THOM 5 | Fall / Winter 2015

Volume 3 | issue 2
fall/winter 2015

Volume 3 | Issue 2
Fall/Winter 2015
9
Editor & Publisher
Michele Arwood
CREATIVE Director
Haile McCollum
Associate Editor
Callie Sewell
Production Manager
Margret Brinson
Development Manager
Mallory Jones
copy Editor
Lauren Eberle
Designers
Lindsey Strippoli
85
Photographers
Mark Atwater
Jay Bowman
Meghan Davis
Gabe Hanway
Luke Hok
Brian Metz
Abby Mims
Alicia Osborne
Daniel Shippey
Becky Stayner
Writers
Alison Abbey
Lauren Eberle
Susan Ray
Nadia R. Watts
Jennifer Westfield
INTERN
Becca Harris
thomasvillearts.org
600 E. Washington Street
Thomasville, GA
229.226.0588
Cover photo by:
RL Ireland “Birds of a Feather”
97

contents
Fall/Winter 2015
Creator
5 A STORY OF STYLE
Niels van Rooyen
Holland & Holland
Visionary
9 From Cairo to Cairo
Keith Summerour
Summerour & Associates Architects
collector
15 All the world’s a small town
Kathy Vignos
Foodie
19 The Hottest Table in Town
Chris Hastings
Birmingham’s Hot and Hot Fish Club
91
27 THOM’S GUIDE
thinker
85 what about bob
Bob Ireland
CONDUCTOR
91 EVERYBODY LOVES RAYMOND
Raymond Hughes
TASTEMAKER
97 SON OF THE SOUTH
William Lamb
Wm. Lamb and Son
connector
101 Touching Lives, from reel to reel
Covey Film Festival
5
105 Featured Artists

Letter From
the Editor
CHOO choo choo choo…. CHOO choo choo choo…..CHOOOO CHOOOO!!!
It was 1861. The winter snow was deep in the
North and Thomasville had just become the
terminus for the South-bound railroad. By now,
most folks around here know it was then when
loads of Northerners with the financial means and
gumption boarded the trains and headed our way
to soak up our Southern hospitality and mild winter
climate. What followed was a golden era when the
visionaries of the day bought our old antebellum
plantations and shaped them into world-renowned
sporting properties.
Now more than 150 years later, the Red Hills is a
veritable quail hunting mecca due to the ingenuity
and commitment of our forefathers and their
families who have intentionally cultivated the land
for generations. Their dedication to preserving this
rich aspect of our culture allows us to say we are
home to more than 100 plantations and hundreds
of thousands of acres of quail hunting land that
contribute to our strong economy.
Those of us committed to strengthening our
community through the arts know that it’s not
just the land and quail that attract guests and
new neighbors. As they say, “birds of a feather flock
together,” and like our feathered friends, people
desire to be in the company of others who share
similar ideals, values, and tastes. So this season
we’re honoring the other side of what makes us
great: remarkable artists and visionaries who live,
play, and create here because they love our land and
fine hunting traditions.
You’ll meet a Cleveland-born world traveler with a
penchant for collecting wildlife art, a London-based
South African who is influencing our field fashion
sense, a NYC Creative Director who balances his
big city life with a love for the Southern hunt, an
internationally acclaimed architect who retreats
to a stone tower house, and a James Beard Awardwinner
whose table flavors are influenced by his
ancestors.
It’s a natural time for us to profile this covey of
creatives as we celebrate the 20th anniversary of the
Center for the Arts’ Plantation Wildlife Arts Festival.
Each of them will leave their own distinct mark
on Thomasville as a festival art collector, designer,
speaker, artist, or patron.
As we rollout this issue, we continue to be inspired
by the deep well of talent shaping our community
here and from afar. After five issues, I still get
excited when someone asks me, “Why do you
feature people who don’t live in Thomasville?”
I LOVE this question because it’s actually at the
root of why we started the magazine. We believe
what makes us a great city is the exchange of ideas
between locals and friends in other cities. People
and their contagious ideas are what make our city
great today, just as they did when our Northern
friends found their way here on the trains destined
for new lands and opportunity at the turn of the
20th century.
If you’re a member of the Center, you’ll enjoy a
special experience this season tied to our cover
partners, Holland & Holland and Kevin’s. Stay tuned
for details closer to PWAF. If you’re not a member
yet, you’ll want to become one now!
Michele Arwood
Editor + Publisher
3

Instagram Influencers
Nine Instagram feeds that keep us inspired and connected
@birddogoftheday
We sure do love bird dogs
around here, pointers, setters,
spaniels, oh my!
@waitingonmartha
A curator of everyday fun, stunning
images and trendsetting style, plus
the occasional cute dog photo
@brothersandcraft
A trifecta of keen eyed brothers
presenting artful photos of menswear
in a decidedly southern context
@georgiaseaturtlecenter
Keeping it all in perspective by
watching a passionate team save
turtles on Jekyll Island
@sidandannmashburn
Alabama may have Billy and Natalie
but Georgia has Sid and Ann
@thomasvillelandmarks
Sometimes you have to look at the
details to appreciate the big picture
@swallowsanddamsons
Wait until you see what comes
from a little flower shop in
Sheffield, England
@jamestfarmer
It’s like you are following an old
friend. Really we just want to move
into his new house, Farmdale
@bookshelftville
Because “life enriched by books is
the best kind of life”and we love
their videos
4

5

CREATOR
Written by
Susan Ray
Photographed by
Holland & Holland
Between his busy travel schedule, his role as Creative Director of the exclusive
outdoor brand Holland & Holland, and a six-hour time difference, I felt fortunate
to catch up with Niels van Rooyen. Niels tells stories with such charm that
despite our accent differences (his fast-talking South African English and my slow
Southern drawl), I was quickly drawn into his world as if we were old friends.
While Niels resides in London now, he grew up in South Africa. His mother, who
was an English ballet dancer, and father, who was a South African farmer, both
had big influences on his sense of style and design. His mother first piqued his
interest in design by introducing him to the classical look and through her love of
Diana Vreeland. Niels’ father — whose advice was, “let nature be our master” —
also had an impact on Niels’ design.
Niels shared his mother’s admiration for Diana Vreeland because he liked Diana’s
belief in creating your own style. “I loved her way of thinking and how she would
mix for a great look.” Diana launched another one of Niels’ favorite designers,
Cristobal Balenciaga. But perhaps it was the glamour of Diana’s most famous
patron, Jackie Kennedy, who captivated his textile and design interest the most.
Niels’ biggest sense of style always goes back to nature. “It gives us the most
amazing colors in the world,” he says. Elements of nature, such as reptile skins,
influence his sense of texture, while he looks to things such as bird feathers for
his beautiful color combinations. It’s this appreciation of nature that inspires the
themes of each seasonal collection Niels designs for Holland & Holland. This year’s
spring/summer collection, “Safari”, is based on his travels to Africa.
6

For Niels, the process of creating is about storytelling. You
can see this with the theme of this year’s autumn/winter
collection: The MacNab Challenge. It’s an old tradition
in Britain where a hunter attempts to catch a salmon,
shoot a brace of grouse, and stalk a deer in a day. Niels
designed one-of-a-kind tweed for this collection that was
produced by weavers who trace back to the 16th century.
Holland & Holland collaborates with various artists to
create exclusive in-house designs for their customers to
compliment each theme.
“The scarves are absolutely
beautiful,” says Niels.
“There will only be 27 of
them in the world. Each will
have an individual number
and a signature.”
In addition to looking to nature and stories, Niels relies
on travel and the notes he takes while on his journeys
for inspiration. His travels back to his roots in Africa
particularly spark his design ideas. He likes to study
the African tribes and their intricate paintings to use
elements for his collections.
This year he’ll make his way to Thomasville to introduce,
alongside Kevin’s Fine Outdoor Gear & Apparel, a limitededition
scarf based on a painting by artist Sue Key to
commemorate the 20th anniversary of the Plantation
Wildlife Arts Festival. “The scarves are absolutely
beautiful,” says Niels. “There will only be 27 of them in
the world. Each will have an individual number and a
signature.” He’s looking forward to the visit as he says, “I
love the hospitality in the South. And I had my first key
lime pie there.”
20th Anniversary
Plantation Wildlife Arts Festival
Limited Edition Scarf
Photo by: Brian Metz
Niels’ passion for food and great cooking almost rivals his
passion for design. He not only enjoys dining out around
his neighborhood, but his favorite room in his house is his
kitchen, which has a huge table in the middle where great
conversations take place. In the summer he pretty much
dines on fish and salad. But, he loves all the hearty foods
that are available in winter such as wild boar, pheasant,
7

CREATOR
and sausage. Niels says, “I love game — South African
cuisine is all about game.”
Unfortunately, Niels’ busy schedule doesn’t leave him
much time for hunting anymore. He does, however,
enjoy designing collections for the hunting lifestyle.
The autumn/winter collection is the most important
one for Holland & Holland, since that’s the shooting
season. Hunting attire differs in England from the
United States in that the British put together an entire
hunting wardrobe. They have something to wear before
the shoot, such as cashmere sweaters and corduroy;
something to wear to the shoot, such as tweed shooting
jackets; and then something more elegant to wear in
the evening, such as dress suits and blazers.
The fine materials and the finishing of the garments
that Holland & Holland designs are both very
important. “Everything is British-made,” says Niels.
“People like buying British and we prefer to promote
British craftsmanship.” This is what guides the Holland
& Holland principle for designing. For instance, the
Holland & Holland collection contains shooting
stockings that are all hand-knitted using wool sheared
from HRH The Prince of Wales’ organic flock of Lleyn
Sheep at Highgrove. The socks come with a certificate
of authentication from the Prince of Wales.
One trend that Niels has noticed in recent years is that
the country safari look has been urbanized. “At one
time it would have been unheard of to wear hunting
clothes in town for everyday activities. Nowadays it
seems that everyone is pairing a shooting jacket with
jeans and boots to wear around town,” Niels says.
Niels loves that the Holland & Holland pieces are
so unique and that there’s a story behind each one
and the care that has gone into the design and the
materials. “And that’s a nice change to a world that’s
gone mad with too much plastic.”
Niels van Rooyen
Holland & Holland
hollandandholland.com
8

From
to
Written by
Jennifer Westfield
Photographed by
Jay Bowman
Luke Hok
9

VISIONARY
10

I ask architect Keith
Summerour to paint
me a picture of his
earliest influences
drawn as a boy
summering on a dairy
farm in the rolling
prairie lands an hour
outside of Selma,
Alabama.
“There wasn’t anything to do,” he laughs, considering
the avid outdoorsman he’s since become. “There was
no television, no air-conditioning. We’d come up with
ideas like climbing my grandfather’s silos, or when
a silo was empty, going inside, looking up and seeing
the sky as a big round oculus.”
Many years later, he says, he was standing in the
Pantheon in Rome and looked up. “There was this
flash of seeing the same thing in South Alabama—
the memory of this rustic childhood mixed with
the realization that these forms, these shapes—the
architecture of man repeats itself.”
An architect of international acclaim, Keith has
earned a name among a group dubbed by historian
William R. Mitchell, Jr. as the “Georgia School
of Classicists,” descendants of, among others,
Lewis Crook, Ernest Ivey, and Philip Shutze. His
predecessors graduated from Georgia Tech and then
traveled to Italy, returning to design projects that
were uniquely Southern and classical.
“I didn’t go to Georgia Tech,” Keith says, “I went
to Auburn and studied in Italy for a while. I’ll
never forget how I came back and saw the world
differently. From that moment forward, I was
compelled to design things that had a more
permanent quality to them.” He says this doesn’t
mean that everything has to have columns, but
rather, must be designed with a certain attention to
proportion, order, form, and materiality.
“Permanence” and “classic” are words used
frequently to describe Keith’s projects, which are
largely concentrated in the southeast, although he’s
built across the country. His process, however, is
anything but traditional.
Looking at his designs, it’s not difficult to see that
the surrounding land plays a significant role in
shaping how they’re conceived. Before anything
else happens, Keith walks the project site. “The
first discussion,” he says, “will involve how the
architecture will grow from the land: where the
buildings fit and how it will respond to the property.”
The next day, he sits down with the client and
holds a design charrette where he puts together
an esquisse, a rough sketch of the property, based
on what the client describes. “Seeing it actually
come to life in front of them,” he says, “with a lot of
char·rette
SHəˈret/ (pronounced [shuh-ret])
is an intensive planning session
where citizens, designers and others
collaborate on a vision for development.
It provides a forum for ideas and offers
the unique advantage of giving immediate
feedback to the designers. More
importantly, it allows everyone who
participates to be a mutual
author of the plan.
11

VISIONARY
interaction back and
forth, not only builds
confidence in the
team, but it also builds
momentum; in that
excitement, the client
will often reach further
for what they’re hoping
to get by being a part of
that process.”
Typically, architects
listen to their clients’
ideas, take notes and
then use those notes to
design, whether alone
or in a professional
team. “In doing that,”
Keith says, “it’s a
well-studied plan, but
eliminates the initial excitement the owner might
feel by participating in that design process in front
of them.” After he sketches out a design during the
charrette, Keith tells his clients to “put it up on the
refrigerator, think about it for a couple weeks, and
take some notes” before they reconvene to finalize
the plan.
Towerhouse Farm, a residential hunting lodge and
one of Keith’s personal retreats, is perhaps his
most unique design—a 70-foot-high stone tower
in Georgia’s Meriwether County, modeled after an
18-century shot tower. The single-family residential
structure is what Keith says is “a good example of
having a piece of architecture bring value to a piece
of property and the form itself becoming a part of
the land on which it’s built.”
“I studied in Italy and I’ll never forget
how I came back and saw the world
differently. From that moment forward,
I was compelled to design things that
had a more permanent quality to them.”
properties, by building high, I was able to capture
these amazing mountain views along the Pine
Mountain Range.”
Towerhouse Farm exemplifies another practice Keith
frequently employs in his designs: using readily
available raw materials. “The stone literally came
from 30 feet from the building site,” he says.
While the idea of family tower-living may seem
odd, the form is as old as man—though Keith and
his guests will likely not be warding off hordes of
barbarians from the tower’s topmost floors.
The tower is situated on a piece of rolling farmland
in the town of Gay, population 130. “The land was
beautiful,” Keith says, “but pretty featureless in
terms of some exciting landform like a cliff. Because
the property is slightly higher than surrounding
12

In fact, Keith believes he is probably one of few
nationally known architects interested in the
Towerhouse Farm-brand of agrarian building and
living. “If you think about architects who might
like, or own, farms,” he says, “and who are really
into the lifestyle, there are probably not a lot of
us—I could be wrong, but I don’t know of many.”
This is why, he says, he felt he had much to
offer when approached to speak at this year’s
Plantation Wildlife Arts Festival. “To this end,”
he says, “I wanted to explore the new plantation
dwelling considered from the point of view of
our time, where the white Greek temple house of
the past is our glass and camouflage of today.”
In a lecture called “From Cairo to Cairo”—Egypt
to Georgia, that is— Keith will discuss the
ancestry of Greek revival architecture as it made
its way from the land of the pharaohs to Greece
and Rome, then to London and Paris, and finally to
the United States and South Georgia in the mid-
19th century. “That legacy is more interesting for
me in the South,” he says, “because of its vernacular
adaptations.”
He describes how Alexander’s conquest of Egypt
exposed the Greeks to the building blocks of what
would become the three orders of architecture;
after making their way to England and France, Keith
says, “it’s no surprise that the new wealth of the
Americas sought European classical models to build
their monuments and houses. Imagine the imposing
white temple-house amid the hand-planted cotton
fields: a symbol of power, authority, and worldly
fashion in stark contrast to everyday life in Georgia.”
The vernacular adaptations that interest Keith are
those, he says, that are sometimes indiscernible
to the eye: the structural and material nuances
necessary to adapt the property to the demands
of the land and climate. “There is little expression
of the interesting vernacular disorder among the
classical order and there lies the unique quality of
architecture that we as Southerners have inherited
from our ambitious forefathers.”
The Cracker Homestead is one vernacular example
unique to North Florida and South Georgia: a
19th-century single-story, wood-frame house that
was typically raised off the ground and given a
wraparound porch, metal roofing, and a “dogtrot”-
style central hallway—all for maximizing ventilation
and preventing rot in what were some of the most
humid areas in America. Architectural Digest featured
Keith’s take on a Cracker Homestead, Broadfield
Plantation, in 2004.
At that time, Broadfield was Keith’s first adaptation
of the Cracker vernacular; his designs had and
would continue to lean toward the classical. Still,
with him, everything begins and ends with the
land. In his PWAF lecture, he says, “I’m going to
talk about our contribution, in our generation, to
the land and show how the ideals of classicism
can be translated—how our buildings can be
13

VISIONARY
“The scale and multitude of buildings and their
assemblages are things you see over and over again—
it’s all just clothed differently. I’m convinced that this
happens organically based on the needs of the land.”
given contemporary camouflage but still meet the
demands of the outdoors and lifestyle of the South.”
One thing he says he learned about agrarian
architecture as he observed it all over the world was
that—whether in Provence, Tuscany, or Tennessee—
it is essentially the same. “For the most part,” he
says, “the scale and multitude of buildings and
their assemblages are things you see over and over
again—it’s all just clothed differently. I’m convinced
that this happens organically based on the needs of
the land.”
into the ceiling with light pouring in from above—a
view from below that would very much resemble
one from inside the Pantheon or looking up from
within an empty silo in rural Alabama.
Since those dog days of summer on the dairy farm
outside of Selma, Keith has found plenty to do
outdoors. “I really think it’s an important part of
life,” he says, “to be able to explore, climb mountains,
fly fish, hunt, and be outdoors. Being inside is a
necessary evil in the architecture business. If I could
do it all outside, I would.”
If, as Keith says, the architecture of man repeats
itself, one need only look at a study in Eagle House,
one of his Atlanta designs, to see a half-dome cut
Keith Summerour
Summerour and Associates
summerour.net
14

15

COLLECTOR
All the World’s
a Small Town
Written by
Jennifer Westfield
Photographed by
Mark Atwater
Alicia Osborne
When I catch up with her, Kathy Vignos has just arrived at her summer home in
Maine. She’s busy packing for a weekend trip to see American Pharoah win the
Triple Crown, before heading to Montana where her Labradors are competing
in national field trials, and finally to Normandy, where she’s headed for a group
bike tour.
“I’m a little frazzled most of the time,” she laughs. “Like today.” Her voice is husky,
confident, and so like Lauren Hutton’s, it’s almost unbelievable. “There’s a big
world out there with lots of fun, fabulous things to do and people to meet. I don’t
want to miss anything,” she says.
Kathy, the granddaughter of one of many Clevelanders who purchased land
here in the early 20th century, is the fruit of deeply-dug roots, a third-generation
steward of hallowed hunting grounds and an active champion for culture and
philanthropy —two items that go hand-in-hand in Thomasville in so many
successful ways, from the Plantation Wildlife Arts Festival and Thomasville
Antiques Show to the Covey Film Festival.
“There’s a big world out there with lots
of fabulous and interesting things to do
and people to meet. I don’t want to miss
anything.”
It may seem unlikely that a town of just over 18,000 people could raise $2 million
for over 25 local charities from an antiques show until you meet someone like
16

Kathy, a Sarah Lawrence graduate with an NYU
degree in international studies. She has lived and
worked in New York and Paris and for several
major antique and auction houses, and has called
Thomasville home for nearly 30 years.
Kathy comes from a long line of extraordinary. Her
grandfather, David Ingalls, was the first ace in United
States Navy history. Her father, Dr. Paul Vignos,
Jr., helped discover the gene behind Duchenne
muscular dystrophy, which led to breakthroughs in
prognoses for children affected by the disorder.
the area during Thanksgiving holidays. She instantly
fell in love with both the natural setting and the
sporting culture.
“The quail hunting life was kind of magical,” she
says. “You can ask almost anyone who came down
as a child. There was something about the live oaks
with the Spanish moss, the dogs and the birds—
especially for a young person. The first time I shot
a shotgun, I was 13. I could be exaggerating,” she
laughs, “but I believe I hit two birds the first time I
shot and then it went downhill quickly after that.”
The late Dr. and Mrs. Vignos were avid collectors and
Kathy was exposed to art and world cultures early
on, during trips to museums and galleries in New
York and Europe and during stops on family drives
from their native Ohio to Maine.
It was her grandfather, though, who first purchased
southern land, who along with Robert Livingston
“Liv” Ireland, co-owned Foshalee Plantation, just
south of Thomasville. Ingalls eventually purchased
Ring Oak Plantation, where Kathy would first visit
Kathy’s parents purchased Milestone Plantation in
Thomas County from George Magoffin Humphrey,
former Treasury Secretary under President
Eisenhower. “Eisenhower used to come down to
hunt,” she says. “Now I have the property and I’m
thrilled to own such a beautiful and historic place.”
While in town, Kathy hunts at Milestone at least
once a week.
After moving to Thomasville from New York in 1987,
Kathy used her background in the auction business
Kathy’s parents purchased Milestone Plantation from
George Magoffin Humphrey, Treasury Secretary under
President Eisenhower. “Eisenhower used to come down
to hunt,” she says. “Now I have the property and I’m
thrilled to own such a beautiful and historic place.”
17

COLLECTOR
to get involved in the planning of the Thomasville Antiques Show. “I’ll
never forget the meeting,” she says. “It was at Marguerite Williams’
house and I remember everyone who was there — about six of us —
Ben Grace, Mercer Watt... Marguerite was interested in antiques and in
anything that would improve the cultural lifestyle of Thomasville. The
aim was to give all the proceeds to children’s organizations in town.”
Because of the quality of the dealers the show got a reputation as
one of the best small antiques shows in the country. Both Kathy and
several of her former co-chairs agree that the show was taken to new
heights with the onset of its series of nationally and internationally
known lecturers and guest speakers, from Alexandra Stoddard to,
most recently, international lifestyle maven India Hicks.
I ask Kathy about what she personally collects and about the art in
her Maine home, a mix of 18th and 19th century English, American,
and Chinese furniture, with a solid smattering of folk art, particularly
dog paintings and early hooked rugs. The dog paintings are a nobrainer
when I learn of her nine Labradors, including the field
champion dogs she’ll be taking to trials later in the week.
At Milestone Plantation, she says, a Marcus Kenney deer head draped
with beads and plastic grapes represents the more eclectic side of her
collection.
“I love antiques from everywhere,” she says. “I’d much rather have an
antique piece of furniture than something from a big-chain furniture
store — it has more character and craftsmanship and is much more
beautiful to look at — the lines, the wood, the patinas.”
She talks more about the biking trip in Normandy that she’ll take after
the field trials, about how great it is to be outdoors rather than on a
bus tour and to meet new people; she has taken similar biking tours of
Italy, China, Vietnam, and Burma.
“I just know that there’s a big world out there,” she says, “with a lot of
fun and amazing things to do. There are very few people I meet and
don’t like — and from everywhere, all walks of life. I think that’s what
keeps you alive: connections you have with people, the places you go,
the memories and adventures.”
Kathy Vignos
President, Thomasville Antiques Show Foundation
thomasvilleantiquesshow.com
18

19

FOODIE
{“Some of my fondest
childhood memories revolve
around food,” he says.
“There’s a special thing
that happens when you break
bread together.”
Written by
Susan Ray
Photographed by
Becky Stayner
Talking to Chef Chris Hastings, I quickly see “What’s for supper?” was not just a
simple question in the Charlotte, North Carolina home where he grew up. Food
was a way of life and planning for the evening meal was a large part of the day’s
conversation. “Some of my fondest childhood memories revolve around food.
There’s a special thing that happens when you break bread together.”
Chris’ mother and grandmother, who were both great home cooks, influenced
his love of cooking at a young age. His mother kept backyard food gardens and
shopped at the local farmers markets to prepare fresh and flavorful meals
for the family. In 1995, Chris brought this tradition to Birmingham when he
opened The Hot and Hot Fish Club with Idie, his wife and fellow chef. The pair
introduced the city to the farm-to-table trend before it became a national
movement, and in 2012, Chris was recognized for his influence on the region’s
cuisine when he won a James Beard Foundation Award for Best Chef of the
South.
Low Country INFLUENCE
Chris’ richest food memories trace back to Pawleys Island, South Carolina, the
charming stretch of shore where his family spent a lot of time in the summer.
20

Chris remembers those carefree days, “My job on
those trips was to serve as creek boy for the family.”
He’d cast a net for shrimp and flounder and bring
them back to the house along with crabs, clams,
and oysters. His mother would gather fresh corn,
tomatoes, and other vegetables to create a hearty
succotash to serve alongside his catch. “I’ll never
forget learning how to shuck crabs,” Chris says of his
time on Pawleys Island. “That will definitely be my
death-bed meal.”
Diners at The Hot and Hot Fish Club also have that
succotash to thank for the most-requested item on
the menu, the Tomato Salad. It’s the one dish that
Chris makes that hasn’t changed over the years.
The lure of the Low Country runs deeper for Chris
than the colorful dishes he prepares. The area
also inspired The Hot and Hot Fish Club name.
An ancestor on his mother’s side of the family,
Benjamin Hugh Fraser, moved his family from
Scotland to Pawleys Island around the late 1700s
and early 1800s to become a rice planter. In those
days men would join clubs around the island that
matched their interests, such as rifling or fishing.
Fraser belonged to a group who was into eating and
loved great seafood. They named themselves The
Hot and Hot Fish Club and were known for making
epic meals that they would then write about in their
diaries.
“They’d retreat to their clubhouse and close the
door behind them,” explains Chris. “It served as an
escape from the complications of the day.” Idie and
Chris have recreated that feeling at their Hot and
Hot Fish Club. When you step across the threshold
of the restaurant, you can either dine at the chef’s
counter with a front-row view of the kitchen or sit
around one of the many tables. Either way, the everchanging
menu that blends French, Southern, and
California cuisine invites you to enjoy a great meal
with friends and leave your worries on the other side
of the door.
21

FOODIE
Hunting wild quail
in the Southern
traditional way that
has been done for a
long time is a privilege.
As an outdoorsman
it’s the holy grail of
the outdoor experience.
Outdoor Pursuits
It comes as no surprise that Chris’ love of the
outdoors extends beyond fishing into wing
shooting. Because so much of his time is spent
working at his restaurant and other projects, he
welcomes any chance to escape to the outdoors.
That’s one reason he’s thrilled to cook for the
Longleaf Affair at the Plantation Wildlife Arts
Festival in Thomasville. In addition to looking
forward to getting to know the folks who own
the great plantation, he enjoys hunting quail and
turkey in that part of the South. “Hunting wild
quail in the Southern traditional way that has
been done for a long time is a privilege. As an
outdoorsman, it’s the holy grail of the outdoor
experience.”
His love of both the outdoors and working with
his hands led him several years ago to pursue
a newfound hobby. Chris makes a pilgrimage to
Canada each October to shoot woodcock, and
then heads to Louisiana in February when the
woodcocks migrate South. On one of his hunting
trips to Louisiana, he had a cocktail at the Pecan
Island School Lodge garnished with a hawthorn
needle tied with woodcock feathers and skewered
with an olive. Chris was so intrigued by the
garnish that he took the idea to tie those feathers
to a hat or lapel pin to give a homemade gift to
folks who invited him to fish and hunt. Chris
says what started as a creative outlet turned into
a sought-after side
business. “I entered
them in the Garden
and Gun ‘Made in the
South’ contest a few
years ago, where they
became quite popular.”
Runners-up in the
Style category, the pins
were so well-received
that Chris took orders
for several years.
22

HOT AND HOT TOMATO SALAD
6 large beefsteak tomatoes, cored,
sliced into ¼-inch thick slices
2 large golden delight tomatoes, cored,
sliced into ¼-inch thick slices
2 large rainbow tomatoes, cored,
sliced ¼” thick slices
½ pint sweet 100 tomatoes
¾ cup plus 3 tablespoons Balsamic
Vinaigrette (recipe follows), divided
Kosher salt, to taste
Freshly ground black pepper, to taste
1 smoked ham hock
1 large onion, peeled and quartered
1 fresh thyme sprig
1 cup fresh field peas (black-eye, pink-eye,
crowder, or butter beans)
3 ears of yellow corn, shucked
2 tablespoons peanut oil
4 cups vegetable oil
30 pieces whole baby okra, stems trimmed
¼ cup whole-milk buttermilk
¼ cup corn flour
¼ cup cornmeal
¼ cup all-purpose flour
6 slices applewood-smoked bacon,
cooked to crisp
¾ cup chive dressing (recipe follows)
6 tablespoons chiffonaded fresh basil
In a large bowl, combine the tomatoes with ¾ cup of the balsamic
vinaigrette; season with salt and pepper to taste. Combine the ham
hock, onion, thyme and field peas in a medium stock pot with
enough cold water to cover the peas. Bring the peas to a simmer and
cook until just tender, approximately 12–15 minutes, stirring
occasionally. Drain and cool the peas, removing and discarding the
ham hock, onion quarters and thyme sprig. Place the peas in a bowl;
set aside.
Shave the kernels off the corn cobs into a medium bowl, discarding
the silk hairs. Heat peanut oil in a large skillet over medium-high
heat. Add corn kernels and cook until tender, about 8–10 minutes.
Season the corn with salt and pepper, and remove from the heat,
allowing to cool slightly. Add the corn and the remaining 3
tablespoons of balsamic vinaigrette to the cooked field peas. Set the
mixture aside to marinate at room temperature until ready to serve.
Meanwhile, pour the vegetable oil into a large, deep skillet to a depth
of 3 inches. Preheat the oil until a deep-frying thermometer reads
350˚F. Place the okra pods in a small bowl with the buttermilk. Toss
until well coated.
In a separate bowl, combine the corn flour, cornmeal, all-purpose
flour, and season with salt and pepper. Drain the okra from the
buttermilk and toss it in the cornmeal mixture, shaking off any
excess cornmeal mixture. Place the okra in the preheated vegetable
oil and fry each okra pod for 2–3 minutes, or until golden. Remove
the okra from the hot oil with a slotted spoon and place it on a
paper-towel-lined plate. Season the okra with salt and pepper, to
taste. To serve, arrange each of the different types of tomatoes on 6
plates. Divide the pea and corn mixture on top of the tomatoes.
Arrange 5 pieces of fried okra around each plate and place 1 slice of
crispy bacon on the top of each salad. Drizzle 1–2 tablespoons of the
chive dressing over the salad and garnish each plate with 1
tablespoon of the basil.
CHIVE DRESSING
1 small garlic clove, peeled and finely minced
6 tablespoons finely chopped fresh chives
1 large egg yolk
2 tablespoons fresh lemon juice
Kosher salt, to taste
Freshly ground black pepper, to taste
1 cup olive oil
¼ cup crème fraîche
Balsamic
Vinaigrette
¼ cup extra virgin olive oil
¼ cup olive oil
½ cup finely chopped fresh chives
½ cup balsamic vinegar
¼ cup chopped green onions
Kosher salt, to taste
Freshly ground black pepper, to taste
Combine garlic and chives in a small bowl. Add the egg yolk
and next 3 ingredients; whisk to combine. Add the olive oil in
a thin, steady stream, while whisking vigorously to create an
emulsion. Whisk in the crème fraîche. If the mixture is too
thick, add a few drops of water. Cover and chill for at least 20
minutes before serving. This dressing will keep refrigerated
in an airtight container for up to two days. Yields 1¼ cups.
Whisk together all of the ingredients in a large
bowl. The vinaigrette can be used immediately
or stored in an airtight container in the
refrigerator for up to five days. Bring the chilled
vinaigrette to room temperature and whisk
well before serving. Yields 1 cup.
23

FOODIE
Spreading Wings
He’s also expanding his restaurant business beyond
the Southern, French, and Californian influence
of the Hot and Hot Fish Club to incorporate new
cuisine. He and Idie are excited about a new
restaurant that they just opened in Birmingham’s
Pepper Place called Ovenbird. What’s unique about
this new venture is that it will be an all-wood
restaurant. As Chris says, “we’re using wood in
different ways that go beyond barbecuing.”
D.C. And just like his upbringing of breaking bread
with family, Chris continues that tradition, too:
“Whether it is a big holiday meal, dinner at home, or
traveling around the world and eating great food, it’s
what we do together.”
With all that Chris and Idie juggle in their busy
lives, it’s easy to see that family and food play the
most important role. Gathering with their two boys,
Zeb and Vincent, is a central part of who they are.
Chris enjoys taking his family on trips, just as his
grandmother used to do with him on old railroad
cars from Charlotte to New York and Washington,
Chris Hastings
The Hot and Hot Fish Club
2180 11th Court South
Birmingham, Alabama 35205
hotandhotfishclub.com
24

PLANTATION WILDLIFE
ARTS FESTIVAL
Cheers to 20 Years
Written by
Callie Sewell
Photographed by
Alicia Osborne
Daniel Shippey
There is something special about Fall in Thomasville. The season welcomes a
coolness in the air, marks the opening of hunting season, and celebrates special
experiences like the Plantation Wildlife Arts Festival. PWAF has become one of
Fall’s favorite highlights — and this year, the Festival turns 20.
PWAF started as dinner party conversation between Margo Bindhardt and Robert
P. Crozer, speared by Louise Humphrey and the Thomasville Center for the Arts
Board. Together, the group turned a dreamlike idea into a calendar-marking
community event inspired by the history of Thomasville’s vibrant plantation
culture.
Throughout the ante- and post-bellum periods, sporting and wildlife artists
often journeyed to local plantations to observe wildlife, enjoy the sporting life,
and practice their craft. PWAF pairs this rich cultural history to the tastes and
needs of great wildlife artists and art collectors today.
At the heart of the Festival is a fine arts show featuring 65 of the best sporting
and wildlife artists and artisans. This year, instead of selecting one Featured
Artist, we have tapped many of PWAF’s past Featured Artists to create an Encore
Gallery. Each artist is creating original work of the Red Hills Region and painting
landscapes and wildlife of the area solely for the 20th celebration.
PWAF calls for cocktail dresses and cowboy boots, bourbon bars and bird dog
statues, global sporting artists and Southern makers. It is an event that is special
to Thomasville because it brings to life the very best of what our beloved city has
to offer — a hunting culture, an artistic culture, a stylish culture, and a giving
culture.
And there are surprises in store! Think a “soul bent swamp-rocker,” a sporting
attire fashion show, an en plein air paint out and much more… We cannot wait to
celebrate 20 years with you!
25

EVENTS NOT TO MISS
NOVEMBER 13:
The Longleaf Affair Dinner with Birmingham’s award-winning Chef
Chris Hastings and a Game of Chance at Pebble Hill Plantation
NOVEMBER 14:
Meet the Master Cooking Demonstration with Chef Chris Hastings
at Sweet Grass Dairy Cheese Shop; Wildlife Photography Exhibition
Opening Reception featuring the works of Elmore DeMott at Studio 209
NOVEMBER 15:
Afternoon in the Field and 20th Celebration Concert with JJ Grey &
Mofro at Pebble Hill Plantation
NOVEMBER 16 WEEK:
“For the Love of Game” Taste of Thomasville Food Tour
NOVEMBER 18:
Wildlife Flora Workshop with St. Simon’s The Vine event designers
Bryce Vann Brock and Kelly Revels
NOVEMBER 19:
Women of Wildlife Painting Workshop with Sue Key and Christina
Hewson; En Plein Air Paint Out with C.D. Clarke and Clive Tyler; Kevin’s
of Thomasville presents Holland & Holland Fine Shooting Attire
Runway Show with Holland & Holland Creative Director Niels van
Rooyen
NOVEMBER 20:
Encore Gallery Underwriters Preview & Silent Auction; Commercial
Bank presents Opening Night Preview Party at Thomasville Center for
the Arts
NOVEMBER 21 & 22:
Sporting and Wildlife Fine Art Show and Sale
NOVEMBER 21:
Wildlife Conversation “From Cairo to Cairo” with Atlanta architect Keith
Summerour; Commercial Bank presents Bird Dog Bash at Pebble Hill
Plantation
PLANTATION WILDLIFE ARTS FESTIVAL
For tickets and more information,
head to pwaf.org or call 229.226.0588.
26

You cannot depend on your eyes
when your imagination
is out of focus.
- Mark Twain

Celebrating 20 years as a proud underwriter of the
PLANTATION WILDLIFE ARTS FESTIVAL
140 N. Broad Street, Thomasville | 229.226.0020 | wellingtonshields.com
Lowcountry Strut, Amy Elizabeth Lay

Interior Design
Everett Thompson
Call for Appointment (850) 509-3067
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411 Gordon Avenue, Thomasville, GA | 229-226-2565 | alexandervann.com

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428 Remington Avenue | t homA sville, g eoR giA
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Sales: 229.227.9700
glenhaven@mindspring.com
GLEN HAVEN
Thomasville’s
Newest Tradition

19th c. French patinated terracotta
hunting dog signed: L. Gossin (1846-1928) Paris
2015 Holiday
Show & Sale
December 3rd, 4th & 5th
Pebble Hill Plantation
theonpointcollection.com

102 E. JACKSON STREET
THOMASVILLE, GEORGIA
229.228.9244

Dr. Tom
Sexton
DMD, PA
Thomasville • Tallahassee
(229) 227-1190
kidbraces.com
dentistry for children, braces for all

Nothing Bugs Us!
229.226.2414 | astropestcontrol.com

229 West Jackson s treet | t homasville, GeorG i a
229.236.9463 | bacchusthomasville.com

85

THINKER
Bob Ireland spends his days
making media magic in Manhattan.
But he’s also one of Thomasville’s
biggest champions. It’s a beautiful,
beneficial balance. Learn why.
Written by
Lauren Eberle
Photographed by
Meghan Davis
Alicia Osborne
Looking out over Madison and 48th from his eclectic,
Don Draper-like office, Bob Ireland comments on
the light: “I love it. I need it. Light helps me with my
thinking.” As the Creative Director of New Yorkbased
Sharp Communications, it’s quite literally
Bob’s job to ponder possibilities, to plan big, to
challenge the norm, and to deliver results for his
clients.
But as the light pores in, dancing off rock-n-roll
photographs (most of which feature the Rolling
Stones), I can’t help but wonder if Bob’s lean toward
light is a reflection of his constant yearning for the
great outdoors. It’s ingrained in Bob, you see. His
passion for the land, for the sky, for sweeping woods
86

“If I’ve had time in the Red Hills, I think people
find me more pleasant, more entertaining, and
certainly more creative.”
87

THINKER
and quiet waters — that’s all in his DNA. And
that’s all because of Thomasville.
Bob’s ties to this community began generations
before his birth. “My parents, grandparents, greatgrandparents,
and great-great-grandparents have
spent time here — some part-time, some full-time
— since the late-1880s,” he says with a twinge of
well-deserved pride.
It’s hard for him to turn
off. Until, of course, he
comes South.
Born in 1967, Bob grew up in New York City,
but for as far back as he can remember, every
holiday was spent in the Thomasville area. Here,
surrounded by kin, the Irelands made a home
away from home. For a short spell while his
parents were building a house in the area, Bob
was even enrolled at the local Episcopal school.
“It’s amazing the things that stick with you,” he
says, reflecting on those kindergarten days. “I
don’t think I can tell you what I ate yesterday, but
I remember that period of 1972.”
Photograph by: RL Ireland
Smart Work
Indeed, the easy breezy outdoorsy days in the
Red Hills made quite an impact on the born
Manhattanite. College took him to Hampden-
Sydney in Virginia, where he majored in history.
The summer before graduation, Bob interned at
Saatchi & Saatchi, sealing the deal on his draw
to the advertising biz. In 1989, at 22 years old, he
threw himself into agency work, cutting his teeth
on big brands like Tylenol, Champion, Paramount,
Castrol, and Court TV. Soon he met Jim Brodsky
and the two creative forces began dreaming up
their vision of a more holistic communications
company that would offer a blend of services and
superb client relations.
88

Since 2004, Bob has spearheaded the advertising, graphic
design, digital development, and corporate identity work for
Sharp Communications’ clientele. Add to that the due diligence
he spends researching other companies, balancing his team,
developing future business strategies, and learning new
technologies, and it’s easy to see why he doesn’t sleep much.
“People ask me what I’m reading and I laugh. There’s no time. I
read constantly, sure, but it’s rooted in the industry. It’s to stay
relevant. At this frantic pace, I can’t miss a moment — I can’t
miss an opportunity to know about the latest thing. The latest
technology. The latest trend.” It’s hard for him to turn off. Until,
of course, he comes South.
Field Work
Added up, Bob estimates he spends about 42 nights a year in the
Thomasville area, especially between November and April. “It’s
the tonic I need,” he says of these visits. “It’s the disruption in my
life — yes, I mean disruption — that lets me really think. It helps
me unwind so I can return home and be better at what I do.”
Not that his Thomasville time is all leisure, no. “My family
taught me from a very early age that you should get involved
and engage with the things that you truly care about.” For the
Irelands, that’s the Red Hills. To that end, Bob is active with
the Thomasville Center for the Arts, Due South, Plantation
Wildlife Arts Festival (which was founded by Bob’s cousin, Margo
Bindhardt), Tall Timbers, and the Red Hills Initiative, to name a
few.
He’s humble about his contributions, but fellow board members
tout his talent with an appreciation for the contemporary edge
and “dream bigger” spirit that Bob fearlessly and unapologetically
infuses into everything he touches.
When Bob’s around town, people tend to know — the guy simply
stands out. Six-foot-something with big hands and a husky build,
he wears the standard Thomasville khaki and plaid with a belt
and boots, but walks and talks a bit faster than we’re used to.
That’s because he’s thinking. Always thinking.
I have to imagine he catches eyes in New York, too, with his
rugged charm and wild-at-heart wit. A Southerner in the city, if
89

THINKER
you will. Not by birth, of course,
but rather because we claim
him — and he claims us. “If
I’ve been down South recently,
people can tell,” Bob says. “I’ll be
in a meeting and I will suddenly
drop ‘well, y’all’ and the whole
room will look at me strangely. I
think it shows in my demeanor,
too. How I present myself. If I’ve
had time in the Red Hills, I think
people find me more pleasant,
more entertaining, and certainly
more creative.”
Art Work
And his creativity isn’t limited
to the advertising world — he’s
also an accomplished artist.
Seven or eight years ago Bob was
headed on a fishing trip when he
stumbled upon his sister’s old
Pentax camera. He shot a few
black-and-white rolls, and when
the film developed, so did a new
passion: photography. Encouraged
by friends and coworkers, Bob held his first solo
show in New York three years ago and has been a
participating artist at PWAF for the past two years.
His work, most of which features unique
perspectives on the outdoor world, lives in private
collections world-wide. And although he doesn’t
have much bandwidth to devote to it now, Bob
continues to shoot whenever he can. “I’m always
building my body of work,” he says. “When time
allows, I curate it. Who knows? This might just be
my great second act.”
“My family taught me from a
very early age that you should
get involved and engage with the
things that you truly care about.”
know if Thomasville will be the new Charleston,” he
admits, “but I don’t use those analogies. Thomasville
is certainly the creative cultural capital of the
region. And it’s continuously finding itself! It’s full of
human capital, and entrepreneurs who are using it
to better the community. This is a mission-oriented
region of people that love the land, hunting, fishing,
and stewardship. You blend all that together, and
what do you get? An interesting cocktail.”
Cheers to that.
Lasting Work
When people hear he’s a descendant of one of this
community’s most deeply rooted families, Bob is
often asked to project what’s next. “They want to
BOB IRELAND
rlireland.com
90

Written by
Alison Abbey
Photographed by
Brian Metz
91

CONDUCTOR
92

“We’re the same people no matter where we are.
Whether we’re in New York or whether we’re in
Thomasville.”
From his early years in Thomasville to his
globetrotting career in music, the former Chorus
Master of the Metropolitan Opera carries his
hometown history with him wherever he goes.
Speaking with Raymond Hughes for the first time,
it’s easy to forget how accomplished (and completely
intimidating) he is. With an easy-going Southern
charm and predilection for the phrase, “oh my dear,”
a chat with Raymond feels more like catching up
with an old friend than an interview with one of the
musical world’s most important personalities.
A Thomasville native, Raymond was inspired by the
people and history of his hometown. And his own
family was a big part of that history. His great-great
grandfather came to Thomasville from Germany
in 1840. As Raymond tells it, destined for Roman
Catholic priesthood and a stint in the Prussian army,
the family’s patriarch said, “thank you very much,”
and escaped his prearranged destiny with his best
buddy in tow. They were headed for New York, but
somewhere along the way, the two found themselves
on a detour that dropped them in Thomasville. They
quickly made their marks on the town.
“My great-great grandfather, John Peter Arnold,
started Arnold Brick Company, which was in
business for more than 100 years,” he says. “There
was a big fire in the town in the 1850s and he said,
‘If you people had the sense to build your houses out
of brick instead of wood, they wouldn’t have burned
down. Let me show you how to do this.’”
The Arnold Brick Company began making the bricks
that would quite literally rebuild the town. The
historic importance of the bricks are a point of pride
for Raymond. “They sell for a lot of money now,” he
says. “When old buildings were demolished, people
wanted to collect the bricks and save them and
use them. And that’s how far my roots go back in
Thomasville.”
As for his great-great grandfather’s best friend? You
may have heard of his name, too. He Anglicized it to
Jerger and started Jerger Jewelers, which was a staple
downtown from 1857 until 2013.
Listening to Raymond share the rich local history
of his family makes you forget his international
renown. But it’s also deeply engrained in his DNA
and an enormous part of his success.
93

CONDUCTOR
“I grew up in Thomasville,” he says. “I went to Thomasville High School and did all
of those wonderful things you did in as a teenager.” One of those activities: seeing
concerts. “My father was a founding member of the Thomasville Entertainment
Foundation in the 1930s,” he says. “TEF staged concerts the caliber of which one
would hear in New York. I heard major symphony orchestras play in Thomasville.”
And while his early exposure to music was enjoyable, he didn’t initially realize it
was his calling. “You kind of take it for granted when you’re growing up around it,”
he says. “You think everywhere is like Thomasville, and then of course, nowhere
is. It’s completely unique.”
He went on to study Liberal Arts at the University of Georgia, and that’s where
he had what he refers to as his “Road to Demascus” experience.
“When I was a senior at UGA, the Metropolitan Opera would go on tour
around the country and I went to several of the performances in Atlanta.
I realized I could not possibly be happy doing anything other than
pursuing this profession.”
Despite his lack of musical schooling (but thanks, he says, in part
to the cultural exposure Thomasville gave him), Raymond was
offered an apprenticeship under a Hungarian conductor at the
University of South Carolina. “He said, ‘Work for me for two
years and I will teach you everything I know. You can do
anything you want when you’re done.’”
And he did. Straight out of graduate school, he was
offered a position in — of all places — Germany.
“Funny enough, quite near the town my great-great
grandfather came from,” he says.
In South Africa, where Raymond worked
for seven years, he was witness to Nelson
Mandela’s release from prison in 1990, and
then to Rome for what he calls, “the best
job going in Europe at the time.”
But he wouldn’t stay for long,
because the best job going just about
anywhere came calling. “I had been
in Rome for two months when the
Metropolitan Opera recruited me to
New York.”
94

It was there as Chorus Master, a position he held
until 2007, that he made a new Thomasville
connection. “At the time, Louise Ireland Humphrey
of Pebble Hill Plantation was the Chairman of the
Board of the Met,” he says. “I knew two of her nieces
in Thomasville, but I had never met her until my
first Opening Night party in New York, which she
hosted. It was like we’d known each other our whole
lives. It’s a very small world.”
the railroad and its ties to Thomasville, intangible
souvenirs of his hometown are woven throughout
his global life.
“Louise Humphrey put this so adequately once,”
he says. “She said we’re the same people no
matter where we are. Whether we’re in New York
or whether we’re in Thomasville. That’s most
important.”
A world that Raymond loves to explore. This
summer alone, he was on the faculty for a master
singing class in Norway, spent time in Germany
for the International Handel Festival, and traveled
to Transylvania for a week before returning to
his home in Thomasville. He’ll also be in South
Africa this October to jury an international choral
competition.
To that end, Raymond says he doesn’t have a “New
York persona and a Thomasville persona.” Similarly,
he has friends in both of his part-time home bases,
and the two groups crossover frequently. “I’m so
lucky because my friends all know each other. Many
of my Thomasville friends have visited me in New
York and many New York friends have visited me in
Thomasville, and it’s very gratifying.”
When asked if the influences of his hometown carry
with him as he travels, he laughs his easy laugh and
offers up his signature Southern phrase. “Oh my
dear, very much so!”
In addition to the physical aspects, like the
watercolor portrait of an oak which adorns his New
York living room and the books on the history of
And he’s able to find elements of each town in the
other. He sees his neighborhood in New York — with
its adjacency to the Metropolitan Museum of Art
and Lincoln Center — as a similar artistic landscape
to Thomasville. “I look at the Thomasville Center for
the Arts as a mini-Metropolitan Museum or Lincoln
Center. I really try to keep up on what’s happening
there as much as I can.”
95

CONDUCTOR
“It’s a really great small town with
an urban environment: One can eat
downtown, one can shop downtown, and
one can live downtown. It’s very exciting.”
And when he’s not frequenting his favorite local
haunts like Liam’s, which he says brings New
York to Thomasville, Raymond is teaching a new
generation to love music as Artistic Director for the
Thomasville Music and Drama Troupe, a role he
cherishes.
He’s also a member of Landmarks, which allows him
to bridge his love for the history of his hometown
with his dedication to enhancing its future.
“We have made so many advances in the last 20
years,” he says. “My father was Chairman of the
Downtown Merchants’ Association and his dream
was always that downtown Thomasville be as it
has become in the last few years. There is so much
going on. Between Grassroots Coffee and Sweet
Grass Dairy Cheese Shop, and the lovely shops and
boutiques and Chophouse on the Bricks. And also
the fact that downtown has become a residential
area again. It’s a really great small town with an
urban environment: One can eat downtown, one can
shop downtown, and one can live downtown. It’s
very exciting.”
Another project close to his heart: He spent the last
four years working to bring a new organ to the St.
Thomas Episcopal Church. Installed in August, the
organ is the first to be brought into the town since
the mid-80s.
“The quality of music in the big churches
of Thomasville when I was growing up was
stupendous,” he says. “Again, you take this for
granted when you’re in it, but when I got away I got
perspective. It is completely astonishing what was
offered to us growing up here. There has always
been a critical mass of people who have experienced
the wider world and brought that back — who kept
the culture of the town at a very high level. It’s that
critical mass of people who have experienced the
wider world that makes this town tick.”
RAYMOND HUGHES
Artistic Director
Thomasville Music and Drama Troupe
thomasvillemusicanddramatroupe.com
96

With his art and apparel, William Lamb
finds inspiration in his Red Hills heritage.
“I want everything I do to evoke
emotion. I want it to mean something.”
97

TASTEMAKER
Written by
Alison Abbey
Photographed by
Alicia Osborne
Looking at William Lamb’s work, it’s easy to see that the artistturned-designer
takes inspiration from his Red Hills heritage. The
fifth-generation Tallahassee native grew up on a farm outside of town,
working the land and enjoying the hunting and fishing beloved by those who
know the area. Those pieces of his childhood are woven into the rich tapestry
that has become his career. From his Plantation China collections to ties and
phone cases donned in redfish and tarpon, the Florida boy is proud to call upon
his roots for inspiration.
In fact, it was one such piece from his childhood that gave his brand, Wm. Lamb
& Son, its first big break.
Then still an up-and-coming artist, William had started painting dinnerware (his
first collection focused on birddogs and quail) and attended the Southeastern
Wildlife Expo in Charleston as an exhibitor. In preparing for the event, he turned
to a memory as a muse.
“At our old [family] farmhouse, my uncle had this cool wallpaper in his room
that had this vintage hunting scene pattern,” he says. “I went back out to the
house years after we sold it and the people had painted over it. I asked my uncle
about it and he said he still had a piece of it.”
After his uncle sent the swatch, William used Photoshop to build out the pattern,
then printed it onto fabric to make a pair of pants.
“While we were showing dinnerware and t-shirts, this guy came along and loved
the pants. He said, ‘I do ties for Brooks Brothers, can I use this fabric?’ And I said,
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you know what would be cool is to do this in the
lining of a sport coat.”
Two weeks later, the blazer design was approved.
That led to two seasons of collaboration with Brooks
Brothers. “To have a collaboration with Brooks
Brothers right out of the shoot…we were on fire,” he
says.
But for William, becoming a designer — or even
an artist — was a total surprise. In college, he
considered a career in forestry, even heading out to
Oregon to work on a fire crew after graduation. “I
realized at the end of the season that if I spent every
day out there that I would totally take it for granted,”
he says.
He landed on the opposite end of the spectrum and
embarked on a career in finance. After a few years
of working for other people, he and a friend started
their own mutual fund. Thirteen years later, he was
ready for a change.
A Fresh Canvas
Though never trained, William began painting at the
urging of his wife, Margaret. The two, who met in
seventh grade, were dating in college when William
asked an art student friend to show him how to use
watercolors so he could recreate a favorite painting
for his then-girlfriend.
“It turned out fine, but I didn’t do another thing for
probably 10 years,” he says. That is until the night
when Margaret said, “I have a surprise for you.”
While William was working on the couple’s new
house, Margaret had cleared out the dining room in
their old one. “She bought an easel and put all my
albums and some paintings I did in there and she
said, ‘This is your studio. Now paint.’”
His wife’s support was all he needed to explore his
inner artist. “She was really encouraging me to do it,”
he says. And she wasn’t the only one. Friends who
came over saw William’s work and asked if it was for
sale. A surprised William said yes.
Eventually, he held his first show at a friend’s home.
“I was so nervous I had four martinis before anyone
even showed up,” he says. “But it was a great success
and that’s where it all kind of started.”
But because of his business-savvy, William knew
the life of an artist wouldn’t be easy. “I knew I had
this gift, but I didn’t know what I was going to do
with it. I knew I enjoyed painting and that’s where
everything starts, but it’s hard to make a living doing
just that,” he says. “I wanted to do clothing. I wanted
to do dinnerware. I wanted to do home stuff because
nobody was doing what I liked, so I started playing
around with all of that. The first thing I did was
dinnerware. That was a huge investment and was
kind of what made us take the leap and really do it.”
Cut to his Brooks Brothers moment and Wm. Lamb
& Son was official. And William was cautiously
optimistic.
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TASTEMAKER
“With my business background
I knew that you can be on fire
one minute and totally blow up
the next, so we kept everything
at a manageable pace,” he says.
Next up, Southern Proper. “We
met them at a party and got
to talking and they called the
next day and asked if we could
meet. We went to Atlanta to meet with them and
ended up doing a cool collection of ties that evolved
into shirts and pants. But we were licensing all that
to them. Now we’re doing a collection with them,
and going on our own next year.”
Designing for the Future
As he begins to grow his own design business,
William still relies on his business acumen. But with
the demand for his work, he’s had to relinquish
some left-brain control. Luckily, his biggest fan is
also his business partner. “My wife works her butt
off,” William says. “I can get so sidelined running a
business and not doing the creative stuff, but I’m
the one that has to do the creative stuff, so she runs
the business side. She makes sure all the details are
taken care of.”
Thanks to that partnership, William is able to focus
on the future, while keeping his ties to the past. His
studio, full of old hunting decoys, feathers, hornets
nests, and old toolboxes, nods to his old-world
inspirations. “It’s so cool to go back and look through
old homesteads and get ideas and logos from old
stuff,” he says. “I find inspiration in vintage apparel,
vintage fabrics, and vintage design because that’s
when people gave it some thought.”
His travels also feed his designs. A recent beach
outing inspired an upcoming triptic canvas
displaying the marshland he visits to unwind. It’s
a scene that soothes him, and he believes that
emotion is important to all art.
“I can struggle with finding that happy medium
between what’s great and right and what’s going to
sell,” he says. “But I want everything I do to evoke
emotion. I want it to mean something.”
He looks to Ralph Lauren as the business model to
follow. “He makes his money selling oxford shirts,
khaki pants, and Polo shirts,” he says. “Get the core
things going and then you get to do the cool stuff
on the side and license out designs. Make furniture.
Make bedding. Make dinnerware.”
As for his customers, he finds equal interest from
newer Northern customers and old-school Southern
shoppers. But he has a special place in his heart for
the Red Hills buyer.
“It’s home,” he says simply. “There’s just so much
tradition and so much history. I find all the stories
completely fascinating.”
And he’s not shy about sharing his appreciation for
Thomasville. “You ride through Georgia and Alabama
and see defunct old cotton towns or whatever it was
that made them great at the turn of the century.
They are just boarded up because they didn’t have
the money to sustain it,” he says. “Thomasville is one
of those towns that had the money to sustain it, and
it’s just a gorgeous little town. If we ever opened up
a store it would probably be in Thomasville because
that is my crowd.”
But for now, William is happy growing his business
at a practical pace. “I’m getting some notoriety and
it’s cool, but I’ve got a long ways to go,” he says.
“We’re still a very small business trying to make it
happen. And it’s going to happen. I know it’s not a
sprint, it’s a marathon. As long as I’m building and
making progress, I’m good.”
William Lamb
Wm. Lamb & Son
wmlambandson.com
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Written by
Nadia R. Watts
Photographed by
Daniel Shippey
Jay Bowman
It was an idea for the ages.
Like so many great ideas, this one was borne out of a casual, though
intentional conversation at a local coffee shop. What the three
women didn’t know when they sat down that day was that their chat
would evolve into something much bigger than they’d ever imagined.
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CONNECTOR
Brainstorming at Grassroots Coffee Company were Sharon
Maxwell-Ferguson, Didi Hoffman, and Doby Flowers, board
members at the Thomasville Community Resource Center
(TCRC). They needed a solution. How could they engage with the
community to build support for TCRC, an organization that serves
at-risk children and families in Thomasville?
Inspiration stemmed from conversation about the organization’s
founding principles. Begun in 1998 by actress Jane Fonda, then
a Thomasville resident, TCRC aimed to educate and empower
parents and their children; help members of the community
achieve holistic wellness; and provide a safe haven for those in
need.
“We have a real opportunity
to educate and enlighten
the community and to stimulate
wonderful conversation”
“Educate and empower” led to more discussion about a tie
between the organization’s mission and the film industry. Sharon,
who today remains the board chair at TCRC, said they realized
Fonda was only the first link. “The more layers of the onion we
peeled back, the more we found all these connections to the
film industry here in Thomasville,” she says.
And indeed, there are connections. Academy-Award winning
actress Joanne Woodward was born in Thomasville.
Greenwood Plantation resident Jock Whitney, a financier of
“Gone With the Wind,” held the first public screening of
the movie at Thomasville’s Melhana Plantation months
before the film’s premiere. Screenwriter Lucy Alibar,
known for her 2012 film “Beasts of the Southern Wild,”
was raised down the road in Monticello. Actress Julie
Moran, a longtime host of “Entertainment Tonight,”
was born in Thomasville.
Beyond that, Sharon said, there was no film
festival in the immediate area, and this region
stood to benefit from one. “Film festivals are
increasing in number. There are probably
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several hundred across the country right now,”
she says. “Why shouldn’t this region – which is so
culturally rich, has people who are educated, people
who are concerned about the issues addressed in
the films that we bring – why shouldn’t we have an
opportunity, too?” With that, the threesome brewed
up the concept for Thomasville’s Covey Film Festival,
giving it a name that evokes the city’s community
and culture.
And what’s a film festival without the stars?
Covey’s Ambassadors are celebrity actors, directors,
producers, editors, and screenwriters who provide
guidance, encourage attendance, and recommend
films, co-founder Didi Hoffman says. “It’s not like
they’re just a name on a marquee. We ask them to
help us, and they do.”
Covey is for the kids, first and foremost
In just two years, Covey has already made quite a
difference for the children at TCRC, says Lisa Billups,
its executive director. “It is very important that our
students have an understanding of STEM (science,
technology, engineering, and mathematics), health,
and wellness. Covey funds allow us to teach our
students and have fun,” she explains.
Since part of the mission of TCRC is to address
economic disadvantages within the community,
Covey is designed to inspire youth and adults alike
to consider the extensive list of career opportunities
offered within the filmmaking industry. “There
are a lot of jobs available for people from little
Thomasville that otherwise people might not
imagine. We’re opening eyes,” Sharon says.
The movie production industry requires the
expertise of more than just movie makers, agrees
Terri Vismale-Morris, public relations director at
Atlanta’s Bronzelens Film Festival. Morris also serves
on the TCRC board and on the Covey Committee.
“It takes caterers. It takes carpenters. It takes
accountants. It takes attorneys. It takes people
who are adept with location scouting. It takes a
sense of real estate [as well as] interior and set
design. It takes a whole
lot to make a movie
— technical services,
digital expertise, and
lighting,” she says.
Sharon Maxwell-Ferguson
Didi adds that while
films for working adults
are mainly shown
during the evening,
the children’s ageappropriate
events
happen during the
school day, including
films and workshops run
by actors and industry
professionals. “That’s a
way to let [the children]
know there are other
opportunities for them
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CONNECTOR
in work besides what they see here locally,” she
says.
When all is said and done, Didi adds, Covey
brings films to Thomasville that would not
otherwise be seen by our community’s children
and their families. Independent films, she
explains, rarely make it to this area, if at all.
“There’s a hunger in the region for indie films,”
Didi explains, because even larger commercial
films “come and go here so quickly.” Since
independent films never reach Thomasville
before they go to distribution, she says,
audiences are robbed of their challenge and
beauty.
“There’s a hunger in the
region for indie films.”
Sharon also explains that the Covey Film
Festival also promotes our city and community
to the film industry. “This is a wonderful place
for you to come and make films. Come and see
what talent is here.”
Covey, today and tomorrow
With planning for the next Festival in October
underway, members of the Covey Committee
are building on their successes and continuing
to leave room for improvement. Sharon says
one of the most important lessons they’ve
learned is that outside partnerships only serve
to strengthen their efforts. “We understand
the importance of partnering to increase our
participation and to share resources,” Sharon
says. “We can’t do it all ourselves.” Reaching
out to other nonprofits also strengthens our
community and helps spread awareness about
TCRC’s mission, she adds.
Teri Vismale-Morris
to do. “We’re still in the warm-up phase. We’d
like for this to become a destination film
festival,” she says. “That’s looking ahead two
or three years.”
Whatever the scope, Terri adds, the Covey
Film Festival will continue to inspire
those involved to learn, to care for their
neighbors, and to feel empowered
to effect positive change. “We have
a real opportunity to educate and
enlighten the community and to
stimulate wonderful conversation,”
she says. “That’s what moviemaking
is all about.”
Despite their success over the past few years,
Sharon says she and her committee have work
COVEY FILM FESTIVAL
coveyfilmfestival.com
104

FEATURED Artists
Alison Abbey
After a 10-year career writing
for editorial and PR clients
in Atlanta, Alison traded in
her high heels for cowboy
boots and moved to Nashville,
TN, where she works as
Associate Editor for Parade Magazine. She spends
her free time shooting photography, hunting down
vintage jewelry, searching for the world’s best
cheeseburgers (Sweet Grass Dairy Cheese Shop
is on the list!) and hanging out with her English
Pointer/Great Dane mix, Lucy. @awabbey
Brian Metz
Brian is an organic
photographer, who learned
the art through hands on
experience and his father’s
love of the medium. His
work has been featured in
several publications ranging from style & fashion
to homegrown articles detailing local tapestry.
Regardless of the project, Brian is focused on
bringing photos to life that provoke thought and
tell a story. When he isn’t taking photos, Brian
enjoys spending time with his family, riding his
Harley or traveling. metzphotography.net
Mark Atwater
Mark Atwater is a nature
and wildlife photographer
specializing in retriever and
sporting dog photography.
Mark lives in Seminole county,
near Donalsonville, GA. He
and his wife travel extensively, photographing
working dogs in various national events and hunting
in the field. upclosephoto.com
Meghan Davis
At a young age, Meghan Davis
learned to use photography as
distraction from her academic
struggles due to dyslexia.
She has since flourished as a
photographer, graduating from
SCAD with a BFA in photography and has embarked
on many projects including her ongoing series
Buffed. She operates mainly out of New England,
but is constantly traveling and photographing the
world around her. meghandavisphoto.com
TO BECOME A FEATURED ARTIST
Illustrators, Photographers,
Writers and Graphic Designers
Please contact Thomasville Center for the Arts
(229) 226-0588 | thom@thomasvillearts.org
Susan Ray
Alabama native Susan Ray’s
love of storytelling began
when she won a short story
contest through the local
library at a young age. A
former editor for Southern
Living books, Susan is now a freelance writer and
marketer. When she’s not writing, she spends most
of her time keeping up with her husband and two
children, who much to her dismay, all prefer math
over writing.
Becky Staynor
Becky Luigart-Stayner is a
freelance “all things food”
photographer in Birmingham,
Alabama. Her family instilled
in her a love...and obsession...
for good food, whether it
was pimento cheese sandwiches in the backseat
of the car or Oysters Rockefeller on the silver
laden family dining room table. While enjoying
their Easter dinner of Kentucky Country Ham,
they would already be planning the menu for the
Memorial Day cookout. And, no food ever goes to
waste because the dogs always lick the plates!
beckyluigartstayner.com
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