Category: lifestyle

Anne Raudaskoski on Ethica and the holistic approach

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Anne Raudaskoski, Textile hackhaton, photo credit: Sara Malve-Ahlroth.

 

Anne Raudaskoski is a Finnish enterpreneur who wishes to create new connection to nature. Her approach can change the game of sustainability. With a background in dance, she has faith on the power of the arts: 

“Arts provide a holistic approach to existence, and this is what we need to change the current linear system. Human beings are part of the nature; nature isn’t something that is “out there” to be exploited, but rather, we need to re-establish our connection with the nature to realise that we can create sustainable growth and well-being with far better rules than what we presently have”. (Anne Raudaskoski)

Firstindigo&Lifestyle: When and how did you start Ethica consulting company?

Anne Raudaskoski: I started Ethica in 2013 with my business partner Paula Fontell. We actually didn’t know each other at the time, but we both had been talking to our mutual friend of having a dream to set up a company focused on sustainability and the circular economy. This friend of ours suggested we should meet and share our ideas. We had our first meeting over lunch and we realised we shared the same vision. Three months later Ethica was formally established.

Firstindigo&Lifestyle: How did you get interested in the circular economy?

AR: My approach to CSR (corporate social responsibility) and sustainability has always been very business oriented. It means that there has to be a solid business case for sustainability and it should be embedded in strategy and R&D in such a way that sustainability works as a spring-board for the strategy instead of being an add-on or philanthropy. I wrote about the circular economy (CE) in early 2012 on my blog site after reading some articles on the Ellen McArthur Foundation (the global driver for the CE) site. I felt that some of the questions and pain points that CSR could not resolve – especially the intersection around environmental, strategic and economic issues – were inherently part of the circular economy. So when we started Ethica, it was very clear to us that the circular economy would be part of our service portfolio.

Firstindigo&Lifestyle: Is it possible to define, what circular economy actually changes?

AR: Circular economy is an economic model, so it affects all sectors and organisations in some way. I always say that the biggest hurdle in transition from a linear to a circular economy is our current mindset. All our processes, decision-making, governance and actions are based on linear thinking. In a nutshell, this means that we keep overusing natural resources, we accept the concept of waste as de facto, design processes are not based on biological and technical cycles and we haven’t figured out yet how to do business within the planetary boundaries. All this is changing as part of the transition towards the circular economy.

Firstindigo&Lifestyle: What are the basic principles that define the circular economy?

AR: The below list of six principles offers a good starting point to explore CE more in detail.

1 Circular economy is a resource wise economic model that is restorative and regenerative by nature. It operates within the planetary boundaries.

2. Materials cycle endlessly in technical and biological loops in society. Materials are safe & non-toxic.

3. The value of products, components and materials is maintained and increased through refinement.

4. All energy is renewable and is used efficiently.

5. Solutions are systemic and based on designing life cycles, ecosystems and multiple purposes.

6. Equal distribution of resources and well-being is in the heart of the circular economy.

Firstindigo&Lifestyle: How would you describe the ‘ethical’ core of Ethica?

AR: We want to create a circular future. To us this definition also entails equality, social well-being and in fact, a more just and transparent economic model than what we currently have as the result of the linear economy.

Firstindigo&Lifestyle: Finland seems to be a forerunner for ethical solutions when it comes to consumption, and the country is also involved in introducing new clean practices. What aspects in Finnish culture support these kind of thinking?

Indeed, there are quite a few aspects supporting this and I’d say it’s the unique combination of culture, history and welfare state: high number of clean tech innovations; excellent education system that educates children and young people about sustainability topics; frugal manners that our grandparents and parents had to adopt during the war, which then were passed on to younger generations; good recycling infrastructure with incentives…and of course ambitious policies and action plans in place. For example, circular and bio economy are one of the five flagship programmes of the current government. Finland was also the first country in the world to publish a national circular economy roadmap in 2016.

Firstindigo&Lifestyle: What in your mind defines good consumption?

AR: Understanding your own impact and power as a consumer. Exploring your own values; what kind of world I want to be building, do I want to be part of the solution or part of the problem? Questioning your own consumption habits: is there something that I could do and choose differently? Being your own leader when it comes to adopting new, sustainable solutions.

Firstindigo&Lifestyle: Tell more about your Relooping Fashion project?

AR: Relooping Fashion was about creating circular fashion. We piloted a circular ecosystem consisting of seven business partners ranging from waste management company to fashion retailer and packaging service. So the goal was to build, test and learn how a closed loop fashion ecosystem could work. Another important goal was to test VTT’s (Technical Research Centre of Finland) new technology for cotton dissolution that replaces the use of virgin cotton. Ethica’s role in the project was to model the business ecosystem as well as research the consumer interface. i.e. how to create demand for circular clothing.

 

Anne Raudaskoski, credit Janne Häkkinen, JFramesPhotography.
Anne Raudaskoski, photo: Janne Häkkinen, JFramesPhotography.

Firstindigo&Lifestyle: Where do you find your daily inspiration from?

AR: No matter how cliché it may sound, I simply and truly enjoy my work, so the work itself coupled with the opportunity learn new things is my source of inspiration. Every project is different, we have great clients and collaboration partners to work with and of course our own team is brilliant.

Firstindigo&Lifestyle: What can the world learn from Finnish innovation in clean practices?

AR: Great education and innovation support system are essential enablers. I also think that the Finnish way of living and thinking inherently has a fairly good level of social and environmental responsibility, and when these aspects are combined with innovation, you get the solutions that the world needs.

Firstindigo&Lifestyle: How do you like to influence and motivate people in their everyday life to incorporate more sustainable solutions and choices?

AR: There are a number of different players who all have a role to play. Of course we need businesses to develop solutions that are not only sustainable, but they’re also the best solutions available. Legislation can speed up the development and help mainstreaming new solutions. Education and the media also play a hugely important role in making sustainable choices the “new normal”.

Firstindigo&Lifestyle: Do you think that your background as a dancer helped you in your career path?

AR: It did in many ways. Working as a freelance dancer requires endless curiosity, self-discipline, perseverance and ambitious attitude. You’re always seeking new opportunities and you need to welcome constant change. You need to be a good team player, but at the same time you’re 100% in charge of your own development. There are hardly any permanent vacancies available, so you have to build your own career and make sure you are sufficiently networked just to be even considered to be one of the many candidates. Basically, you work as an entrepreneur without the formal status of entrepreneur.

Also my dance teacher background has been an asset when running workshops and giving presentations.

Firstindigo&Lifestyle: In what ways can arts support circular economy?

Arts can create connections and mental horizons that escape the typical business environment. It can bridge rational and emotional in a way that enables eureka moment, which is a prerequisite for willingness to change the status quo.

Firstindigo&Lifestyle: How many countries have you visited to lecture and share about your business?

AR: A few so far: China, the Netherlands, Estonia and Reunion Island (France). We also exhibited in Austin (US) at the EcoExhibition a couple of years ago. Next month I’m going to Sweden.

Firstindigo&Lifestyle: Is it easy to name clients that are best for your brand?

AR: The ones who want to work ambitiously, are truly interested in raising the bar and finding new opportunities through the circular economy thinking, no matter the size or sector of the organisation. From the circular economy perspective, we are still at the dawn of the new era and endless opportunities that this new approach can provide us with.

Firstindigo&Lifestyle: Is the questions of climate change significant and embedded in your models?

AR: Absolutely. To start with, all energy should be renewable, this is one of the basic tenets of the circular economy. Decoupling growth from the use of virgin raw materials and resources is another key principle. In short, it means doing more with less and designing our products, systems and societies in a circular way so that emissions can be decreased significantly.

Featured image credit: textile hackathon, Sara Malve-Ahlroth.

Members Only: Flo Kasearu at the Performa 17

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Ernest Hemingway once said, “In every port in the world, at least two Estonians can be found”. This is also true about New York, where more than a few community members share their Estonian House, New Yorgi Eesti Maja. The New York Estonian Educational Society was founded in 1929.  As a great coincidence, and as a brilliant and thoughtful part of the Performa 17 biennial, which took place from November 1 to 19, Estonian artist Flo Kasearu created a nostalgic ode to this members’ club house. Her site-specific performance tour guided groups through different rooms of the house. Her artist-led tour highlighted the very house’s past, changing its authentic traditional feeling into an updated stage, in which the local members themselves took part in the performing. All staged and directed by Flo Kasearu.

Kasearu runs also an artmuseum in her native Estonia. In Tallinn, visitors can book special guided tours in the Flo Kasearu House Museum. The historic wooden house belonged to the artist’s family from the time of its construction.

Flo Kasearu's House in the family history pictures.
Flo Kasearu’s House in Tallinn in the family history pictures as shown in the New York Estonian House performance, Performa 17.

Firstindigo&Lifestyle: Your great great-grandmother was building the house in which you live now in Tallinn. How did that heritage inspire you to pick up the idea of bringing performative component of your family house to New York Estonian House?

Flo Kasearu: Both of my great great grandparents built the house. (I just have a photo of my great grandmother, so I mentioned her in the tour).

While living there since 2009, and getting involved with so many domesticity issues and problems of living in an over 100-year-old house, many ideas have grown out of the problems. I like to solve my problems through artistic practice, turning them into objective artworks. So I established a Flo Kasearu House Museum in the house, which is open by appointment only. I do guided tours to visitors through the house and its garden. Otherwise it would be difficult to find artworks from the middle of my everyday things.

The house tour is a sight-specific art project, and as such it’s difficult to transport it elsewhere. I can partly exhibit the tour, or works from it somewhere else.

Flo Kasearu_installation view at the Estonian House.
Flo Kasearu, Installation view at the Estonian House, staged in the social room ‘potatoes as billiards’, Performa 17.

Firstindigo&Lifestyle: How long ago was it when your family built the house, and how did Tallinn preserve its old buildings during the times of the Soviet Union?

FK: The house was built in 1911 and my museum and the tours started in 2013.

During the Soviet era, most of the private property was nationalised and belonged to the state. After 1991, 20 year-long restitution started taking place, during which the property was given back to successors of original lawful owners. Houses that belonged to the city were taken care by the renters. City of Tallinn, for example, did not put any money into renovating them. During the restitution process houses were in a legal loophole in terms of their ownership, and thus were not dealt with by the renters, as they thought that any original lawful owners could come back and take the houses over.

Flo Kasearu Performa-project at Estonian House.
Performer doing kissing sound experiments at the Flo Kasearu tour in the New York Estonian House.

Firstindigo&Lifestyle: How did you end up doing a similar kind of tour in New York at the Estonia house as part of Performa 17?

FK: Just the method of being a tour guide is the same anywhere, and talking about the history of my museum house is also the same. But otherwise it is a very different project.

‘The Members Only tour’ (Performa 2017 project), is a sight-specific work for New York Estonian House and its community. As I am not a big performer, I did not want to perform it on stage. So doing the guided tour seemed a logical method. The work also included the community members participating in the performance. Guiding people to go through the house, and then becoming like a tour guide in a museum which New York Estonian House is in a way. Everything in the house looks so authentic to its original times and everything is based on old traditions and rituals.

Firstindigo&Lifestyle: Do you feel that NYC local community members joined your project easily? From an audience member viewpoint everything seemed going smoothly and appeared well rehearsed.

FK: I took the time to talk with them, listen their stories, so then it was not too difficult to convince them to join. I got recommendations from one member to talk to another member, and then it developed on until I had enough members to invite. I had two ladies cancelling in a last-minute, for example an older lady’s husband got so sick that she had to take care of him and she could not join in the end. But luckily I had also backup members in mind.

Firstindigo&Lifestyle: You’re a multidisciplinary artist in the true sense. Did performance enter into your working methodology from the very start of your practice?

FK: I started doing video-performances while I was an exchange student in UDK, Berlin. I was in Rebecca Horn studio, a performance and installation artist, and she told me that there is no point for me to paint for her, as she doesn’t know much to comment on painting. I started doing video-performances, relating myself and my Eastern European identity with this new city and new space. So from that time I have been doing performances once in a while.

Flo Kasearu_drawing, 2014.
Flo Kasearu, drawing, 2014. Estonian House staircase presented drawings of the artist. Her fears of what could possibly happen to the house.

Firstindigo&Lifestyle: In New York City, the visual components in ‘The Members Only’ tour were really stretching the context of the Estonian House in a unique way. How did the imagination for the ‘sets’ evolve?

FK: They are a combination of ideas that evolve from speaking with people and wanting to bring them and their stories to this very abstract and minimal level. And mixing them with some of my older haunting ideas. It is very sight-specific. And I wanted to bring also humour and irony level in, as I felt this is really lacking in this house.

Firstindigo&Lifestyle: Now thinking also how the music room was evolving, with the grand piano in it. In your tour, you mentioned that behind the doors there is a choir practice going on, but the scene was so surprising?

FK: My point was not to repeat the same things that are happening in the house otherwise regularly. I went to see the choir rehearsal happening there, and I noticed the choir teacher who is such a strong character putting also chairs. So I wanted to highlight the choir teacher and show her alone. I have had this kissing-ticking sound long time haunting in my head and I thought to display this in the room as it is kind of abstraction from the emotions that I felt in the choir rehearsal.

For example, in the choir singing room, instead of singing patriotic songs, the notes are made of this kissing-ticking, which has similar emotion and a character being nostalgic, but abstracted. And then the humor comes in, with over-reacting with this kissing note, and this way it’s also more open to interpretation.

Flo Kasearu_the music room at the Estonian House.
Flo Kasearu, The choir room transformed into an installation with kissing-ticking sounds at the Estonian House, Performa 17.

Firstindigo&Lifestyle: Going back to Estonia. How would you describe the Estonian contemporary art scene today?

FK: Its tiny but rather interesting. Some years ago art used to be dealing more with the social and political problems, now it is much more in its comfort zone. Although the fees in Estonian art are still quite minimal. The younger generation is more similar to Western formalistic approach, seems to me.

 

Guided Tour of Flo Kasearu House Museum (compilation of excerpts) from Flo Kasearu on Vimeo.

***

Artist website: http://www.flokasearu.eu/

 

"Elephant Love" Pop-up Shop: Crowdsourcing for art and charity

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By Patricia Chow
Last weekend I had my first photography show in Chelsea (New York City), as part of the High Line Open Studios.  Since my day job is in statistical research, this was my first experience putting together an art show – and it was fabulous!  The show was a great way for me to combine three completely separate facets of my life: the artistic side (I am a photographer and graphic artist); the volunteer side (I teach ESL 3 days a week); and my personal and professional networks, which were instrumental in ensuring the success of the show.
 
 
I first started to photograph when I was living in Spain in 1995, and much of my photography focuses on the different perceptions that a newcomer has of ordinary surroundings. Since beauty can only exist in the eye of the beholder, I have tried to convey the essence of what I find beautiful in a place, rather than what is commonly considered beautiful, which, in many cases, is simply familiar.  There are a few images below – you can view more of my work on my photo blog.  Selected images are available for purchase as prints on Society6 and facebook.
 
 
 
In addition to photography, I also create whimsical, stylized elephant designs.  “Elephant Love” is the brand name for these designs, which are also sold on Society6 and facebook.  They are inspired by artists and design companies such as Marimekko, Keith Haring, Andy Warhol and Walasse Ting, as well as by traditional folk arts such as Russian matryoshka (nesting) dolls and the molas that are embroidered by the Kuna Indians in Panama.  A variety of home decor and novelty items are available with these designs, such as posters/prints, blank stationery cards, throw pillows, iPhone covers, tote bags and clothing (t-shirts, tank tops, hoodies, etc.).  The bright colors are great for decorating your apartment or nursery/kid’s room.

Because my work is primarily digital, I appealed to my friends and family for donations to cover the cost of producing physical items for my show. This was my first attempt at crowdsourcing and I was very impressed by how supportive everyone was.   
In order to encourage people to support my show, I promised to donate the profits from the sale of artwork and merchandise to a good cause: the Institute for Immigrant Concerns, where I am a board member.  The Institute is a New York City non-profit that provides free English classes and basic social services to low income immigrants, refugees and asylees.  The amazing stories of our alumni have been featured in the New York Times and other newspapers.  I was a volunteer English teacher with them for two years before becoming a board member, and 
 
I continue to volunteer with them about 12 hours a week.  The combination of the artistic cause and the social cause was a great way to reach a wider audience.

We are planning one more open studio day in a few weeks (possibly Thursday, November 7), so stop by if you happen to be in the area!  Details about the event to follow soon…  In the meantime, check out my website, blog and facebook page!  Thank you for your support!
 
Patricia Chow  

Photographer, Block-by-Block Photography
Graphic Artist, Elephant Love
(Read Patricia’s Firstindigo&Lifestyle interview from April 2013 here)
 

2 reasons to visit Stockholm soon

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Stockholm is one of the Scandinavian top top places to visit. It can be always surprising. Here are two reasons why to travel there this summer.

1) The Wild Wonders of Europe outdoor photo exhibition is in Stockholm all summer, and it takes place in Raoul Wallenbergs Torg at Nybroplan. ‘After 135 missions by 69 of Europe’s Top Nature Photographers to 48 European countries and more than 1,100 days in the field..

2) ‘MAGAZIN 3 Stockholm Konsthall exhibits ON THE TIP OF MY TONGUE that is curated by Richard Julin and Tessa Praun. It is a series of events and unique projects (and an exhibition) taking place July 1, Aug 8 and Sep 13. Part of this is a project by MIRANDA JULY called WE THINK ALONE, starting July 1 until Nov 11 2013.  As the curators say, this ‘includes artworks that point away from the site of the exhibition itself, towards other virtual or parallel existences and experiences.’

 

New York City Grand Central Centennial celebrates with arts

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New York City Mass Transit has a program called MTA Arts for Transit and Urban Design, which commissions artists through a competitive selection process to create original, site-specific permanent artwork for stations. This spring, there was also auditioning for a role of a subway performer. Link and more info here. 

Grand Central Diary is a video created by London Squared Productions. It is currently part of the exhibition “On Time / Grand Central at 100” (curated and organized by MTA Arts for Transit and Urban Design). It is now on view through July 7 at the New York Transit Museum Gallery, which is located at the terminal. Grand Central Diary is a short film that shows the everyday routines at the station from a fun and quarky perspective of animated objects at the terminal and nearby.

Finnish Paloni designers come to New York

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MINNA SÄRELÄ is a founder of Finnish design collective PALONI, which is coming to New York this weekend to open a pop-up store during the fashion week. PALONI shop will be open through the end of February at the Ivana Helsinki NYC Concept Store. Their motto is: YOU CAN CALL IT DESIGN, INDIE FASHION, ART OR HANDICRAFT. WE CALL IT PASSION.

 

Firstindigo&Lifestyle: Minna, I was so happy to hear that PALONI is coming to New York, tell me little bit about this ‘invasion’?

Minna: I founded Paloni one and a half years back, and lately started to feel that it’s time for the next step, broadening our scope and doing the first international project. New York opened as an opportunity through another Finnish fashion company Ivana Helsinki. After I got to discuss with their crew, things started going forward very fast. Our designers are very excited about this project and the possibilities it offers. We had a total of 37 Finnish designers joining the project, despite a very tight schedule for the preparations. Now it’s not just my project anymore, it’s something we do together. We have a group of 20 Finnish designers coming personally to New York, and together we will promote Finnish design and fashion know-how, build a pop-up store within the Ivana Helsinki NYC Concept Store. We will organize events and parties, network and build ourselves wider horizons for future dreams.

 
Firstindigo&Lifestyle: When you started the company-collective, who did you include, was it by invitation and with like-minded people?
 
Minna:  When I started, I had 45 designers that I represented. Now I’m trying to settle the number at about 80, although there would be much more demand and need from the designers’ side to join this kind of a platform or network. Still, I think it makes more sense both to our designers and customers that we can concentrate on the people we represent.

At first all of my co-operations with designers started by finding interesting labels or designers, and looking for cooperation. Now I get many requests every week from designers who would like to cooperate. I try to answer them all and to help them all, even if I think there’s something about their line or products they should still work on before going to the market.
Firstindigo&Lifestyle: HOW INTERNATIONAL IS PALONI?
 
Minna: I see Paloni as “born global”. Even though we’ve only operated in Finland so far, our way of communicating in English, and with international vibes, have brought us international customers and connections, and made our network international. Also our designers come from across the globe, although this New York project concentrates on making Finnish designers’ skills better known.

 Firstindigo&Lifestyle: I learned from your website that you have been participating in eco- and sustainable fashion events, what have you learned about this field, and what are your thoughts about this trend?

Minna: I really wish it will not be just another trend among others, but rather a chancing force that will make the whole industry into something different and affect our behavior profoundly. I feel there’s much need for making ethically and ecologically sustainable options available and better known. I don’t believe the change comes from pressuring or from being negative. It needs to stem from each one of us. Personally, I feel that wearing a garment I respect in all ways makes me feel more balanced and respected, too. There’s a lot of discussion and information around this issue, and I’ve learned so much about the debates and aspects in the past years. However, I think offering information will not change it very much – we already get too much information every day. I think we rather need some easy and pleasant ways of loving fashion more sustainably. By bringing together tens of designers that represent this ideology and by offering their offerings as a holistic array and experience, we try to build sustainable design in a pleasant way, and include a wide enough collection to be part of it.
{All photos Paloni: Minna Särelä, captures: Sami Perttilä}

Firstindigo&Lifestyle: WHAT ARE YOUR NEW PROJECTS WITHIN PALONI, AND YOUR EVENTS?
Minna: Simply teamwork. By doing things in a committed team and by supporting each others’ potentials we can reach much more than with big money. The word ‘Paloni’ comes from the Finnish word “my passion”. When you have passion for something, it shows. And when it shows, others get excited too. And when that happens, impossible things become possible.
Firstindigo&Lifestyle: What do you expect from your visit in New York, how many times have you visited?

 

Minna: Although I haven’t been in New York many times, it’s one of my favorite cities in the world. I think each one of our designers have big and very different expectation. Personally, I expect networking, finding new inspiration and ideas, -these two things combined can lead the way to something new and unexpected.

 Firstindigo&Lifestyle: Is Paloni hoping to bring the products here, or will operate via the e-shop?

Minna: The Paloni pop-up will be open inside Ivana Helsinki NYC Concept Store from February 11th until February 28th. This is a good chance to see, feel and try on the products in person. However, we also have an online store through which we have worldwide shipping at all times. The collection we’re presenting in New York are these designers’ new spring-summer collections. New Yorkers will have the privilege of getting to buy these items first – they will only become available in our Helsinki-store and our online store in March. Our online store has all this information in English, and can be found from www.paloni.fi/store
 
Firstindigo&Lifestyle: Welcome to New York!

Minna: Thank you! And welcome to our opening party on Wednesday Feb. 13th at Ivana Helsinki NYC Concept Store! We will have DJ Fiona Timantti playing Finnish music, and you’ll have the chance to meet our designers in person.
Read also story about Scandinavian Design in this blog

Check the Paloni website: http://www.paloni.fi/

Anna Zaigraeva rocks her beadwork design

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Anna Zaigraeva lives in New York City and works as a Russian to English translator. She designs beadwork jewelry in her spare time.
-Anna, tell us how you started doing these and when? 

– I learned beadwork from my best childhood friend back in Moscow. We were both ten. Since I moved to the States, I’ve mostly just continued to learn by trial and error – I don’t subscribe to magazines or beading clubs or anything like that. So I’m not a hot-shot technique-savvy beader by any stretch of the imagination.
-How long did it take to learn?
– Not very long. They are difficult to make, but not because the stitches are tricky. It just takes a lot of time to pick and choose the right bead. I use high-quality Japanese Miyuki size 15/0 beads, which are pretty uniform compared to other brands, but even they are not uniform enough to simply string them at random and hope the pattern comes out. I have to constantly compare the fringe I’m working on against the previous one, to see if the next bead needs to be thinner or fatter to make the pattern work best. When beads are marketed as being the same size, it just means they have the same width and hole diameter – thickness varies quite a bit. But this is what sets my necklaces apart from others that use patterned fringes: I hand-pick each of the 7000 beads specifically for its place in the necklace, and I also make sure the fringe is not too loose or too taut. So the pattern comes out as close to perfect as possible.
– Are the supplies easy to get?
– There are a lot of bead suppliers out there, so the main problem is price shopping. My best purchases usually come from the discount bins of the Toho Shoji store on 37th street.
– What inspired you to make these necklaces?
– My very first fringe necklace was inspired, as far as I recall, by a coral reef. The design I first chose was symmetric but extremely difficult – the necklace took me probably upwards of forty or fifty hours to finish, and I made a ton of mistakes. I’d like to try making it again at some point – it was different and interesting. Unfortunately, given how long it takes, it’d probably be too expensive to unload afterwards. But that’s all right. I might just end up giving it away to a friend.
 
– So the first one took fifty hours, what about the ones that you made after that?
– After that, I adjusted the pattern slightly, and they now usually take between 20 and 30 hours, depending on how many colors I use. The simplest pattern I make is solid diamonds – four colors and a border. It always takes several hours just to pick out the colors and make a sample. I usually end up trying out several combinations until I find the one that works best.
– Are they heavy?
– No, they’re actually super light. People are always surprised by this, since each necklace has about 7000 beads. But miyuki seed beads are very lightweight. So the necklaces rarely weigh in over 25 grams. And I recently started using even smaller beads – Czech size 15/0 rather than Japanese, so they’ve gotten even lighter. My new House Stark necklace with a direwolf head weighs only 13 grams, and that’s only because it has a rather big toggle clasp.

{ALL the above designs are found inAnna’s Etsy-storehttp://www.etsy.com/shop/AxmxZ. Anna shows here how to make jewelry with cool pictures.}    

Hopefully there will be changes

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Our lives can become targeted, and the world events can break our innocence of time and space. The political turmoils in many areas of the Middle East have evidently shown us that our imagination of cultural space can change rapidly. International media has been ‘good’ in influencing our views of the significance of recent political turmoils.

Once undergoing a radical process from being a state under oppressive powers, Egypt took a route for re-branding its image in the world. The sequence of events towards a revolution in Egypt took place in Cairo’s Tahrir Square in February 2011. This political performance became a testimony of a new type of nation branding, which operates with the help of global testimony. The advertising value of the events in the international media is in the question of, how did the revolution realize itself through the use of contemporary technologies? The revolution was not only local in terms of its impact, but it was simultaneously taking place in the various surrounding regions, and ultimately it took notice of the entire world through the modern telecommunications devices. SMS messaging, the use of Twitter and Facebook became channels for branding a new and globally more attractive appearance for Egypt. Men and women, young and old, came out from their homes bringing their radical presence, and fighting for the better future.

As a political performance, Tahrir Square stands as an utmost example of branding a nation. The sequence of events radicalized some common ideas that usually stand for the images of Egypt as an ancient, and merely an anti-modern state. The representations of the region’s backwardness, as it comes to people, its ruling power, and even the medieval imaginary created around the cultural artifacts (use of camels etc.), has been holding a strong place in our imagination. These representations were crashed and set in turmoil. Yet, the immediate surface and media representation, the use of stereotypes by the international media, as it discusses Egypt, still seemed to continue.

I went to Egyptian novelist Ahdaf Soueif’s lecture on March 3rd in 2011, as she was lecturing at the Edward W. Said memorial lecture at Columbia University. Her view on the local peoples’ communal actions that gave Egyptians new voice throughout the world, was very moving. It seems now that in today’s global world, nation branding involves voicing that promotes both uniqueness and difference. From the cultural political points of view, critical consciousness started building itself in Egypt, that perhaps elsewhere would transform itself to a milder forms of ‘re-imagining our new nations’. Yet, Egypt’s cultural space became an example of nation building that carries across national borders. Its new imagination has become contested in the global space.