This is perfect.
I’m stuffed. Rather than fight the crowds, I’m going to stay home and cozy up on the couch with a good book and a warm blanket. Consider doing the same. Make your Black Friday a Black Watch Friday. [Read more...]
When the time came to name this All Plaidout, a blog with posts about things that are not trendy, about the stories of style over fashion, about the stories behind the clothes we wear, I turned to the rich history of a cloth pattern known as a tartan. I chose the tartan most emblematic of my style, my appreciation of history, and the one that most often showed up in my closet from as early on as I can remember, the Black Watch.
A dark, neutral tartan, it was first worn by the watchmen, highly trained members of the Scottish military who’d combined their clan’s patterns to stand as one. Owed primarily to its widely appealing aesthetic quality, it has become one of the most popular and sought after plaids.
When collaborating with John Mooty at Faribault Woolen Mill on a Black Watch plaid blanket, he offered a unique suggestion.
“Let’s ground it in the threads of the U.S. Military blankets for which we’re most well-known,” he said.
By combining the green from the U.S. Army, the blue from the U.S. Navy, and the black from the West Point Academy blankets, Faribault has created a subtly new, beautiful, and altogether American take on a pattern with a rich and wonderful history.
To capture the evocative nature of the fall blanket, I turned to Carolina Mariana Rodriguez, whose self-portraits fill a frame with emotion and texture, a feeling that extends far beyond a model draped in a blanket.
As for the blanket itself, far from those rough ones I remember wrapping myself in while sitting on the bleachers at high school football games, these thick, warm blankets are made of the same MIL-SPEC yarns as those that protect those whose job it is to protect and serve the rest of us.
Finished with the flourish of a red-yarned whipstitch – which too nods to the various derivations in the Black Watch plaid, a red line in the pattern signified at times difference in rank or platoon – every effort has been made to ensure each blanket provides the utmost in functionality and comfort.
Available from these fine online retailers.*
*Ask for the “Shadow Plaid Foot Soldier” blanket with the All Plaidout label anywhere Faribault Woolen Mill products are sold.
Today marks the launch of The Collective Quarterly, a travel magazine told from the perspective of a group of creative individuals brought together to collaborate with one another. Each issue focuses on a single locale: its people, places, and things. For those who have traveled to the place in question, the hope is that fresh surroundings will stoke the creative fire, infusing their work with elements of their discoveries while on the trip. For the locals featured, the hope is chiefly to be inspired by them, and secondarily, humbly, in their meeting this motley crew of writers, artists, artisans, and photographers, it may trigger in them a desire to further explore the potentials within their own craft. Pouring together this unique combination, reading about how it has come together in the pages of the publication, we think readers will aspire to more deeply explore their own passions.
I’m proud to have been asked to help with the creation of this publication from some of its earliest stages by its founders — photographer Jay Gullion, illustrator Jesse Lenz, and writer Seth J. Putnam – prouder still to have been asked to participate and have my work featured in this, Issue Ø.
The beta run of The Collective Quarterly is focused on the city of Marfa, Texas and its surrounding area. While on the trip we slept in tipis and vintage trailers, crossed the border in a row boat, learned some life lessons from our mezcal-swigging barkeeps, and garnered an inside look at the work of a number of the town’s artists and artisans. You’ll have to buy a copy and read all about it.
You’ll notice The Collective Quarterly is more than just a magazine. There is also a retail component featuring a collection of products made by members of the collective and inspired by the trip. As future issues develop, they will dive deeper into the creation of those products, documenting the people responsible for them and the sui generis story that lead to their creation. For issue Ø, Faribault Woolen Mill’s John Mooty made a blanket inspired by the colors of the wide skies of West Texas. That blanket was then incorporated into the manufacture of a backpack and a quilted vest.
In wrapping up, I thought it best to share the story of how I came to become involved with this incredible group. At one of our regular bar stool elbow-rubbings, one of my closest friends Seth Putnam asked me what I knew about Marfa. When I explained that — coincidentally — I had been planning a trip there with Basil Hayden’s in tow, he recruited me to help launch this ship on its maiden voyage, and thus began the process of reaching out to other shipmates — some of our favorite people, local folks in Marfa, clothing brands, clothing stores, advertisers, and other participants. That was followed by a crazy week-long stay in one of the most inspiring places I’ve ever been, and followed again by months of work on the part of all involved. Now, nine months later, Seth’s baby is born… well, Seth’s, Jay’s, and Jesse’s: Three Men and a Baby. Ladies and Gentlemen, The Collective Quarterly.
The issue is for sale here.
Chris Mantz of Drift Eyewear
John Mooty of Faribault Woolen Mill
Kevin Russ, Photographer
Duncan Wolfe, Photographer and Filmmaker
Thanks to the National Film Preservation Foundation, I discovered a 1935 reprint of the original 1920 film, “Birth of a Hat” an industrial short about, and sponsored by, the John B. Stetson Company.
From the press materials: “Within ten years of its founding, Stetson developed the widely popular ‘Boss of the Plains’ hat, the inaugural model of the now-traditional cowboy hat. By the early 1900s, Stetson hats were the most popular in the American Southwest, and the company operated the largest hat factory in the world, with 5,400 employees, in Philadelphia.”
From Grace’s profile, “While on a hunting trip he learned that an old homestead in the Ventana Wilderness was being put up for auction by the estate of a childless heiress. He put a bid on the property and won. On the land he built a small cabin using materials from the land and milling trees by hand. When his wife passed away, Jack effectively left “society” and moved to the cabin full time.”
He continues to make repairs to the cabin, chop wood, hunt, and make violin bows, a simple life for a contented man.
I deeply appreciate a profile such as this. It is a solid reminder that it really can be a good life.
I only have a cursory familiarity with Mr. Caldwell. I don’t think we ever met, and if we did, it was brief. For a time several years ago, his wife and I were coworkers. While we were, I had the unique privilege to test ride one of his early bicycles. I have yet to find a bike that rides as smoothly or as comfortably as the one I tried that day. One day, I would like to document the building of one of Ezra’s Fast Boy Cycles and perhaps own one of his fine creations. Till then, take a few minutes to watch this video and join me in becoming a fan of Mr. Ezra Caldwell.