A Conversation With Albert Nguyen of Hudson's Bay Photo: @lognamakya The term "busy" floats around a lot as being synonymous with successful. We live in a "rise and grind" culture which puts mental health by the wayside and can turn incredible work into a struggle to hold on. Albert Nguyen, Managing Art Director for Hudson's Bay, one of Canada's longest standing department stores, understands this all to well. Having gone through periods of burnout and overworking through his craft, Albert has become an advocate for mental health and pushing the conversation around the topic forward, especially for men and minority groups in which the stigmas around vocalizing feelings are eminent. We got the chance to chat with Albert about his struggles with burnout, his outlook on the creative industry, what it was like coming up as an Asian designer in Montreal and his advice for new designers looking to establish themselves and build a career through their passions. Read through the conversation below and share with a friend as the information that Albert shares is priceless! Hey Al! Great to be chatting with you. For those who aren’t familiar, can you tell us a little bit about yourself? So my name is Albert Nguyen and for a living and as a hobby, I am an art director and a designer. I come from a fashion, art and design background so I’d say I’m a designer first but I love my work as an art director. My art, my photography style, it all comes from design. I worked in the fashion industry for corporate brands for a long time like Le Chateau and Rudsak and was the art director for Little Burgundy for a while. After a while, I chose to leave the corporate world and design on my own which was great. A couple years later, The Bay called me up for an art direction role and I took that which is where I am today. What led you to the decision of leaving your stable corporate job and going solo? Honestly, I faced some serious burnout. I was working like 12 hour days grinding through. We live in this culture of being busy and I thought 12 hours days were the norm and never thought I’d hit a wall but I did. When that happened to me, I was able to take a month off of work but at the end of the month, I didn’t feel ready to return back to that lifestyle. I had always had this feeling like I could be my own boss. It was tough though to start my own thing. Especially as an Asian designer, it was very tough. The design community is very white and I felt like there were all of these lines I had to stay in [at Little Burgundy] but I was like “Ok, I’m not white. I can do my own thing.” I started really tapping into my Asian roots, which was super scary, but I did that for about three years and got some awesome clients like SSENSE and Raised By Wolves which were really great. And now you’re at The Bay. What was the return like after 3 years of being solo? When The Bay called me, COVID was pretty nuts and things were drying up a bit for my solo work. I had a couple options of what I wanted to do next but I thought The Bay could be a good fit to try out. Now that I’m there, I see a lot of value in what I’m doing there. Although it’s not as wild and crazy, it’s a place that really values new ideas and new perspectives which is needed because it’s been around for so long. Luckily, when I came in, I got the keys to concept out the spring 21 season and made it super fun and different and it’s been great since. They’ve also let me take breaks when I need, which is something most companies wouldn’t be ok with. I really value that with The Bay and we have a really good working relationship. Albert Nguyen on Thinking Out Loud by La Rue Inspire That’s awesome to hear! It’s definitely not always easy for creatives to find that balance in the corporate world so we’re stoked to hear that you have it. Let’s talk about the burnout a bit more because we think it’s super important for people to speak about. Can you tell us what that was like, how you identified it and what helped you through it? Yes! I really like talking about it because you’re right, people definitely don’t speak about it enough. There’s a lot of stigma around this, especially for Asian men too, but it’s super important for everyone to be aware of. Men don’t talk about mental health much and it’s not discussed in Asian communities. I’m glad that the conversation around mental health has really stepped up lately and it makes it easier for people to talk about it. Recognizing burnout So firstly, I felt tired all the time. Like I said before, we think it’s normal to keep pushing until you break but it’s not. I wasn’t focused and my work wasn’t as strong. If you notice this happening for a long time, definitely take a step back and look at your situation. Treating burnout So these are some things that worked for me but it might be different for others. The big takeaway for all of them though is that it’s important to be consistent with them. You can’t just do these things a few times and then it’s over. Consistency is key and even though I’m in a better place now, I still do these all of the time. Therapy : What helped me a lot was therapy. During that time, I started meditating every morning. It doesn’t have to be a really long time. Even 10-20 minutes is great. The future is uncertain and the past is the past, but meditating to focus on the present which is, in that moment, good, can really help start your day off the right way. Now I’m doing it a few times a week and still love it. Improving your diet: Eating bad will make you feel bad and if you’re overworking yourself on the wrong diet, it’s going to be really tough. Mushrooms: I’ve started incorporating micro doses of mushrooms into my day to day a bit. There is an incredible movie called Fantastic Fungi which explains everything around how mushrooms have helped humanity for millions of years. That’s really good advice and we’ll definitely need to check out Fantastic Fungi! Switching gears a bit now. You have this great role as Art Director for Hudson’s Bay which takes up a bunch of time. What are you working on for your freelance now? The Bay takes up a ton of my time now so I really only do t-shirt designs these days as a freelancer. I did some stuff for Raised By Wolves who are good friends for their FW 21 line and have been working on a bunch of charity tees lately. There is one coming for Skateistan which is this awesome organization that provides education and leadership training, along with skateboarding, to children in underprivileged communities around the world. The tee I’ll be dropping is for Skatistan - Cambodia which I’m super pumped about and there’s also another tee I dropped with Lopez MTL to raise funds for Club Sexu, a non-profit group that aims to make discussions around sexuality more fun and inclusive. That one is sold out on Lopez but we’re going to do another drop for it soon! That’s really awesome! What kicked off these charity tees that you’ve been working on? During covid when all the stuff was happening against Black and Asian communities, everyone was sharing posts and talking but I felt like it wasn’t helping much and was thinking like, “ok, so what’s next?” I was thinking about how I could actually take action and use my skills to do some good. In the example of Skateistan, that’s a culture that has always been so close to me since I was younger so being able to create t-shirts that can connect people with that culture and help those in need is so awesome to me. Love that you’ve found an avenue to use your skills to make a difference. Amongst your full time role as Art Director for Hudson’s Bay and all your freelance work, and thinking about your mental health, how do you keep organized and on top of everything? Set priorities. For me, it’s The Bay. So once I plan that out, I assess my time and be really critical about when I can take on other projects and then go down the priority list. Know your limits. We live in this culture where we see all these people saying “hustle hustle hustle”. We look down on “laziness” which is a word I hate because it makes people just work all the time. People value being busy too much and then become way too busy. Know your limits and what you want to do and stick within that. You’ve spoken about facing discrimination as an Asian man throughout your career. What was that like, especially when you were younger, and how did you get through that? I grew up in Montreal and I speak french but even being in that community, it’s not very accepting of Asian creatives. I realized a while back that none of my clients here are french. Clients in other cities and countries seem more stoked to speak to me. I’m not sure why that is but it feels different here. Quebec has a very particular style and is in their own thing. Maybe it’s the French thing, maybe not, but that was tough for me coming up. To be revered in this world as an Asian, you have to be this exceptional version of an Asian man. The ones who have a lot of clout are insanely amazing but you never hear about the good Asian creatives. Same thing if you’re Black or Middle Eastern or Indian or Arab. It sucks but I just kept pushing and knew that I could get to a place to make a difference. I’m luckily in a position today where I can start opening doors for other Asians and all the homies. This season for The Bay I cast all Asians. These people are already really good but just not tapped into enough. It’s amazing to be able to give people a chance with what I’m doing. That’s probably the best part of my job. It took me some time to get to where I am but I’m glad I had the path that I did because it’s forced me to get out of my comfort zone and I’ve built so much character through my work with others. Hudson's Bay Summer 21 Campaign Let’s show Asians some love! Who are 5 Asians doing incredible things that you admire? Tam Vu (artist): He’s doing great things for the vietnamese community Lian Benoit (photographer) She just left an agency to go solo. I just wrapped a job with her and she’s awesome. Yang Shi - She’s a model but also turned photographer with her partner. JG & Shi is their collective. Celia Spenard-Ko (art director): She’s like a sister to me. She lives in Paris and is the Art Director for Goodee which is an e-commerce platform for ethically minded consumers. Christian Chico : A homie in NY that always kills it at whatever he does. Some great names in there and others that we’ll need to check out! Given your many years of experience, what tips would you give to new artists or creatives looking to make a name for themselves in the space? The first thing I’d say is do your research and put in the hours. My work is a little crazy and non-traditional sometimes but I had to learn all the rules before I could start breaking them. A lot of young designers start with “I want to make all the wild stuff” and it can turn out poorly. Study up and pay attention to what’s out there. With that being said, to stand out, your work has to be a little bit jarring. It has to make someone feel like “woah, what’s happening here?”. Once you learn to be thoughtful in your design, you can break the rules and that will help you find your voice. Albert Nguyen for SSENSE x 88Rising Any tips on developing a unique point of view when crafting your voice as an artist? Inspiration comes from everywhere. Put down the phone and get outside and experience things around you. If you only get inspiration from what you see online, that’s what your stuff is going to look like. Get outside and get out of your comfort zone with stuff? Try new things. Don’t stay stagnant. Never stop experimenting. As expected, these are great tips. It seems obvious when you say it but it’s definitely easy to forget these things. Lastly, what’s coming up that you're excited about, whether in work or in life? I’m really excited about this charity work that’s coming out. The designs are awesome and the money is going to a great cause. I always get excited to see my nieces and nephews too. Something about kids sparks a lot of stuff for me. I’m also talking about moving to Ottawa. I need a change in scenery and somewhere quiet to create. I don’t need the big city anymore and I have tons of people in my network in Ottawa that are helping me find a spot. I’ll get out there soon I think! Make sure to follow Albert on Instagram for updates on his work and t-shirt releases and don’t forget to keep it locked to Pier Five for more interviews and stories with the coolest entrepreneurs, designers, artists, activists and more.

Behind The Curtain With Nicko Bruno Everyone’s got something to say but far fewer can actually back it up. This feeling is one that Nicko Bruno, founder of Adidem Asterisks, a Toronto based upscale brand that aims to connect music and fashion through elevated products and events, thinks about constantly. As someone who grew up addicted to fashion and its surrounding cultures, Nicko was quick to develop tastes and opinions but understood the importance of educating himself of what goes on behind the scenes to ensure that he could both develop a stronger appreciation for the works of others and also be able to speak his mind without being hypocritical. We got the chance to catch up with Nicko after the first of AA’s many pop-ups lined up for the season and talk about how he developed his always-curious mentality, how that helps him foster a strong team, what goes on behind the scenes at Adidem Asterisks and what they have in the works for 2022. Hey Nicko! Things are booming for you right now with all of the events and upcoming drops. How are you feeling? Oh man [laughs]. I’m not chilling as much as I thought I’d be able to. Things are really busy right now but it’s great. With each event, there’s always prep and post work we need to do and then it’s on to the next thing. I was doing a ton of follow ups and thanking sponsors and everything this morning and then I’m heading to a design meeting afterwards. Love to hear that there’s so much happening. What are the design meetings looking like right now? So before each meeting we decide what type of item we want to make and we all pull references so that we can go into the meeting ready to brainstorm. Miguel who runs our design team then helps coordinate the conversations and design planning. We’ll get into technical drawing and thinking about patterns, cuts, etc. What’s dope is that everyone is on Adobe illustrator sharing designs and stuff right there and we’re all going back and forth with ideas. The goal is for everyone to make five unique designs and then we all bring them together and vote. Adidem Asterisks F/W '22 Preview How do you choose which products to work on? We have a set of questions that we always ask ourselves before diving into any product like what purpose does the product serve and is it consumer facing or a brand building product? For example, a basic vest might be consumer facing and a more wild experimental piece is meant to build the brand up since it might be more memorable. We’ll also go deeper into things like “what song does the product sound like?” and thinking about the kind of vibe that the product evokes. Speaking of vibes, this is one thing that AA is not short on within its products. In addition to music which we know is a big inspiration, where do the design inspirations and ethos for the brand come from? I came into all of this as a consumer first. I’ve spent my whole life really putting a lot of thought into my outfits and understanding what looks nice. Hip-hop, basketball and street and pop culture all obviously play a big part in my inspirations but it’s really always evolving as I grow. The designs will change over time based on what we’re feeling and learning about but no matter what, the main focus is always to create great products that add value to our customers and the brand. Blog: Adidem Asterisks We heard that you have a pretty wild story about starting the brand. Can you share how that all started with your partner, X? Before I got started with X I was always super into this stuff. I remember doing an exchange program outside of Paris for school and that’s what really showed me how many opportunities and possibilities there were in this industry if you go and find them. I ended up failing out of my program because I skipped so much class to go into Paris to go to events. I remember when my mom called me and said I was going to get kicked out if I skipped more class and I literally booked a ticket right in front of her. It was my birthday and Paris fashion week. I didn’t care about school then at all I had to go [laughs] to the shows. I was doing anything I could to be a part of things, learn and build relationships. I was super driven and still am. After that, X, who I’ve been friends with forever, designed some tees for a project of his. I was going to China and he asked me to take the shirts out there and shoot them. I didn’t know anyone out there but was on a mission to get it done. I found two people at a nightclub, got them to shoot with me and it turned out pretty well. The experience was dope and I told X like “yo, let’s do this for real.” After these experiences, I knew this is what I needed to be doing and that drive hasn’t stopped. And besides shooting, you’ve learned how to do everything now like pattern making and tech packs for the brand, right? One hundred percent. I’m a firm believer that you can’t have strong opinions on stuff if you don’t know how to do it yourself. Sure, I can think things are nice or not but I can’t talk s**t or criticize if I don’t know what goes into it and haven’t done it myself. If I want to make a brand that is better than all of the others, I can’t just have ideas. I need to know how to execute. Even if I’m not making the tech packs all the time or if I’m bringing in a team to help, knowing how to do it, pump out designs and speak that language goes a long way with everyone. It allows us to do so much better work. So true! How big is the team now? It’s pretty big now which is crazy. A lot of these people were some of my oldest friends and they are all so hopeful. Without them, I wouldn’t be able to do any of this. These people keep me motivated and help me get stuff done. When there are times I’m not feeling into things, these guys bring me back up. We have also recently brought on some interns too which is a dope opportunity because it allows us to create opportunities for these super creative young people. It also helps me learn a ton about running a team which I am really appreciative of. That’s awesome. Not a lot of brands at your level are bringing in interns or opening that door for young creatives. What do you look for when hiring an intern? The biggest thing is I want them to show interest in us and take initiative. If they work hard and show that they want it, we’re going to give them every opportunity that we can. I also want to find people who know things that I don’t. Overtime, I’ll hopefully learn it because I want to know everything if I’m leading the team but that doesn’t mean I can do this alone. I heard a quote once that was “A CEO should know how to do everyone’s job, even the janitor” and I think that really resonated with me. That’s a great line. Before we let you go, what is on the roadmap for the brand and at the top of the list for things you want to accomplish? Right now nobody is getting paid and all of the money is going back into the brand so my number one goal is to pay everyone soon. Even if it’s just a little, everyone deserves it and I want to make that happen soon. I also want to hit one million in sales in 2022. I think we can do it. From a creative standpoint, I want to give the whole brand a facelift. Summer ‘22 is going to be nuts. It’s the first time we have the full team designing the collection and the storytelling is really strong so I’m pumped for that. Our brand next year is going to be insane and we’re going to keep pushing it because we’re all obsessed with new stuff. I almost get tired of things by the time they’re out but I know this new season coming up is going to be wild and will be the setting off point for the brand. Stay tuned for that! If you’re in Toronto, make sure to check out the Adidem Asterisks pop-up at Nomad until December 16th and follow the AA Instagram for more news on upcoming releases. Keep it locked to Pier Five for more interviews and stories with the coolest entrepreneurs, designers, artists, activists and more.

A Day In Montreal With LeBicar Earlier this summer, Pier Five had the pleasure of meeting up with Montreal based artist David Bicari, aka LeBicar, for a jam packed day of art, music, food and great conversations. After a wonderful visit to David’s studio in the Mile End neighbourhood and a skate sesh out back, David was kind enough to show us his lay of the land and what started as a plan for a quick meet up turned into a full day experiencing some of the best spots and events in the city. From salmon tartare avocado toast to one of Montreal’s coolest new galleries, multiple Aperol Spritz stops and VIP at the Mural Festival BBQ and concert, there was no shortage of good times and we can’t thank David enough for his hospitality. A little bit about LeBicar… David has been at the forefront of the Montreal art scene for quite some time. With a unique style, David’s black and white continuous line drawings can be seen all over the city, from gallery displays to storefront walls, murals, home goods and on the bottom of skate decks being ridden down the streets. David is a big advocate for getting out of your comfort zone and trying new things and while his style is consistent and recognizable, he isn’t afraid to take on new challenges and this has led to a flourishing career and many incredible relationships along the way. Hey David! It’s great to be in your studio. Tell us about the space. Great to have you guys. I just recently moved into this space and am loving it. I share it with some awesome creatives and brands which helps us all create better work. There’s a ton of space in here too to work on all of my different mediums; canvas, decks, paper, etc. I like doing different mediums every day to keep things interesting and keep me out of my comfort zone. So much great art here and it’s really cool to see the behind the scenes space. You’ve talked about being inspired by contrast and duality, which can be seen through the stark black & white palette of your work. Can you talk about this inspiration a little bit more? I like to think about the spectrum of people in the world and how stark the differences in lifestyles can be. The black and white in my work is my representation of both ends of that spectrum. The contrast, while simple, is very meaningful to me. This idea of black and white also stems from my early days as an artist in which I started with simple pen on paper drawings. It’s all like a bit of a dance on the paper for me. A lot of artists with simplistic styles sometimes get criticized for a “lack of creativity” (which we do not agree with). How would you respond to this statement? There’s something beautiful about mastering simple design. Just because it’s simple, doesn’t mean it’s easy or bad. You wouldn’t tell Jack Johnson to play heavy metal. When he is only playing a ukulele and singing his songs are still incredible [laughs]. I am a big fan of the “less is more” ideology and I know not everyone likes that but it doesn’t mean that less equals less creative. Great answer! Do you ever miss colours? I feel like I have something to say with black and whit but my door isn’t closed to colours. I’ll often save the colours for my client work when I have to work with their brand colours. Ultimately for me though, storytelling is the most important thing. If the story needs colours, I’ll use it. My series “Imparfaitement Special” (Imperfectly Special in English) was inspired by fruit at the grocery store that was marked on sale for its imperfections using an orange sticker. I still saw the beauty in the fruit and the imperfections and brought that into my work so there was colour there. Again, it always just has to be about the story. Speaking of clients, you’ve also done a number of collaborations, from shoes and apparel to skateboards and drink brands. How do you choose which brands to work with and which to say no to? I’ve been lucky enough to reach a place recently where the phone has been ringing which is a great thing. I love collaborating as I feel it makes me a better artist and most brands that reach out to me have done their research and know me so luckily I don’t have to say no to many people. If I don’t feel that there is a natural connection I might say no, or I’ll work to educate them about my work to try and make something work out. I also have gotten hit up in the past for free jobs or ones that pay in “visibility” which I don’t like. Exposure or visibility is nice but I can’t pay my rent with visibility. I’ve worked hard to understand my value and I know I can bring exposure to other people as well. I don’t need to be making tons but mutual value creation is important. That’s a great mentality to have. What would you say to a new artist that is looking to determine their “value” or what they should maybe be charging for work? One thing to remember is that value doesn’t always equal money. That doesn’t mean work for free but there are other ways to gain value for sharing your work. It could be trading time, services, ideas, etc. I can’t really say how much time or what services you should get in return. That’s up to you but just remember money isn’t everything. That being said, I do think it’s important to charge when you can, even if only a little, to build your negotiating skills. Lastly, above all else, I always say that the first person you need to sell your work to is yourself. Be confident in your work and that will take you everywhere. All great points but that last tip is definitely key! Let’s talk about skateboarding! How long have you been skating for and how does it influence your day to day style? Skateboarding is a huge part of my life. It is responsible for opening my eyes to so many different things within music and art. I used to always go into skate shops and just admire the skate decks on the wall. I was so enamoured by the art aspect without even knowing it. Now when I’m creating work, a lot of the stories are inspired by the skate scene. The best part about skateboarding though to me is that it allows me to connect with more people. I have my crew of guys that I go skate with at night and when I’m out there, my mind is completely cleared of stress and I just focus on the skating. It’s like a form of meditation and the people that I’m with create such a positive vibe. It’s also taught me to persevere. Some of these tricks take months to learn but you keep trying until you get it. Art is that way too. What’s a trick you’ve been working on for a while? I was just out in Vancouver with some friends and had a small line of a nose slide and then into a backside 50/50. Nothing crazy but felt good. Besides skate culture, flowers or floral elements often seem to make their way into your creations. Why the flower and do you think it is important for artists to have a symbol or shape that is a recurring theme in their art? I think whether it’s a symbol, shape, colour palette or line style, having something consistent throughout your work is important for recognizability. It allows you to take the people that love your work with you as you grow and progress through your journey. That doesn’t necessarily mean never changing, but having something, even if it’s small, be consistent will do a lot for your long term growth. That makes a lot of sense. Lastly, what are 5 tips you’d give to aspiring artists looking to “make it” as an artist? Don’t keep ideas in your head. Put things on paper so to speak and don’t overthink it. Even if it’s not perfect, that’s ok. Don’t be afraid to share your work with others and collect feedback. It’s ok to feel vulnerable but if you open your work up to people, for the most part they will be excited and try to understand what you’re doing. It’s ok if others have their own interpretation of your work at first but have conversations with them and fill them in on your vision. Let them know the story of your pieces instead of just putting out a design and letting it sit. Think about what you want to accomplish with your art. Do you want to just make your own art? Do you want to design for others? Having this understanding will guide you in the right direction. Have fun. Art doesn’t always have to be that serious, even if it’s your full time job. Just enjoy it and your best work will come out. Make sure to follow LeBicar on Instagram to get updates on all of his new work and releases and don’t forget to keep it locked to Pier Five for more interviews and stories with the coolest entrepreneurs, designers, artists, activists and more.

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Building Your Own Spaces With Monday Girl The job market is a complex one to navigate but if one thing is certain, it's that results won't come without effort. For Rachel Wong & Istiana Bestari, when the market wasn't giving them what they needed to find their next big opportunity, they took matters into their own hands and developed the tools they needed to succeed. Quickly identified as a solution for a major gap in the market, Rachel & Istiana launched Monday Girl, a networking, events and digital platform to help women navigate the workforce and it's been a major success ever since. Now taking their 6-year side hustle full time, we got the chance to speak to the co-founders about their journey and expert tips, from networking to brand partnerships. Read below! Today, Monday Girl has become such an empowering place for women in the workforce. What was the motivation for starting the platform? Istiana: We built the platform that we wished we had, to solve a problem that we were struggling with. When we first met, we were both fresh to Toronto. We didn't know anyone and were trying to get our foot in the door. Rachel: All these rooms that I would walk into, I just felt, wow, I'm very much like the "only", whether it's the only woman, person of colour, or both. I was not getting any shortage of advice but it was a lot of advice that wasn't applicable for myself as a young woman of colour entering the workplace for the very first time. Istiana: For me, I remember attending so many networking events and just very quickly realizing how most networking events were not designed with women in mind. Typically, they were so exhausting. They were awkward. Also, I struggled with connecting with people on LinkedIn and I remember ranting to Rachel when we first met and she felt the same way. Rachel: In that same chat, we came up with the name of Monday Girl. We came up with the next action plans, and then we split up responsibilities. We were at it. You two seem like great business partners. How have you nurtured and grown your own relationship with each other over the years? Istiana: We really are each other's biggest cheerleaders. I don't think either of us could do this by ourselves and every day we're constantly hyping each other up. I think that's really important with having a co-founder is being each other's support systems celebrating our wins together. Rachel: I remember so many times where, for example, Istiana crushes it on a call or nails a presentation and I'm always just so proud of her and it goes both ways when I do things well. We really just hear each other out and hype each other up and that's helped us be such strong business partners. At least on the outside looking in, you seem very busy. Now that you're both in this full time, how do you keep it exciting and fun and not just feeling like a job? Rachel: Every so often, we get this really amazing message from one of our members about something that Monday Girl helped them with, whether that's overcoming a really tricky job situation where they had to deal with micro-aggressions at work or hearing that they used our resources to get a job or a mentor to get a referral. All these things keeps us going. Istiana: Another thing that's really important for us in keeping this excitement and momentum is that what we decide to do is always stuff that we're excited about. We're always planning things that we would love to attend, that we want to go to ourselves, all projects that we're excited about. It definitely is very hard work but it makes it a lot easier when we're building something that we're excited about. Y ou’ve done a really good job working with some major global brands and organizations on events and content for your community. How do you approach getting partnerships like that? Rachel: The first thing I'd say is don't be afraid to get ghosted and constantly reach out. After a certain point, people will get back to you and you just have to be okay with being persistent. Cold emails still work. The second piece is show that you put some level of thought - and it doesn't have to be super comprehensive or a full proposal - into your outreach and articulate how it can help the partner achieve their KPIs. If there's a specific collection or campaign that they're putting out, and you think there's a really strong synergy, talk to that in that very first sentence. People don't have the attention span to read through a long email, so just make that your only point if you have a point. The the third piece of advice is just to keep maintaining and building and give back where you can. Even if it's not always a paid thing, support the brands when you can. I think brands really remember that and that's when they want to work long term with. That's great advice! Lastly, what's a key networking tip you have for anyone that is looking for a new job? Istiana: A lot of people think, when they're starting out, "how can I connect with the CEO of my dream company?" and you're always looking for the most senior person in the room. Later, you'll realize that the most valuable people to network with are your peers. Start with the network that you already have. Tap into the people that you already know because there's a lot of connections there, whether it's your alumni, like clubs, sports teams. Rachel: Those are the people that as you grow, they grow with you and they're going to be able and have much more bandwidth than a CEO to actually help you and connect you with those openings or those roles when they do come up. I'd also say, don't be afraid to do this in an industry agnostic way too. Sometimes we think, "I'm in fashion and I'm only going to network to people in fashion". The reality is they're probably not going to tell you something opens up because they're going to want to go for it. However, if you're networking with people in different industries, there's a little bit more of a gap, so finding open spaces like that can be helpful. Make sure to check out Monday Girl for news about their events and mentor opportunities and keep it locked to Pier Five for more conversations with small business founders.

A Conversation With Estudio Niksen Montreal-based fashion studio Estudio Niksen has been making a huge splash lately as curators and importers of some of the best international (mostly Korean & Japanese) fashion out there. Recent success has meant things are moving very quickly and as that continues, founders Andres and Gaby are mindful of moving at a pace that’s right for them and taking time to breathe. In comes Niksen, the “art of doing nothing”, a practice that the two have put at the forefront of their business to avoid burnout and ensure that they are creating a hub that fosters creativity while prioritizing wellness and inclusion. We got the chance to speak with Andres & Gaby about balancing passion and business, being a fashion label without an overt home-base, building international partnerships, how to do “baggy” the right way and of course, the art of doing nothing from their lens. You’ve spoken about the importance of finding a balance between making for yourself and making for them. How do you do this and have you found it difficult to accomplish as you grow? It’s definitely not easy. As you grow the business, it’s hard not to be swayed by the audience feedback and start thinking about what gets the most likes or engagement. A lot of people fall into the trap of creating for likes and not for yourself. We try to be very disciplined about this and try to make a habit of critically thinking about the moves we make. This is not to say that we just disregard how our audience might react to what we do but we just want to make sure that when we look at what the business has become in 5 years we aren’t too far about why we started this whole thing. How do you think about this balance from a financial perspective? Obviously we love everything we put out but we know there are products that will sustain the business and that customers will always come back for, while others that we get a little crazier with might not always sell the most but are fun for us. We obviously have to think about money but we try not to let it impact our decisions too much. Although Estudio Niksen is fairly new, you’ve both been in the design and art scene for quite a while. What made you want to go out and start your own project? Andres: I’ve always been really into Asian design and have spent a long time learning how to source pieces from countries like Korea or Japan. My friends used to start asking me to help them find pieces because they didn’t know how to find good designers out there and there was really nowhere here that you could find good and somewhat affordable stuff like that. Having been in fashion for a while I had often thought about starting my own project, mostly thinking about launching a brand, but I decided instead that my project would be curating these great pieces from around the world and bringing them to North America. I love putting people on stuff that I think is cool so this was the perfect opportunity to do this at a bigger scale. Having Gaby with me has been huge for Estudio Niksen as well. Her background is in art history and museology and she handles all the design and art direction in the homewares part of the business which is super important for the brand. What are the best and worst things about running a fashion business out of Montreal? The best thing is that it’s small so word spreads a bit more easily and everyone is super tight. I guess that can also be a bad thing though sometimes since you can get boxed into a small scene. Since we’re importing and selling domestically and internationally though, we don’t really get labeled as a “Montreal brand” but people do think it’s cool when they learn that we’re based here. We’ll sell to people in Los Angeles and they have no clue that they’re shopping on a Canadian site until they get tracking from Montreal [laughs]. It’s interesting what you say about not necessarily needing to stake your claim as a “Montreal Brand” and we can see this in how diverse all of the work you put out is. Absolutely! We have roots from all over, like I’m from Venezuela and live in Montreal and love Korean fashion. We’ve kind of found our land in this no-man's-land. Gaby is the same way. We’ll try to mix things up as much as possible with different models, different languages and different styles. Estudio Niksen is meant to be a hub for people with shared passions and diverse cultures so it doesn’t really matter where we’re based. Especially with social media and the internet, we can share things with people all over the world, no matter who they are or where they’re from. Can you talk about the process of connecting with small/independent designers around the world to bring in products for Estudio Niksen? For sure. It’s a pretty crazy experience. We’ve probably spoken to over 250 small creators around the world and bought from maybe 40 of them. We’ve learned how to communicate with them and get deals done which took some time. Really a lot of it just boils down to money overseas. If you can pay for an order, that’s what will open doors but then once we’re in, we really try to build and foster relationships with the designers. The brand's name Niksen comes from the “art of doing nothing”. Why was that important to you and the project? Andres: I’ve been an extrovert my entire life. My dad used to always tell me that I had to learn more about being with myself. I do like doing a lot but I’ve also learned to enjoy having my own time and space. A few years ago I discovered the idea of Niksen “doing nothing” and I’ve been following it ever since. I think it’s super relevant along the lines of mental health and entrepreneurship, saying that it’s ok to take time to reset and that you don’t always have to be going at full speed 24/7. Niksen flows into the products we curate as well. The clothes are comfortable and approachable and we lean on the living space designs as well to create comfort in our daily spaces. Can you give us a 5 step guide to “doing nothing”? There isn’t really a guide or one way to “do” Niksen. It’s a mindset that you practice and design for yourself over a long time. That being said, I can share some tips that might help someone looking to start. The first thing is curating an environment that you feel comfortable in alone and without distractions. That space could be your home, the park, the movies or wherever but make sure it’s someone you always feel good in and can relax in. Once you’re in your space, put your phone down, get away from the distractions and just do nothing. I know it sounds weird and it might be strange to do at first but you just need to do nothing without purpose. Niksen isn’t something you achieve. Once you find what works for you, keep at it. Practice makes perfect and overtime it will feel more comfortable and become more effective. We will definitely be trying this! Next question; can pants be too baggy? Haha, that is a great question. We definitely have some big pants on the site which we love but yes, pants can be too baggy. If you’re going to wear baggy, be intentional with it. Understand the environment that these baggy styles come from. Think about what shoes and what tops look good with baggy pants so you can get the outfit right. Overall, we’re super excited that baggy is becoming more accepted. There has always been a stigma around baggy pants, associating it with sloppiness and people always thought tighter was better. We’re glad to see more people wearing baggier clothes. It’s more comfortable and, if done right, can look really cool. So true! Lastly, what are you guys excited about next for Estudio Niksen? With covid restrictions loosening up, we’re very excited to get people together and start doing more events. We often think about how we would be able to connect with people and run the brand if Instagram or the internet didn’t exist. It’d be in person, face to face interactions. That’s what we want more of. We also have some exciting new collaborations coming up with Canadian talent before the end of the year. The first one of the batch just dropped with Wayhome which was some really cool hand sewn patchwork pieces. More stuff at that caliber is coming soon. Oh, and more wide pants [laughs]! For updates on new releases and events coming from Estudio Niksen, follow their Instagram and keep it locked to Pier Five for more interviews and stories with the coolest entrepreneurs, designers, artists, activists and more.

Ball Talk With Albert Nguyen of Double Dribble After decades of creative work for many of Canada's coolest brands and designers, it's inevitable that the urge to one day do your own thing will eventually kick in. But how do you do it right and when is the right time? For Montreal based designer and artist Albert Nguyen who has worked on clients like Raised By Wolves, Nike, SSENSE, 88Rising, The Bay and many others, that urge set in via his love for street culture and basketball and you know we had to jump in for the story! Albert is no stranger to Pier Five - check out his first interview here - and it was great to catch up with him to learn about his new brand and first full independent venture, Double Dribble. Check out the conversation below. Photo Credits: Photo + Direction: @jgandshi ( @time_of_the_sun x @commedesbatards ) Hair and Makeup: @axelkamali @belovedbiaziza Models: @goldeneisha @ismabrass_n54 Hey Albert - great to have you back! You've worked on so many cool projects in the past. What drove you to start your own as Double Dribble? For a long time I just really loved being the ideas guy and the designer for clients that I really respected and admired. A lot of creatives that I know will work freelance and their own thing at the same time but to be honest, having my own thing never really occurred to me or didn't make sense. I love clothing and design but I never wanted my own namesake label. Double Dribble was first conceived through a t-shirt I worked on for The Letterbet for the 2019/2020 NBA Season but never really built out after that. This year I just started thinking about doing my own thing more and I liked the vibe of that t-shirt and how it didn't take itself too seriously. For me to start something on my own, it couldn't be too serious, in a way, or I wouldn't enjoy it. So, what exactly is Double Dribble now? A clothing brand? Something more? It's definitely a clothing brand first but I do want to do more with it soon. The clothing is just an entry point but I really want Double Dribble to become this basketball led community initiative with pickup runs in Montreal - and maybe other cities afterwards - as well as fundraisers, programming for women and children through basketball and I'm also working on a book! Very cool! How do you feel the basketball scene in Montreal is right now? There's definitely room to improve! I see a much bigger basketball scene in Toronto or Vancouver. Soccer is like what basketball is in those cities here in Montreal but a lot of people out here play. Not a lot of parks have basketball hoops here so that's one barrier. Canada is becoming such a big basketball country now so I want Montreal to be a part of that. So starting with clothing, what is the design inspiration behind the products? Although I don't personally skateboard, I'm really inspired by skateboard culture and how it has become so engrained into pop culture so, naturally, that had an influence on this. I wanted this to feel like a skate brand for basketball and keep things fun and lighthearted. Most of the graphics are inspired by old sport logos from the 90's and early 2000's. I kept it rather simple for the initial launch and I plan on bringing in more graphics and different pieces down the line. I don't want to be that brand that only makes a few of their pieces and nobody can get it. I want everyone to purchase Double dribble and be excited to rock it. How often do you plan on releasing new products? So instead of regular drops or following a fashion calendar, I'm going to follow the basketball calendar. I launched when the NBA season started, I'll have a drop for All-Star Weekend in February, a drop for playoffs, the finals, etc. I think it's a fun and unique way to do things and really keeps the focus on basketball. My biggest thing for releases though is I want the brand to be accessible. I don't want to be a cool guy brand. I don't want to be that brand that only makes a few of their pieces and nobody can get it. I want everyone to purchase Double dribble and be excited to rock it. Are you still playing basketball these days? I'm not - and it kills me. I had a bad injury not too long ago that stopped me from playing which is so hard for me. Basketball was everything for me from the moment I can remember. I played so much, it was engrained in my fashion choices, it led to the people I became best friends with and it inspired so much of my work. Now I hope to at least be able to use Double Dribble to create an avenue for others to play and meet through the sport. That's too bad! You make a good point about basketball being such a strong channel to bring people together. That's so true! Absolutely! Sports in general are so great for that. Basketball especially from all industries. It connected fashion to sports through Jordan and Nike, it connected with skateboarding, it connected with music. It's also influencing how I build my team and work with people. I treat it like putting together a starting five. I think about what I'm good at and where I'm lacking and then bring in my guards, my shooters, my centers etc who can help me create something killer and operate like a well oiled machine. That's a great analogy. We're excited to see what you and your "team" accomplish soon! What would you say is the long term goal for Double Dribble? I just want it to bring more basketball into the community here and continue to build greater communities all over the world one day. That might be through clothing, charity work, books, or other stuff. I'm still early to this and figuring it out but I love basketball and would be happy to see Double Dribble share that love with more people I love. Follow Double Dribble on Instagram for updates on their new drops and some of the best basketball content and keep it locked to Pier Five for more conversations with creatives like Albert coming soon!

The May Roundup Welcome to Pier Five monthly round ups, a look back at some of the people, brands & things that caught our eye this month that we thought you should know about. Mentl Sesh x Staple We were pumped to see our friend Liz Beecroft join forces with Jeff Staple to come up with the “A Staple of Your Wellbeing” collection. The collection is intentional in helping provide actual tools & resources to improve our daily mental health practices and features a journal, pill box & stress reliever in addition to some apparel items. All profits will be donated to the Made of Millions Foundation, a non profit organization focused on changing how the world perceives mental health. The collection is currently still available here. Collegium “Customs & DIY” Collegium is an emerging sneaker brand based in California that has caused quite the storm with it’s clean retro-inspired silhouettes, well thought out colourways and premium Italian made construction. Their sneakers have recently been a staple for customizations, namely the “Vintage Sapphire Metallic Destroyers” created by well known customizer @Andu.c and the “Dip Dye” pack by @bahb.o worn by NBA star Russel Westbrook and Formula One driver Lewis Hamilton respectively. Also tune in to Collegium’s Instagram for news on an upcoming collaboration with sneaker YouTube star Richie Le. Styll 59/50 Caps If you’re into New Era fitted caps then you need to check out Styll. Bringing together unique colour combinations, patches and embroidery detailing, Styll is taking your boring old team caps to the next level. Our favourite right now is the Blue Jays - Toronto bias of course - “Cherry Blossom” cap that was recently released. Make sure to follow @styll.ca and keep an eye out for your team as their drops come and go very quickly. Bricks & Wood x New Balance This past week, Bricks & Wood paid homage to its roots of South Central Los Angeles with a special edition collaboration with New Balance on the NB57/40. Bringing together premium materials and a beautiful colour palette of green, brick red and light yellow, the pair was inspired by The Liquor Bank, a staple in the Crenshaw District of SCLA. Down to the packaging (each pair comes with an awesome paisley box), this pair is one for the books! The release was also supported by an awesome apparel and accessories collection dawning the same palette and paisley motif. The Forest Hill Collection by Studio S Sylvia Hoang, owner of home goods and apparel brand Studio S recently graced the world with her latest release featuring new concrete sneaker planters and a tasteful sweatsuit set that will keep your home and back looking fresh this summer. We recently had the chance to speak with Sylvia on her latest drop (read the interview here) and while most of the collection is now sold out, make sure to follow Studio S on Instagram as a restock is coming soon! Stay tuned to The Roundup series to discover the coolest new people, brands and releases each month and keep it locked to all of Pier Five for stories and interviews with our favourite designers, entrepreneurs, creators and more.

From The Streets To The Big Stage With Kizmet Change is inevitable but you can’t always wait around for it if you want to find success. For Toronto based graffiti and lighting artist Kizmet, taking matters into his own hands was key. While the general population was taking its time to decide whether or not graffiti art was for them, Kizmet was carving his path through the underground arts and music scene and making a name for himself. From the streets to the big stage, Kismet is a prime example of taking initiative and not being afraid to put in the hours and it shows, big time. Read through the interview with Kizmet below where we dive into his early beginning, what gave him the courage to pursue his passions, what he’s excited for in this ever changing world of art and much more. Hey Kizmet! For those not familiar, can you tell us a little about yourself? Hey I’m Kizmet, and who am I? That’s something I like to let people figure out themselves. Maybe this conversation will help [laughs]. And figure out we shall! What’d you get up to today? I was in my studio most of the day. There are a bunch of pieces I’m working on so that’s keeping me busy. You’ve talked a lot in the past about how your studio space in Toronto is really your comfort zone. What are the keys to a great studio/work space? When I used to do a lot of music, I always wanted a space where I could have all of my stuff and get everything done there. Now, with art, it’s the same way. Kind of like in the Shedders Lair in the first Teenage Mutant Ninja Turtles movie where all the kids are just chilling spray painting, blasting music being creative doing karate and there’s like some dude just offering kids cigarettes. Everyone is just doing their thing. That’s what I want minus the encouraging kids to smoke[laughs]. The key for me is that I could be there at any point, day or night, doing whatever I want and nobody gets mad. Like if I play a drum set at 4am in the morning nobody is going to call the cops. It’s like having a clubhouse. I can get work done or if I wanted I could watch a film on a projector screen or I could play drums or me and my studio mate can Jam or play video games on the big screen. Who inspired the faces that we see prominently across your artwork? I haven’t really shared this formally on many platforms so this will be a first actually. I often don’t talk about the context of my paintings personally. With street or graffiti art, the artist is often anonymous and so the viewer needs to create their own interpretations of the works. That’s what I want for my work. That being said I have always had meaning behind the works so here it is. I’m huge into Sci-Fi. So with the faces, I wanted to create a new reality that would change over time. First they wore glasses, then those came off and you saw there weren’t any eyes, and then the faces multiplied and the narrative kept on changing. And in the end it turns out these faces are a robot tricking you into falling in love with it. It’s all about coercion and one the original presented concept turning out to be one big lie and everything is a connected story. Damn! That’s wild. Did you know when you started the faces that it would turn into that huge story over multiple years? At the time I started doing these I was in this transitional phase with my art and so I started creating these faces and actually built this entire story and knew where I wanted to take it from the beginning. I knew I’d be able to get better over time as an artist which would allow me to develop the characters further and keep making them better so that when it came time to talk about it, it would all be ready. Did you also plan on using them for live events or was that part decided afterwards? Ya so the idea was to be able to bring them to shows/events and tour them around. I’ve always been really big into music and events so I wanted to be able to bring my work there. Also the impact of bringing work to music festivals and seeing people interact with it in person there is amazing. Its something you don't really get in a gallery or just with a mural on a wall. There’s also a ton of elements that you can play with too like with smoke and lights which is epic. How big is that for you? I’ve been doing light murals for a little while. It’s really crazy about how light interacts with colours. It’s not like normal colour mixing. You get these wild combinations of mixing light with paint and what colours will turn into what when certain light hits it and you can play with different elements and make these pieces really come to life. You can make it so stuff is hidden or morphing and people trip out watching it. Sometimes I make the transitions slow so you don’t even realize what’s happening in the moment until the image has completely changed colours. Going back to your roots now. What was the evolution of going from graffiti to this experiential art like? I kinda always knew that this was going to be what I make my living on. The whole tags and street bombing thing is really just advertizing to get your name out there, but I knew to make a living I would need to put more thought into conceptualizing. For me it wasn’t so much of changing the art style but it was me being more serious and that led to the transition which has been a good one. Was there a moment or turning point where you knew you’d be able to make this work out as your career? I got kicked out of high school for some graffiti shit and went to a new alternative school where there were tons of artists. The head of my new school, John Morton, told me “this is a democratic school. If you want to paint the school, cool. Make a proposal and maybe you'll even get paid for it. Just let us know how and when you want to do it and if everyone is ok with it, you can do it.” I was so shocked. I presented it to the school and everyone was hyped about it. Now I don’t even think there’s space left because the entire place is painted up. The school got covered. Once people found out it was cool to do, everyone went nuts. It started in the hallways, the stairwell, the lunchroom and then it just got everything. They even painted the outside of the school. It looked sweet. That introduction of a safe space where I could have an idea and it would be approached with an open mind was what showed me there might be a long term opportunity with this. That’s an insane story. Maybe hard to top but do you have a “greatest story of all time” from your tagging days? Honestly all the days of tagging were just insanity. If you were somewhat tapped into that culture back then you’ve probably had some crazy f**** up experiences. Like everyone is nuts. The lifestyle of being out super late, running from cops, tons of partying, is kinda crazy in itself. I would tell these stories to people that were not part of that culture and they’d all just think I was lying. The stuff is truly unbelievable. Are there any stark differences or changes that you’ve observed with graffiti art and culture over the years? The biggest thing now is street art is very accepted and also highly funded. Back in the day it was so criticized like once I was painting a garage for someone and the neighbour came out with a baseball bat and was threatening to beat me up because he thought I was tagging. Recently though I was doing a garage for someone else and the neighbour there came out and was like “what about my fence? I want a mural too.” I was shocked. I thought he was going to be pissed off but he was jealous. He literally said “I’m a taxpayer and I should have my fence painted too”. [laughs]. Why do you think things have changed so much like that? I think it was that the city really got behind it. They finally accepted that you can’t fight graffiti because you don’t know who it is and it will NEVER go away. It used to be that if someone tagged on your business, you had twenty four hours to get rid of it or you’d get fined, so as a result business owners just started commissioning murals to get around the rule. Then programs funding murals came around to deter people from just aimlessly tagging. It’s been a slow transition but a good one. I also just think some people need some sort of authority or what they consider a validated entity to say it’s ok and then they’re quick to accept things. Any tips/tricks that you’d give to young artists of stuff of the trade you wished you knew when you started out in graffiti? There’s this whole starving artist mentality that leads to artists getting taken advantage of by these big companies and corporations who don’t pay well and treat the artists poorly. I think it’s important for artists to know that it’s completely ok to walk away in the middle of the job if you’re not getting the respect or being treated properly. Protect yourself and your representation. Don’t let money control everything you do. I know some artists take jobs and feel like shit after because it was a terrible experience but they wanted to be able to say they worked for that company to feel validated. That’s just so not how art should be. No matter who you are - and I know it’s easier said than done - but stand up to these big corporations or anyone not treating you fairly. Until people do this, nothing will ever change. Once you do this and you start prioritizing yourself, you’ll actually open so many new doors. These great clients and jobs do exist. Be patient and protect your values and you’ll find them. Lastly, what keeps you inspired to continue creating and what are you looking forward to next? The DOCD (Department of Civilian Dance) parties we’ve been throwing, like the raves, have been challenging me to keep being creative and force me to always one up myself and that’s awesome. It’s a pressure that I put on myself but I know if I do so, I’ll keep creating and getting better to the point where I’m surprising myself. That’s the best feeling like “holy s**t, I made this?” [laughs]. I’m also really inspired by all these new faces that are doing great work and that I know are going to be huge. We’re close to a point where everyone can really thrive together as things change. It’s a really exciting time in Toronto right now. It feels like the renaissance of DIY culture and I’m super stoked for it. Check out Kizmet's Instagram to find out about upcoming events and see more amazing work coming from Kizmet and keep it locked to Pier Five for more interviews and stories with the coolest entrepreneurs, designers, artists, activists and more.

Never Too Comfortable With Louis-Martin Tremblay We hear all the time that growth is imminent once you step outside of your comfort zone. This is very much the case for Montreal based product designer Louis-Martin Tremblay. By never spending too long in a comfortable place and always exploring and experimenting, Louis has created an incredibly diverse journey for himself. His past involves television, the skateboard industry, global footwear brands, his own blog and flourishing design studio and now one of the best new trail running brands in North America, all solidifying himself as a force to be reckoned with in the footwear design space. We got the opportunity to sit down with Louis to discuss his beginnings, how he approaches the design process, his new role as Head of Design norda™, tips for aspiring designers and so much more. Read the full interview below to learn more about Louis’ incredible story and make sure to check out our Introduction to norda™ story afterwards for more on this groundbreaking brand. Hey Louis! So great to be chatting. To kick things off, for those who may not be as familiar, can you tell us a little about yourself? My name is Louis-Martin Tremblay Lawrence and I am a product designer working out of Montréal, Canada. I specialize in footwear design, but have also done menswear clothing, accessories and graphic design to a certain extent along my career. I am passionate about nature and like to spend as much time surrounded by it as I can. This curiosity toward mother nature has been a constant source of inspiration and elevation as it is inexhaustible. You’ve built quite a strong portfolio of work over the years. How did you get your start in product design? When I finished high school, I wanted to be an illustrator and loved travelling. I was really into rave culture in the UK and punk and skateboarding and was travelling to experience all of this. After a short time in the cartoon space doing kids shows, I got to work with Underworld Skateboard shop back in Montreal designing for their boards and then started doing accessories/clothing design for brands. I was always very driven by the creativity of it all and being able to experiment with new styles. After some time with Underworld, someone called me up to see if I wanted to try designing skate shoes. I did it as a private label job but wasn’t learning much and felt stagnant in my illustrating. While I was doing that I started a blog called KOMFORTZONE, posting about important trends I was seeing in the footwear space. About a year in, people were referencing the blog a lot and I started getting calls from some big companies to consult. This led to a job at Aldo on the women’s shoe side which I loved. This was like a “footwear university” for me. I was learning so much. I moved to the men's side about two years later which focused on mostly dress shoes and felt less creative so I began to think about my next move. Shortly after that I left Aldo and started my own design studio Atelier LMTL . After a couple big jobs with shops like Off the Hook in Montreal and brands like Aimé Leon Dore in New York, things started to really pick up for me and new clients started coming in quickly which was amazing. I loved working with brands on different footwear designs. It gave me everything I was looking for; products, fashion, related to culture, mixed material, etc. I also love working on shoes because you can get a good sense of what they’ll look like before trying them on which you can’t see with clothing. Footwear is more architectural in that sense. Photo: Atelier LMTL Such an interesting journey! Over the last year and a bit now you’ve taken on a role as Head of Design at norda™. How did that opportunity come about? Just before the pandemic, Nick (Co-Founder, norda™) reached out to me about a project. It wasn’t norda™ but more of a client sourcing job. We started working together more and on a trip to Italy for that work, Nick told me about his idea for norda™ and I was very excited about it. About a month after that conversation, right as the pandemic was picking up, Nick reached out and said he wanted to do it for real and I was in between client work with Atelier LMTL so the timing was good and so I said yes. It’s crazy to see how that early conversation has developed now. norda™ isn’t like any other sneaker brand. What was it like working on a hyper-technical trail running shoe and what was the hardest part of designing the norda™ 001? ​​Fortunately, I came into this project with some understanding from a consumer end and was thinking a lot about what was missing from stores. I have been running for years and as mentioned earlier, I am an outdoors person, therefore, familiar with a lot of the technologies used in the industry. This being said, nobody had achieved a seamless upper using Dyneema. Nick gathered a round table of specialists in order to figure out what was needed. With the experience of everyone it was just a matter of time and trial before something concrete would come out and the factory team played a crucial role in achieving this. My personal challenge was to balance the possibilities and the limitations while keeping the design DNA of the norda ™ 001. Always good to have a strong team to work with, especially when working with new designs and materials. From a start to finish approach, what are the steps of your design process like? I tend to keep the practice very flexible due to the reason that every client, brand or project, is unique. The design process starts with a conversation, or I should say with an open ear. Listening to their purpose, why do they exist or why do they want to exist. This leads to the research to understand the market, the scene, the culture we are talking to and what connects them to their product, the object. Afterwards, inspiring images and texts get collected to create a bank or reference. Obviously there is a period of drawing and sketching. If possible, right after I like to let go of it all for a while. This pause gives room for everything to settle down, leaving what’s needed floating atop. From there the products start to take life. Really interesting! You mentioned before the design DNA of norda™. Can you speak more on this? We were looking at how we could meet lifestyle footwear DNA with the sportswear side and achieve a good balance that doesn’t exist with a lot of the other big brands. Many big brands are heavily focused on the sportswear side with exaggerated technical details but I wanted to make something with a more vintage feel and be able to hide the tech within the lifestyle elements. We can definitely see this in the norda™ 001. Super technical but not too eccentric looking. What were some of the design inspirations for the shoe? I am often inspired by cars and was influenced by Porsche for norda™. The lines on a Porsche emit a sense of speed but it’s subtle. On the outside, everything is simple and clean but once you open the hood you see all of the tech. I wanted the norda™ 001 to be like this; able to perform but doesn’t have to look like it. In hand, the shoe is simple but once you’re wearing it, you can feel all of the technology in your step. For the outsole, which I think makes the shoe most of the time (Nike Air, Adidas Boost, etc), I wanted to bring in an organic relationship with the ground. I used the formation of the Canadian Shield, the largest and strongest pre-Cambrian rock formation on earth, to design the outsole and wrapped it up the heel which I think is a unique touch. Do you have a favourite feature on the norda™ 001? I don’t think there is one feature standing out for me. Like a painting you can appreciate the colours, the gesture or the composition, but it’s the whole that makes the experience complete. But having to choose, the outsole plate element of the Canadian Shield and its repetition on the collar as a 3M hit, I find, gives the 001 something very unique and organic. Agreed! Besides norda™, you’ve also designed on a number of very cool projects through Atelier LMTL, every one of them being quite different from the others but all, for the most part, being in the sneaker category. Are there any other categories you might like to explore with Atelier LMTL? Football cleats. I would definitely take on that challenge, especially from an outsole point of view. The cleats give a unique form and many possibilities to play with. This being said, I think menswear is on the top of the list. This category needs some attention and creativity to respond to what men need in a modern and functional way. We’d love to see what you come up with for all of it. Switching gears here a bit now. The footwear design space is one that many aspire to be a part of but it can definitely look intimidating from the outside. What tips would you give to someone who is looking to get into footwear design as a career? Get busy, stay curious. Take jobs with purpose, like learning from someone or understanding the basics of the industry. From there, move up, down, sideways, but when you become stagnant, move to keep learning and growing. Design is specific and in order to sharpen it you will need to understand all aspects of the industry like manufacturing, marketing, merchandising and many more. Understanding culture is also a key ingredient. Cultures come with a set of beliefs, unknown rules and a visual language. This last one cannot be underestimated. That is excellent advice and definitely even applicable to those not looking at the footwear space, especially in regards to the comfort zone advice. Definitely! Once you’re in different spots, you should always continue to ask questions and speak to people to learn and then the minute you feel you’ve learned something, move on. It’s also important to have checkpoints in the moment to help you understand what you’re trying to achieve, where you’re at and what the future may look like for you. Absolutely. Getting a bit more personal for the last question. What are your top 5 sneaker designs of all time, excluding norda™ and anything else you’ve worked on? Mmm, I don’t even own 5 sneakers right now [laughs]. I am with them all the time for work but I have never considered making a list or collecting them. This being said, court sneakers like the Tretorn Nylite have patterns I really like for their unique and curated look. I am also very into menswear classics like the original P204 from Padmore and Barnes. They have been some of my favourites since childhood. I also am wearing the Keen Uneek sandal a lot and will always love Clarks. I could name others, but it would be mostly on the aesthetic as I have been deceived often by either the fit, the comfort or the quality. A great list nonetheless! For more on norda™, check out our Introduction to norda™ story and make sure to follow norda™ and Atelier LMTL on Instagram for more exciting work and updates. Also, don’t forget to keep it locked to Pier Five for more interviews and stories with the coolest entrepreneurs, designers, artists, activists and more.

A Conversation With Addam Rodriguez of The Arrivals With the growing importance of digital in fashion commerce and customers spending so much more time online, a strategic digital identity isn't just a nice to have; it’s a necessity. We spoke with Addam Rodriguez, Digital Art Director of New York based outerwear studio The Arrivals, about his process and system for developing consistent visual concepts and a strong artistic language for the brand. @addamrod Hey Addam, awesome to be connected! For those who might not be familiar, tell us a little about yourself. Hey! I’m Addam and I am the Digital Art Director for the outerwear brand The Arrivals. Growing up in LA, I was always surrounded by photography. My uncle was a photographer and was always around taking pictures and had some super expensive cameras which I got really into. When I got a bit older I went to school for audio engineering but I always found myself out taking photos and realized I liked that way more. Out of school, I got a graphic design job at a brand in the arts district in LA but started doing photography for them as well and also worked in the warehouse. It was great to be a part of all aspects of that business because it allowed me to understand the go-to-market and storytelling aspects of the brand which made for better photography and visuals. My next job after that was for this ready to wear brand called Frankie. I worked with the lead designer and travelled with the brand between NY & LA, basically just taking photos of the whole process of the brand. After a few trips, I knew I wanted to come out and live in NY and get better at my photography out here. I met with The Arrivals and they offered me a graphic design role. I was nervous about taking another graphic designer position but I loved the brand and the overall culture. Once I got into the role though, I told them I could shoot too and over time it turned into more of a photography role and now the digital art direction role that I have today. That’s a wild journey but seems like it all worked out. What is your process for coming up with your visual concepts for The Arrivals? We’re a small team so everyone is involved in everything. Early on, I’m in conversations with the designers and production teams so I can get a really solid understanding of the product. Being in the warehouse at my first job definitely taught me to learn the product cycle well so that I could bring in all of those details into the final visual concepts. Internally we all talk about concepts and once we land on an idea, it’s up to me to figure out how we communicate that to our audience and I work alongside the creative director to bring it all to life. I spend a lot of time looking at data from past campaigns to see what’s working, what kind of things have our audience been responsive to in the past, stuff like that. Once we have product samples I’m then able to start working out the visual flow and moodboarding and we’ll A-B test a ton. I have to create content for everything like email, ads, social and web so there’s a lot of planning since we don’t (and you never should) use the same content for everything. To make things easier, I have built out a pretty robust system for how I shoot to develop consistency and a visual language that our customers will recognize and remember us for. Once I’m happy with the flow, I draft out the final shot list and then work out the planning for production. This whole process can take anywhere from a few weeks to a couple months but it’s always super fun to put together. That system you mentioned definitely shines through. The Arrivals content is some of the most coordinated in the game from campaign to campaign. Why is aligning product and content styling so important for you and the brand? That’s great to hear [laughs]. I have a huge appreciation for what goes into making the garments so I want to ensure the work I do represents all that effort put in by the design teams. Our products are very elevated and with good styling it can become even more elevated. I’ve started experimenting with other mediums besides photo like 6k video which everybody said we didn’t need but it allows for the smoothest transitions and flows that I feel mimic actions in our daily life and make the content so approachable and appealing. The pandemic has really expedited the growth of digital, especially consumer’s adoption/habits of shopping online. What should new brands keep in mind when developing a visual identity for their brand? This is a great question. I’ve tried so many things throughout the years and I think most importantly, it’s important to figure out what you really love and to build on that. Don’t try to be like everything else you see just because it’s popular. Even if what you are working on doesn’t work out right away, don’t give up. Keep experimenting and refining and build a system over time that works for you. A visual identity is like a house. You can design the interior as many times as you want as long as you hold on to the foundation of the building. That’s great advice for brands! What are some tips you’d give to individuals looking to bring their skills to a brand as an art director? Learn as many tools as possible. You don’t need to be the best at any of them but a knowledge of the different tools will allow you to put together initial ideas and then you can bring in the experts to help you bring it to life. Even if you can get the concept to 10% baked, that will help everyone understand the vision and then you bring in the pro editors, retouchers, colour specialists, etc. Another thing I’d say is go big on networking. You also don’t always need to connect with the biggest names. There are so many people doing amazing work behind the scenes that can give you great advice or introductions. This was huge for me when coming to New York. Lastly, it’s important to be patient. Things take time. I’ve been here for about 4 years and it’s all just starting to click for me which is exciting. Now I just need to keep pushing! Totally agree! So now that things are clicking, what do you have your sights set on next? I want to make the shopping experience for our customers even better using interactive video and stronger graphics. I’ve built the house and now it’s time to renovate the interior with new visuals to create a better moment for the customer. I’m all about that moment! Who doesn’t love a good moment?! Lastly, we’re finally starting to see some normalcy again and it’s looking to be a wild summer! What are you most looking forward to doing again in NYC as things open back up? Honestly, just meeting people. It’s hard to stay creative when everything is locked down. I knew so many people who moved out of the city at the start of the pandemic and they’re coming back now. I can’t wait to meet up with them and see what they’re working on. I think we’re seeing a new wave of creatives who are about to take this industry by storm and I’m excited to witness it in person! Check out Addam and The Arrivals on Instagram and keep it locked to Pier Five for more interviews and stories with the coolest designers, artists, activists, entrepreneurs and more.

Making It Personal w/ Watch Parts Motorcycles by Pier Five Staff Writer Are you a fan of watches, art, sneakers and/or vinyl toys? If you’ve answered yes to any or all of the above then you very well might be into sculpture artist Dan Tanenbaum, aka Watch Parts Motorcycles. Over the last ten years, Dan has been honing his craft meshing watch parts and pop culture to create some of the wildest sculptures out there. With no two pieces being the same, Dan has created hundreds of watch part encrusted works for collectors, gallery curators, friends and family and celebrities such as rapper Chief Keef and DJ Steve Aoki. Dan has also amassed an impressive following of nearly one hundred thousand people on social media. With an attention to detail that is unmatched and a unique style, each of Dan’s sculptures come with a story. His work is revered by many and coveted by collectors, sneakerheads, artists and the like around the world. Dan started his career as an art director in his twenties and moved on to become a serial tech entrepreneur in his thirties which he still does full time. Early after the transition to tech, Dan started feeling his creative side taking a back seat and sought out to change that, leading to what is now a major endeavour in the art space. “I’ve always had art in my bones and once I stopped working as an art director, I felt myself missing that ability to create and design in that way.” Dan explains. “Then one day I took a trip out to one of my watch dealers in London [Ontario] and came across this box of hundreds of old watch pieces which the dealer said was his box of garbage… so I was like “I’ll take it!” While some of Dan’s most famous sculptures today are his watch encrusted Kaws and KidRobot Dunny figures, it didn’t originally start there. He initially used the pieces he sourced to make cufflinks and then graduated to, you guessed it, mini motorcycle sculptures which is where the name Watch Parts Motorcycles came from. “Once I started gaining traction from the motorcycles, I thought that was it. I was getting really immersed in the motorcycle groups and it was so cool seeing what these pieces meant to some of those people” Dan explained. “Besides using the art as an escape, I think the reveal and seeing the buyer connect with the piece was what I really loved about this and made me keep going”. From day one, Dan has focused on making sculptures that hold a lot of meaning and sentimental value. His favourite sculptures to make are the ones that are customized specially for the collector and this is why every piece that Dan makes, other than his recurring Time Bomb series, is made to order and a unique one-of-one. “I love consulting with a collector to make something relevant to their life.” Dan says. “Oftentimes, I’ll get messages for a Dunny or a Jordan sneaker but I’ll ask them about what else they collect and see if we can think of something that will be more personal to them.” Most recently, Dan encrusted a ski boot for a father to remind them of their time on the slopes and before that, a three foot tall Star Wars stormtrooper to add to an LA collector’s 8-piece stormtrooper collection from artists around the world. In addition, Dan likes to take personalization to another level by often including special watch parts into the piece. Whether it’s a dial from a client’s childhood watch or a strap that belonged to their grandparent, Dan will always go the furthest to make each piece as tailored to the customer as possible. What does a new tailored suit or a handmade bag have in common with Dan’s art pieces? For all of them, there’s always an amazing feeling that comes with getting something that you know took countless hours to make specially for you. From the initial consultation to the documented journey with Dan as he creates a piece for you and only you, the work of Watch Parts Motorcycles is almost more experience than art. “While I might go into the studio and work for four hours at a time without any breaks, I do try to keep the buyer in the loop. I think it’s cool to document the process and I think it adds a lot of value to the final product.” Dan explains about his works. Most of the time, it’s even hard for Dan to part ways with his work after it’s completed. “The hardest part for me is letting it go. Once they’re gone they’re gone.” Dan explains, thinking about some of his recent creations. “I’ve always marvelled at the idea of making multiples so that I could keep one but I don’t think I ever would.” he continues. So, if you own one of Dan’s pieces, consider yourself lucky because he likely had a tough time handing it over. If you don’t, the first thing to do is check out his socials and follow along as Dan encrusts the world in millions of watch parts, one piece at a time. Who knows, maybe one day he’ll turn that Mickey Mouse watch from your childhood trip to Disney World into the coolest thing you’ll ever place on your shelf. For more on Watch Parts Motorcycles, check out Dan’s Instagram below and keep it locked to Pier Five for more stories and interviews with the best in fashion, art, business, food & more. Watch Parts Motorcycles Instagram