His signature work with drones and aerial lighting has captured imaginations, weaving through the cultural moment like a shimmering thread in the dark. He calls himself an ‘artist working as a photographer,’ but that barely scratches the surface. He’s shed layers, evolved, and now stands as a force in contemporary photography. His journey? It’s nothing short of extraordinary.

Beginnings

As a boy, Reuben grew up in the industrial grit of Liverpool, England. The gray skies, the docks—there wasn’t much beauty there. But just beyond the city’s gloom, the wild called to him. The Lake District, North Wales, the Yorkshire Dales—three national parks that became his refuge. “Liverpool is industrial,” Wu remembers, “but those places were just a 40-minute drive away.” He escaped into them, camping and hiking with his parents, and that’s where his love for the outdoors took root.

Those childhood outings weren’t just pastimes; they shaped him. “I grew up outdoors,” he says. “That’s where my passion was born—in nature, in solitude. Hiking, camping—that’s where I find peace, where I’m truly myself. There’s a freedom out there, a silence that you can’t find in the world of men. It’s a different kind of living.”

Art and Design (and Ladytron)

As a young man, Wu’s path wavered between disciplines, searching for its true direction. In his late teens, he chose industrial design for college, not because he loved it, but because they told him art wouldn’t pay the bills. He dabbled in black-and-white photography, but the bleak industrial sprawl of Sheffield left him cold. “I decided I didn’t like photography,” he says, almost dismissively.

But that early judgment didn’t mean he was lost. Industrial design suited his curiosity about objects, their forms, and their functions. “I’ve always been fascinated by how things look and work,” he says. He spent years in consultancies, earned patents, and dug deep into the mechanics of design. Yet, his creative spirit couldn’t be confined. In his twenties, he veered into electronic music, DJing, and forming a band—Ladytron—with a friend in Liverpool.

The band took off. Singles hit big, deals were signed in LA, and Wu stood at a crossroads: stay in industrial design or hit the road with the band. He chose the road, and for nearly a decade, he lived the life most only dream of, touring the world. But the gigs blurred together, and the road became a loop. So Wu picked up a camera again, this time to capture the world he was moving through.

“I was traveling to these wild places, places few had seen. They sparked something in me, something I couldn’t ignore. So I started practicing, experimenting with film and old cameras.”

The rhythm of travel and photography became intertwined, peaking in a solo journey to Svalbard, Norway, in 2011. It was his first real photography adventure, separate from the band. In Svalbard—a land of icy peaks, fjords, and a sun that refused to rise—Wu created his first cohesive body of work. It became the turning point. The band went on hiatus, and Wu, camera in hand, never looked back.

New Dimensions

But how did Wu move from Svalbard to the signature style that now defines him? It started with a switch to DSLR. “I was drawn to long-exposure photography,” he says, “trying to push the camera beyond what the eye can see. Long exposures reveal a different dimension of the world.” He was also experimenting with time-lapse and picked up a digital camera to explore video. One night in the California desert, while capturing a time-lapse of the Trona Pinnacles, a pickup truck drove in, headlights blazing. It was 2:00 a.m., a peaceful night shattered by light. At first, he was furious, thinking his time-lapse was ruined. But later, when he reviewed the footage, something clicked. The artificial light had transformed the scene, altering the mood in a way he hadn’t anticipated.

Wu realized the power of artificial lighting in landscapes, especially at night. “Landscape photography often relies on the sun or the moon,” he explains, “which limits you. The idea of using artificial light in unexpected places intrigued me.” He started experimenting with drones, not for pictures, but as flying sources of light. “Drones aren’t great in low light, so I attached a light to one. Flying it through the darkness, casting light where you wouldn’t expect it, created a jarring effect. I could control the light in a way that conventional landscape photographers couldn’t. I was creating my own lighting, my own mood, rather than waiting for it to happen.”

Through this experimentation, Wu began to carve light into his landscapes, etching luminous lines that transformed natural scenes into something ethereal, otherworldly. These images captivated the public imagination, and in 2022, his work on Stonehenge landed him the cover of National Geographic.

Reuben Wu’s journey is a testament to an artist’s restless spirit, one that refuses to settle for the ordinary. From the industrial heart of Liverpool to the pulsating rhythms of Ladytron, and finally to the vast horizons of his photographic work, Wu has always sought to transcend the limits of his environment.

And his journey hasn’t been confined to art alone. In 2019, he returned to design, collaborating with Mark Falvai of Mission Workshop on the (unreleased) ARCALUX camera bag. It wasn’t just a backpack; it was a vessel for exploration, perfectly suited for adventures like his own. This project merged his love for design and art, a symbol of his relentless pursuit to see the world in new ways.

His work, with its luminous creativity, reminds us that art often emerges where passion meets precision. And isn’t that something we’re all chasing, in one way or another? I’d like to think so.

Pro Tips | The Art of Exploration and Equipment

Reuben admits he’s been incredibly busy over the last few years, traveling all over the world, and that the adventures he embarks on—the ‘getting to’ the places he photographs—are a large part of his motivation. Over the years—touring and making art—he’s fine-tuned the way he carries his gear and has shared some tips and tricks:

Taking Care of Your Gear: ‘Hot Swap’

“I’m taking planes everywhere and carrying a lot of photographic equipment, so I have to be really careful about what is checked in and what is carried on. I always carry on my essential equipment: every camera, lens, computer, and battery. Everything else goes into the checked luggage. This often means that my carry-on is insanely heavy, but it is the only way I can travel. My bag of choice is a small Pelican hard case carry-on. Inside that, I have an f-stop insert, which holds all of my camera gear. I also carry a backpack with me. If I’m told that I have to check in my Pelican case, I can pull the insert from the Pelican and put it into my backpack, allowing me to ‘hot swap’ those really fragile items instantly into my backpack and then throw other things back into the Pelican very easily.”

Spares and AirTags

“For everything else, like tripods, I carry backups. I take large Pelican cases and expedition duffels full of clothes. I also conceal AirTags in each piece of luggage, so if someone steals a case, they wouldn’t know it’s there. This allows me to know exactly where my cases are, even if they are lost.”

Always a List

“When packing and preparing to leave, I have an itemized list, a Google Doc, that I update for each trip since each one is different. If it’s for a commercial job, I also create a list of all the gear I’m taking and get it signed and stamped to avoid issues with customs.”

Layering Is Key

“On location, I keep my cases inside the car, which stays at a base camp area. Everything I need to hike with goes in my bag. For extreme cold, I take layers, like a base layer of Merino, down pants, Gore-Tex shells, and sometimes heated insoles for my boots. For upper body layers, I have a mid-layer shirt, down layer, and Gore-Tex shell. I prefer brands like Pelican for cases and Norrøna for Gore-Tex shells. Vollebak shirts are fantastic, especially the Planet Earth Shirt.”

Have You Ever Modified a Piece of Gear?

“Yes, lots. A recent modification is my Vollebak hat. It has a sun flap, but there’s no way to put the sun flap away when you don’t need it. So, I figured out a way to install a loop inside where I can roll it up and put it away. I put buttons on the outside so it attaches there rather than on the inside. I guess it’s my design background kicking in; I like to modify things and make them better for me.”

Tell Me More About the Bag You Co-Designed With Mark From Mission Workshop.

“Yes, we developed a camera backpack together. It was pretty amazing but never released. You might have seen it; it was a white Ultra or Dyneema with a bunch of modular components. One of the things I was really interested in was a modular insert inside, where you could stack inserts. Also, having a flap that opens out rather than up. When they open out, everything can fall out, which has happened to me before with bags like Peak Design. Having a flap that comes out this way allows you to access it from the top.”

I Know You’re Into Backpacks—Can You Tell Me About Your Personal Collection?

“I’ve been into backpacks since I was 16, like Berghaus and Karrimor adjustable systems from the UK. Embarrassingly into hiking equipment. But my current collection looks like this:

• MW Arkiv R2 Field Pack
• MW Vandal
• MW Integer (in custom white Dyneema)
• MW x Carryology Mars Pack, modified to carry a tripod
• MW Rhake (with Arcalux modules)
• MW Arcalux (modular camera bag prototype in white Dyneema)
• Shimoda Action X50 camera pack
• PolarPro Boreal camera pack
• Colfax Design Works Lumbar Pack
• Colfax Design Works TOAD dry bag
• Swiss Army vintage rucksack
• f-stop Sukha 70L
• MW Khyte VX“

5 Must-Have Essentials That You Never Travel Without?

1. Vollebak Lightweight Planet Earth Shirt – My favorite adventure shirt in my favorite lightweight fabric (from the Equator Shirt). Just waiting for a black, khaki, or gray edition.
2. Merrell Hydro Mocs (original model) – My ultimate loafer and much more comfortable than Crocs. So light I can hang them off my backpack.
3. Cimoro Lightweight Jacket – Waterproof/breathable ultralight shell made from white eVent Dyneema. Designed to fit over my down jacket, packs down to nothing.
4. Sheltahat Seahawk Sun Hat – Unique stiff-brimmed boonie hat with storage pocket for emergency cash and sun shield. Dyed black.
5. Peak Design Mobile Stand Smartphone Wallet + Peak Design Nomad Rugged Case for iPhone 15 Pro Max – The best wallet + case combo I’ve ever used, magnificently designed, sticks to the iPhone and doesn’t come off. The Rugged case is perfect for throwing on my Brompton bike bars.
6. Acronym P31A-DS – Most comfortable cargo pants with the best pockets, no need to remove the belt for TSA screening, all integral.

5 Adventure Photography Essentials That You Never Work Without?

1. Phase One XT Medium Format Camera
2. Gitzo GT4553S Systematic Series 4 Carbon Fiber Tripod + Arca Swiss P0 Hybrid Head
3. Helinox Chair Zero
4. Midori Traveler’s Notebook
5. Petzl Swift RL Pro Rechargeable Headlamp

Can We Please See Your Current Adventure Packing Setup?

You’ve Done a Lot of Traveling With Your Music and Art. What Have You Learned About the Art of Travel?

“I feel like I had my most intense travel experiences when I was touring with my band and making pictures along the way. Because of the rigorous schedule of touring, my time to explore was very limited, so I was always very efficient with my time and did not waste a minute. I stored my Brompton bicycle on the tour bus so I could get around on my own, or I would rent a car if I needed to go further afield. Every gap in my schedule I devoted to exploring brutalist architecture in Prague at night, or an abandoned fairy castle near Beijing, or a derelict CIA listening station in Berlin. And if you really want to move fast and light, do it alone. Traveling by yourself changes your experience of a place and a journey. Suddenly, you take on sole responsibility over your actions and your situation. Rather than enabling you to make connections with other people, solo travel enables you to make vital connections with yourself. It changes you and what you get out of it. Solo travel is important to experience at least once, and I hope to be able to do it again someday.”

What Can We Expect Next From You?

“I’ve made a new series of work using drones and some other new techniques. The work was produced in Cambodia and will be released sometime in September. I’ve been busy with commercial projects for the last two years, so now I’m taking a break over the summer to do more personal projects and get out and do my own thing for a bit.”

The post Reuben Wu | The Visionary Combining Art, Design, and Technology appeared first on Carryology.

Who are you: tell us a little backstory about yourself?

I’m Neza Peterca, a product designer with a focus on technical backpacks and bags. My journey began in graphic design, but in 2010, I shifted gears and co-founded Blind Chic, a lifestyle backpack brand, marking my entry into the world of product design.

Currently based in Slovenia, a tiny country by the Alps, I split my time between running What Happened and pursuing my passion for outdoor activities. I’m also involved in a mountaineering school and occasionally lead MTB expeditions.

These experiences bring a unique perspective to my design work, allowing me to create technical products that perform very well in rough conditions. It’s this blend of practicality and aesthetics that drives my design process.

What are the origins of What Happened?

As mentioned above, I co-managed a backpack brand named Blind Chic in my early twenties. After a few years in the market, I realized it was time for a shift. I wanted to step away from the fast-paced consumerism scene, where desires are artificially manufactured. Instead, I chose the path of repair. I was fortunate to have an exceptional mentor, Barbara Heinze, who taught me the art of repairing technical garments and educating others on how to prolong their lifespan. For two years, I traveled with Patagonia’s Worn Wear until Covid disrupted everything. It was then that I knew it was time to establish my own repair workshop. Whenever a customer brought a garment for repair, the question was always, ‘What happened?’ That’s how the name originated. Custom-made gear followed soon after. When you create bespoke gear, it springs from a specific need expressed by the customer. They are the true originators of the idea, unlike mass-produced items. This aligned well with my values.

As for my design process, it typically begins with customers approaching me with a broad concept rather than a specific design. The initial phase always involves an extensive conversation where I delve into the client’s needs, their intended use for the product, and get to know them personally. The core philosophy behind custom backpacks is ensuring they fit the individual’s back perfectly. Store-bought backpacks are tailored to an ‘average’ person’s back, which can pose challenges for shorter individuals seeking a larger capacity backpack that fits well. This becomes critical with technical backpacks for activities like climbing, mountaineering, or skiing, where freedom of movement is paramount. Once the fit and capacity are determined, we discuss additional features, tailored to the specific activity. I strive for versatility, so a ski pack isn’t just for skiing, but can be used year-round for different activities.

Where are you based and does your working environment have any impact on inspiring or shaping the gear you make? Are you a one-woman studio or do you work with others?

I’m based in Slovenia, a picturesque country nestled on the sunny side of the Alps. The natural beauty and accessibility to the outdoors serve as a constant source of inspiration for my work. It’s a perfect backdrop for testing the gear I create – whether it’s for a spontaneous mountain bike ride or an impromptu climb in the mountains.

Currently, I operate as a one-person studio. However, I’m in the process of finding a second pair of hands to join the team. This task comes with its own set of challenges, as the nature of the work is quite dynamic and doesn’t adhere to a standard routine.

What’s your thoughts on building for durability versus light weight?

Balancing durability with weight is key in gear design. With careful material selection, it’s possible to achieve both. Personally, I prioritize creating products that can be easily repaired. I’ve seen many design flaws in the industry, often due to the wrong choice of materials. My approach to designing gear is shaped by these experiences.

Do you have any materials you particularly enjoy working with? Are there any materials you’ve found quite challenging to work with?

In terms of materials, I have a strong preference for ULTRA by Challenge Sailcloth, which forms the backbone of my backpack designs. Occasionally, I also incorporate laminated Dyneema. These choices are deliberate, aimed at creating gear that can handle demanding environments, such as skiing in Antarctica, climbing mountains in the Himalayas, or bikepacking through a desert. Through extensive personal testing, I’ve developed a deep trust in the durability of these materials.

What is your favorite piece that you’ve made or worked on and why?

I recently had the opportunity to work on a set of backpacks for a Slovenian mountaineering expedition heading to the Himalayas. Each alpinist had their own specific needs and preferences, which made for an interesting design challenge. It was important to ensure that the backpacks looked cohesive as a team.

The primary focus was on designing backpacks that were exceptionally durable yet lightweight. This balance is crucial for high-stakes expeditions, where precision is imperative. The margin for error in such ventures is practically non-existent.

What’s been your greatest work challenge since starting What Happened and how did you overcome it?

The most significant challenge I’ve faced since starting What Happened has been finding the right balance to maintain the business at a manageable scale. Given that most of what I do revolves around my workshop, it directly fuels the inspiration behind What Happened. It’s a dilemma of sorts – do I opt for growth, potentially sacrificing a substantial degree of creative freedom, or do I opt to keep it on a smaller scale, preserving that core source of inspiration?

Striking this balance has been an ongoing process, and it involves careful consideration of the long-term vision for the business and personal fulfillment in my work. It’s about finding a path that allows for growth without compromising the essence of what makes What Happened special.

What do you think is the best benefit or reward about being a smaller maker compared to a larger global brand?

For me, the most rewarding aspect of being a small maker is the hands-on involvement in every product and ensuring its quality. Building personal connections with customers is also a highlight. I’m fortunate to have a wonderful community of customers. Occasionally, I even have the privilege of meeting them, sharing experiences like climbing or skiing together. This close-knit relationship brings a level of fulfillment and authenticity that may be harder to achieve on a larger scale.

Who else is making gear right now that you love? Are there any designers who really inspire you or brands you particularly admire?

Leander from Racing Atelier is truly one of my major inspirations. His packs are akin to works of art, and the level of detail he puts into them is truly impressive. I’m also captivated by the creativity of Jaimus from Greater Goods. If I were to highlight a larger brand, I deeply appreciate the aesthetic approach that Arc’teryx brings to their bags.

How do you find a work/life balance that suits you?

I often joke that I save work for less favorable weather days, but there’s a nugget of truth to it. When it’s sunny, you’ll likely find me in the mountains. I’m the type who can think and plan quite effectively, even while taking in the scenery on a downhill run. Some of my best ideas have sprung from these outdoor adventures. So, when I need a creative boost, a bit of fresh air always does the trick.

In the carry world what single specific innovation has stood out in your mind? Or do you have a piece in mind that you think has solved a particular problem really well?

In my opinion, the introduction of the roll-top closure as a solution has been truly groundbreaking. While I can’t pinpoint its first appearance, around 2010 there was a significant surge in brands incorporating roll-top designs into their backpacks. Prior to this, closures primarily relied on zippers, metal buckles, or Velcro. However, none of these options provided a long-lasting solution. The roll-top on the other hand marked a substantial leap forward in terms of durability.

What is next for What Happened? Are there any fun future plans or developments on the horizon you can share?

You know, I’m always looking for ways to make my bags even tougher and easier to fix up. And, of course, keeping things simple and light is a big focus.

The post Meet the Maker | What Happened Interview appeared first on Carryology.

These designers help bring amazing concepts to life across a diverse range of categories, from footwear to bags, outdoor gear, and sporting equipment. And since design is a visual medium, Instagram is the ideal place to follow them and keep up to date with their creative pursuits…

Patrick Christian

Patrick Christian is a freelance industrial designer based in the San Francisco Bay Area. A deep love of skateboarding, art, and music has allowed him to bring a unique design twist to everyday objects. His wide-ranging design experience ranges from bags and tech cases to workout equipment and beyond, with a keen interest in encouraging both physical and mental health values. Delve deeper into his work and inspirations on Instagram, Pinterest, and his personal website.

How did you get into design?

As a kid I was into skateboarding, art, film, and music, that’s what ultimately contributed to and transformed into my interest in design. I’ve always needed some type of creative outlet to stay mentally balanced, so it only made sense that my career reflected that need. During my time in college I discovered industrial design when I decided to change my major from mechanical engineering. This was an inflection point in my life where I found a productive source of deeper creative purpose.

What inspires your work?

Everything in life does, but some notable sources are people, mental health, nature, adversity, imperfection, and humor. Truthfully, skateboarding has been a big inspiration to me as an industrial designer. I realized that industrial design could take the creative outlook I love about skating, and apply that way of thinking in a way that I could use to influence the physical world around me. Being a skater has also really helped me with having a unique viewpoint in my career; skaters see the world through a different lens. We see spots and creative opportunities where other people just see a piece of concrete, stairset, or handrail, and we use those super normal everyday objects to reimagine how we interact with the world and express it through the art form of skating. This type of thinking can really be leveraged and used to my advantage when it comes to creative ideas in industrial design, allowing me to find opportunities, multiple affordances, and inspiration where others wouldn’t typically look.

What products do you specialize in?

I strive to create products that question the norm and improve the human experience. Some products I’ve designed that have gone to market include workout equipment, backpacks, and phone cases. One of the things I enjoy about my career is my versatility; I don’t have to stick to designing one thing since my skill set and human-centered design process can apply across product categories. I’m constantly questioning the expected while I’m designing, and focusing on creating products and experiences that embed healthy values back into people’s lives through meaningful design. My goal is to stay true to these intentions through designing products that improve people’s physical and mental health, and are ideally more sustainable.

What have you worked on that you’re proud of and can share with our community?

I spearheaded the design of the entire family of home workout equipment for RPM Training’s Atom kit, which is a functional home gym and workout program. Each product was its own unique design challenge culminating together to create the story of the complete family of fitness products. I’m specifically proud of the dumbbell and kettlebell designs, both of which I use to work out with daily. All of these products were designed to last the test of time and have functional and aesthetic improvements from what’s currently out on the market. I love that these products are items people will own for a long time and that these designs are helping people become physically healthier.

Suzanne Oude Hengel

Suzanne Oude Hengel uses her creative expertise to bridge the gap between footwear and knitting technologies. She takes a multi-level approach to knit development spanning design, engineering, and product development. Based in the Netherlands, she has worked with brands such as Rothy’s and Timberland as a freelance footwear and knit designer and is the founder of Knit in Motion. Discover more on her personal website and delve into her design journey on Instagram.

How did you get into design?

I have always been creative but I really got into design whilst studying Product Design at ArtEZ University. It was whilst at university I found my love for footwear and knitting.

What inspires your work?

I take inspiration from a lot of different places such as things I see around me, architecture, etc. However, my main inspiration are the challenges found in the engineering of knitted fabrics themselves. Problem-solving means learning or trying something differently, and for me this is a lot of fun.

What products do you specialize in?

I specialize in footwear but love all functional products.

What have you worked on that you’re proud of and can share with our community?

I am really proud of my recent collaboration with Timberland, alongside 5 other amazing creatives. Within my product I was able to push the boundaries of knitting and what is expected from the Timberland 6inch boot. I can’t share too many details yet but stay tuned!

Also, it’s not so much a product but I am really proud of launching my new company Knit in Motion together with my amazing team. Knit in Motion is a knit development and consultancy studio specializing in custom-engineered knitted fabrics. It’s been a long process but full of learnings and self-growth!

Brent Radewald

From designing bags to soccer balls, Brent Radewald isn’t afraid to step outside his comfort zone and embrace diverse design challenges. Based in Portland, Oregon, he is a product designer for Nike, working across a range of soft goods categories. Learn more about his projects on his personal website and follow his adventures into design and the great outdoors via Instagram.

How did you get into design?

I was a very artistic kid who also loved the organized structure of math/science. My original plan was to be an architect or engineer until I saw the documentary “Objectified”. I had no idea industrial design was an option before that. It felt like the perfect job for a kid like me, so I attended the University of Cincinnati for industrial design and immediately fell in love with the field.

What inspires your work?

Nature has always been my favorite place to find inspiration. But really what drives me as a designer is the need to solve complex problems. It’s satisfying to find the right solution to a problem with tons of variables. That’s probably why I’m so obsessed with games like chess!

What products do you specialize in?

My specialty is soft goods design. Specifically bags, headwear, and socks. But bags will always be my main passion. I’ve also dipped into the specialized field of soccer ball design for the past 5 years. It’s a product type I never expected to touch in my career, but I quickly fell in love with the complexity of this seemingly-simple sphere.

What have you worked on that you’re proud of and can share with our community?

My latest design is one I’m very proud of: the Nike (M) Bag. It’s a diaper bag that’s designed to NOT look or act like a typical diaper bag. It has multi-purpose features that make it a great work bag, travel bag, or school bag; so it continues to be useful when your child grows out of diapers. I personally don’t have kids, but I’ve been wearing it as my daily work bag and it’s been a joy to use. I’ve got some more bags coming out this year that I’m extremely excited about, so stay tuned!

Johannes Flem

From mechanical engineer to a designer for Bergans of Norway going on close to two decades now, Johannes Flem is a prime example of how our initial plans can sometimes lead to wildly different but wonderful paths. Based in Oslo, Norway, he brings his passion for problem-solving to a wide range of design challenges ranging from packs to tents and beyond. Delve into his design explorations on Instagram.

How did you get into design?

Not straight-forwardly. I have exactly zero design education – I’m a mechanical engineer by education and did my degree in robotics and advanced manufacturing technologies. But I’ve always been very interested in problem-solving and making things. This is still something that affects my work in both good and bad ways. I am very lucky to have an amazing team where both of my product developers have master’s degrees in product design and the roles and tasks are quite fluid so we always can play on each other’s strengths.

I also have a passionate love for the outdoors, and I got to know the Bergans team through my university-time side hustle at a sports store. The relationship grew and I designed a new buckle and some tent parts for them whilst still thinking I would end up working with robotics. Finally, I came around and realized that making gear was what I really wanted to do. When it all came down to it, it was a surprisingly easy decision, even if it meant turning down a job offer as a rocket engine developer. 

What inspires your work?

I am very fascinated by biomechanics and how the body is shaped, how it moves, and how we can create products that move with the body instead of restricting it. This triggers the problem-solver in me and it is the stuff that keeps me up at nights, wondering “what if…” and “how about…”.

But I’m also very much inspired by our users. There are so many awesome backpacks out there to choose from, so every time I see someone wearing one of “my” packs, I become so grateful that they picked just that one. Seeing our products getting used is probably the greatest motivation.

What products do you specialize in?

I actually love not specializing, but being able to work on wildly different types of products. At Bergans I’m responsible for tents, canoes, sleeping bags, and backpacks, as well as co-leading our innovation lab. But I’d say as a team our strongest side is large, technical outdoor packs. At the moment we are working on a bespoke 165L(!) pack for a group of users with very specific requirements.

What have you worked on that you’re proud of and can share with our community?

We have just started delivery of all the new backpacks for the entire Norwegian Armed Forces – ranging from a 38L combat pack to a 130L long-range recon pack. Their selection process was extremely rigorous and involved dunking the packs in water before leaving them in a -25°C freezer for a few days before testing all the functions. And obviously the usual use and abuse from soldiers whose mission did not include pampering any of the gear. To come out as their preferred packs in a competition against the top brands in the world is a testament to a hard-working and passionate team, and I am grateful every day to be part of it.

Ryan Mather

Ryan Mather serves as Chief Industrial Designer for Thule and is based in Boulder, Colorado. With well over a decade of design experience behind him, his projects have ranged from cooler bags to tech cases, outdoor carry, travel bags, and more. Ryan has also founded Outer Acre as an ever-evolving personal design project to explore creativity without boundaries. You can discover more about Ryan’s past and present projects via Instagram and his personal website.

How did you get into design?

I come from a large family of artists, writers, and architects who encouraged expression through the arts. Having such a creative family pushed me into becoming a professional creative through design. Growing up, I was always interested in countercultures. I grew up skateboarding and going to punk and hardcore shows in Chicago and the surrounding suburbs. These subcultures influenced the way I looked and interacted with the world through logos, t-shirt designs, accessories, album covers, and skate gear.

The skate and music cultures I grew up on taught the importance of branding and uniqueness in the products they sold. In college, I tried graphic design – that didn’t stick. I thought about architecture and landscape architecture – they weren’t a passion. When I discovered industrial design, I found it to be the perfect blend of all of my creative interests. I could focus on and become an expert in what was exciting to me. I found a love for bags and bag design through an internship I had in college at UIC designing soft-sided coolers and lunch bags. This was about the time fixed-gear bikes and bike messengers were all the rage, and finding that perfect bag to use when biking became an obsession. So this is how my love for counterculture, design, and bags finally came together.

What inspires your work?

I always feel rejuvenated and motivated after a trip or experiencing a change in scenery. I love the planning that goes into packing – the anxiety of trying to get to the airport or train station on time, wondering if you’ve arrived with everything you’ve packed, the problem-solving if you didn’t. And finally, when you get to where you’re going – people watching, food, getting lost, museums, shops, store displays, more food, the different cultures – these experiences keep me motivated to do what I do.

At my current employer, Thule, we sell product in over 140 markets around the world. It is really important for us to research and experience these locations to make the best product possible.

This has become really important in our design research process – to leave our bubble and experience new parts of the world as much as possible. We know the importance travel brings to a project, as it helps foster an appreciation and knowledge of other regions and creates empathy for other cultures, and I never take that for granted.

What products do you specialize in?

Softgoods, accessories, daypacks, luggage, bike bags, outdoor packs…basically anything you use to organize your everyday essentials or that helps you get outside and enjoy your active life.

What have you worked on that you’re proud of and can share with our community?

As a whole, I’m really proud of the work I’ve done under the Thule brand over the last 11 years. I started working for Thule in 2012 when they were more of an automotive accessory brand known for bike/ski racks and cargo boxes. Over the last decade, the brand has transitioned and cemented itself as an outdoor lifestyle brand – selling everything from hydration bags to rooftop tents. Witnessing the brand evolve in this way has been really exciting and I’m lucky to have been able to contribute to that goal. We have a lot of exciting new products coming out over the next year – updates to current collections and new product categories – so I can’t wait to share more of the hard work we do with the Carryology community. Keep an eye out!

Derick Noffsinger

Derick Noffsinger brings a wealth of design experience to the table, having worked on wide-ranging products from climbing harnesses to wallets and more. Based in Denver, Colorado, he is a Senior Industrial Designer for Black Diamond, while also serving as co-owner and Design Director for Pladra and Director of RnD at The Adhered. Follow his adventures and design projects on Instagram.

How did you get into design?

I got into product design pretty traditionally – I loved to draw and build stuff as a kid, then found industrial design in college and knew it was what I wanted to do.

What inspires your work?

Inspiration comes from everywhere for me. Mostly it’s from the people I have the pleasure to work with – I’ve been working with some of the most talented designers and engineers in the industry inside Black Diamond for the last 10+ years and I’m consistently blown away. It’s really the people and the processes we create that really get me inspired to carry that torch, and to hold my own work to the same high level. Oh yeah, and Jony Ive, of course :).

What products do you specialize in?

I’d like to say I’m not specialized in anything in particular. I’ve worked on a wide array of products from Bellroy wallets, to Bose speakers, to sail racing equipment and apparel for the America’s Cup. But where I love to work and spend my time is on Technical Softgoods. This can be anything from a technical pack like a Haul Bag for big wall climbing to PPE (personal protective equipment) equipment like climbing harnesses and quickdraws where the product is used in high situations of consequence and different certifications are necessary to assure failure in the field is low risk or impossible. This aspect of a product assures that any design decisions along the way are not based in ‘trend’ but more in ’trust’, and the design decisions during the development of these projects tend to answer themselves based on the necessity of function and safety.

What have you worked on that you’re proud of and can share with our community?

Besides the products above, and because this is ‘Carryology’, some fun products I’ve been recently involved in in the realm of ‘carry’ have been the Black Diamond Distance Trail Running Packs, The Mission, Speed and Blitz Climbing Packs, The StoneHauler Duffle Bags, our new Haul Bags launching this spring, and some future-forward projects in the carry space I can’t speak to quite yet. 

Outside of Black Diamond, roughly 5 years ago (seems like yesterday because of Covid) when I spent a year as a consultant to the brand I also worked for other friends in the industry such as Bellroy helping with some conceptual work on Apex wallets, Thule with some MTB hydration packs called Vital which won a Red Dot award for hydration innovation, Lander with some commuter packs called the Commuter and Traveler, as well as Mountain Hardwear and their climbing pack line.

Jae Park

Jae Park has been in the design industry for over two decades, holding positions such as Director of Product Design at High Sierra and Design Director at Randa Accessories. Based in Chicago, he is experienced across the entire product development process from initial concepts and market research to final production. You can follow his work and learn more about his projects via Instagram and his website.

How did you get into design?

Originally, I went to school to major in architecture at the University of Illinois. Since I always loved doodling and sketching, I thought it was going to be a perfect fit for me. But I never got used to drawing straight lines, dotted lines, etc. Don’t get me wrong, there are beautiful architectural drawings that I can only dream about mimicking. At the time, the architecture department and the industrial design department were located in the same building. I decided to take an industrial design class out of curiosity, and I instantly fell in love with it.

I just loved that I can be creative, being able to use a variety of colors and make product samples. After college, I became a toy designer in Chicago. Then a few jobs later, I took a position at a company that made back-to-school backpacks, outdoor hiking bags, and travel luggage. Since this company specialized in a variety of bag categories, I was able to grow as a well-rounded soft-goods designer.  

What inspires your work?

Earlier in my career, I was amazed that my sketches can become actual products. 

However, these days I truly enjoy witnessing people using products that I’ve designed. Many times I see bags I designed coming out of belt conveyors at airports and people using the features I designed. For example, I have designed a 32″ wheeled duffel with tuck-away shoulder straps. This feature was designed for a dad who is traveling with two kids, so he can wear the duffel like a backpack and hold his two kids’ hands. A few months after launching that product, I saw a dad with the bag I designed holding two kids’ hands at the airport. A situation like this truly inspires me to design better products.  

What products do you specialize in?

Because I have many years of experience designing backpacks for kids, business computer cases, outdoor frame packs, hydration packs, and travel luggage, I guess you can say I am trained to design any bags. 

What have you worked on that you’re proud of and can share with our community?

A few years ago, I had an opportunity to design a collection of bags that can offer multiple travel bag options for department stores. It was a fairly challenging project since it had tough target retail costs, but I really liked how the products turned out.  

Aaron Puglisi

Aaron Puglisi is a soft goods designer for Bellroy and also a keen experimenter in the carry field with his creative side project, The Denier Lab. His design experience spans both footwear and soft goods, while his keen interest in exploring the possibilities of carry through The Denier Lab results in playful, unique, and eye-catching spins on traditional carry forms such as totes, pouches, and backpacks. Stay up to date with his creative journey on Instagram.

How did you get into design?

My childhood was pretty similar to a lot of other kids, in that it was filled with Legos and drawing, but I really got into making things as a teenager. Through most of my teens all I wanted to do was work on movies as a prop and set maker. There were a lot of weekends spent in the garage or basement recreating props from my favorite films. This was before you could find all the great tutorials on YouTube, so I just messed around and experimented on my own. One time I used some spray paint in the garage, and I accidentally got paint all over my mom’s car… I spent the rest of that weekend scrubbing off every last fleck of paint. 

In college I was a ceramics major for almost two years before one of my teachers saw me doing some perspective drawings of products, and she suggested I look into industrial design. I had to look up industrial design online, but as soon as I read about it I knew it was the only job I wanted. Within just a couple weeks I had submitted a transfer request to a different university and applied to their industrial design program. 

What inspires your work?

Films, fashion, military gear, techwear, footwear, and interior design. The list could go on. I think we are always pulling ideas from our experiences, both consciously and subconsciously. I’m on Pinterest and Tumblr every day, collating images and ideas into little projects. 

Footwear is a really inspiring space. The social and financial power of sneakers means that they get a lot of attention and money put into them. The laminations and knits of modern footwear are both technically and aesthetically really impressive. I would like to see more of those elements applied to carry products in the future. 

What products do you specialize in?

I work full-time as a soft goods designer, and ‘The Denier Lab’ projects fill in the nights and weekends. When I get time to work on TDL projects, I like to try quirky or strange things that might not be commercially viable. I think of those projects as experiments. They are pretty explorative: sometimes they work out, sometimes they don’t. All of my projects so far have been soft goods/bags, but I’d like to experiment with bag hardware as well. 

What have you worked on that you’re proud of and can share with our community?

Working on these experimental projects is quite satisfying because even when a project doesn’t turn out perfect, I’m usually learning something. There are often little details in a project that I find really interesting and am most proud of.

For experiments 17, 18, 19, and 21 I repurposed some beautiful climbing harnesses from Black Diamond Equipment to make some odd little bags. Apart from the climbing harness elements, they all had seams that were bound to the exterior with webbing rather than a normal binding tape, and they also used a lot of hook and loop panels. Each of those bags played with asymmetry and different modes of carry. 

Brad Meyer

Brad Meyer is the co-founder and Design Director of Boundary Supply. Currently based in Park City, Utah, his design experience spans well over a decade, having worked with a wide range of brands across both hard goods and soft goods design. Keep up with his adventures and creative pursuits via Instagram.

How did you get into design?

I’ve always been a creative. I studied graphic design for a stint because that’s basically all there was beside fine art that I was aware of. Then I discovered an industrial design program and the opportunity to make material products with my hands versus digital products with my mind. Once I started bringing to life these physical creations from my own sketches, that was the spark that lit my fire. I established my niche with soft goods by starting my career in Denver and it was easy being around so many Colorado outdoor brands. It was a small but lucrative scene back then – the right place at the right time.

What inspires your work?

Design inspiration has mostly been driven by my surroundings throughout my life. In the past I lived in an urban setting so my designs reflected that professional commuter and bike courier fit/function. Now I’m a dad living in the mountains, so much of my focus is toward outdoor and kids’ products to fit my current work and lifestyle.  

What products do you specialize in?

I’ve designed in many different soft and hard good product areas, but my passion is in modularity of technical lifestyle gear. It’s a challenging space since you need to address the outdoor and urban user at the same time, like blending REI and Mission Workshop products together and making everyone happy with the outcome. I love working with all the little technical connection points and diving into the challenge of making all the SKUs work together. That’s what makes the design unique. I guess this is why I started Boundary – the ultimate modular carry brand. Ha. 

What have you worked on that you’re proud of and can share with our community?

I’ll break it down to three of my most impactful carry design experiences.

First, many years ago, I worked for Gregory Mountain Products Japan and I led design for all lifestyle products in Asia. Headlining the brand in Japan is their Classic Series, which is a true heritage product range and has been a part of their lives for 30+ years. Maintaining that ritual was a treat. Part of my job was designing custom prints and finding US artists and small brands to create collaborations. I worked with a street artist named Bungalow; joined forces with a small SF apparel brand, Pladra; and created the Cottonwood Camo using actual images of local plants and animals from the Cottonwood Canyons outside of Salt Lake City.

Next, in Australia, I helped Bellroy bring their bag program to fruition with key styles like their Classic Backpack and Duo Totepack. It was a great experience working with a very talented design team and was fun blending my style with the brand’s ideals to come up with a few very iconic silhouettes.

Last, as design director and co-founder of Boundary Supply, I created the Prima System. I designed a popular Kickstarter project for Prima System as a small side hustle in 2016, and with its success, the company flourished. This OG carry system was innovative with its unique modularity and a bit over-engineered with so many complex tricks. The Prima System set the direction for many more modular carry products like the Errant Pack, Arris Travel System, and now the Errant Pro. All are a perfect blend of technical fit and the ability to blend into your daily lifestyle.

Feature image credit: Patrick Christian

The post 9 Awesome Designers to Follow on Instagram appeared first on Carryology.

Eager to delve into the brand’s design journey, we asked co-founder Chengxiang KANG to share his behind-the-scenes insights on creative inspiration, future plans, and more…

How would you describe your brand to people who are just discovering it?

H&K is a handmade leather goods brand based in Beijing.

Why did you want to start your own brand? What specifically attracted you to making bags and leather goods?

I studied art in school. As an art student, I always particularly favored handcrafts and handmade objects. I started to make handmade leather goods many years ago. After graduating from university, I worked in an advertisement company for a few years. Now when I look back, I think the idea of establishing my own brand began to sprout at that time.

Eventually, me and my wife, Yue HU, created our brand in 2012. The brand name, H&K, comes from the initials of my and my wife’s surname.

Photo of the couple, Kang and Hu

Your brand was founded in 2012 in a friend’s attic. How did you spread the word and help the brand grow from an attic operation to having your own retail space?

There was not much communication at the very beginning, only posts on my own social media account now and then, and word-of-mouth spreading among friends. The acceptance and affirmation from the market has encouraged H&K and brought us to today.

Can you share some images of your retail space? Do you have any particular influences for the layout and design of the space?

The design of the retail space shall stay in coherence with the brand profile and products. Currently, H&K has three brand shops in Beijing. The interior is designed by professional studios. But we have set master guidelines regarding the key material: it must be related to bags or bag making.  

Photos of H&K brand shops in Beijing.

Taking our latest shop that opened in 2021 for instance, Aluminum was employed as the key material and applied massively in the space. Aluminum has many interesting qualities: light weight, unique texture, and a touch of futuristic mood. It was frequently used on vintage bags during the ’70s. When its futuristic touch mixes with H&K retro-look bags, it creates an amazing retro-futurism. I like it very much.

Photos of H&K brand shop with aluminum interior decoration.

What key elements or qualities do you value in product design? What must your products have or offer (for instance practicality, a particular aesthetic, durability, etc.)?

The material is definitely the key element to me. Good material is the base of tangible and visual pleasures. Good material deserves top craftsmanship, and together they contribute amazing qualities to products: good-looking, practical, durable, and a well-aging life cycle.

How did you learn your crafting skills? For example, leatherwork, sewing, and patternmaking?

I started from the ground up and learned it on my own.

Where are your products made? Do you make products yourself or have a team crafting them?

In our workshop in Beijing.

Can you share an image of your workspace and the tools you use?

Photos of Kang working in the studio

Photos of Kang working with the brand’s “Salt & Pepper” fabrics.

Where do you source materials for your products?

Horween leather from the States, vegetable-tanned bovine leather from Italy.

Our iconic “Salt &Pepper” fabric is customized in China.

What are your favorite materials to work with and why? Conversely, have there been any materials you’ve struggled to work with?

I am obsessed with leather and canvas because they are natural and original. These two materials, one comes from animals, one from plants; together they make bags more practical and durable. You can find this particular combination on vintage bags from a century ago. It’s a combination that has withstood the test of time.

Out of all your brand offerings, what is your favorite piece and why?

All. (laughs)

We hope every single H&K bag will become a classic product. For this reason, we put in a lot of effort during every single bag development before we present it to our consumers.

Your brand incorporates a variety of inspirations, from military to retro styles and more. How do you bring these different inspirations together in a cohesive design language?

Lots of my inspirations often come from vintage army bags. At H&K, we apply our brand visual signatures on different prototypes dated back to diverse periods to present a visual consistency. Our visual signatures include the leather/canvas material, brass metalware, and the flap with our iconic curve.

Photos of H&K iconic flap curve.

Sometimes products are associated with inferior quality simply because they are made in China. Are you hoping to change those perceptions with H&K Leather Workshop? Is that an important consideration and goal for your brand?

Yes, it is true that the label “Made in China” has been associated with inferior quality for quite a while. But nowadays there have emerged growing Chinese brands who are engaged in the quality segment with an artisan attitude, just like H&K. I believe there will be more and more Chinese brands standing for good quality, presenting the new landscape of “Made in China” to the world. I also hope H&K will be discovered and favored by more and more retro lovers all over the world.

You’ve done a few collaborations. What do you value or look for in a collaborator?

Their value about products and understanding of brand will be my main concerns.

Do you have a favorite collaboration?

H&K x Brother Bridge Boxer Boots Collection

Photos of the Boxer Boots from H&K x Brother Bridge Collection

We’d love to see what you carry every day (or at least regularly). Can you share a picture of your EDC (everyday carry)? The items you carry in your pockets or bag daily?

Well, I am not typical in this case. I have a huge amount of bags because I love bags. BUT I barely carry one in daily scenarios during recent years. I only grab my cellphone and keys and put them in my pockets. (laughs)

Some work days may be harder than others. Some days creativity will flow easier than other days. How do you stay inspired and motivated each day to do what you do and keep designing and creating new offerings?

Old bags have been a constant inspiration in my design. I have collected more than 300 pieces of vintage bags. Most of my collection is presented in the H&K Vintage Bag Museum and is open to the public.

Photos of H&K Vintage Bag Museum

But inspirations don’t knock on my door every day. Sometimes when I found myself stuck, I would turn to my hobbies: outdoor sports, skateboarding, snowboarding, camping, and fishing. Staying outdoors and enjoying activities I like is a good path to refresh myself and come across new ideas. I like to observe. The approach would be something like: 1. Observe. 2. Find a new need. 3. Come up with a design solution to meet the need.

Creating and running your own brand can be challenging and time-consuming. How do you maintain a productive work/life balance? Are there any routines you follow each day or particular hobbies or activities you do when you need to take a break and recharge?

This is the ultimate question for all entrepreneurs. My answer is you cannot maintain a perfect balance. Work and life are woven together and it’s not easy to draw a clear borderline. Personally, the best balance for me is to develop hobbies related to my work, or you can say work in the field related to my hobbies.

Currently, I am enthusiastic about camping, fishing, and skateboarding. And you will see how my hobbies are woven into my upcoming collections, soon I hope.

Are there any particular brands or creators that you looked up to or who inspired your own work? Both from when you were just starting out and today as an established brand yourselves?

Nigel Cabourn.

You have a history in advertising, art, and design. If you weren’t involved in leathercraft and making bags, are there any other career paths you would be interested in pursuing?

I would say café. But it’s actually already done.

Lifestyle is the core that I want to deliver, and leather making is only one approach of the lifestyle I want to share with others. In October 2021, we opened our brand café H&K+ in Beijing. It is a cozy courtyard where you can taste a good coffee and creative fusion food. It is also our brand space that demonstrates my lifestyle and offers an immersive experience to our guests.

Photos of H&K+

What’s been the greatest challenge you’ve overcome in your brand journey?

As a former art student, the organizational management is a very important subject to learn. H&K was founded with a tiny team of two, me and my wife. And it has grown into a sound team with three brand stores during the past nine years. How to keep the entire team energetic and productive will be the vital impact factor for the brand’s development.

What are your top tips or advice for other makers and people who want to start a brand?

Find something you love and believe. Carry on.

What’s on the horizon for H&K Leather Workshop? Are there any intriguing brand developments planned that you can share with us? Perhaps a new collaboration in the works or a new product design?

Collection 2022 will be more lifestyle-oriented. It will embody some outdoor activities that I am enthusiastic about, like fishing for instance.

The post An Interview With H&K Leather Workshop appeared first on Carryology.

Alasdair Leighton-Crawford is the energetic, creative designer behind the CIMORO brand. His brand first caught our attention in 2021, making the cut as one of ‘8 Experimental Makers That Should Be on Your Radar‘.

After the article, Alasdair reached out with intel on his plans to develop his own UL running vest, designed to compete with the best running vests around.

Now, his creative group has several product offerings, including a crazy-awesome running vest (CIMORO UL Running Vest V1) that will be moving into factory production soon.

We caught up with him to talk about his company, his design philosophy, and where gear comes from.

Tell us a little bit about your background. How did you learn to sew, create, etc.?

I learned to hand sew on Savile Row in London as well as learned to sew on a sewing machine at home, mainly making shirts and repairing gear, but tailoring is where I began. Afterward, I worked in an atelier in Zurich working for lots of brands making every type of sportswear, from simple to highly technical. This is where I had access to every type of making and sewing machine, which was totally awesome.

How did you get into making packs? Why an ultralight running pack?

Packs just seemed like the way to go. I love clothing, but that’s always been more of my day job. Backpacks are more utility and more moldable to our lives – we carry them everywhere and so I began experimenting. Vests really come from the collision of clothing with bags and that’s where I got interested in the ergonomics and materials being used. Having access to a lingerie atelier in my hometown helped me discover some other fabrics which could be incorporated into the designs.

What does CIMORO mean? What does it stand for?

It means the first two letters of City, Mountain, Road. All the designs are inspired to a greater or lesser extent by one of these.

Can you talk a little bit about your self-proclaimed tagline of “Future Master Craftsmen”?

I was a tailor and when you become a top tailor your title is Master Craftsman (an old-world word for a person of the guild in London, UK). I just thought Future Master Craftsmen was where I wanted to take the brand, mixing up hand-craft with technology such as 3D and AR and computers/tech, but using this all to make great products that still feel human.

What does your creative process look like?

This depends on the project. Sometimes I go straight to paper from notes and sketches. Sometimes it’s 3D CAD then mixing it up with paper and sketches, sometimes purely 3D on the computer. Depends on what tool is best for the job.

Where do you see CIMORO going from here?

We are slowly, slowly growing the range, by working with an awesome community of customers who are helping steer the designs and direction of the company. I think it’s important to incorporate feedback from the real people who are using your designs in the real world and I’m working on a few different formats so that we can change our designs in response to what our users want.

Can you talk a little bit about your decision to offer a small initial batch of packs followed by a larger-scale run?

As a small company with the skills to make in-house and loving doing it, it makes sense to do some production for the release of every product. To help get the vibe from the community as well as get a gauge on feedback and choices of what fabrics to use when it comes to a larger-scale run. I like this approach as it works well to iteratively develop things and reduce waste all the time. You only make what you need and you are always learning.

You seem to be very interested in the community of users and makers. Can you talk about how you see yourself and your company taking user feedback in the future?

I guess it started in tailoring. All bespoke suits, shirts, and accessories start with a tailor sitting down with his/her customer and deciding together what they would like. From this point, it becomes a partnership of both trust and expertise. The same can be said of making packs and later clothing; these things can be brought to more people without becoming disproportionately expensive, if you keep an eye on what technology can do for you!

What is your most indispensable or favorite piece of gear? It can be something you made, or something else. It can be a piece of clothing, a bag, a pocket knife, etc.

Am I allowed two items?! My needle feed sewing machine which I bought second-hand after working in an atelier in Switzerland. It just works and is like an old Mercedes. Else, for sport, my 4FRNT Renegades (skis) made in the White Room in Salt Lake City, Utah in the early 2010s. Full wall to wall wood core. Developed by Eric Hjorleifson (Hoji) and Endre Hals at his epic ski barn in Norway. These guys are geniuses.

They are both true craftsmen and athletes.

If you’re picking up what Alasdair is putting down, you can find more of his work on his website and drool over some gear on his Instagram.

This article was written by Jeff Wayland, trail runner, backpacker, cyclocross racer, fledgling paragliding pilot, and wannabe DIY pack maker.

The post Maker Spotlight | An Interview With CIMORO appeared first on Carryology.

Founder Phil Schade was working in IT building databases when he realized he wanted to get back to working with his hands and creating physical products. What started out as dabbling with upholstery eventually evolved into a passion for soft goods and carry products. “I definitely didn’t consider myself a bag person. If it didn’t fit in my pockets, I didn’t want to carry it. When I did start experimenting with bags, I didn’t think it would end there but I settled into a nice spot where I felt like there was some interesting problem-solving going on, some interesting sculptural things you could do.”

This spirit of experimentation runs through every aspect of 1733, and the business itself is an ever-evolving concept. Schade’s mentality has been to let the studio grow organically in whatever direction feels right. “I don’t try to force it. I’m not bashing my head on the wall. I’m just trying to make a living doing this thing I’m doing.” That attitude seems to be working. Over time improvements to functionality and experimentation with new materials have honed the brand’s unique aesthetic by following Schade’s instincts for what he finds most interesting.

New, high-tech materials and material manipulations keep signature products like the Daily Tote and Side Pack feeling fresh but true to the brand. Each release brings something new to the table, but the underlying design sense demonstrates a consistent combination of traditional and technical, familiar and hi-tech. Sometimes updates can come very quickly, other times he’ll test prototypes for years before a new release.

Schade has managed to set up a small production center in the studio with the help of a team of sewers. This gives them an incredible level of agility, since they make runs of 20-200 bags at a time. Product updates can be handled much quicker and more efficiently than if they were using a factory to produce thousands. In-house production is not without its challenges, however; in the beginning, there was a bit of a learning curve. Schade remembers, “I figured out that the cutting was the real bottleneck for production so I started researching stack cutters and assembly line sewing.”

Today production runs like a well-oiled machine and they drop new inventory the second Friday of every month. Demand is so high that this week, for the first time, they’ve opened pre-orders for some of their best-selling bags. 

I stopped by the new studio space to chat with Phil earlier this year. Housed in a renovated factory in western Chicago with large steel windows and lots of natural light, it feels like a blank canvas set up for all sorts of soft good hijinks. Stacks of fabrics, webbing, prototypes, and bins of new gear ready to go out all surround the maker space with a row of industrial machines and large cutting tables.

We looked through some of his old bags and prototypes and I got a glimpse into his development process. Phil’s problem-solving approach is very practical, but he is always exploring, searching for something new. This, mixed with his high level of craft and attention to detail all combine to create a refreshing aesthetic. One of the most exciting things I got to take a look at while I was there was some recent work bleaching and dyeing X-Pac for the Meridian brand collaboration. The tie-dye effect on a highly technical fabric like X-Pac was pretty awesome and made some of the coolest bags I’ve ever seen. 

Other things I really loved were some packs and Side Packs being built with 500D Gridstop, which combines 500D Cordura nylon yarns with UHMWPE ripstop grid. These are live on his site now with a restock coming soon.  

Chatting with Phil about bags, business, our obsessions with sneakers and technical jackets was a cool experience and I’m glad I was able to stop by. Expect a lot of 1733’s stuff to continue to sell out, and keep your eyes peeled for pre-order opportunities on 1733’s website. It’s a brand to watch for ’21 and beyond.

This article was written by new contributor, Aaron Puglisi, professional designer and maker behind Denier Lab, an experimental carry design space on Instagram.

The post Maker Spotlight | An Interview With 1733 appeared first on Carryology.

The brand showcases the value of reclaimed materials through a range of collections such as the Tote Bag Project, the Offcuts Bottle Bag collection, and the Side Bag collection. Each collection features pieces that immediately catch the eye but complement their urban/techwear aesthetics with functional design. Keen to learn more about this intriguing brand, we asked Jaimus to share his design insights…

Can you tell us a bit about your design background?

I’ve always been into drawing and have been consistently expanding my creative skillset since a young age. I went on to study Graphic Design at university but once I graduated I began focusing on woodwork with a primary interest in using discarded materials. In 2019 I set myself a New Year’s resolution to learn how to sew but still had a strong interest in second-hand materials, which translated to me using second-hand garments.

How would you describe Greater Goods as a brand and what inspired you to create it?

I describe Greater Goods as a design project that was created purely from my interests in multiple design fields. I wanted a platform that would reflect all my creative interests, from graphic design to sewing and product design.

How did you learn to sew? Did you teach yourself or get advice from anyone?

I set myself the New Year’s resolution in 2019 to learn how to sew. I bought a broken sewing machine from eBay in December 2018, fixed it, and then learnt the basics from my sister over the weekend. I watched a few YouTube tutorials but learn mostly through practicing basic sewing projects. The more I practiced, the better I got. I feel I’m still improving, as it’s a relatively new skill to me.

How many people are in the team? What are your respective roles?

One person and I wear many hats. However, I often get help from friends when more hands are needed. I often work with my close friend Haydn West who’s an amazing photographer.

Can you walk us through a typical day at Greater Goods HQ?

No such thing as a typical day, every day is totally different. It could be an email day, sewing day, or a designing day.

Where are the bags made? Could you share a photo of your workspace and tools you usually use?

What do you consider crucial in good design? What key features or qualities should it have (function, a certain aesthetic, versatility, durability etc.)?

I’ve always looked at function to be the key factor, something that functions well and is simple in design will draw its own aesthetic. It all depends on the use of the object.

There’s a juxtaposition of outdoor-oriented materials and urban designs in Greater Goods pieces. How does the outdoors inspire your designs and fit within an urban carry context?

I’ve lived in the city my whole life, but have always liked outdoor gear and hiking. The products are almost a direct representation of the way I think being raised and living in the city but craving open outdoor spaces.

Where and how do you source the upcycled materials you work with?

Primarily online; I don’t really thrift much as all the resellers in London usually clean out stores. I make sure each damaged garment goes a very long way. I use every single part of each product; this means I don’t need to have a large stock of jackets to work with.

To what extent do the materials you are working with affect, limit or otherwise guide your designs?

The materials and garments really dictate the final design. It links back to when I focused on woodwork and how each salvaged piece of wood will come with its limitations. However, these limitations were limiting in the best way possible. It created these barriers that I had to work within, an unwritten design brief. Each product I make is totally unique; it’s impossible for me to make the same product twice purely because every garment is totally different.

What’s the most interesting upcycled material/item you’ve worked with?

It would have to be the natural hand-dyed fabrics from the recent STORY mfg. collaboration. My sewing machine had a slight black tint afterwards but working with the natural hand-dyed cottons was a joy.

What’s your favorite piece you’ve created and why?

Probably the Arc’teryx Kimono-style jacket, which was inspired by the Japanese Noragi.

I think it was the sense of achievement when it all came together that sticks with me. I didn’t know if it would be possible to create but I had the idea in my head for months and knew there was only one way to find out if it was possible.

What’s the most challenging piece you’ve created and why?

Easily the Gore-Tex Futura Tactical vest. It was a total reconstruction project with lots of techniques that were completely new to me. I really enjoyed the challenge and would love to do it again sometime soon.

You offer a bespoke service for custom pieces. How do you balance customer expectations with design, construction and material limits? And how do bespoke pieces push you forward, creatively or perhaps by learning new techniques?

I very rarely take on bespoke piece orders, as they are very hard to manage and often too complex to achieve. When I do it’s often a request from someone I know personally.

What are the greatest challenges you’ve faced so far, from a design perspective and business startup perspective? How did you overcome them?

Too many challenges to mention! The largest for me has been the steep learning curve on multiple projects. I throw myself into new design areas and learn best while being in the process. I think the best way to overcome a challenge is to really think clearly and pace yourself. It’s very easy to freeze up due to the to-do list being too large. Breaking tasks down into digestible chunks helps so much and gives that small dopamine kick.

How do you stand out from the competition and differentiate Greater Goods from other brands in a similar niche?

Often sustainability is presented by brands as very serious, with lots of diagrams and text. However, I feel that if it’s presented in a much more colorful way it has more potential of becoming the common norm. Greater Goods is a collage of a brand with constant varying art direction; I take pride in the graphic design aspect and am constantly looking to develop and experiment. Strangely enough I don’t think too much about competition, I focus on the things I create.

You’ve teamed up with other brands such as Paynter and STORY mfg. on collaborations. How do you choose which collaborators to work with? Are there particular creative traits you look for or shared values?

I really enjoy working in small teams and both Paynter and STORY mfg. were a joy to work with. 

How do you see the carry industry developing over the next few years?

I like to think that there will be a push towards using recycled materials. I feel that many areas of fashion and textiles have begun focusing on new recycled methods but the bag industry seems to be slightly behind. There will constantly be developments in usability and functionality so I expect product to keep evolving in that aspect.

Are there any particular brands, creators or designers you look up to or that inspire your own work?

I respect and admire many brands; my insta feed is just a moodboard of constant amazing work from brands and creators all over the world. However, I often find myself repeatedly watching talks and lectures by Tom Sachs; for years he has been my favourite artist/designer. It’s not the direct influence to my physical work but more the mindset of creating and the purpose or reasons of doing so.

Could you share other brands you’re a fan of or who you think are doing great work in their space, either with or without a sustainability or upcycling focus?

STORY mfg., Loutre, Nike Space Hippie team, Sealand, Nicole McLaughlin and many more!

Do you have any tips or personal practices for finding that important work/life balance?

I’m definitely not the guy to give work/life balance advice. However, for personal practices you need to make time for it. I’m not a super social person so I just used my evenings to learn how to sew and would keep going until the early morning hours. If it’s something you truly enjoy it shouldn’t feel like a chore.

Any advice for other designers or creators looking to do what you do or start a brand?

Start by learning Photoshop and refine the vision you have for the brand.

If you weren’t working on Greater Goods, what would you be doing professionally? Is there an ideal dream job or an alternative career path you’d be interested in pursuing?

Probably graphic design of some kind, I get restless behind a computer screen but the design I’m into involves lots of physical mediums such as collaging and scanning. Sadly I don’t think my dream job exists outside of Greater Goods.

Tell us something fun or unusual about yourself people might not know?

I’m fascinated by Concorde.

Can you share a photo of what you carry on a daily or regular basis and detail what each piece is?

I don’t really carry much nowadays as I don’t leave the studio but my essentials are as follows:

Phone (I used my Google Pixel to take this pic, I’m defo an Android kinda guy), Sandqvist leather wallet. Usual bits on my keys and a 2M Stanley tape measure (a true essential), Moleskine notebook, Leatherman multi-tool, Nalgene 1L bottle, black biro, drawstring pouch (for coins and other random bits) and an N95 mask.

How do you stay inspired or motivated each day, even if the creative juices aren’t flowing or a particular project is proving tricky? Do you have particular routines or activities that help you stay productive?

I tend not to fight through the creative blocks, I often just go for a walk and take it easy and ease back into the creating and making. Before lockdown I was running and playing badminton weekly but sadly during lockdown I lost a lot of drive to exercise and found myself creating and designing loads, which meant being sat for the majority of the day.

What new projects or designs do you have on the horizon? Any interesting future developments or plans you’d like to share?

I plan to experiment with new design and I plan on developing some clothing pieces.

Pro tip: we recommend joining the Greater Goods newsletter, to be the first informed of their new gear, as they only make very small batches and sell out quickly!

The post Greater Goods Might Be Our New Favorite Upcycling Brand appeared first on Carryology.

This is how Hamburg-based Heimplanet began in 2010. For the last ten years, they’ve developed a brand that has seen their gear used in the most rugged and exotic places on the planet. Heimplanet’s aim has been to create pieces that spark joy, make travel easier, and facilitate connections to the places around us. From their first product, The Cave, to their Motion Series of active wilderness-ready bags, and Transit Line of travel gear. There’s a desire to “erase the room for improvement” and work until nothing can be improved upon. A lofty goal.

The folks at Heimplanet have recently revamped both their iconic Motion Series and Transit Line while adding a slew of well-thought-out Carry Essentials (Packing Cubes, Dopp Kits, Simple Pouch). There’s also an EDC-friendly Commuter Pack as well!

Given the excitement of their tenth anniversary and their new releases, I had a virtual sit-down with Heimplanet co-founder, Stefan Clauss.

Grab your favorite stein of beer and let’s make a connection with Heimplanet.

Being in Germany, what is your favorite beer?

Okay, I admit, I do like beer a lot. I do not really have a favorite one, but if I had to choose one, I would pick Tegernseer Hell.

How long has Heimplanet as a company been in existence?

The idea for our first product was born in 2003 while traveling along the Portuguese coastline. Then to transform the idea into a real product and brand was in 2008. The company was finally founded in 2010, and our first product, an inflatable tent – The Cave – was presented in 2011.

What was the catalyst in creating the company?

The initial idea was born out of our first-hand experience and some frustration. We wanted to build the tent of the future. In 2008, my founding partner and I decided that it was the right time to give it a try. We always wanted to create something on our own and do something that meant more than just a job.

You started out with a tent, what made you branch out into other gear?

Right from the beginning, it was clear that we wanted to be a modern outdoor brand and represent the excitement that is connected with it. I remember watching the surf movie Castles in the Sky by Taylor Steele and thinking, “That’s it, that’s the Heimplanet feeling.” Scenes that really express how I connect with the beauty of traveling. While traveling, products should make things easier and, ideally, help along the way, although they are not the reason why you leave the house.

Over the years you’ve seen some great success, what has been your proudest moment?

There have been many great moments like receiving awards or being featured in a magazine or by a person I really respect. Personally, I am proudest when I spot a random person on the street wearing one of our products. Or I read a customer comment that points out a feature that we discussed for endless hours in development.

What do you attribute your success to?

I believe our customers appreciate our attention to detail and the clarity of our product design. It’s easy to overload a product with features and complexity. The difficult part is choosing the right functions and integrating them in a way where they almost disappear so that the final product becomes simple, clean and nothing is redundant. We are trying to create products that create joy while in use because they make sense and surprise you. It’s like finishing someone’s sentences. If we create that kind of experience, we have succeeded.     

What’s the most unique place you’ve seen your gear go?

Our tents have been to some of the most amazing and remote places around the planet. It would be tough to pick only one. Still, there’s one story that’s extraordinary. We received a phone call one day from a huge production company that was working on one of the biggest movies of 2019. They told us how the production team fell in love with one of our backpacks. At first, I thought it was some kind of scam, but the person explained that they decided to make our bag a present for everyone on set and that they would like to place an order. I would have loved to be there for the moment when they received it!

What are some influences behind your designs?

Function is always our first concern. The Cave was born from a technical solution, the structure of a geodesic dome or buckyball perfectly represents the principles that we were searching for in a tent. It’s the most stable and economical way to construct a room.

Afterward, we realized that with this construction, it is impossible to separate function from design; they are one. This defined our product design principles. It was a long and challenging process to find our voice. Still, with the Motion Line, we were able to translate this concept into our backpacks, and it defined our direction from then on.

We are also inspired by patterns and forms that you find in nature. Nothing in nature is random, everything follows a principle and makes sense; we are trying to infuse some of that into our products.

 To quote Buckminster Fuller:

 “When I am working on a problem, I never think about beauty, but when I have finished, if the solution is not beautiful, I know it is wrong.”

Can you talk a little bit about the geometric design that is featured on a lot of your gear?

A couple of years ago, we were contacted by multiple customers, they wanted one of our tents, but in a colorway that would disappear in nature. We looked at the different possible solutions and were not happy with the options. A green tent would be a bit boring, and a classical camouflage was not really what we wanted either. Out of the thought process, we decided to develop our very own pattern with camouflage functionality.

Once finished, we started realizing how much this pattern actually represents our design approach and aesthetics. From then on, this pattern appeared more often in our products, like on the three-dimensional back panel of our Motion Series. We then decided to make it part of our design DNA and our signature pattern. Nowadays, you can find it in most of our products in one form or another. 

How much does customer feedback affect future designs?

A lot. The development of our signature pattern was inspired by customer feedback. The new Dopp Kit Better Half was inspired by customers, as were a lot of modifications to existing products. We really appreciate customer feedback. None of our products are untouchable. We continuously work on improving them.

You have a few new pieces being released, that’s exciting; can you tell us about them?

We invested a lot of time and resources over the last two years developing our own, more durable and eco-friendly materials and hardware. Last year was hectic for us, we were really focused on bags. We started by launching our Neck Pouches a couple of weeks ago, followed by the launch of our redesigned Motion Series. Both the Carry Essentials and Motion Series are made from the same mix of materials and feature our new DYECOSHELL II fabric. This is now an essential part of the redesign, especially in the Motion Series since it focuses on the outdoor context and is designed with active usage in mind.

After that, we launched our redesigned Transit Line, including an all-new Travel Pack with 28L next to the 34L version. This line also features new materials and custom hardware that you’ll find across our products from now on.

At the same time, we introduced a collection we call Carry Essentials. This collection features packing cubes, a new version of our Dopp Kit, plus a smaller version of the Dopp Kit Better Half and a new Simple Pouch.   

In September, we are going to launch a brand-new pack that we are very excited about. We call this the Commuter Pack. We shared some details about the development during the Carryology Meetup in Hamburg at the beginning of this year. The pack is made from our new DYECOSHELL II fabric, and it’s an excellent pack for everyone who is looking for a compact everyday solution.

What would you like to see your customers do with Heimplanet gear?

When we started with the development of our first bags, I shared my experience with the team about a bag I owned for 10 years. It was my go-to pack for every trip and every day. In the end, this bag had a wealth of memories and experiences. That’s what I want for our products. I want them to be catalysts for the experiences and memories you make while traveling.

What’s next for you and Heimplanet?

We are already working on products for next year, but for now, we believe we have an exciting line-up. We want to put these products into more hands and in front of more eyes. We are working on expanding our distribution so that more people can touch, try, and experience Heimplanet.

A special thank-you to Stefan Clauss and Moritz Grebe for spending some time with me and discussing Heimplanet.

This article was written by Jovanni Bello. Renaissance man, adventurer and cell phone photographer.

The post A Decade of Heimplanet: Interview appeared first on Carryology.

Taylor Welden (Senior Editor): “So, what was your plan 10 years ago?”

Alec Farmer (Founder of Trakke): “Hahaha, I didn’t have a plan!”

The following is written in Alec’s voice…

2010

Fixed gear bikes were cool. Bicycle messengers were cool, everyone wanted to pretend to be a bicycle messenger, even I probably did too. I was studying Graphic Design at art school and I was sick of being stuck behind a computer for hours. I wanted to make stuff with my hands. But of course, I was a broke art student. So my friends and I would ride our bicycles around Glasgow and go dumpster diving. We would find materials and then liberate them; couches, ad banners, zippers, buckles, anything we could find.

With these materials, we’d make bags from them. They were horrible as this was my first time really using a sewing machine at length, but they were a proof of concept. And it was fun. After a while, James (my flatmate and friend) and I realized we had way too many bags laying around our flat. We had the brilliant idea to try to sell some of these and found a small stall in a famous market in East Glasgow. On August 10th, 2010, we came up with the name and got the keys to the stall. It was official.

2011

We had developed a very small and local following in Glasgow. It was definitely shoestring. We’d make deals with people, where if they brought us some interesting cool fabrics to our stall, we’d make them a bag for free, leaving us enough material to make more bags later. One guy even brought us a roll of some really impressive high-end sail racing cloth, which may have led us down a new direction. First, I quickly began to realize the quality and execution of our bags was nowhere near where I felt comfortable. And we needed to scale up if we’d actually be able to do this properly. So I began looking for help. Initially, I went looking at overseas factories but then quickly realized we would never be able to hit the minimums required. And at 20 years old, I found a 50-year-old sailmaker just about 1 mile down the road from me. He started helping make some of our bags for us, mostly using brightly-colored Cordura fabrics, probably in our attempt to want to stand out among the competition. Weird loud colorways… what was I thinking?

These bags definitely did stand out. Back then, this was before Topo Designs, bright colorways weren’t a thing. All bags were basically black, so that did help. There wasn’t really a super active bag community around yet. It was a different time, for sure. Despite standing out and our quality improving, I decided that I really hated nylon fabric. With my new sailmaker friend’s work drying up, I offered to rent a small workshop for he and I to share. He could work on his projects and on our projects in this space. This all led to a refocus on what we were doing… and I decided to look around at fabric options and what it really meant to be “made in UK”. I discovered Halley Stevensons, the best waxed cotton mill in the world, located just 50 miles away. I found a shop in Wales to make us stainless steel hardware. Even webbing, made in Derbyshire near where I was born and raised. We began taking these fabrics and applying them to classic designs and silhouettes. This was the first real step of Trakke becoming what it is today.

2012

The first 5 years of Trakke were slow, very slow. But we did have some major achievements. We started to make some great product this year, but I was pretty bad at selling the product, since I really didn’t have any experience in marketing or sales. But we did have one massive win. Further exploring materials from the UK, we started some talks with Harris Tweed. They made really cool fabric and we worked out a collaboration with them to make some nice bags. Well, we didn’t realize how big Harris Tweed was in Japan. And overnight, we went from being this brand that only a few locals in Glasgow knew about, to getting all kinds of international traffic. We were shocked.

(Editor’s note: This is when I, Taylor, first probably discovered Trakke… or at least how I remember it anyway.)

2013

This was another changing point in our brand’s history. A weird year. And as usual, filled with happy accidents. For example, there was this awesome design museum here in Glasgow and for some reason the exhibition they had planned to show in a few weeks had fallen through, so they came to us and asked if we would be keen to fill this open spot.

Of course we were stoked. So we framed our Trakke exhibition around the idea of UK materials, where they come from, how we source them, how we transform them into products, and the people who use them. Without really realizing it, it made us look even deeper into our process and continue to evaluate it and improve upon it. It also gave us some insight on how to better share our message through photos, words, and video. You could call it the beginning of our understanding of marketing.

We also made the Krukke, our very first waxed cotton backpack in 2013. This year also marked the birth of our original Banana bum bag and one of my personal favorite designs we’ve ever done – the Óg backpack.

2014

Another weird year. Totally unplanned. I mentioned that I’m always interested in making things with my hands. Always curious. This made us totally blow up and had the international and digital spotlights put firmly on us. How did we do it? Well… we built a Mongolian yurt.

Yes, you read that correctly. We had a friend with a really nice shop with access to all kinds of high-end machinery. We just did this little side weekend project where we planned to make something, strictly for fun. It was definitely not intended to be a marketing project. If you’re familiar with yurts, even when they’re broken down, they weigh a whole lot and they take up the space of a large living room. Well, we designed this one to fit inside a car boot (“trunk” in the US) and it weighed only 130 kilos (286 lbs). It was roughly one fifth the size and weight of a standard yurt when disassembled. It was a lot of fun. But it attracted a ton of people. We were on the cover of Wired, in Vogue Living, and a bunch of websites. This was right around the time that glamping really started to become popular, so it was just this accidental timing. People still message us today and ask if they can purchase one.

We also teamed up with Timorous Beasties for a collaboration project, which was a lot of fun. We wanted to do something different, as usual. And to pull off our idea, we had to work closely with Halley Stevensons to execute it properly. Our idea… the world’s first digitally printed waxed cotton fabric. It turned out beautifully.

2015

This year was epic. The year we moved into our current workshop. We had space. We had passionate employees who we consider our Trakke family. And it also marks the year of my favorite collaboration project of all time, the Karrimor K100 Backpack. This was a dream of mine come tre. An honor. Karrimor was celebrating its 100th anniversary and they wanted us to make a pack that was directly based off of the Whillans Alpiniste pack, the pack you would see adventurers hiking to the top of Everest with back in the ’60s and ’70s. You’ve got to understand, Karrimor used to be THE British adventure brand. I got to work directly with Mike Parsons, the original owner/founder of Karrimor. He told me step by step how he would make these packs in the past. We even found the original buckle manufacturer of the original buckles they used… it looked like their catalog hadn’t been updated since like 1910!

2016

This is the year we really started shifting our collection in classic yet urban bags. We launched the range of products you’ll see in existence today. Of course, it’s been updated over time, but 2016 really was big for our direction.

We also worked on a collaboration that was really special to us, partnering with Jura Whisky. It was called the Trakke x Jura Whisky Backpack. What made this one really interesting is that we were almost obsessively inspired by the Isle of Jura, where the whisky is made. For example, the dye for the waxed cotton comes from lichens that grow on the ocean rocks, native to the island. The zipper pullers were made of deerskin leather, from local deer. We did 130 pieces in total and are very proud of that one.

2017

The year that the Wee Lug won 1st place in the Carry Awards for “Best Work Messenger”. That was a big win for us.

We also did another fun project. Originally just made for a friend of ours, the drummer of a local band called Frightened Rabbit. He came to us with a problem; he used drumstick cases that would have his sticks getting broken or damaged while he was touring. So we whipped this little drumstick bag up for him. Since then, we’ve made bags for some other bands such as Death Cab for Cutie, The National, and an obscure artist named Phil Collins.

2018

We released our best-selling backpack we’ve ever launched to date, the Bannoch backpack. I feel like in 2018 we really start to get up to date with where we’re at now, while we were still looking into things that played an homage to the past. Like the salt and pepper fabric we used on the Bannoch… we loved the look of those old Swiss military WWII backpacks.

Our friends Halley Stevensons figured out a way to replicate this fabric, using stinging nettles from England as the additional fiber to be mixed with the cotton. It’s durable, we love the way it looks and the nod to the past.

(Editor’s note: I brought up a story about a stinging nettle eating competition that I saw on a UK show called “River Cottage” and Alec tells me that the star of the show, one of my favorite humans, Hugh Fearnley-Whittingstall and his family, all own Trakke bags – awesome!)

And of course 2018 led to the greatest collaboration of all time; the Trakke x Carryology Storr SP collab. Of course, we had fun working with Carryology on this. But the big takeaway from this wasn’t something we expected. We didn’t know that there was this thriving carry community out there. Most times, when a brand reaches out to work on a collab, they just want to slap their name on it, and pull in some profits. We were surprised when Carryology sent Taylor over to Scotland for a full week to actually hang out with us at our workshop, design and prototype the bag together, and share a huge insight into this world we weren’t quite aware of. We realized, this is real and these folks in this community are serious about carry. It was exciting.

2019

We really started crossing over into both urban and travel in 2019. This is because we learned that our customers spend the majority of their time in the city, but they still want products that can go with them anywhere and everywhere. A bag they can wear five days of the week in an urban environment and then take to a fun weekend in the hills with friends.

This is where we have arrived. We don’t make bags for Everest, we’re not trying to be that. But we’re inspired by the legendary packs that went to Everest in the past. Ultimately, we believe in our products because we believe in and care about our customers. We still have customers coming to us who purchased bags from us 10 years ago and we still make small repairs for them.

2020

And we’re here. August 10th, 2020… 10 years later. So far this year we’ve just recently started pushing our comfort levels and playing a bit more with Dyneema. Our Dyneema Banana sling was released about a week ago and sold out in just around a minute or two! We’re liking this experimental approach and you should expect some more experiments going forward.

Our face masks were really a big challenge for us, which we didn’t expect coming from such a seemingly simple product. You see, normally we can test out products with lots and lots of people, to get their feedback and take notes on fit, function, etc. But in a global pandemic, we really only had ourselves to prototype and test with. But they turned out really nice and people around the world are reporting that they love them.

2020… 2030? 2100?

So, what’s next for Trakke?

Well… in 2019, we posted a photo about another fun weekend side project we had been working on. Just like the Mongolian yurt, this wasn’t some big marketing plan. We make things because that’s what we love to do. To say we were shocked by the response is an understatement.

And while the details for this jacket are mysterious at the moment, you heard it here first… it will be available later this year, as a limited edition product. We’re not going to release an apparel collection next year or anything. But this jacket acts as a statement of intent. It represents who we are and our path going forward. That we’re going to keep experimenting, to keep having fun, and to keep making.

Note from Carryology: We’re looking forward to seeing what else this humble brand creates into the coming decades ahead. We’ll certainly be following them along every step of their journey.

The post A Decade of Trakke: Alec Farmer Interview appeared first on Carryology.

Eager to learn more about Dan’s design influences, projects and tips, we asked him to share his insights…

You were a product designer at Triple Aught Design and now a freelance softgoods designer. We’d love to know why you got into design and how you got started with TAD?

I was a designer at TAD from 2006-2018, and have since moved on to pursue life as a freelance designer. 12 years is a long time to stay in a creative position like that, so despite the vast collection of design challenges it was time to move on.

My background is in graphic design. I had a lifelong interest in illustration, so it seemed like a good idea even though I had no grasp on what it meant. What really caught my attention about the design department was how process focused it was. I believe my transition into apparel and softgoods design was possible because there was a lot of crossover in the design process. It was very overwhelming at first, and I failed A LOT but that learning experience was super valuable. 

I got started at TAD as a freelance designer. When I was still living in Oregon a friend called to tell me about a new shop he found in San Francisco (this was around 2004-2005 maybe?). Over time he landed a job there and I eventually had the opportunity to meet everyone at a knife show in Portland. That was my first experience with that community and it totally floored me. Custom knives and industries like it have a really well educated customer base. It felt like everyone was an expert, and being a part of it meant doing your homework and having a knowledge base (which I didn’t have). In either case we got along and I eventually started doing some freelance design work for print design and technical sketches. It was an exciting time for me as a Jr designer to flirt with a fantasy job while grinding through a 9-5. Eventually there was an offer to go full-time with the exception that I’d move to SF, which I accepted immediately.

You have a series of embroidered patches reflecting your personal creative influences. Could you tell us more about what those influences are and how they shape your design process?

I’ve always wanted to create embroidered artwork that was truly my own and free from any outside brand direction. I’ve observed the culture of patch collecting over the years and it’s been incredible to see how enthusiastic people can be about supporting artists. Selling your art is challenging, but there’s something about the tangible nature of these patches that really makes them feel personal and fun to look at.

At the moment I’ve only released two embroidered patches on my own. They’re intended as a three-part series, to which the third is currently in production. There could have easily been more than three, but the list of influences was getting out of hand so I had to audit my choices. The first release ‘Oni’ is a reference to culture and heritage. I’m Japanese American but my family (immediate and extended) are from Hawaii. Culturally my sister and I were raised in a Japanese-Hawaii household, which may sound strange but for anyone who knows what that means it’s definitely a specific culture. I struggled with this growing up. On the mainland I felt like a minority, but on Hawaii I wasn’t accepted as a local (in Japan I’m unquestionably an American). It’s hard to process as a young person but it’s also made me who I am today.

The second release ‘Astronaut’ was my love letter to sci-fi films. I struggled with this one as it felt like a generic reference, but it’s absolutely true. I think a lot of us in EDC or Carry culture have this in common, which is why I think we see a lot of similar references in the community. For me, science fiction is great at making us reflect on our own realities by forcing us to seek relatable aspects in characters, environments or props even if they’re completely foreign. I think about that approach a lot when creating something from scratch.

The third and final patch is about music, but also listening and being a good listener. This last design will also finish the red, white, and blue color sequence of skulls which is my nod to being American.

What do you prioritize and/or value in a design? What key features or qualities should it have (function, a certain aesthetic, versatility, durability etc.)?

I suppose it depends on if you’re serving the needs of a client and design brief or creating something for yourself. Many of those requirements are often dictated by the client, so for the sake of making this interesting I’ll answer for myself!

When approaching product creation (for non-life-saving or mission critical equipment), I tend to focus on the balance of functional aesthetics. Personally I find the functional components to be the most attractive, so I always try to keep some of that included with the visual language. I also find that durability is high on my list of priorities as I like to think that these products are reliable and will last longer than you’ll need them. How you accomplish this will vary, but as long as you have a good idea of its use case you’re on the right track. The last feature worth mentioning is a little unusual but I do find it important to acknowledge. How does wearing and using the bag make you feel? What’s interacting with it like? Again, if we cast aside the critical use gear aspect and assume this is an “everyday” thing, then I do appreciate looking at the user experience. It does include the literal interactions like pockets and suspension, but there’s also a bit of matchmaking that occurs when someone inspects a bag for the first time. I love the idea that donning a bag sparks a feeling of capability and confidence, even if it’s only walking a few blocks or going for a day hike.

We’re digging your personal sample series of pouches! What inspired you to start this series and what do you think the future of the series might be?

I originally made the pouch for some fishing buddies. The request was actually for a dedicated sling bag, but since I was interested in using it myself I wanted to offer multiple carry options. This is why there are multiple strap configurations including total removal if you choose to use it as a basic storage pouch. I’ve never been into these carry options before, but after using it in the proper context it’s been in my EDC pack every day. The pouch is actually part of a larger system of bags that I’ve been working on as a side project. I’d love to release the entire kit, but it’s very labor intensive and I want to ensure that the quality and features are possible for my production capabilities.

You craft your sample series by hand. Have you made gear in the past or is this your first time getting hands-on? Do you craft the pouches at home or elsewhere?

I’ve been building softgoods for around 10 years at this point. Professionally it was proof of concept, prototypes and samples but never on a production level. I never thought I’d have the patience for this type of sewing, but I’ve found it strangely satisfying as working on the same project for months has taught me a lot of new things. I have a small workshop set up at home for sample sewing which can handle just about everything. We’re very limited on space in SF, so depending on the client work or larger projects I often outsource for laser cutting. My buddy Joe at Scout Leather and Jason at Prometheus Lights have been very supportive and generous with their time and resources with this. Thanks, guys!

How does making something yourself by hand influence the design and perhaps alter it along the way from digital image or a sketch to a physical object?

Being involved in all stages of the product creation process is a major advantage. When I first started with product design, I wasn’t sewing or creating patterns which prevented me from observing functional design flaws and production issues. Although it’s possible to hand off sketches to a factory, I found that innovation was more accessible when you’re personally involved with the build. This isn’t to say that craft alone can ensure a successful product, as the design process is still an essential and unavoidable part of the workflow. It’s easy to sell someone on your ideas with beautifully rendered images, but taking the steps to build and produce it should be considered.

A big take-away for me recently has been the difference between making single pieces vs batches of 10 or 20. Things like basic pattern and construction components were adding up to 20 minutes of extra labor that I was able to eliminate by having done them repeatedly. It’s a painful but super useful lesson to learn!

Where do you source materials for your sample pouches?

For most of my materials I go direct to suppliers. There’s also an incredible Fabric Warehouse here in San Francisco that has some great finds. It reminds me of digging for records, as you can go in there with no expectations and leave with something amazing.

Upcycled materials seem to be a common feature across the series, for instance the pouches may be made from a rain jacket, repurposed Pendleton Saddle Blanket, or rice bag exterior. Is sustainability important in your design process?

Initially the repurposed material was intended as satire, but after making the first rice-bag backpack, I was impressed with how durable the material was and started to appreciate the look of the bag. I started experimenting with other durable waterproof materials and that’s how the intersection of the two occurred. I’ve come to appreciate the search for new materials to use, and since I’m working in small batches the options are more forgiving regarding MOQs.

Have any materials been particularly hard to work with or required creative solutions to implement in your designs (either in your sample series or TAD pieces)?

I made a few 50L+ external frame bags at TAD for a special event which used a heavy-weight Cuben Fiber. I had no idea how to cut this material, and it was definitely a frustrating learning experience. Most of the material restrictions I face now are due to equipment limitations. I sold my second single needle machine to make room for a cylinder arm, but this has made sewing lighter fabrics very difficult. I.e. the walking foot does 90% of the sewing these days!

Do you have a personal favorite in your sample series and if so, why that particular piece?

If I had to pick one, Article_017 stands out to me the most. This was the point where I really figured out how to work efficiently, and had all of my binding solutions really figured out. It’s so satisfying putting each piece together, and I absolutely love a seamless workflow. 017 is a personal milestone and feels like a small victory.

What’s your favorite TAD piece you’ve worked on and why?

That’s a tough question! There’s been so many products over the years it’s really hard to say. I have a lot of memories around every product I’ve worked on, but some are more interesting than others (that place could have been a reality show). The two big ones for me are the Litespeed V2 and the Parallax Messenger Bag. The original Litespeed was the first bag I’ve ever designed, so it has a lot of sentimental value but it was very outdated by the time we got around to redesigning it. This was right around the time I was learning digital pattern making and sewing, so I had the opportunity to build multiple sample bags and really engineer the important areas and address the aesthetics after. The Parallax Messenger had a long cycle of development, as this was a new product line and TAD’s first true messenger-style bag (the Dispatch bag was never really considered a messenger). It’s a very crowded market space for bags, and it was challenging to establish what our take would look like. It was a tough one but I’m really proud of that project and the experiences gained from it.

Can we get a sneaky peek at your work station setup?

Can we see what you carry in your EDC setup?

Rudy Project Ultimatum Sunglasses

Homemade sketchbook 4.75″ x 8″

Panerai 112 (*Rob Montana Pilot style strap)

Bic Ballpoint Pen *Scout Leather brass edition

iPhone X

Fenix E12

Emerson Mini CQC-8 (in Noveske Green!)

TAD Transport Card Sleeve

Some days the inspiration might flow easier than others. What motivates you each day to do what you do and stay on track?

Eat That Frog! This book has been immensely helpful handling my workload. Tackling the big items on your to-do list FIRST makes the other tasks feel so much easier. I might be able to finish 10 mockups in Fusion 360 quick, but prolonging the heavy pattern work will still be there when the easy stuff is done. Inspiration is a tricky one. I used to think it was a matter of taking time off or shifting focus. For the creatively uninspired, I heard a piece of advice from Ash Thorp that I try to keep in practice. In essence the idea is to stop and go back and follow your design process. Sometimes too much creative freedom can be paralyzing, so it’s helpful to pause and look to your references, design brief and walk through the process to make sure you’re addressing the proper requirements.

“Inspiration is for amateurs. The rest of us just show up and get to work. If you wait around for the clouds to part and a bolt of lightning to strike you in the brain, you are not going to make an awful lot of work. All the best ideas come out of the process; they come out of the work itself.” – Chuck Close

Do you have any design mentors you look up to or people who really influenced your own design career and path?

David Carson – As a young graphic designer, David Carson showed me how I could find my own voice in an industry that I felt was somewhat safe and boring. Having a little bit of edge made design interesting and expressive in a way that I hadn’t realized was possible.

Mel Terkla – Mel’s work was some of the first that I really paid attention to when I started designing softgoods. My early years involved a lot of studying and observing, but I admired his work from a distance and have a great deal of respect for him.

Dana Gleason – Although I’ve never met him, I’ve always admired MR’s approach to bags and carry. I strive to have unique solutions with every project that’s forward-thinking, useful and aesthetically pleasing, something I believe Mr Gleason has accomplished.

Ash Thorp – Much later in my career as I was less involved with graphic design, a friend had shown me Ash’s work and podcast. His creative approach was super inspiring and revitalized my interest in the art form.

Maciej Kuciara – Maciej is a phenomenal concept artist who I discovered from Ash Thorp. The aspect I always come back to with him is the idea that we can always learn new skills. In less than a year I learned five new software programs and completely changed the way I use Photoshop. 

What’s the greatest design challenge you’ve overcome, either with TAD, your own pieces or elsewhere?

It’s hard to say if you’ve truly overcome something creatively since it always feels like a learning experience. One instance that really comes to mind was the pursuit to learn 3D modeling programs and implement it into my workflow. I’m still learning, but the small steps I’ve made so far have been a major game changer for me. It’s a tool box that’s constantly expanding and offers amazing potential.

Could you share other brands you’re a fan of or who you think are doing great work in their space?

Wayfinder – I really appreciate the cleanliness and sleek build qualities of the products. I would love to see what their bag systems would look like!

Joe Caswell – I’m sure I won’t be the first to mention the name, but the design and engineering work on his knives are insanely cool and inspiring.

Ban Tang Knives – Super simple and purpose-driven tools that are equally functional and good-looking.

Skinth – It’s not a new brand to Carryology, but I still find their construction solutions to be super brilliant.

Do you have any tips or personal practices for finding that important work/life balance?

I’d love to know this answer myself! Working on my own has taught me a lot about what I value from a workplace. Without clear scheduling I used to grind out projects 12-14 hours a day, every day. That lasted for about eight months until I was totally burnt out and ran out of steam. Since then I’ve made an effort to start enjoying some hobbies that require real time away from the apartment. I recently started fishing in the bay area which has been great for this. We also got a dog which has been an awesome addition to the home and fun excuse to go for walks three times a day. I’ve also started playing video games again which has been a nice reward for an end of day hangout as well.

What’s one fun or unusual thing people might be surprised to learn about you?

I got back into playing video games a few years ago, specifically Street Fighter 4 (USF4). It was much harder to keep up with but I enjoyed the challenge. Fighting games are a lot of fun to play and give you something totally different to practice, focus and work on. From a distance it looks silly but the fundamentals and execution required to play the game require a lot of patience and can be very rewarding. But now there’s Street Fighter 5 which totally ruined it for me. Booooo!!!!!

If you weren’t a designer by profession, what would you be?

If I was starting over and couldn’t go into design, it would definitely be something in concept art for the film or game industry (which is somewhat like a design role). Is an ice-cream maker a profession? That’s what I’d do.

What’s your top advice or tips for other designers starting out in the industry?

Be productive even when you don’t have anything going on. When I got out of college I spun my wheels for months trying to get into agencies or Jr design positions. Companies wanted a minimum experience level which I didn’t have, and networking was hard when I had nothing to share but failures. What changed things for me was tasking myself with making projects that I enjoyed working on. It made me hyper focused and I found myself excited to produce content even if it wasn’t on a commercial level. That collection landed me my first design job at a newspaper.

Times are different now, but I think the practice can be the same.

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