Words: Alena Walker
Photography: Michael @ Saltwick Media
Introducing the new upcycled concept in partnership with consciously kind denim brand seventy + mochi.
This March, LPOL (Lost Property of London) together with fellow sustainable and ethically minded brand seventy + mochi are excited to launch the Mia Bucket Bag – a testament to the ethos of circular fashion. The brands share a common mission to use recycled and deadstock materials, keeping them out of landfill and incineration, designing to reduce waste at every stage, and producing sustainably with low impact and sourcing locally where possible. Crafted from seventy + mochi deadstock denim and LPOL’s surplus leather archive, the Mia Bucket Bag is the embodiment of the brands’ unwavering dedication to environmental stewardship and ethical production practices. By repurposing existing materials, this collaboration breathes new life into forgotten fabrics, reducing waste and minimising environmental impact.
Inspired by seventy + mochi's Mia retro style jeans, Mia effortlessly combines indigo and stonewashed deadstock jeans that pairs with vegetable tanned Italian leather from LPOL's surplus archives. The internal pocket is repurposed using the back pocket from seventy + mochi jeans, and lined with a lusciously soft deadstock chambray. Finished with solid natural brass hardware.
"I fell in love with LPOL bags as soon as I saw them and when I read about their ethos and how aligned they are with our own, I knew I had to reach out to them. Our shared interest in making the industry more circular and keeping materials out of landfill led us to this collaboration."
AMY ROBERTON | seventy + mochi
"This has felt like such a natural, harmonious collaboration, from concept through to design. Amy and I have been on the same page from the start. We had been chatting for a while about doing something together, and then last year we landed on the idea. I’m so excited to introduce the Mia Bucket Bag to our customers and followers."
KATY MASKELL BELL | L P O L
The Mia Bucket Bag is a limited edition collection, and is available exclusively at lpol.co.uk and seventymochi.co.uk from 21st March.
In the New Year spirit of things, we're here to offer some inspiration and assistance to give your beloved leathers a New Year boost and glow; be it your favourite LPOL handbag or any other brand handbag, shoes, jacket, wallet, purse and more. So, we're delighted to share some insider tips and hacks...or, if you're happy to outsource it, you can trust us to give the professional treatment with our very own Restore & Revive Leather Care Service.
For the best results follow all five steps above. Alternatively, you can send your bag to LPOL for a full R&R Service (£45) – we’ll make sure your bag gets the full treatment, inside and out. You can book this service by emailing us at hello@lpol.co.uk
Do’s
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Gather&See is an award-winning online ethical fashion retailer launched in 2014 by childhood friends Alicia Taylor and Stephanie Hogg.
Priding themselves on personal service and authentic relationships, Alicia and Steph have worked tirelessly to highlight the need for a more sustainable fashion industry over the past 8 years. The pair run Gather&See across two continents (Steph is based in Nairobi, Alicia in Leicestershire) and are both Mums to young children.
As part of their new 'A gathering of minds' founder series, Alicia and Steph interviewed LPOL founder Katy. And as a special treat, they are offering you 15% off LPOL products when you shop online at Gather&See using the code GatheringOfMinds in the checkout.
In this first of a new series where we really try to get under the skin of the very special individuals behind our brands we caught up with Katy Maskell-Bell, one half of handbag brand LPOL. We are sure you will find Katy's insights as inspiring as we do.
First of all please can you introduce yourselves and tell us a bit about LPOL and how the brand came about?
I am Katy, Founder & Creative Director of LPOL (Lost Property of London). I work with my business partner and husband, John, Co-Founder & Brand Director.
LPOL is an independent British design brand specialising in made-to-last leather (and upcycled) handbags, totes, rucksacks, and accessories. We are passionately committed to considered design, responsible material sourcing, the employment of local craft skills and zero-waste methods. Our design studio is located in East Sussex and our collections are made by hand in dedicated London and Kent workshops by local, skilled artisans. We are proud to design and craft bags to be worn by design-conscious and environmentally aware shoppers around the World.
The brand came about quite organically after passing the same bundle of surplus coffee sacks every day dumped outside a coffee shop in Borough Market…and thinking someone should create something with them. I can’t quite remember how many days had passed when I realised I was that someone.
After graduating from Central Saint Martins College of Art & Design I had been working as a designer spanning across both the world of fashion and interiors (designing for Calvin Klein, Liberty of London, Crate and Barrell NY, Helen Green) and then for a hugely inspiring set designer. It was only after I took on a new role tutoring students that I found some time to work on my own design ideas.
Looking back, those experiences were inspirational to my decision to set up my own brand. And I suppose I felt a certain amount of rising restlessness, born out of a creative frustration/desire to create something out of already existing material, and creatively to carve my own path.
Can you run us through a day in the life of LPOL?
Our focus every day, is trying to strike the balance between admin and design and business development projects. Making sure to allow time for lunch and some fresh air in between. If we’re on top of current projects, one day (or half day) in the week is freed up for an inspiration trip to a new art/design/architecture exhibi
What does sustainability mean to you and why is it so important?
We prefer to speak about responsibility over sustainability. This is an important distinction for us, making it more grounded to our decisions and actions. Sustainability has become a little abstracted and diluted through wider marketing, press and politics. And, as a consequence, emotionally distanced. Responsibility pulls it back to us, grounds it in the brand and is a lens through which we pass our design, manufactur
What is the best thing about working in the sustainable fashion industry?
We are seeing some meaningful behaviour change happening. Customers are interrogating their purchase decisions. Challengin
What is the best thing about working with your spouse and any challenges that go with it?
We are very fortunate, in that John and I click creatively. However, sometimes the drawback to that is we often fall into similar work styles and patterns. Our comfort zones look and feel more fluid, spontaneous, organic. It’s in our creative nature. So, we each in turn have to actively bring the structure when needed, so we’re not drowning in emails by the end of each week.
You've moved from London out to the countryside like so many others in the past few years - how has the transition been - any learnings?
Our move felt like a natural step for us as we both grew up here, so we felt well prepped mentally for the shift in lifestyle. But we knew we were leaving a dynamic and cultural London life, and a home that we loved. You soon realise how many emotional ties you have to a building, and a home, when you prepare to leave it; it was the place we lived when we started our business venture, when we got married and when our son was born.
Any recent discoveries - food, culture, fashion, lifestyle - could be anything - that you'd like to share?
We’re in East Sussex, and we’re surrounded by amazing vineyards, farms, restaurants and wonderful period and contemporary architecture. So we’re definit
Water Lane, Hawkhurst
Hopes for the future - personal, as a brand and for humanity in general?
Personally, we are working on doing more practical projects – freeing up more time to draw, paint and build. We aspire to do more adventure-based travelling as a family, there’s a big old world out there waiting to be explored.
As a brand, we want to evolve our storytelling, increase our collection and grow the business internationally.
Humanity has the ability to leave a good legacy...
THANK YOU SO MUCH KATY FOR TALKING TO US
Genevieve Harris (@mrs_trufflepig) is a proponent of vintage fashion and second-hand furniture and interiors that are characterful and well-made. Her love of local craft, second-hand fashion and furniture, and slow living has brought her a legion of fans and followers who all aspire to reconnect with 'the good life' in an age of rapid social and technological change. Brilliant then, that she nonchalantly harnesses the power of instagram to share her ideas, discoveries and style advice.
Let's start from the beginning. What’s your background and how did you get to where you are today?
I was born and raised on Vancouver Island in Canada and moved to London when I was 20 to work in the fashion industry. After meeting my husband, and starting a family, we decided to uproot and move to Rye on the south coast.
What inspires you?
I get so much inspiration for my garden and home from the people and places in this area. Rye is a hub for artists and creatives and there is so much talent here.
You have a strong and loyal following on Instagram – how would you define your role in people’s (social) lives?
I’m extremely lucky to have such kind and supportive followers. Although instagram never shows the whole picture, I do hope that my account provides joy to others by celebrating the beautiful bits of life and the simple pleasures.
How long have you lived in East Sussex, and why did you choose to settle there?
We’ve lived near Rye for just over 10 years. It’s a beautiful place to live as we’re only 10 minutes from the sea. The town has a wealth of amazing independent shops and restaurants, and it’s in relatively close proximity to London.
We love your enthusiasm for vintage and antique furniture and fashion. What’s your favourite piece and why?
Oh gosh, that’s an impossible question to answer! I have so many favourite pieces. If I had to choose however I think it would be a 1950s cashmere cardigan that my best friend gave me 20 years ago just before I moved to England. I’ve worn and repaired it so many times, it has huge sentimental value to me.
You’re the new owner of a Mini Elwin Handbag – what do you most love about it?
I adore my new Mini Elwin bag! I love the unexpected combination of the traditional brown bag with the crisp white squiggle strap.
What essential (and non-essential!) items do you keep in your Mini Elwin?
It’s just the right size for my wallet, keys and lipstick. Anything bigger and my kids start filling it up with their junk!
You’re a lover of vintage – why is this so important to you?
Shopping vintage and second-hand clothing has always been a big part of my life. Apart from the environmental benefits, I feel like mixing thrifted and vintage piece in with good quality, considered purchases can create a look that’s totally unique and individual.
What’s your top tip for living more responsibly?
Buy less, buy well! I do love the thrill of getting a new bag, pair of shoes or outfit, but I’ve learned over the years to save up and splurge on the classic, well-made pieces that will last the test of time and won’t date with the flitting trends.
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Izzy McFarlane is a ceramic artist based in Margate. Having studied printed textiles at Leeds Arts University, she bought a kick wheel in August 2020 and has been making ceramics ever since. She takes a lot of inspiration from architecture and mid century design, which is what drew us to her brilliant work. Izzy very kindly gifted a set of 4 mugs for our latest giveaway and we caught up with her to find more about her work, why she settled in Margate, and her proudest eBay bargain…
My creative journey really began at UCA Canterbury on their amazing foundation course. This is when I found the direction I wanted to take my work in, I loved the design focus of textiles and working with such tactile materials, and it was at this point I started playing with colour and graphic shapes in my designs. I then went on to study Textile Design at Leeds Arts University specialising in screen print. It was here that I first tried working with clay, as I loved the idea of combining my 2D textile design with 3D elements so I spent a lot of time creating objects in the ceramics room. When the pandemic hit, all our work had to be created digitally which I definitely knew wasn’t for me, so I decided not to return for my final year and took a different direction instead!
What inspires you?
My work is very influenced by Mid Century design and Brutalist Architecture. I really love the strong, angular shapes found in these areas, and really enjoy juxtaposing the graphic shapes with soft colours. Since moving back to the sea I’ve been really inspired by the colours and shapes of the coastline, so I’m hoping to create more work looking at that soon.
You've only been making ceramics since 2020. What prompted this?
While taking what was initially a year out from university during the pandemic, I was searching for a creative outlet I could do at home. I was curious about pottery and had done a little at university but I hadn’t thrown on a wheel before and there weren’t any classes available at the time, so I found a very cheap kick wheel for sale and set it up at the back of my parents garden and instantly fell in love! I mostly self taught with Youtube videos, but got amazing guidance and kiln access at ClaySpace in Cliftonville. I’ve been potting everyday since!
How long have you lived in Margate and why did you choose to settle there?
I grew up in Ramsgate but always loved the artistic atmosphere of Margate, with Turner Contemporary at the heart of it for me. I moved to South East London for a year but found it difficult to connect with the kind of condensed creative community that’s in Margate, so decided to make the move back at the end of the summer and set up my studio here.
We love the references to architecture in your work. What’s your favourite piece of architecture and why?
My favourite piece of architecture is definitely the Barbican (so much so I made a range of mugs named after it!). It’s an iconic landmark of brutalist design, and has such a rich art and design history I can’t help but be inspired by it. I also love the links between the functional nature of its design and the functionality of my own work. I believe that things should be both useful and beautiful.
Can you describe your work in 3 words?
Sculptural, functional and joyful (I hope!)
How would you describe your day-to-day?
Most days I’m in my studio in the centre of Margate either throwing, trimming or glazing. I’m definitely someone who has to plan their time meticulously, so I make lists of everything I need to get done that week and work my way through. I try to take walks on my lunch break along the beach so I can see the sea before it gets dark. I have to make the most of any daylight I can get at the moment! It’s been nonstop with Christmas prep for the last few months, so I’m really looking forward to taking a slower pace in the new year and working on some new designs.
You’re often involved in makers markets and pop up events. Have you got any coming up?
I’ll be selling at the Christmas Independent Ceramics Market on 11th December at Rich Mix London Arts Centre, Tower Hamlets along with some other amazing artists, definitely worth a visit!
What does home mean to you?
Home is somewhere I feel creatively stimulated and supported, but also safe, calm and close to family. I feel I’ve found all these things in Margate, and I feel so lucky to have been able to make a home and place to work here.
What’s your top tip for living more sustainably?
My top tip would be to reuse what you already have. My studio is full of jam jars and plastic pots for glaze containers, not everything has to be pretty!
Name a forever item of clothing or accessory that you couldn't live without?
That’s a tough choice, but I think it’d have to be my suede fringe jacket. It’s my proudest eBay bargain, and just makes any outfit.
]]>What led you to start Cope Studio?
I’d been working as the lead on production for a London brand for a few years already before going to work alongside a heritage factory outside Stockport. Unfortunately the factory was closed down due to unmanageable overheads and I could see that many of the customers there would be cut adrift without a UK-based manufacturer. I knew that many brands like yours find the Made in England stamp really important, so I knew that I could set up a small studio to fulfil that need without the huge overheads that had crippled others.
From a personal point of view I love to make things with my hands, and engineer a problem. I love to help people start new businesses and existing brands to grow, to see their ideas made true, and I’m very lucky and privileged that I can make a living doing that.
Where did you learn and hone your skills in leather craft?
I learned by doing. I started out by helping my friend with his small business and he in turn had learned from a Saddler. His business grew big and within a year or two I was working there full-time running the production schedules. The majority of the work I learned there was basic bench work, materials use, hand-cutting and detail work. The first iteration of COPE studio was a partnership and my former business partner had studied at Cordwainers (UAL) so she taught me how to pattern cut and sew and I just practised and practised. I’ve been working with leather for around 15 years now and I’m still learning as I go! There’s always room for improvement on the skills I already have and things I’d like to try.
What do you love most about working with leather?
I like that last moment when all the edges are cleaned up all the threads and mess of the construction is tidied away and there’s a perfect shining product. I also like how durable and strong the materials are; knowing they’ll last for years is quite special - nothing is throwaway.
What steps have you taken to be more sustainable as a business?
It’s borderline embarrassing how many boxes and tubs of ‘offcuts’ I’m storing year on year. I can’t bare to throw such a quality material away so I save every last piece. This gets reused in all my clients reorders in some of the smaller hidden elements, or many of my clients like to specifically design small products to use it up, like keyrings etc. I also try to reuse boxes and packing materials that come to me rather than buy new but that’s not always possible.
What is your connection to Margate? Why did you choose it as a place to start your business?
My wife and I moved here from Scotland but before then had been in London for 13 years. Her job is London-based now and when discussing whether we would move back into the city we knew that Margate had a growing arts scene so would be a good base for me to find a studio. We already had friends that lived here and so it seemed right. Seeing the sea and horizon every day does wonders for your sense of well-being.
Apart from the Dinky (of course), what has been your most favourite project to work on and why?
Difficult because sometimes the ‘favourites’ were also the most stressful! I like making these belts for Liam Hodges with Neon edges because I just couldn’t get it right at first and then I cracked it and they looked great. I think my favourite feeling is that eureka moment when you solve a problem. On the other side of things, sometimes I like working on a really repetitive large order because I can zone out and then suddenly you see this pile of work appear and it feels like an achievement.
How would you describe your day-to-day?
I pretty much turn up as close to 9am as possible and just start working. I rarely do any computer work, all my invoicing and emails are done at home, so I just grab an apron and start wherever I left off the day before. We tend to have 1 job going at a time, occasionally my assistant and I will work concurrently on 2 or 3 orders but I tend to try and work in a queue system so that I have eyes on the whole process. I’m also teaching my assistant as we go along so it’s good for him to work alongside me rather than just dictating smaller jobs and leaving them alone. Overall, it’s a mixture of cutting, staining, gluing, sewing and fixing buckles. Riveting work (that’s a leather craft pun!)
What’s your top tip for living more sustainably?
My major encouragement would be to limit waste and repair and reuse. It’s certainly better where you can to spend a little more on something quality that can be repaired; for instance shoes and furniture and it’s where leather goods are a good investment. I also hate food waste - we’re pretty frugal at home and have lots of pickled and fermented vegetables in jars. Anything that is inedible at least gets composted.
Name a forever item of clothing or accessory that you couldn't live without?
In a literal sense my glasses are pretty important. They’re from a UK brand called Cubitts who we did some work with on cases years ago and I thought we shared a similar ethos. I bought 2 pairs in 2015 and have just had new lenses put in rather than replace them as a whole.
How do you see the leather craft industry progressing/evolving in the future?
At the moment I don’t see the industry booming in the UK unless the government as a whole gets behind manufacturing at that level. There is a stronghold on leathergood manufacture in the EU and abroad, particularly Italy and China, where they have modern and computerised machinery, massive workforces and easier acquiring of materials so their production costs are low. Since we left the EU we’ve seen the cost of importing materials rise (because we barely produce any) and now we have rental costs, energy costs and living costs affecting the prices that we all need to charge and it’s causing factories to close down all the time. I’d love it to have apprentices or young people that want to work and learn these skills, but the reality is that there isn’t a career there.
My business exists to serve other independent brands and businesses but there is an upper limit of what I can do so if a larger brand wanted to move their production to the UK I wouldn’t be appropriate. There are fewer and fewer places for them to go. I think perhaps that UK-made leathergoods will have to be treated as a luxury market even more so than they already are unless government starts to invest more in vocational pathways of education and home-grown industry.
]]>Margo McDaid is an artist whose simple, graphic paintings and drawings are inspired by colour, vintage shirts, children book illustrations, folk art and outsider art. She draws every day and particularly enjoys hearing “that looks like me!” when people view her work. Margo’s art reflects her love of all things bright and optimistic, as well as her life by the sea which “makes the colour even more powerful”. She thinks art should bring us daily joy, which her vivid and expressive prints and paintings surely do. Margo has very kindly gifted an original artwork for our latest giveaway and we caught up with her to find out what inspires her work, why she draws every day and her top tip for living more sustainably…
Let's start from the beginning. What’s your background, and how did you get to where you are today?
I did a degree in Art at Camberwell in 1994-97 and had some success at the New Designers - my work was sold in Conran in London, Paris and Singapore. In 1997 it was almost impossible to be seen and to sell your work independently. I think that social media especially, instagram has been so good for people like me working in the visual arts.
What inspires you?
I get huge inspiration from living by the sea. I love the light and the vibrancy of colours here. I have always collected random things - beach plastic, vintage shirts, children's illustrated books, crockery from the guest houses of Thanet.
How long have you lived in Ramsgate and why did you choose to settle there?
I have lived in Ramsgate for 13 years and we moved out of London because we couldn't afford anything. It was extremely sad to leave a city that I loved but I knew that the seaside would be a fun place to live with a young family. It also meant we could work part time and focus on doing something creative.
10 years ago you challenged yourself to a personal project: to paint a picture every day for 20 years. What have you learnt from this so far and how has it informed your work?
I made the challenge because I had reached a point in my life (43) where I looked back at the younger me, and I could see that I had missed a really amazing opportunity to be creative and to be successful. I wanted to see if I could work on something every single day - without fear and with absolute focus - what would happen? What I have learnt is that - I decide how I work and how much I have to give and that I LOVE to work far too much!!!!
Can you describe your work in 3 words?
Strong. Bright. Female.
How would you describe your day-to-day?
I work quite late at night sometimes as I love to draw when it is really quiet. I get up around 7-7.30 and see my kids off to school. I walk my dog and then go to work till 4. I need extended time to paint and I like to paint for at least 4-5 hours at a time. I do this 3- 4 days a week. I spend 2 days a week replying to messages and sending out orders but I have a couple of amazing people who help me with this.
What does home mean to you?
I love being at home when the kids come back form school and just pottering about - not being massively productive but it's my home time. My home is a very creative place for me - the kitchen table is a place to make and paint and to play. I have a desk in every room to sit and draw.
What’s your top tip for living more sustainably?
I am now 53 and I have never had a car and I can't drive. However I am desperate to get a small electric car as I just need to get about more. I try not to fly and we have had some lovely breaks this year in Kent! We found an amazing place 36 mins from our house that had an outdoor pool from the 1970's and we could take the beloved dog!!!
Name a forever item of clothing or accessory that you couldn't live without?
I have a coat that I inherited from a lady in Ireland - it was hand tailored in Dublin. I imagine it was made in the 1920's or 30's and it is something that was made to last! I love that it is a timeless piece.
]]>Daniel Baer is the Founder of Monoware - a British tableware brand, designing tabletop essentials that are meticulously crafted to have a place in everyday life. Defined by simple, elegant forms and a natural color palette, his vision is for timeless design and effortless adaptability: showcasing every meal and blending with individual style. We chat to Daniel about the importance of collaboration, and creating objects with timeless appeal…
What led you to start your business?
My passion for ceramics started with pottery classes in a small studio in South East London. Once a week my partner and I would rush from work for the thrill of shaping clay into bowls and cups. We would give away most of the pieces to friends and family and grew to appreciate what was desirable and useful. Around the same time, we were looking to upgrade our dinnerware, but were overwhelmed by fleeting trends and choices that compromised on quality and design. I felt there was a gap to serve a generation of like minded food lovers and households who consistently value timeless design and durability.
Like LPOL, conscious design and expert craftsmanship is at the heart of your brand. How have you achieved this?
Working with clay requires the same workmanship whether you’re making a one-off design or producing a hundred. We’ve spent our time researching and prototyping with our collaborator, ceramicist Ian McIntyre, and the Portuguese family-run workshop where our ceramics are made, so that each piece fits into your everyday life, no matter who you are or what you do.
Several of our shapes have become household staples – there’s the mug that fits an Aeropress as well as being big enough for a cup of tea. The cereal bowl that works for breakfast or dessert. A grain bowl wide enough to house big salads, heaps of pasta or soupy broths.
Inspired by colors and textures found in nature, we extensively research and develop glazes. It is a lengthy process, but it is important to us that all the colours feel timeless and have a distinctive neutral appearance.
What steps have you taken to be more sustainable as a business?
We made a conscious decision to collaborate with makers, partners and factories who care about the long-term impact of our products – the ones who are actively committed to reducing their footprint by constantly re-evaluating how things are made. In a bid to reduce the impact on the environment, our tableware is created in a single firing system and the chosen clay has been designed to vitrify at a much lower temperature than most stoneware. Combined, these innovations save a huge amount of energy in the making process.
How would you describe your day-to-day?
Without exception, each day starts with an early wake-up call by our toddler, followed by a race to switch on the coffee machine. The first espresso in the morning is closely followed by the nursery run – and ideally a brief moment to pause. No day is really the same at the studio – at the moment we are in the middle of developing a new glaze which will launch later in the year and which we are very excited about.
What does home mean to you?
Rather than a specific place, home is a feeling of comfort and belonging. It’s my friends, family and community - something which keeps evolving as we journey through life.
Name a forever item of clothing or accessory that you couldn't live without?
One of my most worn items of clothing is an indigo coloured shirt I bought a while ago in Japan. It is collarless, has side pockets and a center box-pleat. The shirt has become part of my daily uniform. I have dyed the shirt several times over the years to bring back its vibrant color, but now the fabric is tearing – luckily I just recently found a similar cloth at Merchant & Mills in Rye and I look forward to recreating it.
]]>Jules is the Founder of Haines Collection - she is an interiors lover and waste hater. With over a decade in the interiors industry she has experienced first hand the high volume of waste around. So in 2018, with a small budget, a part-time job and a 1 and 3 year old - Jules decided to build a brand that could make a difference. Recently described by Forbes as 'The Platform Presenting a New Era for UK Textiles', Haines Collection is a marketplace for the trade to resell their unwanted, ex-display, misprinted luxury products. We chat to founder, Jules about how it all began, working with ‘waste’ and what home means to her.
What led you to start your business?
The idea started after a chance meeting in a pop-up shop in Tunbridge Wells. A soft furnishings business owner was selling a wide range of high-end fabric. They were all his leftovers, and I heard him say what a hassle doing a shop once a year was, but he couldn’t see this going to waste. It made me think that there should be someone who could offer that high-end resale service.
I’ve experienced the frustrations of having leftover designs as a textile brand in a previous role, and not having a beautiful platform to represent them. I knew printers and designers who have waste, all a by-product of what they do and something they don’t have time to deal with. So I emailed the guy in the pop-up shop after we met in the shop, had a meeting and he was my first supplier, and still is a supplier.
What steps have you taken to be more sustainable as a business?
It's at the core of our mission and the work that we do but we are constantly looking for ways to better ourselves and the way we run. We only send our orders out in paper packaging or recycled plastic. We use recycled paper for our postcards and in our printer and have recycled loo paper. It's a continual process of analysing what we do and how we can do better.
How would you describe your day-to-day?
It's really varied, which I love. I'm often with the team in our beautiful rented office, it's a converted barn on a farm. Once or twice a week I will be driving around the country teaching lampshade workshops or meeting new clients. Monday nights are a big one for us as we drop our latest stock, so often Monday is filming content for social showing people what is coming up.
What does home mean to you?
Home is your sanctuary, your go-to place for comfort, rest, and growth. My home brings me happiness, it's the family inside it but it's also the decor that makes it feel like a part of me.
What’s your top tip for living more sustainably?
Continual reflection on what you can do better, and know that there is no 100% perfect so keep chipping away at the bits you are able to change. Change is slow and never ends, it's an evolution to live in a sustainable way.
Name a forever item of clothing or accessory that you couldn't live without?
Aside from my phone (awful to admit but so true!) it would have to be my YGN Collective woven bag that I take every day to the office. It's made from pallet binding, and is so hard-wearing and can take so much! I'd be lost without it.
]]>Graeme Ferguson is one half of Aather - a new luxury candle brand with creativity and collaboration at its core. Its debut collection of 12 signature scents are built on the desire to bring people together and we love them all! We chat to co-founder Graeme Ferguson about building a business during the pandemic, creating a product that is designed to last, and how he balances work and family life.
What led you to start your business?
At home, my wife and I have always used fragrance to help set the scene for a gathering. Whether it’s a big family get-together or an evening with friends, a candle is always lit to help punctuate the occasion. But we noticed, when shopping around, that there was a real gap in the market for candles that are designed specifically for these shared moments. So in 2019 we set out to create a home fragrance brand that would help set the scene for socialising in your space, and Aather was born. Then the pandemic hit and actually the idea of togetherness became even more poignant. For many of us, everyday life has become more blurred by screens, constantly pulling us away from time to pause and regroup with ourselves and others. We are out of practice when it comes to socialising, so launching a collection that would help set the scene for new shared moments, felt very timely and has really resonated with people.
Like LPOL, conscious design and expert craftsmanship is at the heart of your brand. How have you achieved this?
Having worked in the candle retail business for over 20 years, we already had a strong understanding of the industry and lots of great connections. Fleeting trends and disposable design really isn’t our style - we wanted to create a timeless and refined candle collection that celebrates a slower and more mindful pace of creativity. So, collaborating with the very best in perfumery, design, glass artistry and wax craftsmanship, we launched with 12 signature fragrances that have been formulated in London, poured in the French town of Grasse, and mindfully encased in a mouth blown glass vessel that is designed to be treasured long after the candle burns out.
What steps have you taken to be more sustainable as a business?
Building a sustainable business is a journey and we are constantly re-thinking the way we work. All of our ingredients are cruelty-free and sourced sustainably from seasonal crops around the world. This was always important to us but actually designing a beautiful object that people would want to keep and repurpose after the candle’s burnt, was our priority. Also to limit our impact on the environment, our custom packaging is recyclable, biodegradable and responsibly sourced.
How would you describe your day-to-day?
One of the best parts of my job is that there is no ‘typical’ day. Usually on a day when there are no big meetings, I start my morning by checking and responding to emails. I try to do any creative work mid-morning when I can - whether that’s brainstorming new campaigns or helping someone on the team with any questions they might have.
I work at the office in the morning so I get to see everyone - from office members to the warehouse team. In the afternoon I head home, pick the kids up from school on the way, and then work from home for the rest of the day. It is a good balance that works well for everyone.
What does home mean to you?
Home for me should be comforting. We have considered every item in our home to be centered around a feeling of comfort. It is a place for our family and friends to come together and have fun, laugh and chat. We love our children having friends around, it’s great to watch them play and converse with each other.
Name a forever item of clothing or accessory that you couldn't live without?
Clothing is not a massive part of my life. I try to keep things simple when it comes to fashion. One of the most important items that I use most in my day is my Mac (the joys of living by the coast in Ireland), and I do have a nice rucksack that I travel with.
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Celia is Co-Founder of DAME, the sustainable period care brand behind the world’s first reusable tampon applicator and DAME organic tampons. After setting up her own menstrual product subscription service delivering popular products to women across the UK, Celia saw first-hand the plastic and chemicals that go into tampons. Believing that women and the planet deserve better, she launched DAME in January 2019 and has so far saved over 350 million pieces of single-use plastic from landfill and our oceans. We chat to Celia about running a B Corp business, positive periods, and shopping second hand to help reduce waste.
What led you to start your business?
Working in the industry for years, my co-founder Alec and I saw the enormous waste that came from period products. 100 billion period products are thrown away every year, and the majority of these are single-use and contain a disgusting amount of plastic. However it was when we dug deeper and discovered that these products aren't regulated in the EU, and are not required to verify or list their ingredients, that was the torch-paper. These are necessity products for half the global population, and we wanted to make sure they were the best they could be. So DAME was born in 2019 with our launch of the world's first reusable tampon applicator and our organic cotton tampons. We're now sold in major retailers like Sainsbury's, Waitrose, Boots, Ocado and ASOS, and have continued to innovate with our patent-pending reusable pads and period pants, all with the end goal to make sure that everyone can have access to a positive period.
What steps have you taken to be more sustainable as a business?
Products aside, quite early on in 2018, before we'd even launched, we decided to become a B Corp. We believed that we needed to hold ourselves accountable and build a business with profit and purpose at its core. So we aim to make sure the decisions we make on a day to day can be the best they can be. It's not easy - quite frankly as a small business who's trying to burst out onto the scene, it’s pretty tough. And we don't always get it right. But having that set of values written into our business was important. For example it led us to take the decision to track our carbon footprint, which for a start-up is a lengthy and detailed process. Yes, knowing the life cycle of our products enables us to constantly iterate and improve them.
How would you describe your day-to-day?
It's a double cliche but no two days are the same, and there are a lot of plates to be spun. It can be anything from going through the designs for our new packaging, testing out improvements to our applicator, running through budgets for the year to pitching to hundreds of investors. We're lucky we have an awesome team who are driven and passionate to help bring our vision of changing periods for good into reality.
What does home mean to you?
Wherever my family is. I've got 3 young kids, so every moment spent hearing their squeals of laughter is pretty much heaven. In reality, home is currently a dilapidated house in rural Dorset with single pane windows and what feels like gaping holes in the walls. Home means cold at the moment!
What’s your top tip for living more sustainably?
Insulate your house! Actually, just be more considerate with your non-essential purchases if you can. As a consumer we're up against it, being sold to at every possible waking moment, and being led to believe that this is what will make us truly happy. Rather than thinking "that's a bargain, I'll get 3", think do I really need it? Or better can I find it somewhere on the secondary market (Ebay, Gumtree, etc.) and reduce another waste-cycle. The less we buy, the more signals we send to the market for them to rethink their business models. It's not an easy process, and I definitely fall prey to the constant advertising. But we all need to be more conscious of it, both the blatant in your face (billboards) and the more sneaky insidious kind (TV shows, movies, magazines, influencers).
Name a forever item of clothing or accessory that you couldn’t live without?
It's cringingly on-brand, and a bit of a cheat, but it's my DAME storage pouch, purely for the reason that it contains my applicator, tampons, pads and pants - everything I need for my period. And all which are built to last for years. Personally it's been a game changer using these products. Yes, I get to be sustainable and know I'm helping the planet. But quite selfishly I get to have a less painful, comfier period which is incredible. Plus I save money because they're reusable. I can't live without period products, I need them every month. So I want to make sure that that week every month is the best it can be.
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What led you to start your business?
It was from a place of desperation - we couldn’t believe how hard it was to find great products that were without compromise truly circular and plastic-free. It has been a mission based business from the get-go, and that is the main driver still for Mary and myself.
What steps have you taken to be more sustainable as a business?
We use the principles of the circular economy as our guide and model in all that we do. From the packaging, products themselves to the manufacturing and planting of a tree, this is our driving decision maker.
How would you describe your day-to-day?
My day to day is pretty different, but parenting is always involved! Running a young biz means being across all areas - financial, brand and marketing, product development and working with our lovely team. It is very diverse but always interesting!
What does home mean to you?
Wherever my family is.
What’s your top tip for living more sustainably?
Follow the money! Divest, then INVEST, and do what you can at home. But the big changes need to be done on a policy level and whatever support you can do (VOTE) to shift that needle, the better.
Name a forever item of clothing or accessory that you couldn't live without?
My engagement ring.
]]>Paper florist Karen Hsu creates beautiful pom pom style bouquets, sculptures, and installations primarily using sustainable and biodegradable materials. Karen first came up with the idea of Pom Pom Factory when she was working at a boutique in London. It was here that she began to be recognised by bloggers, stylists, and photographers who marvelled over her unique window displays. Now located in Shoreditch, she runs a bustling team of floral artists, designers, and production superstars. We spoke to the London-based maker to hear about her route into the business, what her day-to-day looks like and her top tip for living more sustainably.
What led you to start your business?
I have always been attracted to the possibilities of what you can create with paper since my mother showed me the art of origami when I was young. After graduation, I started working at an independent boutique, Mercantile London, at the Spitalfields Market and it was there that I started to experiment with different paper displays. I eventually had to quit my work to focus on creating paper flower installations when the orders got bigger and more frequent.
What steps have you taken to be more sustainable as a business?
It is important to us to reuse our paper flowers and dried foliages as much as possible. Our paper flowers are made from fine Italian crepe paper which gives the flowers structure and sturdiness, that's why they can stay in shape for many years. There are elements from our bigger displays we created 5-6 years ago that have been reused to create new displays. We also keep all off-cuts and turn them into mailing fillers and we are working on something exciting with them at the moment.
How would you describe your day-to-day?
I start my day with either a workout or meditation, then I will head to my studio via Crispin to get my morning coffee. Then it's email time and making an action plan for the day. And it's my favourite part of the day which is paper flower making. I will usually leave the studio at around 6pm and always check if there are any Too Good To Go bags available in my area. They are a great way to help limit food waste. I will then head home, cook dinner, watch a film or take a bath before bed.
What does home mean to you?
To me, home is from within, where I feel peaceful and safe spiritually and mentally.
What’s your top tip for living more sustainably?
Buy less and if you need to buy anything think about how much use you can get out of it.
Name a forever item of clothing or accessory that you couldn't live without?
A good pair of jeans.
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Introduction
Seraphina is an emerging London based abstract artist.
She works with collage works on paper, screen prints and surface designs. Seraphina graduated with a degree in photography from Falmouth University and has since been working as a photographer while developing her art practice. Her artworks are a natural extension of the relationship with light, colour, form and composition that she has developed through her years as a photographer.
Her abstract compositions are also influenced by a love of colour and minimalism in art, design and architecture. To Seraphina, the negative space is just as significant as the blocks of colour in her artworks. All of her works begin by hand-cutting, arranging and rearranging paper and found materials. She saves the paper offcuts from all previous projects and often uses these as a starting point for new work. Over the last few years, she has produced work for clients including Vogue International, COS and Evermade. Her work has been featured in Vogue, Grazia and Stylist Magazine.
"Seraphina is a pleasure to work with and I am particularly inspired by her use of colour and form. Just when you think there couldn't be another colour combination, Seraphina will drop by with a new print or collage in the most beautiful new palette! I am always so excited to see what Seraphina produces when collaborating with other artists or brands, as her creativity and eye for composition always results in something delightful." Claudia Hogg, Gallery Manager at Print Club London.
Following the launch of Seraphina's new Zero-Waste Art Drop collection in collaboration with LPOL, we wanted to ask her a few questions about her inspiration, experiences and working methods that have led and driven her to create work of simple, colourful beauty...
Q&A
Before you become an abstract artist, you trained and practised as a photographer. Can you tell as a bit about how you got started, and the experiences that helped shaped you as an artist?
Before studying photography, I originally wanted to study fashion/textiles. At this time I did an internship with Philip Treacy where I helped in the workshop to finish hats for a Valentino Couture show. This experience was really exciting at a young age and helped me realise it was possible to pursue a creative career. I was fascinated by the workshop, the materials and the immense skills required to create such delicate pieces. Whilst studying photography, I was lucky to work with both Nadav Kander & Rankin which gave me great insights into the commercial and fashion industries. These experiences were incredible but made me realise that I didn't want to pursue a career in fashion photography, which to me at that time felt like it would be inevitably intertwined with fast fashion, advertising & over-consumption. I was fortunate to get the opportunity to work for a gallery as a photographer and have since been specialising in artwork photography whilst working on my own art practise. My photography work has given me access to artworks, archive items and sketchbooks of incredibly renowned artists, which give me no end of inspiration. It has also given me the opportunity to photograph exciting projects such as The Squash by Anthea Hamilton at Tate Britain, which included a visit to the atelier in Paris where Jonathan Anderson at Loewe was working on the costumes.
This was your first time working with leather. How did you find the process? What were the challenges?
It's been a wonderful new experience to work with leather! I mainly work with paper (which I love) but leather has so much character & is inherently a very sensual, tactile material. The smell, the markings, the texture all made me feel more immersed in the material. Practically, it was a bit tougher to cut than paper but after some practice I found I was able to achieve similarly clean lines! I don't sketch or draw out shapes before cutting, as I find using the scalpel or blade to 'draw' makes my shapes more fluid. However this also means that there's no going back once I've made a cut! This made me a little nervous at first as the leather pieces are so beautiful & each piece is completely unique so I felt more precious about them than I do with paper.
Tell us a bit about how you made the artworks? Where did you start? What have you enjoyed about making them?
As soon as I received the box of offcuts I was so excited! I started by emptying the box onto a huge piece of canvas on the floor & exploring the different colours, textures & qualities. It was really interesting to see the traces of how they'd been cut already for the collection they'd been used for! I soon realised that it was important to me to keep some of the pieces as they were to retain part of the history of where the leather has come from & how it was used. I began working on different compositions using the pieces that jumped out to me most - be it for the colour, any interesting imperfections or the shapes that were already there. Using this as a starting point for the final artworks, I began cutting more of my own shapes from the offcuts to explore what would work best compositionally with the existing pieces. I've really enjoyed the whole process of making these works, especially how much the leather itself has imbued the whole process, bringing a more sensual layer to my work.
We’ve always been drawn to the simple abstract forms and compositions in your work. How and why do you settle on certain designs?
Thank you so much! It's a lot about feeling. I spend a lot of time working and reworking compositions, going between different works at once and then coming back to them after some time until the overall composition feels right. This often actually involves me taking elements away that feel unnecessary rather than adding more. Negative space is just as important to me as the shapes I place down - I'm always thinking about how the space around the shapes would work as an image in it's own right. I hope for my work to be calming & to encourage people to think about the space in between things.
How do you create a certain mood in your work?
The nature of a shape, colour & where that shape lies in a composition can really change the whole mood of a collage. Certain shapes & colours can feel very heavy, some can be sharp, some uplifting, others can feel soft & welcoming by drawing your eye to other elements. By almost personifying each component I try to bring pieces together which celebrate or lift each other up. I think my experience as a photographer means that I'm often thinking about these things without even realising it - when I'm making a collage I'm constantly thinking of the relationship between space, colour, texture, lines & weight. I find myself drawn to minimalist, abstract works over more elaborate artwork as I find them more calming & that more room is left for the viewer to find their own meaning in the work.
The offcuts from our workshop were mainly from last season’s collection. How did you find working with a relatively limited colour palette?
I found it difficult initially when I'd get attached to a colour or piece of leather & realise I only had a small amount of that to work with. However I actually enjoyed how much it pushed me to work with colours I perhaps wouldn't have selected if I'd had endless possibilities. It also meant that I naturally started using both sides of the leather offcuts to broaden the colours palette, as it brought a much softer more muted range of colours into the mix. I especially loved the back of the dark green leather
You often work with found material and recycled paper. Why is this so important to you and your work?
This started as a necessity as I didn't have a lot of money to spend on materials when I first started making artworks at University. I soon realised that it adds more depth, texture & context to my work, as well as aligning with my values in trying to live more sustainability. I'm very interested in the hierarchy of materials within the art world & how historically certain mediums or artforms would be seen as more worthy or fetch a higher price than others because of the materials used. Artists like Eva Hesse, Richard Tuttle & Karla Black really inspire me with their use of everyday & found materials.
What’s next for you?
More work with fabric & new materials! I've recently started hand painting onto second-hand denim garments & I'm also hoping to release some screen printed silk scarves & t-shirts this year. Over the last few years I've been slowly collecting fabric remnants & I'm hoping to create some larger scale artworks with these.
]]>As creatives, many of us tend to steer clear of the brasher side of the fashion industry, leaning instead towards independent designers and makers who craft quality items, ideally with sustainability in mind. One such British brand that's caught our eye lately is LPOL, a specialist in timeless bags made from reclaimed fabrics.
Founded by Central Saint Martins graduate Katy Maskell Bell in 2009, LPOL (short for Lost Property of London) began life with its first collection featuring a tote bag made out of coffee sacks and vintage Liberty fabric, which she then launched with the aforementioned prestigious store. "Since then, we have evolved our upcycling concept to a full-leather range, but our responsible approach to design remains the same," Katy tells Creative Boom. "Staying true to our roots, every lining is now made using surplus fabric that has been sourced locally, and some of our totes are crafted entirely from vintage fabric and vegetable-tanned leather."
Today, Katy runs the business with her husband John, and they sell an expanded range of bags and accessories to customers worldwide. They still maintain Katy's original mission, to consider the materials, the processes, the packaging – all with the environment in mind.
The brand is going one step further with a brand new collection of saddlebags made from leather offcuts collected in its workshop. Called Dinky, the range is a "true celebration" of LPOL's zero-waste ethos, as it uses pieces of surplus leather that would otherwise end up in the landfill.
The limited-edition bag design comes in three colourways, each using a combination of different surplus leathers from LPOL's core range. The result is a series of unique bags in a rainbow of complementary colours: Tutti Fruity, Khaki and Chestnut. Personally, I'm a huge fan of Khaki, which uses a forest green, black and lime for a lovely earthy feel. But you might prefer something brighter and bolder with Tutti Fruity presenting a gorgeous clash of pink, red and mustard yellow – a design that perhaps nods to the retro Fruit Salad sweets of the 1990s.
"Dinky is a true celebration of our zero-waste ethos. Its circular production method not only gives the material a second life, but it's kinder to the environment, saves water and reduces carbon emissions. The Dinky ethos seems to really resonate with people, and the collection sold out within the first month."
Although LPOL is actively reducing its waste wherever it can, some offcuts are just too small or uneven in shape to use in bag production. But all is not lost, as the challenge sparked an idea – to collaborate with abstract artist Seraphina Neville and create a one-off collection of 12 original collage artworks using its smaller surplus materials. Launching on Global Recycling Day this Friday, the debut Zero Waste Art Drop is the first of many to come. "We've admired Seraphina's work for a while now, and her collage style lends itself perfectly to working with our offcut leather, so it was an honour to collaborate with her on this creative project," Katy says.
Neville's thoughtful compositions are inspired by the natural shapes and curves of LPOL's design-led bags and demonstrate a unique eye for colour and minimalist form. Using a combination of pebble grain and smooth vegetable-tanned leather on recycled waxed paper, the works have a rich and tactile finish, giving a sense of calm and serenity. The collection launches with six A3 and six A5 original works, priced at £395 and £259, respectively. Each one comes framed to order in a simple solid beech tray frame, unglazed to "honour the depth of the material".
Speaking of the collaboration, Seraphina adds: "I often work with paper offcuts, but this was my first time working with leather. I feel excited about the new dimension brought to my work through the leather's depth, texture, and markings. Many of the offcuts show subtle hints of their past through their cut and the shapes created. I used these pieces as a starting point for my compositions, building up my own shapes around the existing forms to create simple abstract compositions which celebrate both the history and materiality of the leather."
Katy admits a lot has changed since LPOL was born. "Back then, it felt like there were very few luxury brands who were focused on creating products that were well made and inherently sustainable," she continues. "At the time, we were perfectly placed to offer retailers and customers products that embodied those values. Because of that, we cut through a saturated market in an industry that was overproducing. It is still true today, of course. However, we are now competing with increasing numbers of sustainably-minded brands who are all vying for the attention of the conscious consumer.
"And consumers are becoming increasingly educated and sophisticated in terms of making highly considered purchases based on these fundamental values. Now more than ever, we want to understand how the product is sourced, designed, made and how far it's travelled. We are proud to be able to give shoppers those reassurances, and we continue to build, express and share our philosophy in new and exciting ways – from the point of view of a brand born from a true upcycling and zero-waste mindset."
To learn more about LPOL and its Zero-Waste Art Drop and upcoming collaboration with Seraphina Neville, visit lpol.co.uk. Or you can follow the brand on Instagram.
The fashion industry is over producing. Its output has doubled in the last 15 years to reach 100 billion units per year and it is responsible for up to 10 percent of greenhouse gas emissions globally. 85 percent of textiles end up in landfill when most of these materials could be reused.
This March, to mark Global Recycling Day and as part of our strategy to encourage circularity within the industry, we're proud to introduce our debut Zero-Waste Art Drop in collaboration with abstract artist Seraphina Neville. Launching on Global Recycling Day (18th March), the exclusive one-off collection comprises 12 original collage artworks that have been created by Neville using the quality leather offcuts and surplus materials carefully selected from the LPOL studio and workshop.
A true celebration of our mutual zero-waste ethos, this unique collection was born out of the LPOL re-use, recycling and upcycling philosophy, and gives a second life to material that would otherwise end up in landfill.
Katy Maskell-Bell, Founder, LPOL: “Much of the offcut leather from our workshop is used for future bag productions, but some material is just too small or uneven in shape. We have admired Seraphina’s work for a while now so it was lovely to collaborate with her on this unique collection. Her no waste approach to making aligns with our own brand ethos and her collage work lends itself perfectly to working with our offcut leather. The artworks are truly beautiful and a very satisfying way of giving a second life to material in a way that celebrates its natural quality and character.”
Seraphina Neville, Abstract Artist: “It's been an absolute pleasure to work with LPOL on this new collection of artworks. I feel very lucky to have been given access to their incredibly beautiful selection of off-cuts & to have been given the creative freedom to develop them into works I'm really proud of. I often work with paper off-cuts, but this was my first time working with leather. I feel really excited about the new dimension it’s brought to my work through the depth, texture & markings of the leather. Many of the off-cuts showed subtle hints towards their past through the way they had been cut & the shapes this had created. I used these pieces as a starting point for my compositions, building up my own shapes around the existing forms to create simple abstract compositions which celebrate both the history & materiality of the leather."
Neville’s thoughtful compositions are inspired by the natural shapes and curves of our design-led bags and demonstrate the artist’s unique eye for colour and minimalist form. Using a combination of pebble grain and smooth vegetable tanned leather on recycled paper, the works have a rich and tactile finish that imbues a sense of calm and serenity. Perfect for a cosy curated corner of your living room or equally at home in a stylish workspace to add depth and colour.
The collection launches with six A3 and six A5 original works, priced at £395 and £259 respectively. The artwork comes framed in a simple solid beech tray frame, unglazed to celebrate and honour the textural warmth and depth of the material. Each piece has been signed and numbered thoughtfully by the artist as a screen print on recycled paper, which is attached to the back.
The collaboration forms part of our growing Zero-Waste Collection, which also includes the popular Dinky Zero-Waste Handbag as worn by Trinny Woodall of Trinny London - a limited edition multi panel saddle bag made from the leather offcuts collected in their workshop - as well as the Willow Zero-Waste Keepsake Bag and the Surplus Journal.
Artworks will be available for purchase from 1pm Friday 18th March at lpol.co.uk.
]]>Read how sustainability, reuse and minimal waste is at the heart of work and home life.
]]>In Eridge Green, East Sussex, just five miles south of Royal Tunbridge Wells, lives Katy and John Maskell Bell, their son, Wilfred, and two cats, Monty and Tibbs; and their home, Stitches Farm House, is as dream-inducing as the name suggests. In a rural village surrounded by ancient woodland, farmland, streams and lakes, this bucolic idyll became the couple’s reality in October 2019 after living for nearly two decades in London’s bustling Camden Town.
“Our move felt like a natural step for us as we both grew up here, so we felt well prepped mentally for the shift in lifestyle,” says Katy. “But we knew we were leaving a dynamic and cultural London life, and a flat that we loved. You soon realise how many emotional ties you have to a building, a home when you prepare to leave it; the place we lived when we started a new business venture, when we got married and when our son was born.”
As partners in both life and business, Katy and John founded LPOL - formerly known as Lost Property of London – as an independent design brand where the pair are responsible for the design and production of zero-waste, upcycled and sustainable goods. Having studied and met at Central Martins College of Art & Design in London, their creativities as individuals is what bonded them as pair.
Now in their red brick Victorian home, the couple’s creative yearnings have been channelled towards their life in the countryside. “When we viewed the house for the first time, we fell in love with its history and period charm, and the gorgeous setting with views. The fact that it was a blank canvas was hugely appealing. We had no major structural work to do, apart from knocking out a wall or two to create more open plan living,” says Katy.
Their home, built in 1883 for the farm manager of the Neville Estate, has traditional patchwork brick and pinnacle rooflines, pointed arch windows and ornate timber detailing to the gables, with three outbuildings, one of which they have converted into an office and studio. “It’s a house that we can design and develop gently and considerately over time, revealing and adding more character as we go,” Katy adds.
“We designed our studio to be a practical space to do design work, admin, leather work and prototyping, so there’s a 7-metre-long desk running down one wall of the studio. The desk has sections, so we can move up and down the desk depending on what task we’re tackling at the time. We also designed storage under the eaves, so all of our product inventory and material stock is stowed away neatly. We love working there as it’s got a cabin-like quality to it.”
The couple’s vision as designers permeates their home where antique finds are offset with carefully selected contemporary pieces and their love of reusing, reimagining and renovating the things they find around them are values echoed in their interior styling.
“Aesthetically, we gravitate to strong geometric lines and elegant curves, which often leads to surprising and pleasing combinations,” explains Katy. “We find that if we’re struggling with a design project for LPOL, spending a bit of time thinking about interior design solutions helps with motivation and inspiration, and vice versa. It’s a very valuable dynamic.”
The couple are drawn to a mix of second-hand finds, design-led pieces and inherited items, such as the Victorian pine refectory table from Katy’s parents. “It has so many memories of meal times growing up, and it’s nice to know we’re adding to those memories in our own home,” she says.
“There are so many high quality, desirable and useful products, fabrics and furniture already in existence, so I feel passionately that they should be given a chance before buying anything new,” adds Katy. “This is how we design products for our brand and how we source and design our home interiors. I find myself connecting much more with things that have history and have already lived a life.”
In the master bedroom is an eye-catching brutalist armchair design by Muller van Severen made of welded steel and leather, and a black painted French bed that has followed the couple’s every house move. In the entrance hall is a vintage French settle painted in bright green and unusually designed to fold out into a daybed. One of their favourite items is a large modular console they designed and constructed using individual sculpted timber blocks and salvaged beams.
Elsewhere there is an original antique mahogany linen press given by Katy’s aunt and uncle as a house warming gift. “It’s now John’s wardrobe,” says Katy. “It has fantastic proportions, an amazing patina to the wood, and it also bears small brass accents, which just goes to show the attention to detail and quality materials used in its making.”
Their interior style is honed from years of happenstance, where the items which have found their way into the couple’s lives tell a unique story, shaped by memory and emotional affection; a style Katy describes as ‘collected’. “We love the idea that they are all connected through stories of our families and our own hunter-gathering crusades,” she says.
“We’ve learnt over the years that instead of designing for the space, we are far happier and freer collecting pieces that we love and then finding spaces for them to live. This way you end up with an interior that tells a hundred stories, which looks and feels like you.”
Words: Alena Walker
Photography: Michael @ Saltwick Media
A true celebration of the Zero-Waste ethos, Dinky is a reimagining of one of our most popular handbag styles. In true re-use and recycling spirit, this joyously resourceful little bag incorporates multiple panels utilising textures of offcut surplus leathers collected and archived in our workshop and studio - material that would otherwise end up in landfill. The only element that is not upcycled or recycled is the metal hardware (we're working on it!). This circular production method not only gives the material a second life but it is kinder to the environment, saves water and reduces carbon emissions.
A contemporary take on the classic saddle bag, Dinky is perfectly proportioned to hold a refined edit of your daily essentials. Featuring LPOL's signature loop and keeper leather fastening highlighted with a pop of colour, this is a bag that has everything you need and nothing you don’t. An internal zip pocket provides extra stowage and security, plus there's a surplus British Millerain cotton lining for added eco-luxury and a recycled nylon adjustable shoulder strap that can be detached and interchanged.
Due to the finite nature of the material, this is a genuinely limited edition series - the perfect gift for a Zero-Waste Christmas.
Treat yourself or a loved one to a unique personalised gift
We're excited to introduce our new monogramming service - now available for a limited collection of handbags, totes, rucksacks and journals. Your LPOL bag or journal will be personalised in the LPOL Studio using our specialist hot stamping machine - we call it the 'Dream Machine'. Staying true to our minimal design-led aesthetic, each simple yet beautiful san serif character is formed using a blind debossing technique whereby a brass die bearing the wearer’s initials (max of 4 initials) are heat pressed into the leather for a clean and natural finish - no foils, no chemicals, no fuss. This creates a discreetly luxurious finish that will last as long as the product itself. The perfect gift idea for yourself, a friend or a loved one, for Christmas, Birthdays, Weddings or Anniversaries. A personalised bag or journal that is completely unique to you is something to be treasured forever.
Personalise from £15 | Choose up to 4 initials
Christmas Delivery
UK Customers: order by 18th Dec
International Customers: order by 16th Dec
Please note:
Personalisation services including monogrammed products are strictly non-refundable.
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Today is Buy Nothing Day - the antidote to Black Friday. So we're sharing some handy tips for how to care for, restore and rejuvenate your beloved leather handbag, tote, rucksack or weekend bag.
For the best results follow all five steps above. Alternatively, you can send your bag to LPOL for a full R&R Service (£45) – we’ll make sure your bag gets the full treatment, inside and out. You can book this service by emailing us at hello@lpol.co.uk
Do’s
Dont’s
A comfortable, robust and practical rucksack is one of life's essentials. What makes the Rivington a dependable, refined soul? Its richness and texture echoes the season, with russet warmth and chestnut tones. It's a low profile rucksack that elegantly envelopes a laptop, and a 2-step fastening locks it in for when you're hot-stepping A to B. Its malleable vegetable tanned leather construction hugs your frame, without being noticed. The Rivington is a bag for life, fit for working from wherever. This all reminds us of how beautifully simple a hands-free rucksack life can be.
]]>Alyson Walsh is a freelance journalist, former magazine fashion editor and author. She is also the editor in chief of award-winning Fashion Blog, That's Not My Age. This November she is coveting the Arlington Berry as her go-to cross body bag for this season.
In her words, "LPOL very kindly gifted me the gorgeous Arlington in Berry, (I know, I am spoilt) which has rapidly become the cross body bag of Covid Winter 2. The lovely colour goes with everything and offsets my wardrobe of navy, khaki green, denim and tweed, beautifully."
Alyson also asked us for our top tips on how to care for your leather bag, which you can read here
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Our best-selling minimally styled hybrid tote is back. Looking as gorgeously curved as ever. So why not style up your wardrobe with this piece of handmade leather architecture.
Inspired by London's glorious industrial past. This unusual piece takes its shape from the beautifully proportioned arches that are an iconic feature of the Victorian factory and warehouse buildings that occupy the back lanes and rows of the city's more industrious boroughs. Clean, crisp and graphic in silhouette. A versatile everyday carrier.
Handmade in our East London workshop by skilled artisans using the finest Italian vegetable tanned leather, this bag is a celebration of natural trace-chemical materials and responsible, local, low impact, zero-waste craftsmanship.
]]>When we venture out of our studio, we really have to make it count. Mostly we gravitate to subjects outside of bag design and making, but we had to make an exception in this case for the Bags: Inside Out at the V&A.
After a quick coffee in the stunning, sunny Madejski Garden, we set foot in to the V&A's curious world of bags.
Here a few choice themes that stood out...
Made to Last
The exhibition is sponsored by Mulberry so there is a big emphasis on the importance of the Made to Last mindset - the idea that every piece should be designed to withstand years of wear, to transcend fleeting trends and ideally be built to be repairable so that the bag continues to serve the wearer. Towards the end of the exhibition you can explore the maker's table to view tools, materials and processes up close. This is where the magic happens, and where a Made to Last bag begins to manifest. It's also worth stopping to watch a couple of short videos, including designer Bill Amberg talking through the nuances of leather types and how they behave and wear differently.
Bags of personality
We really enjoyed the section that presents the idea that "this ubiquitous accessory can be considered both as a private possession and a public statement". This plays to the fact that a bag, either through its function or beauty, can say much about the wearer's personality or profession. You'll discover courtiers' money bags from the 1600s, to politicians' wartime document cases, and then bang up to date with flamboyant designs by famous contemporary designers.
The man bag gives way...
Did you know, handbags were for a long time an accessory worn exclusively by men, primarily as a functional item for work or travel? "By the 1880s, handbags had lost their connection with utilitarian travel and gradually became fashionable accessories associated instead with women." This is a key turning point in the history and legend of the handbag, and would have aligned with the growing Victorian era obsession with personal style and self expression. We love the Victorians for their bold, pioneering spirit, and we have them to thank for the prevalence of handbags in our 21st Century society! Long may the love affair continue...
A bag for every occasion
Another intriguing section celebrates specialist bags designed for individual activities and hobbies, and for associated tools or equipment needed for them. For instance, what might an opera bag look and feel like, or what special features would a hunting bag need to possess? It also makes us really interrogate our own bags, to ensure they are totally fit for purpose. Do you have a hobby that requires a special type of bag?
Anonymous design
The last thought from the show we will leave you with is this idea of a logo versus anonymity. We have always personally favoured the latter, as well as favouring recessive, understated branding for our own products. We find satisfaction in knowing the small defining details and design DNA that make a design, brand or product. We love the fact that our customers get stopped on the street or on the train by someone who is keen to know where their bag is from. And this creates cult following, a collection of those in the know.
Anyway, we thoroughly recommend a trip to the V&A to see this exhibition if you can find the time.
It's on now until 16th January 2022.
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Ahead of Recycle Week this week, we launched our first ever animal-free, vegan shopper handbag, made entirely from a new and innovative recycled paper. Read on to get the low-down on this marvellous, game-changing material...
Texon is a durable and practical washable paper. It provides creative and versatile solutions for items such as jacron and jeans labels, bookbindings, cases, furniture, luggage tags, and in our case, it has proved the ultimate material to form our new Penrose Metallic Paper shopper handbag!
It is also environmentally friendly. Accredited by both the Forestry Stewardship Council (FSC) and Oeko-Tex®, professional bodies which ensure that the material is responsibly sourced and produced, it is also recognised as an animal-friendly material and a viable alternative to many leather-based products.
Manufactured from recycled fibres that derive from the paper industry, this innovative material comprises of industrial waste from the production of items like cigarette packets, kitchen tissue and paper napkins, which is collected and then pulped, regenerated and transformed in to the raw material. It is then infused with an organic plant-based latex and coated in an Oeko-Tex® approved metallic silver foil to add strength, durability and style - and the papery wonder-fabric is born!
It's kind to humans, animals and the environment alike. Certified by both the Forestry Stewardship Council (FSC) and Oeko-Tex®, Texon's certification makes it a more sustainable choice than many other leather alternatives, which often use large quantities of fossil fuels and water in their production and harmful chemicals in their composition.
Texon Paper is an animal-free product that has its own unique character and charm whilst fitting perfectly with our minimalist design-led aesthetic. Showing the imperfections of paper through its papery creases but with a crisp, stand-up structure, this bag really shines!
“For me it wasn’t about finding a fake leather alternative. We wanted to work with a new raw material and celebrate its own unique form, texture and construction. I love how it isn’t trying to be something it’s not. We’ve intentionally left it unlined to show off its unique raw beauty”. Katy Maskell Bell
]]>We are proud to be part of a generation that is proactive, not just reactive.
We’re also proud to say that sustainable methods have been in the LPOL DNA from the very start, and they are what define us to this day. We continue to interrogate and challenge our own processes; from our own personal behaviours, to supplier practices and each and every step of the bag making process, right the way up to the point your order reaches you at home. We are committed to doing what we can where can, at the right time. Because for us, it’s not just about making short term fixes (sticking plasters), it’s about making long-term permanent and meaningful changes.
At the very core of our sustainability mantra is to design and make products that last. We believe this is the key to reducing our effect on the natural world, and our best contribution to inspiring positive change in our industry. So our passion and obsession for sourcing the finest natural materials, and then crafting and constructing them in to bags that stand the test of time is the most solemn promise we can make to you and to this wondrous planet of ours.
If the past year has taught us anything, it’s that we all have the power to be more considered in the way we live.
So as we continue our journey, we hope we can inspire you to continue yours too.
]]>After months of exploration, we have found an authentic animal-free material that we think you're going to love. Manufactured from recycled fibres that derive from the paper industry, this innovative material comprises of industrial waste from the production of items like cigarette packets, kitchen tissue and paper napkins, which is collected and then pulped, regenerated and transformed in to the raw material, Texon. It is then infused with an organic plant-based latex and coated in an Oeko-Tex® approved metallic silver foil to add strength, durability and style - and the papery wonder-fabric is born!
It's kind to humans, animals and the environment alike. Certified by both the Forestry Stewardship Council (FSC) and Oeko-Tex® (the world's best-known label for textiles tested for harmful substances), Texon's certification makes it a more sustainable choice than many other leather alternatives, which often use large quantities of fossil fuels and water in their production and harmful chemicals in their composition.
More commonly used for jeans labels, bookbindings, furniture, and luggage tags thanks to its durability and eco credentials, Texon Paper is an animal-free product that has its own unique character and charm whilst fitting perfectly with our minimalist design-led aesthetic. Showing the imperfections of paper through its papery creases but with a crisp, stand-up structure, this bag really shines!
“For me it wasn’t about finding a fake leather alternative. We wanted to work with a new raw material and celebrate its own unique form and construction. I love how it isn’t trying to be something it’s not. We’ve intentionally left it unlined to show off its unique raw beauty”. Katy Maskell Bell
Modelled on the ubiquitous carrier bag and designed on a three-piece pattern for strength, simplicity and style, the Penrose Metallic Paper is handcrafted in our London workshop by the same expert team that work with our superior quality vegetable tanned leather. Using the same attention to detail and fussless design ethos, this eco shopper handbag with its metallic silver coating is possibly just what you need this party season!
When Will Halbert of Essential Journal dropped in to see LPOL Founders Katy & John in their former Kings Cross studio, the designers' ethos shone through in every little thing they do. Read below for the full article or read it here
Words by Will Halbert
In a world increasingly dictated by the picture perfect and the painstakingly polished, raw authenticity is an increasingly rare commodity in a brand. For the most part, emerging brands are so infallible in their prefab, professional- from-the-get-go images that there’s little room for adlib.
Which is a crying shame, as it’s often those ad-hoc moments of challenge, adversity and improvisation that allow a brand’s personality to shine.
In their 11 years at the helm of Independent London brand, LPOL, Katy and John Maskell Bell have seen their fair share of adversity. If you think that the challenges of responsible material sourcing and zero-waste production are tough now, just imagine what it was like trying to tackle those subjects over a decade ago. You know, when the topics of sustainability and slow fashion weren’t so du jour.
As a result though, the LPOL’s brand and its offerings exude friendly, self-assured and quietly-confident vibrancy that can only come from slowly, deftly and honestly navigating the tides, trials and tribulations of the fashion industry. As much in design as in philosophy, LPOL’s leather wares are solidly-crafted goods to the core. They’re robust and heartfelt products brought to you by like-minded makers and creators. In the interest of this edition’s love affair with Coal Drops Yard, we’ll focus on one of the brand’s core offerings, the Cubitt briefcase.
Now, Katy and John sum it up pretty well when they describe Cubitt as a true celebration of ‘natural materials, bold simplicity, industrious spirit and robust local craftsmanship.’ That said, I’d be remiss if I didn’t also mention that it’s pretty as all hell. Seriously, a briefcase has no business looking this elegant. The soft, pebble grain, vegetable tanned leather makes for a bag that’s as supple as it is sturdy, while two exterior pockets, an interior zip pocket and an adjustable shoulder strap account for the Cubitt’s more utilitarian, though no less elegant, trimmings.
The Cubitt takes its name from the late, great Lewis Cubitt, the mind behind the Granary Building that now forms part of the ever-impressive Coal Drops Yard. This, if you think about it, goes a long way in explaining the briefcases’ stripped back and well-studied sophistication. In a wondrous feat of minimal, functional design, the Cubitt briefcase offers up everything you need in a day-to-day carry, and dispenses with everything you don’t. In this way and in many others, the Cubitt Briefcase is a fitting visual metaphor of what LPOL is all about: craft without compromise, luxury without excess, and passion without pretense.
Complementing the duo’s penchant for timeless, fussless design is their low-impact, locally-minded attitude towards production. Every offcut, every scrap of leather or fabric is retained and reused in some way, right down to the slithers of skived leather that go on to serve as tags for products. Refreshingly, there’s no control-group-sanctioned agenda here, no shallow attempt to vie for the affections of a more conscientious consumer. Katy and John have, quite simply, always done things this way.
As the industry continues to populate itself with shouty-but-shallow brands looking for mile-a-minute growth and exposure, there’s an awful lot to be said for brands, like LPOL, that have found a way to drown out the noise, find their own stride, and continue to do what they do in an honest and heartfelt way.