Handmade recycled silver & gold findings

𝐷 𝐼 𝑌⁣⁣⁣

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Since the conception of Ara, if I couldn’t source something I needed in recycled silver or gold, I either learnt to make it myself or simply didn’t use it⁣⁣.

This ensures Ara’s values are not compromised by offering something made from virgin metal for the sake of convenience.

Typically in the industry, ‘handmade’ silver and gold jewellery still uses findings (jump rings, earring posts, earring scrolls etc.) that are mass produced, usually using virgin metal, without any information concerning origin or ethical production practices. So often, even when jewellery is advertised as recycled silver, the main piece (eg a pendant or hoop) may have been made using recycled silver, but the accompanying findings will not have been. Often this use of virgin, untraceable metal is omitted from claims of a recycled product, which can make it hard for consumers to make truly informed purchasing decisions.

In my search to find recycled findings, although I was able to source recycled silver earring scrolls, I could not source recycled silver earring posts or jump rings, so I didn’t start offering earrings or pendants until I learnt to make these findings myself. Similarly, until I was able to source recycled silver/gold chain, I offered only rings. More recently, my supplier became unable to source the recycled earring scrolls, so I gave myself time to figure out how to make them myself.

⁣⁣⁣I still have a few pairs of the existing recycled silver scrolls but have begun making my own recycled silver scrolls (pictured) for the molten earrings. As my joints are hyper-mobile, more intricate work like this can be a little tricky for me. In the future I’m looking forward to exploring other ways of working but -for now- I’m over the moon to offer this adornment, made completely by my own hand, responsibly and with transparency.

𝑅 𝐸 𝑃 𝐴 𝐼 𝑅⁣

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I was recently approached by a lovely Ara customer to repair a weighty brass plated necklace with a snapped clasp⁣.⁣ Unable to source recycled brass wire, I made a replacement clasp from recycled solid gold, adding strength and longevity to the necklace. I really enjoyed making this and I’m pleased with how it came out - something quite simple but beautiful,

⁣When you purchase jewellery, solid precious metal is the circular choice. Not only will the adornment be stronger to stand the test of time, the solid gold or silver will not wear away to reveal another metal underneath. And, at the end of its journey with you, the adornment can be passed onto another or even melted down and turned into something new for its next chapter.

Lauren

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Ara's accompanying cards: a responsible journey

Ara’s new information booklets, printed locally with vegetable ink on FSC accredited paper

The brief

I see part of my role with Ara as being vocal about the considerations I make, to help raise awareness and normalise a responsible approach to production and consumption. So, in addition to my existing comment cards, I wanted to introduce something that would share with the recipient the thought and care that goes into the entire journey of every Ara piece - something that would also serve a purpose for those who receive a piece of Ara adornment as a gift from another - but it was important to me that this should not be at the expense of producing something excessive or wasteful.

When it comes to anything that accompanies Ara adornment, striking the balance between creating something purposeful and low impact can take me on quite a journey. Whilst many companies now offer ‘eco-friendly’ solutions, it’s really tricky to find business cards, postcards or stickers that truly feel like the right fit for Ara. For example, smaller batches (often required by small businesses) of cards are often printed digitally, using toner rather than vegetable ink (even ‘eco friendly’ toners are still made using plastic polymers within the ink) with limited options for recycled paper, often white thin and bleached bright white. The paper used to make the stickers may be recycled or biodegradable, but the glue may not be etc. - there always seems to be a compromise. As nothing on offer felt quite right, this led me to have Ara’s existing comment and necklace/earring cards letterpressed here in the UK without ink on recycled stock, by a small independent company, Artcadia, who also work to minimise waste throughout their own production process.

As a consumer myself, I have in the past received many accompanying letters, cards, envelopes etc. from brands, and whilst they added to the initial experience when opening the product, many of them served little purpose thereafter. I was very mindful that anything I created to accompany Ara pieces should be something the recipient would want to keep, would have purpose, that could be easily recycled, and ultimately -at the end of its journey- would safely and easily go back into the earth.

Ara’s approach

After a lot of research, it was evident that what was on offer from larger printing companies was not the right fit for Ara. After some further research into the least impactful route, I decided to go with lithography printing, whereby the image is printed using a lithographic limestone or metal plate. The image is printed four times (CMYK) and -most importantly- the printing can be done with vegetable inks. Typically, this process is adopted for large scale runs as -due to the set up- it is not cost effective to litho print in small batches. Knowing this was the route I wanted to take, I did some initial research to determine roughly how much this option would cost. Rather than choose a cheaper option that did not site quite right with Ara’s values, I chose to wait until I was in a financial position to pursue this as an option. This is a prime example of where making considered decisions really does slow down the rate at which I am able to introduce new offerings. Naturally - more considered options are more heavily reliant on not just time, but also money. I knew that I eventually also wanted to offer some new postcards as well. By waiting until I was in a position to have them both printed, I was able to put the job through together.

Without question I wanted the the cards to be printed in the UK, but I also wanted to produce them as locally as possible, not only to keep CO2 footprint to a minimum, but also to support the local economy and a fellow independent business. Upon consulting my local printer, Heaton Press, I explained to them the approach I was trying to take -with minimal environmental impact- and, although comparatively to their regular litho jobs this would be a small job for them, they agreed to support my project.

Ara’s new postcards, printed on carbon neutral paper made in the Lake District

The design

I decided to produce not just another card, but a neat little four page booklet, something that could be kept and revisited at a later date, to give the recipient a sense of the thought that had gone into the journey of their chosen piece of adornment, allowing them to get to know Ara a little better along the way. I also chose to include some practical information about how to operate Ara’s unique bags.

Making the cards A7 would keep materials to a minimum and, thinking more practically, A7 would also fit neatly with Ara’s existing comment cards for packaging. To keep ink to a minimum, and make the most of my chosen paper, I kept the background transparent, choosing to print the text, logo and illustration using one colour.

I designed each of the four pages using Adobe Illustrator. Graphic design is one aspect of managing a small business that I really love but admittedly not something I know I whole lot about. I’ve just figured out what I’ve needed to know as I go. I had all the fun of the fair ensuring my images were exported correctly in CMYK, rather than RGB which I usually use for anything digital.

The finished booklet design

The postcard proof from the printers

The paper

Aware that I was after something suitable not just for this particular job, but also to suit Ara’s values, my printer offered me the flexibility to source the paper myself. This was great as it meant I could liaise directly with the paper supplier, and ask any questions I had about the production etc. to determine what would be most appropriate. In the end, I chose two papers to complement the off-white recycled card stock I was already using for Ara’s comment cards - both FSC accredited papers made locally in the LakeDistrict; a soft blush tone for the little booklets and an off white, carbon neutral paper for the postcards. Both of the papers were uncoated to ensure that they would biodegrade and were not treated unnecessarily.

At my request the printers also saved all of the off-cuts of paper for me, so that I could put them to use for another project, rather than needlessly letting them go to waste.

Loading up the postcard paper

Paper off-cuts for me to take home

The printing

Once I had supplied the final artwork for the booklet and postcard to the printers, I popped in to drop of my paper and to have a look at a printed version of the proofs. As I’d chosen to work with uncoated paper, the printers advised me that it would be tricky to get a sharp image for the full colour postcards. Uncoated paper is prone to absorbing more of the ink, resulting in a less predictable end result, and why a coated paper is the more common choice. They showed me a version of my postcard printed on coated paper - the level of detail was incredible by comparison but I knew this was not worth compromising Ara’s values for the sake of a sharper image.

Due to the paper’s absorbency and warmer than white colour, the printers explained that it would also be tricky to get an accurate colour match from the proof. The beauty of working with a local business meant that they were in a position to invite me to pop back when they were putting my job on the press, so that I could see how it would look and check I was happy before printing. When I popped in on the day, the staff were able to tweak the input of each colour (CMYK) to adjust the overall finish. Working with a limited supply of my paper, this wasn’t the easiest of tasks but they did the best that they could do for me within the time available and I really appreciated their efforts to accommodate my approach.

Images taken during my visits to Heaton Press

As the uncoated paper and vegetable ink can take a while to dry, I picked up my jobs and scrap paper the following week and was delighted to find them packaged without any plastic.

I’m so pleased with the finished products. It was definitely worth the time and effort to be able to offer something that feels like a true reflection of the brand.

I hope that you enjoyed this peek behind the scenes and that you love receiving Ara’s new postcards and info booklets with your adornment. I’m always looking to improve so would love to hear your feedback.

Lauren

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Low-waste hair care

I crossed the no return road of solid shampoo around 3 years ago and have not looked back. Although I’m undoubtedly an advocate of solid shampoo, I won’t pretend that it’s been the simplest of journeys. The waxy build up rumours around weeks 2-4 are true. And if you’re planning to use an apple cider vinegar rinse, be prepared to spend a little time figuring out the ratio thats right for your own locks. But once you come out of the other side, you’ll be left with softer hair that requires less frequent washing, and ultimately less daily reliance on plastic. Winner.

What I’m working with

My hair is long(ish), wavy and fine. Before switching I had to wash my hair everyday, and I couldn’t leave it to dry naturally without a halo of frizz. Even when using products or straightening my hair, the frizz halo was always inevitable. Although (largely due to my genes) I’ll never have the perfect glossy, tumbling locks, I can now let my hair dry naturally with a gentle wave - something I could never do before.

My weapon(s) of choice

Over the years I’ve tried many a soap bar. There are lots of ‘shampoo’ bars on the market but a normal soap bar can still do the trick if it has the right properties. I look to avoid palm oil, parabens and fragrance. As I have a skin contact allergy to the latter, many of the options on offer are not suitable for me but one shampoo bar that I’ve returned to has been by Timmys who make a lovely cold pressed shampoo bar here in the UK. Another I’ve been using for the last three months and really enjoying, is the nettle and rosemary shampoo bar from Honest Skincare, made in the UK with organic ingredients. Of all the options I have tried, these two result in the least build up.

I also have a conditioner bar but in all honesty I find this too heavy for my fine hair. Instead, every so often, I’ll follow my shampoo with an apple cider vinegar rinse as the acidity of the solution resets the balance of my hair, following the alkaline of the soap.

My routine

I now wash my hair every 2-3 days.

When it comes to application, generally I’ve found with solid shampoo that it’s good to get out of the habit of thinking that more = cleaner. With some of the bars I had to lather the bar in my hands and then add the lather to my hair. Otherwise, if I applied the bar straight to my hair it would become waxy once dry. But with Timmy's and Honest I’ve found that I can rub them straight over my hair and from there I’ll build up a lather as you usually would do. I make sure it gets a thorough rinse and that’s that.

I used to use an apple cider rinse every few days after shampooing. For whatever reason I’ve not felt it necessary to do this often with the Honest bar. If you’re in need of some conditioning, I highly recommend taking a little time to try out different ratios over a period of time. A lot of the recipes suggest 1 part vinegar to 1 part water. But I required so little vinegar comparatively - the recommended amount again left my hair waxy.

What I have found works for me is to keep a glass tumbler in the bathroom, fill it up with water from the shower, top it up with about a teaspoon of vinegar, and then pour the mixture over my hair. I let it do it’s magic for the remainder of my shower and then rinse my hair clean at the end. If my friends and family are to be believed (!) there is honestly no smell of vinegar once your barnet has dried. Rather than reaching for my hair dryer and straighteners, I now prefer to brush my hair through wet and let it dry naturally.

Over time, and only when the need for replacement arose, I’ve chosen more considered products for stying etc. Along the way I’ve picked up a few wooden brushes and a comb, I also use organic cotton & natural rubber hair ties from KOOSHOO and a linen scrunchie from Arkitaip.

I hope this was useful for anyone thinking of making the switch or still finding their way on the road to plastic free hair care.

I’d love to hear from you if you’ve made the change or if you’re thinking of doing so, and let me know if you have any recommendations from your own experience.

Lauren

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A Lammas Gathering | Ara’s first pop up

As I make to order and primarily operate as an online business, I hadn’t intended to venture into having my own physical presence for quite some time. Whilst Ara pieces have appeared at other brands’ pop ups and in-store, I hadn’t created my own display before. I knew that prepping a set up for Ara would be a pretty hefty undertaking, particularly mindful that it would be important to me to ensure the brand’s values were reflected in the right way, and with minimal environmental impact along the way.

BUT when the lovely Blue of Dohm Shop invited me to join her first collaborative pop up ‘A Lammas Gathering’, in her home town of Nottingham, I knew without doubt it would be the perfect setting for Ara, and it felt like the right time to dip my toe into this real life interaction malarkey.

A Lammas Gathering brought together a careful selection of women owned brands to hold a relaxed event with a focus on sustainability, self-care and pleasure, with donations accepted upon entry for Nottingham Women’s Centre.

Sacred ceramics by Blue Firth of Dohm Shop

Hand grown blooms by Elder & Wild

The prep

Although I had a limited timeframe within which to prepare, I design for longevity and wanted to extend the same approach to the planning of my set up. It was important to me to create a display that I would be able to use again and again, that would easily adapt to different spaces. So I did a little research and gave myself a brief, to create a display that:

i) was first and foremost low impact

ii) was reflective of the brand and its values

iii) was practical for its purpose (and hopefully inviting)

The backdrop

To lay the table, utilising what I already had, I used the same linen and GOTS certified organic cotton that Ara’s low waste bags are made from. This provided a natural base from which to build the rest of my display.

Jewellery display

I wanted to create a few main areas for my pieces to sit. On this occasion I only planned to display two styles but to ensure flexibility for the future I designed and made a series of blocks using FSC wood that could be used singularly, or stacked to create variation. For Lammas, I created a little set of ‘stairs’ on which to place or drape the Molten samples (to the right), and used a single large block to display the Phase adornment (to the left).

To add a little distinction between the offerings, I painted the boards different colours - the stairs a pale grey, and the remaining blocks a warmer blush colour, using water based paint, made in the UK.

Playing around with the set up at home

Coat #1 of 2

A few practical things

I had a good think about what else might be helpful to have close by on the day. I packed a ring sizer (which came in really useful as I ended up taking three rings back to the workshop to resize), a sign-up board for anyone wishing to join the Letters of Ara newsletter, and small mallet and ring mandrel to make rings a little bigger in case the need arose.

Newsletter sign up sheets, a few resizing tools & my trusty fountain pen

Figuring out a lovely customer’s ring size to resize this rose gold Full Moon Ring

Artemis

As I decided to take a few gold pieces with me, I wanted something a little special on which to display one of the full moon pendants. Rather than buying something ‘new’ I was over the moon to find a pre-loved bust of Artemis (complete with a chip at the back) who I knew would make the perfect accompaniment. Interesting fact - when exploring brand names many moons ago, I toyed with the idea of ‘Artemis the Hunter’, with the notion of Artemis, goddess of the hunt, sourcing beautiful objects for the offering.

The altar

I knew I would need to have some kind of branding on the stall and, without question, it had to be an altar. David helped me to make one -again from FSC wood- using dimensions that follow the golden ratio (1:1.6...) which goes back to Euclid and was employed by the Roman architect Vitruvius. It was since used in Georgian and Neo Classical building, and also portrayed in Art (e.g. by Dali). So I knew my little altar would be in good company with this approach.

To incorporate my branding into the altar, we created a cloth overlay from European grown hemp, and the folks at one69a in Manchester screen printed my logo with soil association approved ink. To finish, I added a little offering of found natural objects to the top of the altar.

A little detail

I also took along the amphora that features in some Ara photography, which I found via EESOME and some postcards. To communicate Ara’s offering, prices, and an overview of the brand, I also made some little display cards using FSC accredited paper.

The offering

Mindful of the time that I had to prepare for Lammas alongside other projects -and very conscious to keep to my slow making approach- I made a small offering of recycled silver & gold Phase pieces and dusted off a pile of molten samples that, about 18 months earlier, I had created as part of the development of a collection that ended up taking a slightly different turn (keep your eyes peeled for that one).

The molten samples were all completely one of a kind, made using recycled silver scrap from my workbench, carefully positioned and heated until melting and solidifying into a molten form. They were really well received so -after some feedback- I might begin offering some molten pieces online.

The community

The community was so welcoming, upon arrival the fellow women business owners were so lovely, we passed some Incasua incense around each of our spaces and I felt right at home in-between my lovely neighbours.

The same community feel was consistent throughout all of the folk visiting the pop up. It was such a pleasure to meet lots of like minded people, some of whom already knew about Ara which really made my day; it was so lovely to chat with customers in real life. I get so used to working in my own bubble so it was really encouraging to know there’s a place for Ara at this kind of event.

Keeping low impact

As usual, I took my water bottle and insulated pint pot with me to top up on the tea (it also helped that we were situated above a pub so were able to stay ‘hydrated’).

As I wasn’t sure what the food situation would be, I made a vegan grilled cheese sandwich to take with me which ensured I wasn’t creating any rubbish. In the end I was glad I’d done a little prep as once things were underway I didn’t want to leave my stall and miss out on chatting with the lovely Nottingham folk!

Logistics wise, I packaged all of my display things in some wooden crates, using blankets to protect the breakables.

The day absolutely flew by and the whole experience was such a pleasure. After a long day with a trip back to Manchester ahead of me, I grabbed some dinner with one of my lovely neighbours - the perfect end to the day.

I’m so grateful to Blue for inviting me to play, to the fellow women brands who made me feel so welcome, and to everyone who chatted with me about Ara, joined the newsletter or took a piece of adornment home with them.

Thanks so much for having me, Nottingham.

Lauren

☾

Plastic Free Pearly Whites

As part of Plastic Free July, on Instagram throughout the month I’ve been sharing a few things that help to minimise my daily reliance on plastic.

When it comes to looking after the pearly whites, a bamboo toothbrush has been a solid part of my dental care routine for a good few years now. They’re so handy for me to repurpose in the workshop too.

Finding the right toothpaste fit was bit more of a journey. I really like the Georganics English Peppermint Toothpaste. In attempt to further minimise waste I did have a little a stab at making my own toothpaste. Long story short, it was not for me. I found the required amount of baking soda made it too salty and I couldn’t stick it out. This led me to have a little dabble with toothpaste tablets which I’ve been using for a fair few months now. You pop one in, give it a good chew (which took me a while to get used to), and then brush as normal as it turns to a paste. They create so little waste/mess and I love that you can buy them in bulk and keep in your own container.

I’d also been thinking about making my own mouthwash when the perfectly timed Rachel of The Foraged Life popped up in my Instagram stories with a little DIY recipe (thank you, Rachel!). It’s a really good base that I’ve tweaked just a little along the way to suit my taste etc. It’s so simple I thought I’d share with you what’s now part of my routine in case you want to give it a try. You can also find Rachel’s original recipe here (amongst lots of other helpful info for eco-friendly living).

DIY Mouthwash

Ingredients:

• peppermint essential oil - the essential oils I use for everything (including cleaning etc.) are from Sacred Soul Holistics - they are organic and the packaging is dreamy

• tea tree essential oil

• baking soda - if you don’t have a local bulk store, Zero Waste Club (UK) supply this online, plastic free

• filtered water (I don’t have a water filter so before using, I boil some water and let it cool)

• a glass bottle - my spherical bottle is from a local supplier, Wares of Knutsford

• funnel (this is optional but makes life a little easier, no need to buy one though - I made this from a piece of scrap paper and some washi tape)

Method (to make approx 400ml)

Step i)

Prep your water & pour into your glass bottle with a little room to spare

Step ii)

Add a few teaspoons of baking soda using the funnel. I have found that too much of this can make the solution taste salty so I’d suggest going slowly with this and see what works for you

Step iii)

Add peppermint oil to taste (the more the merrier for me - I add around 20-25 drops)

Step iv)

Add tea tree oil. Not a huge fan of the taste but it’s worth sneaking in for its antibacterial properties (around 10 drops)

Step v)

Shakey shakey

I hope that you have found this little post of use or at least of mild interest! I feel like I’m mostly there with my plastic free dental care routine but I’m still on the lookout for some biodegradable, vegan floss.

Let me know if you give the recipe or any of the products a go. If you have any other recommendations I’d love to hear them.

Lauren

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Essence + Alchemy: A Brand Refresh

Incense | all imagery by E+A

Earlier this year I had the pleasure of interviewing Founder of Essence + Alchemy (E+A), Lesley A Bramwell. During the interview, Lesley announced that the brand would soon be undergoing a refresh:

“I wanted the glass to be reusable and offer my customers physical candle refills which fit perfectly inside the glass.


The reuse of the glass is something that I’m trying to encourage even more of and I am currently working on a brand refresh with a new glass design to make it even more versatile for reuse.”

— Lesley, E+A | Letters of Ara, April 2019

A few months down the line, driven by Lesley’s continued commitment to a circular economy, E+A have re-released some of their existing products and introduced some new additions, with even more focus on designing with re-use in mind. The new line stays true to E+A’s signature aesthetic and materials (the wood wick, rapeseed oil wax, carefully blended essential oils & handblown glass) but with a new glass design intended to be even more versatile for re-use.

The new E+A beaker candle

Handblown in the UK, the new E+A glass containers are labelled with FSC certified, environmentally-friendly ECF pulp paper. Fundamentally, these beakers are designed to last, whilst being versatile for reuse.

“Ancient alchemists were surrounded by glass apparatus in the creation of mystical elixirs.

Taking inspiration from the traditional laboratory beaker, this collection of scented candles are hand poured into reusable British made handblown borosilicate glass vessels.

Wood wicks are handmade in the Essence + Alchemy garden laboratory with natural and untreated FSC wood.  ”

— E+A

Refill beaker candle, E+A

E+A offer refills singularly or as part of a subscription. Along with the rest of the line, they are packaged plastic-free, using recycled materials that are 100% recyclable and biodegradable.

“Essence + Alchemy is part of the circular economy movement — an alternative model to the ‘take, make, use, dispose’ approach to production and consumerism by designing products that can be ‘made to be made again’.

The Refills ⟲ line was launched in 2017 to offer a refreshing way of refilling containers without having to ship anything back.

Simple, no frills, refillable luxury.”

— E+A

New E+A votives, with tea-light refills

Lesley’s brand refresh has enabled her to further minimise waste throughout the lifespan of her products, providing a refreshing alternative to the excess waste often associated with consumables such as candles. The responsibly sourced borosilicate glass can be reused long after the candle has burned away. These are beautifully considered candles that have been designed with the planet in mind.

Lauren

☾

The warm glow of a lit E+A votive candle

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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In the Laboratory with Lesley of Essence + Alchemy

All imagery by Essence + Alchemy

Every month as part of my Letters of Ara e-mail newsletter I share a likeminded brand that is creating beautiful products with respect for both people and the planet. The brand I have chosen to share this month operates in line with a set of values that I respect and resonate with both professionally and personally, as a brand and as a consumer. As such, I wanted to allow a little extra time to explore the purpose and influence behind this month’s special brand. 

Essence + Alchemy (E+A), inspired by the elements of fire, water, air and earth, creates botanical scented goods with a focus on handcrafting sustainable, natural collections with honesty and transparency. Upon first discovering E+A, not long after beginning my own journey with Ara the altar, I felt a real connection to this considered brand which ‘strives to use creative solutions to make a positive impact on the planet’.  

Founder Lesley A Bramwell (with the fitting initials ‘L.A.B’), began her journey as an environmental scientist, with a passion for sustainability. Consequently, Lesley’s product design ensures that ‘products are made with minimal impact on the earth, its people and its organisms’. Lesley considers not only from what materials her products are made but also how and from where they have travelled; how they are packaged; how the energy required to make them is generated; and how any waste will be minimised. I particularly love that E+A handblown glass beakers are designed with reuse in mind and have found Lesley’s low-waste tea-light sets to make well received, considered gifts. I am over the moon to speak with Lesley and to explore and share with you her thoughtful, sustainable, design-led approach. 

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Hello, Lesley – thank you so much for spending a little time with me and Letters of Ara. First of all, please tell us a little about yourself and the path that led you to E+A.

Hello Lauren, thank you for the lovely introduction and inviting me to be part of your beautiful Letters of Ara! 

Where do I start? I suppose my path to Essence + Alchemy was quite a long one, but I’ve always been creative, making home remedies and potions with botanicals and essential oils - bath oils, diffuser blends etc. 

I studied environmental science at university and went onto become a freelance occupational hygiene and environmental consultant working in all kinds of environments and industries. I measured exposure to chemicals and advised on environmental legislation and compliance.  Working with businesses who were passionate about protecting the environment, I knew that when I started E+A, that sustainability would be at the heart of it.

We bought an old run down house a few years ago (which we are still renovating) and in the early days it was very cold and there wasn’t much comfort.  I was travelling around the country Monday to Friday, then chipping plaster off the walls at the weekend.  I think initially I needed a more relaxing creative outlet, an escape from the mess of the house and although not the best conditions to start making candles in with all the dirt and dust, I started experimenting with candle making. I can’t remember the exact moment I started making candles but I remember considering all the different waxes.  Aromatherapy has been part of my daily life since I was a teenager and I’ve always been fascinated with how essential oils work and how they affect our well-being.  From the offset I chose rapeseed wax because of it’s eco credentials and scenting with anything other than essential oils never crossed my mind.  

A few years later, Essence + Alchemy was hatched, bringing together the natural scent and energy of plants (essence) with my scientific and environmental background (alchemy) and launched on line in Spring 2015.

You have created a beautiful concept and brand that entwines the elements, is rooted in environmental science, and creates beautifully designed products responsibly. From where do you take your influence and what do you see as your brand’s purpose? 

Thank you! The brand is strongly influenced by aromatherapy and the theories of alchemy.  I enjoy researching essential oils, their benefits and magical properties.  I also love discovering old alchemical texts and finding out the meanings behind words and symbols.

One of the main beliefs of Alchemy was that there were the four natural elements; air, fire, water and earth and with the right combination of these, any substance could be formed including healing elixirs. I wanted to draw on this idea and create products with purpose, ones that could help promote natural well-being by using only natural plant based ingredients and the practice of aromatherapy.

It is clear that consideration for the planet’s resources influences your decision making. What are some of the decisions you have made to lessen E+A’s environmental impact and why?

I’m fascinated with the elements, how they impact each other, changing the landscape and environmental conditions and how human interference influences these connections causing imbalance in the ecosystem.  

I always consider this in my decision making because I want my business, although small, to cause as little impact on the earth as I can, so I’m always considering how my processes and products will affect the environment and the environmental decisions of my customer.  

Nature is where I draw both my inspiration and raw materials from so it’s vital that I make considered decisions on the materials I use and sourcing so I’m always looking at where the materials come from, are they sustainable, are they ethically sourced and if they don’t tick these boxes I have to start again.  

It’s also important to remember that just because something’s natural, it doesn’t mean it’s safe or it’s been safely extracted.  Many essential oils are solvent extracted with harmful chemicals like petroleum ether and hexane.  I only use steam distilled essential oils because I know it’s a more natural and gentle method of extraction and those solvents haven’t been used in the extraction process. Essential oils are the soul, the life essence of the plant so it’s important not to destroy that by harsh extraction methods.

Another important decision I made at the very beginning was to consider the life cycle of my products, in particular the packaging - what happens to the packaging and glass when the candle is used. With this in mind, I had to think about the glass.  I wanted the glass to be reusable and offer my customers physical candle refills which fit perfectly inside the glass.  The reuse of the glass is something that I’m trying to encourage even more of and I am currently working on a brand refresh with a new glass design to make it even more versatile for reuse. 

What drove the impetus to refresh the brand, and what can we look forward to upon its relaunch?

It’s always hard running a business and making the right decisions.  Sometimes creativity and the need to please can take over.  The decision behind the brand refresh happened towards the end of last year when I realised that I had too many candle size options, I suppose I was trying to please everyone.  I needed to get back to my core values and strip everything right back.  I can’t really reveal too much at this stage but I will be relaunching next month with a new look - glassware and packaging. 

When considering the production process, can you share a little about your practice and the journey you undergo in creating a scent or a product?

When it comes to creating scent, I always start off with the plants, for an example I created a bespoke diffuser scent ‘Land’ for The Plant Room based in Leeds.  It was to scent an installation at the London Design Festival in London last year.  They were creating a landscape of grasses and plants inspired by the Scottish Highlands.  My first step was to look at the plants they were using and also research what was growing in Scotland and worked from there.  

I then look at what essential oils are available and before I decide on whether they can be used,  I check if they are steam distilled as this is the most gentlest form of extraction and also make sure that there aren’t any sustainability or ethical issues. Usually I work by adding a drop of each oil onto scent paper and smell the scents on their own, then with each other to see how they work together.  I then create two to three different blend variations. I let the oils blend together for a few days, return to them and tweak further if required.

Do you find that you experience any particular challenges in staying true to your values, personally as well as professionally? 

Yes definitely.  This is why the brand refresh and product changes are so important. Sometimes when running a business, outside influences can blur your vision and it’s very easy to veer of course sometimes but I think for the most part its easier professionally to stay true to my values.  From a personal perspective, there are always challenges.  I’m not the only decision maker at home so there will be always be compromises.  We’re always looking at ways of reusing things at home.  Whatever comes out of the house renovation has found a new home somewhere else in the house or garden or is waiting to be reused. My husband built our kitchen with wood off-cuts from a kitchen business and most of our furniture is second hand or repaired. 

Finally, what does a typical day look like for you and is there anything in particular that you do to invite a little slowness or self-care into your life and work? 

I’m very fortunate to work from my garden so I don’t have far to go to work.  My mornings are very relaxed and peaceful, the favourite part of my day.  I arrive at the garden lab around 8am and enjoy this quiet time. If the weather is good, I sit outside with a cuppa with Jack my border collie and enjoy the garden for a while.

Before that I generally switch the wax melter on.  It can take a few hours for the wax to melt.  I then catch up with emails and admin while the wax slowly melts away in the background. I make everything to order so every day is different.  I enjoy this way of working, it means that every product is made with intention and I know when I’m pouring a candle, who that candle is for and where it’s going. 

Other times I can be working on creating new scent blends, for E+A or bespoke projects I’m working on or I can be experimenting with new materials or product testing.  It’s very varied, no day is the same. Working with essential oils helps with my mental well-being, I don’t know what I have would have done without aromatherapy in my life and now I get to work with essential oils everyday! 

I’m always in the garden, enjoying the birds chattering away or investigating what’s growing.  At the moment, the Forget-Me-Nots have just started flowering and Tulips are just about to open.  I find that being so close to nature everyday helps slow things down when things start getting a little bit hectic, just being able to step outside for a few minutes is the best tonic.

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A few months down the line, E+A launched their brand refresh.

Read my journal post exploring Lesley’s updated offering, designed with a circular economy in mind.