A story told by Luisa Pitadas.
This story begins in my yard where several cork oaks are growing. We didn’t plant them, maybe a blue jay did. The blue jay stores and hides acorns, and sometimes it forgets where it placed them. When this happens, some of them turn into beautiful trees.
Our older cork oak is about 17 years and it is already so big that my kids, with the help of their father and grandfather, built a treehouse on top.
When our cork oak reaches his 25th anniversary, between May and August, it will be ready for the first harvesting of the bark. By using just an axe and their bare hands specialised workers will harvest planks of cork without causing any harm to the tree. This work is one of the most well paid agricultural works in the world. Under the bark, the trunk is orange and will turn brown over time. After 9 years the oak tree will regenerate its bark and be ready to be harvested again. This second harvest is called Secundeira (meaning “second” in Portuguese). After another nine years, our cork tree will be ready to be harvested for a third time, a step called Amadia. At that point, the tree will be 43 years old, and finally the cork will have the quality standards required to be turned into a cork stopper. From then on it will be harvested every 9 years. After the harvest, the bark planks are left to rest for 6 months, then they will be ready to be worked.
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Botanical Colors
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The Wild Dyery
e-Learning Natural Dyes New Technologies Meet Tradition
The Ethical Fashion Of ZaraMia Ava
“Sustainable luxury produced with zero waste. Made for the fashion conscious with a conscience”
Diary
ARTESANÍAS ROSAS T’IKA: Reclaiming typical natural dyes of the Charca people
The Rooftop Dye Garden: “The Streets Of Amsterdam Are Covered In The Most Beautiful Colours”
Elin de Jong (elin WANDERLüST) writes about her mission to research the history of colour from old plant books, common knowledge we seem to have lost. She also tells us about her quest to create a ‘magical’ rooftop dye garden in her native city of Amsterdam in the Netherlands.
Off To School In The Forest
A Trip To The Bosco Didattico (Educational Forest) In The Ciminian Forest
A Weekend Away In The English Countryside: The Whichford Pottery
When whichford pottery hosted eco printer caroline nixon’s exhibition (no serial number autumn issue 2016) in their shop area, i was invited along, shown around and knew immediately i wanted to feature it in our spring issue! Situated in the most picturesque and midsomer murders type of british countryside they told me their story:
Cork: Much More Than A Stopper
A story told by Luisa Pitadas.
Ceramic Patchwork: A Textile Process In A Ceramic Form
Zoë Hillyard is an artist that grew up in a family where make do and mend was the norm. In her interview with No Serial Number Magazine, she recalled the times when she used to visit jumble sales and car-boot sales and when even a visit to the ‘tip’ would yield treasures from discarded stuff. We interviewed Zoë to find out about her Ceramic Patchwork technique and ended up learning a lot about her journey through her textile design degree, her postgraduate work in development studies, and then her travels. Throughout this journey, she has been incredibly inspired by indigenous cultures and nomadic lifestyles, which led her to explore and pursue simple and functional art forms.
Liquid Vessels Made Of Vintage And Antique Japanese Kanzashi
My mother was the first person I knew to re-purpose something. She taught me to sew when I was about 8 years old and amongst other feats, she effortlessly turned a bed sheet into a set of ruffled curtains for my bedroom. I am fortunate to own the round braided rug that she made about 57 years ago out of Pendleton wool scraps.