#manufacturing vintage leather cord

[sunnetherlands]

https://www.sunenterprises.eu/en/products/leather-cord.html

[groundonesix]

Tom Dixon Manner Side Rope Chair

An amazing and rare chair designed after the famous 'S' chair of Tom Dixon. The chair is weaved with rope or rushed around a metal frame. It holds a beautiful hourglass shape that's playful and resembles a seating feminine body making it highly unusual and unique to any interior.

8 x Chairs available.

Please let us know how many you would like.

Shipping from London

Condition report:

Overall good condition

All chairs have very strong frame. Some of the rope condition is worn or loose. on some chairs is almost perfect and on some it has some discolouration. The four first pictures of the 3/4 chairs are four different chairs. The rest of the pictures are a mix of eight chairs showcasing the condition which as mentioned some is very good and some is average.

CREATOR: After Tom Dixon

PLACE OF ORIGIN: UK

DATE OF MANUFACTURE: 1980s

PERIOD: 1980 - 1989

MATERIALS & TECHNIQUES: Powder coated metal, Rope

CONDITION: Good vintage condition

WEAR: All chairs have very strong frame. Some of the rope condition is worn or loose. on some chairs is almost perfect and on some it has some discolouration.

HEIGHT: 106cm 41.8in

WIDTH: 50cm 19.8in

DEPTH: 52cm 20.5in

SEAT HEIGHT: 45cm 17.8in

Request more information

Complete set of 6 chrome cantilever MR10 chairs by Ludwig Mies van der Rohe, in brown leather. This set of chairs is an early 1960s example of his famous design produced by Knoll International. The MR10 chair was first designed in the 1920s, and this set of six features the chrome springs on the backs and seats. Later the design was improved, with a shortening of the springs and a reversion to an elastic corset cord. The chairs still bear the oval sticker marks on the back of the bottom of the seats.

MR10 chairs are really comfortable, and are a real design classic, as seen in many films and other media. Our MR10 chairs recently have been used to decorate the interior of a restaurant in London, which was featured in Architectural Digest, Dezeen, Elle Decoration, and many other publications (as shown in the images, which are property of Child Studio).

Two of the chairs have the complete set of springs; the remaining four, as you can see from the images, are missing some springs, and the leather punctured holes are ripped off. All of the cantilever frames are in great condition, with the expected 80 years of wear. We sell the chairs in their original vintage condition as seen, and that is reflected in the price of the set. If you wish to restore them with new leather, in any colour, please let us know and we can assist you.

Please note these chairs are available with four options: the complete set of 6, and then three pairs of two.

[handicraftvilla]

Vintage Maple Embossed Leather Journal | Wholesale & Manufacturing Details

Explore the exquisite craftsmanship of our Vintage Maple Embossed Leather Journal. Perfect for wholesalers and retailers, this journal is available in two sizes (7” x 5” and 8” x 6”), featuring a wrap-around leather strap and hand-stitched leather cord.

With 120 pages of vintage paper, it's a blend of tradition and elegance. Product Details: Sizes: 7” x 5” & 8” x 6” Wrap Around Leather Strap Deckle Edge Vintage Paper: 120 pages Hand-Stitched Leather Cord Categories: Leather Leather Diaries Leather Journals & Diaries Why Choose Us? We are a leading wholesaler and manufacturer of high-quality leather goods. Customization, private labeling, and logo embossing are available. Our products meet world-class export quality standards.

We are members of Sedex and CTPAT, adhering to sustainable practices.

Hassle-free sales and support (Call, Email, Chat).

Contact Us:

📞 Phone: +91-7727877799

📧 Email: info@handicraftvilla.com

🌐 Website: Handicraft Villa

💼 LinkedIn: Handicraft Villa

LinkedIn #leatherjournal #WholesaleLeatherGoods #LeatherManufacturing #handmadeleather #LeatherDiaries #leatherjournals #B2BLeather #LeatherExporter #VintageLeather #handcraftedleather

[azarjournal]

AZAR · ETHICS 

Why We Choose To Use Genuine Leather Instead Of Vegan Leather

We do not intend to change anyone’s opinions or convictions through this article. We respect all points of view on the topic, the vegan, the environmentalist, the social revolutionary, and consider that all positions add some important insights to the debate going on about the use of leather in the fashion industry.

Part of the Azar team are long-term vegetarians and none of us consume industrial processed-meat, so we feel concerned with the environmental and socio-economic debates ourselves, as consumers long before than as producers.

Despite being a small business centered in craftsmanship and low-scale production, run by two people and a few sporadic collaborators, we consider that as designers and artisans involved in the slow fashion movement, we owe transparency in regard to our decisions and procedures. Moreover, we are pleased to let you get involved in how we approach our creative work and the selection of our materials.

// There is a cultural heritage in what we do.

We discussed the anthropological relation of leather with humankind’s history in our latest article [Let Us Talk About Leather, here]. Humans are the only species known to have adorned themselves with a second skin. This extra hide can be smooth, soft, and cosmetic, or robust, resistant, and protective. For thousands of years, this versatile material has provided the foundation for the manufacture of clothing, jewellery, and accessories. Long ago, human survival depended on hunting and ranching, and this established a clear correspondence between leatherwork and food disposal, creating an emotional bond between men and animals, a bond that we can still bear witness to in certain societies with a strong tradition in stockbreeding and equine culture.

Well, we at Azar Studio descend ourselves from some of those cultural traditions, so we arrived at leather braiding as a result of a year-long personal creative research project, a deep apprenticeship journey exploring the remote artisanal techniques of the ethnic groups we descend from. Our vocation for design and craft met our anthropological vocation and that is how Azar Studio was born, but this is another story.

Sadly enough, most of the leather produced nowadays is destined to quite another kind of relation to the material. In our industrialised times, the cultural relationship between man and the raw material he works with has been destroyed by consumers’ society and mass-production. We all know the story. But we do not blame the material for that. We blame the system. We will discuss this point later in the article, so keep reading.

// Leather is a noble and durable material, it ages awesomely and can be left in bequest to the ones that will come after us.

How many of you inherited a leather jacket or bag from your mum or grandma, and didn’t proudly answer ’this is real vintage’ when somebody questioned ‘where did you get that beauty from?’? Well, we did.

Our hand-braided bags, belts, and jewels are made out of cow leather. This leather has a series of properties that makes it perfect to achieve the durability and resistance that we are seeking. It is thick and resistant, with a lower probability of breaking in comparison to other animal leathers, such as horses’, pigs’ and lambs’ skins. It is breathable and malleable, even if some other leathers would result in an easier hand-working procedure. We choose cows’ skin and accept to apply more strength in the manual braiding because it keeps the shape it is given and resists deformation through usage. It is extremely durable and naturally repels water and humidity, while being at the same time also highly resistant to heat and UVA rays, which makes it suitable for products to wear outside.

‘Leather is an investment’, my Italian grandma used to say.  

// We opt for vegetal tanned leather, produced in small batches through artisanal-dyeing techniques.

We buy extremely few quantities of leather for our cord-braided bags, so we can only opt to get them from a small producer. Big industrialised plants have unbearable minimum order quantities, which we are not able, and not even willing, to fulfill.

The skins come from animals that have naturally ended their life span, whose rests would be transformed into rubbish if they would not be tanned and re-used as leather products. We choose vegetal tanned leathers, even if the colour range achievable through this technique is limited and the process more labourous. This dying procedure is artisanal and slow, and even using the same colour formula, colorus may present small variations from batch to batch. Sometimes we have to dismiss whole dyed batches and start all over again, and other times we just love how nature surprises us.

You can take a look at this article if you wish to know more about tanning procedures.

And one more thing: if your great-granddaughter doesn't want the hand-braided leather bag she inherited from you anymore and decides to convert it into rubbish, the environment will be safe: vegetal tanned leather is biodegradable.

// Vegan leather does not convince us.

Fake leathers available in the market today are made of polyurethane-based mixtures. (Again, go to our latest article to know more about them). They are not durable, not resistant, not able to gain nice shades through aging (quite the opposite; they crack), not suitable for the inherent friction of manual twisting and braiding and worse so: they are not biodegradable.

At the moment there isn’t one single aspect that would let us produce our braided products in vegan leather with acceptable results. Some biodegradable alternatives are being researched, but none of them are produced in steady and resistant options, suitable for hand-braiding and with proven lasting characteristics.

// How do we help limit the impact of our product for the environment?

We keep no stocks. Besides our samples, we produce a few units available to be purchased, constantly renewed through our website. We work on 90% of our sales through custom-orders. This is how we make sure we are not producing more than needed, and that we will generate no unnecessary waste items. This practice holds one inconvenience: the processing time from the order to the delivery is longer than it is for standard fashion enterprises. But we call ourselves slow fashion and find that clients purchasing our products have a remarkable pre-disposition to revert the outrageous consequences of fast-fashion.

On the other side, there are also some advantages: we can go on purchasing our leather from a small producer and we encourage conscious buying habits in the people who may still suffer from compulsive consumeristic habits of “two clicks and you have it at home in 24 hours”.

Our business volume is thus much limited than that of traditional fashion brands. But we are happy this way and feel the pleasure of the deep inner coherence with our beliefs in every product we sell.

// We stand for artisanal local production as a way to change the fashion system from the inside.

The system won’t change only through the use of organically produced, sustainable fibers.

As long as almost everything we consume is being manufactured in developing countries, we can’t control under which conditions they are produced and by what prices. If you are reading this article, you are probably in search of an alternative, more ethical way to consume and avoid purchasing mass-produced items. But we want to take you one step further.

Showing appreciation for a unique, masterfully crafted product implies the need to pay a higher price for it. It implies supporting local businesses that struggle with competitors that produce with aggressively low prices by dislocated productions, a terrible practice inherited from fast fashion. It implies buying less, but choosing carefully what to buy, not only for its practical and aesthetic features, but also in terms of its long-lasting durability. Finally, it also implies supporting culture, because craftsmanship and its capability to innovate from a deep knowledge of matter, is a fundamental aspect for the development of a healthy society.

// We stand for material consciousness and poetry.

There is a silent poetry in the uncountable gestures of craftsmanship. Every piece of leather has to be sensed, moisturised to the perfect point, persuaded to take one shape and to form a knot with another piece, which might come from a different tactile status. We speak to matter and matter speaks to us every day. There is a subtle inner dialogue in the act of crafting any one of our pieces, and this is what makes them really unique. Anyone of them has a story, a life, a soul, which they will go on having once they get to your hands.

Photo by Jorgelina Zabert @callmecuca

[zerowasteinitiative]

15 Brilliant Ways to Repurpose a Pile of Old Books If you've got shelves or boxes of old books hanging around your home, don't toss them! Repurpose them into something grand with these 15 fantastic ways to repurpose them. 1. Knife Block Who says practical storage can’t be pretty? This DIY knife block, made from old books, is a cinch to make. Simply pick some unique books in your favorite color scheme and tie them together tightly with twine to create the perfect home for all your kitchen knives. You can even create different color schemes based on the seasons and holidays, making this a versatile hack and way to figure out what to do with old books. 2. Hidden Storage All you need to create this amazing hidden storage box is glue, a sharp knife and a simple box frame. This is one home security hack that looks as good as it works. 3. Planters Never know what to do with old books, try this. It takes a bit of patience, and a large hole saw to create this well-read planter, but the effort will be worth it for book lovers. Play with different combinations of books and pots, stacking where needed to create a mini garden of words. 4. Bookmarks Many times, recycling centers won’t accept book covers, due to the glue used to manufacture the bindings. So, now you’re stuck with trying to find what to do with old books. There are crafts with old books you can do, like make bookmarks! Simply use a razor knife to slice off the covers and drill a hole in the top and thread through a strip of leather or ribbon to accent these unique gift items. 5. Wreath This book wreath is nothing short of breathtaking when it comes to crafts with old books. Patience and careful planning will result in a truly one-of-a-kind décor item that visitors to your home will swoon over. Just be sure to hang it in a prominent location for maximum effect. 6. Artichoke Pendant Sometimes the best thing about a DIY project is making an existing product even better. This modern pendant takes a generic paper lantern and steps it up a notch by carefully pasting circles, cut from book pages, in a scalloped pattern which resembles an artichoke! 7. Pencil Holder This quaint pencil holder is a genius DIY project because it is made with the leftover scraps from the previous artichoke light project. Once you adorn your desk with this masterpiece, you’ll want to know all these genius home office organization tips to make your space truly functional. 8. Purse You’ll never need to worry about someone showing up with the same bag as you when you create your own purse out of a much-loved book. Settle into your own DIY workspace to create this gorgeous bit of crafting magic. 9. Banner This book-page pennant is an easy-effort craft to do with kids and is endlessly customizable. Simply cut, paste and thread the pennant flags and adorn with whatever lettering you like. Stickers, stencils, and paint are all ways to make this DIY decor your own. 10. Jewelry Box A hollowed out book is an age-old space to hide valuables, but it also looks great on display as a jewelry box. Get creative and add wooden feet or several stacked boxes for optimum effect. These boxes would also look great in an organized closet space which would make it feel like a luxurious dressing room, even in a small footprint. 11. Tablet Case There are some great ideas out there for DIY tablet storage, but using an old book is a brilliant way to store your tablet on the go and help prevent it from getting stolen as it perfectly conceals the electronics within. 12. Wall Hooks No longer utilitarian and plain, wall hooks have become an indispensable part of home organization – and good decor. By following this tutorial, you can create this great, vintage-looking coat rack that will be an instant conversation piece in your home. Just be sure to hang it level! 13. Jewelry We all have books that we remember forever. Now you can carry those works wherever you go by creating your own word jewelry. Or if you’ve got an extra dictionary or two lying around, pick some words that describe your loved ones and create custom jewelry as a one-of-a-kind gift. These custom-made crafts with old books will mean so much that whoever receives them will want to find a safe hiding spot to keep them secure. 14. Wallpaper Wallpaper is making a huge comeback in home design, as long as it’s unique and limited to an accent wall or two. There is no more unique statement than wallpapering with book pages. Once you figure out the basics of hanging wallpaper, you’ll have this unique feature wall complete in no time. 15. Lamp If you’re really not sure what to do with your old books, perhaps this will shine a little light on the situation. A homemade book lamp will provide the most amazing vintage touch in any room. Just remember to follow the rules of polarity when fixing or replacing a lamp cord. ----- Visit our website: https://zerowasteinitiative.com/all-products/ Source: Internet 🌳 Zero Waste Initiative - Less Trash More Life ! 🌏 Let's Save The World While There's Still Time !

[theillustrationconference]

ICON10 WORKSHOP REGISTRATION INFO

April 13th, 2018 at 1pm EDT / 10am PDT / 6PM GMT It's time to get your hands dirty, expand your mind, put your business on solid footing, and have a whole lot of fun. We have crafted two days of informative and inspiring hands-on workshops, lectures, tours, and events led by an impressive roster of illustrators, educators, and creative professionals (some from our Main Stage) designed to jumpstart your ICON10 experience.

ICON10 WORKSHOP DESCRIPTIONS

KIMBERLY HALL – Lecture, WED 9-10:20am, $25 Ideas on the Wall Getting drawings into people's homes is Nottene’s, Kimberly Hall’s studio, favorite thing to do—so she makes wallpaper! In this talk, Hall will discuss pattern and imagery on the wall and how it works, plus the different ways to make it real, whether manufacturing the product or selling designs at trade shows.

WILL VARNER – Lecture, WED 9-10:20am – $25 How Illustration Can Feed the Internet For years Will has explored the potential for original, illustrated content on the internet. He’ll discuss topics like: building artistic quality in an age of meme generators, the new rules for selling art and maintaining creative control, ways to maximize your social media presence, and more!

ESTHER PEARL WATSON & MARK TODD – Making, WED 9-12pm, $45 Zine Machine! Participants will create a one-of-a-kind book culled and edited from drawings, collage and research material that serve as a collection of thoughts, process and finished works. The goal is to disrupt the norm, discover ways to capture transitory thoughts and observations, construct interesting narratives and re-contextualize visuals.

MELANIE REIM – Making, WED 9-12pm, $45 Surf and Turf Participants will capture beach bodies under the majesty of downtown Detroit in this fast-paced reportage workshop about drawing people while they’re moving and getting the scale of Detroit architecture-drawing directly onto the page, with happy accidents of ink splatter and a variety of line and tone.

STEVE SIMPSON – Making, WED 9-4pm, $60 Illustrated Beer Label Workshop In Steve Simpson’s workshop, participants will illustrate their own beer label using traditional analogue techniques. The final piece of art will be glued to a bottle. This course is suitable for anyone with an interest in illustration, hand lettering and character design, and is very much illustration-focused.

TOM FROESE – Making, WED 9-4pm, $60 Inky Maps! Illustrate a Beautiful Map Using Digital and Analog Media For those who want to learn how to create a beautiful illustrated map, this is the class. Tom Froese will show, step by step, how to illustrate a map of a hometown or favorite city using the same techniques from his popular class, Inky Illustrations.

ADAM OSGOOD – Making, WED 9-4pm, $60 Intro to Animation Techniques for Illustrators in After Effects Participants will explore a workflow for creating layered artwork in Photoshop and then add animation within After Effects. Each person will create a small personal project using their own illustrations and complete the workshop with an exercise that demonstrates basic animation techniques.

DON KILPATRICK III – Making, WED 9-4pm, $60 Motor City Mega Print Jam This workshop will be held at The Detroit Wood Type Co. on Detroit’s east side and will allow participants to choose three of five types of relief printmaking: Risograph printing, silkscreen, letterpress, linocut and woodcut. Attendees can create either a poster, zine or card.

AKI CHOKLAT & TOM CARBONE – Making, WED 9-4pm, $60 Tote Your Own Creation In this hands-on workshop, participants will make their own unique tote bag from leather or canvas. The workshop will take place in the beautiful 20,000 square-foot College for Creative Studies Fashion Accessories Design Department. No previous sewing or making experience necessary.

BETSY & CHUCK CORDES – Lecture, WED 10:40-12pm, $25 To Thine Own Self Be True: Understanding and Using Your Bargaining Power In this workshop Betsy & Chuck Cordes will help prepare you for making your next big deal. Attendees will look at the changing nature of the artist/industry relationship, how to assess your bargaining power, and how to move past points of fear and resistance. They'll also go over the key parts of a rights agreement and offer specific language that you can suggest to contract partners as you negotiate usage rights for your work.

GRACE DANICO – Lecture, WED 10:40-12pm, $25 Be Your Own Archivist: A How-To Guide Grace Danico, professional archivist and freelance illustrator, will teach the ins and outs of creating a personal archive. Topics include basic care of paper and digital materials, file structure organization and metadata.

ANDY ESPINOZA – Making, WED 1-4pm, $45 Quick Sketching in Fashion Throughout the workshop, Andy Espinoza will explore various techniques of quick sketching the fashion figure. Drawing from life, the class will experiment with mark making and color to capture the gesture of the model and their outfits.

SEAN QUALLS – Making, WED 1-4pm, $45 Quallage Workshop: A New Way of Thinking About Collage Sean Qualls is a children’s book illustrator, author and artist. Sean will demonstrate how he paints and prepares textured papers for his collage and mixed media work. After a brief slideshow and demonstration, participants will then prepare their own papers and create their own mixed media piece.

JOHN ENGLISH – Lecture, WED 2:40-4pm, $25 Advanced Portfolio: A How-To Guide to Industry Success This workshop outlines a path for you to develop a professional portfolio. Your portfolio defines you as an illustrator and an advanced portfolio is the key to your industry success. We will tackle how to enter the competitive market using techniques taught at The Illustration Academy.

MOTION COMMOTION – Event, WED 6-8pm, FREE FREE Event: Screening of animated projects by attendees and beyond, held after the Education Symposium cocktail party at CCS.

GAIL MAROWITZ – Lecture, THUR 9-10:20am, $25 Illustration Makes Music Sound Better Gail Marowitz will talk about what it is to create art from what you “HEAR”, the process of finding illustrators for projects, other avenues of illustration for music such as gig posters and merchandise, and the tricky challenges of working with a product/brand with a heart, mind and voice.

ROBERT BEATTY – Lecture, THUR 9-10:20am, $25 Digital Airbrush: Adapting classic techniques to Photoshop and Illustrator Known for a prolific body of work in the field of album cover artwork, Illustrator Robert Beatty has developed an idiosyncratic take on classic airbrush artwork. Approaching the digital world using the classic techniques of airbrush artists, learn how to adapt pre-digital techniques to the world of Illustrator and Photoshop.

ROBERT HUNT – Lecture, THUR 9-12pm, $45 Painting Workshop: Using analog materials in a digital age, how to start and when to stop A demonstration of oil painting for contemporary illustrators. Focus of this workshop will be on techniques, materials and methods to enable the use of analog materials in a time effective, efficient manner in illustration. Photography/reproduction of paintings will also be discussed.

ROB WILSON – Making, THUR 9-12pm, $45 Drawing the Line In this workshop, participants will illustrate using various media—pens, sticks, inks, pencils—to understand how the experience of drawing changes given limitations, accidents and the inability to press Command Z. This means sketching on paper, creating a folio of images and exploring new ways of thinking.

LILLI CARRÉ – Making, THUR 9-12pm, $45 Experimental Comics Lilli Carré’s drawing and writing workshop is about loosening up and discovering new ways of generating ideas and structures for comics. Participants will try a number of fast-paced approaches to thinking through the arrangement of comics panels, collaborative play and the varied possibilities of sequential narrative.

THOMAS ALLEN – Making, THUR 9-12pm, $45 Pulp Fiction - Reimagining Paperback Covers In this hands-on workshop, you will learn how to carefully cut out and remove the characters found on the covers of vintage paperbacks. Once free, you will make good use of anything but state-of-the-art materials (pins, tape, wooden blocks) to fold and create spicy, pop-up visual narratives!

ADOBE Sponsored Workshop

SYD WEILER – Making, THUR 9-12pm, FREE Handcraft Magical Brushes In this hands-on-workshop Syd Weiler, freelance Illustrator & former Adobe Resident, demystifies the Photoshop brush engine. Learn to craft magical brushes and use them across desktop & mobile. Deep-dive into customization of Photoshop brushes on desktop. Tweak and finesse tools for desired effects, apply brushes to existing work, and think tactically by making brushes to speed up your workflow. Syd will use Adobe Capture to grab textures from real life, & explain the advantages of CC Libraries. Walk away knowing how to create perfect brushes, & finesse old favorites.

JOOHEE YOON BlockPrinting – Making, THUR 9-4pm, $60 In this intro to relief printmaking, participants will use rubber blocks as a carving surface to create bold images in a limited palette. Everyone will create a two-color print (black and one color) based on a prompt sent by the instructor after registration. Bring a design sketch/idea ready to carve.

MELINDA BECK – Lecture, THUR 10:40-12pm, $25 25 Lessons Learned from 25 Years as an Illustrator After a quarter century as an illustrator, Melinda Beck has learned a few things. She will be sharing tips on how to run an efficient business, balancing work and kids, being creative on a deadline, finding new clients and successfully dealing with difficult ones.

ALISSA LEVIN – Lecture, THUR 10:40-12pm, $25 Small Mags, Big Ideas Illustration thrives in independent and academic publications, where artists contribute to ambitious, award-wining projects. Alissa Levin shares insights on creating editorial art from initial assignment to final publication, focusing on the powerful collaboration between art directors and illustrators.

JENNIFER TOLO PIERCE – Lecture, THUR 1-2:20pm, $25 NARWHALS, APHRODITE AND DARTH VADER: Publishing Illustrators at Chronicle Books Ever wondered what it’s like to work with Chronicle Books? Design Director Jennifer Tolo Pierce will take participants through the how, what and when of publisher-illustrator collaboration. She’ll discuss both illustrating for adults and children and what it takes to be a Chronicle illustrator.

DANIEL SALMIERI & ADAM RUBIN – Lecture, THUR 1-4pm, $45 Pairing Words and Images In this workshop, best-selling picture book creators Daniel Salmieri and Adam Rubin will share some of their favorite collaborative techniques and games. They will lead interactive activities designed to highlight the complimentary power of text and illustration.

MARIA CARLUCCIO – Making, THUR 1-4pm, $45 The Book as Object and Experience Maria Carluccio will guide participants on making an accordion book, using the ideas discussed in the presentation. Accordion books provide a wonderful opportunity to experiment because they can be seen both as a whole and page by page. This can be a freeing way to explore narrative and allow the imagination to wander.

MIKE PERRY – Making, THUR 1-4pm, $45 Meditation, Moleskines, and Magic Makers: Things Go Bananas Mike Perry will discuss the sketchbook as the artist’s best friend throughout the chaos of life.

FRANCIS VALLEJO – Making, THUR 1-4pm, $45 Mixed Media Experimentation with the Costumed Figure The first half of this intensive workshop will review various mixed media techniques used by artists throughout history, and participants will receive a packet summarizing each process. The second half provides everyone space to work from numerous costumed models via assorted mixed media stations. Supplies will be provided.

CARIN BERGER– Making, THUR 1-4pm, $45 Wonder Cabinets and Memory Theaters Artists are treasure hunters and collectors. Inspired by the aesthetics of natural history collections and drawing from the imagination, Carin Berger will focus on creating specimen boxes of unique objects and invented creatures—miniature cabinets of wonder—from found paper and ephemera.

SABRINA NELSON – Tour, THUR 1-4pm, $45 Detroit Art Tour Led by Detroit native, artist and educator Sabrina Nelson, participants will tour four (4) of the must-see Detroit art venues! First stop, Dabls Mbad African Bead Museum — 18 outdoor installations as well as the African Bead Gallery, N'kisi House and the African Language Wall. The next stop on the tour, Diego Rivera’s Detroit Industry Murals at Detroit Institute of Arts — a twenty-seven panel work considered to be the finest example of Mexican mural art in the U.S.A. The third stop, The Heidelberg Project is an outdoor art environment in the heart of an urban area and a Detroit based community organization designed to improve the lives of people and neighborhoods through art. The artist and creator, Tyree Guyton, is also a ICON10 Main Stage presenter. The fourth and final stop will be Pewabic Tile — a ceramic studio and school founded in 1903 known for its iridescent glazes. Travel: Transportation will be provided. We will meet in the lobby of the Westin at 1pm sharp.

LYNDA WEINMAN and LAURIE BURRUSS – Making, THUR 2:40-4pm, FREE Reinventing School Can we as educators create a blueprint for the classroom of the future? Lynda Weinman and Laurie Burruss lead a 3-pronged workshop delving first into the problems facing students, faculty, and the school followed by a design thinking/problem-solving approach to reinventing the educational experience.

Plan you schedule, and get ready to REGISTER for workshops!

Note: Workshops are sold a la carte to registered attendees only and require additional fees, though some are FREE. So what are you waiting for? Register for ICON10 today.

Workshops run Wednesday through Thursday concurrently with the Education Symposium (view the schedule), which is open to all attendees (no pre-registration required). Plan your schedule accordingly.

[saraswathick22]

Wholesale leather cords-Sun Enterprises

Wholesale leather cord, leather laces, braided leather cords, string and latigo laces made from top quality European leather & USA regions.

Leather cords from Sun Enterprises are one of the finest and top most quality in the world. These cords are used for jewelry making and hand crafting many items such as bags, shoes, furniture etc . Sun Enterprises is your best source for top quality genuine cords such as round leather cord, flat or braided made from high quality European leather and widely being used by global brands in the USA and Europe.

Genuine Leather cords is a durable and flexible material to make Bracelets, Necklaces, Accessories etc., We provides different kind of leather cords like Soft, Flat, braided, Round, Nappa, Regaliz Leather, Hair-On Leather, Exotic Leather, Suede Cord, Cork Cord, Leather Bracelets, Leather Accessories, Leather Threads, Sting Ray Cords and Beads, Leather String, Leather Rope etc.

Sun Enterprises provides the finest wholesale leather on friendly customer service, good quality & quantity products, fast shipping, and true value pricing. We offer wholesale bulk discounts on all leather cords & magnetic clasps. Feel free to contact us if you are using very large quantities of leather cords for additional discounts and price quotes.

Why choose Leather Cords from Sun Enterprises ?

Our genuine cords include a large range of laces and string in terms of style, size, colour, design and type. Precision cut to ensure the best crafting materials is made available to you. We ensure the best quality and most competitive prices globally. All dyes used are certified, meeting European standards of REACH (European Union), RoSH (U.K.), and CPSIA (U.S.A). As manufacturers, we offer endless possibilities of colours and choice. For items out of stock, we take about 4 to 6 weeks to have it back in production.

Find your favorite leather jewelry-making supplies at Sun Enterprises. Our clients range from great designers to craftsmen spanning all over the world. We continue to work hard to create new collections each season for clients from the USA to Europe, Australia, South America and Africa l. Sun Enterprises exclusive collection of cords for bracelets and fashion accessories includes real nappa leather laces in different shapes, such as round, flat and braided, hair-on leather, vintage style, leather with names, real Suede leather laces and Italian flat leather cords, The sizes vary from 1 mm to 40 mm. We can customize the items as per your specifications too .

We work together with you to Make Your Ideas A Reality and Your Imagination Is Our Inspiration !

[sunnetherlands]

how to soften leather cord | Sun Enterprises

Softening leather cord can be achieved using a few different methods. Here are some approaches you can try:

Conditioning with Leather Conditioner: Leather conditioner helps to soften and moisturize leather, making it more pliable. Apply a small amount of leather conditioner to a soft cloth and rub it into the leather cord in a circular motion. Allow it to absorb for a few hours or overnight, then wipe off any excess conditioner.

Using Oil: Oils such as neatsfoot oil, coconut oil, or olive oil can also help soften leather. Apply a small amount of oil to a soft cloth and rub it into the leather cord. Allow the oil to penetrate the leather for several hours or overnight, then wipe off any excess.

Warm Water Soak: Submerge the leather cord in warm water for a few minutes to soften it. Be careful not to use hot water, as this can damage the leather. After soaking, gently stretch and flex the cord to help soften it further. Allow it to air dry completely before using.

Steam: Hold the leather cord over a steaming pot or kettle for a few minutes to allow the steam to penetrate the leather. Be careful not to get too close to the steam, as it can cause burns. After steaming, gently stretch and flex the cord to soften it further.

Repeated Flexing: Simply flexing and bending the leather cord repeatedly can help to soften it over time. This method may take longer than others, but it can be effective, especially if combined with conditioning or oiling.

Commercial Softening Products: There are also commercial leather softening products available that are specifically designed to soften and condition leather. Follow the instructions provided with the product for best results.

Before trying any of these methods, it's a good idea to test them on a small, inconspicuous area of the leather cord to ensure that they won't cause any damage or discoloration. Additionally, keep in mind that while these methods can help to soften leather, they may not completely transform a stiff or rigid leather cord into a very soft one, especially if the leather is of poor quality.

[groundonesix]

Ludwig Mies Van Der Rohe Set of 6 MR10 Dining Chairs

Complete set of 6 chrome cantilever MR10 chairs by Ludwig Mies van der Rohe in brown leather. This set of chairs is an early 1960s example of his famous design produced by Knoll International. MR10 chair designed in the 1920s and this set of six features the chrome springs on the backs and the seats, they later improved the design and the springs were shorter and eventually they went back to elastic corset cord with. The chairs still bear the oval sticker marks on the back of the bottom of the seats.

MR10 chairs are really comfortable and a classic design as seen in many movies and other media. Our MR10 chairs recently have been used to decorate the interior of a restaurant in London and featured in Architectural Digest, Dezeen, Elle Decoration and many other publications, as seen on images. All images are property of Child Studio.

Two of the chairs have the complete set of springs, the remaining four as you can see in the images are missing some springs and and the leather punctured holes are ripped off. All of the cantilever frames are in great condition with the expected 80 years of wear. We sell the chairs in its original vintage condition as seen and that reflects our price as a set. If you wish to restore them with new leather in any colour please let us know.

CREATOR: Ludwig Mies van der Rohe for Knoll International

PLACE OF ORIGIN: Germany - USA

DATE OF MANUFACTURE: 1960s

PERIOD: 1960-1969

MATERIALS & TECHNIQUES: Metal Chrome, Leather

CONDITION: Good vintage condition

WEAR: Four of the chairs are complete with all the springs, the remaining four have missing springs. The leather is worn. The cantilever frames are in strong good condition.

HEIGHT: 81cm | 32in

WIDTH: 48cm | 19in

DEPTH: 68cm | 27in

SEAT HEIGHT: 46cm | 18.4in

Request more information

[retroradiofarm]

For just $249.00 Ivory Cream Vintage 1953 Capehart Model T-522X AM Tube Shortwave Radio Looks Classy! DESCRIPTION: This is a tabletop tube AM shortwave radio alarm manufactured by Capehart in 1953 in excellent+ working condition. This is a factory original vanilla yellow cabinet that has a dark brownish burgundy leatherlike grill cloth. Picks up AM stations clearly and loudly up and down the dial without need of external antenna attachment. I was not able to pick up any shortwave stations but I was trying during the day. No chips, splits, or major scratches. There is a crack on the bottom that has been re-glued. The front grill is in good condition and shows normal wear and tear. Knobs are original and securely attached. Some gold material is missing from the inserts of the dials. The left dial is cracked and shows a dark line at the site of the crack. No missing factory labels or stickers. This radio is over 60 years old! All the dial numbering is crisp and clear. No missing ink, smudges, or rub-off on dial lettering. The tuning dial works fine and is securely attached. All paper and wax capacitors have been replaced with modern equivalents so this radio has another 50+ years or more of playing time! The tubes are working fine. All out-of-spec resistors have been replaced with modern correct value and voltage equivalents. There is no loud or pervasive hum. There is no loud or pervasive static between stations. The set has been aligned according to factory specifications. The original power cord and plug are good original working condition with no cracks, or splits. No exposed wiring. The radio has been thoroughly cleaned and inspected. The backing board is a new replacement. All wiring has been thoroughly checked for possible bridging and weak solder connection. Comes from non-smoking, mature, clean professional environment. DIMENSIONS: Approximately 10" x 6" x 6.75" (l x w x h) COLOR: Vanilla with Deep Brownish Burgundy leather like gill cloth YOUTUBE Vi...

[poorvikaraj]

Braided leather cord-Sun Enterprises

Sun Enterprises is one of the largest manufacturer and wholesaler for braided leather cord of top quality within Europe and USA. We produce the biggest selection of leather cord which includes round braided , flat , oval braids and square braids.

As wholesale supplier of braided leather cord our cords find high usage not only in fashion and jewellery industry but also in dog collars, furniture and making many different kinds of leather accessories as well. Our Nappa cords can be braided to different styles as per your specific requirements

Why choose Braided Leather Cord from Sun Enterprises?

-Our cords are tightly braided and can be customised based on your specific needs -Our cord are very popular for men’s jewellery collection as well as women’s necklaces,  belts, braided leather cord bracelet and combining long with flat or round cords and others you make unique braided leather cord bracelets and other fashion accessories such as key chains, dog collars etc. -Furthermore, our colour range varies from plain shades to metallic hues to vintage shades. -We ensure the best quality and most competitive prices globally. -All dyes used are certified, meeting European standards of REACH (European Union), RoSH (U.K.), and CPSIA (U.S.A). -Get your hands on widest choice of cord in different sizes, colours and styles -Precision cut to ensure the best crafting materials is made available to you

Our company has long established in the global market and you can see our products from America to Australia. Sun Enterprises as braided leather cord supplier ensures highest quality of leather cord and  being a bulk supplier of leather cords we are confident to offer you very good pricing and highest quality. Sun Enterprises wholesale braided leather cords can be customized based on your specific needs in terms of sizes, colours and styles

If you want flat or round braids, maybe oval or square braids in metallic colour or in vintage shade, with different sizes, you can easily find it online or at our showroom in Almere, The Netherlands.

[smary123-blog]

Wholesale leather cord, lace, string and latigo laces made from European. These cords for jewelry making is one of the biggest and top most quality in the world. Sun Enterprises is your best source for top quality genuine leather cord usa in terms of round, flat or braided made from top European quality and widely being used by global brands in the USA and Europe. Our genuine cords include a large range of laces and string in terms of style, size, colour, design and type. Precision cut to ensure the best crafting materials is made available to you. We ensure the best quality and most competitive prices globally. All dyes used are certified, meeting European standards of REACH (European Union), RoSH (U.K.), and CPSIA (U.S.A). As manufacturers, we offer endless possibilities of colours and choice. For items out of stock, we take about 4 to 6 weeks to have it back in production. Find your favorite Jewelry making Supplies from sunenterprises and enjoy as well.

Our clients ranging from great designers to craftsmen span all over the world as we continue to work hard to create new collection each season, from Milan, Paris, New York, Brazil, Australia etc. Sun Enterprises exclusive collection of cords for bracelets and fashion accessories includes real Nappa leather laces in different shapes, such as round, flat and braided, hair-on leather, vintage style, leather with names, real Suede leather laces and Italian flat leather cords, The sizes vary from 1 mm to 40 mm.

[howtofindthemoney]

Karpenter

[jonathanbelloblog]

How Aston Martin Is Using Modern Technology to Improve Its Oldest Cars

At Aston Martin, the pace of development, partnerships, and new models is perhaps more feverish than at any time in the company’s century-plus-long history. Much credit for the renaissance must be given to Andy Palmer, who was hired as CEO in 2014 at a time when the supercar maker’s engines and cars were all aging and growing more uncompetitive by the moment. But a trio of exciting new models have hit the streets recently in the DB11, new Vantage, and DBS Superleggera, development of electrified powertrains has been prioritized, and the firm will launch its first-ever SUV within the next couple of years. With all of this being front of mind, it was somewhat surprising to receive an invite to go behind the scenes of its Aston Martin’s Heritage division.

We started our visit to Aston HQ in the production facility for the DB4 GT continuation cars, alongside the president of Heritage, Paul Spires. The facility is located in a screened-off area of the Newport Pagnell dealership, and at the time of our visit housed three DB4 GTs that were undergoing final preparations before being readied for shipment to their lucky owners. Here, Spires is in his element, reeling off factoids and figures about the DB4 program.

For example, each of the 25 planned chassis takes around 4,500 man-hours to complete, as each is hand-assembled by a team of highly skilled engineers and craftspeople. The cars have a base price of approximately $2 million, however each of them—and they’re all spoken for—end up costing in the region of $2.5 million once the customers have their say regarding various customizations and options. Just four DB4 GTs will remain in the U.K., with the rest headed overseas, the vast majority to the United States. According to Spires, “The DB4 GT continuation is a perfect demonstration of the capabilities we have here at Works, and a testament to the timeless appeal of Aston Martin’s illustrious classics.”

The Past-Present Paradox

It’s not all nostalgia and heritage preservation, though, as the team employed some of the most modern and high-tech techniques in executing the DB4 GT project. Body-panel schematics were difficult to come by in the Aston archives, so vintage cars were 3D-scanned to provide templates. Engine blueprints were similarly scarce, so the team had to reverse-engineer a new design from an existing example.

To do this, they put the finest example of an original DB4 engine they could find through an X-Ray Computed Tomography (CT) machine. Essentially the same technique as when a human is CT-scanned in a hospital to achieve a medical diagnosis, this 3D X-ray procedure gives a non-invasive look at the internal structure of a given sample. To illustrate what sort of images this can produce, we got our hands on a scale-model DB4 and used a CT scanner to reproduce the process performed on the engine.

When a conventional X-ray is performed to diagnose a broken bone, it produces a single image called a radiograph. However, as can be seen here, a CT scan ‘stacks’ these images sequentially to build a 3D representation. The primary difference is that, in a hospital, the person lies down and the machine orbits around them; in Aston’s case, the machine was stationary and the sample was rotated. This allows for better resolution and less blurring due to sample movement.

During scanning, the team found that there were some areas for improvement, and Spires was palpably excited as he shared some of the things uncovered by the scans. For example, one of the oil channels cast into the original engine using a cord—it was pulled out after casting—was revealed to have poor flow optimization and possible blockages. Spired also explained that the original engine had a persistent oil leak issue around a tapped connection on the side of the block. The CT scans showed the underlying cause; during its initial manufacture, the hole was drilled and tapped too deep, and breached an oil cavity. Discovering these issues allowed the team to fully optimize the new engine.

Restoring the Classics

Those not lucky enough to be selected to receive one of the 25 DB4 GTs can still have any existing Aston Martin fully restored through the Heritage-approved restoration program, albeit at an eye-watering cost. The process is thorough, of course, and any restoration project is fully stripped to a bare chassis and examined for integrity. Any corrosion issues are rectified using period-correct techniques, and the car is then reassembled from the ground up, including paint, brightwork, the interior, and more. Dotted around the factory are cars at every stage of the process. A freshly arrived DB6 has been stripped to bare metal; a Lagonda is midway through; and a second DB6 is finished and gleaming in baby blue paint, ready for delivery back to its owner in France.

The factory takes the term “heritage” to the extreme. Everything from chassis welding and forming body panels to painting and finishing is done in-house at Newport-Pagnell. New DB4 GT front ends are beaten from sheetmetal around original wooden forms that have been in the company for generations, and these same traditional panel-beating techniques are used to restore other customer cars. Any forms showing their age are replaced with new forms made from—you guessed it—a 3D scan of the original.

A Taste of the Past

Seeing all these wonderful classics would have been the ultimate tease if we could only look and not touch. Luckily, Spires and his team had a drive planned and the chosen cars were very special indeed. First up: a 1971 DB6 MK2 with a price tag of around $800,000. Never before have I been so nervous to drive somebody else’s car.

Within yards, I realized that I needn’t have worried. The DB6 is remarkably easy to drive, and surprisingly potent for such an old car. The thin, wooden steering wheel is a definite throwback, and you can’t help but beam with joy as you move it back and forth to keep your trajectory true. The speedometer needle bounces around between plus or minus 10 mph from your true velocity, and the cabin is filled with the familiar scents of oil and fuel. All of these factors create a most endearing and exciting automotive experience, and the DB6 is tactile, pleasant, and incredibly special to drive.

After the DB6 comes a 1987 V8 Vantage X-pack. Being 16 years the DB6’s junior, the Vantage produces far more power, making it a different beast to pilot. The transmission is still manual, but this time with a dogleg box as can be found in the previous-generation V12 Vantage S.

The V8 Vantage exudes ’80s charm with its deep shag carpets and purple-ish piping on the cream leather seats. However, the main selling point of this car lies under the hood. The naturally aspirated V-8 pulls hard and sings as I stir through the gears. It’s the first time that I’ve driven a dogleg ’box, and I’m pleased to say that it’s remarkably intuitive. You seldom need to use the first ratio when driving on back roads, so having second gear at the top and third directly below just makes sense.

The Grand Opening

The cars that I drove were to take center stage at the formal launch of Aston’s new London showroom. Once just a brand and lifestyle shop in the high-end Mayfair district, the location was overhauled to be entirely Heritage focused. The showroom has room for two classic cars inside, but ‘my’ classics were parked on the street outside next to a current Vantage.

With a handpicked selection of prominent buyers and brand supporters congregating behind the expansive glass storefront, Palmer emerged from the crowd to give a keynote. His emphasis is surprisingly grounded, and relates to new talent and the passing on of period skills and craftwork. The entire event makes it clear that the brand appreciates its history as much as it is excited for what is to come.

On the heels of the initial DB4 GT program, Spires and the team have already started building the 25-unit run of DB5 Goldfinger edition cars. They will certainly be equally sought after, and serve as further proof that well-heeled customers don’t just want the latest and fastest hypercars, they also want characterful classics. For these buyers, Aston Martin Heritage is ready and willing to serve.

IFTTT

[jesusvasser]

How Aston Martin Is Using Modern Technology to Improve Its Oldest Cars

At Aston Martin, the pace of development, partnerships, and new models is perhaps more feverish than at any time in the company’s century-plus-long history. Much credit for the renaissance must be given to Andy Palmer, who was hired as CEO in 2014 at a time when the supercar maker’s engines and cars were all aging and growing more uncompetitive by the moment. But a trio of exciting new models have hit the streets recently in the DB11, new Vantage, and DBS Superleggera, development of electrified powertrains has been prioritized, and the firm will launch its first-ever SUV within the next couple of years. With all of this being front of mind, it was somewhat surprising to receive an invite to go behind the scenes of its Aston Martin’s Heritage division.

We started our visit to Aston HQ in the production facility for the DB4 GT continuation cars, alongside the president of Heritage, Paul Spires. The facility is located in a screened-off area of the Newport Pagnell dealership, and at the time of our visit housed three DB4 GTs that were undergoing final preparations before being readied for shipment to their lucky owners. Here, Spires is in his element, reeling off factoids and figures about the DB4 program.

For example, each of the 25 planned chassis takes around 4,500 man-hours to complete, as each is hand-assembled by a team of highly skilled engineers and craftspeople. The cars have a base price of approximately $2 million, however each of them—and they’re all spoken for—end up costing in the region of $2.5 million once the customers have their say regarding various customizations and options. Just four DB4 GTs will remain in the U.K., with the rest headed overseas, the vast majority to the United States. According to Spires, “The DB4 GT continuation is a perfect demonstration of the capabilities we have here at Works, and a testament to the timeless appeal of Aston Martin’s illustrious classics.”

The Past-Present Paradox

It’s not all nostalgia and heritage preservation, though, as the team employed some of the most modern and high-tech techniques in executing the DB4 GT project. Body-panel schematics were difficult to come by in the Aston archives, so vintage cars were 3D-scanned to provide templates. Engine blueprints were similarly scarce, so the team had to reverse-engineer a new design from an existing example.

To do this, they put the finest example of an original DB4 engine they could find through an X-Ray Computed Tomography (CT) machine. Essentially the same technique as when a human is CT-scanned in a hospital to achieve a medical diagnosis, this 3D X-ray procedure gives a non-invasive look at the internal structure of a given sample. To illustrate what sort of images this can produce, we got our hands on a scale-model DB4 and used a CT scanner to reproduce the process performed on the engine.

When a conventional X-ray is performed to diagnose a broken bone, it produces a single image called a radiograph. However, as can be seen here, a CT scan ‘stacks’ these images sequentially to build a 3D representation. The primary difference is that, in a hospital, the person lies down and the machine orbits around them; in Aston’s case, the machine was stationary and the sample was rotated. This allows for better resolution and less blurring due to sample movement.

During scanning, the team found that there were some areas for improvement, and Spires was palpably excited as he shared some of the things uncovered by the scans. For example, one of the oil channels cast into the original engine using a cord—it was pulled out after casting—was revealed to have poor flow optimization and possible blockages. Spired also explained that the original engine had a persistent oil leak issue around a tapped connection on the side of the block. The CT scans showed the underlying cause; during its initial manufacture, the hole was drilled and tapped too deep, and breached an oil cavity. Discovering these issues allowed the team to fully optimize the new engine.

Restoring the Classics

Those not lucky enough to be selected to receive one of the 25 DB4 GTs can still have any existing Aston Martin fully restored through the Heritage-approved restoration program, albeit at an eye-watering cost. The process is thorough, of course, and any restoration project is fully stripped to a bare chassis and examined for integrity. Any corrosion issues are rectified using period-correct techniques, and the car is then reassembled from the ground up, including paint, brightwork, the interior, and more. Dotted around the factory are cars at every stage of the process. A freshly arrived DB6 has been stripped to bare metal; a Lagonda is midway through; and a second DB6 is finished and gleaming in baby blue paint, ready for delivery back to its owner in France.

The factory takes the term “heritage” to the extreme. Everything from chassis welding and forming body panels to painting and finishing is done in-house at Newport-Pagnell. New DB4 GT front ends are beaten from sheetmetal around original wooden forms that have been in the company for generations, and these same traditional panel-beating techniques are used to restore other customer cars. Any forms showing their age are replaced with new forms made from—you guessed it—a 3D scan of the original.

A Taste of the Past

Seeing all these wonderful classics would have been the ultimate tease if we could only look and not touch. Luckily, Spires and his team had a drive planned and the chosen cars were very special indeed. First up: a 1971 DB6 MK2 with a price tag of around $800,000. Never before have I been so nervous to drive somebody else’s car.

Within yards, I realized that I needn’t have worried. The DB6 is remarkably easy to drive, and surprisingly potent for such an old car. The thin, wooden steering wheel is a definite throwback, and you can’t help but beam with joy as you move it back and forth to keep your trajectory true. The speedometer needle bounces around between plus or minus 10 mph from your true velocity, and the cabin is filled with the familiar scents of oil and fuel. All of these factors create a most endearing and exciting automotive experience, and the DB6 is tactile, pleasant, and incredibly special to drive.

After the DB6 comes a 1987 V8 Vantage X-pack. Being 16 years the DB6’s junior, the Vantage produces far more power, making it a different beast to pilot. The transmission is still manual, but this time with a dogleg box as can be found in the previous-generation V12 Vantage S.

The V8 Vantage exudes ’80s charm with its deep shag carpets and purple-ish piping on the cream leather seats. However, the main selling point of this car lies under the hood. The naturally aspirated V-8 pulls hard and sings as I stir through the gears. It’s the first time that I’ve driven a dogleg ’box, and I’m pleased to say that it’s remarkably intuitive. You seldom need to use the first ratio when driving on back roads, so having second gear at the top and third directly below just makes sense.

The Grand Opening

The cars that I drove were to take center stage at the formal launch of Aston’s new London showroom. Once just a brand and lifestyle shop in the high-end Mayfair district, the location was overhauled to be entirely Heritage focused. The showroom has room for two classic cars inside, but ‘my’ classics were parked on the street outside next to a current Vantage.

With a handpicked selection of prominent buyers and brand supporters congregating behind the expansive glass storefront, Palmer emerged from the crowd to give a keynote. His emphasis is surprisingly grounded, and relates to new talent and the passing on of period skills and craftwork. The entire event makes it clear that the brand appreciates its history as much as it is excited for what is to come.

On the heels of the initial DB4 GT program, Spires and the team have already started building the 25-unit run of DB5 Goldfinger edition cars. They will certainly be equally sought after, and serve as further proof that well-heeled customers don’t just want the latest and fastest hypercars, they also want characterful classics. For these buyers, Aston Martin Heritage is ready and willing to serve.

IFTTT

[superblyinstantninja]

My Dorfman Pacific Weathered Cotton Outback Hat

My Dorfman Pacific Weathered Cotton Outback Hat. I have had this hat for about 10 years and it has held up nice. Great sun hat or winter hat. Here are some manufacture details. Our DPC Outdoors weathered cotton vintage Outback with it's UPF 50+ rating is just the right hat for your next jungle safari (even if it takes place in your SUV in midtown!). Features galore include weathered finish, leather trim with chin cord and bound cotton Imported Hand Wash Weathered cotton gives the hat a rugged, broken-in look, Fabric: 52% cotton/48% polyester Interior brow band and lining absorbs sweat and provides a smooth surface next to the skin Broad, shapable brim provides 360° of shade and protection for face, ears and nape,Width Of Brim 2.7 inches With a UPF 50+ rating, the hat provides excellent protection against harmful ultraviolet rays Adjustable chin strap secures the hat when