SHIBUI Issue 3

parisian 

neo-pop 

expressionism 

is NEO-NOW! 

snap to it 

Adventures of Lil Nicki 

origami 

JUMPING OFF THE PAGE IN CAPE TOWN 

culture craftsmanship global connection

WWW.PADRECOFFEE.COM.AU

CELEBRATE THE 

GOOD THINGS 

S H I B U I HELLO 

Welcome to our third edition of SHIBUI Issue! 

What an amazing few months it’s been for us since launching 

SHIBUI & Co in July. Heading into our first new year gives 

us so many reasons to reflect, celebrate and be thankful. 

We’re slowly mapping our way around the globe and have 

been so inspired by the calibre of contributors who’ve joined 

us on the journey so far. 

This edition is no different. The more talent we uncover, the 

more we realise the unlimited number of incredible stories 

there are to share. This Issue, our contributors span north 

from New York to Norway, and south from Africa to the 

Australian outback. 

We’ve also got some superb giveaways for you this edition, 

including a week’s resort stay (valued at over $5000) and a 

summer reading package. Now that’s reason to celebrate this 

new year! 

Wherever you’re heading to in 2018, remember to refer back 

to our online directory as we continue to add makers, designers 

and photographers from around the world so you can delve 

deeper culturally. We hope our magazine inspires your senses 

and reminds you of all the good rather than the gloom. 

Happy reading and happy New Year! 

and 

SUPER 

DUPER 

PRIZE TO 

BE WON! 

WIN A WEEK’S STAY AT 

A THIRDHOME AFFILIATE 

RESORT VALUED AT 

OVER $5000! 

Click here for details. 

S H I B U I & Co. EST. JULY 2017 

SHIBUI Issue is a free, bi-monthly online publication 

published by S H I B U I & Co. 

CO-FOUNDER / CURATOR / OPERATIONS KARINA EASTWAY 

CO-FOUNDER / CURATOR / CREATIVE BRISEIS ONFRAY 

PROOFREADER MERAN SALSKI 

ALL ENQUIRIES hello@shibuiandco.com 

SUBSCRIBE TO THE SHIBUI TRIBE shibuiandco.com 

© Copyright 2017. ALL RIGHTS RESERVED. 

THIS PHOTO was taken while roaming in search for coffee on a sleepy 

Sunday in the clifftop village of Rocamadour, France, by SHIBUI's creative 

co-founder Briseis Onfray @walklikeagypysy 

HELLO S H I B U I 1

CONTENTS 

SHIBUI. A JAPANESE WORD USED 

TO DESCRIBE AN UNDERSTATED, 

CLASSIC KINDA COOL. IT’S AN 

ENRICHED BEAUTY ACHIEVED 

THOUGH MINIMALISM AND 

PURPOSE RATHER THAN 

ADORNMENT AND EXTRAVAGANCE. 

ITS VALUE MUST BE DISCOVERED 

AND UNDERSTOOD RATHER THAN 

BOUGHT OR WON. 

2 S H I B U I CONTENTS

MEET THE MAKER 

4. NORWAY Andreas Söderlund is a 

self-taught wood craftsman exploring 

modern designs through one of the oldest 

traditions around. 

SNAP TO IT 

10. ALASKA Alaskan photographer Nicole 

Smoot has a passion for the wildest of 

frontiers. 

MODERN MAKER 

18. SOUTH AFRICA Ross Symons’ origami 

creations are jumping into some major 

animation projects. 

26. AUSTRALIA We talk to fifth generation 

Akubra owner, Stephen Keir about the art 

of felt making. 

TRAVEL MODE 

25. HAPPY DAYS Taking the sunshine too. 

DESTINATION DESIGNER 

33. PARIS Meet visual artist Raphael 

Federici: neo-pop expressionism never 

popped so bright. 

CULTURE CONNECTION 

38. NEW YORK Brothers Darrell and Oliver 

Hartman have created a window to the 

unfamiliar world through photography 

and film. 

DIRECTORY 

45. Find our SHIBUI makers, photographers 

and designers here. 

COVER IMAGE Origami artwork by Ross Symons, White On Rice (page 30). THIS PAGE FROM LEFT TO RIGHT The 

studio of wood-worker Andreas Söderlund in Bergen, Norway (page 4); French artist Raphael Federici is making 

a colourful impression world-wide, starting with street art in his home town of Aix en Provence, France (page 

33); Kyrgyz children playing in Karakul, Gorno Badakshan Autonomous Oblast, Tajikistan, by Alaskan travel 

photographer Nicole Smoot. (page 10). 

CONTENTS S H I B U I 3

meet the MAKER 

CARVING 

HIS NICHE 

curator Karina Eastway 

THE MAKER Andreas Söderlund 

PHOTOs Andreas SöderlunD 

COUNTRY Norway 

ANDREAS SÖDERLUND IS 

EXPLORING MODERN DESIGNS 

AND IDEAS THROUGH ONE OF THE 

OLDEST CULTURAL TRADITIONS 

AROUND: WOODWORKING. 

4 S H I B U I MEet the MAKER

Where are you from originally and 

where are you based now? 

I’m originally from Ostrobothnia, 

Finland, from a small town called 

Nykarleby. I moved to Bergen, Norway 

with my wife this fall. 

What materials do you choose to 

work with and what are their particular 

characteristics? 

I work exclusively with wood, dry wood 

more than green wood. Mostly birch, 

maple and walnut. Why I love working 

with wood is because it’s a living thing 

and each piece of wood has its own > 

Andreas Söderlund S H I B U I 5

“ 

WHERE I’M FROM THE WOODWORKING 

TRADITION WAS MAKING WOODEN BOATS. 

BACK IN THE DAYS THEY MADE BEAUTIFULLY 

CRAFTED BOATS FROM LOCALLY GROWN 

TREES. EVERY VILLAGE HAD AT LEAST ONE 

BOAT BUILDER WHO HAD HIS OWN STYLE. 

” 

unique patterns and colours. Even 

from the same tree you can find many 

different variations. So opening up a 

chunk of wood is quite exciting since 

you never know what you’ll find inside. 

The wood itself can often be a good 

source of inspiration when deciding 

what to make. 

I like working with birch and maple 

since they both have a very white 

and pale colour, a good contrast to 

the chocolate brown colour of walnut 

wood. So varying between those trees 

is a good mix I think. 

What sparked your interest in 

woodwork? 

Since I was a kid I have always been 

interested in creating things and 

working with my hands. My dad gave 

me my first knife when I was five years 

old, so that opened up the possibility 

to shape wood. Back then during my 

childhood years I always had a knife 

nearby, even in school. So whenever 

I got bored I found myself a stick 

and started making shavings. It was 

mostly that, making shavings, the 

fascination that the sharp edge could 

cut wood like it was butter. One day 

in fifth grade, my teacher saw what 

I had carved during a short break. It 

was a wooden knife I’d carved and 

he was thrilled that I was able to form 

something like that with just a knife in 

so short a time. The piece ended up in 

an exhibition in school. 

Anyway, what I’m trying to say is that 

my interest in woodwork is something 

that has evolved over a long period of 

time. 

A few years ago I had a hard time, 

struggled with depression. One day 

I started carving on a spoon, and 

I found it to be so peaceful and 

therapeutic that I couldn’t stop. So 

I continued and got well, and since 

then my interest for woodworking has 

grown even more. 

Can you tell us a little about the 

tradition of woodwork where you’re 

from? (what was it used for, the 

designs or materials used) 

Where I’m from the woodworking 

tradition was making wooden boats. 

Back in the day they made beautifully 

crafted boats from locally grown 

trees. Every village had at least one 

boat builder who had his own style. 

They still make boats in Ostrobothnia, 

but not wooden boats anymore, 

unfortunately. However there’s still a 

lot of fine woodworking with these 

fancy new boats, like Nautor Swan 

and Baltic Yachts, they all need 

beautifully crafted interiors. 

So the woodworking tradition lives on. 

6 S H I B U I meet the MAKER

What’s your favourite piece to make? 

I can’t say that I have a favourite thing 

to make, because I tend to design 

and make new things. I find that more 

exciting, exploring new ideas and 

designs. So guess I can say that my 

favourite thing to make is something 

that I haven’t made before. 

Can you describe your studio 

(where you work)? 

Right now my workshop is in the attic 

of the house we live in. It’s a small 

space, but very cosy and filled with 

history. The room has only one small 

roof window, with a magnificent view 

over the city of Bergen. Since room is 

so limited, I have no fancy machines, 

I keep myself busy instead working 

with traditional hand tools. When 

you climb up the ladder to the attic 

it’s like stepping into another world, 

long forgotten. There you can see 

an old workbench with a few hand 

tools on it, lit up by the light from the 

window above. You can also see a 

three legged chopping block with 

an axe stuck in its centre. In one 

corner there’s a couch where I can 

sit and ponder over new ideas, or for 

my wife to sit and read a book while 

I’m working. Without big and loud 

machines, it is a very peaceful place 

where the mind can be free. 

Is this what you always dreamed of 

doing as a child? 

No not as a child, but in my teen 

years I believe the dream of being a 

woodworker started to take form. > 


8 S H I B U I MEet the MAKER

What inspires your designs? (Where 

do your design ideas come from?) 

That is a question I have always 

had a hard time finding a short and 

straight answer to. I often get ideas 

for new designs when I’m about to 

go to sleep, or when I sit on my couch 

in the attic pondering about life, or 

when I hold a strange piece of wood 

in my hand and a design kind of just 

pops out. I believe the inspiration for 

new designs comes from everything 

around us, everything you experience 

during a day, a week or more. I have 

found inspiration in the landscape 

around me, from a good book or a 

tragic movie. A conversation with a 

good friend over the phone can turn 

into a great design from the doodles 

you’ve done while talking. To sum 

this up, I guess my head gives me 

ideas for new designs from a mix of 

everything, good or bad, that has 

happened around me. 

How does the new landscape 

and location (in Bergen) influence 

your work? 

I can’t say it has influenced my work 

that much yet since we just have lived 

here for a few months. But I believe it 

will open me up to many new ideas, 

that’s for sure. I come from a very flat 

landscape in Finland, so moving to 

Bergen was a huge contrast to what 

I’m used to. Here there are mountains 

everywhere, fjords and waterfalls and 

the sea is just a few minutes away. 

So I can’t wait to see what form and 

direction my work will take after some 

time in this beautiful city. 

What has surprised and delighted 

you about your new home, Bergen? 

The closeness to nature is partly why 

we moved here. There are seven 

mountains surrounding the city, so 

you can basically pick any direction 

and you’ll end up on a mountaintop 

with a stunning view. Our apartment 

is also placed on the hillside of a 

mountain, with a view over Bergen. 

So that was sure a delightful catch. 

We can probably live here for several 

years without running out of new 

things to explore. 

Your photography is beautiful as well. 

What’s your favourite thing to capture? 

My favourite thing to shoot in the 

workshop is a good progress shot 

that tries to capture the atmosphere 

of the moment. I want the picture to 

give the same felling as I have myself 

while working. 

What’s your top travel tip? 

Be spontaneous! Then you can find 

adventures in the most unexpected 

places. Keeping an open mind goes 

hand in hand with spontaneity, you 

can never go wrong with that. And if 

you travel to Bergen, bring rain gear. 

Southgrovecrafts.com 

Instagram.com/aesoderlund 


snap to it 

OFF THE 

RADAR 

curator karina eastway 

photographer nicole smoot 

COUNTRy alaska 

10 S H I B U I snap to it

ALASKAN PHOTOGRAPHER NICOLE SMOOT 

EXPLORES THE WILDEST AND REMOTEST OF 

PLACES, WITH A PASSION FOR ANYTHING 

OUT OF THE ORDINARY. 

Where are you from originally and 

where are you based now? 

I was born in Southcentral Alaska, and 

am still based there at the moment. 

What camera do you usually shoot with 

(and why if applicable)? 

I shoot with a Canon 5DS-R. I made 

the decision when leaping to a fullframe 

camera to go with the 5DS-R 

because of its performance in low 

light as I spend a lot of time shooting 

the aurora and astrophotography, 

but I also needed a good all-round 

camera that was durable and 

fared well in many settings. I use 

three lenses: the Rokinon 14mm 

f/2.8 for shooting the night sky and 

architecture; the Tamron 28-75mm 

f/2.8 XR Di LD for the majority of my 

landscape shots; and the Tamron 70- 

200mm f/2.8 Di VC USD telephoto for 

wildlife. 

How did you get into adventure travel? 

The interest has always been there, 

and growing up in Alaska didn’t 

exactly curb it either. Most of my > 

nicole smoot S H I B U I 11

12 S H I B U I SNAP TO IT

PREVIOUS PAGE Vinicunca, aka The Rainbow Mountain, 

deep in the Andes Mountains, Peru 

CLOCKWISE FROM BELOW Dragonblood Tree in the Dixam 

Plateau, Socotra Island, Yemen; Bactrian camels in the 

Kyzylkum Desert, Uzbekistan; Khafrazdara Lake in the 

Bartang Valley located in the Central Pamir Mountains 

of the Gorno Badakshan Autonomous Oblast, Tajikistan; 

Kyrgyz Cemetery near Lake Issyk-Kul, Kyrgyzstan 

travels were not anything out of the 

ordinary when I started out: eastern 

Europe, the Balkans, Southeast Asia. 

But shortly after my 27th birthday I 

found myself in Yemen and Socotra 

and I’d have to say that is where it 

really started. Travelling in a country 

seen as a failing state, camping in 

the open under the stars, catching 

fish for dinner and seeing that people 

still carry on with their lives even in 

cities that are often under attack by 

militant and terrorist groups. 

Can you tell us a little about the 

travel expeditions you’re working 

on at the moment? 

At the moment I am currently working 

on some new venture-leading tours. 

The first one will involve me taking a 

small group to Iran to explore ancient 

Persia; the second will take another 

small group on an expedition in 

the Pamir Mountains of Tajikistan, 

the Silk Road cities of Kashgar and 

Tashkurgan, and onto the northern 

territory of Gilgit-Baltistan in Pakistan. 

They are slated to take place 24 

May through 3 June and 9 June 

through 24 June of 2018, respectively. 

As far as personal expeditions 

go, my future plans include more 

thoroughly exploring the eastern third 

of Tajikistan, further exploration into 

Afghanistan, and visiting the remote 

island of Astola in the Arabian Sea. 

Not so much an expedition but an 

exciting thing that will happen for me 

next fall will be the first international 

exhibition of my photographs at the 

Schiphol Airport in Amsterdam in the 

fall of 2018. 

What’s an absolute ‘wow’ destination 

you’ve visited and what was it that 

made it so special? 

That’s difficult to answer with just one 

response as I’ve been to so many 

‘wow’ destinations. If I had to name 

a few they would include Tajikistan 

for its stunning mountainscapes and 

mirror-like lakes; the Afghan Wakhan 

corridor for its incredibly warm and 

welcoming people; the dramatic 

Hindu Kush with the Big Pamir 

mountains cutting it off from the rest 

of the world; Socotra Island in Yemen 

because of its unique trees and 

wild, remote beaches; visiting Peru’s 

Vinicunca before it was even on > 


any tourist’s radar; cruising between 

ice floes in the middle of the Ross 

Sea and coming face to face with 

a leopard seal on my expedition to 

Antarctica earlier this year; and finally 

Alaska. Even though it’s home it still 

never disappoints me to stand inside 

ice caves, have wildlife just off my 

front porch and the many mountains 

and lakes that keep me occupied 

year after year. 

Can you tell us a little about your 

favourite subject to photograph – 

people, animals or places? 

I’d have to say my favourite subject 

would be places. I love to show 

people places that may have never 

been on their radar, or that they’ve 

likely never even heard of. 

Top photography tip for beginners? 

The only way you’re going to figure 

it out is to go out there and try. 

You don’t need a giant expensive 

camera and you don’t need a 

degree in photography, there are 

great photographers who only use 

an iPhone and have zero formal 

education in photography. My 

number one tip is to figure out 

composition and how to work it 

into your style of photography. No 

camera, lens, filter or editing program 

is going to teach you that eye for 

composition. 

14 S H I B U I SNAP TO IT

What’s your top travel tip? 

Prepare for the worst, hope for the 

best, say yes to an adventure and 

don’t forget to pack Loperamide. 

What is it about being “beyond the 

beaten path” that inspires your travels? 

It’s probably all due to a complex 

that Alaska instills into every kid that 

grows up there: most of us can’t 

handle crowded places. I have a 

friend who grew up here and moved 

to Sydney five years ago, and she still 

has struggles at times with the sheer 

volume of people in the city, even 

though she absolutely loves it. There’s 

something special about trekking 

somewhere and only meeting a > 


16 S H I B U I SNAP TO IT 

PREVIOUS PAGE Trunk Bay Beach, St. John, US Virgin Islands CLOCKWISE FROM ABOVE The Aurora 

Borealis dancing above, just across the street from Nicole’s home in Eagle River, Alaska; Inside an 

ice cave on the face of Spencer Glacier near Girdwood, Alaska; Sunset over the Lemaire 

Channel in the Antarctic Peninsula

shepherd or two on the trail, visiting a 

perfect lake in a bowl of mountains 

with no one else in sight, having 

a beautiful beach completely to 

yourself, or getting to sit down for 

tea with someone in a rarely visited 

country who is over the moon that 

you’re there to experience their lost 

land, nearly forgotten traditions, and 

then go back home to share a piece 

of them with your family and friends. 

Which shot in particular really means a 

great deal to you and why? 

I think one shot in particular of myself 

with a dragon blood tree on Socotra 

Island. The photo was taken long 

before I ever considered becoming 

a photographer, let alone a travel 

photographer. It means so much 

because it resonates with how long 

I had wanted to visit the island and 

what a series of incredibly difficult 

life events lead to me ending up out 

there. Then of course anything shot 

in the mountains of Central Asia, 

because they signify the length of time 

I had spent dreaming of visiting the 

place and the resilience and strength 

it took to reach some of the places. 

What location is still on your bucket list 

to visit? 

A few to start would be Syria, Iraq, 

Gabon, Somalia, Western Australia, 

Madagascar and New Caledonia. 

A final inspiring travel quote for our 

readers? 

“The man who goes alone can 

start today; but he who travels with 

another must wait till that other is 

ready.”(Henry David Thoreau) 

So many people are flabbergasted 

at the places I’ve gone, and in 

complete shock when they find out 

that I’ve gone to most alone. This 

quote explains exactly why. 

Adventuresoflilnicki.com 

Instagram.com/adventuresoflilnicki 


modern maker 

curator BRISEIS ONFRAY 

THE maker Ross Symons (CREATIVE FOUNDER, WHITE ON RICE) 

PHOTOs contributed by WHITE ON RICE 

COUNTRy South Africa 

18 S H I B U I Modern maker

Photo Ockie Fourie 

IT’S A RARE PROFESSION, BUT 

ROSS SYMONS IS FOLDING HIS 

IMAGINATION TO MAKE THE CUT AS 

AN ORIGAMI ARTIST AND ANIMATOR 

FOR SOME MEGA BRANDS. FORGET 

PAPER PLANES. HIS PULP-FICTION 

CHARACTERS ARE LITERALLY, 

JUMPING OFF THE PAGE! 

Ross Symons S H I B U I 19

WHERE ARE YOU FROM ORIGINALLY? 

AND WHERE ARE YOU BASED NOW? 

I grew up in Johannesburg, South 

Africa but I now live in Cape Town. 

YOU HAVE A UNIQUE AND ENGAGING 

PROFESSION. HOW, WHEN AND WHY 

DID YOU BECOME AN ORIGAMI ARTIST? 

I’ve worked in a few industries but my 

last job, back in 2013, was working 

in advertising as a web developer. 

At the time, I had this fascination 

with folding paper. It was just 

something to keep me from losing 

my mind in a corporate job. I had 

all these folded shapes around my 

computer screen and I realised that 

I was pretty obsessed. So I decided 

to focus on getting better at this 

origami thing. In 2014 I committed 

to folding one figure every day for a 

year and posted each piece onto 

Instagram. That kicked off my journey 

to becoming an origami professional. 

It was also the year the I quit my 

corporate job to do freelance work. 

Fast forward to the end of 2014 

and I had quite a large following 

on Instagram and brands started 

approaching me to do custom 

origami installations and origami 

stop motion animations. It was at this 

point that I realised that this was what 

I wanted to do. I now create content 

for social media campaigns, custom 

origami installations and custom 

origami pieces. 

ORIGAMI IS AS JAPANESE AS ‘SHIBUI’. 

DO YOU HAVE A PERSONAL OR 

CULTURAL CONNECTION WITH JAPAN? 

Definitely a personal connection. 

Since I was a kid I’ve had a deep 

interest in Japanese culture. I just love 

how they are so professional in their 

approach to creating. I am also crazy 

about Japanese animation. 


WHEN AND HOW DID YOU LEARN THE 

ART OF ORIGAMI? 

I’m still learning every day and I think 

I will be for a long long time. But in 

2014 I got my hands on a book called 

Origami Designs Secrets by Robert 

Lang. That book is the origami design 

bible and has helped me learn how 

how to design origami figures. That 

coupled with meeting one of the 

origami rockstars of the world, Sipho 

Mabona. He has been a mentor to 

me since I started designing. 

PAPER COMES IN MANY FORMS. DO 

YOU HAVE A FAVOURITE STOCK TO 

WORK WITH? 

I like working with thicker paper which 

can be dampened a bit without 

tearing. This can be anything from 

100 to 200gsm. By wetting the paper 

it helps create more organic shapes. 

But I also like working with very thin 

paper which allows you to create 

more detailed designs. 

AS THE CREATIVE FOUNDER BEHIND 

‘WHITE ON RICE’, WHAT IS IT THAT 

CLIENTS LOVE MOST ABOUT YOUR 

ARTWORK? 

I think it’s the magic of seeing a sheet 

of paper turning into a figure that 

is recognisable as something lifelike, 

ie. a dragon, horse, butterfly or 

whatever. That and a bit of humour. 

I like adding some quirkiness to the 

work too. Life is too short to be serious 

all the time. And also, origami is 

thought of as a craft for kids. 

When they see my work or any 

other origami artist’s work, there is a 

new-found understanding of what 

can be achieved with paper and 

the amount of work that goes into 

creating a single original piece. 

IT’S A DIGITAL WORLD, SO FINDING 

DEMAND FOR HAND-MADE DESIGN 

MUST BE REWARDING AS AN ARTIST. 

WHAT IS IT ABOUT YOUR WORK THAT IS 

SO POPULAR TO CLIENTS? 

Origami is something that not many 

people do professionally so clients 

find my work very different. I operate 

“ 

I HAD 

QUITE A LARGE 

FOLLOWING ON 

INSTAGRAM AND 

BRANDS STARTED 

APPROACHING 

ME TO DO 

CUSTOM ORIGAMI 

INSTALLATIONS 

AND ORIGAMI 

STOP MOTION 

ANIMATIONS. 

in both the digital as well as the 

physical realm which for me is really 

important. I love both of these worlds 

equally. I think clients appreciate 

the fact that I’ve managed to use 

paper to create folded creatures 

and figures and then animate or 

photograph them so they go back 

into the digital world. It’s taken me a 

while but I’m now good at presenting 

the origami shapes in a way that is 

not often seen. In animated stories or 

still shots. 

FROM 2-D TO 3-D INSTALLATIONS AND 

ANIMATIONS, WHAT IS THE LARGEST 

PROJECT YOU HAVE CREATED, AND 

WHAT WAS IT FOR? 

I did a project in Johannesburg in 

2016 which was 2 animations and 

1600 origami butterflies for a brand 

activation. A brand called Strongbow 

was relaunching in South Africa and 

they wanted something different to 

create hype around the product. 

WHERE DOES CREATIVE DIRECTION 

FOR AN ORIGAMI PROJECT COME 

FROM? 

If it’s for a client that wants something 

specific designed then I will go in a 

direction based on their concept. > 

” 



But if I’m doing an animation for my 

Instagram account or designing an 

origami animal just for kicks, then that 

inspiration can come from anywhere 

really. The internet is a great place 

to find cool ideas but generally I will 

be walking down the road or drinking 

coffee and an idea will just rock up. 

I keep paper with me all the time so 

if an idea does descend, then I’m 

ready to go. 

WHAT IS YOUR FAVOURITE TRAVEL 

DESTINATION AND WHY? 

I love Tokyo and I will go back there 

over and over again, but every place 

I visit has its own charm. I do have a 

soft spot for island destinations too. 

IS THERE ANYTHING ELSE YOU WOULD 

LIKE TO ADD? 

If you’re reading this and you are 

arguing with yourself about whether 

you should put your new creative 

idea out there… stop arguing. Don’t 

think about it and just put it out there. 

Don’t worry if someone is going 

to steal your idea. Don’t worry if 

someone says your work is s**t. Don’t 

worry if this is going to become an 

internet sensation. Just get out of 

your own way and make. That’s what 

creatives do. We make stuff. So go 

and make stuff. 

white-onrice.com 

instagram.com/white_onrice/ 


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travel mode 

BOOK 

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Head to the giveaway page 

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shibuiandco.com/giveaway 

FROM LEFT TO RIGHT A celebration of authentic gelato, PIDAPIPÓ – 

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through diary entries and stunning photography by Julian Kingma. 

RRP 60.00AUD. Learn the skills of creating amazing bread and pastries 

from British-born pasty chef Michael James and his team. The book 

includes basic to advanced techniques plus shines a light on produce 

and the role of the farmers. THE TIVOLI ROAD BAKER by Michael James 

and Pippa James. RRP $60.00AUD. hardiegrant.com 

travel mode S H I B U I 25

modern MAKER 

Outback 

Front ’n 

CentrE 

curator KARINA EASTWAY 

Maker akubra 

INTERVIEW with Stephen Keir, Managing Director of Akubra 

PHOTOS CONTRIBUTED by AKUBRA 

COUNTRY australia 

THE ANCIENT ART OF FELT MAKING HAS A 

MODERN HOME IN AUSTRALIA THANKS TO 

FIVE GENERATIONS OF THE KEIR FAMILY. 

26 S H I B U I modern MAKER

CAN YOU TELL US YOUR NAME 

AND POSITION WITH AKUBRA? 

My name is Stephen Keir and I am 

the Managing Director of Akubra 

Hats. I am also part of the fifth 

generation owners of Akubra along 

with my sisters Nikki McLeod and 

Stacey McIntyre. 

IS IT CORRECT THAT THE NAME 

AKUBRA COMES FROM AN ABORIGINAL 

LANGUAGE FOR HEAD COVERING? 

IS THERE A STORY AROUND HOW THAT 

CAME ABOUT? 

For many years it was believed that 

the name Akubra had its origins as 

an Aboriginal word meaning head 

covering. The Akubra trademark 

was registered in 1912 and it was 

always believed that this was the 

case. It was not until the Keir family 

finally decided to write a book on 

the history of Akubra that it was 

discovered that our original belief 

was incorrect. 

The name was created and 

registered by Arthur P. Stewart, who 

at the time owned a menswear store 

and sold the newly-named Akubra 

hats, as well as acting as a distributor 

to other hat retailers around the city 

of Sydney. 

> 

Akubra S H I B U I 27

RIGHT Stephen Keir, 

Managing Director and 

one of the fifth generation 

of Akubra owners. 

28 S H I B U I Modern MAKER

CAN YOU BRIEFLY DESCRIBE THE 

800-YEAR OLD PROCESS OF MAKING 

THE RAW MATERIAL, FELT (BEFORE THE 

FORMING PROCESS STARTS)? WHAT 

MAKES RABBIT FUR PERFECT FOR THE 

FELT-MAKING PROCESS? 

As we understand it, legend suggests 

during the Middle Ages Saint 

Clement was a wondering monk 

who happened upon the process 

of making felt by accident. It was 

said that he stuffed his sandals with 

linen fibres in order to make them 

more comfortable. St Clement 

discovered that the combination 

of moisture and perspiration and 

ground dampness, coupled with 

pressure from his feet, matted these 

fibres together to produce a cloth. 

St Clement became the patron 

saint for hat makers, and the theory 

outlined above is consistent with 

our manufacturing process today. 

Rabbit fur is ideal for the felt-making 

process because rabbit fur (under 

a microscope) has tiny barbs that 

actually assist in knitting together 

when we start our hat forming 

process. 

WHO ARE THE FELT MAKERS AND HOW 

DID THEY LEARN THE ART OF 

FELT MAKING? ARE THEY DESIGNERS 

OR MILLINERS? 

The felt makers represent the 100 

staff working on our manufacturing 

floor. Employees are required to 

complete a four-year apprenticeship 

to become a felt hatter. Usually 

each felt hatter can complete 

with expertise four specialised tasks 

or processes. The apprenticeship 

process is internal to the business, 

with experienced tradesmen and 

women training new apprentices. 

As such the craft is handed down 

from generation to generation. The 

design of hats usually represents a 

team effort between the Managing 

Director and Operations Manager, 

along with input from the sales team. 

MAKING AN AKUBRA HAT IS A VERY 

TIME-INTENSIVE, HANDMADE PROCESS. 

HOW IMPORTANT IS THE HANDMADE 

ASPECT TO THE BRAND? 

It is critical – we see our 

manufacturing process as more 

like a craft. Each process and set 

of hands is crucial to producing a > 


quality product. There are 162 steps 

in the process, each hat is handled 

200 times in manufacture and passes 

through 60 pairs of hands with each 

pair of hands acting as a quality 

check. Quality is paramount for us. 

IS THERE A STORY OR INSPIRATION 

BEHIND THE ORIGINAL DESIGN/SHAPE? 

I am not sure that there is an original 

design. We make more than 100 

different styles to suit all people and 

all markets. Certainly styling has 

changed over the 140 years we have 

been in business as consumer tastes 

change. Fortunately, we have the 

capability to move with the times. 

THERE’S BEEN FIVE GENERATIONS OF THE 

KEIR FAMILY BEHIND AKUBRA ... WHAT 

DOES TRADITION MEAN TO THE FAMILY? 

It is much the fabric of who we are. 

Through my father and grandfather, 

I learnt the important values of our 

business, as they learnt from their 

forefathers. Tradition and respect 

sit high in my personal values and I 

believe that business is much more 

than simply maximising profits. 

WHAT STARTED IN 1876 IS NOW AN 

INTEGRAL PART OF THE AUSTRALIAN 

IDENTITY. WHAT’S BEEN THE SECRET TO 

KEEPING THE BRAND AND PRODUCT 

ALIVE FOR OVER A CENTURY? 

I couldn’t tell you in a few sentences. 

There have been many highs 

and lows over the past 140 years. 

Through that time we have always 

endeavoured to stay true to our 

corporate values. The most important 

attributes for business success 

are honesty, fairness, quality and 

generosity. We always reflect back 

on these values. I think overall we 

have a great reputation with the 

various stakeholders in our business 

and again these values are about 

more than just profit. Having said that 

if you don’t have a great product 

and great people you are unlikely to 

survive long. 

CAN YOU EXPLAIN THE TRADITION 

OF STOMPING ON YOUR BRAND NEW 

AKUBRA? 

In one respect this tradition perplexes 

me. Why would people do this to a 

brand new hat? I expect they want 

30 S H I B U I Modern MAKER

to give it that worn-in look that you 

see from our core customer – the 

outback man and woman. Their 

beaten-up hats have their own 

personality and form part of their 

identity. Indeed, we are often asked 

to manufacture a worn looking hat, I 

guess a little like the jeans you see with 

holes in them today. Hats have had 

this trend for decades I would suggest. 

WHAT COMMUNITY (OR CULTURAL) 

CONNECTION DOES AKUBRA HAVE 

WITH THE AUSTRALIAN OUTBACK (OR 

INDIGENOUS COMMUNITIES)? 

I guess our hats have become part of 

the fabric of the Australian outback. 

I would struggle to put my finger on 

how this evolved over time but we 

now see the term ‘iconic’ used when 

referring to our brand. Of course, it 

is something we are very proud of 

and work extremely hard to live up 

to and outback people are the most 

important supporters of our brand. 

Without them we could not remain 

‘Australian Made’. 

WHAT COUNTRY (OR CULTURE) 

OUTSIDE OF AUSTRALIA WEAR THE 

AKUBRA MOST? 

We have been exporting since the 

1960s. The USA was our largest market 

and during the time we sponsored 

Greg Norman, who happened to be 

the world’s #1 golfer, sales exploded 

so much so that we had to place 

all customers on quotas. We simply 

could not keep up with demand. 

Today we export all around the world 

with our largest markets being China 

and Tibet – seems there is a thirst 

for internationally made products in 

these countries. 

Akubra.com.au 

Instagram.com/akubraofficial 


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EO-POP IS 

NEO-NOW 

curator BRISEIS ONFRAY DESIGNER Raphael Federici 

photoS contributed by Raphael Federici COUNTRy FRANCE 

destination designer 

SHARING HIS MESSAGE 

ON WALLS IN PARIS 

AND BEYOND, RAPHAEL 

REDERICI IS MAKING A 

COLOURFUL IMPRESSION 

WORLD-WIDE. 

WHERE DID YOU GROW UP, AND 

WHERE ARE YOU BASED NOW? 

I grew up in the South of France 

in a little provincial town called 

Aix-en-Provence. I left my home 

town for Paris, where I have lived 

for the past 10 years now. Since 

my departure, I have travelled a 

lot. Still, France will always be my 

favourite country to live in. > 

> 

Raphael Federici S H I B U I 33

LEFT TO RIGHT French artist Raphael Federici; 

Wall art Ivry (94), Paris 2016; Street art in 

Raphael's home town Aix en Provence. 

PARIS IS STILL CONSIDERED ONE OF 

EUROPE’S MOST BEAUTIFUL CITIES AND 

IS THE EPICENTRE OF ONE OF THE 

FINEST ART CULTURES OF THE WORLD. 

WITH SUCH A RICH HISTORY TO FOLLOW, 

WHAT IS IT ABOUT YOUR NEO-POP, 

CONTEMPORARY STYLE THAT PARISIANS 

(AND TOURISTS) LOVE SO MUCH? 

Paris is so inspiring and I admire it 

daily. I am in love with its imposing 

cultural energy. I call my movement 

“Neo pop expressionism”, because 

I feed off childhood memories. I 

grew up with a language that was 

specific to my generation – American 

comics, blockbuster movies and 

very colourful videos games – but 

I also deeply admire the work of the 

Old Masters. I do not consider myself 

as a graffiti artist even though I much 

appreciate this form of art. My work is 

less harsh and more universal. I think 

that this is why some of my frescoes 

are so appreciated by tourists. 

YOU HAVE A UNIQUE YET INFLUENTIAL 

TALENT AS A VISUAL ARTIST. WHEN DID 

YOU KNOW THAT STREET ART WOULD 

BECOME YOUR CREATIVE PROFESSION? 

Street art is a unique and rapid 

way to share work. As I travel, I enjoy 

taking over walls that inspire me. 

They mark my journeys and are an 

indicator of the places I have been 

to. Through these walls, which are 

accessible to all, I want to share my 

message and why not make passersby 

smile as I do it? 

DID YOU ATTEND A DESIGN SCHOOL 

OR IS ILLUSTRATION A HOBBY THAT YOU 

MASTERED FROM CHILDHOOD? HOW 

DID YOU FIND YOUR STYLE? 

Both! When I was a kid, I relentlessly 

depicted fictional characters on 

every bit of paper I could find. I am 

literally obsessed with drawing and 

creating. I went to a design school 

and specialised in object design. But 

34 S H I B U I DESTINATION DESIGNER

somehow this pathway didn’t suit me. 

I wanted to be free of conventions 

and guidelines and let my characters 

escape into the city. 

WHEN AND WHERE WAS YOUR FIRST 

OUTDOOR ARTWORK, AND WHY? 

My first outdoor artwork was in a 

street in the South of France. I drew a 

character on the wall, just for fun. 

I was just a teenager at the time! 

My first ‘officially’ recognised outdoor 

piece was a collaboration with 

an artist named Combo, 6 years 

ago. He invited me to a street art 

‘session’ with him and I loved it. Now 

it’s more of an obsession. I feel the 

need to immerse the streets with 

my characters and share my vision of 

the world with as many as I can reach. 

I think that social media is a crucial 

tool when it comes to judging the 

impact of my work on its surroundings. 

If it is shared, commented on, 

hash-tagged … I can have an 

approximate idea of how other 

people interpret it and I am often 

surprised by the amount of foreigners 

who have picked up on it. 

AS ‘PUBLIC’ ART, WHAT MESSAGE 

OR ROLE DOES YOUR STREET ARTWORK 

REPRESENT TO THE COMMUNITY? 

The messages are many and various. 

But my work is often a reflection on 

how I perceive society. Sometimes it’s 

more of a criticism, sometimes it’s more 

of a positive message. I try not be 

too sanctimonious. I gave up trying to 

control the interpretations others 

give to my creations. 

I still believe that artists have a 

tremendous impact on civilisation 

today. They help us see things 

differently and raise questions to 

problems in ways we hadn’t thought 

of before. > 


36 S H I B U I DESTINATION DESIGNER 

CLOCKWISE FROM LEFT Matelot, 2014. MIxed media; 

Sketching in the studio in Paris; On location for a 

workshop.

“ 

I CALL MY MOVEMENT “NEO-POP 

EXPRESSIONISM”, BECAUSE I FEED 

OFF CHILDHOOD MEMORIES. 

YOUR WORK IS TYPICALLY VIBRANT 

AND COLOURFUL. HOW DO YOU 

CHOOSE A WALL OR VENUE, AND 

WHAT INSPIRES EACH DESIGN? 

My travels have played a giant role 

in the colour palettes, subjects 

and themes I chose to expose. The 

graphic aspect is very important 

to me, but the environment is 

not always as essential, even if 

I love adapting my works to each 

environment and vice versa. I believe 

that our urban landscapes need to 

be constantly upgraded, the more 

ingeniously, the better! I mostly look 

for walls that are visible and easily 

noticeable. I want to bring a touch of 

colour to all the areas I find too grey. 

YOU HAVE BEEN PAINTING YOUR WAY 

AROUND THE WORLD SINCE 2012. 

WHAT WAS THE MOST INTERESTING 

PROJECT AND PLACE THAT YOU HAVE 

VISITED? AND WHAT WAS IT THAT YOU 

PAINTED AND WHY? 

My favourite place to paint was Rio, in 

the Favela Babylonia. It was a journey 

full of strong emotions and a bit of 

danger, but the contact with the 

locals and the country in general was 

very impressive. The trip to Brazil was 

an amazing experience. 

One of my biggest frescoes was 

in Cape Town. It was in front of a 

schoolyard and thousands of kids 

played around me every day as I 

painted. We also created a fresco 

all together. An epic and very 

emotional moment. 

WHAT IS THE LARGEST OR FAVOURITE 

PROJECT YOU HAVE CREATED, AND 

WHERE IS IT? 

My largest project was for the “Nuit 

Blanche” event in Paris. The Town 

Hall of the 3rd arrondissement of Paris 

gave me carte blanche, allowing me 

to do whatever I wanted in it. 

It was a huge challenge. It took me 

” 

over 3 months to prepare for it: a solo 

show with works on canvas, sculpture, 

an orchestra, light installations, goodies. 

Fortunately, it turned out great! 

DID YOU ALWAYS WANT TO TRAVEL 

OR DID YOUR TALENTS TAKE YOU 

AROUND THE WORLD? 

I never travelled much as a kid. 

My parents lived modestly and we 

couldn’t afford big journeys. As soon 

I was able to travel independently 

and for the purpose of my work, I 

vowed to never stop travelling and 

discovering new environments. 

WHERE DO YOU THINK STREET ART 

ORIGINATED FROM? 

The Lascaux caves, hieroglyphics, 

revolutionary mural paintings in 

Mexico … to me street art is a way of 

expression before being a movement. 

WHAT IS YOUR FAVOURITE TRAVEL 

DESTINATION AND WHY? 

My favourite travel destination is Ibiza. 

I have friends there who showed me 

some of its many secrets and I have 

fallen in love with it. 

WHERE IN PARIS DO WE FIND YOUR 

BEST WORK? 

The 2nd district is my playground. 

WHAT’S IN THE SKETCHBOOK FOR 2018? 

Yes. In January 2018, I will go to 

Miami with two street artist friends. 

Our goal is to make a film of the 

entire adventure. The project will 

depend on the success of the 

crowd funding campaign we 

just started on Kiss Kiss 

Bank Bank. Our goal is to paint 

frescoes, meet other artists, visit 

galleries and document our 

discoveries and collaborations along 

the way. There is a Facebook page 

you can follow us on, with daily 

exclusives and cool bonuses for 

investors. Join us! 

raphaelfederici.com 

instagram.com/raphael_federici/ 

youtube.com/user/RaphaelFed 


CULTURE CONNECTION 

CIRCLE 

OF 

LIFE 

curator KARINA EASTWAY 

INTERVIEW WITH Darrell Hartman 

(co-founder of Jungles in Paris, website editor) 

PHOTOS CONTRIBUTED by JUNGLES IN PARIS 

COUNTRY USA 

38 S H I B U I culture connection

NEW YORK BASED BROTHERS DARRELL AND OLIVER HARTMAN 

EXPLORE THE WORLD’S MOST UNFAMILIAR PEOPLE, ENDANGERED 

CULTURES AND REMARKABLE PLACES THROUGH PHOTOGRAPHY 

AND FILM. 

WHERE WERE YOU BORN AND WHERE 

ARE YOU BASED NOW? 

Born in Maine, now based in New 

York City. 

CAN YOU TELL US A LITTLE ABOUT 

JUNGLES IN PARIS WHICH YOU CO- 

FOUNDED WITH YOUR BROTHER, OLIVER, 

IN 2013 – WHAT’S THE PURPOSE AND 

PHILOSOPHY BEHIND THE PROJECT? 

We wanted to show people a layer of 

the world that is often overlooked. In 

academic terms, our focus is largely 

geography and anthropology. In 

more emotional terms, it’s things that 

feel authentic and rooted. We tell 

stories about longstanding cultural 

traditions, ways of living that are in > 

Story 1 Thick-skinned Beauty Omo Valley, Ethiopia. Photographer Drew Doggett 

jungles in paris S H I B U I 39

“ 

WE WANTED 

TO SHOW PEOPLE 

A LAYER OF THE 

WORLD THAT 

IS OFTEN 

OVERLOOKED. 

DARRELL HARTMAN 

” 


harmony with nature, remarkable 

wild places and animal species. 

My brother was running a 

commercial production company 

when we founded Jungles, and I was 

writing mostly for glossy magazines. 

We weren’t getting outdoors as much 

as we had when we were kids in 

Maine. On a more philosophical level 

I think we started to realise that a lot 

of modern values don’t really speak 

to us that much. So we wanted to 

direct more of our mental efforts, our 

attention, towards things that did. We 

really wanted to explore the sense 

of place, which is underrated in our 

hyper-connected global present. 

And having done a lot of work that 

was commercial and disposable, 

we wanted to show respect for the 

crafts of filmmaking, writing, and 

photography. So we emphasise 

quality over quantity – I think this goes 

against the grain of a lot of media 

these days, including independent 

and especially online media. But it’s 

the only way we could do Jungles 

and be happy with it. 

IT’S A QUIRKY NAME – WHAT’S THE 

STORY? 

We get asked this a lot! It speaks to 

the idea of a great, wild, untamed, 

unknown world – and having an 

encounter with this world within a 

curated context. It’s also a reference 

to the painter Henri Rousseau, and 

how he was able to create a sense of 

enchantment around foreign places, 

despite never having left France. 

THE AUTHENTICITY BEHIND YOUR 

STORYTELLING REALLY RESONATES 

THROUGH THE SCREEN: IS A FEELING 

OF REAL CONNECTION SOMETHING 

WE’VE LOST IN THE 21ST CENTURY? 

It’s nice to hear that! I do think that 

sense of disconnection is a symptom 

of 21st century existence. It’s not just 

that so much of our lives is mediated 

– if that were the beginning and end 

of it, then creating more media would 

definitely not be the solution! But I think 

our brains are spinning too fast for their 

own good, on a cultural level. The 

pace of change, the endless buffet 

of information and entertainment 

options, the assumption that there is 

an audience out there weighing in 

on every passing thing we see, hear, 

and feel – all these elements of digital 

life have fundamentally altered the 

way many of us exist on this planet. 

One of the most detrimental of these 

changes has been on our ability to 

concentrate, focus, enter the flow 

of the moment, whatever you want 

to call it. Meanwhile, global cultures 

are becoming more homogenous. 

All these traditions that might help 

us see our way out of this downward 

spiral are disappearing in a frenzy of 

development, Westernisation, and 

so on. 

> 

CLOCKWISE FROM ABOVE Jungles in Paris founders, Darrell (right) and Oliver Hartman; Story 33 Bared Souls: Indian 

Sadhus Kumbh Mela, India. Photographer Pascal Mannaerts; Story 40 Holi Goes Big Vrindavan, India. Photographer 

Pascal Mannaerts; Story 76 Ethiopia’s Cattle-jumping Tribesman Omo Valley, Ethiopia. Photographer Claudia Ioan 


CAN YOU TALK US THROUGH WHAT IT 

MEANS TO YOU TO RECORD SUBJECT 

MATTER THAT MAY SOON BE EXTINCT? 

DO YOU EVER FEEL LIKE YOU’RE 

RUNNING OUT OF TIME? 

There is some sense of urgency. I feel 

like ecologically, we are running out of 

time as a species to make things right, 

to forestall catastrophe. And assuming 

things keep going the way they are – 

growth over sustainability, ‘capabilities’ 

over wisdom, etc. – then this chapter 

of global civilisation will not end well. 

With regard to extinction, I don’t 

think I have as keen or as personal a 

sense of what it means as perhaps an 

anthropologist or a biologist would. 

Or, of course, as someone whose own 

culture is facing it. 

WHICH STORY HAS REALLY STRUCK 

A PERSONAL CHORD WITH YOU AND 

STUCK WITH YOU OVER THE YEARS? 

As editor I am involved in all the 

stories we publish, but to varying 

degrees. So when a story strikes a 

chord with me it’s often because I 

was more involved in its production 

– thinking about what to focus on 

and what the images might look 

like; meeting the people we filmed; 

worried about how it would end 

up, and so on. In this regard our 

short documentary about Vienna 

coffeehouses has stuck with me. I just 

love the fact that these places have 

stayed essentially the same over the 

years. They are living relics, windows 

into the past. They’re for conviviality 

or solitude. My impression is that 

the Viennese have associated the 

kaffeehaus with their daily routines 

more than other cultures have. And 

because these spaces are unfamiliar, 

(at least to a non-Austrian), they 

provoke us into thinking about how 

we might live our own lives differently. 

THE DOCUMENTARY-STYLE STORIES YOU 

TELL THROUGH PHOTOGRAPHY AND 

FILM ARE ROOTED IN TRADITION YET 

HAVE A TIMELESS, ETHEREAL NATURE TO 

THEM. HOW IS THAT FEELING CREATED? 

The obvious answer is that we don’t 

have to force it – the subjects we 

choose are things that have endured 

for many years, often in the same 

place. I suppose we also try to tap 


CLOCKWISE FROM FAR LEFT Mongolia. Photographer 

Oliver Hartman; Story 9 Swimming Lizards Galápagos. 

Photographer Scott MacDonough; Story 4 A Most Disruptive 

Volcano Eyjafjallajökull, Iceland. Photographer Lane Coder; 

Story 4 A Most Disruptive Volcano Eyjafjallajökull, Iceland. 

Photographer Lane Coder 

into a slower rhythm. To an extent we 

reject the aesthetics of advertising 

and social media. I think it’s important 

to bring the values of art into the 

documenting process. Succeed at 

this and you make things feel more, 

well, everything: timeless, essential, 

beautiful, inspiring, worth saving, and 

so on. 

WHAT IS IT ABOUT THE NATURAL WORLD 

AND TRADITIONAL CULTURES WHICH 

INSPIRES YOU TO CURATE THEM? 

For me, nature is at the root of 

everything. And yet I struggle to be 

in communion with it. Cultures that 

interact more directly with nature 

help direct lost souls like me to the 

most important things in life. “Curate” 

is a funny term. It can suggest a kind 

of disinterest from deeper meaning, 

and a prioritisation of taste over 

the everything else. But maybe this 

is because my background is as a 

writer, not in visual arts. For me the 

process is more about researching 

and presenting, storytelling and 

editing. And I suppose there’s an 

educational element as well. 

HOW DO YOU GO ABOUT DECIDING 

ON YOUR SUBJECT MATTER? 

My brother and I keep a running list 

of interesting topics and things to 

look into. Of course we can’t afford 

to fly all over the world so we’re 

usually responding to opportunities 

to travel somewhere, to work 

with a filmmaker who’s headed 

somewhere, or to use images that a 

photographer already has in his/her 

portfolio. Commissioning the writing 

is always the last step. We need to 

have the visuals first. 

WHAT HAS SURPRISED YOU MOST 

ABOUT THE JUNGLES IN PARIS 

PROJECT AND WHAT’S BEEN MOST 

REWARDING? 

The extent to which a part-time 

project has ended up shaping my 

life. When we started Jungles in 2013 

I saw it as an extension to my sense 

of self as a travel writer, one who likes 

old things but also likes some of the 

trendy stuff that’s out there today. 

I didn’t realise it would guide me 

down this rabbit hole of mythology, 

anthropology, slow living, Eastern 

religions, etc. – to think well beyond 

the present commercial and cultural 

context. I have to credit my brother 

with pushing me this direction too. 

WHAT’S YOUR OWN PERSONAL 

FAVOURITE TRAVEL DESTINATION? 

I love mountains. The best trip I’ve 

taken was a five-day trek up a 

protected Himalayan valley in Nepal. 

TOP TIP FOR VISITING NEW YORK? 

Ask a local for directions! The New 

Yorker’s reputation for rudeness is 

overstated. 

junglesinparis.com 

Instagram.com/junglesinparis 


DIRECTORY 

JOIN THE 

SHIBUI 

TRIBE 

WE CAN’T BE EVERYWHERE, SO WE ARE CALLING ON LIKE-MINDED 

CULTURE-VULTURES AND WANDERERS TO JOIN OUR TRIBE. IF YOU KNOW 

OF ANY SHIBUI-WORTHY ARTISANS, OR FANCY YOURSELF A SHIBUI 

ROAMER, WE WOULD LOVE TO HEAR FROM YOU! 

PLEASE EMAIL HELLO@SHIBUIANDCO.COM 

WHAT IS A SHIBUI MAKER? 

Their handcrafted objects follow a 

cultural tradition. They master a treasured, 

hand-made and unique craft in the 

contemporary world. 

ROLE They have a passionate interest in 

sharing their culture and story with SHIBUI 

& Co, so that we can help support and 

connect them with travellers around the 

world. 

OUTCOME We will feature their story, 

culture and craft in our online publication 

SHIBUI Issue. 

AFRICA 

WHAT IS A SHIBUI ROAMER? 

For those who travel to uncover and 

discover the soul of a place. You wander 

the earth lightly; yet delve deep to know her 

people and their ways. 

ROLE If you stumble upon an interesting 

artisan or traditional craftsperson as you 

roam, take their details and let us know. 

OUTCOME It is only the beginning of the 

SHIBUI journey, but we will support you by 

sharing your posts and adding your profile 

to our website. 

DIRECTORY 

(REFER TO OUR WEBSITE DIRECTORY FOR MORE SHIBUI MAKERS AND PHOTOGRAPHERS FROM AROUND THE GLOBE) 

Ross Symons – White On Rice 

Cape Town, South Africa 

ross@white-onrice.com 

white-onrice.com 

instagram/white_onrice 

AUSTRALIA 

Stephen Keir – Akubra 

South Kempsey, New South Wales 

+61 2 6562 6177 

akubra.com.au 

instagram/akubraofficial 

EUROPE 

Raphael Federici – Paris Sketch Culture 

Paris, France 

+33 174 305958 

contact@parissketchculture.com 

raphaelfederici.com 

instagram.com/raphael_federici 

Andreas Söderlund – Emanuel Design 

Bergen, Norway 

southgrovecrafts@gmail.com 

southgrovecrafts.com 

instagram.com/aesoderlund 

USA 

Nicole Smoot – The Adventures of Lil Nicki 

Eagle River, Alaska 

adventuresoflilnicki@gmail.com 

adventuresoflilnicki.com 

instagram.com/adventuresoflilnicki 

Darrell Hartman – Jungles in Paris 

New York City, New York 

info@junglesinparis.com 

junglesinparis.com 

instagram.com/junglesinparis 

FIND YOUR S H I B U I 45

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FOLLOW US 

* in a metaphorical, wanderlust kinda way @shibuiandco 

PHOTO NEW ZEALAND BY KARINA EASTWAY 

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