Introducing Risdon & Risdon

In Shrewsbury, tucked away down a historic side street and up a narrow Georgian staircase is the workshop of Risdon & Risdon, where a new breed of aprons are being created for a growing generation of independent makers and crafters. We speak to its founders – mother-son team Carla, James and Alex Risdon...

Original apron in red

Original apron in red

Tell me more about Risdon & Risdon. 

Carla: We are two generations bringing together our creative strengths and ideas. My youngest son Alex is the leather worker with a natural talent for working raw materials into beautiful pieces. James, my eldest, is behind our branding, web design and is a part-time photographer. I have a background in textiles, sewing and making – mixed with a passion for traditional craftsmanship but a love of modern design. 

We're based in Shropshire - a county filled with artisans, makers and independent food producers. We realised there wasn't an alternative to the mass-produced aprons out there, and that these days people are seeking out the well-made, the handcrafted and the unique. So we set about making a range of aprons that complemented the very high standards these people are working to. 

What's so special about your aprons?

Carla: Each piece we design is constructed and refined to be functional, durable and easy to wear. Our aprons – made with sturdy cotton canvas and classic denim – are fastened with adjustable leather straps that can be removed for washing. The quality of the fabric, beauty of the leather and finish of the buckles, studs and clips are all of the highest of standard. The making process starts with an intense wash to give the fabric a worn in feel and finishes with our hand stamped tags - everything is thought through.

James: The business is really in its infancy – we have plans to design a broad range of workwear. Different trades and crafts have different requirements when it comes to what they need from an apron. It's also about giving people choice - we can provide an amazing canvas or denim apron with beautiful leather straps but you can also have it in a choice of colours. Our Original aprons come in three different lengths and if you want to make more of a statement you can choose to have red leather straps. 

Alex: Owning a Risdon & Risdon apron is having an heirloom piece that becomes part of your tool kit. People have told us how much they love wearing their apron - they put them on and the robust feel of the fabric, the smell of the leather straps and the comfortable fit immediately sets them up for the task ahead.

So, who buys your aprons?

Carla: We don't have a typical customer, just people with a discerning eye for quality and style. We've sold to people of all ages for a variety of uses - design students, event organisers, cooks, gardeners, baristas and barbers. It's great to know that something we have designed and made is making a difference to how other people go about their own trade or passion. 

How've you found the journey so far?

Alex: It has been a long process to get us to where we are now. Finding the right suppliers for everything we were looking for took longer than we had anticipated – there are a lot of cheap imports and a lack of choice with so much manufacturing being done overseas now. We want to represent good British tradition and workmanship. We always want to make sure the apron is up to the job. Our Original apron has evolved from what we created originally – it now has reinforced corners for extra strength where the leather straps are attached, the lap pockets are slanted at the top making it easier to quickly reach for what you need, the leather we now use is softer and more comfortable.

Carla, what's it like to working with both of your sons?

Carla: It's great – I love the energy they bring to everything and how they always manage to keep things current. I've learned to trust their judgement on whether something works or not, and likewise they know from me when things need to be to a certain standard. Alex works intuitively and comes up with great concepts. James did Graphic Design at Brighton and he's good at quickly translating ideas into images – he did all our branding and I like his eye for composition in his photography. I know that I can rely on their strengths, but also that each of our ideas will complement each other's. They're also hilarious to work with!

What's the future for Risdon & Risdon?

We're all really excited about the future. The more we make things for people, the more they come back to us with fresh ideas of other things they would like - a chef's apron with a special pocket for their tasting spoon, a knife roll to match their apron, a cool leather tool belt for barber's combs and scissors, bags for cyclists – these are all new lines on their way. 

Risdon & Risdon leather.jpg

This is a sponsored blog post, created in collaboration with Risdon & Risdon. Read more about Risdon & Risdon in the Ernest Journal directory.

Kokedama

Also known as ‘poor man’s bonsai’, kokedama translates as ‘moss ball’ and describes a ball of soil covered with moss, on which an ornamental plant grows. A kokedama is a tiny hanging garden containing everything needed for a plant to grow. Lyndsey Haskell of What You Sow is your guide to how to make your own...

What you need

Potting compost
Clay mix
A sheet of moss
Clover seeds
Twine
A small plant

How to do it

1. Mix two thirds potting compost with one third clay mix.

2. Shake soil off the roots of your plant then use your clay- soil mix to create a ball around the roots. Carry on until the sphere is the size of a grapefruit.

3. Roll the ball in clover seeds then wrap the sheet of moss all around the ball, binding it with the twine.

4. Leave a length of twine to hang your kokedama in a warm, sunny spot.

5. Spray your kokedama with a plant mister at least twice a week. It will regularly shed moss so hang it over somewhere easy to sweep. Never hang it over a fancy carpet or rug.

Recommended plants

Evergreen climbers: ivy, jasmine, clematis
Houseplants: pothos, ferns, small philodendrons
Woody herbs: rosemary, thyme, sage
Succulents: sempervivum, echeveria, aeonium 

What You Sow is for people who love to grow things; whatyousow.co.uk

Ernest curates: ohw?

We chat to the creative minds behind contemporary men's footwear label ohw? about why they have put style, function and, above all, traceability at the heart of their brand.

 

ohw? is the shared vision of two experienced footwear professionals who aim to bring a fresh approach to men's footwear with stylish and functional designs manufactured in their own factory in China. 

Unlike many companies that source their footwear from outside suppliers, ohw? have full control over how their shoes made and are immensely proud of the standard of their manufacturing and attention to detail.

"Authenticity is at the heart of our brand," explains co-founder Stephen Gill. "We believe our customers should know the provenance of the shoes they buy. From having our own factory to handpicking the people we work with, everything we do is a reflection of who we are. This is the reason we chose the name ohw? (who? reversed), which indicates that everything we do can be traced backwards. Each pair of ohw? shoes is even individually hand-signed by the person in our factory doing the final quality check."

Ohw?'s designs, while trend-led, are kept deliberately simple to showcase traditional shoemaking skills such as hand-stitching and size markers along the cut edges of the upper materials (the traditional way that shoemakers indicate the sizes of cut pieces). They use only the best leathers and combine these with advanced materials, such as hypoallergenic Ariaprene and combination rubber/phylon soles (more usually found in the midsole of sports shoes) for optimum performance and fit.

In typical ohw? style, designs for Spring/Summer 16 are uncluttered and elegant, in a muted palette. Here are our favourite three designs…

Gatland

Loving the tan leather body and suede laces. Reminds us of a traditional workman’s boot but with a contemporary twist in the stark white heels.

ROC II

This smart, classic, understated ankle boot has a cheeky splash of turquoise suede. Yep, we’re sold.

Freddy

Something about these reminds us of Marty McFly’s boots and 'power laces' in Back to the Future II. That’s enough to get a thumbs up from us.

To see more of the ohw? range, visit their website: ohwshoes.com

This blog post was created in collaboration with ohw? Read more about the brand in the Ernest directory

Coastal Landforms

If you get a buzz every time you answer a question correctly on University Challenge in front of your family, imagine how smug you’ll feel when you can identify coastal landforms next time you’re all out for a stroll by the sea. Learn these and prepare to feel a smugness never felt in the realm of smug before...

 

Isthmus

Narrow stretch of land connecting two larger landmasses, bordered by water on both sides.They’re of strategic importance as they allow migration from one landmass to another and are natural sites for ports and canals.

 

 

 

Tombolo

A type of isthmus that forms when tides and waves create a narrow strip of land, usually of sand or shingle, between a coastal island and the mainland.The island connected to the mainland is known as a ‘tied island’.

 

 

 

 

Spit

A stretch of beach extending out to sea, joined to the mainland at one end. Spits are the result of longshore drift in areas where the waves meet the beach at an oblique angle, leading to marine deposition.

 

 

 

 

Archipelago

A cluster of islands in a body of water, usually the sea. Most of our archipelagos were formed when volcanoes erupted from the ocean floor, though there are other processes that create them.

 

 

 

 

Skerry

Small rocky islands, usually too small for habitation, found off a rocky coast. Generally intertidal but sometimes they extend above high tide.Also known as a ‘low sea stack’ they are found in Scandinavia and Scotland. 

 

 

 

 

 

Words by contributing editor Duncan Haskell

Illustrations by Ruth Allen; blueeggsandtea.com

listen to Scriabin's Mysterium

Meet Russian composer Alexander Scriabin, whose week-long synthesised symphony was all set to bring about the end of the world.

Alexander Scriabin (1872--1915) / Alexander Nemtin (1936--1999), L'Acte préalable (Preparation to the Final Mystery) 00:00:00 I. Universe 00:41:46 II. Mankind 01:33:45 III. Transfiguration Alexei Lubimov, piano Thomas Trotter, organ Anna-Kristiina Kaappola, soprano Ernst Senff Chor St Peterburg Chamber Choir Deutsches Symphonie-Orchester Berlin Vladimir Ashkenazy Artwork by Jean Delville

The Mysterium: Preparation for the Final Mystery was to be Alexander Scriabin’s master work, intended to bring together all he had learnt about philosophy, synesthesia, theosophy and poetry. He thought of his music as fragments of this mystical vision – as bridges to the beyond in the tradition of composers such as Wagner and Stockhausen who wanted their music to bring about “aesthetic, social, or cosmic apocalypse”.

Scriabin delved heavily into Russian symbolism and theosophy and his notebooks are filled with fascinating passages charting his personal voyage. He believed he could attain the symbolist ideal of art having a material effect upon reality by channelling divine energy through the careful coordination of elements designed to stimulate multiple sensations.

He started working on The Mysterium in 1903, but it remained incomplete when he died in 1915. His vision comprised a seven-day-long mega work with dirigibles and bells suspended from clouds that would summon spectators from all over the world. A reflecting pool of water would complete the divinity of the half-circle stage, with spectators sat in tiers across the water and the least spiritually advanced in the balconies. Seating would radiate from the stage, where Scriabin would sit at the piano surrounded by a host of instruments, singers and dancers. The cast would include an orchestra, dancers, a choir and costumed speakers articulating rhythmic texts in processions.

The work required special people, special artists and a completely new culture. The entire group would be permeated continually with movement. Together with fellow theosophist Emile Sigogne, Scriabin worked on a new language for The Mysterium, which had Sanskritic roots but also included cries, interjections, exclamations and sounds of breath. The temple in which the event would take place would not be made of one type of stone but would continually change with the atmosphere and motion of The Mysterium.

This would be done with the aid of mists and lights, which would modify the architectural contours; sunrises would be preludes and sunsets codas; flames would erupt in shafts of light and sheets of fire and constantly changing lighting effects would pervade the cast and audience, each to number in the thousands. The choreography would include glances, eye motions, touching of hands, odours of both pleasant perfumes and acrid smokes, frankincense and myrrh from pillars of incense. Furthermore, the whole world would be invited: “Animals, insects, birds, all must be there.”

Scriabin intended that the first and only performance would be held in the Himalayan foothills in India, in a half-temple that would crumble due to the vibrations of the performance and open the ritual to the heavens. The event would annihilate space and melt reality, bringing about the end of the world and replacing humankind with nobler beings. All participants would dematerialise, allowing them to achieve spiritual unity with divine cosmos.

Fortunately for the human race, in 1915 Scriabin nicked a boil on his upper lip when shaving and died from septicaemia at the age of 43. His funeral was attended by such numbers that tickets had to be issued. Rachmaninoff went on tour, playing only Scriabin’s music. Scriabin was acknowledged as one of the essential voices of the early 20th century.

At the time of his death, he had sketched 72 pages of the prelude to The Mysterium, entitled Prefatory Action. Composer Alexander Nemtin spent 28 years reforming this sketch into a three-hour-long work, which was eventually recorded. You can hear it below:

You can read the full feature about Alexander Scriabin and The Mysterium (written by Tony Gill) in issue four of Ernest Journal, on sale now.

Issue 4
Sale Price:£5.00 Original Price:£10.00
Add To Cart