The Master (and Mastery) of Mavromac Fabrics

 

A princedom for paisley!  de Le Cuona fabrics - paisleys, linens and lush velvets

I recently had the opportunity to interview the inspiring and insightful Hanneke Swart, owner and Captain at the helm of Mavromac & The Gatehouse. Although we chatted for over an hour, we only scratched the surface of all there is to know about Mavromac, their fabrics, and the fabric industry in general.

 

When I was still working in the fabric industry, Mavromac’s fabrics were considered by many to be the “gold standard” in terms of quality and longevity. I think it’s true to say that they’ve managed to retain their place in the South African landscape as pioneers of pure, natural fabrics and are still a trusted source for fabrics made from natural fibres.

 

Mavromac have retained their legacy and timeless fingerprint, yet they remain relevant and are well positioned to inform consumers by educating and enhancing their fabric literacy.

 

Hanneke is a kindred spirit. She grew up in a small town (as did I) and clearly has an undying passion for beautiful fabric (as do I!) Since taking over from Marguerite,  the original founder of whom she speaks with great affection - Hanneke has been leading the Mavromac team.  Prior to taking over the brand, Hanneke worked for Mavromac for many years and is quick to pay homage to those who mentored her in the ways of the industry.

Left: de Le Cuona mustard linen, paisley and teal velvet.
Right: Mavromac Weathered linen and Perfect Paisley in Dijon.

 

Niche is nice, family is fantastic

Mavromac was originally established to fill a need in the market. It grew out of a desire to introduce exquisite fabrics that previously were not made available in South Africa. Although their fabrics initially catered to a niche market, Mavromac has been instrumental in developing “fabric literacy” amongst their end-users regarding what constitutes superior composition, fine design and creative colouration. 

                                                                                            

Since inception, the relationships that Mavromac fostered with the editeurs they represent was grounded in shared values and a dedication to providing high quality fabrics that are conceived and manufactured mindfully, and that lean in to a classic aesthetic. It’s clear from speaking with Hanneke that they have a sense of belonging to the “family” of editeurs they represent. Pierre Frey, Colefax, De Le Cuona, Canovas, Dongia, Armani Casa and Jane Churchill are just a few of the wonderful fabric brands represented by Mavromac in South Africa.

 

(Mavromac Weathered linen with Pierre Frey's Les Rizieres de Shangbao Chinoiserie Toile, heavy embroidered fabric and velvet stripe)

Showrooms, silver linings and special spaces

Despite the inevitable disruption to “business as usual” that Covid19 has brought about, Hanneke is quick to acknowledge that there is an upside for her; instead of
spending time in her office, she’s been reigniting customers interest in Mavromac’s fabrics on the showroom floor. 

 

Hanneke has also observed that, stemming from Covid19, lockdown and the zoom-meeting phenomenon, people have a renewed appreciation for their homes. She’s noticed a definite shift from curating a “showcased” home, to creating a homely, beautiful, space that is shaped around the concept of comfortable living.

(The delectable de Le Cuona paisley with Huckleberry herringbone and marigold velvet)

 

Slow décor: a long love affair not a one night stand

 

Reflecting on the impact of the readymade market, both Hanneke and I share the sentiment that the abundance and availability of “fast-décor” as robbed consumers of the opportunity to understanding the true value of fabric, textiles, and soft furnishings. In addition, fast- décor has robbed consumers of the experience of discovering and falling in love with fabric that has been mindfully conceived. 

 

“It is almost as if we (marketeers) have forgotten to educate our client base regarding the wonders that are out there… the jewels that are to be found.” - Hanneke Swart

 

Reflecting on our chat, it feels as if fast décor and the readymade market has taught us to buy more, but value less. This in turn has denied us, the consumer, the opportunity to uncover hidden treasures that have heirloom value. In this way, we have been tricked into finding romance in the getting, not the having. Which leads us to the question of sustainability.

 

(Mavromac Perfect Paisley paired with their Weathered Linen and Colefax's new wide stripe) 

Big hearted, small families

For Mavromac South, sustainability (where possible) is centred around supporting small, independent, family-owned mills, rather than purchasing from channels of mass-production. There tends to be an inherent integrity with family-owned mills that have stood the test of time and where each person who plays a part in the process has a vested interest.  The dynamics of dealing with family-owned mills means that Mavromac are able to maintain close, interpersonal relationships with suppliers, which are built on trust and transparency. 

Romantic florals from Colefax and Fowler's new range

 

Sustainability starts with the consumer

When asked about sustainability, fair trade and eco-friendly textiles, Hanneke tells me that Mavromac, as well as many editeurs, are slowly working towards incorporating more eco-friendly textiles into their ranges. Despite the increased awareness regarding sustainably from the editeurs point of view, local South African customers still tend to be largely uninformed regarding the concepts of sustainability, fair trade, and eco-friendly fabrics. 

 

The industry has made solid strides in this regard, but my understanding is that until the means of production have caught up in terms of reclaiming , innovating, engineering and manufacturing fabrics in such a way that they’re sustainable, eco-friendly and affordable, there is still room for improvement within industry on the whole. 

 

For now, perhaps the clue to sustainability is to apply the slow décor rule: buy less, value more.

 

Timelessly trending

 

“There’s enough out there to cover all the styles.” - Hanneke Swart

 

Whether trends suggesting a shift from the full, “layered” aesthetic to the paired down look-and-feel that typically features in our zeitgeist, Mavromac still leans in to high-quality natural fabrics that will fit into a variety of contexts. Regardless of styles and trends, it’s in the way that fabric is applied that requires a special understanding and skill set. That’s where knowledge, experience and expertise comes in…

 

Pierre Frey: a flight of fabulous fancy paired with their velvet stripe and de Le Cuona's marigold linen

Specialist or Pinterest

Nowadays, the average consumer is more sophisticated in terms of design, trends and aesthetics than in previous eras. They have access to a plethora of information and images that inspires and educates them. To a point. Although many people are able to creatively conceptualise the aesthetic they desire, it takes a particular skill set, coupled with a lifetime of knowledge to execute the finer details. Especially when it comes to big projects.

 

Interior Designers and Decorators have been viewed by many as simply agents for “make pretty.” However, it takes experience and knowledge to know how fabrics will perform and therefore where and how they should be applied. There is a place for every fabric, but not every place is suitable for every fabric. In addition to the expertise required to make the right fabric choice, it should be noted that designers and decorators are required to have both an expansive birds-eye view and microscopic attention to detail. They are required to think conceptually, plan practically, procure timeously, manage efficiently and advise mindfully. Because of this, their roles are unlikely to become redundant any time soon. 

 

Mavroma's Perfect Paisley in Celadon works beautifully with these two embroidered beauties from Colefax & Fowler's new range

Collaborations of Development and Design

“I’m a big believer in the creative talents of South Africans.”

 

A big focus area for Hanneke over the past 8 -10 years has been developing and growing their Gatehouse furniture range. She’s been nurturing an incredible team of artisans who design and create furniture for Mavromac & The Gatehouse. The inclusion of furniture in Mavromac & The Gatehouse’s offering is Hanneke’s brainchild, and the pieces are blazing a trail within the industry. (Psst. I have a feeling that their Cuban rocking chair will become an icon of South African fine furniture designs.)

My favourite chair in the history of chairs! The Cuban Rocking chair - it has such gorgeous proportions! 

A huge but rewarding undertaking, Hanneke has facilitated discovering, harnessing and training the carpenters and creators who craft furniture for their range. These artisans, in turn, have trained up their adult children (and extended family members too) who are now also part of The Gatehouse furniture-family.  The passion, pride and dedication that they have for their work is visible in the pieces they produce. And, Hanneke says, the enrichment they derive from transforming raw materials into beautiful pieces is palpable.

 

Merci Mavromac

In a throw-away, easy-come-easy-go, consume-to-excess society, it fills me with joy to know that pioneers like Mavromac hold fast to principles of pure, natural quality and are still forging forward as custodians of exquisite fabric. 

 

Watch this space…

Mavromac are launching a new fabric collection SOON. In addition, they will be launching a range of photographs and etchings alongside their new furniture range. Follow them on Instagram and Facebook to see when it all happens. 

Voyage Maison by Mavromac

(Image via www.voyagemaison.com)

All the way back in February when Covid19 was a speck on the horizon of our reality, I popped in to Mavromac and chatted with the always-so-lovely Janice. I caught up on a range that they are stockists for and was literally swooning. 

There's a lot to love about Voyage Maison and their gorgeous fabrics. Firstly, they are based in Scotland which appeals to my Scottish heritage and no-fuss attitude. Secondly, their fabrics all bear the same painterly, romantic fingerprint. They're elegant without being stuffy, and classic with a contemporary twist. 

What I love most about their whimsical aesthetic is that's restful and naive. And, all the designs featured here are printed on lush velvet or a cotton/linen base.

Although Voyage fabrics are quintessentially British in their mood, I love that they have borrowed South Africa's much loved Proteas.

(Moorehaven on velvet)

Voyage Maison's Wilderness range embraces the spirit of the great outdoors and uses a fresh palette that is applied in swathes of inky watercolour. 

Every peasant adores a pheasant! 

Torrington design has depth, richness and the glorious tactile quality of velvet.

(Torrington on Velvet)

My dad has terrifically green fingers and we always had beautiful fuchsia's in our garden that were regularly feasted on by sunbirds.

(Fucshia flight left and top, Rothsay bottom right)

Heralding the Scottish highlands! The scenery in the Wilderness design below reminds me of the expansive beauty of the scenery in the James Bond film Skyfall. 

(Wilderness on velvet)

Printed on a blend of cotton and linen, Chaffinch and Jack Rabbit  have a sweet sensibility that could be beautifully applied to a nursery that can endure throughout childhood without dating.

(Chaffinch on linen left, Jack Rabbit on Cotton/linen right)

The fabrics from the Tiverton range is a nod to the arts and crafts movement from the turn of the century. Scenes from nature depicted in a the painterly style that is synonymous with Voyage Maison's fingerprint set the tone for this abundant, colour soaked range. 

(Weycroft and Colyford on velvet)

Birds of a feather flock to pomegranates! 

Weycroft and Colyford are printed onto a sublime velvet that sturdy but soft.

(Colyford on velvet in Grape and Strawberry colour ways)

Get out m'kilt! Cirsiun bears the Scottish National flower, the thistle. Like a smooth scotch, it goes down easily, it's watercolour brushstrokes very forgiving of rogue dirt that might stop by.

(Cirsiun)

Azima from the Iridescence range reminds me of Australia's Rainbow Eucalyptus trees and is the perfect contemporary co-ordinate that adds some pop to the quiet Scottish landscape.   

(Torrington and Azima col. Indigo on velvet from the Iridescence Range)

I hope this post has been a feast for your eyes and a tonic for your soul.

To see Voyage Maison's full collection, visit https://www.voyagemaison.com/fabrics/. Better yet, if you are in SA and are dying for an outing (wink wink), pop in to Mavromac and take a look. You won't be disappointed.

Till next time nerds,

With love x

in love with Liberty...

(Pillow cases to love: soon to be sold via yours truly.)

"I was determined not to follow existing fashions, but create new ones."

– Arthur Liberty

When I was a wee gurl, I used to hear my mum and Gran talking about something called “lawn cotton”. At the time, I had no idea what it was. All I knew, from the way they spoke about it, was that it was something to be revered. 

Come to think of it, my Gran and my mum used very specific language to describe textiles – I guess more so than other people I knew. Damask, organza, georgette, taffeta, silk (obviously). It might have been because my Gran made wedding dresses that these words made their way into her daily lexicon – but either way, I was gifted with a vocabulary that went way beyond what I had ever had the chance to personally experience.

It’s only in fairly recent years that I’ve come to understand the incredible nature of tana lawn cotton and, specifically, Liberty Lawn Cotton printed fabric. The story behind Liberty’s exquisite printed cotton is both romantic and rather brave. 

(Ciara: in all her pink, blue, green and purple splendour.)

That Vision

As the story goes, Aurthur Liberty was utterly enchanted by Japanese culture when he first visited the Japanese section of the International exhibition held in London in 1862. Inspired and enthralled, he persuaded the head-honchos of the company he worked at to invest in the entire collection of fabrics and home furnishings with that Japanese aesthetic. Novel and fresh, the floral and ditsy motifs swiftluy gained populatiry- their surge in demand prompting Liberty to launch his own company. Many of the original designs and motifs are revisited and reimagined through contemporary Liberty fabric designs. And with an archive of designs that exceeds 40 000, we can be sure that Liberty will be able to keep their iconic, beautiful fabrics flowing.

That Cotton

Tana Lawn can be found at Lake Tana in Ethiopia. Back in the 1920’s, Liberty buyer William Hayes Dorell came upon cotton fibres in the Lake Tana region that he could compare to no other. Fine and silk-like, Tana lawn cotton’s ultra-fine, long stable fibres made it unique – its beauty being both tactile and visual.

Tana Lawn is woven from 70 and 100 ply yarns. Ply refers to how many yarns are twisted together to make a single thread so you can imagine how fine the Tana Lake cotton threads are.

(Liberty Lawn Design: Garden Secrets)

The Process

Once woven, Tana lawn undergoes a series of preparations. One such preparation is Mercerisation, which makes cotton take dye better and also increases its lustre and sheen. Mercerisation causes the fibres to swell which increases the surface area of the fibre. The mercerisation process also pre-shrinks the fabric, makes the cotton fibres stronger and more stable, and enhances the handle (the way the fabric feels to the touch – smooth, soft, stiff etc.)

(These flowers look like foxgloves or hyacinths, poppies and Hydrangeas in exciting colours.)

Those colours, Those Designs

From their iconic florals and paisleys to their graphic geometrics, conversational designs, and their art nouveau designs, Liberty Fabrics are synonymous with an extensive palette and fine, exquisite details. 

Printed in Como in Italy, the print process includes both traditional screen-printing techniques, rotary printing, as well as modern digital printing. Regardless of the print process, the designs are approached with deliberate care and passion. One of the things that makes Liberty prints so exceptional is the amount of colours they use in each design. This brings a richness and depth to the design and makes them easy-to-use and exciting to own.

From design inception to the final printed product, each step of the fabric’s journey bears Liberty’s stamp of pride, joyous colour and dedication.

(Pillow cases you will love to love and love to hand down to those you love.)

The design below is called "The Strawberry Thief" and if you look closely, you'll see why. It's aesthetic is reminiscent of Liberty's art-nouveau inspired designs.

 I managed to find a very limited stock of the designs below which I like to call Tropical Jungle colour Morning (left) and Tropical Jungle colour Noon (right). Do you know what the real names of these designs are?

For a more masculine take in terms of palette, the two designs below would be incredible if used for men's dress shirts. BK is the most tactile person I know and would love the handle of these as apparel. No idea on the name of the pineapple design but I know the Navy/Red Cherry blossom is called Mitsi.

I'd love to know the real names of these designs but in the meantime I've called them Psychodelic Strawberry (left) and Nouveau Lily. The colours are so very beautiful!

 Last but not least, the design below - called Margaret Annie - fills me with utter joy every time I handle it. While the design has a traditional feel, the colours are bright and quite acidic, which gives them a contemporary feel.

I hope this has been a feast for your eyes and a feast for your souls. You can love Liberty Lawn fabrics as much as I do – just remember that I loved them first ;)

Till next time nerds,
May the force be with you during lockdown <3

P.S.

If you love the process of creation, take a look at this Liberty Video...

https://youtu.be/R0i_U7YhCBs

Sources:

https://www.libertylondon.com/uk/features/design-and-living/a-legacy-reinvented.html

https://www.forbes.com/sites/loreleimarfil/2019/05/30/how-libertys-fabrics-business-evolved-over-the-years/#2528b5d2dab5

https://tissura.com/articles/liberty-fabrics

https://www.libertylondon.com/uk/behind-the-scenes-liberty-print-archive.html

globe trotter... and other friends of fabric

A few weeks ago I was on the hunt for something to store my (rather BIG) fabric stock in. I couldn't bear the thought of having to buy monster plastic containers because they're not very sustainable (and ummm, quite ugly.)  

After trawling FaceBook marketplace, I found this beauty at Ruby's Cottage in Cape Town. It is a vintage Globe Trotter suitcase. Eeeek!

I love that you can see it's had two owners (at least - if not more) and I love that the leather handle is beautifully aged and worn but still works. The metal latches still work perfectly too!

Globe Trotter is all about the romance of a bygone era. Where time and travel was slower and more effort was put into creating items of beauty.

If you're wondering where you might have seen Globe Trotter suitcases (other than similar ones we used to take to school back in the 70's), my bet is that you've seen this gorgeous luggage on ... 

Ta Daaaaa ... James Bond movies.

To celebrate the most recently made James Bond movie, Globe Trotter has launched a No Time To Die vulcanised* fibreboard luggage collection (*more about this later). It echo's the timeless vintage style of their Deluxe Caviar range and it is conceived in the tone of all things Bond: smooth, elegant and handsome.

Globe Trotter suitcases are made out of a material that dates back to 1903. Vulcanised fibreboard, layered with paper, cotton fibre and wood pulp bonded in a zinc chloride wash, is pressed to create an innovative, one-of-a-kind material that's both extremely light and extremely strong.

And, just when you thought that the James Bond range was the most beautiful luggage ever and ever on the whole planet, I must introduce you to their Chelsea Garden Range. Comprised of Day Garden and Night Garden ranges, the suitcases are lined with THE MOST EXQUISITE patterned textiles.

The exterior colour combination of the Night Garden range below is so gorgeous and so sophisticated. 

Originally founded in 1898 in Dresden, Germany, production moved to the UK in the early 1930's. Since then, it has been associated with a British-made skill and ever-elegant aesthetic.

Globe Trotter have also collaborated with Paul Smith to create a luggage range that's aligned with the Paul Smith look-and-feel. Iconic Paul Smith stripes are used in the interior, and the corner protectors are not only functional but are all different colours - giving it a quirky but always stylish trim.

(Top  right is from the St Moritz range, Top left and bottom Paul Smith)

As if that isn't enough, Globe Trotter's St Moritz range 

makes use of a classic navy, red, cream and black palette to create a classy, chic range.

The St Moritz small case (handbag size) is devastatingly cute and I love the clean, simple lines of the interior of the St Moritz range.

                       

If you were wondering where I put the Day Garden range, I was saving it for last because I'm nuts for the vintage cream and chocolate colour combination. Can you actually handle how gorgeous this is?

Umm, yesssss! Look at the lining of this Day Garden mini-case. I can't cope.

                

Thank heavens for thrifted goods. My most treasured Liberty Lawn fabric now has a beautiful storage home and I get to look on my Globe Trotter suitcase with joy as I imagine all the adventures it must have had.

Does anyone else own a Globe Trotter suitcase?  Post a pic of it on Instagram and tag The Fabric Nerd and we'll see if Globe Trotter can date it for us!

If you want to read the full background visit the Globe Trotter website (and swoon over the luggage you see :)

Till next time nerds

xx

(Copyright of all Globe Trotter images lies with Globe Trotter, Copyright of other images lies with Li Protheroe)

simple origin...

I’m very excited about today’s post. I’ve been searching for a quiet moment to give deserving attention to an emerging local brand that’s close to my heart. I’m counting every one of my blessings during this surreal Covid19 phase – one blessing being that with less running around I have more time to write! Hurrah!

Simple Origin is a botanical dye house that specialises in natural hand dying. Using plant waste sourced from local farms, restaurants and supermarkets around South Africa, they create beautiful, sustainable fabric designs, imprinted with organic shapes and dyed natural colours. The fabrics have both a robust and ethereal quality to them and they echo the purity and simplicity of nature.

The fabrics they use are 100% plant based and no harmful chemicals are used throughout the dying and converting process. Simple Origin’s dying process is the most fabulous example of the circular economy; nothing goes to waste. All the used dye water is poured over their vegetable garden and the organic waste is converted to compost.  Waterwise: check. Earth and animal friendly: check. Sustainable: check.

Their dying process is slow, intentional and artisanal. Because of this conscious approach, the brand and their products are imbued with mindfulness.

Simple Origin works with sustainably-minded interior decorators, fashion designers and wedding decor businesses. Aaaand, the launch of their online shop is imminent. In addition to selling homeware like scatter cushions, table cloths, dish towels, napkins, they will also be selling natural, earth-friendly soaps and washing powders. 

Roxanne Hamlett is the heart, soul and hard-working hands behind Simple Origin. Like her brand, she’s local and she’s lekker. Originally hailing from Cape Town, Roxanne and her gorgeous fabric relocated to Riebeek Kasteel a few years ago and quickly settled into a slower, simpler way of life “out in the country.” 

Rox is the incredible mom to two gorgeous girls and is also a talented writer. If you’re looking for some inspirational and heartwarming reading, take a look at her blog Teaching Tara. It is both touching and inspiring.

Last but not least, Simple Origin will be launching an utterly fantastic baby and kids range - Kibaba - later in the year. God willing, and with cheeky viruses out the way, Kibaba will be the kid’s brand to watch in the very near future. Watch this space, because as soon as it’s out, I’ll be talking about it.

 Till next time nerds, stay healthy, stay strong :)

x 

(Copyright of all images belongs to Simple Origin)

shiny, happy, people

Sooo, last Friday this time I still had my head in the clouds as I’d spent the morning doing something exciting and fun that I’ve never done before. I did one of Janine Binneman’s ring carving workshops and it was epic!

Top: The table laid out with all kinds of exciting tools. The blue thingies are the wax that you carve.
Bottom: Hard at work with the hard stuff - look how involved we are!

You might be wondering what a fabric nerd is doing amongst hard materials and metals but, if you know anything about me at all, you’ll know how obsessed I am with the process of how anything is made. I know its #nerdydotcom but I find it pretty amazing to see how materials are transformed from something unusable (and often unbeautiful) into something incredible. (Yes, I DO spend unreasonable amounts of time watching “How It’s Made” videos on YouTube and Instagram. There, I said it.)

OK, so this is how it all went down. We arrived at 10am (a decently late start for a sleepy head like me) and were greeted by the mermaid herself. Fresh pastries, coffee, OJ and bubbly were waiting for us – which was lucky because we all know that on Fridays you can have cake for breakfast.

The work table was laid out with all kinds of intriguing implements, cutting boards and cobalt blue wax that was either shaped into 2inch squares or into pre-cast ring shapes (kind of fat and squared off). The first while was spent mucking around with the tools and seeing what kinds of marks could be made on the wax. Which tools cut, which scraped, which carved. It was all very exciting and the wax is very forgiving. There were things to melt wax, things to file wax down, and yes, there were extra pieces of wax if you wanted to start over.

Right: I'm not too cool for tools. Different shaped files for shaping the wax
Top Right: Wax, bubbles, coffee and tools. What more could one want?
Bottom right: I think I was the messiest. See how you have to file down and shape the wax?

I had this preconceived idea that I was going to make something florally but I soon found out that the world of jewellery making is HARD AF! If you ever see delicate hand-crafted jewellery, know that it took a decent amount of blood, sweat and tears to create the end result (probably a fair amount of cussing too.) Before I went to the workshop I had this firm idea in my mind of how I wanted my “piece” to turn out. But honestly, the feeling of carving and creating was so enjoyable that I didn’t really mind what the result was. The workshop is 3 hours and it went in a FLASH because everyone was so preoccupied with what they were doing.

The Mermaid showing, telling, and helping.

Speaking of “everyone”, the workshop had 7 people, which is a good amount for chatting and getting to know everyone (not too peoply). Normally I have performance anxiety if I have to make something (actually do anything!) in front of people, but everyone was just sitting there, working away and not comparing what they were doing to anyone else’s creations. 

How's that leafy view?! Green therapy. A workshop amongst the leaves!

Janine explained the really cool process of how the finished wax rings get translated into metal and just because I’m a nerd and I found it super interesting, I’m going to tell you….

First, Janine attaches all the rings to little stalks of wax and then joins the stalks to make a “ring tree”. Then, she casts a mold (out of a kind of plaster, I believe) which then bears the indentation of the ring tree. Melted silver is then poured into the mold. And then, this is the super-cool part… The metal runs along the stalks of the ring tree – which become like veins carrying silver blood – and the metal runs into the ring-shaped indentations in the mold.  And voila! The ring is cast!

(I don’t know who invents these cool ways of doing things but they are coming to my party.) 

I know what you’re thinking… But I’m not creative. Hear me now ‘coz I’m gonna get all creatively-annoraky and philosophical and say that EVERYONE is creative – we just don’t give ourselves the opportunity and time to cut loose and see what we can do! #truestory.  And to be quite honest, making something (for me, at least) is more about the time spent using your right brain and doing something therapeutic than feeling satisfied with the end result. Know what I mean?

How are these glorious colours? Other than the top pic, these are my favourite colours and designs.

Having said that…. I’m so excited to see how my pieces turned out!!! I ended up making two (one with a heart that Janine is putting 3 little stones in – one stone for each of my dogs, obvs.) Watch this space (and my Instagram!) because I’ll definitely share the pics!

This is how my piece turned out....LOL! Just kidding!!! How I wish! This is one of Janine's recent pieces that is utterly heavenly.

Honestly, if you’re looking to learn a new skill or just looking for a fun, marvellous way to spend 3 hours, do the workshop! Follow Janine Binneman on Instagram (drooling is allowed and inevitable) and be sure to watch her stories. She's obvs on Facebook or you can shoot them an email to find out when the next ring carving workshop is. Pinky promise that you will love it. 

And whether you plan on making something or not, do check out her work because it’s delicious and diverse (Ummmm… and Christmas is coming up…just saying.) 

Till next time nerds! 

x

 P.S. All pics copyright @janinebinnemanjewellery