2 Ingredient Pumpkin Cake

I was really skeptical about this recipe and I honestly only made it because I didn’t think it would work. I was completely surprised that it worked and that it was really good. It is a recipe I will be making all Autumn!

The recipe really is only two ingredients. One 15 ounce can of pumpkin puree and 1 boxed cake mix. I used carrot for the video, but typically recommend spice cake for the season.

I did cover mine in an icing, but would probably recommend a cream cheese based frosting next time.

This recipe works because of the water content in the canned pumpkin. This would not work with fresh pumpkin, so please do not waste your time.

RECIPE:

Preheat oven to 350. Well grease a Bundt or muffin tins. This cake will not rise as well as a boxed cake typically would.

Mix together 1 15 ounce can of pumpkin puree and 1 boxed cake mix. Add to pan/pans. Bake until tooth pick comes out clean.

Cool and frost, or serve on its own. This cake is incredibly moist because of how dense it is.

---

FOR MORE AUTUMN RECIPES:

A Taste of Autumn

$16.00

The Cottagecore Baking Book Q&A

We first met Kayla of Under a Tin Roof in 2019 with the story we did on her and her homesteading in Iowa. A lot sure has changed since then, but Kayla remains committed to celebrating a homemade and homegrown way of life. in 2024 her second book was released and we asked her a few questions to learn more about THE COTTAGECORE BAKING BOOK

Tell us about the book and what inspired it. What all can we expect in the book.

My cookbook welcomes you to an enchanting escape into the realm of cottagecore baking, where rustic charm meets mouthwatering flavors. The book is inspired after the various different subgenres, or cores, that make up the aesthetic of cottagecore as a whole such as fairycore, hobbitcore, naturecore, goblincore, etc. Each recipe is unique and fun. Many of the recipes are geared towards beginner or amateur bakers, though there are a few more complicated recipes. My hope is that they are written in a way that makes it easy for a baker at any skill level to understand and achieve success. My passion for creating visually captivating recipes that are styled like a fantasy or fairytale are what makes this book different from other baking books, and I think that makes this cookbook something to be enjoyed even if you aren’t absolutely obsessed with baking and cooking like I am!

Who you are?

I am a recipe developer, cookbook author, video and content creator. I started my blog, Under A Tin Roof, in 2015. Then I mostly wrote about herbal folklore, indoor gardening, and baking bread. My content has bumbled and tumbled over the years, but growing and cooking food have always remained consistent topics for me. Now, my blog and video content mainly focus on living a cozy fantasy lifestyle. I love creating whimsical recipes, from savory to sweet, and romanticizing everyday life. My first cookbook (The Prairie Kitchen Cookbook) was released in June 2023, and my second cookbook (The Cottagecore Baking Book) was released in February 2024.

What inspires you?

So many things! I am constantly inspired by film and literature. I love stories set in the English countryside, and I am especially drawn to cozy fantasy stories. I love researching my family history and genealogical roots. As someone who does not have a close relationship with my extended family, I have had to do my own digging to learn more about where I came from. There is so much inspiration in learning more about your heritage, especially when it comes to cooking. Personally, I have roots mainly in Eastern Europe (Poland, Lithuania, Russia), Germany and The Netherlands, Scandinavia (Denmark and Sweden), and the UK (England, Scotland, and Ireland). It’s a big mix, but it leaves me with a lot of places to learn more about domestic traditions that were never passed down to me.

What drives your creativity?

I truly believe my creativity and drive comes from my neurodiversity. I am AuDHD, and I have entirely built my business around my special interests. I love cottagecore style and home decor, I love whimsical and frilly cakes and pastries, and I love learning about domestic history. Because I am so deeply invested by this deep passion for learning more and trying new things, I can’t help but work on it.

What do you want to do/hope to do?

I often have lofty dreams and ambitions, but this year I am trying to focus on narrowing down my work so that I can put more effort into working on quality projects. I miss blogging and feel that it was put on the back burner as social media and short form video content has been on the rise, plus writing two books took a lot of blogging time off of my hands! I think, at the least, I am looking forward to putting more effort into my website again and building an audience on YouTube. As for big dreams… It would be wonderful to be part of a television series. I have been approached a few times, but it never amounts to anything. Perhaps one day a streaming service or television network will think that a cozy, silent cooking show sounds like a good idea!

What aesthetic/lifestyle do you identify with most?

I want to say cottagecore, but I think “Cozy Fantasy” fits me best. I love magical stories and quirky characters. I rather like to think of myself as one.

For the book, what is your favorite recipe in it? What do you hope people take away from reading it/cooking with it?

My favorite recipe in the book is definitely the Pink Lady Cake! It’s absolutely delicious and I love that it is made with real strawberries to flavor the cake and the frosting. I hope that people enjoy the beauty of baking while they create from the book, and that they feel even a small touch of romanticizing the little things. I hope that they feel a warm hug from me in their own cozy cottage kitchens.

---

MORE FROM FOLK

A Day at Waltons Creek 2024

2024 brings the fourth Southern Supper, our annual tradition that invites everyone to bring a side, starter, or dessert and join us around the table for an old fashioned potluck! Each year people come from all over with their very best dish in tow. We provide the sweet tea, lemonade, fried chicken, and plenty of homemade bread. Together the fellowship feels straight out of a small town Hallmark movie! The only rule at this table..no talk of religion or politics. All are welcome here. In today’s world everyone feels divided, and we want to bring everyone together, even it is just for a few hours and a really delicious meal.

Simply bring a covered dish. We will provide all the details. Come as you are and be ready to make new friends.

We eat at 6:00 pm on Saturday, September 28, 2024, but we ask everyone to arrive around 5:30 for the welcome.

THE BARN SALE

GENERAL ADMISSION TICKETS HERE

order early bird tickets

NOW AVAILABLE: EARLY BIRD PASSES: Come shop an hour early! Beat the lines and crowds and get first pick at vintage, antique, and handmade finds! Get to the sweet treats before anyone else too! Early Bird Tickets give admission to the Barn Sale from 9 am - the close at 5pm. Limited quantity available.

BARN SALE SCHEDULE:

9AM - 10AM: EARLY BIRD SHOPPING. Shop before the crowds. Early bird attendees will receive a free donut at entry and a BINGO card for BINGO at 4pm. PRICE: $15 PER PERSON

10AM-5PM: GENERAL ADMISSION SHOPPING: Shopping will be open in the Barn Sale area at this time. Food and beverage vendors will have food and drinks available for purchase during these hours. Entry fee includes a cookie at entry and a BINGO card for BINGO at 4pm. PRICE: $5 PER PERSON

1PM-2PM: CARAMEL APPLE BAR! A sweet treat and nostalgic autumn staple, create your own caramel apple with the help of our Caramel Apple Bar Attendant. A crisp apple covered in chocolate, caramel, or both! Sprinkled with festive frills. A tasty good time. $5 PER APPLE

2 PM-3PM: Pumpkin Painting: Create your own masterpiece! We’ll provide all the supplies for you or your child to create your own small festive pumpkin. Let your creativity go wild! 5 per pumpkin. Pie pumpkin sized pumpkin | $5 PER PUMPKIN

3PM-4PM: OLD FASHIONED FRIED BISCUITS AND APPLE BUTTER: Learn the old fashioned way of making fried dough, an autumn carnival favorite! Fresh biscuits cooked in hot oil and smothered in cinnamon and sugar. Served with apple butter for dipping. $5 PER ORDER

4PM: OLD FASHIONED BINGO! Join us for a round of BINGO. Prizes will be silly treats, this is for fun and games and merry good cheer! INCLUDED WITH ADMISSION

New for 2024 we have combined our annual maker/vintage market with our Southern Supper to create a weekend in the country…a beautiful Autumn day in the country.

Our market, one we started in 2020 brings together dozens of vintage, antique, and handmade vendors (plus a few food vendor) together for a beautiful countryside Barn Sale. Come ready to shop. Prices range from thrifting to fine antiques. Stay for lunch, stay for the shopping, or stay simply to enjoy the day.

If you would like to be a vendor at the market please email editor.folk@gmail.com for the details. We have booths and table space available, depending on your needs. All vendors will be juried to ensure a good fit for the overall market.

WORKSHOPS

As with every year we offer a series of workshops, lectures, and demonstrations. The following are our 2024 offerings: TO REGISTER CLICK HERE

10:00 AM: PEARL NECKLACE WORKSHOP

This ain't your mammas pearls! Learn the craft using wire and chain to make these dainty everyday necklaces (or bracelet) with HorseFeather Gifts. || $40 per person REGISTER HERE

12:00 PM: FOLKART HEXIE CUSHION WITH CHRISTIE JONES RAY

An introduction to English Paper Piecing will find you falling down the rabbit hole of this craft. A simple flower hexie pincushion using vintage and hemp fabrics is just the project to get you on your way. All you’ll need are your favorite fabric scissors, and everything else will be provided. |$30 per person REGISTER HERE

1:00 PM: WHAT QUILTS TELL US

The history of quilts is one that is deeply embedded in the fabric of America. Join us for this workshop and discover the vibrant and rich history of The Quilt in the US, from how to identify patterns, fabrics, and wear as a way to date quilts, to learning and discussing proper care and cleaning practices. Please bring a quilt of your own to share with the fellow attendees as we do a bit of show and tell during this interactive workshop. | $8 per person REGISTER HERE

2:00 PM: SEASONAL DRIED FLORAL WORKSHOP

Join us learning to work with dried seasonal florals. We will craft a beautiful small arrangement made with a handmade fabric pumpkin as its base. Learn about the florals, about arranging florals, and ways to allow your own creativity to bloom. You will leave with a piece that can be a part of your autumn decor for many years to come. | $20 per person REGISTER HERE

3:00 PM: HERBAL INFUSED SHRUBS WORKSHOP

The Lost Art of Shrubs: Old world methods for modern cocktails and mocktails. Join us as we learn about creating these vinegar and herb based shrubs...an art that dates back to colonial times. Join us for a garden workshop where we'll be whipping up some seriously tasty fruit and herb shrubs, the ultimate thirst-quenchers and cocktail enhancers! Using fresh organic fruits and home-grown herbs, we will explore the delightful world of shrubs & drinking venegars, combining natural sweetness with the depth of herbal flavors. Throughout the workshop, attendees will: Sample a variety of meticulously prepared shrubs, showcased in a range of drinks and cocktails (participants must be 21+ to consume alcoholic beverages). Learn the step-by-step process of creating shrubs, from fruit and herb selection to maceration and infusion techniques. | $30 per person REGISTER HERE

4:00 PM: CANDLE MAKING WITH MARK

Join us for this fun and fast introduction to the world of candle making with Mark. Craft your own custom scents and learn all the necessary steps to make your very own candles. | $12 per person REGISTER HERE

9-5: FULL DAY OF WORKSHOP

Arrive at 9 am for early bird Barn Sale shopping (included in the price) and begin workshops at 10 am. Workshops conclude at 5pm, with the hope that you'll also join us for Southern Supper at 6 pm. 10 am: Pearl Necklace Workshop 11 am: Lunch (not included in price) 12 am: Folk Art Hexie Cushion with Christie Jones Ray 1 pm: What Quilts Tell Us seminar 2 pm: Dried Floral Workshop 3 pm: Herbal Infused Shrubs Workshop 4: pm: Bespoke Candle Crafting with Mark | $140 per person REGISTER HERE

ADDITIONAL ACTIVITIES & FUN

Wonderland of Play Dolly Picnic PlayDate: 11 AM

Bring a picnic blanket and your dolls, teds, Blythe, and toys to show and share with fellow dolly peeps.  Wonderland of Play encourages collectors of doll, toys, teddies, and BLYTHE to celebrate their collections through PLAY. Join us to share lunchtime and chat with us about your collections and our dolly adventures.

Hosted by visiting members of NY Blythe Meets and TEAM NY Wonderland of Play

BINGO & BEARS: 3 PM

Have you met the sassy and oh so social members of the Sugar Plum Corners Bingo & Social Club? Well join them for Bingo and encounter these rag tag, and utterly festive group of vintage toys that have come to life through the imagination of heirloom toymaker and author, Jody Battaglia.  We’ll call Bingo while you cool off in the shade with some tea… time for a little fun and prizes!  We have several copies of Jody’s new book to award the winners! Hosted by Earth Angels Studios.

LIVE! PICKA-PICKA-PUMPKIN READING WITH CHRISTIE JONES RAY: 4 PM

A Story for the Season – LIVE! from the Farm

Be part of a new tradition here at Walton Farm with a live reading of the season’s sweet story Picka Picka Pumpkin by author illustrator, Christie Jones Ray accompanied by her friend Earth Angels Studios’ Jen O’Connor. We are so grateful to gather and we invite all to share this experience with community members far and wide who cannot join us in person. We’ll be doing a reading of this favorite tale LIVE! on Instagram to celebrate how one story can bring so many together.

---

GENERAL INFORMATION

Lodging: Our county offers a variety of Airbnb, Bed and Breakfast, and hotel options. We also recommend looking at Owensboro and Central City for hotel options.

Airports: We are 1.5 hours from both the Nashville and Louisville International Airports

Additional Things to Do: Western Kentucky offers a wealth of antiquing and thrifting, a perfect area to shop…look out for our guides to shopping in the area. The International Bluegrass Museum is 30 minutes from the farm in Owensboro and the birthplace of bluegrass legend Bill Monroe is 20 minutes away in Rosine. Visit the Rosine Barn on a Friday night for old-fashioned bluegrass music, a New York Times endorsed must see. The Corvette Museum is 45 minutes away in Bowling Green and is close to Mammoth Cave National Park.

---

VENDOR INFO:

WALTON CREEK BARN SALE

SOUTHERN SUPPER 2024

321 Chandle Loop, Centertown KY 42328

September 28, 2024

Happy summer! We are so excited for your interest in doing the Waltons Creek Barn Sale! We are working on creating an excellent show this summer as we prepare for the Southern Supper, the workshops, and the Waltons Creek Barn Sale. While this certainly isn’t our first vendor market at the farm, it will be by far our largest and thank you for taking part in this event. This year we are growing the Barn Sale to be a cornerstone of our Southern Supper weekend. We are creating an event that will be a hybrid of antique and vintage goods, handmade goods, food vendors, and old fashioned fall themed goods. We will have six workshops, multiple photo booths, live music, a festive day on the farm, and of course the vendors. Below are all the vendor details along with the vendor application. If you are interested in being a vendor please return the bottom of this email completed ASAP. We 

Thank you!

Ben and the team. 

10am - 5pm | September 28, 2024 | 321 Chandle Loop, Centertown, KY 42328

Early Bird Shopping: 9 am - 10 am. 

Vendor Setup Times: 10 am - 8 pm Friday, Sept 27, 2024 and 6:00 am to 8:30 am Saturday, Sept 28, 2024. | Vendor photography: 9/28 8:50 am. 

Event Security: this is a rural farm location with multiple security lights and many people staying on property. There will be no additional security, if you are uncomfortable leaving your booth set up over night please arrive early enough on Saturday to have a completed booth by 8:30 am. 

Vendor Breakdown: 5 pm to 6 pm Sept 28 and 8 am to 1 pm Sept 29. 

VENDOR BOOTH PRICING: 

OPTION A: 10x10 booth space (must have WHITE tent) $40. Vendor must provide tent and tables. No electric or water will be available at booth. 

OPTION B: 4 to 6 foot table space: $30 Fabric covered 4 or 6 foot table provided, with two folding chairs, under a communal white tent. No electric or water will be available at booth. 

OPTION C: Additional vendor booth sizes can be made available upon request and availability. 

VENDOR PARKING: 

Vendor parking will be available in a field behind the market area. 

Vendor garbage: During breakdown please tidy area and move all garbage to designated garbage area. 

Vendor amenities: drinking water will be available to all vendors, along with porta potties. 

FOOD: multiple food vendors will be at the event and will have food available for purchase. 

CELLPHONE SERVICE: This is a rural area, cell service is spotty, but should be good enough for credit card processing. WiFi will not be available 

VENDOR REGISTRATION: Vendors must register and prepay (by credit card or check) by September 1, 2024. No show vendors will not receive vendor fees refunded. This is a rain or shine event. 

Event will only be rescheduled if another tornado hits the farm on or before September 28, 2024. 

VENDOR ACCOMMODATIONS: Within 10-30 minutes of the farm there are a multitude of quality hotels, airbnbs, and bed and breakfast options. We recommend Central City or Owensboro, but Beaver Dam has several options, however they will book quickly as a concert is at the Beaver Dam amphitheater the evening of our barn sale. Camper/RV hookups are available at the Ohio County Fairgrounds.

LUCK OF THE POT — Hosting a Potluck

TRADITIONALLY A POTLUCK IS A GATHERING OF PEOPLE WHERE EACH PERSON CONTRIBUTES FOOD TO BE SHARED. SOME REFER TO IT AS A COVERED DISH SUPPER, CARRY-IN MEAL, OR DISH-TO-SHARE DINNER. The word pot-luck is thought to have first appeared around the 16th century in England, the term was used to mean food served to unexpected guests.  To the Irish, the term potluck comes from a time when groups of women would gather together and cook dinner, the meal served tasted like what was a matter of luck in the pot.  I think of a potluck as a time that friends or families gather; everyone brings their favorite or most requested dish, a time to try new flavors and to savor old favorites.

Although there is no correct way to host a potluck, some hosts might provide the meat and ask guests to bring side dishes; some potlucks are themed either based upon the time of year or the hosts’ choice.  When planning or hosting a potluck meal of any sort, be sure to remember drinks, plates and utensils (friends that don’t like to cook will usually jump on the chance to provide them).

Where I live in Kentucky, part of the Bible Belt, church potlucks are a regular event.  My favorite church dinners are the ones with no theme; just based on luck.  I love a plate of vegetable casseroles, pasta dishes and deviled eggs.  While this is not a meal combination that I would necessarily serve at home, but one that brings back childhood memories of fun and fellowship.

Another of my favorite potluck dinners is a Progressional  Dinner.  This meal is where a group moves from house to house. At the first house, the host prepares appetizers or salads, the second host prepares the main course and the last host prepares desserts.  After dessert, the host might have a few games for the group to play to end the night.  Potluck meals can be a life saver around the holidays; they give friends and relatives the opportunity to fellowship together in a way that doesn’t overburden any one person or family.

The first potluck that I ever remember attending was on July 4, about 30 years ago.  It was held at my Aunt Naomi’s home in the area fondly know as Bull Creek.  All my dad’s brothers and sisters, their spouses and most of my cousins gathered in for good times and great food.  I remember a farm wagon being covered with more food than could possibly be eaten.  There were family favorites: butter beans, cabbage rolls, fried chicken, deviled eggs, chocolate pies and all sorts of other vegetables, meats and desserts.  My family has hosted a reunion every year since then, it’s now held on Labor Day and at the city park; the food is still wonderful, there is still more than can be eaten.  Though my grandparents are no longer with us; I can look around the room and see my mamaw’s familiar brown–eyed expressions in the eyes of many of my relatives.  And in the “potluck” of families, I consider myself very blessed.

NELLIE’S CABBAGE ROLLS

1 to 2 large head of cabbage

2 c, of uncooked minute rice

3 eggs

1 large onion, diced

4 pounds ground beef

1/2 T salt

1-29 Oz can of tomato sauce

1 lg can of tomato juice

Large covered roaster pan

Preheat oven to 350 degrees

Place the head of cabbage in a large pot over high heat and add water to cover. Boil cabbage for 15 minutes, or until it is pliable and soft; drain and allow to completely cool. Remove the hard outer vein from the leaves. In separate large bowl combine the beef, rice, salt, and eggs.  Mix well with hands.  Place a small amount (about the size of your palm) of meat mixture in the palm of your hand, form a small oblong roll, place into center of a cabbage leaf fold the cabbage over the meat, tucking in the sides of the leaf to keep the meat mixture inside. Place large excess cabbage leaves on bottom of roasting pan.  Pile up the filled leaves in the roaster. Add the tomato juice and tomato sauce, cover put in a 350 oven bake until juice thickens about 1hr. (Note: Check occasionally while, making sure the leaves on bottom of pan do not burn.)

Thanks to my cousin Linda for helping her mom create this recipe. Like many cooks, Nellie Myrl doesn’t use a recipe.

SEVEN CUP SALAD

1 c sour cream

1 c. sugar

1c crushed pineapple

1c mandarin oranges

1 c mini marshmallows

1 c coconut

1c chopped pecans

Mix sugar and sour cream.  Add remaining ingredients.  Chill and serve.

THREE BEAN SALAD

1 (8 1/2 oz.) can lima beans

1 (8 oz.) can cut green beans

1 (8 oz.0 can red kidney beans

1 med. onion, chopped

2/3 c. vinegar

1/2 c. salad oil

1/4 c. sugar

1 tsp. celery seed

Drain the canned beans. In a large bowl combine the lima beans, green beans, kidney beans, and onion. Combine vinegar, salad oil, sugar and celery seed; cover and mix well. Pour vinegar mixture over vegetables and stir lightly. Cover and chill at least 6 hours or overnight, stirring occasionally. Drain excess liquid before serving.

MISSISSIPPI MUD CAKE

1 1/2 c. flour

2 tbsp. cocoa

1 c. butter

2 c. sugar

1 tsp. vanilla

4 eggs

1 1/2 c. chopped pecans

1 (3 1/2 oz.) can flaked coconut

1 (7 oz.) jar marshmallow creme

Grease and flour 9x13 pan and set aside. Mix flour and cocoa together; set aside. Beat butter for 30 seconds to soften. Add sugar and vanilla, beating until fluffy. Add eggs. Beat in flour mixture. Stir in pecans and coconut. Turn mixture into prepared pan. Bake at 350 for 35 minutes. While cake is still hot, spread with marshmallow creme. Cool completely and add icing.

MISSISSIPPI MUD ICING:

1/2 c. butter

4 c. sifted powdered sugar

1/2 c. cocoa

1/2 c. evaporated milk

1 tsp. vanilla

MOMMA’S DEVILED EGGS

12 large eggs

Ice water

6 tablespoons mayonnaise

2 teaspoons mustard

Salt and black pepper

Cayenne pepper or Cajun Seasoning for dusting

In a large pot, arrange the eggs in a single layer and add enough water to cover. Bring to a boil over high heat, then cover and remove from the heat; let stand for 10 minutes. Drain, then cover the eggs with ice water. Let stand until cool to the touch. Peel the eggs, halve lengthwise and scoop the yolks into a medium bowl, reserving the egg whites. Mash the yolks with the mayonnaise, and mustard; season with salt and black pepper. Spoon the yolk mixture into the egg white halves and dust with cayenne pepper or Cajun Seasoning.

ORDER THE ISSUE: FOLK’S VINTAGE ISSUE

Vintage Issue

$16.00

Quantity:

Add To Cart

Westcoast Backroads

from FOLK issue 1 | K. Taylor | 2011

In this vastly diverse country, folk means different things in different regions. The one thing that is the same to all folks, however, is the desire to return to a simpler way of life, to enjoy a slower pace, and find joy in the journey rather than the destination. It's appreciating the process, whether it's preparing a wonderful meal for those you love, spending hours in the gardens, tending to your fresh vegetables and beautiful flowers, or shopping at your local farmer's market for the freshest meats, dairy, and produce.

Here on the west coast and probably in many other places - there are so many things that bring joy to folks. It's the smell of laundry after it has dried on the line in the sunshine, or maybe it is those long, leisurely outdoor dinners on summer evenings, surrounded by those you love. It's a picnic by the shore, searching for tiny crabs under rocks and the smell of warm blackberries growing along sandy roads mixed with the scent of salty air. It's the smell of bonfires on cool autumn days, or the sight of golden leaves gently falling as winter approaches. Whether it's the smell of lilacs in the spring, or taking in warm summer breezes, harvesting apples for crumbles and pies and cobblers, or sitting next to a warm fire on a cold winter afternoon, it's all about slowing down and connecting with the people and things around us.

I hope in this column you will find inspiration. I hope you discover what brings us together, as well as be inspired by what makes us different. What we share is this - a common desire to return to a simpler way of life. We aspire to find the things in our lives that give us comfort, or remind us of times gone by. Whether it's your favorite comfort foods slowly and lovingly prepared, or sleeping under the weight of an old quilt made by your great-grandmother years ago, we all share the love of comfort.

In this column you will read about wonderful escapes - destinations here on the west coast that are perfect for a weekend away, maybe longer. I will share some of the best places to find my favorite things: small shops, mom and pops that have been around forever; fabulous vintage flea markets, where things are repurposed and put to good use. I hope you will learn to appreciate things that have a story, that were loved before, and that hopefully you will find a place for in your own home. You will discover wonderful items that are made in America by designers that see the importance of manufacturing things here in the United States.

Most of all, I hope you find the road less traveled, wherever you are.

Wine Country Jam Session

From FOLK Issue 1 | 2011 | Text by: Melissa McArdle Photography by: Sean Patrick McArdle

Making jam the old-fashioned way using local organic ingredients, inside a Mediterranean-style winery kitchen, and surrounded by others who share the same passion for simple, delicious living is exactly what happens when you gather a Southern-born and raised culinarian, wine enthusiasts, and harvested local fruit.

The wine country is filled with generations of families who have the ‘soil in their genes’, and whether it is growing grapes, farming fruits and vegetables, or growing flowers and herbs, these treasured people are one of the vital reasons this magnificent valley is known throughout the world. Everyone works together as a community to provide the essentials needed for living a good life. There is direct communication between the farmers, vintners and chefs not to mention the knowledge and friendly relationships built with the locals and the food and wine growers. It’s a formula that works because all involved are committed to a life filled with from the roots of simple living.

And should one not be lucky enough to fall from the genetic tree of a wine country family, there is always the option that happens to many: visit, fall in love with the valley, and never leave. The later is exactly what happened to me. I quickly became addicted to the bountiful beauty of the valley. A perfect example of a typical weekend includes: being able to go a short distance to a farm to choose and cut sunflowers for a jam and marmalade making class, walking to the bakery for fresh bread to use as a foundation for the newly learned sweet spread, and then pairing it with incredible wines from Silverado Vineyards.

Sherry Page, of Culinary Getaways, orchestrated a grand lesson in the making of old-fashioned jam and marmalade. Arriving with freshly picked Meyer lemons from her own trees and the end-of-the-season’s ripe as candy strawberries, eager class participants set out to make a few jars of mouth-watering sweet spreads. There is a nostalgic association with jam-making, for one normally recalls childhood memories of being in the kitchen as their elders can or preserve the summer’s harvest to carry them through the fall and winter months. These very dear-to-our-heart stories were the thread that seemed to connect everyone gathered around the boiling pots of fruits and the gasps of taste-bud appreciation that carried throughout the kitchen as we all tasted the culinary goodness of our labors. Of course, the wine pairings added a delightful unexpected twist to the entire experience. I guess that is what it is all about, taking those of the earth, essence of you memories, and stepping it up a notch with another simple pleasure from the community you now call home.

Meyer Lemon Marmalade

Recipe from Sherry Page of Culinary Getaways

8 cups Meyer lemons, thinly chopped

8 cups water

8 cups sugar

You will also need:

Chef’s knife
Large pot, such as a Dutch oven Large spoon
Skimmer
Candy thermometer
Large open pan for sterilizing jars 6-7 clean jars with new lids and rings Canner
Jar tongs
Kitchen towel
Canning funnel, clean and sterilized Paper towels
Regular tongs

Instructions:

Place the chopped Meyer lemons, water and sugar into a large pot. Bring to a boil over medium-high heat. Reduce the heat and cook at a medium boil, stirring frequently to keep from sticking. Skim any foam from the top. Continue to cook until the marmalade reaches 220F or until thickened. Meanwhile, put about an inch of water in the bottom of a large open pan. Add the clean jars, open top down. Bring to a slow simmer and let the jars cook for at least 10 minutes. Keep hot.

Put enough water into the canner to completely cover your jars by about an inch. Put it on a back burner and bring to a boil.
When the marmalade is ready, remove a jar from the hot skillet using the jar tongs and place the jar upright onto a kitchen towel. Place a funnel into the jar. Ladle the hot marmalade into the jar until it is almost full. Leave about 1⁄4‛ of space at the top. Wipe the rim of the jar with a paper towel (adamp paper towel works best).

Drop one of the lids into the skillet with the hot jars and leave it there for about 30 seconds. Remove the lid from the water with tongs and place it on top of the jar filled with marmalade. Place a ring on the jar and tighten it.

Repeat until all the marmalade has been ladled into the jars. Gently place each jar into the canner filled with hot water. Cover the canner and bring to a boil. Reduce the heat slightly and boil the jars for at least 5 minutes (typically 7 minutes).

Turn off the heat underneath the canner. Remove the jars from the water, dry them off and place them on the countertop to cool. You should hear the lids pop within a few minutes. If the jar is sealed, the lid dips slightly in the middle. If the lid sticks up in the middle, then the jar has not sealed and the marmalade should be refrigerated and consumed within a week. Be careful with the marmalade until it completely cools ” do not shake it around much.

Makes approx. 6 (8 oz.) jars of marmalade.

We spread goat cheese on a freshly toasted piece of bread, added a hefty dollop of Meyer lemon marmalade and paired with the Silverado Vineyards Miller Ranch Sauvignon Blanc.

A Day at Barn House

from FOLK issue one | Story & Photo: K. Taylor | 2011

Anyone who has ever attended a sale at Barn House will agree - it is an event, not a simple flea market

It's a beautiful Saturday morning in the Pacific Northwest.  Driving down a country road in southern Washington you can feel the excitement.   It's time for the Barn House Flea Market.  And, as if on queue the sun is shining brightly, as it seems to every year.  The Barn House farm is tucked away in the trees down long winding roads.  Coming over the crest of a hill, white tents suddenly appear on a mowed pasture in front of a large red barn.  There are three rows of them, their pointed tops contrasting against a bright blue sky, flags and banners rustling in the breeze.  Entering the driveway you are greeted by the parking boys in their "Barn House Posse" shirts.  With broad smiles they direct you into a spot in a field that has been cleared for the many cars that will be parking there that day.  You make your way to the entrance where a long line has formed.  There is excitement in the air - people with their coffees in hand, chatting about the last time they were here, looking forward to the treasure hunt that is about to begin. And then the gate opens.

The crowd flows into the market, eager to see what each booth holds.  There is coffee at the entrance, along with a delicious selection of cupcakes and scrumptious loaves provided and served by Folie a Deux - the catering company that has been with the boys serving up her delectable treats since the beginning.   The band Celilo is entertaining the excited shoppers, music floating down through the aisles, creating an atmosphere more reminiscent of a party than a vintage sale.  This year there's also the addition of a food truck - Four and Twenty Blackbirds - that served delicious empanadas.

The Barn House Flea Market is an event, rather than a simple flea market.  Every year the magic grows, and this year was no exception.  This isn't simply a group of vintage vendors, but a close knit community.  Joe and Jermonne - the Barn House Boys - have created an air of friendship on their little slice of paradise.  A slice of paradise that people want to be a part of.  And then there are the shoppers.  Everyone who arrives is received with hugs and smiles and one immediately feels like a cherished friend.

This year's additions included an incredibly delicious empanada food truck - Four and Twenty Blackbirds which was a huge hit with the hungry crowds come lunchtime.  Between them and the ever-popular Folie a Deux and their delicious baked goods, not to mention lunch specials, everyone was well fed.  Shoppers were serenaded by featured musical guests Celilo - the perfect accompaniment to a day filled with friendship, laughter, and great shopping.

The boys of barn house lead a fairly simple life.  They enjoy their time on their farm  - hanging with their barnyard animals, from llamas, sheep and goats, to turkeys, chickens, and barn cats.  And they value their friendships greatly.  They moved to the farm 5 1/2  years ago.  With a charming old farmhouse and a large red barn, the potential was endless.

I spent some time with the boys of Barn House and asked them a bit about the background story behind their success, as well as what they envision for their future.

---

KT - Where does your love of vintage come from?

Jermonne - Joe started early - he would go with his mom and sisters to thrift stores as a child, which lead to his love for collecting vintage treasures.  When we moved to Washington from Los Angeles, it was a perfect opportunity for Joe to find something he truly loved for a new career.  After about a year or so of exploration, Barn House was created.

KT - What gives you the most joy when it comes to the sales?

Jermonne - Both of us get the best reward from friends/visitors from all over the world who come and visit our little farm.  Their warm hugs and kind compliments about what we have created is the most rewarding.  Their generosity with their purchases doesn't hurt either.

KT - What are the biggest challenges with running a business on your property as well as running an online store?

Jermonne - The hardest part os juggling our responsibilities with my other gig (Jermonne holds a full time job as well), managing a little farm, keeping up with the property maintenance during a short, but accelerated growing season here in the Northwest AND finding time to roam the countryside for treasures.

KT - What is your dream/plan for the Barn House brand?

Joe - The future for Barn House is to keep the business on the farm as long as possible.  I would love to become fully sustainable here and be an inspiration to those who dream of a beautiful and simple way to live.

KT - Have you ever considered creating a line of products by Barn House?

Joe - I have my head full of ideas and creations.  It wouldn't make sense not to share my creative gift with everyone.  So, designing Barn House products only makes sense.  American made, of course!

5 acres of vintage treasures, sweet farm animals, music, delicious food, happy shoppers, sunshine, laughter, hugs,

The Remembrencer

The Fodder of Memory

WHAT IS IT about milder nights and yellowing leaves that makes everyone slow down and take a deep breath? Fall is that time of year that I take time to honestly appreciate the little things in life. It seems that, more than any other season, Fall is responsible for many of the great memories I have of days past. I know that many people remember holidays and Summer vacations, but Fall memories are different. Fall reminds us of the togetherness we share with our families, the beauty of nature, and to slow down our busy lives to take note of all of the beautiful things that surround us.

Memories always seem to resurface during Fall, good and bad, but always more vivid than the changing leaves. Fall is a constant reminder of days long past, blue Power Ranger costumes, Fall festivals, and family togetherness. Fall is the time when family really makes the biggest impact for me, it is not about football games (though I have gone to my fair share of those). How many people can attribute their passion in life to a season? I think that I can.

Most of the things I enjoy doing, and things you will hear me write about for quite a while, have been done in the Fall. I have fond memories of cooking in the kitchen with my Nana, and watching her can apple butter and preserves that certainly do not belong in any other season. Cooking has always been a favorite hobby of mine. I love learning family recipes and introducing new ones into our collection and, since most of our dinners happen in the Fall, it always seems to happen in slow autumnal days. I have learned to make apple butter, stack cake, corn bread, biscuits, gravy, ham, yams, and most of the staples of our family dinners during the months of September and October. I have cooked dinners for my mother on her birthday, and have had dinner with all of my extended family for my cousin’s.

More than cooking with the women of my family, I am reminded of the ridiculous projects I have always given my dad during seasons past. I do not remember a time when I have not asked him to build something for me. Though he has taught me much of what I know about using power tools and making things for myself instead of buying them, I still like to have him do it instead. Sometimes the projects were elaborate, and sometimes not so much, but always there were projects.

I think that my love of decorating comes from all of these projects and not just memories I have of visiting him on contracting jobs. More of my inspiration comes from the fodder shot that he built me to read in when I was ten, or more so, the cabin. The cabin was a one- room, stilted home I asked for during the summer of my seventh birthday. My dad built it for me and after he finished during the early Fall, we both spent the night there on one Friday night. I think it may have been the only time anyone ever stayed in it, but I think it was enough to make it worth the effort. Though, dad may disagree. Other projects have come up since then, but I think that the cabin has been my biggest influence in my interest in architecture and design, and it probably always will be.

Fall has always been a friend, whether we went hiking together in the woods behind my house, watched my sister Heather sing in a hodgepodge of festivals, or watching the Halloween torch pass to a younger generation. It’s a comforting time to remember all of the times that have brought me to this place in life, and to make new memories. Whether the milder nights of Fall are spent recanting tales around a campfire, or the weekends are spent traveling, the one thing that always remains are the people who share all of the seasons with me, my family.

9 Summer J.Stark Must Haves

In the tornado I lost so many of my favorite totes, one of those was an OG J.Stark tote that had been a key piece in my tote collection (yes I collect American made totes) for many years. I love that I have gotten to watch so many American made brands and makers evolve and grow over the years…and lately J.Stark, based in Charleston, South Carolina has moved back to the front of the pack as one of my perennial favorites. Their use of bright colors and crisp modern designs in my opinion have brought a welcomed air of modernity to the classic American art of leather goods and handmade bags. These are the nine pieces I’m lusting after this summer…

Alder Saddle Bag, Bonnie Belt Bag, Bristol Backpack, Bryant Large Duffle Bag, Franklin Tote Bag, Penrose Tote Bag, J. Stark x Bitter Southerner Sentinel Backpack, Sentinel Backpack XL, Woodbine Logo Tote Bag (click on the photos for links)

Old World — Polder's Old World Market

In the mountains of southwest Virginia Polder’s Old World Market has hand crafted a slow life that brings the entire family into the business.

---

WE LIVE TOGETHER, WORK TOGETHER, EAT TOGETHER AND PLAY TOGETHER. Polder’s Old World Market is an extension of our daily life. It is the expression of all of our creativity, personality and skill combined. It is part of us. Each of us have our different roles in the business… some of us write and capture beautiful images that give people a window into our world, some of us are master carvers and produce the dreamware that is the heart of our brand, some of us keep in touch with the customers or package the orders for shipping. Together we make a great team.

We have lived and farmed in Virginia for almost four years now. Before that we lived in Northeast Tennessee for five years, but most of our lives we lived in Florida. That is where we started building our handcrafting business, and also started learning about homesteading and farming. We had always wanted to move to the mountains and farm, and we feel so blessed to live and work in this beautiful place. My Dad was born in Detroit, Michigan, but he says he is a Virginian at heart. I love waking up to the mist hanging over the ridge tops. I love walking through a grassy pasture in the morning and the grass being so wet with dew that my shoes fill up with water and slosh when I walk. I love the wildflowers and cool evenings and the slow pace of life. I’m okay with driving for forty-five minutes to go grocery shopping. This is a good place to live life.

Before we started carving spoons for a living my Dad was the plant manager of a large railcar repair corporation in Florida. When the plant shut down he had to decide whether to take a better paying job that would require travel so he would only be home on weekends, or to do something entirely different. He decided to do something different. The first thing we tried was to start a parking lot maintenance business (not very romantic), but the economy wasn’t thriving, jobs were hard to come by and we couldn’t make ends meet. We were learning about homesteading on our little quarter-acre plot of sand and we began taking baked goods, seedlings and little arts and crafts type stuff to local farmer’s markets to try to make some extra income. Then Dad carved his first wooden spoons with a terrible set of bench chisels we bought him for Christmas, and our farmer’s market customers loved them! They began encouraging us to build a website, and we began dreaming of the possibility of making a real business out of our skills. We came up with the name Polder’s Old World Market and began trying to flesh out our branding. But we knew we didn’t want to build a business in Florida… we really wanted to be in the mountains. So we decided to make the leap.

It wasn’t until after we had moved to Tennessee that we really began to focus on our wooden kitchen utensils. A neighbor told us about Etsy, and we opened a shop there. We were so excited when we got our first order! Looking back at how terrible our first product photos were, it’s hard to imagine how we ever got that first order, but I remember it as clear as day. Back then, orders came in slowly enough that I could remember each customer’s name and what state they were from off the top of my head. Those days are long gone, though I’m still familiar with the names of our most supportive customers. Our Etsy shop became very successful with the help of so many lovely customers, and eventually we opened our website, which allowed us to more fully develop and express our branding. We named our wooden utensils “dreamware” because, after all, it’s “the kitchenware of your dreams”.

Originally we worked with whatever wood we could get a hold of. I miss those days, really, because I remember some of the stunning and unusual “scrap” wood that was given to us in Florida and those were some really gorgeous wooden spoons! We make a large enough quantity of dreamware now that we’ve narrowed it down to several wood types that we can consistently keep in stock. I dream of one day offering a wider selection of “limited edition” wood types again.

One of biggest decisions we made in the area of change was to broaden our brand to include products made by other crafters. We have always kept dreamware as our main focus, and it remains our main source of income, but we decided a few years ago that we wanted to support other makers and also offer beautiful products that were complementary to our craft. This has allowed us not only to offer our customers a greater variety of products to choose from, but it also frees us up from personally making every item we sell, which was an obstacle to our growth for a while. When choosing complementary products to offer alongside our dreamware, we limit ourselves to items that are exceptional and unique, made in the USA or vintage, and meet the same quality standards as the dreamware we make.

I think our biggest challenge has been navigating the natural limitations of handwork without holding our brand back from growth. We have a big team, but we are still only humanly capable of producing a certain amount of handcrafted product each week, not to mention all the time and energy it takes to run other aspects of the business. It has taken a lot of creativity and brainstorming to find ways to save time and become more efficient without losing the charm and integrity of our product and brand.

Another enormous challenge for us, perhaps even larger than the first one I mentioned, has been learning to adjust to the algorithms and censorship on social media and across the web. Speaking completely frankly, our brand has experienced serious difficulties in getting the exposure we need since the infamous algorithm changes on social media platforms, as well as the filtering of promotional emails that Google started some time ago. We recognize this is a challenge for many small business owners who depend on social media and email marketing to communicate with their customers, and we are looking forward hopefully to a time when selling online isn’t quite as challenging as it has become over the past couple of years.

Our biggest strength is probably the fact that we face every decision and challenge of running a handcrafting business as a family. We are team players and we work at this together. It is a priceless thing to be able to tap into each other’s skills, perspectives and ideas. There is no doubt that the combination of all of our personalities and skill sets is what makes Polder’s Old World Market possible.

For us, supporting Made-in-the-USA and American entrepreneurship is a way of expressing our love for this beautiful Country that we have the privilege of calling home. The concept of the American Dream was born from the idea that, here in the USA, anyone can work hard at what they are passionate about (whether that be farming, selling books, or practicing medicine) and create a wonderful future for their family. This opportunity still exists, or my family could never live the life we are living. But there is no doubt that overseas manufacturing and big box stores have stolen something from America. We would love to see more and more individuals and families getting back to the principles of craftsmanship and entrepreneurship that helped make America the incredible nation it is. It would be such a beautiful thing to see. If we all do our part to support the small American businesses and makers around us, we can strengthen our communities from the inside out. We can make a difference!

I think living slow comes naturally when you live twenty minutes from the nearest gas station and you have a large family. We don’t have a TV and we don’t live near a mall. We entertain ourselves by playing board games, visiting the local cafés and taking long walks. Our days are full of hard work, but we also get to enjoy kayaking, holding puppies, splashing in puddles, hunting for mushrooms in the mountainside and sitting on the porch watching the sunset. Our internet connection is painfully slow, so even working online can be an exercise in taking a deep breath and slowing down. To us, the benefits of this slow paced lifestyle far outweigh the inconveniences. We are so grateful to live this life.

— poldersoldworldmarket.com

Montana Territory Hat Co.

MY NAME IS COURTNEY GREEN, FOUNDER, DESIGNER, AND CREATIVE DIRECTOR AT THE MONTANA TERRITORY HAT COMPANY. I am a mother, a daughter, an artist, a runner, a cowgirl. I create handmade custom Cowboy hats in Bozeman, Montana.

I grew up riding horses and drawing. When I was little you could always find me hiding away with my sketch book, my fingers often grey from shading with charcoal pencils, or in the barn spending time with my horses. After college I worked in the fashion industry as a designer and buyer. I loved it, but I always knew I belonged in the Mountains. When I finally made the move to Montana, I wanted to create something that pulled from my background in fashion and design, and my love for art and the American West. I wanted to commit to something that was rooted in and inspired by Montana. I love product that feels like art. Slow, deliberate, intentional. Product that will last a lifetime and accumulate stories along the way.

Before I started the Montana Territory Hat Company, I worked in the fashion industry as a designer and buyer. I absolutely loved it, I think mostly because it allowed me to pursue my business degree, but still stay connected to art and the process of making something. It was still art, but on a massive scale. I learned so much about building brands, creating an immersive experience, product development, and a greater appreciation for the power of photography. I always felt pulled toward makers and brands that could make you feel something through imagery, design, fabrics and style. I worked for Abercrombie & Fitch for 11 years. I feel so lucky to have been there when I was, and even more proud that I left when I did. I was there when building brands was like making movies. It was an immersive, sensory experience. We were building a fantasy through imagery, design, product and copywriting.

During college, I worked at a bakery and I loved everything about it. There is such a romance to creating with your hands and making people happy. When you work at a bakery, you get up absurdly early to go start the pastries and breads. There is nothing like the early morning smell of bread baking and coffee brewing. I loved it. In the early days of my career in Fashion, I still felt connected to some of those creative, sensory elements that I felt at the bakery. As the retail landscape began to change, I still loved what I was doing, but I had lost my connection to “why.” Retail became so big. It turned into a quick race to the bottom in terms of quality and price. I realized that what I really wanted was to make something real. Something that I felt inspired by and could inspire others with. Something grounded, timeless. Not about trends, or planned obsolescence. I wanted to make something grounded in values. Things that last. I wanted to make a product that held a place and a people in reverence. I love products designed for life. Things that are bigger than themselves. I have always loved hats. There is a quality, a history, an identity. Every hat has a story. As a child, I wanted to grow up to be an artist, a designer, and yes, a cowgirl.  My hats fulfill all of those dreams for me.

I am a maker because I believe in product that feels like art. Classic designs, quality construction, thoughtful details, built with a sense of pride and purpose. Something “inspired by the past, to be lived in and loved today, and passed on to future generations.” These hats represent the preservation of a place, a culture and a way of life. I do believe that felt is always in season, especially in the form of a Cowboy hat.

I am an observer. I find inspiration and story literally everywhere. I am endlessly inspired by the Montana landscape and the people and personalities that have shaped the culture of the West. My work has a bit of juxtaposition between high fashion and Old West. I love going to rodeos and art museums, finding inspiration from both Western vintage and high-end fashion designers. I have always loved the artistry, courage and storytelling that is built into a seasonal show and collection. I love photography and the composition, color and emotive quality of an incredible image. I find inspiration in architecture, interior design, a great book. Inspiration is everywhere. Anything built with an intention towards quality and an eye for good taste. I love artists, photographers, musicians and designers who stand for something enduring and timeless. Designed for longevity. A celebration of the past. A nostalgia for the best of who we are. I am always inspired by natural beauty, in both people and place. Ralph Lauren, Peter Lindbergh, Edward Curtis, Richard Avedon. There is an alchemy that exists in the tension between ruggedness and beauty; romance and resilience. Timeless. I have always been inspired by the American Cowboy. The romance and ruggedness of the West. I love the way Cowboys handle themselves. There is a quiet pride. A work ethic. A sense of purpose. A gentleness mixed with courage, tenacity and resilience.

My advice for anyone starting out would be, no matter what it is that you are into, take the opportunity to fall in love with an idea and then fight like hell for it. Let yourself try, fail, and try again. The path does not have to be linear, and it is ok for it to evolve. Start without knowing everything. Just start. You have to do the work. There are no shortcuts. It is hard. Hard is ultimately what makes it rewarding.

I think the key to getting your product out there is to find people who connect with your brand. Who believe or are inspired by what you believe. You inspire them. Tell them a story. Make them feel something. Once you make them feel, they will find you.

I have never worked harder than I work right now. I believe wholeheartedly in what I am making and why. Every time I touch the business through the product, the copywriting, the imagery, the story, is a chance to improve. Is it easy? No. Absolutely not. But I never wanted it to be easy. Anyone can do easy. That would be a boring way to exist. You have to show up. Every day. No matter what. I suppose finding the motivation to do the work has been the easy part. When you love what you do, you find the resilience to persevere born out of passion and purpose. Looking toward the future, I would like to continue to grow this business and expand on opportunities to immerse people in the story, while staying small and special.

I am endlessly curious. I hope to always have questions. The bigger, the better! Some nuggets of wisdom I’ve learned as a maker that I believe can be applied to everyday life are:

There is no replacement for hard work. That is where the magic is.

Be honest. No matter what.

Find something you love to do. If you can figure out a way to turn your passion into a purpose and a business, you won’t regret it.

Find your own voice. It is very clear when a product or a perspective is not your own.

Be a good human.

Be so inspired and energized by your own life, that you have the confidence to let other people live theirs.

You do you!

Respect, hold in reverence, and fiercely protect and honor the natural world. We are only borrowing this Earth for a very short period of time. We are one of many inhabitants, coexisting. Live softly. Only make and do good things.

When it comes to supporting maker-made and American-made businesses, I think the key is to find and support people who are driven by good intentions, who truly believe in what they are making, who are driven by something more than just money. I firmly believe in capitalizing on opportunity and building a profitable business. But only if at the core, there is pride for a job well done, a bigger purpose. A “why.” Regardless of where they are from or what they are doing, there are makers, cowboys, ranchers, farmers, artists, photographers, business owners, all over the world who are worth supporting and feeling inspired by. It’s not about where they are from, but about their “why.” Do you believe what they believe? Are they supporting causes and a way of life that is worth believing in? Does it make you feel a sense of pride and connection to support them?

To me, living authentically means that you do what needs to be done. Take pride in your work. Be honest. Be firm but fair. Have boundaries. Live and work with a sense of pride and purpose. And be willing to walk away from anyone or anything that asks you to compromise your values. I try to bring these values to everything I do, including my hats. I never. Ever. Settle. Everything matters. One of my favorite quotes has always been “the way you do anything is the way you do everything.” I firmly believe this to be true, and adhering to this ideal helps ensure the quality of my brand and product.

For many years, I struggled with how to bridge the divide between work and my personal life. I  found that when I began this company, and created a business around something that I truly love to do, I felt the tension between work and personal dissolve to a degree. I love what I am doing, and I believe in what I am creating. My business is so thoroughly fused with what I love to do, that I find my work and personal life very connected and balanced right now. I’ve been very fortunate to have my family as my biggest champions throughout my journey as a maker.

I hope you’ll come explore my world of handmade hats. Ordering information can be found on my website, www.MontanaTerritory.com.

All In — a Conversation with Revivall Clothing

Laura Fisher is the founder of RevivALL Clothing located in Bozeman, Montana.

AFTER GRADUATING FROM CLEMSON WITH A DEGREE IN ANIMAL SCIENCE, I WORKED AT A MAKEUP COUNTER IN THE MALL, AND LATER AT AT&T WIRELESS. Though I was making good money, it became apparent pretty quickly that my creative mind was not a good fit for corporate America. After a year, I decided to save up money and put myself through a second degree in Fashion Design from FIT in New York City.

I learned to sew from my Nana when I was young and we started making these little frogs stuffed with rice—essentially Beanie Babies before they were popular. I remember the joy of picking out the fabrics. I always chose a different material for the top and the bottom of the frog. I started selling them to my friends at my elementary school. A few years later, I got into horses and they kind of took over my life. It wasn’t until I was a junior in college and spending time in the “lots” at jam band shows that the sewing bug hit me again. I started making patchwork clothing and selling it. When I lived in NYC, I found tons of scrap fabric in the dumpsters in the building I worked at. (It was a building that held a few manufacturing businesses, and I worked for an accessories designer). I took those scraps and started making them into things and selling them at the Flea Market on 1st and Avenue A every weekend. I think the main reason I started making clothes was because I couldn't find things to wear that I felt truly represented my style. From then on, I realized that selling my goods was fun. It was like a mystery every time I made something, to see who was going to be drawn to it. Also, I truly think there was a validation that I was seeking and receiving from selling my goods directly to customers.

I’m a maker because it was the only option for me. I can’t imagine myself doing anything else. At times when my business has struggled and I wondered how else I was going to make money, it felt defeating and uninspiring. I could never find another job that brought me joy and fulfillment like owning my own business and being creative. I have owned a clothing store, produced fashion shows, and started a manufacturing house. They all brought me joy but making the leap to creating my line full time was where my heart was all along; I was just scared to take the risk. When I moved to Montana, I did a show and bombed epically. It was a five-day event and I sold maybe five things. Every day was torture to sit and be surrounded by my beautiful creations but not have anyone interested in them. I had a total meltdown and posted about it on social media. Another clothing designer that I knew from Oregon reached out and gave me the best advice: she told me to stop doing shows and put all that time and energy into selling online. That was five years ago, and it was the best decision I ever made for my business.

In addition to myself, I also employ a full time Operations Manager, a Virtual Assistant, and five seamstresses, and hopefully soon, a new manufacturer in Tennessee. It has not always been easy to build this business. There have been many challenges, especially with finding American manufacturing and people to sew for me, and I’m fortunate to have a great team.

As a child, I wanted to be a farmer and live in the country with all of my animals. No one ever told me it was possible to create things for a living and be successful. Even when I went to FIT, one of my professors told the class we should expect to be getting coffee for people at a design house for years and maybe work our way up to a higher position. I would tell everyone not to listen to him and that they could do whatever they dreamed of. This was before Etsy was big and Project Runway had been invented. I believe that both of those mediums made it more acceptable and possible for makers to support themselves and their families.

My creative process starts within. I believe it’s a direct communication with the Divine. A force that exists outside of me that I have practiced listening to. Sometimes it comes out of nowhere and sometimes it’s a thought or idea that keeps coming back until I listen. I am always true to myself and am dedicated to honoring and trusting this connection that is essentially instinct. Many times I just design what I'm wanting to wear at the moment, or things that I've been inspired by from the past or currently. The clothes I make and fabrics I choose are never because of what's “in style” at the moment. When you make timeless, wearable pieces, they never go out of style.

Since I started making things from scraps out of dumpsters in NYC, a seed was planted in my mind that brought awareness to the waste of the garment industry. I vowed never to use new materials so as not to participate in the making of new things. I believe if we stopped making fabrics and clothing today, we could still clothe our population for decades to come. After Hurricane Katrina, I spent nine months living in a tent in St. Bernard Parish, Louisiana, organizing and helping run a relief kitchen and donation center. After a few months, there came a point when I had to create something. There were literally tons of apparel and home décor being donated that we had no way to keep clean and organized. I realized again how disposable the garment industry was. The fact it was easier for people to send clothes than food was disturbing to me, and I started making things from the donated curtains and sheets with a donated sewing machine in a tent.

The beginning of my collection was making dresses out of men’s shirts, sheets, and curtains. They were all one of a kind. Photographing and listing each piece took so long, and many times the piece someone loved wouldn’t be their size. I realized in order to be successful, I needed to make batches of things in different sizes that I would only have to photograph and list once. This is when I discovered deadstock fabric. Deadstock is the leftover fabrics from the garment industry.

My customers have been my biggest source of support since I began my business. They are so supportive, complimentary and loyal. They believe in me and what I create. They live in my clothes and send me photos and stories about them. It never ceases to bring me to tears of joy to hear their stories.

My goal for RevivALL is to have a successful business that can employ and pay 10 employees well (that includes myself). I also want to be an innovator and voice for anti-fast fashion. It’s very important to me to try to educate the public and masses about the problems of fast fashion, and to help people think about their choices when they are buying something. How to explain the reason for handmade and American made things being more expensive, and how to shift the system so that more people can afford to buy it. It is a very privileged thing to be able to afford slow fashion and handmade things. How can we make it more accessible and possible to pay people well and keep costs down?

On a personal level, I pray that my family and I get to buy on a farm in the country in Montana where I can have horses and all the other animals, where I can walk around the land without seeing another human, and where I can commune with and steward the land responsibly.

Some advice I can offer to those embarking on a new business venture is to take business classes, listen to podcasts, read books, take marketing classes, etc. Also, don’t wait until the timing is right or whatever ducks are in a row, just start making things! Do some local shows, get feedback from customers, listen to what they say, and adapt. Personally, I’ve found that Instagram has been the most successful way for me to get my products out there to the public. And you can find my clothing at my website, www.revivallclothing.com.

This Land

Story & Photography by Melissa McArdle

This story originally appeared in the Winter 2012 issue of FOLK

This is a story, a true story about our land, our hills, our rivers, our America.  It seems in today’s world, we do not connect enough with the glorious land that our country is so blessed to call home.  Often times, we all just need a little reminder to kick-start the deep love that sits nestled within our hearts for this bountiful land beneath our feet, providing food for our tables, and resources for our survival: this land we proudly salute as the United States of America.  

So imagine this, a cabin built by the hands of two settlers in the late 1930’s.  A place which never found a marker upon a map, no address, no utilities, just a place to call home a few weeks out of the year, a place far from society, and any modern conveniences that were or ever would be available.    Located in Northern California near the border of Oregon, this log cabin has been passed down from one generation to the next.  A hobby of fishing turned into a legacy of preserving and remaining one with nature.  

This story came about because a friend procured the help of another friend in restoring a deck.  What seemed a simple request turned into a list of must-do’s before actually arriving at the cabin.  By foot, one must walk 6.5 miles over mountain passes and streams in order to reach the desired destination.  Horses or mules are used to carry up to 150 pounds of food and supplies.  Once there, one arrives at what some might consider nirvana: a place of solitude surrounded by pristine nature.  A land mostly untouched still offering its magnificent gifts of sustainability in the purest form.  

The milling of a 150-year-old Douglas Fir (which had fallen in a 2008 fire) into new deck planks is how the restoration began.  Two days of laborious work rebuilding a deck which overlooks crystal clear water filled with an abundance of fish.  Water so pure, one can fill their cup and drink right there on the spot.  Imagine the stars which blanket the sky from one horizon to the next, no artificial lights to outshine the magic of the night.  Sleeping bags offer the best night’s sleep on the newly restored deck with an extended roof-line to shield from the occasional downpour that passes through from time to time.  Sounds of tree frogs, a swooshing river below, and the freshest air offered only by a remote wilderness are the elements gathered to lull one into a deep slumber. 

It is places like this that need to be cherished and remain untouched.  In a time when many do not even know where their food or materials come from, it is reassuring to connect with stories, places and people who offer the link to what America used to be: a land that was cared for, nourished and maintained in every aspect, for there was a bond between man and land, a bond of respect for the resources provided and used. Nothing was wasted and every use was carefully planned and considered in regards to the end-result.  A cause and effect for past, present and future inhabitants is a thought process which should still be upheld by one and all.  

America is full of bountiful secrets, mountains, rivers, forests and valleys that are brimming with inspiration. These gems of nature are this country’s pride and joy, and as with any precious gift, it must be handled with the utmost respect and care.  Let’s follow the lead of past generations, and learn to live as one with the land, for the roots of America is a true story worth fighting for.  

Cowboys of Canvas: Stout Tents

Photography & Story: Little Schooner Studios

STARING AT A FIRE, or looking off into the vast ocean, our senses are entranced by the sound, the smell, and the intangible fluid element dancing before us. These kinds of visions cast a subtle incantation that is entwined in our being from creation, we cannot help but succumb. We come to reflect on memories so distant and pure that we grow nearly as infinite within our being as the elements we gaze upon. But as fleeting as the tide or as fickle as a flame, we cannot reside there and will soon return to our categorical existence.

The desert offers that same mystery in its own unique way. The great emptiness is filled with wonders. It is an environment of frozen time, where the mind and spirit can connect with the infinite. Time itself is perceived more slowly; both in the long record carved in stone, and in the slow passing of the amplified sun. One can wander through this mystery as if walking through an alternate reality, slowly taking in all of the beautiful nuances that constitute the grandeur of the desert.

Out here, there is a great resonance — one that is easily perceived and confided in by the human spirit. It is the music of Creation.

To spend time in this place for most people means a mobile camper of some kind, but there are still those who mean to live a bit closer to the experience. Those who can be found in canvas tents or in bedrolls under the stars. They lead an entire culture of nomads, and ensure that their tribes have sound shelter in any weather.

They are Dave Ellis and Jim Stout.

Dave Ellis has been making canvas tents for thirty years. His hands show the memory of the process, and as he creates a tent the profound wisdom of his experience shines through him. To take pencil to paper and design a shelter made entirely of flat material and tiny bits of hardware is an art of the highest form. Drawing inspiration from the cowboys who harnessed the west, Dave has perfected these shelters in both form and function. His tents are immaculate.

Jim Stout is a different breed. Driven by adventure, he signed on as a parachute rigger for the U.S. Army straight out of high school. Jim wanted to jump out of airplanes and run tactical missions. His time there served him well, giving him the discipline and skills that continue to fuel his adventurous life today. Adrenaline-fueled moments aside, and much to his surprise, there was a lot of time spent on the ground, building and servicing the gear itself. He ran huge sewing machines that punched through multiple layers of heavy webbing, and found that the craft itself was quite meditative.

When Jim arrived at Dave’s shop and he saw and heard the industrial sewing machines that Dave was working with, he was immediately carried back to his time in the military. It was as a fleeting smell can carry us back to our childhood home, or the presence of a dear old friend.

Although Dave and Jim had known each other for years, they had never worked together. Now, they were coming together in a grand collaboration, planning to build a canvas structure of immense proportion. Even Dave, in all of his decades of tent-making, had never created anything of this scale.

Still, there are few people in America who can do what Dave Ellis does with canvas, so when Stout Tent decided that they needed to build the first Norwegian-style tipi event tent sourced and crafted entirely within the U.S., they knew that Dave had the experience and design skills to make it right. Over the course of three weeks, the two men worked together seven days a week, sixteen hours a day. They howled over the radio to all of the old country songs, and neither of them was particularly concerned with staying on key. They laughed at themselves and each other with great admiration and respect as the minor triumphs and failures of the process unfolded. Three massive prototype tents were made in this time, but the bond itself between the two may be the greatest thing they built together.

As their time in Dave’s shop in Durango drew near an end, product testing time was fast approaching. For Dave, testing a new tent usually meant setting it up in a grassy meadow near his shop. Somehow, it was silently understood that this new creation deserved its own destination. It needed to be set in a special place in order to truly understand its form and grandeur.

Durango, Colorado is uniquely situated in that it is surrounded by every kind of wilderness; mountains, rivers, and big pines are all within reach, but it is also on the doorstep of the mighty desert. A three-hour drive from Durango in southern Utah is a place aptly named the Valley of the Gods. Located on public land, this part of the red desert features an immaculate series of towering buttes. The scenery is otherworldly and the energy is equally powerful. To set their creation in the Valley of the Gods among the water-carved ancient stone would give it life.

All of the little details that rule the end of a project like this can be exciting after what may seem an eternity of mundane toil. To take a moment to paint fresh hardware, or to whip the ends of guy-lines is the sign of the end. It brings fresh energy to tired minds, and as the methodical frenzy of last-minute works subside, the tired tent maker’s exhaustion wanes and they do what they know best. They pack up the truck to go camping.

Ripping out of Durango at 5 a.m. the next day, the dim light and slow dawn gives a subtlety to the transformation of the scenery. The change seemed to come on slowly, following muted signs of a place in between one wilderness and another. Then quite suddenly, but at an indefinable point, the desert reveals itself. The blur of deep orange stone and green brush blow past the cowboys of canvas as they descend deeper into the dramatic landscape. Dave takes an odd turn off the highway down a long dirt road. Jim asks no questions about the detour, and turns up the volume on the radio.

At the end of this road rests the ruins of an ancient Pueblo civilization. It is a homage of sorts to stop and take a moment to imagine those who carved out lives here in the past. To walk among these stone dwellings, the very homes of the ancestors of North America, brings careful thought to our universal need for shelter and society. These things are easy to forget in a world ruled by meetings, spreadsheets and incessant immediate messaging. These structures are evidence that people existed in rhythm with nature, in harmony with one another and in unison. There are lessons here, carved in stone and wrought by hand. There are lessons lost in time.

The two men interweave their steps along the same trail that carried the Pueblo people to their home. Carrying themselves back to the truck and to the highway beyond, there is a pensive silence between Dave and Jim. The vibration of the gravel through the wheels and into the weathered Toyota seats brings the return of lightheartedness, and the off-key singing slowly resumes. The highway and the high midday sun announce the changing scenery with greater urgency and the rigid landscape begins to bloom.

Monument Valley arises in the distance as a momentary distraction, but a reminder that the destination is near. The exhaustion of the past few brutal weeks is now gone, the energy has shifted back into high gear. The Valley of the Gods is not visible from the highway. There are no advertisements for this place. There is but a tiny sign at the entrance marking the turnoff, and a deep ditch that follows to ensure that the vehicle and driver are worthy of the road ahead.

The Valley comes on as subtly as the day itself. Slowly and methodically, awe-inspiring scenery prevails along the high entry road to the Valley. Then, all at once, the road begins to wind through massive gardens of buttes. Dave and Jim slow their pace to consider the many options and challenges the landscape has to offer. Pitching a 35 foot tall tent is no easy endeavor on soft ground, but out here, the earth is nearly immovable. This search goes on for hours, and finally, just before evening sets in, the space is finally found. Sandwiches around a lantern are the comforts of the evening, and the two men fall to slumber in their canvas bedrolls with modest anticipation of the day ahead.

Stout Tent is one of the premiere canvas event companies in America. Despite its stature, the Stout family runs their events and location based logistics with a small tactical team. The company reflects this family orientation in all aspects of their business. Setting up a gigantic lounge tent in the desert requires hands, so Jim has arranged in advance for three of his best team members to meet him in the Valley. They also carry a precious cargo. Handmade spruce poles from New England, primary and supporting poles that will create the internal skeleton of the giant tipi-style tent. On top of this frame Dave and Jim will see for the first time the canvas covers they’ve spent the last weeks creating.

Once the first four poles are joined on the ground, the team begins to raise the structure into the air and a ladder is set to the center point, which Jim will slowly ascend until the entire frame is assembled and secured at the top. All the while, Dave sits in the shade of a low desert tree watching patiently and measuring how best to set the canvas. His sense of this process is as sharp as a sailor about to launch a spinnaker. If anything should go wrong, the wind could carry all of their work away in ribbons.

Jim clings to the peak as the bundle of canvas is hoisted. Many hands work below on his orders to pull the billowing tent into alignment in the stiff afternoon breeze. Dave, on his feet once more, helps from the ground. Dave and Jim work in perfect unison, never pausing to take in the magnitude of their work coming together until every last detail is fully secured. They notice and mentally adjust a few minor changes, before slowing the pace to look around at what they have done. It is then that they are able to stand, laughing in awe at the interior of the 900 square foot Norwegian-style tipi before emerging into the dramatic landscape again.  Fifty paces from the tent, it comes into focus for the first time. The power of the Valley and the grace of the canvas are intertwined for a moment and all that is left for Dave and Jim is to rest and admire their creation.

The pondering of the human spirit in a moment like this is the reason that we have climbed Everest, or sailed to the Moon, or sought the bottom of the ocean. We gain a sense of place in our work and our wandering. We feel a worthiness in our souls, that the work is right and meaningful. We feel that our purpose on this earthly plane is being fulfilled. Dave speaks to this in a moment of deep reflection:

“I just think that tent living, and what we are giving to people in tent living is… Craft, it's just Craft… that’s what it is.”

Visiting Brimfield Antiques Fair? Our Tips!

Brimfield, one of the largest antiques fairs in the country is a must visit spot for the curious and the collectors. We love visiting the September show, but we recommend visiting the May, July, and September dates so you don’t miss a thing. We’ve brought together a few of our best tips to make sure you make the most of your first Brimfield expedition.

ARRIVE EARLY - the day will be long, but you'll be grateful for every extra minute you have when the day is winding down and you still have a whole field to get through.

BRING WATER - everything is expensive, so if you don't bring snacks and drinks, plan to spend a little more than you'd like for things - the established businesses like the Apple Barn Cafe -located central to the entire market- are going to be the cheapest option for beverages.

TIME IS MONEY - At Brimfield where there is so much to see and no chance of making it to every single booth in a day, Time is money, and it's easy to be distracted by midcentury modern beauties, but if you live in a pre-revolution colonial, it's just expensive window shopping. The same is true for the inverse, you may like to look at French country cabinets, but will they really look good in your craftsman bungalow?

DRIVE THE CORRECT VEHICLE - bring the car with the biggest cargo capacity you have available to you, just in case you find that perfect piece that won't fit in the back seat of your Corolla - or you will be strapping it to the roof... Trust me, I've done it. - on that note... Bring rope, ratchet straps, moving blankets, and anything you might need to strap that ca. 1775 pie safe to the roof of said Corolla.

DON’T WAIT, BUT BE SMART - if the price is good and you love it, then buy it when you find it, odds are there is someone else right behind you that's going to benefit from the deal of a lifetime while you're walking around and contemplating it.

GET BUSINESS CARDS -if there is a maker or retailer that has something you want, something they produce and sell regularly, take their card and contact them to order later on - Brimfield is better served as the place to buy one of a kind antiques and oddities, not commercially or individually produced items that can be replicated.

BE SMART (AGAIN) - take antique dealers labels and stories with a grain of salt - unless someone has a 3rd party verification of provenance on a piece, try to remember that they're also trying to make the sale.

BEWARE - beware of counterfeits, reproductions, and faux finishes!

WATCH THE CLOCK - don't spend too much time in any one field, there are so many things to stop and look at, try to be discerning about which things you spend your time on.

HAVE A FRIEND - if you're shopping with someone who is going at a different pace, it's ok to split up - just have a plan to meet back up.

KNOW THE FIELDS - if you're only there for the day, skip the fields that charge admission, there is so much to see for free. If you know there is a specific vendor or field specializing in your interest, by all means, pay the fee and live your life!

LUNCH - if you must spend money on food, there is only one real option, just get the Brimfield Pilgrim Sandwich and continue with your day. You can thank me later.

PARKING - park in a centrally located area, not on one end or the other... You may pay $5 more, and you may have an anxiety attack in the human frogger game that is getting in and out of the fair, but your feet and back will thank you when it's time to lug your loot back to the car.

CARRYING YOUR LOOT - carts and wagons are commonplace and very useful, get something agile and lightweight to avoid getting in the way of others.

FIRST TIMERS CLUB - the first time is always a bit overwhelming, I recommend taking a buddy. Over the years and more visits, you will look forward to familiar faces and vendors that you just can't wait to visit and see what they have!

CASH IS KING - As they say, "Cash is King" - many vendors have started accepting credit, debit, and Venmo or CashApp, but real Cash still has the most negotiating power. and, for many vendors, it's still the only form of payment they accept. ATM fees will kill you, so bring some with you. Not too much though! write off the $4 or $5 loss in fees if you need to make a big purchase, consider it insurance cost.

KNOW BEFORE YOU GO - Arrive with an idea of what you might be looking for. This will help keep you on track as you wander the fields. But always keep an open mind for the welcome distraction a true treasure find offers!

BE MANNERLY - There is an etiquette to haggling, remember that the dealers are people, too. If they lower the price, they're doing you a favor, just as much as you are doing them one by purchasing the item. It's a mutually beneficial transaction, treat it as one.

Bloom Where You Were Planted — Bloomsbury Farm

Nestled in the rolling and hollers hills of middle Tennessee, about 30 minutes outside of Nashville you find Bloomsbury Farm. Lauren Palmer runs this three generation farm alongside her parent’s and daughter. The farm has become an idyllic escape from the near constant construction and growth of near-by Nashville, a city that has allowed Lauren’s vision for this farm, it’s CSA, and farmers market presence to flourish in recent years.

Lauren graduated from college with a social work degree and worked in hospitals, but never felt entirely fulfilled during those years. She decided to intern on a farm that embraced organic farming, and says it was the hardest work she’d ever done, yet was absolutely the most satisfying. As a child her parent’s had moved their family to was is now part of the farmland she oversees. Her dad, who came from the area and was raised on a dairy farm nearby, and her mother encouraged her desire to farm the land and soon became her first, and cheapest worker. Over a decade later Lauren still says that as soon as she hit the dirt she knew she’d found her calling.

Today the farm has grown and is a year round operation. Much of what you see on the farm today began at least two season’s prior as Lauren plans well ahead to ensure her spring Community Supported Agriculture (CSA) kicks off each year without a hitch. The spring is a welcomed season for the farmers here at Bloomsbury Farmer, warmer temperatures and longer days mean the thirty two weeks of the growing season are soon ahead.

Winter, like for most farmers, is a time of rest, but this rest is also required of the land. “Our daily paces slow a bit, allowing us to take stock of the growing seasons that year and calibrate for the seasons ahead. As a team and operation, we’re constantly looking for ways to grow, and in spring we start to see that work take root.”

Spring allows us to reconnect with their community in a bigger way. While they’re at the farmers market year-round, the spring brings the CSA community out and back onto the farm. Lauren says “It’s like welcoming family home after time apart, which feels appropriate during the time of rebirth and growth that springtime brings.”

For Lauren the springtime season is one that is filled with sensory threads: the sweet taste of the first ripe strawberries eaten out in the field, the chirping of baby chicks, and seeing the marks of the season beginning to peek out, such as the daffodils and the small buds that decorate the branches of the pear trees.

The farm is a GAP and organic-certified farm growing over a hundred varieties of vegetables, fruits, herbs, sprouts and wheatgrass. A flock of chickens and gaggle of geese provide fresh eggs, and in recent years they’re started growing hemp organically. Through their on-farm market days, local farmers markets, robust CSA programs (spring, summer, and fall/winter, with about 400-450 shares alone this coming summer), as well as wholesale channels and local restaurants, they put their goods into hundreds of local hands each year.

Over the years Bloomsbury has added summer camps (with a guarantee to send your kids home dirty or your money back) and a nature-based school. This last component -- education -- when combined with farming, feels full-circle for Lauren. The farm, while yes, it is a business, is more importantly a place to nourish, educate, and connect.

Lauren says “I’ll never forget my first farmers market in East Nashville. Incredibly nervous, I wouldn’t have done it if not for the support of a friend who said to show up with the produce and he’d have a table and tent ready. With a handmade poster board sign (which I still have) saying “Grown with Love,” I jumped in and fell in love.” Lauren continues “Each year (and sometimes day) we have bumps in the road, but all of our movements have been forward in the evolution of our farm. When life gives you an excess of tomatoes, you turn it into Bloody Mary mix.”

The most important thing she’s learned in growing the farm is to listen. Listen to your community and customers…to the people who’ve been with you the longest. Listen to what they want and need, then deliver.” From the first farmers market, Lauren fell in love with the connection you get to those you feed. "As farmers, we need to be face-to-face with our customers to listen and learn what they need. Our family motto has always been “bloom where you were planted.” Bloomsbury is more than a place to grow, it’s a place to gather, and I believe that good community, like good food, doesn’t just happen; it is something that’s planted, nurtured, and shared.”

Cultivating Sunshine: A Guide to Growing Sunflowers

Cultivating Sunshine: A Guide to Growing Sunflowers

Sunflowers, with their vibrant petals and towering stalks, are not just a symbol of summer but a testament to nature's brilliance. Growing sunflowers can be a rewarding experience, bringing a burst of sunshine to your garden. Here's a comprehensive guide to help you cultivate these golden beauties from seed to bloom.

1. Choose the Right Variety:

• There are numerous sunflower varieties, each with its unique characteristics. Common types include Giant Sunflowers, Dwarf Sunflowers, and Multi-Headed Sunflowers. Choose a variety that suits your space and aesthetic preferences.

2. Select a Sunlit Spot:

• Sunflowers thrive in full sunlight. Choose a location with at least 6 to 8 hours of direct sunlight per day. Ensure the soil is well-draining, as sunflowers don't fare well in waterlogged conditions.

3. Prepare the Soil:

• Sunflowers prefer moderately fertile soil. Work in organic matter like compost to enhance soil fertility and improve drainage. A slightly acidic to neutral pH range (6.0–7.5) is ideal.

4. Planting Sunflower Seeds:

• Sunflowers are usually grown from seeds directly sown into the soil. Plant the seeds about 1 to 2 inches deep, spaced according to the variety. Larger varieties may require more space.

5. Watering Routine:

• Water the seeds thoroughly after planting and maintain consistent moisture during the germination phase. Once established, sunflowers are relatively drought-tolerant, but regular watering helps promote optimal growth.

6. Provide Support for Taller Varieties:

• Some sunflower varieties can reach impressive heights. Consider providing support for taller varieties by staking or using garden twine to prevent them from toppling over in strong winds.

7. Fertilize Moderately:

• Sunflowers generally don't require excessive fertilization. A balanced, all-purpose fertilizer applied during planting and once during the growing season is usually sufficient.

8. Weed Control:

• Keep the area around your sunflowers free from weeds, as they can compete for nutrients and water. Mulching can help suppress weeds and retain soil moisture.

9. Deadheading for Continuous Blooms:

• Deadhead spent flowers regularly to encourage continuous blooming. This also redirects energy to the growth of new blooms rather than seed production.

10. Harvesting Sunflower Seeds: - Harvest sunflower seeds when the flower heads have matured and the back of the head turns yellow or brown. Cut the heads and allow them to dry in a well-ventilated area. Extract seeds for snacking or save them for planting the following season.

11. Enjoying Your Sunflowers: - Once your sunflowers are in full bloom, take the time to enjoy their radiant beauty. Whether used as cut flowers, a backdrop for your garden, or a source of seeds for wildlife, sunflowers bring joy and brightness to any space.

Growing sunflowers is a delightful journey that allows you to witness nature's brilliance unfold in your own backyard. With proper care and attention, your sunflower patch can become a beacon of sunshine, adding a touch of warmth and cheer to your outdoor space.

Unafraid of Life: A Conversation with @ablicki

a conversation with Max Ablicki about life, photography, and lessons from the road.

I FIRST GOT INTO PHOTOGRAPHY IN HIGH SCHOOL, JUST AS I WAS SORT OF STRETCHING MY LEGS WITH THE NEWFOUND FREEDOM OF HAVING A DRIVER’S LICENSE. I started by simply taking cell phone pictures of the places I’d drive my Jeep, and from there it sort of blossomed into this joy of exploring and sharing the experience of travel, and overall just being present in the moment.

I’m mainly self-taught; however, the first few months with my camera were certainly full of YouTube tutorials and talks with my friends who knew a bit about the craft. The good thing about a camera is that at the end of the day, it’s really just a tool. Once you understand the functions of the tool, you can use it however you need to. I think anyone can pick up a camera nowadays and take some pretty beautiful pictures with just a little playing around, but working on a style is what truly begins to set photos apart and highlight the tastes and ideas of each photographer.

I feel that my own style has been, and probably always will be a work in progress. I started in the early days by mimicking what others were doing on Instagram, but it doesn’t take long to realize that’s not a fulfilling or enjoyable way to practice an art. So over time I began to simply take photos of things that I’m passionate about, and played around with different editing styles and shooting styles before ultimately settling on my current approach, which is to shoot as close to the finished product as possible, and then lightly edit. I like to balance my color images with the occasional black and white, since each one has its own benefits and drawbacks and I don’t want to limit myself to one domain in that area. My current images are intended to show the things that inspire me in an almost photojournalistic kind of way—at the end of the day, it’s an account of me and the things I enjoy, presented in a way that I hope is enjoyable for many.

The themes I explore in my work started out pretty basic, just showing my physical travels in my old car. But as we all know, the more you travel the more you realize travel is a lot bigger than where you physically are. It changes who you are as a person. So now the themes that I try to cultivate and share with my audience are to be unafraid of life, and to be open to inspiration from anything and everything, whatever that may mean to any person who sees my content. I’ve been called a renaissance man for my diverse array of random passions and skills, and I want people to feel similarly encouraged and charged up to be unafraid to try new skills and chase all of their different passions, instead of living with blinders on, chasing one dream and ignoring everything else that’s beautiful around them.

Finding my subjects and locations is almost completely random. Some locations, I hear about through word of mouth and recommendations from friends (though it’s pretty rare you’ll catch me at the known “Instagram banger” spots anymore!); others I find on my own just by perusing maps and/or simply coming across amazing spots on the side of the road. I’m guided by my passions and interests, so at the end of the day whether I’m shooting on a mountain summit, in a canoe, in a restaurant, a luxury home or an off-the-grid cabin, it’s because I am really, really excited and grateful to be there. The people I photograph are typically friends who accompany me on my adventures or share my passions. Again, having an openness to experience and to living opens up the opportunity for you to stop on the side of the road to take a great photo or to talk to an interesting stranger who might show or teach you something incredible.

The way in which I compose a shot depends on the scenario. If I’m shooting a professional project, I often have an idea of what a client expects, and an understanding of the situation I’m dealing with, and therefore might have a few shots in mind or a loose outline of what I’d like to capture. If I’m just out on the road freestyling, pretty much anything goes.

Everything around me inspires my work! I love taking photos, and if I can photograph the things and the people that I love, then I will. I love to cook, I love to get outside and explore, I love to surf, I love hole-in-the wall coffee shops and autumn leaves, and everything from a perfectly manicured fine dining experience right down to a bowl of mac and cheese. I want people to simply be inspired by life and unafraid to reach for the experience they think is out of reach. In the words of the late Anthony Bourdain, who is one of my big inspirations, I want to inspire people to “eat the damn fish.”

My suggestion to newcomers in the field (no matter how cheesy this may sound) is to have fun with it! Seriously, don’t worry about trying to monetize it or make it sustainable. Don’t even worry about trying to be good! Just treat it like play - and have fun shooting for you first, taking pictures of what you enjoy. Keep going in that direction and the rest will come with time! That said, photography is s a tough field to be immensely profitable in. Photography is still essentially my side gig; I work in landscaping full time. Really though, what is money? We’re all just trading around red and green numbers at the end of the day. If photography is your passion, chase it, and don’t make money the priority. With good practice and a true dedication to the craft, money will come.

As for high points in my career, my first few real photo gigs in which a client sought me out (as opposed to me putting in the legwork to find a client) were something really special, and to me just validated that my work was really becoming something to take pride in. Especially as someone who doesn’t specialize in any specific type of photography, it can be difficult to get clients when you aren’t offering something specific, so knowing that I was being sought out purely for my creative perspective was a pretty amazing feeling.

I’d say that the moment I realized that I didn’t need to define my work by any specific genre or style of photography was the defining moment in my career, so far. That understanding really opened up the creative doors for me, even if it slowed down my “photography business.” At the end of the day that’s not why I’m into photography, and instead, giving myself the room to create what I want has led to my photography career feeling much more like a professional hobby, which is fantastic.

If I could start out from scratch, I would definitely become who I am–a guy with no particular specializations in photography–a lot earlier than I did the first time around. In the early days I was so focused on trying to be one “type” of photographer, whether that was taking pictures of cabins or landscapes or cars or whatever.  Looking back now, those are all just callings to different areas of interest for me, and for a long time I was really limiting myself to try to just pick one and stick with it. It took me pretty long to realize that I don’t need to abide by a specific specialization in photography. So, if I had another go at it, I’d definitely want to attain that realization much earlier.

The importance of individuality is the biggest lesson I’ve learned through creating my art. Copying everything everyone else does on social media will definitely get you the likes - but it costs you the soul of your work. When you can step outside of the social media framework and expectations, and not care at all if your work has 10 likes or 10,000, that’s when you get the freedom to create and share what you want.

It’s great to be in a position where you can work for yourself, even if it’s just for a few times a year like it is for me. I’ve spent my whole life working for other people.  Each way of working has its own pros and cons. Working for yourself really gives you that total control and total freedom to run things the way you’d like to, but at the same time, you bear full responsibility for everything, which can be tiring. That’s why I like being my own boss, but only part-time.

If I couldn’t be pursuing photography, I’d be cooking! I’d say I’m equally passionate about cooking as I am about photography, even sometimes more passionate about it. (That’s why my photography has evolved to show a bit of what I like to cook!). One of my favorite things is cooking on an open fire—there is something deeply intimate about it, and it’s a true craft! I’m very inspired by Francis Mallmann, and definitely recommend that anyone interested in cooking and living to the fullest should research Francis Mallmann. A lot of different aspects of life, society, culture, etc. all seem to come to head with a plate of food, and being able to cook well and appreciate food with friends and family is something really special to me.

My biggest pet peeve about the photography industry is the people who are doing it “for the gram.” There’s a lot of them out there in all sectors of social media, not just photographers. In the photography area, though, there are so many people who won’t stop to smell the flowers or appreciate a scene, because they’re too busy trying to crush out a hike to get to a popular photo spot just to snag a photo and then turn around to head to the next spot. Or they’ll ignore countless amazing people or local places like small businesses and restaurants because those things don’t fit in their aesthetic. So generally, I wish the whole scene was just more authentic and transparent. Does social media need to resemble real life? Definitely not! I like that it’s a catalog of our best moments. But do we need to manufacture our best moments or can we instead truly be present, patient, and just simply share our real best moments?

When I first started out, photography was simply the pursuit of something that was interesting to me at the time. It was something I felt drawn to when I first encountered it, and so I followed the path. Even with the ups and downs, photography has allowed me to travel to some incredible places, but also really led me down a path that’s had so many benefits in terms of being an authentic and kind human being with gratitude for everything around me, and that’s all I could ask for.

I’ve touched on this a little bit already, but I truly hope my work inspires people to chase life to the fullest, whether they are aspiring photographers or not. Simply saying yes to new opportunities and being willing to make the moment worthwhile is the answer to life itself, never mind just photography. It started with travel for me, but it can start anywhere. I love to see people try new things and pursue their interests and passions to the fullest in the same way that I try to do - always be open to what life has to offer!

Here in Maine, nothing brings hunters and hippies together more than flannel. It is always the right move.

A Storyteller's World — Christie Jones Ray

Somewhere just outside a tiny map-dot Kentucky town, Christie Jones Ray a storyteller, artist, quilter, and children’s book author creates a storybook world that unfolds against the backdrop of the rural South. Born and raised in Orlando, Florida, her soul longed for the serenity of the countryside, inspired by the cherished memories of visiting her grandparents' farm in Kentucky during the 60s and 70s.

Over three decades ago, the Christie became a resident of Pleasant View, Tennessee, marking the beginning of a journey filled with life's twists and turns. An engagement to a dear man led to marriage in the summer of 2007, followed by a move to Historic Downtown Franklin, Tennessee, four years later. Life in a tiny Victorian cottage unfolded like a storybook, and in the year she turned 50, the storyteller embarked on the journey of self-publishing children's books, creating a magical world of her own. Eight blissful years in that cozy cottage were followed by a return to Pleasant View, only to be drawn to a property in her beloved Kentucky in the summer of 2022. The Victorian-style farmhouse built in 1911 seemed to await her, and a cozy log cabin just steps away completed the idyllic setting. A year later, after renovations, they made the move, creating a haven in the peaceful rural setting that now serves as the enchanting backdrop of her storybook world.

Christie’s love for the art of storytelling began years ago, earning her the title of the family's keeper of stories. From a memory cabinet holding family treasures to a blog launched in February 2011, her storytelling skills were finely tuned. The blog became a canvas for documenting family stories, evolving to include tales of her handmade mouse named Eliza, stitched that Easter, and named after her great grandmother. It was these stories that caught the attention of her husband, sparking the idea of transforming them into children's books.

In August of 2011, just three months before turning 50, the storyteller surrendered to the idea of writing a children's book. Her husband took the lead in researching and gathering information, while she delved into learning to draw, use watercolor paints, and develop the story. Thus, the CJR world was born, with Eliza the Mouse at the center of it. Other characters, including a menagerie of dolls, bears and mice, found their way into the hearts of readers. In particular, Really Old Bear became a beloved character, winning over readers with her wisdom and endearing perspective.

Inspiration for this enchanting world comes from the storyteller's vivid imagination, nurtured since childhood. In her photography, she focuses on capturing the beauty and joy in the world, documenting precious moments that will be cherished down the road. The storybook world she shares is a sanctuary, offering a breath of fresh air, beauty, and encouragement in the face of life's challenges.

Having escaped the bustling atmosphere of the big city, the storyteller found solace in the fields of Queen Anne's Lace, farmhouses, and old quilts of Kentucky. The Southern charm and slower pace of small-town life became integral threads woven into her stories. The CJR world reflects not just her storytelling, but also her appreciation for her Southern roots, embracing her accent, love of old overalls, straw hats, and the joy of cooking with too much butter.

The lost arts of quilting, storytelling, sewing, and more hold a special place in the storyteller's heart. Her lifelong love for old quilts led her to learn the art of quilting. The process of making, sewing, knitting and stitching, she discovered, is not just about the end product but about slowing down, releasing endorphins, and sparking creative juices.

The evolution of the storyteller as an artist and illustrator is a journey marked by growth with each project. Each new book becomes a challenge, with the story taking precedence, and the illustrations pushing her boundaries. The commitment to growth is exemplified in projects like "Eliza Visits the Prairie," where the drawing and painting of a calf became a triumph in persistence and artistic commitment.

Remaining true to herself has been key to her artistic evolution. After a brief period of uncertainty, she decided to let her home, her storybook world, and even her clothing reflect who she truly is. This authenticity has become the cornerstone of her style, connecting her love for wildflowers, quilts and mismatched silverware seamlessly.

The community she seeks to build is not just a gathering of readers but a tapestry of makers, quilters, knitters, educators and friends. It's a community that finds solace in shared whimsy, offering comfort, creativity and connection. The storyteller aims to empower this community to embrace the magic of whimsy, creativity and shared stories.

In her flower garden, old-fashioned favorites bloom, mirroring the timeless beauty captured in her photography. Geraniums grace the front porch, and flowerbeds filled with Cleome, hydrangea, impatiens and Granny’s Bonnet create a picturesque setting that reflects the charm of her Southern roots.

The storyteller's go-to Southern dish, meatloaf with mashed potatoes and green beans, holds a special place at family gatherings. Her potato salad is a potluck favorite, embodying the essence of shared meals and family traditions.

Preserving and celebrating small towns is a cause close to the storyteller's heart. Small-town life, with its sense of community, shared joys and sorrows, and the coming together in times of triumph and tragedy, has left an indelible mark on her. The movie Steel Magnolias, with its portrayal of small-town life, holds a special place, closely mirroring her own experiences.

In her opinion, life is best lived in community, a sentiment she ardently believes in. The storyteller's hope is to empower the CJR community to feel comfort, creativity and connection, embracing the shared stories and values that make their bond stronger.

As the journey continues, home remains the storyteller's favorite place in the South, where the pace slows, life is embraced, and the art of storytelling finds its truest expression. Whispers of tales and threads echo through the Southern journey into small-town Kentucky, inviting readers into a world where the magic of whimsy and the comfort of shared stories prevail.

CJR with my favorite of her books…Pick-a Pick-a Pumpkin.

The Beauty Surrounding Me — A Conversation with Anne-Louise Ewen

Los Angeles based artist, Anne-Louise Ewen, grew up in a small town on the Mississippi River in South Louisiana known equally for the beauty of its antebellum architecture as for its proliferation of toxic chemical plants. Anne-Louise’s work includes paintings, prints, drawings, sculpture, ceramics and books. In the current time of deep unrest in the United States, she wrestles to make paintings that she personally and viscerally finds beautiful while not being in denial of the dark realities we are facing as a society.

In the summer between second and third grade, I met one of my first art mentors in a chance encounter and spent that summer learning the fundamentals of drawing with charcoal, a formative experience which established visual art as a core element of my life. As a teen, I attended the Louisiana School for Math, Science and the Arts (a magnet boarding school) and concentrated on a curriculum of fine art, followed up by spending two years abroad studying figure drawing, printmaking and painting in Paris, France. I relocated from New Orleans to Los Angeles in 2005 following the massive upheaval caused by Hurricane Katrina and went on to pursue a college degree in philosophy which led me to later founding The Donaldsonville Art Colony, a collective of painters, writers, musicians, and filmmakers. I drew upon this experience years later when I opened my art gallery in Costa Mesa, California in 2007.

Creating is a powerful antidote to many of the world’s ills. It reminds me of humanity’s better nature. When I’m creating, I feel like I belong more on this planet than at any other time. Being creative is similar to being resourceful; having the ability to make something out of what you have at hand and do it elegantly when possible. Mere consumption and survival are not enough—the urgency in surpassing this is a part of what drives us to create.

I will never actually identify as or with the term of being a “creative”. For me, that expression always implies creative work that is applied to a commercial endeavor for the main purpose of making money. Don’t get me wrong—I very much like making money, but one thing that is important to me is remembering that there is a difference between art and commerce. And when you’re making art, you can start from a place that is not about marketing and selling and making a buck, but rather aim to create beautiful things that transcend oppression, violence, hate, ignorance and existential ennui.

To be frank, and I know this goes against a lot of contemporary art career advice, I don’t think it’s helpful, as an artist, to concern yourself with finding a style. It’s something that develops from experimenting and playing, and following a thread to something that you love. I’m still curious to see how I will paint or draw this or that. I try to make things that are beautiful to me and that I want to have around. I guess I’ve been painting for long enough that there is a lot of partially conscious, subtle figuring going on inside, but there’s always some aspect of leaping into the void. The key for me is to find a balance between bold spontaneity and calm deftness.

I believe that art’s highest good is as an outpost of freedom and a trigger of joy. I’m interested in art that makes me feel in love with the world, and I believe that artists have the ability and responsibility to restore humanity through what we do. Some have said that looking at my work makes them feel more free and alive, and I’d consider that my biggest accomplishment and the highest compliment.

---

I grew up in a dynamic where the people I came in contact with were either utterly indifferent to the creative work I was doing, or they were actively antagonistic (with many exceptions, of course!). Over the years, I, therefore, developed in a way that preferred working in isolation—my creative community was made up of the dead artists that I loved, like Matisse and Picasso and of the classical music or jazz on the radio, beaming in from Baton Rouge or New Orleans.

In recent years my creative community has changed some, but it’s a hard habit for me to break. I used to think that I didn’t have anything to say about my work, but now when someone visits my studio, I really enjoy the dialogues that come out of their questions and observations. I love it when someone experiences a connection with something I’ve made, and they say it makes them feel more free, happy and alive. That’s a fantastic part of the equation that was missing from my creative pursuits for a long time.

Surprisingly, my community of artists these days is greatly made up of musician-composers (the most important being my husband, Tyler Sabbag, who is a part of a team of composers best known for their work on the Netflix series, Street Food and Chef’s Table.). I love that they believe, value and understand things that can’t be seen, and this is the kind of person that I like to be around. It’s a never-ending source of fascination for me to discuss the similarities in our work processes. In both of our worlds, we must proceed by a kind of faith and hope to enter a state of grace where the composition evolves into something profoundly wonderful.

---

---

Creativity is renewing. When I’m feeling bummed out and don’t feel like I have it in me to paint, however, I may choose to simply work in a different medium, maybe ceramics one day, or I’ll make candles or play ukulele instead. Sometimes, just taking a break and sitting down to a good meal in a pretty setting will do the trick. I also appreciate the way that travel gives me a chance to be “the me” that I am without the errands and the to-do list crowding in on me, allowing me to find the space I need to dream again.

Pursue your creativity—Don’t overthink it.

Feel your way. Play.

Creative inspiration can come from anywhere though I do find I regularly find creativity in the beauty surrounding me. There is so much power in beauty to nourish and soothe us—a trip to Huntington Gardens in Pasadena, seeing my friend Teressa Foglia’s beautiful hats on Instagram, opera, baseball— I want to amplify that and bring it into people’s lives. I’m interested in seeing what happens next. The best times are when it feels like I just get to show up, set up my materials and ride the ride. I often feel as many artists do—like it’s not me making the work but some force passing through me.

---

I love seeing other people’s beautiful, well-organized studios, but the one I have currently is not that. When we first moved in, my studio was dark green. You can see that I painted it white and hung up the string of lights to brighten it up. We’ve regularly moved from rental house to rental house in Los Angeles for the last decade so my studios have had to adapt to what’s available both in terms of space and finances.

We moved to our current house thinking that the garage would make a pretty decent studio for me. It’s not too small, though it’s always a challenge to find more storage. Unfortunately, it turns out it also leaks terribly in the rain, as well as, fills with dust and leaves from the area’s frequent wind storms. The first curtain I hung across the opening blew away in a windstorm, but this one has held for over a year, fingers crossed. On a positive note, my studio has several walls for me to tack up my canvas to paint on plus space for my paints and brushes and other assorted art supplies. I also built cinder block shelves that I added to hold my art books and other treasures. If I waited around for the perfect space I wouldn’t get anything done, so I make it work. (On a side note, we’re house hunting again, and we’ve agreed that we’ll be happy with a tiny living space as long as we have vast spaces for our studios.)

My studio is pretty quiet, apart from my husband composing next door, and it has good energy which is important. Our house is an extension of my studio; I have an area for ceramics and candles, am often making at the kitchen table and use the living room as my rotating art gallery for studio visitors.

As an alternative, I’ve tried renting a studio space away from home, but this didn’t work for me. I need to live with my studio so I can wander out with a cup of coffee in the morning to see what I made the night before. I need to be able to carry wet paintings into the house to live with them a while and see what they feel like.

Realistically, it can be incredibly challenging to carve out the space you need, and you might find you have to be quite resourceful and flexible to make things work. I feel it is important to set up a creative space whatever the size so that it feels like your secret clubhouse hideout from childhood; someplace that you stock with the supplies that will excite you. If you don’t have a room, have a stocked suitcase that you can bring out and conjure that sacred space where you are free to do whatever you want. When I lived in New York City for a year, I had no studio space and so I turned to making small hand-bound art books of tiny paintings. The studio and the work will influence each other. Your available space doesn’t have to hold you back from making something. In our last house, I set up a giant tent in the backyard!

I think it’s an accomplishment to overcome these challenges and not let them hold me back from creating. I have a vision in my head of my ideal studio…big, bright and clean, with plenty of storage for finished work…I’ll get there eventually.

ANNE-LOUISE’S PAINTING MANIFESTO

• Aim to proceed with a devil-may-care work ethic, both cheerful and reckless to investigate, invent and rediscover.

• Let the first-hand personal experience of aesthetic arrest be the true north that guides me, allowing room for an epiphany.

• Aim for nothing less than to create things that transcend oppression, violence, hate, ignorance and existential ennui.

• Focus on the music over the lyrics. In other words, though there are recognizable objects in my paintings, the subject matter (the “lyrics”) is not what primarily motivates me.

• Be virtuous in sharing my work​ with the world

“IMPORTANT” ART

I feel strongly that people should be more discerning about when they use the word “important” to describe art. Often what they mean is that a particular work of art or artist is currently influential, popular or expensive. This does not make it important. What the world needs more of are cultural offerings, which inspire and strengthen humanity's more virtuous qualities like empathy, sensitivity to beauty and love of life.

MORE ON ANNE-LOUISE

Online store: EwenStudio.com

Portfolio: EwenFineArt.com

---

“Creativity takes courage.”—Henri Matisse