artisan products

✨#SupportBlackWomen: Onya'e Naturals {#PBGMoneyMonday}

This week’s PBG Money Monday is featuring Onya'e Naturals, a small batch vegan natural skin care line by Jasmine Onya'e Kelley

Jasmine, who is also I a photographer and graphic designer, started looking into the idea in college as a part of a project. She researched pure ingredients from the kitchen that would be helpful for the face, body and hair. What emerged eventually became a mini skincare line! Jasmine currently has products like a bentonite clay mask, a hydrating sweet rose toner, lavender peppermint and mint rose lip balms, and a decadent skin salve with ingredients such as coconut oil, arrowroot powder, and sweet almond oil.

To support this sister, visit her shop here.

Also follow along on Instagram to stay up to date with new products!

Have a great week, Queens!! 👑💫✨

anonymous asked:

I read that people used to leave gifts of butter for the Fair Folk because, back then, butter was very precious and labor intensive to make. The Fae liked it because people used to put a lot of effort and pride into making it, so they deemed it a worthy gift. Would the Gentry today feel the same way about artisanal products, like maybe microbrewery beers that are so popular in college towns?

Oh cool I didn’t know that! I imagine that would work well enough, especially if you were either conscious of the lore surrounding that or just really genuinely liked the beer/etc yourself.

In general though, I imagine Elsewhere U traditions as basically the continuous evolution of a game of telephone played by desperate, broke college kids. So the changes to lore tend to be reasoned out on lines of ‘I can’t afford X but Y is almost the same thing, maybe it will be enough?’. Which would more commonly lead to shifts along similarity rather than cost - home-made butter to store-bought to some other small dairy good on the hope that it can pass as the real thing, until eventually it’s widely accepted enough that it becomes the real thing. After all, you have $3 in your bank account and you know They like dairy. You have no idea how They feel about, say, infused vinegar. 

Invest in lavender futures, help farm, reap redolent rewards.

A Massachusetts family plans to save their once-flourishing farm, struggling after years of setbacks, with lavender fields and beehives. 

The Farm at Summitwynds has launched a Kickstarter campaign to fund the expansion of current lavender plots and the addition of beehives. Sales of lavender and honey products will return the farm to profitability, and by diversifying the revenue stream, foster sustainability. 

In return for your pledges on Kickstarter, farm owner Amy Parker is offering thanks in the form of unique farm experiences (including goat yoga) and artisanal products. That’s a pretty sweet deal.

Here’s how you can help and learn more about the campaign to save Summitwynds.

These are the plans.

Maison Martin Margiela, coat, 157% enlarged, spring—summer 2001.

Le Nef of L’Union Centrale des Arts Décoratifs, the vast central hall of a museum dedicated to the applied arts within the Palais du Louvre, in the 1st arrondissement of Paris. The museum is closed to the public for refurbishment. For the show the areas of the space that usually act as backstage for conservatories shows host the invited public. The existing formation of the space lends itself to the creation of eleven intimate ‘salons’. Each salon is host to eighty invited guests. Forty-four white chairs form a U shape around a circle of white rose petals within each salon. Other invitees stand along the walls to look on. A cotton curtain hangs across the entrance of each salon. Twenty-four women, their eyes obscured by horizontal band of opaque black or red plastic, each wear an outfit of the collection. The women pass quickly, one by one, from behind the curtain of each salon to stand on the circle of rose petals and turn before all of the invited guests. The show lights fall on the departure of each woman from the salons to be re-lit on the entry of the next model. A soundtrack of Julie London singing hits popular in the 1950’s is played loud during the show.

A colour scheme for knit and woven garments of stark white, electric red, blacks with traditional man’s suiting fabrics in light grey and brown Prince of Wales check as well as blue and dark grey pinstripe.

Oversized Men’s garments to be worn by women: This season many garments are of Men’s Italian size 78 and 80. There are two main themes of these garments: those with a ‘Double inside’ whose exterior, in light weight suiting wool and cottons, mirrors the construct of their interior, and these same garments who’s fronts have been either folded back and stitched flat into their inside or onto their outside. This series includes a coat, trench coat, caban, sleeveless leather biker jacket, and tailored jacket.

Various enlarged skirts, all in one size, 78, are presented in their actual size and held up by the model’s arms within the waistband of each skirt. When worn in day-to-day life these garments are sized down to fit women of varying sizes by a system of folding and tacking their waistband. Other garments, skirts, dresses and trousers are formed of either identical fronts or backs. Enlarged men’s sweaters and cardigan’s in extra fine cotton knit are in white, bright red and black.

Within the ‘Artisan’ production, sections of vintage pleated skirts, of various materials and pleat widths, are reassembled into long dresses, skirts and tops. Old leather gloves or new cotton gloves are patched together to form back less tops. The detached brand labels of used garments are sewn together to form the fabric of waistcoats and halter-tops.

Accessories are vintage sterling silver and plate forks moulded into bracelets and black or beige cotton Tulle scarves and collars applied heavy metal sequins. ‘Tabi’ boots in two heel heights in beige and black leather. The ‘Aids’ benefit T-shirt this season is in white cotton with white text.

New Orleans: Cajun vs. Creole
External image

Cajun vs. Creole Louisiana Food - An infographic by the team at Marriott Louisiana Hotels

Cajun or Creole: Big Easy Cooking

New Orleans cooking is as famous is its rich musical heritage. There are few places in the world where you can taste better food than in New Orleans. Hotels throughout the city are usually just a stone’s throw from at least one great restaurant serving up mouth-watering Cajun or Creole food. With the help of great cooking schools in the city, you can learn from local chefs how to whip up Louisiana classics at home. 

New Orleans School of Cooking

Book a hotel in the New Orleans French Quarter and walk to the New Orleans School of Cooking. The school offers classes by experienced Louisiana chefs. They guide you in creating some of the city’s most famous dishes, including Jambalaya, Gumbo and Corn Crab Bisque. Pop into the general store next door and pick up Cajun and Creole products, traditional spices, cookbooks and more to take home. 

Langlois Culinary Crossroads

Another great cooking school not far from the New Orleans hotels in the French Quarter is Langlois Culinary Crossroads, located in a 19th-century former Italian Market in Marigny. Langlois has a school, restaurant and store where you can find artisan products, cookware and foods. Students at Langlois can jump right in with one of the hands-on classes or sit back and watch the chef demonstrate classic techniques. After the two- to three-hour class, students can tell the difference between Cajun and Creole cooking.  

The New Orleans Cooking Experience

Opt for a downtown hotel in New Orleans and you can walk to the New Orleans Cooking Experience. Located just off St. Charles Avenue in a restored 19th-century Victorian mansion, this school’s classes guide you through the intricacies of a Cajun or Creole roux with the help of acclaimed local chefs. Chefs teach from a residential-style kitchen, where they share classic Cajun and Creole dishes from old family recipes.  

By the end of your class or NOLA vacation, you’ll know whether you prefund the smokier Cajun jambalaya or the Creole version with tomatoes. Maque choux will be a part of your vocabulary, and you’ll find yourself yearning for another taste of the Big Easy.

Infographic URLs

Southern Food Creole and Cajun Cookery

Southern Food Oysters Rockefeller

Huffington Post Cajun vs. Creole: What’s the Difference?

Louisiana CVB Cajun vs. Creole - What is the Difference?

Archives Cajun and Creole Genealogy

WiseGEEK What is the Difference Between Creole and Cajun

New Orleans French Quarter Cajun, Creole or Somewhere in Between 

NOLA Cuisine Maque Choux Recipe

Empty Stretch has decided to come out of hiatus to announce a new grant aimed towards photographers and visual artists who have historically been overlooked, marginalized, and underrepresented in the artistic process – i.e. those individuals who do not identify as cisgender, white men. We feel strongly about this attempt to do our part to help bridge that gap, and hope to build this grant over the coming years. For this interpretation, we are looking for a black-and-white and primarily visual body of work, which the artist feels could work in a zine format. The recipient of the grant will work with us to make an edition of 100 zine of their work. Submissions will be open for the entire month of December, and it is free to enter. More information can be found below, as well as a link to the submission form.

Who can enter?
This grant is open to all individuals who do not identify as cisgender white men.

What are you looking for?
There is no theme for this grant, but the work should be in black-and-white and primarily visual based (including, but not limited to, photography, photographic collage, cameraless photography, etc.). Accompanying text and non-photographic work is allowed to be a part of the series, but the artist should consider if the work is right for the zine format.

What does the recipient win?
The winner will work with us in the production of an artisanal zine. The final product will be between 20 – 40 pages, a saddle stitch zine in an edition of 100. The recipient will be given 15-percent of the production run, while the rest is distributed and sold through the Empty Stretch network to fund the production and overhead of future grants.

How do I enter?
Find the submission form link below. Please include all required indicated fields on the form. Please submit a URL to where the proposed series or body of work can be viewed. We can not consider downloadable links; your images must be viewable online in some form or fashion. Private galleries are accepted as long as proper viewing instructions are included in the submission form “Additional Comments” section. Please also include a short personal bio, as well as an artist statement about the work.

Who will decide the recipient?
At the moment, Empty Stretch’s founding members, Aaron Canipe, Jordan Swartz, and Nathaniel Grann, will decide the recipient of the grant. We hope that as the grant builds, we can begin to bring in industry professionals to assist with future judging.

When will the recipient be announced?
We hope to complete the judging in early January 2017, with the winner announced in late January or early February. Depending on the production schedule, we hope to release the zine by mid-2017.

Do I retain copyright of my work?
Yes. Empty Stretch claims no ownership over submitted and the recipient’s work. By submitting for the grant, Empty Stretch asks for the right to use submitted work in promotion related to the grant through our social media outlets and press related materials. All work used in that regard will be properly attributed to the artist.

Submit Here


Libertine Lindenberg by Franken Architekten

All furnishings manufactured in pastel and black versions, rooms split boldly; contrasting artisan crafted accessories, products, and decorations lending themselves to the visual concept.