Hasta La Ideas

A conversation with Chris Bastin on this season’s foodie inspiration

As the Creative Director of GANT, Chris Bastin took the unlikely realms of food and restaurant life and embedded it into the DNA of his upcoming Fall/Winter 2012 collection. Known for crazy dinner parties in Stockholm, Bastin weighs in on what we can expect from his latest range.

Your Fall/Winter 2012 collection is intimately connected to three related pillars: food, eating and the modern restaurant scene in New York. How did this idea come to play? What inspired this foodie collection?

I’ve always been interested in cooking and food. It struck me that there has been a strong connection between what has been happening with the whole Americana-heritage scene and the slow food movement. Both pay close attention to quality and process. It felt natural to let these two influential movements merge together—weird as that may seem.

You’ve compared the process of cooking to the process of making clothes—how so?

Both begin with a sort of mise en place—the basics you need to either create a good dish or a great garment. We’ve always looked at GANT Rugger as a great example of the perfect wardrobe. Start with the classics and bare essentials and then move up the ladder to quirky pieces and not-so-essential gear. It’s kind of like complementing a simple pasta with a very good red wine. The biggest difference is that while a collection takes about six months, a killer meal can be put together in ten minutes. That’s the exact amount of time you need to whip up pasta aglio e olio. Then there’s the whole aspect of quality. If you want to make the best food, you’ll need good ingredients. The same goes for a shirt.

The collection is comprised of two “characters” so to speak–the restaurateur and the chef. How would you define these two roles as they related to your collection?

GANT Rugger is a heritage and vintage driven line but there is also a big chunk of sprezzatura that we wanted to come through. The chef ended up being the “vintage nerd” and the owner was given more room to show off and be the peacock—a winning combination.

How did you ensure these two characters were portrayed in your lookbook?

The chef took care of the denim and utility gear while the owner always got the more dressed up looks. You can clearly see these two characters in our fall lookbook.

There’s also a “third character” in some ways–the products that accompany the clothing. Can you tell me a little bit about what these are? Also, why were these products integral to the formation of this collection?

Sometimes I wonder if this whole collection was just an excuse to design a chef’s knife and an apron in selvage denim. I mean, come on, who wouldn’t want to design their own knife? That is like a dream come true. And to work with someone like Michael Lishinsky at Wildfire Cutlery in Portland, Oregon was the icing on the cake. That dude is the best.

I know you’re a total foodie–what are some of your favorite restaurants around the globe?

In Stockholm I have to say Daphne’s, for the crowd and the ambience. In NYC, Omen has great Japanese food. The Standard Grill is amazing for breakfast. Italy is easy; basically go into any place that looks like crap as long as someone who looks like your grandma is behind the stove. She’s probably going to serve up the best pasta you’ve ever had.

What’s your favorite dish to cook?

Right now it’s pulled pork. Since I bought this monster of a thing from Weber I just want to smoke stuff, low temp. I’ve smoked everything with a heartbeat in the past year.

I hear you throw crazy dinner parties in Stockholm. How do I score an invite?

That’s probably the best rumor I’ve ever heard. But it’s totally untrue though. But hey, bring a nice bottle of red and ring the doorbell.

What can we expect from the ad campaign which I hear will feature two individuals immersed in the food world?

Definitely amazing pictures, good styling and a slightly chubbier designer. We collaborated with Ben and Phil from The Fat Radish this time around. The guys look great in our clothes, and of course we think the food at their restaurant in New York City’s Lower East side is simply amazing.

There’s been much talk about “unkempt sprezzatura”–what exactly is this?

Has there, really? I’m very happy anyone even noticed. I think the term is quite clever. It’s about getting out of bed, throwing on whatever and still looking like a million bucks. It’s a look based on American sportswear mixed with Italian flair, but without all the fuss.

Our interview with the founder of LA’s new home design and accessories shop

With a style owner Scotti Sitz describes as “modern natural,” the new Los Angeles boutique Garde inhabits a tranquil and airy space stocked with eclectic handmade items.

Summoning her years of experience in fashion and interior design, Stitz filled the richly textured, light-filled shop with merchandise highlighted by carefully selected furnishings like hand-crocheted collars by Nathalie Costes, 2550º Candles and jewelry by Naomi Maslon arranged on tables made by Kristan Cunningham and Scott Jarrell.

We caught up with Sitz to learn more about the store from its opening to the constantly evolving collections she curates.

How would you describe Garde?

We are definitely a gift shop with home accessories. I wanted the opportunity to bring in designers and artists who weren’t necessarily represented here. I can mix my reasonably priced quilts and pillows with maybe a more luxurious cashmere throw. When something has a price point here that is a little bit higher, there is a reason for it. There is a process behind it in terms of the work and the material. Not just for the sake of being a luxury good.

With so many shopping neighborhoods to choose from in Los Angeles, why did you decide to open on Beverly Boulevard?

I used to live in this neighborhood in the Beverly corridor a few years ago and I have watched it evolve. It’s become a destination for high-end vintage furniture, great restaurants and accessories. We looked at this space. It was a dump. The building is from the early 1940s and it had not been touched. The first business here was a bank of operators. It was the pre-411. So if you wanted to know who sold apple pies in Los Angeles between Fairfax and La Brea, these operators would tell you where to go. When we got this space there were the old phone jacks all along this wall. Then 30 years ago an electronic repair shop opened here. There was linoleum and false ceilings. The skylight was boarded up. We gutted the space.

Why the name Garde?

We named the store Garde, keeping the idea of something new and different, and I also like the definition as it applies to “en garde, the stance in fencing to prepare for your match.

What is the philosophy behind the things you include in the store’s collection?

I ask myself, “Would I put it in my house?” “Would I wear that item?” If I have to say no, then it does not belong here. Except for some basics at good price points, everything has to have a story behind it. Everyone I represent has a story to tell. They have a process to tell and a unique and wonderful product. I love a good story.

What is your latest favorite item in the shop?

My new obsession is Christien Meindertsma. She’s from the Netherlands. She is represented by Thomas Eyck. What I love about her is she comes up with a concept for a product design and takes it to an end product. I fell in love with her flax project a couple of years ago. Meindertsma commissioned a farmer to plant the flax seeds. Then she designed her flax collections, the flax ropes she makes into lighting fixtures. I also sell her wool Urchin poufs. If you go on her website you’ll see pictures of the sheep. They are all numbered. I love seeing the photos before and after they have been sheared.

Who are some of the designers that inspired Garde’s style?

I love Vincent Van Duysen pottery. He is a huge inspiration to me in terms of his look and design. The ceramic canisters with a sand-blasted white oak lid. The first time I got them in they weren’t even here for 24 hours. Something like that you have to touch. It has a softness to it that is just beautiful. It’s the same with Sara Paloma‘s pieces. Right now I am sold out of her work, except for one vase. We had a collection in when I first opened that I would literally make everyone touch because it was so exquisite and feels like suede. I also feel that way about the hand-blown glass vessels with cast brass botanical stoppers by Lindsey Adelman.

Tell us about the apparel you have in store right now.

They are from a fashion house in India called Injiri. Everything is hand-done—the beading, the tassels, the lace, the buttons, the embroidery. There is a lot of workmanship that goes into these garments. I like the idea of carrying things that are good basics that can cross over. The scarves can be worn by men or women. The shirts are more of a year-round garment.

Who made the leather bags hanging on the wall?

They are one-of-a-kind. The designer is T Smith Knowles. She’s local. Everything is hand-done, the stitching, the beadings are antique. The workmanship that goes into those bags is just exquisite. They really are unique, all hand-signed and numbered. The leather is the finest and really light-weight. She will even customize the strap for each customer.

Why do you do this?

I think what is so wonderful about this time is that there are so many amazing artists. It is the best time to do something like this. I can showcase my favorite artists and designers and many people who’s work is not represented everywhere else.

Our interview with the man behind Hackney’s delicious sourdough invasion

Chances are if you’ve eaten at one of East London’s more discerning restaurants of late, you’ve come across delicious sourdough bread baked at e5 Bakehouse. Tucked under one of the brick railway arches lining London Fields, the bakery is the work of Ben Mackinnon, who built the enterprise from scratch just over two years ago. Now, he and a team of artisans bake more than 300 loaves of sourdough bread a day—from Russian rye to Spelt—and deliver it by bike to around 30 Hackney establishments.

We recently sat down with Mackinnon to learn more about the bakehouse and cafe, and some of the secrets behind e5’s distinctly tasty organic breads.

How did you get into baking?

About two and a half years ago I was kind of scratching my head about what to do with my life. I was working in this job that sounded really good—sustainability consulting—and I kind of wanted to do things, and I still do, that just try and make the world a cooler place to live in. I was getting kind of bored with consulting, so I took bit of time out, and had a great summer fixing up a boat up, but it wasn’t really going anywhere.

Then I did a bit of traveling and I was in the south of Spain where my parents have this wicked little house in a village and there was some flour left in the cupboard by my mum—and I made bread in the past because I think it’s kind of cool to be more self-sufficient. So I thought, “well I’ll make some bread.” The next day I was talking to my dad and I was like, “I’m thinking about becoming a baker.” I was expecting a snort or something down the phone and he was like, “Oh, quite a good idea.” It really surprised me. Then the next day he sent me a link to a place called The School of Artisan Food, which had just opened up in the north of England. I thought about that for a little while, and then I went over to Morocco and the idea just kind of grew.

I was in fairs and I walked into this little bakery in one of the main streets, and I loved it. There was a massive oven going back, a wood-fired oven, and one guy working it with a long peel. They invited me upstairs to a tiny room above the oven so it was very warm (which is kind of good conditions for the break they were making) and I was like, ‘Oh this feels nice!’ I just felt so good in there, so I signed up for the course.

How did that evolve into e5 Bakehouse?

When I came back I was lucky and got a bit of freelance work in sustainability, and I arranged with a local pizza oven to use their oven. And then I just kind of played the two careers off against each other and the bread-making just kept feeling a lot better. So I signed up a couple neighbors to get bread every Saturday so that I had at least 15-20 people to sell bread to every week.

If I was going to do it seriously I needed a space. I thought, “I really love that wood-fired oven back in Morocco.” I like the concept of cooking on a renewable fuel. I asked the girl who runs Happy Kitchen next door if I could move in and build a wood-fired oven and she was cool with it. It caused chaos in that place for about two months, walking through bricks and sand. I built the oven in one place then realized in was the wrong place and we had to move it. I can’t believe what they put up with, it was remarkably fortunate.

How did you know how to build a wood-fired oven?

Oh, I didn’t. My sister was around, and I spent quite a lot of time hanging out with a dude who is a medieval kiln expert, so he was into firing pottery in wood-fired kilns. He was giving me lots of ideas, but that was more the route of a domed oven. My sister and I built a domed pizza oven in my backyard, but that was never commercial size. And then she found this design for a rocket oven, which is an efficient way of burning fuel—it was developed for Africa where fuel is more limited.

We got fire bricks, and then housing bricks from scrap, we stole paving slabs from the council—it’s amazing what you find when you don’t have money, you forage. We found the sand we needed, a bit of cement here and there. I found fire cement, got loads of clay from Suffolk, where I grew up, which is traditional clay and really good for heat. We just kind of cobbled it together. It’s a bit more like a modern oven, it’s a big metal box with a fire underneath and a deck and level in between and two big trays. The gases kind of go around the sides of the box and heat up the box. It was remarkable it worked, I couldn’t believe it, really—it fucking worked. It could bake about 16 loaves at a time. But you’re not really allowed to burn wood, it seems, in a central area, although maybe in the future I’ll get permission for that. We’re now operating with an electric oven, but the rest of it is very sustainable.

Did you build out the bakehouse yourself?

Yeah, we laid the floor, and when we moved in we built this front counter. I got these lampshades from a warehouse that was knocked down on Kingsland Road, I bought this sliding door second-hand and the stained glass comes from a few doors down. We just got this posh kitchen unit built by some local craftsmen, I suppose it’s escrowing up a bit, but again we’re using more stuff salvaged from out back—there are some welders next door who throw quite a lot out. It’s just about making things a bit more durable, and also supporting guys who we really get on with and want to work with.

You bake a few sourdough varieties, which are you most known for?

Hackney Wild is our most popular bread, it takes three days to make. We just use organic flour, and that bread uses our organic sourdough bread as the starter, and that makes up about one-third of the final dough. It spends about two days fermenting in the fridge, then we take that and mix it with fresh flour and water, leave it for a little while for the yeast to really get going. Then we add a bit of salt, and we fold it over the course of about three or four hours and then divide it up, shape it, and let them prove in banatons, which are kind of wicker baskets, or in a pouch that’s natural linen. Then we put them in the fridge in the back, and we leave them there overnight. That’s where the fermentation happens really well, at about 5ºC—the types of bacteria that we want to cultivate operate nicely in that temperature. These organic acids are created, and that’s why our breads taste so good.

See more photos in the slideshow below.. Images by Andrea DiCenzo.

Our conversation with the man behind Hypebeast

Sponsored content:

Starting out as an early chronicle of sneaker culture, Hypebeast has distinctly evolved into an online magazine that lives up to the tongue-in-cheek origins of its name as a go-to influence guide. Since 2005, founder and editor-in-chief, Kevin Ma has been a sartorial force in covering streetwear. Reflecting Ma’s own growing interests, Hypebeast soon expanded into coverage of art and entertainment. Collaborating with such style giants as Adidas, Hypebeast soon gave rise to HBTV, an in-depth look at the talent behind the brands.

Operating from its headquarters in Hong Kong, Hypebeast is driven by a sense of good taste uniquely its own; a distinction that has earned it the honor of being one of Time’s ’50 Best Websites’ in 2008 and a digital street cred that has led to the recent launch of its on-line store.

Hypebeast began as a blog that chronicled sneaker culture. How did you come up with the name and how has Hypebeast evolved since its launch?

I didn’t actually come up with the term “Hypebeast” myself. “Hypebeast” is an existing term used to describe people who are obsessed about following a trend or wearing something only because the product was hyped up. I thought it would be interesting to use the word “hypebeast” for my blog to make fun of the sneaker culture at the time. I liked the irony of it.

I registered the domain “Hypebeast” in 2005 and since then it has evolved into something more than just sneakers. It’s fashion. It’s culture. It’s design. It’s art. It’s everything we are interested in.

See the rest of our interview with Ma after the jump.

What were your interests/influences growing up and what was your background prior to starting Hypebeast?

I have always loved computers and all things digital. I had my first computer when I was 13 and also got into the World Wide Web at a young age. At the time, I was also into basketball. I was never good at it but I guess you can see Hypebeast’s roots there.

Prior to Hypebeast.com, I worked in the financial sector but soon left to pursue Hypebeast as a full time job.

What key design elements do you look for when you’re curating content?

We don’t look for any specific key design elements. No rules. It’ really about what we (Hypebeast Editors) like at that moment. It may be bright colors. It may be prints. We never know. When we come across something we really like and are excited about it, we’ll want to write about it and share it with our readers.

Why do you think that streetwear and the culture surrounding it has become so popular over the years? What makes a brand successful?

Streetwear has always been popular because of the lifestyle it perceives as well as the price points. Students can easily afford a t-shirt from a street brand they like, whereas many designer labels are a bit more of an investment. Streetwear is getting more and more popular nowadays because of the accessibility of the Internet. It allows brands to communicate their message and lifestyle at a faster pace to a larger crowd and e-commerce lets people buy it whenever and wherever they are in the world.

A successful brand always represents a certain lifestyle. Some street brands represent the skateboarding lifestyle and some are closely knitted with the basketball lifestyle. People like a brand not only because they like a particular product but because they are interested in the image that the brand embodies.

What prompted you to relocate to Hong Kong and what are some current trends that you’re noticing there?

I grew up in Vancouver. It’s nice and beautiful but it can get a bit slow some times. I thought of coming to Hong Kong for a change since my family is from Hong Kong and I wanted to experience the difference of living in the Asian region.

People in Hong Kong are heavily influenced by a mix of European and Japanese trends.

Who is your audience and how do you distinguish yourself amongst other cultural sites?

Our audience is made up of people who follow the Hypebeast culture and share the same sort of taste and curiosity in fashion. We don’t try to be different from others or distinguish ourselves from other cultural sites. We only focus on doing what we like and share what we feel is interesting.

How did HBTV get its start and what sort of individuals are you interested in covering?

HBTV started as an extension of the Hypebeast editorial. Sometimes, we feel that text and pictures cannot fully express a topic, so we add in videos to make it more engaging for our audience.

We are interested in covering individuals who are different from the norm and are passionate about what they do. They can be fashion designers. They can be chefs. They can be anybody as long as they are different from the norm.

What are some highlights in Hypebeast’s history and what plans do you have in the works for the future?

The launch of our print magazine will be one of the biggest highlights of Hypebeast. We are very excited because it is completely different from what we have ever done before. We have always been digital and now for the first time, we are having a physical editorial.

In addition, we just launched our Hypebeast Store selling unique items hand picked by myself and our Editors. This is also a new direction for Hypebeast because many of our readers always ask where to buy items posted on our site. We hope this will help bridge that gap.

In the past, we have also done collaborations with brands such as Adidas, and Dr. Martens. Being a fan of these brands, I never thought I would have the opportunity to do such collaborations with them. It’s definitely a huge highlight in Hypebeast’s history.

As for the future-we’ll keep you posted!

The core values of the Jeep Wrangler Unlimited Altitude Edition are edge, power and innovation. Which of these values do you personally identify with in your life and why?

All of them play an important part in my life. Living on the edge is like running Hypebeast. I invest everything, my life, my time and my money to run the Hypebeast business each day hoping we don’t fall off. To do this requires strength and rigor, as I have to customize my lifestyle to run the business. Staying up later than everyone else, working harder than everyone else. Hypebeast is now inseparable from my life. We also have to constantly adapt to new innovations and make use of the new innovations that are out there fueling Hypebeast.

So far we have had four awesome designers share their wealth of experiences in this Inspirational and Exclusive Interviews series. Robert Brunner spoke about the core DNA of a designer/entrepreneur; Scott Wilson showed us how to rise from the ashes like a phoenix; Karim Rashid taught us his roadmap to success and Yves Béhar spoke about forging partnerships. My recent visit to the red dot award ceremony for product design at Essen, brought me face to face with the charismatic Hideshi Hamaguchi, the inventor of the USB Stick. Yes, the very same stick you use to store data, transfer files etc.

I could not let this opportunity pass up as I knew Hideshi’s perspective on innovation and design would be priceless and moreover his methodology and approach is so unconventional and inspirational, that it has to be shared.

To give you a background, Hideshi Hamaguchi is a chemical engineer and a math’s champion in Japan. He started his career in Panasonic as a researcher and after three years of working with the company he found something critically missing in the work environment and corporate setup. He realized that the company made no provisions to breed creativity. There was a lack of a logical approach to expanding the team’s resourcefulness.

Creativity for Hideshi is very intuitive based, however there were no concrete steps by the company to explore this aspect. He sought to formulate an approach that would expand his and his group’s creativity. And thus transitioned from a researcher to an analyst and then went to become a creative strategist.

I cannot draw!

Despite the fact that Hideshi has more than 120 innovations to his credit, it comes as a big surprise to me that he cannot draw! I had 2 Nikon cameras and an iPhone with me, and Hideshi, without naming them (confidentiality clause) told me that I was using 5 of his innovations at that very moment! According to him, if you don’t have the talent for drawing but are good at strategic thinking, then you can still become a great product designer. All you have to do is connect the design to the strategy and then turn into a language the company management people and the consumer can understand.

To sum up Hideshi, he is a creative thinker, a strategist, and an innovator who follows a process, which has a practical approach. His process theory is teachable and learnable, which is why he lectures around the world and conducts workshops.

How can people be creative without drawing beautiful pictures? What is Creativity?

You have to train yourself to draw diagrams and doodle.

Creativity is all about people’s mindset. Creativity doesn’t exist in the air. It’s in your mind, and even when we are collaborating, I am stimulating you and your outcome is stimulating me. To understand creativity we need to understand the brain.

Hideshi explains that the brain has two extremes: the structured thinking, which is very logical thinking versus the very intuitive and chaotic thinking. One side is focused while the other is all about exploration. The ideal balance between structured and chaos thinking is peaked at the sweet spot of Structured Chaos Mode, right on top. But this position is like a volatile ball that rolls in either direction, depending upon the individual’s inherent nature. To keep it balanced at the peak, you need to do something radical. From Hideshi’s experience the profile of moving from chaos to logical thinking to strike the structured/chaos balance, is wrong.

If the highest form of creativity is at the structured chaos mode, how can we manage it?

Technically there are two ways to manage it, first way: go back and forth between logical and chaos thinking, till you achieve the peak. Example, say I ask you to innovate a pen and present it to the red dot jury in one hour’s time. And after you do that, now I ask you again innovate the pen, but his time, I give you a day for it. The first day is to draw inspiration; the second day is to create some structures and ideas etc, till finally you give me the design. So stimulating the brain between the chaos and logic thinking, will peak your creativity to the structured – chaos mode.

The second way is to use a formula or some data analysis, example market size or market tastes for pens as a reference, and then combine it by drawing some beautiful lines that ultimately lead you draw some innovative features for the pen. So you make your brain use the logical and the intuitive side, at the same time. And thus you can hit the sweet spot. But in reality, you need to do diagram and you need to doodle to hit the sweet spot. Diagrams are something simple, something logical, and something visual. Draw the diagram and your brain goes to the logical side without being too intuitive, now to balance this you need to doodle. And this stimulates the creative brain.

So intentionally use diagram and doodling to keep creativity on the top. If you really want to have the highest level of creativity especially for a new idea or concept you don’t have to have the skill for drawing beautiful pictures, someone else can draw it for you. And the good thing is you don’t have to learn too many logical things either.

Since Hideshi is an innovator, I had to ask him…what is innovation?

Formula for Innovation : !? – ? = !

What – Oh this is the reason = Aha!

This is what Yanko Design is!

Innovation is all about creating new behaviors and new values for people. For example the USB Dongle. It created a new value of keeping your data on a small stick that was portable and new behavior, as in attachment to your data, sharing it with people and friends. In 1999 Hideshi came up with the idea for a client, of adding a tangible feeling for your data (he called it the sneak-kernet), we had that feeling for the floppy disk or the CD but it was time to move on to something different but no one agreed with him. At that time everyone thought that everything was going to be on the Internet and wireless so a cloud storage medium would have more value than this.

Even Intranet faced this issue. Hideshi and his friend are responsible for creating the first intranet in Japan. And probably the first in the world, it was done in 1993. He did it for Panasonic, where the board members were not so very computer savvy. If you see it this ways, intranet changed the behavior in people and the value for information.

Innovation is something that is something new; something that is doable and it should create controversy. It should create some tension in the conversation. One advice that Hideshi gives is that when you are brainstorming for creating an innovation; never focus on the idea itself, because that usually never helps. His focus is to analyze and see how people think. If you can analyze their thinking you can break the paradigm and go against their bias and thinking. You break the bias and push yourself towards the controversy thinking; this is how you break the paradigm. But if you cannot visualize the bias or the thinking of people, then you will not be able to innovate. You have to break the abstract things; you have to understand the way of thinking and visualize the pattern. If you visualize it, you can be a wonderful innovator. So basically you need to make a shift and break a bias, and this is the biggest barrier that innovators face.

Earlier in the 90’s the shift was focused only on technology innovations for computers, faster CPU, better inputs etc. but in comes Dell and they created a new shift with their business model. They revolutionized their supply chain, the customer experience and online customization of the PC. This was breaking the paradigm.

Engineer-designer conflict!

How to create a balance when you have to present a design or an idea so that appeals to the technologist and the corporation managers; in short how to address the engineer-designer conflict?

When we chart the Structured chaos diagram in a real life situation, unfortunately most of the population lies with the intersection of two structured-chaos loops. Majority of them don’t think super-structured or the other extreme of super-intuitive thinking. The problem is that we don’t have many people who can handle the structured chaos mode. Corporate mangers and engineers are more inclined towards structured thinking and designers and artists are more inclined towards intuitive thinking. They are two different animals!

And as he explained earlier, the engineers and corporate heads tend to use numbers and the designers use images; hence the dialogue cannot be bridged. They are disconnected and there is a lack of communication. But if we lay some ground rules, a common language can be spoken, for example the corporate manager should refrain from asking the designer about numbers and cost calculations, where as the designer should go deeper and relate a story rather than just talking about intuitive design.

Logical and intuitive people both can train themselves to move towards the balance sweet spot of structured chaos by pushing their boundaries and moving towards the other side of the graph.

The reason why Hideshi is ahead of his game is that while each person who he works with, specializes in their one field with total focus on it, and Hideshi has the ability logically connect the dots between innovation, marketing, strategy, tactics, uncertainty, technology and business model.

Special Thanks to red dot design, Germany and Dr. Professor Peter Zec.

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(12 Inspirational and Exclusive Interviews on Yanko Design – Hideshi Hamaguchi was originally posted on Yanko Design)

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3. 12 Inspirational and Exclusive Interviews on Yanko Design – Scott Wilson