Union Wood Co.

Found objects and custom pieces with a vintage industrial aesthetic fill a Vancouver storefront

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Inspired by the nostalgia of old wooden docks, mills and factories that once thrived in Vancouver, Union Wood Co.‘s recently opened shop in the city’s developing Downtown-Eastside community is a haven for those who covet vintage, repurposed and industrial objects.

After a stint working as a garbage collector, Union Wood Co. founder Craig Pearce discovered his love for things that other people discarded. “I would only buy used clothes. I started collecting things I would find in alleys. I started making things out of old wood. I didn’t like anything to be new.” What started off as a few pieces for friends quickly turned into a series of contracts to make things for those beyond his social circle. By 2009 Pearce had created a full-fledged business, which recently expanded into a storefront as well.

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The shop not only acts as a source for found objects and antiques, but also produces its own line of products and furniture. On a recent visit we fell for the shop aprons made from rigid denim, hand-cut leather straps and vintage brass hardware. The hammered brass rivets and bolts make the straps easily removable, allowing the aprons to be washed when needed. The online shop also currently features handsome vintage treasures like a collection of one-off Victory Cups you can get engraved and an aged brass marine spotlight.

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Using wood reclaimed from salvage yards and demolition sites, Union Wood Co. also creates furniture pieces that are solid, bold and one-of-a-kind. The company also works directly with clients to produce custom pieces.

Head over to the Union Wood shop to see their current stock, or contact sales[at]unionwoodco[dot]com for custom inquiries.


type tuesday: needle books


from Letterology via Miss. Fae

Stutterheim Raincoats

We talk to the Swedish designer about his melancholy mission

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When it comes to the genesis of his namesake rainwear brand, Swedish designer Alexander Stutterheim remembers it quite simply. “It was raining really heavily on the way to a big meeting with Saab and I was early so I stopped in a cafe for a coffee,” he explains. “I noticed that there weren’t really many people dressed for the rain at all—a couple of people in mackintoshes, but mainly just flimsy umbrellas or papers over the head,” he continues. Stutterheim had never paid much attention to what people were wearing to protect themselves from the elements, but he suddenly realized that nobody was making anything rain-specific with contemporary fashion in mind.

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Adopting the fitting tagline, “Swedish Melancholy at its Driest”, Stutterheim brought his brand to life upon discovering a jacket his grandfather wore fishing off the small island of Arholma in Stockholm’s archipelago. “He was a big man in every way, defying the elements as he journeyed out to sea in all weathers,” he says. Indeed, the jacket was far too big for Stutterheim, himself a fairly tall fellow, and he vowed to buy one when he returned to the city. “I looked everywhere and there was nothing even close to my grandfather’s jacket—everything was Gore Tex and kind of tech-y. I even went to a couple of fishing shops, but theirs were too industrial and had lost the details of my found jacket,” he remembers.

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Upon his return, Stutterheim conferred with a few sartorially minded friends only to find they too noticed a lack of gear with country-wear functionality and city-worthy style. He created his own toiles from a tablecloth he waxed for extra stiffness, and called in some favors from a pattern-cutter at V Ave Shoe Repair, well on his way to solving the shortage.

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With a refined pattern in hand, Stutterheim set out to source details—no easy feat for a copywriter with no formal fashion training. “It was important to keep the whole process as ‘light’ and fun as possible. Also, to try and keep the heritage of the original garment, fabric and finishing—combining that with as much ‘Swedishness’ as possible,” he says. Stutterheim wanted to keep it local, settling on Sweden’s last remaining factory producing garments on a large scale, located in Borås, the country’s fashion center.

Working out of his flat, Stutterheim sold out of the initial run of 250 black jackets, each accompanied by a hand-typed note sealed in a pocket for the new owner to find. Now, coats come numbered and labeled with the signature of the seamstress who created that particular one.

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“While, yes, it is more expensive, I can keep an eye on every stage of the process,” says Stutterheim. “Eventually I decided to give it my name rather than some brand name. But to me melancholy is deeply connected with ‘Swedishness’ and how we look at things. A rainy day is a wasted day so I wanted to see if I could change people’s attitude to the weather.”

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Since the initial desire to create something durable and fashion-conscious at the same time, Stutterheim has mastered a progressive cut with high arm openings and a boxy, narrow fit. The sophisticated matte-finish oilskin is lined for breathability and branded (literally) with a small Sutterheim logo at the hem. Seams are not vulcanized, but sewed by hand before being hand-taped for waterproofing.

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Having stumbled upon a few dozen pairs of deadstock classic rubber boots from the Swedish army, Stutterheim is currently sourcing potential manufacturers to release a new run. A pair of new pieces is also in the works—a Swedish mackintosh for men called the Arvid, and the Lydia, a women’s rain cape—named for two lovers who meet in the rain in the classic Swedish novel, “The Serious Game”.

Stutterheim sells online from the brand’s e-shop.


Saul Bass for Anatomy of a Murder

The design legend’s iconic film title sequence recently re-released by Criterion

by Perrin Drumm

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Legendary graphic artist Saul Bass has created logos for some of the biggest brands—Girl Scouts, Kleenex, US Airways, AT&T—and designed some of the most iconic album covers and movie posters, but it’s his movie title sequences he’s most remembered for. If you’re a little rusty on your mid-century film classics, the “cut and paste” style of the opening titles for Catch Me If You Can pay a direct homage, even Mad Men pays tribute. Others may remember his work for Alfred Hitchcock in Charade, North by Northwest, Vertigo and Psycho, as well as his work for Otto Preminger in The Man With the Golden Arm and Anatomy of a Murder, the 1959 Jimmy Stewart classic that was just re-released on Criterion.

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Bass was a master of reflecting a film’s theme in the opening titles without giving away too much. He set the mood for The Man With the Golden Arm, a film about a jazz musician’s struggle to overcome a heroin addiction by prominently featuring the cut-out, black and white arm of a heroin addict. Drug addiction was a taboo subject in the 1950s and the titles alone caused quite a stir—a rare feat for an opening sequence. He took a similar approach with Anatomy of a Murder, which also uses cut-out animation to present the actors’ names over various body parts – legs, arms, a torso. You know instantly that you’re not going to get a happy ending.

Before Bass, film titles were static and shown separately from the film, often projected on the curtains right before they were raised for the first scene. But Bass introduced a new kind of kinetic typography that allowed for motion in title sequences. Sometimes he used crude paper cut-outs, but he also directed live-action sequences that transitioned seamlessly into the film itself or made fully animated mini-movies, such as the epilogue for Around the World in Eighty Days. Sadly, he was mostly forgotten in the ’70s and ’80s, but was rediscovered in the ’90s by Martin Scorsese. Watch the titles for Casino and Goodfellas and you’ll easily spot remnants of Bass’ early work. Fans of his work will also want to check out the new Criterion DVD, which includes a look at the relationship between Bass and Preminger with Bass’ biographer, Pat Kirkham.


It’s the little things in life…

Tapiowirkkala

… that mean the most! 

… a present from a dear friend, who knows what I like, she took the time to find this special 'little' vase that means the world to me… ! Thank You. I feel humbled to know you, you are special and you have made a 'little' dream of mine come true today … the Pollo Vase is now living on my shelf and everytime I look at it it will remind me of you and how unbelievably generous, warm and thoughtful you are!

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Tapio Wirkkala designed the Pollo porcelain vase in 1970, which is included in the Rosenthal Studio Line Collection. Tapio Wirkkala can be described as one of the icons of Finnish design and a symbol of the international success of postwar Finnish design. A couple of years back mentioned him in my Vintage Ceramics Read

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My friend, Marjolein who bought the vase at Modern Relics for me runs a wonderful blog called GoMarjo. Here she writes about her personal travel experiences… Marrakesh, New York, Brussels, Italy, Copenhagen and more… super travel tips you can always use.  

..GoMarjo

..Modern Relics

The New Classics

How a breed of obsessive mechanics and craftsmen are turning out vintage-inspired modern automobiles

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The resurgence of handcrafted objects has spread from fashion to electronics to spirits—you can listen to vinyl LPs while wearing reissued Levi’s 1947 501s and sipping small-batch local bourbon in almost any city in America—but bespoke craft has largely eluded the auto industry. Sure, you can’t throw a rock in a mall parking lot without hitting a retro-inspired muscle car, and some manufacturers have made bolt-on aftermarket “customization” as easy as assembling an IKEA bookshelf, but theoretically, something can only be so unique when it’s being mass-produced for global distribution. On the other hand, vintage models give rise to safety concerns and lack the power of modern technology.

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Thankfully, there is an emerging middle ground between the unique excitement of a vintage machine and the reliability of a modern one. More commonly seen in motorcycles that automobiles, a few small companies have emerged in the last few years to fill the gap. These 21st-century coachbuilders offer a product that is custom-built for each owner, a one-of-a-kind piece of drivable art for those who appreciate obsessive craftsmanship.

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You’ve probably heard of the DeLorean Motor Company, maker of the legendary DMC-12. The original DMC folded in 1982, but a new DeLorean Motor Company was started in Texas in 1995 to support the 6,000 or so owners of the original cars. The new DeLorean has reached beyond just a parts clearinghouse—for around $60,000 they will build you a brand new deadstock DMC-12. You can keep it stock of course, but DeLorean will happily install satellite radio, iPod interfaces, GPS and Bluetooth for an additional cost. They also offer upgrades to the performance of the engine and suspension, which we’d recommend—the original DMC-12 managed a 0-60 time of about 10.5 seconds, just a bit slower than the 1991 Toyota Corolla. For those of you eager to drive the true car of the future, starting in 2013, customers will be able to order an all-electric version of the DMC-12. A perfect match for your Nike Mags.

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If your tastes are more performance-based, and you already own a Porsche 911 in need of some modification, Singer Vehicle Design (SVD) has a proposition for you. Using Cosworth engines and new composite bodies from Aria, Singer re-imagines a customer’s existing 911 into a machine that looks iconic and actually outperforms its modern brethren. SVD collaborates directly with artisans, craftsmen and small manufacturers in Southern California to custom-build each car to the owner’s specifications and intended use.

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The classic air-cooled engines can run from a sprightly 300hp touring model all the way up to a 4.0L, 400HP track monster. The interiors are refinished in new leather upholstery and beautifully minimal dashes that match the mechanical excellence under the hood. Bespoke quality comes at a cost, of course—SVD’s recreations will run from $190,000 to more than $300,000, and you still need to supply the original 964-body 911. And while Porsche purists might raise an eyebrow at a modern 911 that looks like it was built in 1971, you’ll be looking at them in your (hand-crafted) rear-view mirror.

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By far the most intense of this new breed of bespoke auto craftsmen, ICON began as a Toyota LandCruiser restoration company that quickly shifted into an obsession with building more perfect versions of classic 4 x 4s like the Jeep CJ and Toyota FJ. In fact, ICON’s FJ44 is high on Cool Hunting’s list of vehicles we’d want during the Apocalypse.

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The most exciting truck to come from ICON is their newest, the ICON Bronco, a faithful, if burly, reinterpretation of the cult-favorite 1966-77 Ford Broncos. ICON owner Jonathan Ward worked directly with Ford’s rockstar designer Camilo Pardo and Nike and Frog Design to re-imagine one of Ford’s most classic sport utility vehicles.

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Utilizing an all-new reproduction Bronco bodyshell from Ford supplier Dynacorn, the ICON Bronco has the handsome good looks of the original, without being cloyingly retro. Under the hood, the Bronco is powered by Ford’s new 5.0L V8 that is currently in the 2012 Mustang GT, doubling the original’s 205HP. Other modern upgrades include a Parrot in-dash stereo running Android, military-grade LED lighting throughout, and a heavy-duty winch hidden in the front bumper. Everywhere you look you find obsessively rebuilt parts, like door lock knobs machined from solid aluminum instead of cheap plastic. About the only complaint we have is the loss of the original gauge design, but we’re nostalgic that way. For an exhaustive look at the making of the ICON Bronco, head over to Car Domain.

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These newly reengineered vintage vehicles from DeLorean, Singer Vehicle Design and ICON are an obsessive, loving homage to the halcyon days of automobile production, and offer today’s independent driver exciting alternatives to the status quo of another all-wheel-drive supercar or mass-produced rockhopper. While none of these options come cheap, the amount of skill and labor that goes into making each one can justify the cost as buying more than just another car. Now that Ford is licensing full-body reproductions of their 1960s and ’70s Mustangs, we can only hope that this trend will continue to thrive.


Adidas Blue collection SS12

Adidas Originals presenta la Blue collection SS12.
Questa collezione unisce in modo del tutto atipico elementi di lifestyle, classici e ricercati. L’ispirazione nasce dal mondo preppy, dando vita a modelli come le camicie e gli shorts denim dal sapore vintage e soft used. Adidas Originals Blue sarà disponibile negli store Originals, nei migliori negozi lifestyle e in boutique selezionate da Gennaio 2012.

Adidas Blue collection SS12

Adidas Blue collection SS12

Adidas Blue collection SS12

Adidas Blue collection SS12

Tomorrow’s First Thursday!

My red typer. She’s a beaut!

I’ve got lots of chalk markers leftover from the Alt party (check out the video)—let’s decorate the windows of UPPERCASE and have our own doodle party. I have chocolate cookies to share, too. And if you want to typewrite a Valentine to your sweetie, my typewriters will be available to serve you.

UPPERCASE will be open from 3pm to 8:30pm this Thursday.

type tuesday: Linotype the Film

The Linotype film will premiere this Friday, February 3rd at the SVA Theatre in New York City followed by questions and answers with the film director and crew, moderated by Steven Heller. Get your tickets here!


Director Doug Wilson’s film poster was one of the goodies in issue #8‘s Letterpress Sampler and 100 copies were randomly inserted into copies of the magazine. Perhaps you were one of the lucky ones! If not, you can purchase a Linotype film poster in the film shop.

Nike Sportswear Blazer High ‘Gorge Green’

Nuova colorazione Gorge Green e trucco vintage per la Blazer.
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Nike Sportswear Blazer High 'Gorge Green'

Nike Sportswear Blazer High 'Gorge Green'

Nike Sportswear Blazer High 'Gorge Green'