By the Water with Lisa-Marie Kaspar

Phase | Stacking Set by Lisa-Marie Kaspar

Working mainly with analogue film, Lisa-Marie Kaspar’s photography often revolves around the female point of view and telling a visual story. I had followed Lisa’s work for a while and had been intrigued by her plastic life series; an ongoing series about plastic consumption and pollution, to raise awareness of ecological issues. With a shared concern for the future of our planet, and with an appreciation for Lisa’s ability to create beautiful and captivating imagery, I was delighted when Lisa suggested a collaboration with Ara the altar. 

As I plan, shoot and edit all of the product and model imagery for Ara the altar (with a lot of consideration for keeping the impact of the shoot as minimal as possible, whilst still being reflective of the brand), the idea of letting someone else into this world was at first a little daunting. Straight away, after initial conversations with Lisa, exploring the idea of her producing a mini-series featuring some Ara pieces, I knew that Lisa really understood my commitment to minimising waste and environmental impact. Lisa was very respectful of the approach that I adopt in my own shoots and was happy to work with these values in mind, to source props and wardrobe responsibly, to use natural materials and to utilise what she already had e.g. the model’s own wardrobe etc. We decided that the mini-series would feature the Phase collection; each of the four principle moon phases captured in 100% recycled 925 sterling silver. Both Lisa and I love working with water so we were keen for this to be woven into the shoot. Lisa discovered a beautiful mountainside location in Bolzano, Italy, where she was living during her exchange semester, making the perfect setting for what Lisa aptly entitled ‘By the water’.

With very capable tools for creating incredible imagery readily in our pockets, photography is something that many of us increasingly do. Whilst I see the value in taking a walk in nature without feeling the need to take any pictures, I also get so much out of capturing the beauty that I see, and being able to revisit it later. I think that taking pictures purely for pleasure helps us to connect with the world around us, and to look at things in a different, more considered way. 

Lisa produced some beautiful images for By the water, capturing the beauty of the model, Mina, along with the Phase pieces. Lisa was such a pleasure to work with and I look forward to seeing where Lisa’s work and career take her in the future. I thought I’d put a few questions to Lisa about her journey into photography, and also explore the idea of producing imagery purely for pleasure, with slowness in mind.

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Phase | Pendant & Earrings by Lisa-Marie Kaspar

Lisa – it is such a pleasure to speak with you for Letters of Ara. To begin, what first attracted you to photography and how did this become the path you decided to pursue?

Thank you, Lauren. I am happy to have been in contact with you for the past months and also about the collaboration we did!

I guess my answer to this question is an often heard one: I have always been kind of creative, loved art and drawing and have been interested in photography. However it was only in 2012 when I decided to pursue this interest wholeheartedly and bought my first (then digital) camera. And it turned out to be the best decision I ever made to be honest; I instantly fell in love with photography and haven’t stopped taking photos ever since. I feel like I have discovered my true passion and also profession in life. Even more so by discovering analogue film photography a few years after starting – I found my personal style for my work.

It just feels natural to me to pursue this path also as a career, not only a hobby, because it really is something I can imagine doing for the rest of my life without getting bored or tired of it!

How would you describe your photographic style and approach?

My photographic approach I often see as very intuitive. Of course I like to plan shoots, which camera and film I will use and so on, but I love to leave a bit of space for unforeseen things and making decisions in the moment. So I would say I have a kind of frame for each series or photo I’m working on in which I can move quite freely. Maybe my style reflects that as well. I am drawn to creating visual stories, incorporating emotions, often involving a kind of melancholy.

Phase | Pendant, Earrings & Stacking Set by Lisa-Marie Kaspar

You choose to work primarily with analogue film. Why is this your preferred medium?

Shooting on film for me is like hitting the pause button for a second – everything seems to slow down, I’m looking through the viewfinder, waiting for the right moment to capture. This is what I love so much about this way of photography and what eventually made me choose it over digital photography for my work; you take your time, you value each shot. Analog photography just feels right for me and the way I see things.

Environmental concern features quite prominently in your work. Why is it important for you to work towards a more sustainable future, and for your work to be reflective of this? 

I have been making personal steps towards living a more simple and sustainable lifestyle, for example going vegan, reducing my waste, switching to second hand and ethical fashion and the like. It was through a photographic project that I realized I could not only use my personal voice but also my voice as an artist and photographer to tackle the issues we have and to contribute to raising awareness about environmental pollution and eco-consciousness. That is why I have also been devoting my Master studies of Information Design to this topic and with photography as my main medium.
To me, this whole environmental topic is very important and I want to do everything I can to inspire people to change or adjust their habits, but also to show the not-so-pleasant sides and the paradox aspects some things carry, e.g. in my „plastic life“ series. Everything is connected and we need change on so many different levels. But it’s the easiest, to start with oneself. One of my favourite quotes I came across during my research is one by journalist Katharina Finke (loosely translated): „Those who see these connections, cannot go on as before.“ 

What are your thoughts around the idea of photography for pleasure, and do you have any advice for using photography as a way to slow down?

I’d like to say yes to photography for pleasure! If it makes you happy and brings you joy, go for it and explore your creative side, give it room to grow! I often think we take many unimportant things way too seriously and should take a step back, pause, and think of what makes us truly happy.

As I said, one reason I love film photography is that is slows me and the whole process down, I begin to observe and really see and just release the shutter if it feels „good“ or „ready“. So my advice would probably be to try an alternative approach to digital or smartphone photography. Get yourself an old analogue camera or borrow one, grab a roll of film, go for a walk and observe nature. Or make some cyanotype prints with the help of the sun. There are so many cool techniques to explore! 

Phase | Stacking Set by Lisa-Marie Kaspar

Do you have any tips for achieving a good capture or composition?  

This is a hard question to answer for me, I have to say! As I tend to take photos quite intuitively, many things happen „automatically“ or subconsciously, for example when speaking of composition. Maybe I can say that a good capture, though it also lies in the eye of the beholder, is one that carries emotions, that makes you feel something. Wether it reminds you of a dear memory or the photo provokes an emotion in you or it simply pleases you aesthetically, I think it has to do with feelings. Don’t go for perfection, go for emotions, I would like to say. 

What can we look forward to from you in the future, and where else might you like your work to take you? 

I am currently in my last year of studies and I have planned something bigger for my final project – an exhibition about my work revolving around the environmental issues, which will probably take place early next year. I am really excited for that although there is of course so much to do until then!

I would really like to be so lucky and have my work exhibited around the world, working towards a better future and working with great, like-minded people! That’s my wish for the future. :) 

Finally, how do you invite a little slowness or self-care into your life and work? 

That’s a wonderful question. I know this might not fit in with the way we are living and thinking nowadays in this rushed world, but maybe that also is the reason why it has to fit in in the future: I take breaks whenever I feel I need to. Even if this means I have to take more and longer breaks than other people. I am slowly coming to accepting that this is how my mind and body work and I try to give them what they need whenever I can. Surely, this is a process, and I need to incorporate self-care also into other parts of my life, but I think this is the main thing I do to unwind. I hope to one day not feel the guilty conscience anymore that society taught us for so long, because why would it be wrong to listen to your body?

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Explore more of Lisa’s work on her website

Follow @lisamarie_lmk on Instagram

Visit the ‘By the water’ editorial on CONSIDERED Magazine

Phase | Pendant Set by Lisa-Marie Kaspar

Slowing Down with Sarah of CONSIDERED Magazine

Image taken during my stay at Porteous Studio in Edinburgh

In response to the ‘on demand’ culture of the fast-paced, digital world in which we now live, it’s easy to develop a heightened level of expectation concerning content consumption. For some, me included, the eternal stream of content that we are presented with -or subjected to- can feel overwhelming. I genuinely love the community of digital platforms such as Instagram that have introduced me to so many other like-minded individuals and encouraged purposeful, positive experiences. Yet, always in search of balance, I also really value taking some time to truly absorb myself in a physical publication of interest, and to enjoy the slower speed of consumption that print media permits. 

A timely antidote for fast paced digital consumption, CONSIDERED Magazine is an independently published, bi-annual print magazine exploring sustainable lifestyle, thoughtful design and mindful travel. Aiming to raise awareness of and encourage discussion around sustainability issues from an environmental, social and economic perspective, CONSIDERED is a brand that I resonated with straight away and I could not wait for the release of its first publication. I picked up my copy of volume 1 from the lovely folk at Rare Mags (a local independent store selling, you guessed it, rare magazines). The book itself is a thing of beauty and, fittingly, consideration for the magazine’s impact runs deeper than its title; each copy has been printed and bound locally to me in North West England, on 100 pages of unbleached, FSC certified paper with vegetable based ink. 

This is such a special publication featuring the perfect balance of informative, exploratory and inspiring content all woven together with beautifully captured imagery. Topics explored in volume 1 include lesser explored everyday sustainability, considered exploration to Almeria, Manchester, Belfast and the Causeway Coast, a considered style directory, carbon responsibility, and the concept of ‘Slow Art’. In her letter, CONSIDERED Editor and Founder, Sarah Marie Vera shares an insight into a part of her upbringing which instilled the value of being grateful for what she had, and being mindful of the effort and energy involved in creating things. I think this is such an important point to consider, particularly at a time when, as a society, we have become so detached from how and where our products are made. This often leads to products that are made with ethical and sustainable consideration appearing expensive in comparison. Seeing an awareness for -and addressing of- these kind of issues, particularly in a print publication, is hopefully indicative of a shift in the public perception of value and the time for effective change. 

It is such a treat to sit and pour through this book, not least because I stumbled upon a mention of Ara the altar whilst reading it (the loveliest of surprises). Regardless of this little cherry on top of the magazine pie, CONSIDERED is something I knew I had to share and wanted to learn more about, so I was over the moon when Sarah agreed to an interview for the Slow chapter of Letters of Ara. I am so grateful to Sarah for taking the time to explore her work with me today, and for including Ara the altar in the first volume - it’s one I’ll treasure forever. 

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Sarah - first of all, congratulations on the launch of volume I. To begin, I’d love to hear a little more about you and what led to the concept for CONSIDERED Magazine.

Thank you so much! I guess that due to my modest upbringing, I’ve always had a level respect for taking care of what we have and not being wasteful – this attitude extended to food, clothing and items in general and stuck with me into adulthood. When I was very young (around 4/5 years old) I decided that I didn’t want to eat meat and I think this also took me down a path of awareness and questioning.  Then around 6 or 7 years ago I became a little disillusioned with our ‘typical’ way of life – I was working longer hours than I would’ve liked to, becoming tired of over-consumption and feeling like I wasn’t embracing the creative side of my personality enough so I set about making small changes to my life, such as cutting back on unnecessary spending and thinking about how I would like to express myself creatively. I bought myself a DSLR and began experimenting with photography, writing, exploring sustainability and minimalism and this led me to the idea for CONSIDERED Magazin

Why was it important for you to produce CONSIDERED Magazine in print?

Initially I toyed with the idea of CONSIDERED being a digital magazine / email newsletter but this felt restrictive in delivering the message and experience I wanted readers to have.  I’ve always enjoyed magazines and the experience of feeling immersed in an article or photo coupled with the feel of the texture of the pages, the sound of the pages being turned and smell of the fresh print.  I wanted to produce something that was inspiring in imagery and context but also provided an escape for the reader, an opportunity to slow down and digest the content without use of a screen which we use all too often in modern day life.  I love magazines such as Kinfolk and Cereal and look forward to a slow morning or evening reading them with a hot drink and ‘switching off’ from everyday life for an hour or so. I wanted to do the same with CONSIDERED where the subject matter was sustainability and mindfulness.

When working on the magazine, how do you determine the areas you would like to explore for a publication, and with this being a bi-annual publication, how do you go about your planning?

Good question! For Volume 1 this was somewhat easy for me as I approached the first magazine as a personal project in a way. I selected topics and places that were of interest to me or close to my heart.  In the ‘CONSIDERED Places’ chapter of Volume 1, I wanted to showcase Belfast and the Causeway Coast - which is where I grew up, Manchester - which is my current home and a yoga retreat in Almería which was my Summer holiday the previous year where I took part in the yoga retreat but also experimented with photography and writing whilst there.  In terms of sustainability, I knew that sustainable fashion would be a big part of the magazine given my own journey on this front and the inherit pollution and unethical practice of the current fast fashion model.  Mindfulness was also a theme I wanted to explore and found that this linked quite well with art hence the ‘Slow Art’ and ‘Mindfulness and Art’ articles.  I wanted the magazine to be appealing and inspiring to those already familiar with slow living and sustainable lifestyle but also those that are maybe less informed, and with that I wanted to offer a mix of rich and in-depth content, for example the ‘What Carbon Counts’ article as well as lighter content such as the ‘Sustainable Swaps’ article.

For Volume 2 we (CONSIDERED intern, Joost and I) have started to plan the content.  As a starting point, I asked our followers on Instagram what they would like to see and this has determined the key themes which will be Sustainable Fashion, Sustainable Home and CONSIDERED Places, with other smaller chapters in between.  Again, the content will be a mix of in-depth and lighter reading and the imagery will be inspiring and emotive.  Lots of ideas already!

Can you share a little more about the community side of CONSIDERED?

Of course.  One of the things that was important to me was to utilise the magazine as a platform, not just to inform and inspire but to build a community of like-minded people.  Plans for the CONSIDERED Community are to create primarily offline but also online opportunities for those interested in a slower, more sustainable lifestyle to connect, learn and experience.  I also hope to have a CONSIDERED newsletter that goes out in-between print editions.  Time is very much being spent focussing on Volume 1 and 2 at the moment but watch this space for more on the community – we’ll be sharing updates via the Instagram page and anyone interested can register for the CONSIDERED Community via the website.

When working on CONSIDERED, what might a ‘typical’ day look like for you? 

Until very recently I had a full-time job outside of my CONSIDERED work so it was very much a careful juggling act whilst being mindful not to become overwhelmed.  As a freelancer (in my day job), I’ve taken some time out to focus on the magazine between work contracts and I have Joost working with me on an intern basis.

I’m still pretty new to this but I guess a typical day for me will differ depending on what stage of the magazine production I am at.  At the moment, a typical day is to check orders for Volume 1that are received through the consideredmag.co site, then package and post these.  Then check my emails for any stockist orders / contributor queries and work through these. Then my focus switches to Volume 2 where Joost and I are planning the content / researching brands and contributors and generally gathering ideas as they come to us!  As we get into the detailed planning stages and development of the content I anticipate my day will be a little more structured.

What can we look forward to from CONSIDERED in the future? 

Mostly more of the same although I’m keen to keep pushing the content quality with each new volume. For example, in Volume 2 we will be shooting some exclusive editorial photography, something which wasn’t done for Volume 1.  I also hope to increase the page count of the magazine a little so that we’re giving more to the readers and where suitable, work with sustainable brands on a collaborative basis.  And of course, there’s the CONSIDERED community events – all being well we’ll hold one of these before the end of the year.

Living a considered lifestyle yourself, what have you found to be your favourite or most purposeful way to minimise your own environmental impact?

Over the years I’ve made a number of small changes to my lifestyle that add up to a reduction on my overall environmental impact.  Being a vegetarian places less demand on planet, then there are the other small changes such as using a reusable cup for hot drinks and carrying my own bag to avoid plastic ones.  On the fashion front, I only buy clothes when I have a need for them and take good care of the clothes I already own to lengthen their life. When I do buy clothes I’m looking for ethical brands that pay fairly and look after their workers as well as using natural and where possible, organic fabrics and styles which stand the test of time.

Finally, what do you do to invite a little slowness or self-care into your everyday? 

I’m a big fan of slow mornings and little everyday rituals.  I find if I’m rushed in the morning it sets the scene for the rest of my day so I make time to organise myself the evening before, (i.e. what clothes I’m going to wear, what things I need to bring with me) so I can have a decent breakfast, enjoy some quiet time, perhaps do a short yoga session and allow myself to wake up gradually before I start the work elements of my day.  When I was in full-time work I requested a 9.30am start time so I could continue this way and luckily with the growing acceptance of flexible working arrangements I was granted this.  On the rituals front I love long baths, herbal tea, lighting candles or incense and reading.  I’m not a big TV fan so often find myself relaxing to music rather than the backdrop of a TV programme.   I try to maintain a healthy balance which isn’t always easy but over the years I’ve found that prioritising what is important to me helps me to better arrange my day in a way that supports my overall wellbeing.

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Explore more & order CONSIDERED Magazine via the CONSIDERED website

Follow @consideredmag / @sarahmarievera on Instagram

Purposeful Packaging | Designed & Made In House

For the first chapter of Ara the altar’s journey, the GOTS certified, organic cotton drawstring bags -which I had made specially in a carbon neutral factory as part of an ethical supply chain- have served me so well. For some time, however, in preparation for coming to the end of my supply, I have been looking for a way to further minimise Ara’s carbon footprint by bringing the production of my presentation packaging in house, in line with the slow approach I adopt in my jewellery design and production. The brief I gave myself was threefold:

1)    Purposeful

To me, it feels counter intuitive to waste energy and resources creating packaging that would provide little value, use or longevity for my customers. Instead, I wanted to create a product that would be long-lasting and functional, in which to keep Ara pieces safe. 

2)    Low Impact

With respect for people and the planet integral to every aspect of the brand, it was of paramount importance to source a traceable, locally and ethically produced fabric, created from natural, sustainable materials. Furthermore, it was important to me that the design and methods used to produce the product itself would ensure minimal environmental impact and minimise waste, with a zero waste goal.

 3)    Reflective of the brand

Whilst first and foremost the packaging would have an intended purpose, I also wanted it to be something for Ara customers to treasure - not something mass produced but a slow-made keepsake to accompany their chosen piece.

After months of research, design and finding sewing pins everywhere, I am so pleased to share with you my new, slow-made, purposeful packaging that has been thoughtfully designed and created in-house; designed and developed by me and my partner, David, who has learnt to sew on a 1921 Singer to make these little pouches that will accompany every piece of Ara the altar adornment.

The Fabric

I began my search for a fabric that had been created with utmost respect for the earth. After some initial research I knew I wanted to work with hemp or linen, given their very little reliance on water or pesticides. It transpired that most of the hemp suitable for this project was made in China (which did not meet the requirements of my brief when concerning Ara’s carbon footprint). Whilst I did manage to source more locally made European hemp the fabric available to me at the time did not possess the qualities suitable for this particular project. I am, however, really keen to support the use of this fabric so keep an eye out for an exploration into hemp later down the line. In continuing my search for the perfect, earth-kind linen, I was delighted to find a very special fabric with UK based company, Bysshe, who source fully traceable, European yarns, and weave them into beautiful fabric, here in the UK. This small, independent company ensures “the highest quality at the lowest environmental cost, developing fabrics for a sustainable future”.

I fell for a beautifully tactile, twill cloth, woven on a Jacquard loom in Lancashire. The fabric is constructed of linen weft yarn, made from certified European Flax in France by a Masters of Linen certified company. The linen weft yarn is woven across GOTS (Global Organic Textile Standard) certified organic cotton warp yarns. The fabric was then finished in a specialist finishing mill up the road in Yorkshire. Finished without bleach treatment, this fabric celebrates the natural hues of the flax and organic cotton. On one side, the natural linen is more prominent -slightly flecked throughout, in warm, natural, earthy tones- and on the other side, the organic cotton twill is more prominent, appearing lighter due to its natural hue, and incredibly soft to the touch.

The Design

When it came to the design, our aim was to develop a pattern that would make the most effective use of the fabric with the least waste. We also had to consider the product’s intended purpose (to keep its cargo safe), and to ensure that the design would suit the thickness and properties of the fabric. Consequently, we chose to design a little pouch that would not rely on a drawstring closure (again to further minimise waste) and we developed a design based on a simple, repeatable rectangle to ensure minimal, if any, fabric waste.

Our unique design utilises a sewn down, fold-over top to keep belongings neatly tucked away inside. At first glance, it might not seem obvious how to easily open the bag. By folding the top flap inside-out, the full width of the opening is revealed, and the treasure can easily be tucked in or taken out.

The Production

It was important that the production of the bags reflected the production of the pieces: slow. For this project, my partner, David, learnt to sew on a very special Singer sewing machine from 1921, spotted and purchased in a charity shop by my grandad, and given to my mum many years ago. By managing the production of the bags in house, using GOTS certified natural organic cotton thread, and traditional production methods powered by 100% renewable energy, Ara the altar can continue to tread even more lightly whilst creating our earth-aware offerings.

I think these bags are really special and truly reflect Ara’s ethos. I am so pleased that one of these little pouches will accompany every piece of Ara the altar adornment.

Lauren

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Anti Waste Hair Accessories

Images by Sarah Victoria Bates for Bug x Glasshouse

I love to see thoughtful, independent businesses come together to create something considered, beautiful and purposeful, so I was over the moon to learn that Bug Clothing and Glasshouse Salon were combining their resources and skills to create a collection of dreamy anti-waste hair accessories.

Looking for a reason to use the abundance of linen scraps as a result of the production process in the Bug Hackney Wick studio, Bug worked together with Glasshouse to dream up and create a selection of three timeless accessories:

• the classic scrunchie

• a head wrap - perfect for the beach or days when you don’t want to wash or deal with your hair

• a hair ribbon - for low pony-tails, low buns, or tying your hair up in a new way

Handmade by Bug founder, Amy Ward and her team, the scrunchie, head wrap and hair ribbon come in a beautiful range of linen colours and weights, available to purchase from both Bug Clothing and Glasshouse Shop.

When this collaboration launched last year I knew it was something I wanted to support. I love the idea of repurposing scraps that would otherwise become waste, together with knowing that the pieces are made from linen, a sustainable, natural material with little reliance on pesticides or water. I have fine, wavy hair that never sits quite right in a pony tail and I chose the hair ribbon in Cardamom. I love using it to tie my locks in a low knot or up in a high pony. It looks effortless and is an easy way to introduce a little pop of colour. I’ve still got my eye on a terracotta scrunchie..

Bug Clothing produce beautiful garments on a small scale using only natural fibres from deadstock designer factory waste. Bug make use of existing excess, rather than contributing to the production of new materials. Bug’s garments ‘reflect the ideology that we should all buy less and admire quality and consideration over quantity’ and they believe that ‘clothing should be comfortable and purposeful, without faulting on style, so we design garments that can be worn for years to come’. I love that Bug creates with longevity in mind, and I have fallen for their Earl jumpsuit.

Glasshouse Salon seek to make natural, organic and ethical hair and beauty more accessible. With a focus on long-term condition of hair, Glasshouse use only products that contain gentle, nourishing, natural ingredients. Their sister shop, Glasshouse Shop, combines the salon’s know-how with the Glasshouse aesthetic, offering unique, professional products that encompass all aspects of beauty - hair, skin and body. The shop takes care to approach hair and beauty needs with high regard to sustainability, considering every brand they stock from a sustainable and ethical perspective.

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