estimated 90% of the world’s goods are transported by sea. For many of us, it’s only when a significant event occurs, like a ship getting stuck or a route closing because of war, that we give much thought to how the things we buy have reached us.

New Dawn Traders is working to change that.

‘We trade in wild ideas and delicacies, working with sailing cargo vessels to import produce from across the Atlantic Ocean and along European coastlines pollution-free. Inspired by people, projects, and businesses that promote resilience in local food systems….with our network of ships, producers, and allies, we are building new models for supply chains that put the planet and people first.

New Dawn traders want to reconnect with the journeys of the things we buy to encourage us to focus on what we really need and what can be found locally…playing our part in the global movement to bring food trade to a human scale & consumerism to a conscious level.

The cargos that WE choose to sail over from distant lands are of value because they are products that cannot be grown in England and are of cultural significance and curiosity – the luxuries in life that are worth savouring; like coffee, chocolate, and rum.’

Definitely an idea we can get on board with.

Visit their website to read more about their values and vision. A truly seasonal business, always planning their next voyage and awaiting a favourable wind.

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Image with permission from Rootfull

‘Growing lighting fashion and sculpture with biology.’

At the intersection of science, art and design - Rootfull

‘Rootfull cultivates root textile and bridges two seemingly separate worlds from underwater to underground whilst blending artistry, material science, and sustainability.’

I gasped the first time I discovered the work of Zena Holloway and her business Rootfull.

Zena is an incredibly talented underwater photographer. As a diver, she saw the realities and devastating consequences of plastic pollution in our oceans, witnessing marine life being destroyed by climate change.

Zena didn’t look away, instead she dared to question the way things are made and from that curiosity the idea ‘took root and grew.’

She set up ‘Rootfull’ an innovative business that’s seeking to disrupt the material choices we make.

‘Rootfull is a material innovation company developing a new generation of root textile solutions for the circular economy.’

Through exploration and research, Rootfull is developing ways that we might grow new materials. Using wheatgrass seed she’s creating art, sculptures, textiles and even wedding dresses. But more importantly she’s daring to imagine another, better way inspiring more sustainable solutions that could help to slow or reverse climate change.

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The Art Of Brand Storytelling With The Seasons By Superfolk

“To know, to love, to protect is a guiding principle in all that we do.

We use our skills as designers to share the beauty and cleverness of our natural world. We do this in a bid to push others to get outdoors and ultimately to be moved to protect our natural environment.”

Superfolk co-founders, Gearoid Muldowney and Jo Anne Butler

As the seasons change, with the fresh energy of spring, we’re sharing a love story inspired by a deep relationship with the natural world.

Superfolk is a lifestyle brand created by Jo Anne Butler, an artist and architect and her husband Gearoid Muldowney - a designer and maker.

Their lives are rooted in the wildly beautiful landscape of the west coast of Ireland. The rich, raw colours, textures and patterns of each season are woven into everything they do and create. This connection and respect for the environment inspires and informs how they live, raise their family and work.

Everything is created slowly and thoughtfully with an understanding that we are nature, not separate from it.

We’re delighted to be able to bring you our conversation with Jo Anne as she shares the ways she and Gearoid are working to inspire us all to find a way to connect more deeply with ourselves and the natural world we’re part of.

Q First, to start at the beginning, tell us your story…

Gearoid and I are both designers from the west of Ireland. We met when we were both in art college in Dublin. After several years, mainly in Dublin but also in Finland and Denmark, we decided to move back to the west of Ireland. I had finished my studies in architecture, and Gearoid had started a small design business called Superfolk. Once in the west of Ireland, we decided that we would both work at Superfolk full-time and see where we could bring it. Three children, a pandemic and many years later - we are still here. We design and make homeware products, which we primarily sell directly to our customers through our online shop. 

Q You share a beautiful narrative of ever-changing landscapes, wildlife and seasons through your business and products. It feels so natural and true to you - was it as easy to find and shape your story as it comes across?

I think it felt easy in that it felt obvious and natural to us. We have both always had a strong sense of home and pride of place. We also both feel a strong sense of responsibility to speak out for our natural environment and to bear witness to the destruction we are all causing to our home planet. 

The key thing was for us to recognise that we are not scientists or statisticians. We are artists, designers and craftspeople. And so we thought deeply about what our role could be in helping to guide people towards more sustainable and activist behaviour.

We talked a lot about the idea that “No one will protect what they don't care about, and no one will care about what they have never experienced”. So now we use “to know, to love, to protect” as a guiding principle in all that we do. 

We use our skills as designers to share the beauty and cleverness of our natural world. We do this in a bid to push others to get outdoors and ultimately to be moved to protect our natural environment. 

Q Is the natural world something that has always inspired you? 

Yes. I grew up in a small town in the countryside, and I have always loved being outdoors and being in nature - it is where I feel most at ease and feels most natural. It was also the time I most enjoyed spending with my father - just going up the fields, swimming in the lake or picking blackberries. I knew that it was where he was happiest, too. I love the changing colours of the sky, the seasons and the weather. I can remember times when I was cut off from nature and how that felt - when I went to university in Dublin city centre and later to Arhus in Denmark - I struggled a bit with being surrounded by concrete and buildings all the time. In Denmark, I missed the absolute drama of Irish skies - the ever-changing clouds. It felt like being cut off from the energy source - I found it confusing and harder to make creative work. 

Q Why is it important to you to share the story of the things you create, the inspiration, materials and process? Do you think it matters to your customers, and how do they respond? 

Just as we believe time spent in nature is good for you, we also believe that making is good for us. We are so lucky that we get to spend time in the studio and workshop making. I come from a long line of teachers, and I love showing people how things are made. 

For example, the printmaking we do in the studio is very simple - I love that people can watch and understand it. I love it when people comment and say - oh, I remember I did that in school.  We want to inspire other people to get making also. 

Most of our products are sold directly to our customers online. In some ways, the experience of browsing an object in a physical shop is replaced with the experience of connecting with the maker and the creative process. Our customers are often makers, artists and designers themselves and really connect to these stories of making.

Q Makers and artists often find it hard to ‘sell’ their work. Do you feel a tension or resistance to weaving together the creative and commercial parts of running a business, and how do you overcome it?

No, honestly, we don’t feel that tension. 

Speaking just for myself, I think it took me some time to take myself seriously as a maker - I enjoyed it so much but didn’t think I deserved the titles of printmaker or craftmaker. 

While we enjoy the things we are good at, we can sometimes take it for granted and not recognise our skills, or we think of it as “nothing”. Like your friend who bakes an elaborate cake and then dismisses it as just something they threw together at the last minute. 

It took me a while to take seriously the thing that I enjoy and comes so naturally and easily to me. To anyone struggling with this, it is ok to charge money for the thing that you love to do. It could be that you love to do it because you are naturally good at it.

Today, I believe so much in the quality of our work, and I’m proud to represent it and share it with people. We get such lovely feedback from our customers; I know that our work has meaning and value to them. 

Q You have such strong values as people and in your business. How does knowing your story help you stay committed to your purpose? Do you ever feel a temptation to compromise, and how do you resist that?

We all have a responsibility to do as we say, whether as a parent, an employer or as a brand. 

On a housekeeping level, every January, we revisit our longer-term vision and check back in with our brand values. We have a series of workshops to identify any areas we need to work on and create our goals and milestones for the year ahead. If ever there is a gap emerging between what we are saying and what we are doing our customers can sense it. 

Q Superfolk is so atmospheric; there’s a real sense of place and the wild landscape of the west coast of Ireland in everything you share. How do you achieve that so well and so consistently? 

This is a very hard question to answer. Reflecting the weather and atmosphere of the west of Ireland is something we do instinctively - it seems to be the obvious and natural thing to do. For us, the beauty of the west of Ireland is the star of the show, and we are catching up. It leads, we follow. 

We were both raised with a strong sense of pride of place. When that sense of place is baked into you at an early age, it shapes you and the things you make. It never leaves you. Rick Rubin talks about creativity as something we allow to come “through us” - I really identify with this.

On a practical brand level, there are some things that we do to help create consistency. We put our customers at the centre of what we do - when we create something new - we try to speak warmly and directly to our customers. We have brand colours that we try to stick to, use primarily natural daylight in photography, use natural materials, bring our camera with us when we head out for a walk, and have a “house style” in how we post-process images. 

Q How do you adapt your storytelling to the seasons? In terms of written and visual storytelling?

We use social media, newsletters and blog posts to share the world around us. And so naturally - as the seasons change, so our stories shift and change. In Spring, we might talk about how to forage for seaweed or collect wild garlic. In Winter, we might share how to identify trees without their leaves. 

Q Why do you think people respond so well to stories from creatives and makers? Is it becoming more important?

Every night at bedtime, I read stories to our three children. Sometimes, our three-year-old asks me to read the same story I have read to her maybe 50 times before. From an early age, we all learn to love stories. Through stories, we learn about worlds that are very different to ours, we learn to see things through another perspective, and, of course, we learn about ourselves through the stories of others. 

Creatives and makers are lucky in that we are naturally good at creating visuals and images that help us to share and tell our stories with others. But I believe every person (and business) has a good story to tell. I think it is important that we use our skills as storytellers to help others to tell their stories too.

Q Which other brand stories do you love and admire?

From the outset with Superfolk, we have loved Yvon Chouinard’s book “Let My People Go Surfing”. We have a quote from him stuck on the wall in the studio - it reads - “the more you know, the less you need”. Recently, Gearoid had the opportunity to interview Yvon and wrote about it on our blog. Then, recently, the leadership that Yvon and his family have shown in giving away their ownership of Patagonia, dedicating all profits from the company to projects and organisations that will protect wild land and biodiversity and fight the climate crisis, is remarkable.

Closer to home, we really admire Mungo Murphy Seaweed Company. They are a mother and daughter farming abalone in a land-based re-circulated aquaculture system in south Connemara. It is remarkable what they are doing. We need more people and businesses like them who are brave enough to do business differently.

Q What’s the next chapter for Superfolk?

Next up this year, we are working on a new website and a new line of wallpaper, and as always, we are working towards our three-year vision for the company and with an eye on the longer-term picture, too. We hope to become more active in our membership of “1 per cent for the Planet”

In our personal lives - we have three amazing children, two of whom are under 3. And we are slowly renovating an old stone house to make it our family home. We want to enjoy our time with our children when they are so young - so they will always come first. Our family is what we value most of all.

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The Art Of Brand Storytelling With 'We Are Makers'

We Are Makers - Edition Nine

The act of making is fascinating; the ability to transform a raw material into something else, the skill of creating an object that's both beautiful and functional.

‘We Are Makers’ is a quarterly printed magazine bringing together stories of creatives from around the world. The makers featured are all mastering their crafts, valuing the process as much as the final results and taking a stand against mass manufacturing. The ‘We Are Makers’ community is about safeguarding traditions, ensuring sustainability, and inspiring future generations. There’s a slow, considered and gentle respect for the skill of handmade (hands are featured on every cover).

Read on for our Q&A with magazine editors Kate and Jack Lennie to discover their own story and their shared passion for making and storytelling.

Q: Your tagline is ‘We Tell Makers Stories’ - we would love to hear your own story…

A: We Are Makers isn't just our venture; it's a way of life for us—we own it, live it, breathe it. Our paths first crossed in 2011 studying product design at university. The culmination of our academic endeavours in 2015 marked the beginning of a wonderful journey.

We are situated just outside Glasgow, Scotland. From here we have curated a global community of makers and we tell their stories within the beautiful pages of our crafted printed magazine, a project that took flight less than five years ago.

We just knew we needed to do it, so we did it.

The past five years have been marked by immense dedication, resilience during challenging moments, and financial risks, yet driven by our profound passion and an incredibly fulfilling mission, we now get to work with amazing brands in support of makers and to travel the world talking with truly interesting and inspiring people.

Q: How do you decide which makers to feature and how do you approach telling their stories?

A: This is an often asked question. We love our magazine because of the diverse crafts we include. How do we decide? We scroll through Instagram and save any exciting makers/craftspersons/and artists to a folder. We also have a maker's submission form on our website which receives an overwhelming amount of submissions monthly. When we come around to planning an edition, we reach out to those makers both saved and submitted. Kate contacts each maker to explain our mission and how we can provide them with a global platform to tell their story. We give them a detailed document with everything they need to know and questions to consider when writing their story. We also choose a few makers to hop on a call and do an 'interview' with, really an informal chat, which we then transcribe for print.

Artist and maker Lea Durie featured in Edition 9 of We Are Makers magazine, images by Taylah Cunningham

Q: Why do you think having a great story is important for makers, creatives and small businesses and how does it help them share and sell their work and brand?

A: Everyone has a story to tell and each story is unique. When searching for makers to feature, Jack and I often come upon a fantastic maker on Instagram and get excited to jump onto their website and learn more about them; however, there's no about page and sometimes not even their name! I think it's important for makers to have an about page. It won't just be us who are curious; many customers or brands looking to work with the maker will want to know, so I recommend making it easy for them to find out. Last year, I gave our community a challenge to pin a picture of themselves and 'who they are' in the caption to the top of their Instagram profile. It's excellent for anyone landing on their profiles to find out who they are quickly.

Q: What do you think are the common threads that every great maker story should have?

A: Aside from hard work, dedication, and unwavering passion for their craft there is no common thread. A maker can come from any walk of life and find a place for themself.

Artist and maker Henry Wood featured in Edition 9 of We Are Makers magazine, image by Brook Wassall 

Q: For many makers, their personal and business stories are very entwined, what advice would you share with someone on how to separate their life story from their brand story?

A: In our opinion, there's no need to maintain a strict separation; as a maker, who you are and what you do daily are inherently interconnected. We advocate for embracing the synergy between your personal brand and your business brand—fostering an environment of honesty and transparency. This approach not only enhances relatability but also encourages individuals to invest not just in your product but in you as a craftsperson. Sharing your beliefs, experiences, and journey contributes to a more profound connection, adding substantial value to your brand.

Pages from Edition 01 of the We Are Makers Photobook ‘An Honest Representation of the Modern Maker’

Q: Are there any particular stories that have really stuck with you from those you have shared since you launched?

A: Numerous stories have left a lasting impact on us, and what truly stands out is the remarkable community we've created over the years. Many of the featured makers have evolved into cherished friends. One notable example is our podcast, initiated over a year ago to complement our printed magazine. We spotlighted the story of Tim Cullen, a talented penmaker in Canton, Georgia, USA who had quietly followed our journey from the outset. Tim reached out to us via DM, expressing his desire to craft a handmade pen as a token of gratitude for us featuring his story in our magazine.

This unexpected gesture took Jack and I by surprise. Tim's appreciation for our work culminated in a unique pen bearing our engraved logo, prominently displayed on the front cover of edition six. Tim promised to send the finished pen to us in Scotland. At that point, our in-person podcast had primarily explored the UK and Europe, and the thought of visiting makers in the US had yet to cross our minds. However, spurred by our commitment to spontaneous travel in 2023, Jack and I embarked on a 35-day journey through the States for podcasting.

Our first stop was to thank Tim for his generous gesture personally, and in the process, we forged a friendship with him and his wonderful wife Tracy, who is also a maker; a full-time ceramicist. They have since become more like family than friends. The generosity displayed by the makers we've encountered along this journey has been nothing short of extraordinary. We thank every one of them who has been a part of this journey.

Jack and I are just two ordinary, ambitious, curious people who genuinely care about the people we feature. We never like the whole 'we feature you once' and never talk to you again. We want to build this community up and continue to help wherever we can.

Q: Which other brand(s) have storytelling that you particularly love? And is there a maker with a story you'd love to share?

A: None jump out at us, I suppose that is why we started this. We are enthralled by interesting people who refuse to walk the beaten track and choose to navigate the world their way. There's something I think many of us have lost in today's society—the ability to explore. Not only explore the world but, more importantly, explore our thoughts and creativity.

Kate and Jack Lennie in conversation with artist and maker Matt Jackson

Q: What’s the next chapter for ‘We Are Makers’?

A: Our journey has been an incredible evolution since our inception. Establishing a magazine has proven to be a formidable challenge—a relentless endeavour that continues to test our mettle daily. With a clear vision, we have a comprehensive list of objectives to achieve this year.

In our initial stages, we operated somewhat behind the veil of the 'We Are Makers' logo, but over the past two years, we've embraced the inclusion of our personal narratives. In a pivotal move in December 2022, Jack transitioned away from his full-time role to join forces with me in building We Are Makers. Since then, our collaborative efforts have propelled significant and swift growth. I believe that is why we have done so well with growing our community: by putting ourselves out there and being transparent and relatable to the people we feature and meet.

Over the past few months, we've been working on a new website that will become a hub for everything we do. We are working to extend our reach, and in doing so extend the reach of the makers we feature. We see We Are Makers becoming a 'media house' for all things maker-related. It will be a valuable resource.

Alongside this, we want to concentrate on more travel and video content. Travel gives us a unique perspective on how different cultures approach making, craft, and art, something we think is highly important to the development of one's creative career. We are currently discussing with and searching for prominent brands about the sponsorship for an upcoming video series we aspire to produce. So, more on that soon!

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Five Brilliant Brands Created And Run By Women

From around the world, each in a different industry, all committed to daring to do business differently.

Image with permission from The Sussex Bee. Photographer Stephen Winslade

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1. ‘The bees will be starting to cluster in their hives, keeping warm and working through their stores. I think they have the right idea.’

Beekeeping - honey & candles - The Sussex Bee

‘Small batch unpasteurised honey and hand-dipped beeswax candles’

The Sussex Bee is the love of Lia Markwick. A second-generation beekeeper, she evokes the wonder of the world of bees, sharing the daily rhythms of hives and honey-making with a gentle respect and knowledge passed on by her father.

‘Spring wildflower honey. Light and tangy - a little floral signature of the season past.’

Lia manages to make her little corner of Instagram a peaceful and meditative place. Every quietly crafted post provides a fascinating insight into the daily drama of her bees' lives; the joys, the skill and the heartbreaks. All of which she captures in her honey room (*a honey room - sign!) pouring the liquid gold into little pots and hand-dipped candles to sell.

‘Forever absorbed in the wonder of this wild architecture - passing hours in the honey room can feel like minutes at this time of year.’

Do follow Lia and her bees. Their Honey & Light Gift box makes a delicious present.

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2. ‘Pale metallic silver waves that glint in the light…a tempestuous sea designed to flow across your walls.’

Pattern design - Abigail Edwards

Abigail's hand-drawn wallpapers, fabrics and accessories are inspired by nature and fairy tales.

‘never-ending tangled brambles with metallic thorns…creating the effect of being nestled in a bramble thicket.’

Pattern can feel noisy and overstimulating but Abigail manages to create beautifully quiet but detailed patterns - ‘Quiet Pattern’ is the title of her beautiful book. The storytelling of her creations can offer space to allow the mind to rest and the imagination to escape and wonder.

‘I look to the soothing colours of nature, or to transportative worlds, to take us away from the strife of modern life. Harmonious shapes, proportions and colour palettes can bring solace to a restless mind.’

I have the ‘Seascape’ design in my daughter’s bedroom and love how she traces the lines of the waves, gentling drifting off to sleep; I like to imagine she dreams of the ocean. Such a calming image I now have it my bedroom too.

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3. ‘With sun-kissed cheeks, grubby knees, and bare feet, no day went by without a picnic.’

Children’s clothing - Organic Zoo

Paulina founded Organic Zoo over 10 years ago and has grown it into a successful brand that is now stocked in 300 shops around the world. 

It’s a joy to work with Paulina as an ongoing Client, crafting the story of her brand and collections.

‘We would dream up wonderful worlds full of joy and colour. There were few toys available to buy so instead we would pretend, creating games, stories and places in our minds.’

She has a true entrepreneur spirit and dares to do business differently, always staying true to her values while looking for the next opportunity. She takes her reponsibility as a business owner seriously, and gives real consideration to the impact and influence she can have on people and the planet. Through her success she is able to support and create opportunities for other women.

Organic Zoo speaks to a simpler, more sustainable way of living, and every piece of clothing is both beautiful to wear and practical for play.

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4. ‘We champion independent makers, designers and brands, and delve into their worlds’

Independent interiors & lifestyle magazine - 91 Magazine

Caroline Rowland is a true champion of small businesses and creatives. Passionate about supporting brands that really care about what they do, and the communities they serve. As a long-time magazine lover, Caroline started 91 Magazine as a passion project, and it’s gone on to be more successful than she ever dreamed.

‘91 Magazine is made up of a group of women, all passionate about creating an independent print magazine that champions interiors for real living, and supports the creative small business community.’

I was a reader of 91 for several years, before having the opportunity to work with Caroline. I admire the way she’s taken on the publishing industry to create the magazine she wanted to read and supporting so many independent businesses and creatives in the process. She’s one of those people that is always working on a new idea which she’ll then execute brilliantly, including self-publishing a series of books.

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5. ‘in everything from wet winds and hard hail, to soft rain and a mild breeze; to gather specimens of this wondrous weed.’

Skincare & food - Mungo Murphy Seaweed

A playful story full of passion and personality.

‘Even when the rocks are covered in frost and the air numbs their labouring fingers, Mungo's helpers are out there - with the rain spitting down on their heads - picking seaweed. And they love it too. Otherwise, they would probably be doing something else.’

The charming character of Mungo is the creation of founder Sinead O’Brien’s imagination…

‘She gave birth to him late one night as she was trying to write a story but instead what emerged was a business idea.’

Mungo Murphy's Seaweed Co. produce natural seaweed bath and beauty products using sustainably hand-harvested seaweed from the Connemara region of Co. Galway. Unusually for a beauty brand they also produce edible products.

The business has won an award in recognition for reviving what was once a traditional food source and encouraging a greater connection, understanding and respect for coastal life and communities.

‘It’s strange to think that seaweed was at one time associated with poverty and today is seen on fine dining restaurant menus and in fancy spa treatments. As a business owner, I wanted to be able to offer all of the natural benefits of seaweed in its simplest form, for people to use in whichever way is of most interest/relevance to them in their lives.’

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Five Brilliant Brands With Love Stories At Their Heart

From around the world, each in a different industry, all committed to daring to do business differently.

Image with permission from Salted Books. Photographer @Iamlaurengrant

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1. ‘Buy books from bookshops. Not a billionaire.’

Bookshop - Salted Books, Libson

‘An English language bookshop in Lisbon.’

This is a bookshop you can judge by its tote bag - ‘bookshops not billionaires.’

Salted Books (‘because everything’s better salted’) are rewriting the script not just in their carefully curated selection of titles, which owner Alex Holder describes as “a little bit salty”, but in their brilliant messaging.

Losing track of time in a bookshop and leaving with a stack of newly discovered titles is one of the great pleasures in life. But opening an independent bookshop in 2023 takes nerves of steel, passion and pots of just-the-right-blue paint.

‘Tonnes of independent bookshops in Lisbon - we’re proud to be one of them.’

With Salted Books, Alex and her husband are doing even more; they’re pulling back the curtain on the costs of opening and running a bookshop, and it’s not all the romantic love story. With the belief that ‘a transparent economy is a fairer economy,’ they’re experimenting with ‘open accounting’ - sharing their own bookkeeping and the financial realities of the bookshop dream.

Follow all the plot twists of this story on Instagram @saltedbooklisbon. It’s one that deserves a happily ever after.

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2. ‘Limited Edition Jackets, available four days a year.’

Clothing - Paynter Jacket Co.

‘We want to bring meaning back to clothing.’

A story of the desire to make the perfect jacket.

‘We take iconic jacket styles and re-make them using the best materials that we can find. All of our jackets are made to order, in limited edition batches, just four times a year. It's our way of making sure we create no waste.’

Founders and couple Becky Okell and Huw Thomas are fully committed to their values and show it is possible to deliver a no-waste business model, creating clothing that’s beautiful, functional and meaningful.

‘We make what we believe in and love. We only create formulas that we want to use ourselves in our own home for our family and for loved ones.’

Follow Paytner on Instagram and sign up for their newsletter, it’s one of the best.

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3. ‘objects for life’

Ceramics - Feldspar

‘beautiful things made properly and to last.’

Feldspar is an irresistibly romantic story set in the wild Dartmoor landscape.

‘Jeremy and Cath began by making a mug for coffee - with a wonky profile to sit perfectly in the hand.’

It’s a business founded on a love of family, home and things done properly.

“Our first child, Milo, had just been born, and it sort of made sense to quit our jobs and take three months off. Jeremy’s parents lived down here, so we found somewhere to rent and spent our time growing vegetables, reading Nigel Slater cookbooks and throwing pots on a wheel that we bought from a man on the moors.”

Soon after, Feldspar was born: a ceramic and homewares company specialising in elegant, textured pieces ranging from coffee cups to butter dishes.

And a passion for preserving craft.

‘A mug for coffee…with a wonky profile to sit perfectly in the hand (mugs are only cylindrical because they are easier to make that way)…

…mould making, slip-casting and industrial bone china production are all listed as critically endangered crafts by the Heritage Crafts Association in the UK. Many of the larger potteries in England now only serve as museums and showrooms, with all of their wares being made (more cheaply) abroad. We were anxious to preserve the skills and craft required to keep bone china production going in England, and to show that it is perfectly possible to make things from start to finish in the UK.’

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4. ‘An obsession with chairs’

Furniture - Wilkinson & Rivera

 ‘Guided by time-honoured techniques and materials, Wilkinson & Rivera create collectable pieces for the everyday.’

With roots in London and New York, the studio was founded in 2020 by Grant Wilkinson & Teresa Rivera, combining their collective experience in fine art, furniture-making and design.

The couple uses ‘age-old processes to craft enduring pieces of design’, turning hardwoods (oak, walnut and ash) into chairs that appear to ripple and move.

Based on traditional designs, their chairs are reimagined with delightful names like ‘puffed’, ‘rippled’ and ‘wilted’.

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5. ‘A truly personal dance we do and ongoing labour of love’

Design - Pinch

‘For us, the worlds of work and home are delicately intertwined - balanced in equilibrium.’

An enduring love story.

‘every element of this furniture has been made with passion and from the heart.’

Pinch is led by a husband and wife partnership, Russell Pinch and Oona Bannon, creating products that are ‘characterised by a quiet and elegant aesthetic, the result of tireless refinement and an intense dedication to craft and process.’

‘We believe in poetic design and making beautiful things, pieces that endure, inspire and aspire to be inherited.’

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The Art Of Brand Storytelling With Imogene + Willie

An American Love Story

‘for lovers of good denim and other treasures’

We’re delighted to be able to share the story of one of our favourite brands Imogene + Willie and to have the chance to speak to the I +W team.

Co-founders Carrie and Matt Eddmenson are master jean makers, and natural storytellers.

Their story starts with an email sent out at 3am telling a few hundred people about their dream; ‘We simply want to sew in the back of the store a good jean for both men and women that fits perfectly.’

15 years later, it’s a story of success with two shops, a team of 75 and I+W jeans sold around the world to a loyal community of customers and fans.

But theirs is also a story of obsession, struggle, heartbreak and refusing to lose hope…

‘The hopeful rise of a fallen dream’ by Imogene + Willie co-founders Carrie and Matt Eddmenson

Q: The story is so captivating because it’s honest and personal. A true love story. You share how I+W was born out of struggle and how it’s grown through risks and uncertainty. Why do you think it’s important to share the reality and did it feel scary to do so?

A: The evolution of our business is not unusual - many businesses face the challenge of staying true to their initial mission statement when up against financial and operational hurdles trying to stay afloat. We try to remain transparent when we make the wrong call, have to backtrack, etc. In 2018, at a pivotal moment in our history, we decided to scale back and start again in order to grow in a sustainable way. I have no doubt that these decisions were made with some fear of the unknown, but ultimately the gut check leads us in the right direction.

Q: In the beginning of I+W, you sent an email to friends and family with the hope of selling 250 pairs of jeans. You now have two shops, a team of 75, and sell your jeans around the world, it’s no longer just your family and friends buying. How has the relationship with your customers changed over time and as the business has grown?

A: We are grateful for the growth of our community and business, but ultimately it does mean it is harder to stay connected with everyone who is a customer now. In the early days, Matt & Carrie knew almost everyone who ever walked through the doors of our shop. Our stores remain a huge priority for this reason - interactions that take place there are the touchpoint that has remained a constant as we’ve grown. Our Customer Experience team is also hugely valuable, allowing us to stay connected one-on-one with those across the globe. They offer interactions beyond online service: they provide remote fittings, and reach out to express our appreciation for customer support. We also utilize other methods of staying in touch, including our email newsletters and social media, as well as community events.

‘In some ways, our story was all we had. It was our identity, our guiding light, our foundation on which to make business decisions. All of our marketing was (and mostly still is) us telling our own story.’

Q: How does having such a clear and strong story help with running the business in terms of decisions, marketing, hiring…working with people internally and externally?

A: In some ways, our story was all we had. It was our identity, our guiding light, our foundation on which to make business decisions. All of our marketing was (and mostly still is) us telling our own story. Our people are hired based on their ability to tell our story. Our partners and people we work with are those who know our story well enough to share it. This is how our community was built, and we owe everything to our community for holding us up for these 15 years.

Q: How do your customers respond to your story?

A: Our customers are incredibly thoughtful and attentive; they don’t miss a thing. They expect us to be transparent and communicative enough for them to make informed decisions when purchasing. They appreciate hearing our process, because it’s a way for them to relate and stay connected to us. Our customers hold us accountable if we ever don’t meet their expectations as far as quality or practices. In turn, when we DO, they spread the word of our company like the gospel.

Q: You’ve focused on doing things well and ‘forever on the quest to make the perfect jeans’. How does the brand story help you communicate that commitment to quality products?

A: While so much of what we communicate has to do with sourcing and production practices, ultimately our products need to speak for themselves and hold up to the expectations of our customer. They come to us to purchase investment pieces, ones that they can trust will serve them for a long time to come. With that, customers provide ample feedback as to fit or fabric, as well as give us their trust that our pieces are timeless designs. 

Q: Your story and purpose is one of doing things well, made in the US, supporting community and people. Was it hard starting and growing a business while being uncompromising in your values? Does that get harder as the business expands?

A: It was definitely hard, and in fact, staying true to these values nearly led to our downfall. Starting the business was feasible at such a small scale with the resources available to us. As we started to grow, we were up against production and sourcing practices in the USA that were limited and expensive. Some of the biggest decisions we made surrounding how to make these factors more accessible ended up being mistakes in the long run and put us in very hard times. Fortunately, we had the opportunity to restart and learn from what went wrong about six years ago, starting a new period of growth for the business that has been more sustainable. Now that we are celebrating 15 years since opening, we are so fortunate to have been able to preserve our value set while growing and to have now reached a size that is able to support smaller businesses with the same values.

Q You share your story consistently and beautifully, weaving it into everything you create and do. How do you use it so effectively as a marketing strategy? 

A: Thank you for such kind words! We strive to remain a creative-led business, which means we have creative minds at the helm of all strategy. In turn, everyone who has a hand in the process of whatever we do has a beautiful and unique way of sharing their version of our brand story. Through the passion of our team, we are a very united front on how we market the brand. Each of us is an ambassador of the brand and represents it with pride. So while we have an exceptional team in-house that focuses on conventional marketing, those for whom the brand voice and image are deeply ingrained, everyone in the company shares a collective responsibility for marketing in a variety of ways. For instance, our retail team introduces new people to the brand when they walk in our stores, our web team creates an engaging and smooth user experience on our site, our creative team tells stories through photos and videos, and our development team tells the story of textiles through the mills and artisans we work with.

Q What advice would you give to a business owner about how to create a story to share and sell their work?

A: Stay true to yourself, stay true to your identity, even when outside forces try to get you to be more conventional, follow a playbook, conform. Patagonia’s founder Yvon Choinard is known for saying, “Every time we've done the right thing it's ended up making us more money,” and I think this is an amazing principle to follow, based on what is right for you and your people. 

Q Which other brand stories do you love and admire?

A: We’ve had the privilege of partnering with some of the folks we most admire in our space, such as Vidalia Mills, Crescent Down Works, Save Khaki United, and Little River Sock Mill, who are each carrying on the legacy of American manufacturing that has been fading around us over the years. Similarly, the folks at Musgrave Pencil Co. have withstood a century of industries and resources changing around them, remaining steadfast to their old traditions. And then there are people in our community, like Cameron and Whitney Weiss of Weiss Watch Company - they own some of the most state of the art technology in the country in their facility, but meticulously do everything themselves in order to offer a perfectly-made product. This list could go on and on!

Q: What’s the next chapter for Imogene + Willie?

A: As we begin to celebrate our 15th anniversary, we are simultaneously looking back and looking forward. We see this as a time of reflection, a time to celebrate how where we started got us to where we are now. With this in mind, it’s an opportunity to revisit the early days and invoke nostalgia for our community while enforcing the values we were based on. This year is all about partnerships, because no one (and no business) is solely responsible for their own success, it comes from the support of others. Looking ahead at our next 15 years, our goal is to keep this momentum going, allowing us to better the lives of our people and leave the planet in the best condition possible.

supper + song at Imogene + Willie. Gathering community around music.

Questions answered by Jackie Berkley, Director of People + Culture at Imogene + Willie

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One Simple Thing.

Stories From Running A Small Business.

Keep going. You'll get there.

Amid the intensity of lockdown, I came across a running group on Instagram, with one simple focus.

Run every day for at least a mile.

I definitely didn’t need another thing to do (lockdown, freelancing, 4-year-old), but I was attracted by the simplicity of the idea. That same day, I pulled on my scruffy trainers and a playlist of favourite tunes and left the house. It wasn’t pretty or quick, but it was precious time alone and fresh air. And so, I did the same thing the next day. And the next.

That first run turned into more than a year of running every day (392 days and more than 1,000 miles before Covid caught up with me). I was injured twice and fell over, twice. But hobbling or bloody, I always managed at least a mile. The group was a real community; people from all around the world, sharing, commenting, cheerleading. There was always someone running. I became stronger, fitter and calmer. 

But more than anything, I’ve realised the power of doing one simple thing.

Committing to a single goal and working on it consistently really does make a difference. I don’t know at what point it became a habit, but a short run outside became part of my daily life. I couldn’t imagine not doing it, and it no longer required motivation. 

I just ran. One mile. Every day.

I remember at the start thinking one mile was too far, and also thinking the opposite, that nine minutes a day wouldn’t be long enough to make a difference. But one mile isn’t as far as you think, and it gets easier. And nine minutes, every day, adds up to time well spent.

It’s over three years since I joined the group and that first run. We’ve gone from 70 of us, to 17. I’ve never met them, but we message daily, sharing our exercise and a snapshot of our lives. There have been birthdays, anniversaries, pregnancies, divorce, grief, and all the moments of life in between.

I still run, just not every day. But the simple habit has stuck; every day, I move, run, do yoga, walk, swim, and even climb (more on that soon).

Simple, little and often.

Inspired by this, I’m applying the same principle to my work. I’ve decided to focus, really focus, on one part of my business every month. Of course, I’ll still do the other things that make it all work, but each month throughout the year, I will pick an area and really focus on that one thing. It’s already helping. I feel less overwhelmed and less busy, but I’m getting more done, and it’s having more impact.

For January, it was my blog. A little bit of time every day spent developing ideas, getting my features planned, copy written, SEO refined, planning the marketing and hitting publish.

If you’re reading this, then I’m doing it, it’s working.

One month. One thing.

What one area of your business would you really like to focus on improving or simplifying to make the biggest impact to your work and life?

Five Brilliant Wellbeing Brands Using Storytelling To Sell

From around the world, each in a different industry, all committed to daring to do business differently.

Image with permission from Sati. Photographer Tor Harrison

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1. ‘Inspiring you to slow down and invest in rest.’

Yoga & Meditation - Sati

‘Creating space for body and mind.’

Based between Cornwall and a small village on the outskirts of Jaipur, India, Sati is a range of bespoke meditation accessories using natural dyes and traditional block printing techniques.

Owner Claire is calm and thoughtful in everything she creates from hand-printed meditation cushions, to yoga accessories and jewellery (I wear a pair of Sati gold hoops every day).

Sati gently invites us to slow down, to pause and be still.

‘‘Our process is a celebration of handmade craft, traditional practices and nature. Sati means awareness in the ancient language of India and we have made every effort to cultivate this in our approach to the project and the evolution of our designs.’

Every detail, word and image evokes a sense of peace, that can be felt even online and amidst the noise of social media.

A beautiful brand story that manages to stand out with quiet confidence.

‘With this ‘integrity over profit’ mindset, I have also taken the time to find highly skilled local craftspeople to work with, the meeting of whom has felt as organic as the process itself. By donating 10% of our profits to I-India, a charity supporting street children in Jaipur, I hope to broaden the positive impact of your purchase and keep the wheel of kindness turning.’

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2. ‘Wilder: / to become one with nature. Full of adventure, courage & mischief’

Health & beauty - Wilder Botanics

‘Holistic beauty rooted in naturopathic philosophy & centuries old methods combined with modern techniques.’

This is a love story.

Wilder Botanics was created by Rachel Landon, a naturopath and herbalist and her husband Charlie.

‘We make what we believe in and love. We only create formulas that we want to use ourselves in our own home for our family and for loved ones.’

Wilder’s products are made by hand, infused with knowledge, time and patience to create naturally potent herbal products to support a range of needs including sleep, stress and immunity.

Follow Wilder Botanics on Instagram, visit their beautiful shop on Broadway Market in East London, or their website to buy their collection of oils, remedies and teas.

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3. ‘Not your average running club.’

Health & Sport - Running Punks

‘Human development through music and running’

A story of community and a shared love of music and running.

Discovering Running Punks was one of the few good things about lockdown. I started running every day as a way to escape the worry, pulling on my trainers and with a playlist of my favourite tunes running and music was how I coped and the Running Punks community were a big part of that. 

Former GB athlete and musician Jimmy Watkins started filming music reviews of himself on a run while listening to an album. With an infectious enthusiasm and a way with words, he captured the freedom and simplicity of running.

“I believe good albums take you on a journey and tell a story which you gradually figure out after repeated listens. My love of running and love of music were perfect for one another.”

With co-founder Rhodri, Running Punks is a club that brings together people of all abilities under the umbrella of punk independence and individualism, creating a strong, healthy community that’s about so much more than Strava stats.

‘Who cares if you can run fast or far? You don’t even need to know anything about running. The important thing is that you take that first step and you keep on moving.’

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4. ‘It’s time to live more pleasure-filled, vivacious lives in healthy, holistic, conscious ways. Will you join me?’

Cooking & Nutrition - My New Roots

 ‘Irresistible, natural food that happens to be good for you.’

My New Roots is an irresistable story of a life well lived. It begins with a simple tomato…

‘…a yellow pear-shaped one picked straight from the vine and filled with more flavour than she ever could have expected. Since that day her approach to food has been all about satisfaction, meals that satiate on a physical, emotional and spiritual level.’

I was first introduced to the work of holistic nutritionist, writer and photographer Sarah Britton in the first Kinfolk book in 2013. Then Sarah was living in Copenhagen where she created and published wholesome recipes on her blog ‘My New Roots’. Her food was simple, delicious and nourishing and her recipes read like a message from a favourite friend.

‘‘I was so tired of being bombarded by self-interested media and half-truths about how to look after myself, and I knew I wasn’t alone. Since my education was almost like a user guide for my body, mind, and spirit, I thought it was time to spread the word! When I discover something new I am simply too excited not to share! We’re all in this together – let’s help each other be the best we can be! (Yes, I was probably a cheerleader in a past life).’

Since then Sarah has published two cookbooks and launched an online learning platform GROW (which I’m a member of and find endless value in). It’s a curated space where Sarah shares not just her recipes but her knowledge about how to look after yourself on all levels. GROW is bursting with Sarah’s infectious passion and enthusiasm, there’s cooking, yoga, dance, meditation, live classes and even gardening lessons to grow your own ingredients.

‘Movement, meditation, breathwork, connection to nature, and surrounding myself with positive, expansive people that show me what is possible – all of these things have changed my life, and I hope they will change yours too!

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5. ‘ Pack your stuff, set your alarm, get up early, meet us at the shore…we swim at dawn!

Sea Swimming Club - The Dawnstalkers

‘Pirates, mis-fits & mermaids - all welcome! ‘

Celebrating the joy of cold, salty water, Dawn Stalkers is a community, motivating and supporting each other to get the maximum endorphins from the daily habit of outdoor swimming, encouraging people to get in the sea as the sun rises each morning.

‘For everyone who wants to do something for themselves first thing in the morning. For the Dawn Stalker every day is special, no matter the weather, they make the most of it.”

Created by Grant Zehetmayr Dawn Stalkers has grown organically, by word of mouth from a couple of people to a loyal community of hundreds, with one simple message...

‘We swim daily, we swim at dawn, sea you at the shore. ‘

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The Art Of Brand Storytelling With Design Studio 'Joyce Of All Trades'

Joyce Vacca, shot by Mim Howell

Good design is more than a pretty logo, tasteful colours and trendy fonts. It’s about bringing the story and purpose of a business to life, capturing the feeling and heart of what a brand does.

Designer Joyce Vacca creates brand identities that are always thoughtful and rich in meaning.  We collaborated with Joyce for the ceramics business Barton Croft, creating a compelling story to go with Joyce’s brand design, including the beautiful table illustration. Working for a pottery brand was a natural fit, as Joyce describes her work and approach as ‘like a potter moulding clay…shaping a brand from its raw potential, transforming it into a beautiful and sustainable expression of what they do.’

Like her designs, Joyce runs her own business in a soulful way, focusing on balance and well-being. In our conversation, she provides helpful insight into finding a sustainable way to be a successful business owner; wisdom many of us could benefit from at the start of the new year.

Q: January is often a time of reflection and setting goals for the year ahead. What is your advice for small businesses that want to do their best work and drive their business forward in a sustainable way in 2024?

I love the sense of newness that January brings! I think the best thing you can do is take a moment to step back and reflect before you jump into action. Reflect on the past year and ask yourself what things no longer serve you - either financially (because financial health is important) or passion and interest-wise. Priorities that you cared about a year ago may have shifted and it’s important to pivot your business efforts accordingly. I find that it’s especially important for small businesses where personal life and business are so intertwined. Life changes and so our businesses need to shift with them. Don’t be so wrapped up in the frenzy that you run in a direction that’s diametrically opposed to where you actually want to go. List the things you want to cut down or reduce but also expand on the things that get you excited and/or provide the stable foundation to allow you to go after the things that matter to you. Your plan always needs to be a blend of grounded realism and heartfelt vision.

Joyce Vacca, shot by Salsabil Morrison

Q: A lot of your work involves helping brands truly understand what their values are and what makes them unique. Do you go through a certain process with each brand to help them uncover their story? 

I do and it’s one of my favourite things to lead my clients through. I have developed my own twist over the years which I lovingly call my ‘Wayfinding Workshop’. My framework takes us through your why, what and who through a series of starter questions that serve as an intentional springboard into unique (yet guided) conversations where we find the gold and connect the dots. I find the brand story always emerges in dialogue and I love the part where I can see things click in my clients and things suddenly become clear. That clarity of knowing who you are and your place is a powerful thing. 

Q: How important is having a strong brand story when designing and creating visuals for a brand?

Every designer’s brain works a little differently but for me, it’s integral to the process. I love linking back visual decisions to the brand story, researching relevant cultural and historical references and pulling those through into their brand world in a way that echoes their story. You can harness our shared visual language in wonderful ways and it adds so much depth to the work! In practical terms this can take many forms, for example, I would look at typography that reflects both the tone and the context of the brand or develop icons and imagery that may have a personal connection to the brand founder but also tell the overall brand story. For a recent project, I did a deep dive into William Morris’ patterns since the client’s interior styling approach was inspired by his work, so I had a lot of fun building a vintage typography system. I always want to feel like the audience steps into a little brand universe when they interact with the brand.

Packing slip designed by Joyce of All Trades for pottery studio Barton Croft

Q: You’re someone who really prioritises your own wellbeing and creating a business that’s sustainable for you long-term. How do you manage to maintain those boundaries and ensure you’re doing work that inspires you creatively without getting overwhelmed?

It always is a bit of a work in progress. But I think it’s really important to not let your work consume your identity. Your business is something you do, not something you are. It’s something that you cultivate, nurture and steward, a little bit like a plant. Seeing my business as its own entity that I get to shape and harness has helped my mental health massively. I have discovered, I benefit from some routine although I don’t have a very fixed schedule, I try to maintain rhythms that are helpful for me to stay on track. I would also say I’m less ambitious than some business owners so that helps with not constantly feeling like I am behind on my goals and maybe in some ways that’s more sustainable. I do believe good things take time and it’s ok not to be the biggest name in the game, as long as I know I do my work with excellence and leave things better than I found them (and can make a living whilst doing so).  

I also keep an eye out for my ‘give out/recharge’ balance, if I feel like work and life has been a constant pouring out recently I try to claw back some margin doing things that recharge me. So if I have a big few weeks, I schedule in a slower admin day afterwards or even just a potter around my local book shops to give my brain some space to collect itself. Sometimes that’s not possible but I found that there are always modifications for something to at least help me tilt the balance a little bit. I like to look at my energy levels distributed over the week not the day, some days just require me to be all in and other days don’t, so I try to keep an eye on the overall trend of energy expense - and being mindful of other things on my plate that also require emotional and mental energy especially outside of work, sometimes we forget to ‘budget’ for those things. 

I would also say boundaries are not necessarily rules set in stone, different things work for different people. 

Q: Does having a clear and strong brand story help you run your own business, for example, does it help you to make decisions and connect with Clients?

Absolutely! If you know what you’re about, you’re not so easily sidetracked by what everyone else is doing. It’s like a compass that helps you stay true to yourself and when I haven’t followed it in the past, it did not go well for me. For example, all the thoughts on boundaries that I shared with you are rooted in my brand story centred around grounded craftsmanship, design with soul and substance for artisan souls - people and brands that do things well and beautifully. 

Because of that my marketing strategy is rooted in inviting honesty and an emphasis on collaboration and dialogue. My brand is never pushy, never forceful and I will not encourage someone to invest outside their means for example - I have actually talked some potential clients out of a rebrand because it was not the right move for them at the time and one of them thanked me relieved and teary-eyed, so yes I missed out on a contract but it was the right thing to do in her situation. 

This also goes for my pricing strategy, I deliberately have crafted packages for people who want to do things properly and want to give their brand the time and headspace it deserves, structured in a way that allows me to do work that is thoughtfully constructed and well executed whilst being fairly compensated. I don’t lower my prices because it would mean to cut corners and that goes against my brand story, however I offer different services to meet different needs in a way that is congruent with my brand story.

So yeah, getting clear about your brand story can definitely help you make big business decisions.

Image: Tote bag designed by Joyce of All Trades for jewellery brand Studio Adorn

Q: What other brand(s) have storytelling that you particularly love? And is there a brand with a story you'd love to work with?

There are so many!!! I love the concept of Maison d’Etto, designed by Lotta Nieminen, she distilled the story and visual references into such a striking and elegant brand identity, truly one of my favourite brand identities to date. A. N. Other perfumes also have a really strong brand story that weaves through everything they do. 

Personally, I am a huge fan of Joanna Eliza’s photography & videography, they have such a strong brand narrative around slow living and emotional intimacy which would be such an honour to translate into visuals. Another dream project would be some local bakeries that work with regenerative wheat and spearhead other sustainable practices,  I would to collaborate with them!

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The Art Of Brand Storytelling At Christmas With Stylist Alice Walker

Alice Walker, shot by Helena Dolby for 91 Magazine

Introducing stylist Alice Walker. There’s a good chance you already know Alice, or at least are familiar with her work. Alice is in demand for brands, big and small, looking for images that deliver compelling visual storytelling. Her client list includes Organic Zoo, Orna Candles, Molly Meg as well as M&S, Penguin and H&M. Before becoming a stylist full-time, she worked for media agencies including News International and Saatchi & Saatchi.

Alice has an eclectic eye and a talent for creating beauty from simple, natural and humble materials, she can find the potential in items that others often overlook or discard. The images she creates for her clients are full of distinctive character, rich with emotion and show that brilliant branding doesn’t require a big budget.

Images styled by Alice Walker for Organic Zoo

Q: We’d love to know how you approach storytelling at Christmas - is there a specific process you go through to tell a story that feels unique to each brand?

A: I try and mix up the process every time mainly down to the fact I have a very creative brain and can’t really follow rules or do the same thing every time. I tend to start things off by creating physical vision boards or pulling together pages of visual references. Once I have seen what I am styling, taken the brief and looked at the colours and tones, then I start exploring what inspires me. My approach is to keep ideas fresh and pair products with the right props and textures. I’m always thinking about how I can move the brand story for a client, to deliver something beautiful and impactful, but without changing the story too much.

Q: What is your biggest challenge when styling festive shoots? And what is your favourite part about working with brands at Christmas?

A: I really look forward to seeing what the brand has designed and made. Sometimes you are the first person to see the items so it’s lovely to see it all ahead of launching. The biggest challenge is getting into the festive mood in the summer months. This tends to be when Christmas campaigns are shot. There is a lot of digging through archives, old books from charity shops and visiting car boot sales. Although there is an importance to look at trends, what will please and inspire people - it’s still very important to sieve through everything, come up with new colourways, textures and fabrics but get to a point where it all sits nicely together. And when it does come together, this is my favourite part.

Q: You have a really distinctive minimal style that still manages to feel beautiful and generous, how do you select and use props in your work to tell a story?

A: That’s very kind. I spend a lot of personal and work time sourcing items. I could pick things up from anywhere. I try and avoid the tip because I really would use anything (even rubble!) I will find things and my brain will just start to tick and deep down I know certain things will be good one day as a prop. Often when I’m both styling and photographing, I start with all the props on a table and build the scenes from there. Removing them, shooting them, re-adding them again to ensure everything works together and captures a moment, feeling or story. I often give my mum a call at the allotment for fresh produce to use. A lot of it really is instinct and being able to experiment and play over the course of a week which is why shoots can sometimes take a little longer than normal to deliver images that are meaningful.

Image: Orna candles, styled & shot by Alice Walker

Q: Natural elements invariably feature in much of your work, how do you use nature and the seasons to inspire ideas? Is the natural world something that has always inspired you?

A: Absolutely. My styling career started out when I used to forage on walks. I would style tables and little nooks with old wildflowers, use pressed leaves and stems for flat lays, find big sticks fallen from big trees back in London and use them to hang things from in my old flat. The natural world gives a lot back to me, I use it for inspiration every day. Whether it’s the sunlight, shadows, to the colours and tones in flowers.

Q: How does working with a brand that has a clear and strong brand story help when it comes to styling? Is the brand story something you often refer to?

A: It really works both ways. It is always lovely to work with a brand that has a clear direction and story, and people who can write you a clear brief. On the other hand, I work with a lot of brands who have a blank canvas, they have no idea what visuals they need for their products, and you can get creative by forming new ideas. It’s really fulfilling to problem solve for anyone needing fresh ideas, often simplifying things and going back to the drawing board. But I really appreciate and admire those brands that stand out, and I love helping them move ideas and their story on, in a consistent way.

Christmas cards by calligraphy studio Ink & Flow styled by Alice Walker

Q: Can you share some other brands with storytelling that you particularly love? And is there a brand with a story you'd love to work with?

A: There are so many. From the high street brands like Toast who always create earthy and comforting campaigns, I love Garbo and Friends too. To mid/smaller size companies like Sleepy Doe and of course Organic Zoo. I have loved seeing the launch of Glassette, adding some fun into their curation of products and styling.

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Five Brilliant Brands Using Storytelling To Sell At Christmas

Image with permission from Scribble & Daub. Photographer Kim Lightbody

Celebrating Christmas with brand stories full of magic and wonder.

1. ‘Untangle the fairy lights, cue up Mariah, crunch on a candy cane and pour the sherry - Christmas celebrations can officially begin!’

Stationery - Scribble & Daub

‘Scribble & Daub exists to celebrate the joy of giving every day.’

Created by talented illustrator Caroline Kent, Scribble & Daub nurtures meaningful connections, encouraging us to take a moment to write a card and let someone know they matter. The designs inspired by the natural world, are simple, playful and elegant, with wonderfully rich hand-painted colours.

If you’re a Simple Matters Media client, there’s a good chance you’ll have had one of Caroline’s cards. The Christmas collection, which includes paper decorations, is especially brilliant, the lobster makes me smile so much that it now has a permanent place hanging in my kitchen.

‘From Lobsters & Cherubs to Pears and Toadstools. Adorn your Christmas tree in sustainable style with our first collection of beautiful paper decorations…hand-painted with gloriously coloured inks, and strung with pistachio satin ribbon, these heirloom quality ornaments are designed to last a lifetime.’

Follow Caroline's Instagram and visit her website to buy her cards, decorations, prints and commissions. Every home should have a festive Christmas shrimp!

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2. ‘Filled with Christmas wonder’

Homewares & Lifestyle - A G Hendy. A shop, a kitchen, house & a school.

‘Lit by candlelight and with log fire crackling, filled with the smells of spiced wine and wood-smoke and decorated with traditional Christmas decorations of blue fir and home-baked gingerbread.’

A fairytale Christmas full of delight and simplicity. A G Hendy is inspired by Christmas past, a time of parcels wrapped in brown paper, tied up with string and decorations made from natural materials. Rooted in tradition and heritage, the shop offers a modern, more sustainable way to celebrate with an honest appreciation of simplicity, form and function.

The Christmas Book is on my wishlist this year…

‘Like entering the pages of a Grimm’s brothers tale…it’s as if the elves have just skipped out, a few crumbs left upon the floor…’

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3. ‘A Land where anything is possible.’

Children - Polar Post

‘Children see magic everywhere they look because they are themselves magic.’

Polar Post is a team of elves helping Father Christmas deliver thousands of beautifully handwritten and illustrated letters to children with a little magic.

There’s the nostalgia, delight and wonder of a traditional Christmas brought to life through whimsical and imaginative storytelling.

A world where every child is celebrated and magic is cherished.

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4. ‘It's late, the games are out, the after-eight wrappers are discarded on the table, and the raucous fun has begun…’

Homewares - Caro

An old story but one that’s brilliantly told. From Christmas past of ‘21 and the wonderful shop Caro in Bruton, Somerset. The shop is now closed as owner Natalie Jones is focusing on other creative projects (her podcast also called Caro, is a wonderful and insightful listen) but it’s still a favourite example of mine of creating a simple Christmas story to share across a series of Instagram posts that’s memorable, evocative and sells.

The collection of posts celebrates little moments of the Christmas spirit told through the ebb and flow of the day from first waking…

‘We love the thought of a still, warm, country-style kitchen that slowly sees family members creep downstairs to enjoy a hearty breakfast before the unwrapping of presents and celebratory clinking of glasses begins.’

to Christmas lunch…

‘The feast has been eaten and it’s time to take a break. Some are napping, others are around the table chatting over a cognac, nibbling at a gingerbread house...’

and on into the night…

‘We've all had a few too many bubbles so the negroni's are flowing whilst those who are awake jovially argue over whether the dice rolled a six or a four. At Caro we have all the things you need for a fun and playful Christmas.’

The storytelling is so evocative and perfectly captures so many of the universal moments of a family Christmas. The content is still available on the Caro Instagram account. You’ll find the posts starting here.

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5. ‘When the humans left…for the festive seasons, the animals came out of the woodland and wondered: “What makes a Christmas?’

Hotel - The Newt in Somerset

A delightful Christmas film weaving a story of enchantment that feels like stepping into Narnia.

‘A tree? Decorations? Presents? Something to eat? They wondered and they wandered…something’s missing…’.

With stunning costumes and videography it’s marketing on a bigger scale and budget but still with a story at it’s heart.

‘They came to realise being together is what makes a Christmas after all.’

Watch the film here.

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