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Nourished

Journal

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Proofreading for Nourished Journal, MADE Quarterly & Driza-Bone

Oils have been used for centuries to moisturise and protect hair, skin and nails, and it seems this practice has found its way back into vogue. As far back as the ancient Egyptians, people have been reaping the many benefits of applying these precious oils daily. It is said that Cleopatra would use a combination of almond oil and castor oil to nourish her hair to give it unparalleled shine. In ancient Greece and during Roman times olive oil was prized for it’s many benefits to ones beauty, not to mention the inhabitants of the Pacific Islands and Asia have long heralded the coconut for it’s many beautifying attributes.

A common misconception is that using oil on your skin will increase oil production, and may also clog pores. Unlike mineral oils that sit on the skins surface vegetable oils are absorbed by the skin and can regulate sebum (oil) production. Oils are an excellent source of moisture, antioxidants and vitamins, and are a great way to protect and improve the skin. Below we break down some of the more common oils that can be used on your face and body. We always encourage the use of organic cold pressed oils.

Almond Oil Prunus Dulcis Originating in Southwestern Asia, sweet almond oil is obtained from the kernels of the almond tree. This lightweight oil has amazing softening and soothing properties. Contains vitamins A, B1, B2, B6, E, minerals and fatty acids. ApricotPrunus Armeniaca

The origins of Apricot oil are disputed, but records dating back to ancient times suggest it may have originated in Armenia. Apricot seed oil is extracted from the inedible kernels found in the apricot pit. Excellent for use on dry or mature skin, apricot oil is lightweight and easily absorbed. Benefits include helping skin retain elasticity, clarity and softness. Rich in oleic and linoleic acids, vitamins A and E. Argan OilArgania Spinosa

Native to Morocco, the Argan Tree is an extremely hardy desert plant whose fruits contain the kernels from which its precious oils are extracted. The indigenous Berber women of Morocco have used argan oil in their beauty rituals for centuries to protect their skin from the harsh desert conditions. Rich in vitamin E, fatty acids, including Omega 6 and Omega 9. JojobaSimmondsia Chinensis

Native to the Sonoran and Mojave deserts of Arizona, California, and Mexico, Jojoba oil is not actually an oil but a liquid wax. Jojoba is almost identical to sebum, so is easily absorbed by the skin. Highly nourishing it prevents dryness in all skin types. It is rich in vitamin E and antioxidants.

Olive OilOlea Europaea

Native to the Mediterranean, most people associate olive oil with the kitchen, but this luxurious oil can also be used on your skin with great benefits. Rich in vitamins A, B, E, D & K, antioxidants and fatty acids. Highly moisturising and nourishing it can be used on all skin types. Sunflower OilHelianthus Annuus

Native to the Americas, sunflower oil is obtained from the seed of the sunflower. Highly nutritive and moisturising sunflower oil helps to keep skin soft and smooth. Rich in vitamin E, glycerides and fatty acids. RosehipRosa Canina

The exact origins of Rosehip oil are unknown, but we do know that the oil is a powerful antioxidant. Classified as a “dry” oil, Rosehip is great for those with oilier skin types, but can be used by all. Benefits include cell regeneration, collagen producion, increased elastin levels and evening skintone. High in vitamin C, Omega 6, Omega 9, Lycopene, Beta-carotene and Retinol (Vitamin A). N

Oils: An Ancient Beauty Secret

Beauty

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From as far back as the Ancient Egyptian era,
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its many cosmetic benefits, and
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organic, cold-pressed oils.
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For all species names on this page, de-capitalise the species epithet Prunus dulcis
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olive oil is associated by most people
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nourishing, it [insert comma]
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production

Ingredients

6 Parts sea salt3 Parts epsom Salt1 Part baking soda Essential oils (ensure they are skin safe) Method

In a large bowl, mix to combine: 6 parts sea salt; 3 parts epsom salts, to soothe tired muscles and reduce inflammation; and 1 part baking soda, to soften waters and alleviate skin irritation.

Add a few drops of essential oils, and combine

Store salts in an airtight container and use within three months.

To Use

Add a generous scoop to your bath just before you get in, but ensure they are fully disolved before climbing in. If added to early the essential oils will evaporate before you can reap their benefits

Ingredients

2 Oz. Cold pressed organic vegetable oil (Jojoba, Almond, Apricot etc)2 Drops of essential oil (ensure they are skin safe) Method

Add oils to a glass bottle, secure lid and shake gently to combine.

Store oil in an airtight bottle out of direct sunlight and use within one month.

To Use

Add a generous pour to your bath just before you get in. If added to early the essential oils will evaporate before you can reap their benefits.

Undiluted essential oils added to bathwater can settle in one spot on your skin and cause irritation. By using skin safe essential oils diluted in the vegetable oil, you dramatically reduce any risk of sensitization even if the bath oil settles.

Bath Oil Bath Salts

Beauty

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MADE Quarterly Edition Three

Feature Interview: Jean-Philippe Delhomme Paris, France

Feature Interview: Our/Vodka Berlin, Germany

Feature Interview: NADAA Boston, United States

Profile: Crumpler Melbourne, Australia

Feature Interview: Michele Aboud Sydney, Australia

Feature Interview: Fort Standard New York, United States

Feature Interview: Lars Focke Hamburg, Germany

Feature Interview: Snickeriet Stockholm, Sweden

Profile: Josh Oldenburg San Diego, United States

Showcase: A Curated Selection. Worldwide

Essay: Magnus Schifter-Holm San Francisco, United States

Feature Interview: Thaddeus Wolfe New York, United States

Editor in Chief: Amber Hourigan Editor: Thomas Williams Interviews: Kate Cullinane Thomas Williams Contributing Writers: Kate Cullinane Magnus Schifter-Holm Camille Nurka

Text Corrections: Camille Nurka Online Developer: Zann St Pierre Publisher: Hunt&Co. Pty Ltdwww.huntand.co

Design & Art Direction: Thomas Williams [email protected] www.huntand.co

Typeset: Maison Neue by MilieuGrotesque Tiempos & Domaine by Klim Type Foundry Advertising Enquiries:[email protected] Sales & Subscription Enquiries:[email protected] visit www.madequarterly.com Our Publications Process Journalwww.processjournal.com

Special Thank YouIn no particular order, Baz Hourigan, Kate Cullinane, Christopher Doyle, Zann St Pierre,Camille Nurka and all of our wonderfulcontributors.

Content All interviews in this edition of MADE Quarterly have undergone some minoreditorial intervention, though we have been careful to retain the intended meaning. We would like to thank the interviewees for their valuable contributions.

Disclaimer and CopyrightMADE Quarterly is wholly owned by Hunt&Co, and is protected by international and Australian copyright and intellectual property laws. All work reproduced in MADE Quarterly is subject to copyright and remains property of the respective creators and owners. All written content expressed within MADE Quarterly is not necessarily the views or opinions of the publisher.

Modern vs. Traditional

04 | EDITION THREE | CONTENTS CONTENTS | EDITION THREE | 05

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Founded by cabinet makers Gunnar Dahl and Karolina Stenfelt, how did Snickeriet first come to fruition?

I guess it all started way back when I was doing my thesis work for Swedish clothing brand Acne Studios, and Gunnar was still at cabinet-making school Malmsten in Stockholm. He produced some of my furniture designs as his journeyman exam. We later kept contact and as I started doing store design for Acne Studios, Gunnar would be our go-to guy when we needed exceptional craft.Snickeriet was really founded as a personal and naive reaction or to what we were doing. Everything we worked with somehow felt like set pieces or coulisses, and how the traditional craft that Gunnar and Karolina spent so much time learning in school really came to waste as they were entering the industry. We ranted for ever about how the fashion industry was closing in on the design industry, which was becoming more and more trend-based, consumer driven and drowning in bad, disrespectful production and design. I guess we were simply hitting the 30-year-old wall and we had the itches.

The Swedish name Snickeriet simply translates in English to ‘carpentry’. In a

world of ‘multidisciplinary studios’ and ‘industrial designers’, is the name an intentional positioning that reflects the company’s ethos?

The name ‘Snickeriet’ was more an attempt to keep the focus on the products. I have absolute confidence in our stuff, and that’s way more interesting to me than fancy branding. In the national press, it’s worked out the way it was intended: people are writing about Snickeriet without the readers or writers really understanding if it’s about us or just carpentry in general. Initially we wanted the company name to always be translated into whatever language it is written in. That would make it the most invisible brand ever. I’m still pushing for that internally. It’s gonna happen! Given the ‘traditional’ values suggested by the company’s name, does Snickeriet embrace modern production techniques? Or do you feel some of the craftsmanship is lost in the absence of more traditional processes?

I don’t want to over-romanticise anything about hand-made furniture. It’s like comparing illustrator renderings with oil paintings. It’s different worlds. I don’t

‘Snickeriet’ translates in English to ‘carpentry’. The Swedish furniture producer came about from the student ambitions of cabinet-makers and designers who shared a creative itch that called for scratching.

even think it’s possible to compare the two. Sometimes you want strawberry ice cream, sometimes you don’t. A seemingly recurring discussion we have with our contributors is around a modern ‘makers’ revolution’. Do you believe there has been a recent resurgence in traditional manufacturing and techniques? And if so, what do you think is reason behind this? Very much so! Even to the extent that I want to distance myself from it. All over the world there were millions of small little movements that were founded in secret. Everyone emerged pretty much at the same time, and everyone got pretty much surprised at how crowded it got in the professional DIY market. Luckily, this still this favours personal expression, and I don’t feel our aesthetics are infringed upon. One of your products, Frank, features a transparent exterior to make the craftsmanship and construction visible. Can you tell us about the direction behind this piece and the importance of showcasing the production qualities?

Yeah, it’s a see-through cabinet—but it’s

NORTH PIPELINE ROAD THE LAST ROAD

NORTH PIPELINE ROAD THE LAST ROAD

NORTH PIPELINE ROAD THE LAST ROAD

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more about the idea of seeing into the material itself, to see what the result of our production looks like from within the material itself. I like surfaces. I think it’s interesting that we only see exterior surfaces in opaque materials. In Frank, you don’t. You look at the inside of the theoretical external surfaces. Even though I hate the world for being so transient, I’m ultra restless always and I get tired of things fast. But Frank is still one of those pieces where I still watch the sun kind of present different versions of itself to me on a daily basis.

Your work is quite diverse and features a wide range of product types, how would you describe Snickeriet’s overall design direction and aesthetic? We want all our pieces to be treated as individual projects, rather than as collections. We don’t want to re-use anything in between the different products. We formulated a direction that would give us conceptual and non-designy, content-heavy stuff. We wanted our pieces to live forever and we wanted to achieve that by conceptual purity. I always rebel against myself, however. Having a brand that’s so personally tied to you isn’t really that fun if it isn’t an

output of what you really want to do in the moment. I mean, that’s how it is regardless of what rules you put up for yourself. So I’m just trying to be more honest about that as of now. I still have a very architectural and sculptural approach to the stuff that I do, and I’m still looking for gracious beauty consisting of brutally pure executions. So the new stuff will tie in somewhat nicely to the pieces we’ve put out so far—but that’s more because I am the Snickeriet aesthetics, rather than boiling down to my self-appointed rules of what Snickeriet should be.

Snickeriet has two sides to the business, Kollektion and Komission. Do they cross over or creatively influence one another?

My main role in Snickeriet is working with directing the company creatively and designing the collection pieces. But the commission-based aspect of Snickeriet is really Gunnar and Karolina’s explicit work. They realise work for a lot of other designers and architects as well. I also have my own, self-titled design company, and I do a lot of interior architecture and commissioned furniture

pieces, mostly for the fashion industry, but not always. I also tend to get involved quite a bit in branding and art direction. I use Snickeriet from time to time for my commission-based designs. Does the creative process of a project differ between Kollektion and Komission pieces?

The collection is initiated and driven by our own creative process, whereas the commission work has external drive and motivation. In addition to design, Snickeriet also uniquely offers in-house production. Can you tell us about this and how it influences the creative process?

Well, because of our kind of diffuse branding, we get quite a few people contacting us, looking for the complete package: design and production. This is great and fun, and we more than welcome it—most of the time. This wasn’t really the intention from the start, but now that Snickeriet is far more well-known than I am, we get quite a lot of new and interesting clients through Snickeriet channels.

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Part of your Kollektion features the ‘Havet’, a stained and lacquered pine cabinet. The exterior of the cabinet is hand-chiselled to create an incredible textured effect. Can you talk us through the process of this finish?

Havet was the first thing to be designed for Snickeriet. Really, Snickeriet was formulated around this piece. Havet translates to ‘the ocean’, which suited the tone of this new project of ours, ‘Snickeriet’. We wanted to something monolithic, super serious and somewhat of a poetic balancing act. We studied tonnes of different interpretations of midnight oceans. Photos, paintings, sculptures ... And we went with this to Gunnar and Karolina. What followed was a tremendous amounts of trial and error. Does having the ability of manufacturing in-house prove to be advantageous from a product development perspective? For example, does it enable you to experiment with different materials or production techniques that you would otherwise not have access to?

That’s pretty much what it’s about. It’s about leaving your mark. The amounts of anxiety I bring to Gunnar and Karolina in terms of ‘I have no idea how you are to make this happen, but please give it your best’ is kind of big. But I think when those problems start to unfold is where we get the real kick out of it all. For me, Gunnar and Karolina are interesting to work with and to follow. And it’s really a great union based on a deep respect of what each of us brings to the table. Gunnar and me are so incredibly different as people, but it’s funny how we kind of slowly turn in to each other after spending so much time together. Many of your projects utilise unique materials and finishes. An excellent example of this is the FÄ lamp, comprising of tightly stretched and lacquered leather. How do you go about sourcing these and is there an experimentation process undergone when working with new materials?

The experimentation is always part of the process, not because I want it to be, but

just because it is. In fact, I love it when I come up with things that don’t require tonnes of experimentation, but that I still think are Snickeriet-worthy. That kind of never happens, though. The development is always as big, if not bigger, than the actual design process. It’s great, however, because that requires that I spend time in the workshop and that I either get my own hands dirty, or more commonly, watch Gunnar and Karolina do it. But it’s great for me as a designer to be so closely tied to production. New ideas get spawned, and you can never gain too much practical knowledge—especially when you are there to question it all.

With a diverse selection of Komissioned projects and growing Kollektion, what’s next for Snickeriet? Well, as of now, I’ve done six new pieces for Snickeriet that we are currently developing. I hope they all make it out of development, but that’s never a certainty. M

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and a growing

OILSKIN & WOOL DETERGENT

CONTAINS AUSTRALIAN TEA TREE OIL

ANTIBACTERIAL

Stops Mould & Mildew

250ml

For oilskin clothing & accessoriesRecommended for woolSuitable for sheepskin

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Oilskin Detergent & Woolwash

Oilskin & Wool Detergent is suitable for washing oilskin coats and accessories, wool garments and sheepskin products.It contains a conditioning agent which replaces oil removed during washing of oilskin and sheepskin and restores the luster of wool fibre.

The fresh scent of tea tree & lemon myrtle leaves articles with a fresh clean fragrance.

HOW TO MEASURE DOSE: To fill the measure chamber, unscrew the cap on the measure chamber ONLY and squeeze the bottle, forcing the detergent into the measure chamber to the desired level.

LAUNDRY INSTRUCTIONS: Oilskin, lambskin, wool & washable products – always wash in cold or warm water – never use hot water. MACHINE WASH:Top load - Measure 20ml (1/2 fl oz) deterget for small load and 40ml (1 fl oz) for large loads into the washing machine.Front load - Use half the quantity. Use small load settings for small articles or full load settings for larger loads. Select for cold or warm wash. Use gentle or wool wash settings and double rinse.

HAND WASH:Measure 20ml 1/2 fl oz) for each 10lt (2 gal) cold or luke warm water into single tub. For larger items, best results will be achieved using a bath tub.Lambskin - place in the solution and work it through the lambskin for approximately 5 minutes. Do not stretch the skin. Squeeze by hand until clean. Rinse thoroughly with cold water until clear.

DRYING:Oilskin – do not tumble dry. Hang on a hanger and allow to dry naturally.Wool & Lambskin – if washing by machine, spin dry ensuring the load is balanced – if hand washing, squeeze excess water – do not wring dry.Wool knits – lay out to dry on a towelLambskin – tumble dry in warm – not hot – dryer or allow to dry away from direct heat or sunlight.

Active ingredients; melaleuca oil 10g/lt, triclosan 2g/lt

DRIZA-BONE PTY LTD25-29 Wangaratta StreetRichmond, VIC. 3121AUSTRALIA T: +61 3 9425 2200F: +61 3 9425 2298WWW.DRIZABONE.COM

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10 g/L [Use the above if you mean 10 grams per litre]
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2 g/L
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Oilskin, lambskin, wool & washable products: Always wash in cold or warm water. Never use hot water.
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Front load - Use half the quantity instructed above for small and large loads. Select for cold or warm wash. Use gentle or wool wash setting and double rinse. [Note: use spaced endash. Insert space between paragraphs where indicated above.]
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warm (not hot)
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no need for punctuation - spaces are fine. [Richmond VIC 3121]