A Supernatural Natural By Gene Fowler Natural talent has a knack for finding its way to the gallery or stage, especially when it operates in Shakespeare’s context of “all the world.” Many, if not most, of the leathercraft artists I’ve spoken with began drawing or practicing some other form of the visual arts in their youth. It was kind of like breathing for them; it was something they just did.
Know Your Customer By Nick Pernokas Jack Gully decided to take a break from the plains of Montana in Miles City. He was hauling a load of horses home to South Dakota. As he ate breakfast in the motel, an older gentleman walked up. Jack didn’t recognize him at first. The man said, “You damn sure knew what you were doing!” Jack looked at the man blankly, until he began
The Great-Great-Grandpa of Backpacks By Gene Fowler Camille Poirier arrived in Duluth, Minnesota, in the winter of 1870 with “my little stock of leather and tools.” The 32-year-old had learned the shoemaking trade in his native Canada. Like “almost every boy in lower Canada,” he wrote in his autobiography, Camille “had visions of the U.S. as a land of wealth.” At the time Poirier arrived, Duluth, a port on Lake
Standing the Test of Time By Liisa Andreassen Originally started in 1867 and based in Toronto, Canada, today Wickett & Craig calls Curwensville, Pennsylvania, home – making it one of only two remaining vegetable tanneries in the U.S. Located on more than 16 acres of land, the state-of-the-art facility produces 4,500,000 square feet of both light and heavy-weight leathers annually. The former are used to craft luxury goods like shoes,
IFAI supplies the info-network that helps its member companies navigate a big, complex industry By Lynn Ascrizzi If someone asked you to make a list of every type of fabric you could think of -natural or synthetic, traditional or industrial - how many could you actually name? I gave myself that challenge recently, and here’s what I came up with: OK — cotton, linen, wool, nylon, rayon, silk, angora, cashmere,