Although the creation of King Leche Cremes marks Walter’s first foray into food startup entrepreneurship, he is no stranger to the New York City food world. Walter has been waiting tables for the better part of the twenty years he’s been living in the city, serving food for the likes of Wiley Defresne at WD-50, for Rick Bayless at Bar Americaine and, most recently, at the Good Fork in Red Hook, Brooklyn. Walter lives in East Harlem but is a native of Kansas City, where he can trace the origin of his love of ice cream to his large Missourian family. “I can taste it right in the front of my mouth,” he waxes nostalgic. “I can taste the cheap vanilla” of the ice cream his aunt would make for family gatherings.

King Leche Cremes are a far cry from his family’s traditional rock salt and imitation vanilla concoctions. For one, the base of his ice cream is spice driven: “I use cardamom, all-spice, and rosemary,” he says. “If I left the sugar out, it would be the base for a savory tart.” Another trait that sets his ice cream apart is his use of alternative dairy and eggs. Lactose intolerant himself, Walter chooses to work with goat milk to achieve a desired consistency and viscosity and because of a belief in it’s more salutary qualities; he also uses duck eggs in lieu of chicken eggs. Finally, he doesn’t use a stabilizer–an ingredient found in most commercial ice cream that emulsifies the components and serves as a preservative–because he dislikes the consistency it gives the ice cream (even though this means you might have a melty pop on your hands if you don’t eat fast enough).

Getting the alchemy just right was a result of lengthy experimentation. Amongst the most notable of Walter’s trial and error disasters was a particularly adventurous blue cheese ice cream effort that he premiered at a Thanksgiving dinner eight years ago. “It just tasted like frozen blue cheese,” he recalls. “My friends still bring it up.”

It’s safe to say that he has redeemed himself since the blue cheese incident. These days he’s serving an array of flavors, including red velvet cake (made with the traditional source of it’s distinctive red color: beets), spicy chocolate, chocolate bourbon, honeysuckle, and sweet pea and mint–among others. Flavors change weekly, depending on which fresh ingredients Walter can get his hands on. Everything is locally sourced in piecemeal through a veritable scavenger hunt that spans the metro area. He gets honeysuckle from the Inwood Hill Park, honey from his neighbor’s rooftop, figs from a Harlem community garden, mint from his boss’ garden in Red Hook, goat milk from cheesemonger Anne Saxelby at Essex Market, and other local fruits and vegetables from greenmarkets around the city.

In many ways, Walter’s story exemplifies what it takes to cultivate a startup from scratch in the Brooklyn artisanal food scene.  It seems that Walter has a lot of the qualities for success: a culinary knowledge, an interesting spin on a traditional treat, and a dedication to locally sourced and seasonal ingredients. He also has the hard work and resourcefulness necessary to start a business alone and with little money–King Leche Cremes is a one-man show operating on a server’s income. Walter relies on the generosity of the restaurants at which he works for commercial kitchen space, for example, toiling away after his serving shifts to make his product.

Beyond the complications of starting a small business on a limited budget, another obstacle has been finding an audience. Walter’s community is East Harlem but Brooklyn has provided the easiest point of entry to big crowds of adventurous eaters at large-scale food venues such as the Brooklyn Flea and Smorgasburg. The flip side to this access, though, is the challenge of standing out among all the other food vendors. “It’s a lot of competition,” Walter laments. “Every Saturday at Smorgasburg, I’m facing People’s Pops. They’re the most popular frozen dessert. They have a lot of visibility. That’s my challenge. Gaining visibility. Literally, you have to be seen in this scene of other food stalls.”

As summer comes to a close, Walter remains optimistic and confident in his product in spite of the hurdles. When I visited him recently at Smorgasburg, he was happy to report that he had sold more pops than ever before and would likely sell out that day. He successfully managed to grab a good, visible spot, right next to one of the entrances and the ATM machine. He also announced that the Good Fork in Red Hook recently started selling a couple of his flavors: Duemarte Rum Raisin and Peach Lavender. And, from what I observed, everyone who skipped the long line at People’s Pops and tried a King Leche Creme was a satisfied customer.

Now, instead of keenly crafting my sprawling notes into a coherent, concise article, I’d rather you, the reader, experience it as I did. I kept looking at these notes trying to distill the experience into a consumable sound byte, but these short impressions represent the interview almost better than an article can. The band was a word-a-minute of super-fascinating genre theory and speculation on music criticism. It was interesting and enlightening. I had a great time. So, below, I present to you, my notes from the interview (nearly) unadulterated and raw as they came.

QUILT

Anna Rochinski
Shane Butler
John Andrews

Shane

Grew up in the Catskills. Moved to NYC when he was 14.

“Actually can my eggs be scrambled instead…”

Went to a Quaker boarding school in PA. They have weekly meetings for worship. 45min of just being with each other. Teaches you about community.

Dad teaches meditation courses. Lives in the endless mountain region of PA near the Poconos.

Anna

Lived in NYC when she was 19 for a summer, 2007. Bed Stuy. Did an internship. Lived with Shane for a minute.

Her dad is a gigging jazz musician that teaches at Berklee school of music. grew up on Jazz.

John

Grew up in NJ. Came to the city to go skating. Had an older friend that was an original Fiveboro writer. He and Shane would spend full days skating everywhere around the city.

Mexican Summer

The met Katie from Captured Tracks when she went to BU. She passed their 7-song record recorded in 2010 along to Mex Summ. They were all part of the same house show scene.

The white house, a DIY ‘music and art collective’. Anna lived there. They used to have ‘hootenanny’ nights, which is probably where Shane and Anna first really hung out, though they met in art school.

Shane: “I was Anna’s TA in college…she had a CD that was a White House Family CD…you know those people too?” he said to her.

Folk Music

Both were in folk bands. Shane was in punk bands in high school but when he was living in Bed Stuy all he had was an acoustic guitar. He recorded folk-sounding songs that were written more in the style of punk rock, like The Urinals, or something. . .

Getting Compared to other bands?

Anna: “We got compared to the Beastie Boys once…”

They’re not completely adverse [sic] to getting compared to other bands, though Shane particularly dislikes being equated with only old bands.

Anna: “Comparing bands to other bands has always been a part of music journalism, but it’s especially prominent now…”

Influences, if there were any?

Tropicalia Movement

Less about the sound, more about the scene.

Shane: “Taking a futuristic view of the past which I’ve always loved.”

Anna: Linda Perhacs, the reissue on Mexican Summer “a friend played parrallelograms [sic] for me and I’d never heard anything like it. the way she was layering the sound…so beautiful”

Friends with Bob Trimble

Another Mex Summer re-issue. He lives in Mass. He’s seen their shows. Their friends play in his band.

Another Influential Character

Bif Rose

Outsider cult musician. Famously wrote songs for David Bowie and others. He was living at Jesse Gallagher’s (producer and former Apollo Sunshine member) place in Boston, while they recorded their record. He would often read his own poetry over their music and jam with them on new ideas.

Shane: “He can be hilarious and he can be offensive, but it’s also slick and it’s also smart…in the end it influenced our songwriting.”

Their song children of light is loosely related to Biff Rose. First he has a song with that name. and second, they piggybacked on the post-baby boomer generation’s idea of not taking stock in the rigid rules of previous generations.

Songwriting

Anna: “The way we explore song structure is from a place of intuition.”
Shane: “It finds itself.”

On Their Band Name, Quilt

They think a lot of people make more of it than it really is. They just chose a name that they like, but –

Anna: “We learn more and more about our name as we go.”

Their approach to song structure, for example, is like a patchwork Quilt. Playing pieces of songs and mashing them together, or trying new variations of songs every time they play them live until they end up with their idea for a studio recording that “becomes a song you want to play over and over.” – Shane

Plus, their influences are disparate. Varied. Like a Quilt. The band credits the internet age, a time when “authenticity is questionable” — Anna “Questionable, or doesn’t matter…” — Shane

Shane: “You can have a Pixies bassline and a George Harrison guitar line…” Anna: “…and then rap over it and drip it in reverb!”

Band photo by Robert Bredvad.

“That show changed me,” Kim explains in her City Island studio. “I couldn’t do organic chemistry anymore. I was horrible at it. I thought, how could I do this for the rest of my life?”

It was around the time of this major change that Kim’s father shared a National Geographic article on fractal geometry. Visually, she was drawn to the detailed, self-repeating patterns characterizing fractals. Conceptually, the prospect of maintaining some connection to the sciences even as she took the plunge into the fine arts was a reassurance. “I just started painting the fractals. All the while, I was attempting to blend the science and the art together so I wouldn’t forget one or the other.”

Maintaining this fusion of arts and sciences has led the artist to her most popular series of work, the “altered book paintings.” Using scientific texts sourced through the internet, Kim illuminates the pages with gouache abstractions, executed in a range of vibrant colors. “My patterns have gotten a bit more arbitrary lately. They are inspired more by the things I see day-to-day and what I think about the world. Some of them still have a scientific inspiration, but the science is more in the text. My technique is more pattern-based.”

When asked what she enjoys about producing these small-scale works, Kim says that she is happy to provide affordable works of art to a larger population via her Etsy shop. “People like to purchase three or four of these small works at a time, and I like that I can sell them at a lower cost, so that’s a possibility.”

In addition to her ever-growing series of book paintings, Kim has an extensive collection of large format paintings filling her studio. Many of the bigger canvases have spent time over the past four years decorating Barney’s on Madison Avenue. “I like the purity of a gallery space, but I loved seeing my work with other things. The display in-store transformed the canvases into fashion-based props; it became a more utilitarian situation.”

Viewing her work next to clothes piqued the painter’s interest in seeing her work as clothes. “It was incited by my desire to have my imagery become something useful. Something people still get to look at but that also functions as a piece of clothing.”

Serendipitously, Kim’s friend introduced her to designer Ann Yee–knowing that the artist wanted to work in clothing while the designer wanted to collaborate for her Fall ‘12 collection. “We had met in passing before, and Ann knew that she wanted a print inspired by these cave photographs. I took the images she was looking at, made nine different pieces, and then Ann zeroed in on exactly what she wanted and took it to production.”

After attending the designer’s presentation and seeing her work in so many different forms–as a dress, shorts, and details–Kim was convinced that clothing was a realm she’d like to explore further. “Seeing my work on clothes and in motion rather than this static thing was incredible. My patterns took on another life.”

While there is no reason the artist might not one day tackle the dressform herself, for now, she is excited by the prospect of future collaborations with established designers and producing accessories on her own. And if her exquisite print for Ann’s fall collection is any indicator, scarves (etc.) based on Kim Piotrowski’s original patterns will be wearable art to own and love.

To purchase Kim’s work, visit her Etsy shop. Or follow the artist on her blog and Facebook page.

Prior to that fateful rainy day, Yurika, Terra New York’s creative director, had been considering the concept for quite some time. “As long as it has been raining that I can remember, it has been on my mind,” she explains. “I have been working in fashion in Sweden, France, Japan, and New York, destroying beautiful accessories and clothes in the city rain on my way to meetings and events. I have been looking for the perfect outfit and never found anything to my liking.”

And thus, Yurika decided to adapt ever-popular jacket styles, such as the trench (Terra’s “Tribeca”), the cape (“Nolita”), and the parka (“Lower East Side”), into uber-functional performance pieces. With such an emphasis on utility, fabrication was obviously key. “I always loved transparency and the movement of smoke and water, and this lead to the concept of the material I chose to work with.”

Once the concept was firmly in place, Marie took the reigns to drive the company’s commercial success. In addition to her role in Terra New York, Marie also runs her own, eponymous public relations company, Marie Saeki PR, whose current client list includes Petite Bateau, Alice Ritter, and Histoires de Parfums. “When we decided to start Terra New York with Yurika, it was a no brainer press-wise,” Marie says. “Nothing like that existed on the market; we are still the only one to use such techniques as heat-sealed seams to not let a drop of water in, ventilation system for the comfort etc….and with Yurika’s vision and creativity I knew we will get some fans right away!”

Yurika’s sources of inspiration tend to be multi-faceted. “I am a pretty active girl so I would say it comes from my everyday life, when going traveling, to museums, art galleries, movies, theater, opera, ballet, art performances, nature…life.” Appropriately enough, many of these places and activities directly coincide with Yurika’s favorite rainy day activities.

While the line may seem limited by its specificity, Yurika ensures that this is in no way the case. “I always illustrate and find ideas, so I will, of course, design new styles and find new colors…[Moving forward] I believe the future is bright and that you will see many interesting sides of Terra New York.”

“I see Terra New York as an all-weather brand, for rain, snow, etc.,” Marie adds, “a brand adapted to the exigence of stylish women and men for all type of weather.” It’s also a brand with a philanthropic agenda, and in the near future, Yurika and Marie aim to use their rain-generated profits to help provide water in areas where the commodity is scarce.

For more information on Terra New York or to purchase rainwear online, visit the company’s website.

Now working fulltime on her independent line from a studio in Greenpoint, Fay Andrada is enthralled by the process of creating staunchly unique and refined pieces of jewelry. In fact, it might be her high level of engagement with the creation of new pieces that makes her reluctant to self-describe as being “in fashion.”

“I really want to preserve the newness of the idea. I don’t present anything that I’m not super excited about. I’m really self-conscious about that, and I’m really picky about what I put out there. I don’t yet feel able to enthusiastically deliver ‘X’ amount of new ideas or styles a year in order to fulfill the seasonal cycle that the fashion industry operates on.”

Fay may term it as “pickiness,” but a more apt label might be integrity. Rather than getting caught up in the cyclical frenzy of seasonal deliveries and muster a catalogue of so-so designs, she is slowly and steadily building a portfolio of incomparable objects. “It’s probably my design background; I want to solve a problem and not just repeat or rearrange things,” Fay explains.

Problem solving and jewelry making may sound like incongruous activities. But consider the times your bracelet has gotten in the way of your keyboard. Or the countless moments when your favorite pendant has slid to the back your neck, hiding from view. And how about that earring post stabbing you in the side of your head? Sure, these are not life-altering occasions, but they are little nuisances that could be easily mitigated, should a designer take the time to think them through. And wouldn’t it just be nice if we could happily brandish our bangles without concern for how their persistent jingle-jangles might irritate?

Thankfully, Fay is such a designer–the one who wears her items before selling them, working out the kinks so that her pieces could be worn to bed, should one desire. “My shapes are so simple. I have to make sure every edge is completely flat, smooth and comfortable to wear. There is a high level of craftsmanship involved. The consumer might think my price points are high for base metal pieces, but its the labor and time that goes into the making. Not to mention, my details make the pieces different from the mass-produced versions you find at major retailers.”

To get a sense of the labor and attention to detail Fay is referring to, one need look no further than the “Nicolette” earring. Upon first glance, the design seems facile: a teardrop shape, composed of brass and copper. Simple in design, challenging in execution.

“I made the first pair early on, immediately after learning how to metalsmith. I gave them to my friend who wore them constantly, so I decided to put them in production. They are my worst item business-wise because of the time it takes for me to be satisfied with them. I adjoin the two metals with silver solder, and I always want the juncture to be perfectly straight and have the soldering line be faint enough that it appears as though the metals are fading into one another.”

The designer’s concern is the consumer’s joy when they proudly don her exquisitely crafted composites. And, happily, this same level of artistry is found in Fay’s entire collection. “I construct all my pieces to have a timeless aesthetic. They have to have the quality to stand up to that.”

Her most popular piece, the Suippo bracelet, is a fantastic example of the designer’s enduring aesthetic, uniquely rendered. “I hadn’t done any bracelets, and I was sitting on my bench, trying to join the ends of this brass wire into a circle. As I joined them, I saw the teardrop and it sort of hit me. Now, I sell them in a set of three because I love what happens when the peaks scatter around your arm. And an added benefit of the design is that if you push them up on your arm they stay put, and they never slide off your hands.”

It is the subtlety of Fay’s work that makes her pieces so readily coveted by women of all sensibilities. Easily inserted into any wardrobe, the designer’s styles exhibit a ubiquitous elegance while persistently avoiding any level of ostentation. “I don’t like precious,” Fay says. “My pieces are everyday wear.”

As she grows the collection, Fay is staying true to her perspective and evolving her skill set. A recent piece, the “Viukha” earrings, challenged the designer as she set out to create an earring that did not just attach to a hook. “I wanted to make a continuous shape and figure out the hardware to go with it. I love how these earrings are effectively a circle with some angles cut out, and the clasp is actually part of the earring’s body itself.” Again, it is this almost indistinct iteration on the earring’s construction that makes the design so inventive. Instead of producing a piecemeal earring, the item is a single unit, diminishing its susceptibility to lost bits of hardware while increasing its longevity. They are earrings designed for daily use on more than an aesthetic level.

Maintaining her enviable design integrity as she goes, Fay hopes to eventually expand into other territories. “I’d really like to get into homewares. I like the idea of making items for the kitchen and table and I have a strong affinity for industrial design, so my aesthetic would play well in that realm.” While Fay Andrada kitchenware is sure to be must-have, for now, the designer is excited to further develop her jewelry line. “Up until last year, I was still practicing at this. I was making items similar to pieces I owned and loved. That’s what you do in the beginning–you emulate and iterate. Now, I feel like I’ve found my own voice and can really focus on executing new ideas.” Given her keen ability to transform inspiration into reality, no matter where Fay applies her skills, the result is sure to leave a lasting impact.

For more information on Fay Andrada, or to purchase her jewelry, visit her website.

Andy Lifschutz makes eco-jewelry. But you probably wouldn’t guess it from looking at his work and he certainly won’t be the first to tell you. “When i think of ‘eco-jewelry,’ I think of people using vintage watch pieces or old chains they got from estate sales. You know, people rummaging around and finding junk to string onto a necklace. I don’t think of it as people creating new designs that are every bit as ethical or recycled. What I do is eco-jewelry, but I don’t think of it that way. I think of it as modern, relevant art.”

Working primarily with reclaimed metals and stones found close to the earth’s surface (think: quartz), Andy’s work finds itself teetering between contemporary abstraction and enduring naturalism. And this aesthetic is not easily won. With every style and every collection, the designer challenges himself as he endeavors to share his perspective, never relying on an established skill set. “I incorporate both old and new methods, that’s unorthodox. You’ll find that most designers design in a certain way and have that certain aesthetic that carries over between collections. That is a part of their brand from the first collection to the last. For my line, everything has an earthbound feel to it but my techniques constantly evolve to help me tell my story with each and every collection.”

While his techniques may vary, one thing Andy never deviates from is his process of sourcing materials. It is here that we find ourselves at the unexpected nexus of environmentalism and ornamentation. “When I was growing up on Oregon, I had a big rock collection. We would drive out to Eastern Oregon to look for thundereggs in particular–they look all gnarly on the outside, but when you split them open, the landscape inside them is beautiful, like an impressionist painting once polished…Then there were these rock shops in Portland–Ed’s House of Gems and Handley’s–that I’d visit all the time, and still do when I go back home.”

It is safe to assume that this childhood pastime influenced Andy’s lasting love for all things rock. It also, however, encouraged a consciousness that has carried over from a childhood hobby into a business. “The impact of mining, generally, is not a positive one on our earth and its core. And that is by and large why I choose to use either stones that are not that far below the surface, or stones that are pulled from vintage pieces.”

Of course, living and working in Brooklyn, keeping up with orders and working with clients means that Andy doesn’t have loads of time to hunt down rocks himself like he did when he was a kid. But, luckily enough, that has not meant sacrificing thoughtful sourcing. “I was surfing the internet and found a stone supplier in Arkansas and he turned out to be an amazing guy with a great story. He was in the Navy for a long time and reformed himself into a crystal healer. He feels like he has a purpose in putting these stones out into the world and we’ve built this great relationship where I can call him up, talk about stones and minerals and he knows exactly what I’m looking for. When I order, he hand picks the stones for me. In that sense, I know whose mining the stones, exactly what part of the earth they’re coming from and I have an intimate relationship with how they arrive at my mailbox.”

It’s not just where the stones are coming from that is under consideration. The metals play an equal role in representing the jeweler’s conscientious methodology in that no metal used is coming from the ground. “I chose my casting company based on the fact that they work solely with United Metals as their supplier. A lot of companies might use United for some of their metals, but with my casting company, whatever it is, United supplies them. And it’s a big deal. United is at the forefront of really high quality alloys, derived completely from reclaimed, scrap metals.”

One wonders why all all designers don’t consider such an option for their manufacturing. It seems that if there are large companies focused on providing reclaimed metals, the demand is there. “It is marginally more expensive,” Andy clarifies. “But ultimately I think a lot of people don’t know the option exists or they don’t care. I think those are probably the two biggest factors.”

It might sound a bit cynical, but the fact is, designers have so many things to consider when it comes to fabrication, environmental impact would, regrettably, be one of the items to fall towards the bottom of the priority list. Andy’s case is a rare one in that his consciousness was inherited not only from his childhood experiences, but also as a student at the Sterling Quest School of Jewelry Design and Creation in San Miguel de Allende. “I was living in Mexico when I really started making fine jewelry, and I was buying stones from these families that were actually mining and cutting them. It was truly direct-sourcing.”

Don’t mistake Andy’s awareness as immodesty. One of the most compelling qualities the designer possesses is his ability to acknowledge his successes while acceding the limitations of producing luxury items. “My work has its place in representing a consciousness but regardless of how conscious a jewelry line aims to be, you’re still creating something that nobody actually needs. I feel like I can be seen as someone with environmentalist viewpoints, but I don’t view myself as an environmentalist because ultimately, I’m producing something new.”

For his current collection “Le Havre,” the designer is moving into new territory. Inspired by a vintage leather travel bag, the latest line explores the metamorphosis of a worn out bag into a wearable collection of art. “I started taking the bag apart little by little, and I made some necklaces from it for some private clients. Then I decided to see if I could make silicone molds out of the actual leather–where the texture of the material would come through into the pieces. I cut out the hardware and shapes from the leather and eventually it grew into a line.”

“Le Havre” is marked by bold pieces, intended for the empowered and dauntless. Collars and cuffs wear like armor while pendants and rings are rendered as distinctive emblems. With such a commanding presence, the collection seems right for the times. “Releasing the line in 2012 is somewhat symbolic of all the calendars that say this is an important year, and of all the people who believe it to be important. It was intentional to release such a big line at this very moment.”

Even with its valiant, somewhat masculine look, Andy’s jewelry has found a loyal consumer base in the female population. And for next fall, he hopes to find a following in the male market. In discussing his plans for the line, Andy would only relay the following: “My intention with any line I create  is that each piece be special and is created to be loved and treasured. For men, I feel that there is a need to be extremely specific if you want to appeal to a broad audience of male consumers. They have a very discerning eye and are only going to buy a very particular piece that is extremely well thought out and well made.”

With an extraordinary women’s line already established and an undoubtedly impressive men’s line in the works, Andy Lifschutz has made his presence known in the industry. Yet what is truly remarkable about the designer is not what he has accomplished, but rather, what he plans to. “I used to travel to gain the inspiration to make my jewelry. Now that I’ve been doing that full on for awhile, I am ready to travel again so I can explore new facets of the world and improve upon what I do. Community has always been very important to me and I want to work towards helping communities in whatever capacity makes the most sense for me. Helping to develop communities and have it incorporate with what I’m doing would be ideal. And that doesn’t mean just going somewhere and buying something. I want to make a tangible impact. I’m encouraged by the work of the Obakki Foundation in particular. They use the brand to fundraise and bring wells to communities in Africa–like the one in the Sudan responsible for making their textiles. I’ve not always done the best job at promoting my interest in philanthropy, but its something I continue to strive towards.”

He’s not all talk either. For an upcoming collaboration with Cri de Coeur, Andy will be contributing a special holiday collection of necklaces, bracelets, rings and earrings to the brand of ethically produced footwear and accessories. As for what we can expect the collection to look like? He’s not giving away any details just yet, but we can be certain they will be pieces we can feel good about wearing.

For more information on Andy Lifschutz, visit the designer’s website.

Emily Elsen, who owns the shop with her younger sister Melissa, arrives to meet me–eager to talk about pie and its complexities. To make a really good, fresh pie, one has to consider the seasonal ingredients available, the flavor pairings in the filling, and what type of crust best suits the pie filling–both in ingredients and in form.

At Four & Twenty Blackbirds, pie flavors range from the famous Salted Caramel Apple to Chamomile Buttermilk Custard, tending towards a more sophisticated flavor palette and straying away from what Emily calls “retro pies.”  She explains, “We shy away from really overly sweet, candied pies…like Peanut Butter Pretzel or using marshmallows.” Instead, they use a lot of herbal and aromatic ingredients like lavender and bitters, finding inspiration in what’s in season and available locally–often as close as the rooftop farm around the corner.

While the pie fillings at Four & Twenty Blackbirds are delightful and unique, our conversation centers around what many pie-makers would agree is the most difficult and particular part of a pie: the crust. In Hecla, South Dakota, where Emily and Melissa grew up, their grandmother made pies for the family restaurant.  She had “a traditional midwestern style of making pies which was cream pies in the winter time, fruit pies in the summer, lard crust; really using local ingredients and stuff that was available, but mostly for economic reasons–whatever was cheapest at the time.”

Their grandmother swore by a lard-based crust. But because Emily and Melissa don’t like the mouth feel of too much lard and aim to make more vegetarian-friendly pies, they tend to make butter-based crusts. When they do use lard, it is sourced from The Meat Hook’s artisanal supply in Williamsburg.

“Crust is very personalized,” Emily explains “…[and] by virtue of what it is, is very experimental and sculptural.” Perhaps unsurprisingly, Emily originally moved to New York to study sculpture at Pratt and was instrumental in founding non-profit a artists’ studio called Gowanus Studio. Although she formerly spent her days woodworking, metalworking, and bookmaking, Emily’s present day craft is in the kitchen. “These days, the only sculpting I do is pie crust.”

“There are so many things you can do,” Emily says of crust styles. “You can braid crust, you can do tiny, fine woven lattice, angular lattice, you can do cut-out tops; I mean, its endless.”  For pies with tops (like fruit pies) the Elsens use a design that is both practical and beautiful. “We cut it down to 6 lattice, with the straight egg wash, which is just egg with a little salt and then we use demerara sugar- raw sugar. We feel like it gives it a little bit of sweet crunch on the crust, it makes it look nice, it gives it a little bit of a textural feeling on the top.”  The lattice top also allows for excess moisture to evaporate, and since their crust is fairly thick, the spacing makes for a better ratio of filling to crust.

For the most part, Emily and Melissa have taken the knowledge they learned from their grandmother and added a bit of a modern twist and an eye for creativity, but some of their recipes have remained almost identical to their original form, like the Sour Cream Raisin and Rhubarb pies. “If we made cream pies, I would use her recipe exactly because I loved her cream pies. She did a Coconut Cream and a Sour Cream Lemon.” When Emily and Melissa expand the business, as they plan to do, they are hoping to have more refrigerator space so they can keep up the tradition and start making more cream pies.

Along with their plans of expansion, Emily and Melissa will be releasing a cookbook in Fall 2013. So if you want to makes pies that are as fresh and delicious as they are beautiful, keep an eye on the bookshelves for instructions from the experts.

Visit Four & Twenty Blackbirds at 439 3rd Avenue in Brooklyn or check out their website to order a pie. 

The elegantly curated space plays host to a selection of jewelry, housewares, and curiosities. Featured designers include SAMMA, David Neale, Andy Lifschutz, Better Late Than Never, Eric Bonnin, Shino Takeda, Arla Bascom, Small Spells, Robert Blue, Lebico, Baggu, Kim Eischler-Messmer, Doug Johnston, Suzanne Sullivan, Futagami, MCMC Fragrances, Saipua, Iacoli & McAllister, Santafe Stoneworks, Alyson Fox, Chen Chen and Kia Williams, and vintage rugs from Morocco.

Read more to check out our gallery from opening day.

There is something really refreshing about Ann’s candor. While it is understood that developing a collection as a singular, emerging designer is no cake-walk, it is also rare to hear an ambitious upstart discuss the challenges.

“Developing a collection is expensive,” Ann continues. “I am always thinking: how many different styles should I construct for the season? I know I need to provide a variety for the buyers to choose from. But I can’t create so many, that if some don’t get picked up, I didn’t waste a whole lot of development money. It’s a delicate balance.”

If anyone is able to overcome the obstacles of building out a brand, it’s Ann. With a strong set of technical skills coupled with an even stronger point of view, Ann’s label is a testament to the efficacy of thinking big while working small.

“I moved to New York after graduating from the Philadelphia College of Textiles & Science, and I ended up at a private label knitwear company. I got stuck working in sweaters there, and I just loved it. It’s very specific and there aren’t a lot of knitwear designers out there. I really learned a lot.”

After a while at her day job and with the necessary industry experience in hand, Ann felt the increasing pull towards creating an eponymous line. “Because I had been so focused on knits and sweaters, I really wanted to develop some more structured pieces, using more materials. I started sketching in the evenings, taking the time to see where things would go.”

Soon enough, sketches begot samples and the designer went ahead in creating a small capsule collection which she refers to as her “getting my feet wet” collection. “It didn’t really go anywhere, but it was key in helping me accrue my contacts in the garment district and learning the process of sketch to sample to fitting. I got to see my clothing become a reality for the first time.”

Even though her inaugural collection never made its way into stores, it effectively encouraged Ann to continue designing for herself. By Spring 2010, her pieces were in stores and she had gotten so busy planning for following seasons that she was convinced to quit her day job. “It got to be a bit too much,” she divulges. “I was working all day and sketching all night. I loved the company I was working for, but I realized it was time to focus solely on my own business.”

Now showing her sixth collection, Ann has hit her stride and found a distinct voice. Concentrating on the creation of “core wardrobe pieces,” the designer’s work represents a belief that clothing can be timeless while maintaining its whimsy.

“I think my aesthetic is less serious than most downtown New York designers,’” Ann says. Citing her Hong Kong heritage as a plausible influence on her style, she continues, “I may not do it consciously, but there is a nod to contemporary Asian design in my collections. The street style is so unique in Hong Kong–it is so much more colorful and people are much more relaxed about their personal style. They come up with all sorts of combinations…they’re just much more experimental in their dressing.”

The quirky amalgams characterizing Hong Kong’s street style have most obviously affected Ann in her use of materials. The combinations of distinct fabrics in a single garment is a method the designer continues to explore in each collection. “I like to overlay different materials on top of each or maybe the top part of a garment is composed of something different than the bottom. I really want to create that contrast and novelty.”

For Fall 2012, Ann’s perspective translates flawlessly into a collection distinguished by luxe, unexpected textiles and intense pops of citron, amethyst, and blues. “I got my inspiration for the collection from these really beautiful images of stalagmites and stalactites. I was drawn to their angles and movement and coloration. That was really my jumping off point. I collaborated with my friend, artist Kim Piotrowski, who created a custom cave water print for me and the rest took shape from there.”

Beyond plenty of her go-to silks (“It has a beautiful drape, and practically speaking, there are lots of colors–I can always mix and match. Plus, people love silk; it’s considered a luxury fabric, so at my price points, it always a must-use.”), the fall collection favors inventive cloths and textures. “I discovered this soft, gauzy mesh from Japan that I combine with a fine wool bouclé, and then I made my knitwear out of this amazing modal/mohair blend, which I had never seen before.”

When asked where she generally sources her fabrics, Ann returns to some prior points on the difficulty in operating on a smaller scale in today’s industry. “I source from Japan, Italy, or domestically. And a lot of my silks actually come from China. But it’s hard for me to obtain a lot of fabrics because I am constantly dealing with minimum issues–I can’t make such huge orders for a lot of the materials I’d like to work with.  So I try to be creative whenever possible. Sometimes I’ll use a washed silk rather than a silk charmeuse, which is a subtle textural difference that still creates a unique feel to the clothing. Or with the yarns for my sweaters, it’s actually easier to find lower minimums, so I buy extra yarns to add novelty when the other fabrics seem too flat.”

As for the manufacturing, all of Ann’s clothing is produced in New York’s garment district. “I love that my things are made here; I want to support the garment center and be part of returning it to its glory. But, honestly, and perhaps unfortunately, there is no doubt that it would be cheaper to produce overseas if I was producing on a larger scale.”

For now, the scale of the Ann Yee line is purposefully small. Developing only two seasons annually, the designer is growing smart rather than growing fast, choosing to make the most impact in Fall and Spring, rather than spreading herself too thin over the industry standard of four deliveries per year. “Logistically, it’s just me doing this, so I can’t do four seasons, well. And I’d rather foray into more accessories, and then maybe menswear before I do multiple deliveries. Not to mention how the four season model affects people’s impression of their clothing. My garments are not disposable, they are investment pieces. You can wear a lot of it year round, for years to come.”

Now, with Fall 2012 already completed, Ann is focusing on Spring ‘13, which has already found its inspiration (for better or worse).

“A few weeks back I got a phone call at 4am from the building where I store my work. Apparently a fire started in the hall and hit my closet first! It got to a lot of my past collections and my vintage pieces. I took it back home and washed for days and days. Luckily, a lot of it’s okay, and I can use them as reference points.”

Not one to be discouraged, Ann’s spring line will use this mishap as its storyline. “It’s going to be a story of resurrection and renewal. I want to take certain pieces that I was really in love with and that did well and do spins on them. Maybe I’ll render them in different fabrics or shapes–like, if it was a top I really love, maybe I’ll make it a dress. It’s a great narrative and really economical!”

When asked how she feels about the future of her work as a single entity company, Ann’s candid nature resurfaces. “I am doing what I love everyday and I am really lucky. But there are challenges everyday, and I make mistakes. It is frustrating when there are so many things to think about, especially because I am working alone. But I keep going, I want people to understand my perspective. I want them to see it and think it is beautiful and cool and comfortable. I want people to love wearing my clothes.”

For more information and where to buy, visit Ann Yee’s website here.

Launched in 2010, Of a Kind entered the online retail sphere just as editorialization had begun to incorporate into e-commerce. Until that point, as Claire puts it, internet shopping was both “an anonymous and impersonal experience.”

Using this experiential failing as a prompt, Claire and Erica conceived of a website that not only sold items but also gave the story behind them. “There are boutiques where you have really knowledgeable salespeople, who can tell you a lot about the pieces their store is carrying. You definitely don’t get that online. This idea of bringing that person outside of the brick-and-mortar space and into the online realm was really exciting to us. It felt like something new–to make e-commerce more than just click-and-buy,” Claire says.

Every week, Of a Kind introduces new pieces by different designers. Each item offered is a limited edition, created by the designer specifically for the website. As each edition is introduced, it is accompanied by a series of blog posts exploring and describing the inspirations, processes, and craftsmanship behind the object. “We want to position designers not just as producers but as artists. And we want to make the buyer to not feel like a consumer but a collector. We try to relate to people who are interested in art and the way things are made and we treat the designers we work with as makers. Hopefully that helps us to relate to a broader audience,” Erica says.

Expansion of an audience and consumer base for their roster of emerging young designers is of primary importance to the Of a Kind mission. As they educate and initiate new collectors on their site, they are ultimately introducing the work of a new set of creators and tastemakers. Having worked in the fields of contemporary art and fashion editorial before founding the website, Claire and Erica were both well aware of the limited opportunities for exposure available to up-and-coming designers.

“I was really encouraged by Jen Bekman’s 20×200 project because it was this marketing opportunity that was not just getting picked up by a gallery, which is one of few opportunities a young artist has. I found that it was the same thing for designers. You either get picked up by a buyer with an influential retail space or you get picked up by an effective press outlet. But if you can’t get one of those, what do you do? Erica and I felt that this was an entirely new platform for designers.”

It is not only through the creation and sale of editions that the Of a Kind model creates this platform for designers. Aside from their editorials and collaborations, the team spends a great deal of time and energy on maintaining their “stuff we love” blogroll. “Through research for the blog, we end up finding a lot of designers and items that we keep hearing about over and over again. Kate’s line, Ursa Major, was a name that kept bubbling to the surface. We posted something about her friendship ring and then she contacted us,” Erica relays.

“I saw their post, checked out the site and immediately emailed them to discuss a possible collaboration,” Kate says.

“Typically, we ask designers to send us their lookbook and let us know if there are any pieces that they want to riff off to create the edition. Or there is an item we really love and ask them if we can do it in a different shape or different material. In the case of Ursa Major, Kate came to us with this ring she created that she really wanted to turn into a bracelet. It was perfect for us, as we don’t have a lot of bracelets lined up right now. Part of the challenge is making sure we are mixing up a lot of different pieces and thinking about what is going to sell easily online. Will it photograph well, will it be a struggle with fit…these are our constant considerations.”

When asked what was so galvanizing about participating in Of a Kind, Kate had a somewhat unexpected answer. “Creating a piece at a price point that is intended to be really accessible is a really exciting prospect. Even though I prefer to work in gold and silver, I can justify working with a new material when it is a collaboration like this.” For her edition, Kate is producing a small number of cuffs, adapted from the Omega ring. Complete with sterling silver details, the cuffs are made of brass–a material Kate does not often have the chance to work with. “I think brass is way more relevant in the market now, but there are still a lot of people hesitant to invest in a brass piece,” she says.

“From a creative perspective, our model poses an interesting challenge because it is a good opportunity to work with a material you might not otherwise be able to. For a designer who is wholesaling to a bunch of retailers who require a highly saleable product, it isn’t worth the time conceive of and  manufacture an item they can only sell ten to twenty of. But with us, if you have a material you really want to work with but the numbers don’t make sense, here is your chance. We see a lot of designers get excited to do something different from what they usually do.”

Something Claire often tells designers is to think of the site as a marketing opportunity rather than a retail opportunity because the focus really is on introducing the designer to a new audience.

“A lot of our audience has never heard of the designers we work with and to get people to spend their money on a line they haven’t  heard of can be challenging. We call what we do ‘gateway drug pricing.’ We get a consumer in at a lower price point because ultimately, we are asking them to take a risk on a new designer and to do it without even touching the piece. Here again, the storytelling component is so important. It’s where we go behind the scenes of the designer’s work and for instance, show Kate soldering her jewelry piece by piece. We show people how much work it is and that they are getting a handcrafted piece at a great price point.”

“We want to show people where the product is coming from, what Kate’s story is and how her work has evolved over the years. We want to show our customer things they wouldn’t see when they walk into a store,” adds Erica.

“When I discovered the site, I was so impressed by the narrative component and how much it’s about the process and the designers. It is smart marketing; it’s what attracts customers to your brand,” continues Kate. As a designer, I want to educate customers on why it is important to invest in their jewelry. I’m not about creating trend-driven pieces. Yes, they are current and contemporary but they also exhibit this timeless idea. Jewelry has such a strong  tradition of being passed down, so my thinking is, why not create pieces that have a lifespan for hundreds of years.”

“Which is why this is such a successful collaboration. Kate’s work and our site are both really about acquiring something special–that you know is an investment, rather than something you just picked up on a Saturday stroll on an impulse,” Erica includes.

Beyond the fact that Of a Kind is a brilliantly innovative marketing strategy, it is also a community-building platform for independent designers. A welcome and gratifying side effect caused by the site is that many of the participating designers are friends or meet and go on to collaborate and build friendships. “Designers will approach us asking to participate because they see the other people on the site as their peers and it is important for them to be included in the group. It is an enormous compliment and a sort of validation of our taste,” Claire says.

Holding this community effect dear to their hearts, more recently the Of a Kind ladies created “Alumni Sundays” wherein they bring back designers to create another edition for the site.

“The best part about it has been the opportunity to see how far the designers have come since we worked with them,” Claire continues. “It’s great to watch them evolve and to see how our business has provided a tangible value for them. We were recently putting together a press kit and gathering testimonials. It made us cry to hear how working with us has benefited their own business.”

Ursa Major’s Omega Cuff is slated to sell as of May 13, 2012. Sign up for Of a Kind’s newsletter here to be the first to know when it’s available!