media
back to school
photo by Michael Nagle
My beloved New York Times recently did a story about business education for artists. Okay, so the NYT is definitely not “mine,” but I do spend an obscene amount of time trolling its online pages. Procrastination or research? A good dose of both.
Where was I? Right. Art in the classroom.
A June 18th story, “Creative Types, Learning to Be Business Minded,” by Kate Taylor, describes a City of New York-funded program (run by the New York Foundation for the Arts) that teaches business skills to artists. School’s in session for 55 students on five consecutive Saturdays. They’re painters, sculptors, photographers, filmmakers, creative writers, actors, directors, dancers, musicians and others who can’t be slotted into single-word titles, and they’re learning to make money from their creative talents.
The program is a terrific idea and a great public service. It’s also smart thinking for a city that prides itself as North America’s top creative hub, underscored by the fact that the New York City Economic Development Corporation is footing the $50,000 tab. A similar series is also being run by the Lower Manhattan Cultural Council.
One of my favorite quotes comes from a “lanky puppeteer” and program participant, Eric Wright, who tells reporter Kate Taylor: “People think that art and business are at odds, but you can create great art and have it also be a business.”
Amen to that.
break it down: hussein chalayan
Still think you can’t honour your creative vision and find success? Clearly you haven’t met fashion designer Hussein Chalayan (well, neither have I, but that won’t stop us from analyzing his playbook).
Born in Nicosia, Cyprus, in 1970, Chalayan moved with his family to England in 1978 and studied design at London’s famed Central Saint Martins. He immediately raised eyebrows with his 1993 graduate collection, called “The Tangent Flows,” which included clothes that he buried in his backyard and later dug up to exhibit. Struck by the strange beauty of his vision, luxury London retailer Browns snapped up the whole collection and displayed it in-house.
The publicity spree continued when Chalayan won a fashion competition sponsored by design-forward liquor brand Absolut. The win meant that at age 25, Chalayan was given approximately £28,000 in financial backing to develop a collection for the 1995 London Fashion Week.
spring 2009 ready-to-wear
His reputation for avant-garde, intellectual, rigorous designs grew and Chalayn soon connected with the famously eclectic Icelandic singer Björk, who wore a Chalayan jacket on the cover of her 1995 album, Post, and donned several of his pieces throughout her Post tour.
For the next three years, Chalayan was a design consultant for New York knitwear label TSE. He also designed for Marks and Spencer, worked with Italian clothing manufacturer Gibo, and served as fashion director for Asprey, the British jewellery and luxury goods company, all while designing and showing his own label. He was also named British Designer of the Year for 1999 and 2000, and in 2006, Chalayan was awarded a Member of the Order of the British Empire.
fall 2008 ready-to-wear
What’s most impressive is that Chalayan has had serious low points to match all those career highlights. When TSE terminated his contract in 2001, it forced Chalayan into voluntary financial liquidation. He refused to go down without a fight, however, and restructured his company to design a comeback collection later that year. In the following seasons, Chalayan had to move his studio three times and at one point, he worked from home with his entire team before relocating to Paris.
Collaboration has always been a key part of Chalayan’s creative ethos. He’s designed laser LED dresses with Swarovski and in 2008, he was named the creative director for sports lifestyle brand Puma — just to name a few of his more famous match-ups. He’s now partnering with Susie Crippen of J Brand Jeans. And if you’re after more highbrow credentials, Chalayan’s work has been exhibited at London’s Design Museum, The Tate Modern, The Contemporary Art Museum in Tokyo, the Musée de la Mode in Paris, New York’s F.I.T., and at the 51st International Venice Biennale, among others.
spring 2007 ready-to-wear
The position
Chalayan’s name is synonomous with experimentation. He’s the futuristic designer who has sent models down the runway in self-undressing clothes and repeatedly pulls from world politics, science, culture and technology to produce creations that blur the lines between art, fashion, performance and culture.
The math
Talent and audacity
After spreading himself — and his finances — too thin in the early 2000s, Chalayan stripped his business (if not his designs) back to basics and refocused his brand. He continues to produce collections that challenge and inspire. You never know what to expect from Chalayn, and everyone from well-heeled fashion houses to sneaker companies are eager to leverage his modern, in-your-face creative attitude and technical skill to boost their own cool quotient.
Will he go too far with the commercial collaborations? That’s a matter of time and opinion. For now, Chalayn provides a terrific model of how to stick to your creative guns and still build a career that works. And if you fall down, return to your original vision and think hard about what really matters. Then get right back up again.
spring 2007 ready-to-wear
TED strikes again
photo of Mary N. Crawford / Smithsonian Institute
Here’s another intriguing TED lecture, this time from Sir Ken Robinson, filmed back in 2006. And yes, that’s “Sir Ken” to you.
Robinson is a professor, leader, speaker and author who has been decorated with more awards than he can juggle, and in 2003, was knighted by Queen Elizabeth II for his service to the arts. An underachiever, really.
The TED archive is an endless vault of inspiration. Such amazing people and ideas. But back to the talk…
Robinson (funny and perfectly self-deprecating) believes we educate children out of their creative capacities. To paraphrase Picasso, we’re all born artists, but the challenge is to remain one as you grow up.
The highlights:
- “If you’re not prepared to be wrong, you’ll never come up with anything original.”
- We stigmatize mistakes and our schools reinforce the notion that errors are the worst thing a child can produce.
- Global education systems prioritize math and languages, then humanities. Arts sit at the bottom — if there’s any money left.
- Many brilliant, creative people think they’re deficient. They’re often tagged as unfocused, learning disabled, dreamers, and now, given meds for ADHD.
- Intelligence is diverse, dynamic and distinct. It doesn’t fit a mold.
- We need to educate kids as complete beings — not just floating heads run by left-brain logic.
This summary doesn’t do justice to Robinson’s well-woven argument. But I wanted to pull these points out and chew them over a bit.
My friends and I often discuss the idea that as you get older, it feels tougher to get out of your own way and create something truly new. We’ve debated the possible reasons: cynicism, financial struggles, life and family responsibilities, disappointments, becoming more set in your ways, losing a sense of “freshness” about the world and its possibilities, and on and on.
At the same time, all those opposing forces don’t eliminate the desire to push and stretch and surprise yourself. Robinson makes me feel better about actively protecting creativity. If it’s something you want (both for yourself and a new generation), you’ve got to fight for it.
food & finance
photos by Chiot’s Run
Even farmers and foodmakers are realizing that today’s market demands new revenue models. A recent Globe & Mail story titled, “Cash-strapped artisans turn to foodies for financing,” explored how savvy food producers are revamping their fee structures.
The highlights:
- Faced with an expired lease, artisanal cheese maker Ruth Klahsen is offering subscriptions to her Monforte Dairy. Cheese fans give $500 upfront to help her build a new dairy. She pays them back in five annual cheese deliveries worth $150 each.
In the last year, she’s sold 810 subscriptions and raised a total of $364,000 (some subscriptions were worth more than $500, some less) toward her $500,000 target.
- Ontario farmers Vicki Emlaw and Tim Noxon are battling the winter cash-flow crunch by selling Vicki’s Veggie Bucks. These are coupons that customers can trade for vegetables during the harvest season. They also offer a 10-to-15% discount for every $100 purchased.
Hungry buyers can use their bucks at the couple’s own farmstand or at the farmers’ markets they attend — eliminating the need to deliver boxes during the busy summer season and guaranteeing them a predictable income.
- Quebec microbrewery Boquébière creates beers infused with local maple syrup and honey. The company has started paying some of its suppliers in beer, rather than cold, inedible cash.
- Southern Ontario’s Creemore 100 Mile Store was launched with a funding party. Owners Jacquie Durnford and Sandra Lackie invited women they thought would be interested in a grocery store that sold locally produced food and shared their business plan at the soirée. That night, 17 women gave $1,000 each, which the owners have promised to repay (with annual interest) in five years.
The pair evenutally raised $47,000 and opened the store just one month after the party.
These examples are brilliant because they represent more than just creative financing; they’re also giving customers an invitation to participate in the business and a good story to share (i.e. “You have a chèvre subscription? They’re paying you in honey ale?”).
There are so many ways to earn money — and no rules that you have to follow tired revenue models. Think through your best attributes. If you’re offering something amazing and the demand is real, people will want to help. Get your customers or clients involved (and even invested) in your success.
$150 in cheese? Yes, please.
brief encounters
aerialist Keely Sills
What happens when you cross a marketing executive with a theatrical dance artist? How about a floral designer and an African drummer? If you’re lucky, you get Brief Encounters — the ultimate live mashup created by Vancouver’s Tomorrow Collective.
Produced by Katy Harris-McLeod and Mara Branscombe, each installment matches 12 artists in six unexpected pairings. The partners meet just two weeks before the show to create a 10-minute live performance. The results are strange, unpredictable and sometimes even breathtaking.
I had been meaning for months to check out Brief Encounters (they’re on installment #14), and a well-timed text finally got me in the audience on Saturday. Two high points of the night included a moving collaboration between hip hop dancer Yoshi Hisanaga and visual artist Yun Lam Li, and the partnership between aerialist Keely Sills and acclaimed storyteller Ivan Coyote.
producers Mara Branscombe and Katy Harris-McLeod
It all comes down to chemistry. Hisanaga and Li joked about their generation gap in an intro video, but blended video, music and masterful live dancing into an experience that stunned the silent crowd. Then, suspended high above the stage, Sills effortlessly flipped and stretched her body through the silks while Coyote wove a restrained tale of love, loss and family. Magic.
There will always be bigger hits and a few near-misses, but I love the spirit of this series. It made me think more deeply about collaboration — and breaking boundaries. What could give your work new colour? And why not impose a two-week timeline on an ambitious project? It’s an effective way to stop procrastinating and second-guessing yourself. There simply isn’t time.
Creativity is always pulsing below the surface, but sometimes it takes an impossible deadline (and flat-out panic) to push past what feels like a barrier. We’ve all had 11th hour triumphs. This show demonstrated that time and collaboration are ingredients — elements you can mix at will to create something surprising.
gen x & y on the radio
I did a fun radio interview yesterday with BCIT Broadcast Journalism student Vanessa Ybarra. We talked about the book I co-authored with Lisa Johnson, Mind Your X’s and Y’s, and the Free Agent Formula — the multi-media toolkit for entrepreneurs that we developed with our good friend and collaborator, Cassie Pruett.
Vanessa’s set to graduate in the next couple weeks and already sounds like a pro.
You can listen to our chat here.
p.s.
We’re gearing up to re-launch the Free Agent Formula (more affectionately known as the FAF) in the next couple weeks, so watch for more news about this one-of-a-kind program. It’s a six-step modern business plan designed for freelancers, consultants, solopreneurs and creatives of every kind. We’ve road tested it with many of our friends and colleagues — and it works!
break it down: jamie oliver
all photos courtesy Jamie Oliver
I just watched Jamie’s 2010 TEDPrize talk. Whatever your take on Mr. Oliver and his cooking, the man is plying his fame to tackle a critical problem. Even better, he’s proposing a simple, grassroots plan to stem the greasy tide of fast food and rampant obesity. Cheers to that.
Creative outsider, he’s not. But back in the late ’90s, Jamie was just a cocky Essexer working in London’s River Café. The charming, scruffy-haired lad who could talk almost as fast as he could chop intrigued BBC crews filming a documentary on the trendy dining spot. The TV segment aired and Jamie’s phone started ringing. Next came his own television series, The Naked Chef, and a growing audience dominated by women with a sudden interest in Pasta Puttanesca.
From that first series, Jamie built his name into a global brand expressed through television, best-selling cookbooks, an eponymous magazine, cookware and kitchen products, restaurants, and now a U.K. multi-level marketing program (think Tupperware). I realize that few creatives want to ply their wares in the style of sex toy and candle parties, but we can still rip a page from Jamie’s playbook. Let’s break it down:
The position
Jamie can cook and simultaneously charm the camera. That’s his thing. Flustered in the kitchen? Grab a stool and crack open a beer. He’ll show you how to grill up some fish with one eye on the football match. Simple. Easy.
The math
Choice and content
From a position of choice and expert status, Jamie had the leverage he needed to address issues close to his heart: The Fifteen restaurants built to train under-privileged young chefs, unhealthy school lunches and now, the bloated business of Big Food.
In 2004, sharing and creating content outpaced straight communication (i.e. email) as the top online activity. It was a huge cultural shift and technological shift. Jamie built his career by translating two basic talents into compelling content. That content built an audience, which in turn, enabled him to create more content, grow his profile, and leverage that profile to build his earnings, attract new opportunities and ultimately, control his own fate. That’s how the cheeky chef from Clavering has found himself onstage at TED. And isn’t independence — mixed with straight-up passion –– really the Holy Grail?
When creative skill is expressed through the right content (appropriate medium, format, distribution, tone), it builds an audience for the core work. We can’t all talk cricket and chop onions without severing a finger or two. But, every creative pro can develop engaging content. Take the best of who you are and what you do, match it with a fitting medium and create content that leads you to choice.
the look of creativity
Where is the lightning to lick you with its tongue? Where is the madness with which you should be cleansed? Behold, I show you the Superman. He is this lightning, he is this madness.
- Friedrich Nietzsche (from Thus Spoke Zarathustra)
Here’s another interesting thread from Psychology Today (a magazine I’ve been surprised to find myself reading with increasing frequency).
In a post titled, “What Do Creative People Look Like?” psychologist and resident blogger Mark Batey writes about the intellectual and personality markers that often define highly creative people — traits such as divergent thinking, curiousity, extroversion vs. introversion, and comfort with disagreement. Then he moves on to tackle motivation. Batey writes:
“There are two major strands to thinking about motivation and creativity. The first concerns general motivation. Creative people tend to be highly driven, hard working, persistent and possessive of a ‘never say die’ attitude. Coming up with new ideas that challenge existing paradigms is never an easy task. Armed with indefatigability — the creator ploughs a lonely, but steady furrow.
The second strand involves motivational orientation. In simple terms, we find that creative people have a tendency towards intrinsic motivation. That is, they are driven from within — by a sense of challenge, curiosity, desire to explore and to meet internal expectations. However, the picture is not so clear cut… Extrinsic motives (external facing motives like – respect, reward, remuneration, etc.,) can also be high priorities for creative people. The challenge lies in balancing the desire to listen to internal drives whilst maintaining enough external focus to see how the creative idea, process or product will be welcomed (or not!) by the outside world.”
Sounds true to me. I like Batey’s assessment of general motivation, which fights a cartoonish, Hollywood image of the artist struck with sudden genius, eschewing sleep and sustenance to channel overnight genius. That happens, clearly, and it’s a pretty fantastic high. But creativity is a daily business that can sometimes feel like drudgery, and, when it does, that doesn’t mean the outcome will be any less innovative.
I also appreciate the grey fabric of internal motivation. Is it inauthentic to feel driven by creative excitement AND a solid paycheck? Does it have to be a lonely path littered with empty bottles? Obviously not. Batey’s post highlights the slippery median between creativity and commerce. It acknowledges that feeding an internal fire can co-exist with paying the mortgage, and that it’s human to consider intangibles like respect and reward. Creativity is never a simple beast. Like all of us, it’s complicated, murky, and fascinating — especially when fully engaged.
meet pierre lamielle
photos & illustrations courtesy Pierre Lamielle
Talk about a Renaissance man. Pierre Lamielle is a Calgary-based author, illustrator, cooking instructor, graphic designer, blogger, and chef. His fabulously quirky illustrated cookbook, Kitchen Scraps, was published in October and will represent Canada in the Best Cookbook Illustration category at the Gourmand World Cookbook Awards on Feb. 11th.
Pierre graduated from the Capilano University graphic design and illustration program and worked for three years as a graphic designer at the Vancouver Sun and Province newspapers before accepting a design and illustration position at the Calgary Herald. When the Herald’s critically acclaimed SWERVE magazine was born, Pierre and editor Shelley Youngblut dreamed up a column that combined Pierre’s lively illustrations with original recipes for gems such as the “stud muffin,” “Adam’s apple ribs” and “hot under the collard greens.”
A couple years later, Pierre left the Herald nest to attend the famed French Culinary Institute in New York City, while continuing to write and illustrate his popular SWERVE column. When he returned to Calgary, he successfully pitched Kitchen Scraps to Vancouver’s Whitecap Books (after several rejections that claimed the book was “too wacky and weird”) and launched his new, multi-faceted, freelance food-and-art career.
I chatted with Pierre just before he jetted off to Paris for the Gourmand Awards ceremony – and an envy-inducing itinerary of exploring, tasting, shopping and “getting jazzed up” for his next book. While he’s certainly hoping to bring home top honours in Paris, Pierre says he’s “totally fine” losing to Chocolate: A Love Story by Max Brenner. “The other two… I don’t know.”
Good luck!
1. What fuels your work?
Organized chaos is pretty helpful – especially when you’re trying to be creative. But everything around you needs to be organized in a way that doesn’t make you crazy. That means going to the library, looking in different sections that you’re not used to and exploring things that you’re not familiar with. Researching – that’s the chaos side of things. The organized side means that you need to have a system that you can feel comfortable in and make slightly repetitive. It’s important to create habits, but also when you’re in the creative process, it’s good to go elsewhere to find new ideas.
2. What are some of your habits?
I find that dangling carrots is effective. For example, I’ll tell myself that I can’t have a cup of tea until something is finished. And when I’m doing illustrations, I use a specific pencil, I use a specific pen, and I have a set way of doing things. Writing is a little bit more free form, but I try to keep a consistent format.
3. How do you organize your life so you still have time, energy and focus to practice your craft?
I don’t keep it all that well organized. My mom’s in Vancouver, and she has an accountant that helps me with my taxes. I give her a shoebox, she takes a look at it, then gives it to her accountant. I’m sure it’s riddled with mistakes, and I miss lots of things and I don’t write off everything I should.
Day-to-day life can get bogged down, but luckily I’m not very important, so I don’t get very many emails. I keep a low profile. I don’t have anyone I need to talk to on a regular basis. But it does get interesting, because I juggle a few small jobs. I do the column, I teach cooking classes and I try to work on my new book. I also live with my girlfriend and we have her two small kids with us every other week, so it’s hard to keep things consistent. It’s a day-to-day juggle.
4. How many revenue streams do you have?
I teach cooking classes and write the column for SWERVE. And then to supplement, I do illustrations for clients. I don’t solicit, because I find that you just don’t get anywhere. It’s a real struggle to approach art directors. So, I wait for them to come to me, and basically, I’ll say yes to anything that’s about food. Then I do some small catering jobs on the side. Oh, and there’s also the book. It’s an income stream, but I would say it’s the most work I’ve ever done for the least financial payoff.
5. What is your bread-and-butter income source?
It’s a combination of the cooking classes and the column. I teach at The Cookbook Co. Cooks in Calgary, which has two demo kitchens, a wine shop, and a book and food emporium. I teach both public and private classes. So, it’s either group of accountants from an oil and gas company who come down and cook themselves a five-course meal – and I just make sure it tastes good. Or it’s the public class, where couples or singles or little groups of people come in and mingle and make a five-course meal.
6. Do you have a passive income stream?
No. I wasn’t organized enough to think of anything that I really wanted to merchandise for the last book, Kitchen Scraps. I didn’t want to do illustrated prints, and I didn’t want to do mugs or anything like that. For the next one I’ll probably be more organized and now that I’ve got the process of a book down, I might be able to figure something out.
7. What has brought the most opportunities and attention to your work?
The book and maintaining a blog along with it. I think those two, hand-in-hand, have helped each other out. But that being said, I’m kind of sick and tired of doing a blog, because there’s no revenue stream, and it’s an awful lot of work. You either have to have some really good bread and butter work and be passionate about the blog, or be marketing a product and use the blog as a small marketing tool.
8. What is the best investment you’ve made in your career?
Education. That’s pretty safe to say. Going to graphic design and illustration school was huge and got me on that career path. But then going to cooking school was phenomenal, too, because as much as I loved cooking and I’d always cooked, there’s something about the structure of a learning environment that catapults you way beyond anything that you can self-teach. There are aspects of being self-taught that are phenomenal and invaluable, but it’s also invaluable to get the foundation for learning.
What has had the least financial or professional payoff?
It’s hard to say. I’ve done this blog for about a year and I don’t really know the cash value of it. I suppose I’ve expanded the book’s reach, but I also don’t think it has really catapulted the cookbook anywhere.
9. Where do you stand on the “selling out?” debate?
I think you could quite easily sell out. I certainly wouldn’t want to do anything for fast food. Basically, wherever your personal ethics lie, if you feel strongly about something and you go against that grain, that’s selling out.
10. Is there anything else you’ve learned and want to share?
When you work at home, it’s really easy to wear pajamas. Your other pants will quickly become outdated. In fact, I just bought five pairs of pants the other day, because I realized that I had no pants – just one pair of jeans.
Thanks, Pierre!
stores that survive
photos by Deidre Schoo for the New York Times
In Wednesday’s New York Times, Cathy Horyn wrore a story called “Yes, We’re Open” about five new fashion retailers that are swimming upstream against the recession. It’s an appropriate topic after Black Friday in the U.S. and the newly-minted Cyber Monday, which offers online retailers the chance to cash in on the holiday binge.
It seems the bruised North American economy has created a predictable pattern where stores close or lay off workers and strip down their inventories. “But nothing quite conveys the confusion and sense of retail sclerosis as the high-end ladies boutique, lights on and empty, its owner selling the same six fabulous designers as everyone else, the same droopy China-made knit that shouldn’t cost $600 but somehow does, and not a chance, barely a glimmer of hope, that enough customers will care to buy something,” writes Horyn.
At the same time, lower rents and longer leases can also help newcomers to open the doors and turn their visions into reality. In New York and its burroughs, stores like Against Nature, JF & Son, Metal and Thread, Self Edge and Victor Osborne are attracting loyal new customers — often with a carefully curated mix of handcrafted, bespoke, vintage and forward-thinking items. It’s small-scale shopping without escalators or loyalty cards.
Certainly that’s nothing new, and the shift toward actually meeting the man or woman who stitches up your skirt has been gaining momentum for at least half a decade. But it’s still encouraging to read these retail profiles. According to Horyn, “beyond favorable rents, beyond an interest in traditional things, the new stores say a lot about the fashion world. That there is a disconnect between the customer and the people making clothes. That men have replaced women as informed, upward-moving shoppers. That designers will have to take control of how their clothes are produced.”
Here in Vancouver, those words also ring true. Every day, I walk past a pair of gorgeous-but-empty boutiques that opened in the last calendar year. I’m waiting to see which one shuts down first — even though they’re a beautiful addition to the neighborhood. At the same time, some retailers struggle with crowd control on a busy Saturday afternoon. Stores like Gravity Pope and Plenty come to mind. They can’t keep people out if they try. So what’s the difference? In my opinion, the survivors have these attributes on their side:
scale — small is beautiful. We’re sick of big box, big budgets and overblown, anonymous corporate retailers. Stores like H&M and Topshop are still getting a pass on this rule, but even they’re capitalizing on collaborations with designers such as Sonia Rykiel, Comme des Garçons, Matthew Williamson and Viktor & Rolf.
relative value — buyers will shell out more cash for the cashmere scarf if it’s a lovingly hand-knit, one-of-a-kind piece of fashionable art. Then the extra cost makes sense.
service — the owner who remembers your size and calls when something perfect arrives? That’s always been good business, but somehow it feels more meaningful today. Connections matter. Supporting small business is a social and political statement.
craftsmanship — who isn’t sick of hems that wait for the most inconvenient possible moment to unravel? Well-made products make sense. We’re seeing a long-overdue return to repairing things that were made right in the first place, and spending money on something that won’t be tossed in a month.
