As the city prepares for a big reopening, we got the chance to sit down with Eric Chong, winner of Master Chef Canada, co-host of Wok The World and owner of one of our favourite restaurants in Toronto, R&D. Eric's success started very young and he has quickly been making his ascent as one of the top chefs in Canada. While doors have been open and closed over the last two years, Eric has stayed very busy and had lots to talk about. From building a strong team, sharing some cooking secrets, giving his honest opinion on the restaurant industry and his craziest tales from the TV world, this conversation was full of gems. Read and listen below! A Family Affair "When we hire people, it's really about how they work with the team than their resume. We really build a family oriented staff. A resume is great but you really have to click with the team because we see each other more than we see our family and friends." "The only way to earn their respect, is to outwork them. I've been blessed but I've put in the work. Don't ever get complacent. Don't ever get comfortable because you'll only get to the top by pushing." All About Consistency "The hardest thing about a restaurant is consistency. If I were to cook you a dish and a cook who was just hired yesterday cooked you a dish, you shouldn't be able to tell the difference and that's a very difficult job to achieve. I have twelve scales in the restaurant...so that everything in the restaurant is exactly the same." Tips to enhance your wok game... Understand that the end result will be different at home and at the restaurant. An open flame is a must! Electric doesn't get hot enough. Make sure you get that wok smoke! Never burn your food by keeping things constantly moving. If you don't have high enough heat, you can use a cast iron. Eric's 5 Must Haves In The Kitchen MSG - Adds depth of Umami (one of the key flavour profiles). Eggs - Used in nearly everything! Rice Soup noodles - "I've been eating a ton of these. I'll make a big batch of stock and get fancy with my noodles!" Pasta - "My bolognese slaps [laughs]" Do people ever just pin you as the "Master Chef guy" and not look at all the other stuff that you're doing? There was a period in my career where I was a bit frustrated but it's what started me. It's good to have an identity. Like, I'm sure Daniel Radcliffe doesn't just want to be Harry Potter but it's better to be known for something than nothing at all. (Listen Above) "It's always a challenge to find new things to teach them [the staff]. What's beneficial at R&D is anyone who is in the back of house management role doesn't just learn how to cook...they actually learn how to manage a restaurant." What's the craziest thing that has ever happened to you on TV? (Listen Below) If you want to be a successful restauranteur, your job doesn't end when you clock out. If you're looking for a 9 to 5 job, this ain't it. If you're looking for a job where you have a good work-life balance, this ain't it. If you actually love cooking and love this industry, prove it! There's no excuse not to know how to make any dish at this point, but how to make it your own is the real challenge. Make sure to follow Eric on Instagram for news, tips and tricks to help step your kitchen game up, as well as R&D if you're ever in Toronto and keep it locked to Pier Five for more conversations with the coolest entrepreneurs, designers, artists, activists and more out there.

A year ago we got the chance to speak with Titi Finlay, the Social Media Manager for Laced UK, artist and content creator who was taking the sneaker scene by storm through her advocacy for more inclusivity in the sneaker industry. Between her bold quote posts like "Make Sneakers Gender Neutral" or "Sneakerhead is defined by passion, not gender." and her incredible sneaker paintings and fit pics, there has been lots to talk about and now with the recent partnership with Nike, we had to catch up again. Check out the conversation below to hear about how everything came together, how she feels about the current state of inclusivity in sneakers and what she's looking forward to, this year and beyond. Getting the Nike Call "It was so surreal! I actually cried after I got off the phone with them because they wanted to bring in my art and my creative side rather than just the message I was pushing in the community. My art and paintings and my print making and all the stuff like illustrations has all been something that I’ve always wanted to make my main career but never felt like I could do that. For Nike to recognize that and give me the platform and the tools to actually execute it was just so amazing." Titi On Imposter Syndrome "My imposter syndrome has been at an all-time high this year. I think just because I’m moving into a much higher role in my work and also being seen by more people on social. It’s almost like the more success you have ,the more you feel like you have to lose." (Listen further below) As it turns out, before the partnership, Titi has been helping the brands roll out more inclusive products and launches. "I personally had a few calls with the Nike design teams where the had me and a couple of other women actually feed in on the products coming out for next year. It's super empowering for all of us to know that we’re being heard now. Obviously things don’t happen overnight with brands." With all the excitement, comes over-indulgence. Listen to how Titi is approaching sneaker madness today. Would you ever NFT your work? "I thought about this a lot. I'm obsessed with learning about it but I still find it baffling. Some of the stuff is so terrible. I feel like I could make a lot of money if I did go into it but I think there’s also the whole conversation around the sustainability and energy usage of NFT's. There are some really cool concepts coming out so I’m definitely not opposed to it but I’m also still a bit sceptical. I don’t like do crypto right now but I'm excited to see where the space goes." So what's next? Keep an eye out for more of Titi's projects with Nike coming out in April and hopefully some gallery or exhibition events coming soon! ...oh and potentially a world tour ?!?! Make sure to follow Titi on Instagram for news on her upcoming drops, events and all the best sneaker content and keep it locked to Pier Five for more conversations with the coolest entrepreneurs, designers, artists, activists and more out there.

Photo: Patrick Stangbye & Johannes Rummelhoff When it comes to the outdoors, there is nobody that we know more adventurous than Patrick Stangbye. Growing up in a small town in Norway, just inches away from the forest, Patrick grew up exploring the woods and the mountains and picked up snowboarding, hiking and trail running, a sport he now pursues professionally. A life outside and curiosities around product and technology led him into the fashion scene and after a number of different roles, landed Patrick the role as Brand Manager for ROA Hiking, one of the hottest brands at the moment amongst both fashion enthusiasts and hikers. We got a chance to catch up with Patrick to chat about all things sports, fashion, gear, entrepreneurship and much more. Scroll below for some of the highlights! ROA: A Hybrid Brand Oriented around the landscape. Made in the same factories as the best performance footwear. An approach to design unlike than any other. What does the Brand Manager role entail? A little bit of everything! Working with the sales team to present new collections Working with the design team on product development that strengthens the brand identity Financial planning assistance Designing campaigns with marketing Coordinating collaborations "My job is really just to make sure that the brand is always working." "I'm interested in movement. Many of my learnings are had through connecting with my friends over an activity" Buying performance gear from performance brands... "Many times fashion is moving so fast that nothing is ever tested. So, it might be that you're buying €600 trousers from a catwalk brand and the fabric is great...but it's not made to last and also nobody tested to see if that was a fabric that should be used on a trouser. But this is something you know when you buy something from a climbing brand or something related to an activity. These people needed the stuff to work for them." The convergence of performance and lifestyle... Photo: Satisfy Running On taking your fate into your own hands... "If you really want to do something, more than anything, be curious. Talk to people. Try to meet people. Try to have a conversation and be openminded. If you really want to make bags and a huge backpack brand is not going to hire you then start making your own backpacks. Buy a sewing machine and learn how to do it. Just got for it because if you believe it, I'm pretty sure you could do it." Make sure to follow Patrick on Instagram for a sneak peak into all things ROA, gear and trail running and keep it locked to Pier Five for more conversations with the coolest entrepreneurs, designers, artists, activists and more out there.

We got a chance to speak with Montreal based painter, Dan Climan, about the journey of mastering his craft through nothing other than patience, focus and lots of hard work. With art integrated into his life in many ways but only a couple years under his belt as a full-time painter, Dan has already amassed an impressive following for his work and is one of the most humble guys we know. For him, it's all about putting yourself in a position to do what you truly love and committing more time to it than anyone else. Read through some of the best takes from the conversation with Dan below. On putting in the time... "I think the more confidence you have going into work, the better work you’re going to make." "Put your head down. Do the work. Just because it looks good or feels good, doesn’t mean you’re done. No matter what state I was in my life, whether it was design, or tattooing or painting, I know that I’ve gotten better and I know that I’ve only gotten better because I continued to do it." On painting stuff he doesn't like... "Those are the important days. I still painted. I still put in the hours." "The difference between somebody who's a professional and somebody who's on the come up is potentially just putting in the hours and doing the work? "I believe in the work so much that I’m not afraid to invest in myself" Tips On Buying Art "Only buy the art that you can’t live without. If it speaks to you and it feels a certain way, it's worth buying. I look back at art that I bought when I was younger...maybe I liked it because it was trendy at the time but I don't want to look at it in my living room anymore." "If the work is appealing to somebody who’s, like, five years old, and somebody who is sixty years old, there’s something nice that’s happening there. It’s like a universal language with shapes and colour in the content." How much money do you want to make? "As long as I can make enough to paint every day then I'm happy. Looking back to my 13 or 15 year old self, like if I could see where I’m at today, I’d be thrilled!" Be sure to follow Dan on Instagram for news on his upcoming shows, including his solo exhibit at Gallery Youn in Montreal, and keep it locked to Pier Five for more conversations with the coolest entrepreneurs, designers, artists, activists and more out there.

Amongst all of the creative businesses that launched during Covid, one of our favourites has to be Hotpot Variety founded by Toronto crocheter Jess Papp. What started as a fun hobby has since turned into a full time brand that has caught the attention of fashion enthusiasts, influencers, designers and retailer buyers around the country. As she takes the headwear game by storm with her unique crocheted hats, we caught up with Jess to chat about her recent growth, taking Hotpot Variety full time, getting into a major retailer, where she hopes to take the brand over the years and much more. Take a listen to some of Jess' quotes and read through below to learn more about Jess and Hotpot Variety. On taking Hotpot full time… "As of this fall, I’m officially doing this full time. When I started Hotpot Variety, I realized that was my passion. I was like, maybe I should focus my energy and efforts into something I love doing instead of working in a 9 to 5 job and coming out of it like “what did I just do all day?” Put Your Work Out There You never know what might come of it! So Holts DM’d you? That’s how the deal came around? Ya, I got a message from the buyer like “hey, who do I reach out to about partnership options?”. I only had 500 followers on Instagram and not a lot of my work was on my feed so I thought maybe they’re just contacting me about a pop-up or something. We had the call and they’re like, “do you have a line sheet? We want to stock your hats in our store.” and I’m like “Ya, I have a line sheet” while I’m googling what a line sheet is [laughs] and then they sent over my contract and my hats were going to be stocked in Holt Renfrew. It was crazy. On collaborations… I’m doing this by myself so I’m trying to make sure I’m not saying yes too much or biting off more than I can chew. Every project is different. It’s important to make sure that you understand what the scope of the partnership looks like and make sure you’re both aligned into something that’s going to be great for both sides. On dealing with burnout… Make sure that you’re listening to your body. If I’m tired, I need to sleep. If I’m hungry, I eat. If you can’t focus, you can’t be productive. Don’t stress about the things you can’t control and focus on one thing at a time. What do you want 60 year old Jessica to look back on and be proud of? I'm a first generation Canadian. My mom immigrated here from Vietnam. My family fled from their country to build something for us and give us more opportunity. I want to look back when I’m 60 and know that I built something out of an opportunity that my family has given me and be something inspiring to people going through the same thing and hopefully building some sort of an empire where I can support other people’s interests and talents. Checkout Hotpot Variety's Instagram for news on their upcoming releases and keep it locked to Pier Five for more conversations with the coolest entrepreneurs, designers, artists, activists and more out there.

Follow your gut and take chances. It will take you everywhere. Such is the case for Georgia based fiber artist, Trish Andersen, whose tufting work has caught the attention of the masses. After over a decade-long career working in a corporate design job in New York, Trish dropped everything to focus on a solo freelance career and follow her entrepreneurial spirit. Years later, after taking a hard look at her jobs and deciding she wanted even more independence, Trish would drop her client work, move back home to Georgia and pursue a daring career as a solo fine artist in rug tufting, a very niche art form that she had little knowledge of at the time; but something about it just felt right. Fast forward to today, Trish is one of the best known tufting fine artists in the game, appealing to the fine art and interior experts all the way to streetwear heads and hypebeasts. All of this success is attributed to Trish’s ability to keep a level head, follow her gut and never stop exploring and we got the chance to go through all of this in a very special conversation. Hey Trish! The first question we have for you is, what was it like moving from New York back to Georgia. It was definitely a little scary because there’s so much opportunity in New York but it just felt right for me. Turns out, Dalton, which is only a few hours away from Savannah where I live now, is the rug capital of the world so the fit isn’t so bad [laughs]. They produce something like 80% of the world’s rugs there which is insane. Wow that’s wild! What do you think it was about tufting that got you hooked (no pun intended)? Tufting is super free flowing with the gun because you can go in any direction you want. You can really jump around your canvas and it was like painting for me which I love. It’s like a dance working with the gun. It also lets me focus on the fine art more and then I can bring in the functional aspect, like with the line of products I have inspired by my fine art, such as the wool rugs and runner rugs, as I want. One of our first discoveries of your work was actually the Runner Rug through Hidden NY, a curation mood board catering to art and streetwear fashion enthusiasts. How does it feel to see your work catch the attention of subcultures like that? Honestly, it blows my mind! I made the runner rug with no intention of selling it. I thought it was cool but not that cool [laughs]. I had no idea that it would catch the attention of consumers in these other groups and I never cared about what people were going to think of it when I made it but it’s really cool to see everyone so into this art form and the pieces that I make. It’s very hard to always fight that evil voice in your head asking “will people like it?” or “is it good enough to share?” but I think because I got into this just for me, I’ve been able to get away from that voice. I’m constantly trying to remind myself to just make what I want to see in the world and tell myself that there are people out there who will be into what I make and eventually I’ll find them. Very true and clearly there are a lot of people who are liking what you are putting out. How did it feel, as someone who’s been making rugs for so long, to see so many people get into rug making during covid? I think it’s super cool. I’m a big “community over competition” kind of person. The process for me has been so beneficial and it’s really great to see other people embracing it. Everyone has their own voice and I think there’s room for us all. It’s been super cool to see how people like Tim who runs tuftinggun.com has grown such a big community and business in the last two years and how social media has really helped it take off. At the end of the day, if we can all add some more softness and joy to the world during quarantine then that’s amazing! What’s your design process like? Do you typically draw things out first and have materials/colours in mind? It’s a little bit of planning and a little bit of free flow. I usually sketch out designs on Procreate which I love. I always had some trouble sketching on paper so working on Procreate on my iPad is amazing and it lets me scale designs which is super helpful. For the colors, I’ll usually have a palette in mind but I'll pull all the colours I think I'm going to use and then visualize them and move them around. Once I’m working on the canvas, I really try to move feely and respond to the piece in the moment. If I plan colours but then don’t think I want to use them, I’ll change them. It’s definitely like a dance. I also like, however, that you have to be decisive as much as it is free flowing. It’s always a challenge because you can only pull out things you don't like so many times before the backing is compromised so it's a mix of free and calculated. How many rolls of yarn do you think you have gone through in the last 4 years? Ha! I have no idea. It must be thousands. I’ll use all different types of wool and I’ll source yarns everywhere. It’s all a precious exercise of locating yarns. I’m using so many different colours and materials which I think creates great texture. Back in September you launched your first reproduced collection which gave general consumers the chance to buy your work. How was that experience for you and were there any learnings that you’ll take with you for future releases? So far the feedback has been really good and the experience has been great. I set things up for the e-comm site so that the orders go out to a factory that makes and ships the items so luckily I don’t have to deal with that. I am still getting familiar with how to handle the customer support side of things the best way possible but so far so good. I think one of the biggest learnings was really around, once everything launched, seeing how much work it can all be for one person and understanding the importance of having a good setup throughout. If I was packing and shipping everything myself it wouldn’t be scalable and would slow down the creative side. I’d say to anyone, make sure you think about the process all the way through before going live. Otherwise, it can be easy to get overwhelmed. Luckily now that I’ve done this though and things are running smoothly, I can start thinking about launching new lines! Oh! What other lines are we talking about? I have a ton of ideas. I’m going to be collaborating with my husband who’s a painter on something and some other projects as well. I’m not a big planner though [laughs]. I kind of just follow what feels good. Living with your husband who is a painter must be super cool on the collaboration side! Ya, it’s super fun. I don’t think I could be with anyone who’s not an artist. We both live and breathe art and we learn a lot from each other too. Any tips for young artists trying different mediums to express themselves? I’d definitely go back to the idea that you have to try to get away from comparing yourself to others and caring what they think. It’s hard with social media but it’s very important. I always say that social media should be for connecting, not comparing. Everyone has their own voice. Follow your gut and what makes you happy and explore that. Find a creative community that you can be a part of. Try to work with other artists. Observe others. Get out there. Be patient and keep putting in the work. Eventually, you’ll get to a point where you can really dictate what you want to do. Lastly, take risks and don’t be afraid of making bad work. It’s required in the art world but that’s also what makes it fun. That’s great advice! Lastly, for those looking to start tufting, where should they look? Honestly, the first thing to do is just Google tufting and watch a ton of videos. I’m actually going to film a workshop next month with Domestika which will be super fun, so watch that too [laughs]. Another great site to check out is Tim’s site that I mentioned earlier, tuftinggun.com. There’s an awesome forum for people posting about their experiences, where they get materials, etc. Everyone is super supportive and willing to share information. It’s a great community! Also, if you are looking to buy gear you can use my code "Trishtufts" for 15% off :) Make sure to check out Trish's Instagram for more news on upcoming projects and releases and keep it locked to Pier Five for more interviews and stories with the coolest entrepreneurs, designers, artists, activists and more.

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.

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.

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. Curves by Sean Brown We’ve always been impressed with the work of creative director, designer and photographer Sean Brown. When he launched his home goods line Curves by Sean Brown, now most notable for CD Rugs or popular hip-hop albums and hand-shaped incense holders, we knew it’d be nothing but a home run. Amongst a number of new design projects, Sean recently released the half-version of his CD floor mat perfect for home entryways and his new Spill Coasters, 4 mirror coasters shaped like water spills. You can find both of these and more home goods on his website here. Melody Ehsani F/W 21 Collection Melody Ehsani’s eponymous lifestyle brand recently launched its F/W 21 collection and the pieces were brilliant, especially for the chillier months ahead. Some of our faves are the Quilted Shirt Jacket inspired by Persian Rugs, the butterfly inspired Rugby shirt and the military set. Be sure to check out the full collection on her website and act quickly as sizes are selling out! Spencer Badu Collection 000 + Pop-Up Toronto based fashion designer Spencer Badu hosted a pop-up shop this month to showcase some of his most recent pieces from his Collection 000. From his take on a sleeveless insulated nylon vest to a wide leg chino pant, SP’s foundation of creating genderless uniforms really shine through in every piece he creates. The Cargo Vest & Reflective Balaclava are some of our top picks from the collection. Even though the pop-up is now over, you can find his collection on his e-store here. KNC Beauty x Champion Collab All natural lip mask beauty brand KNC Beauty, founded by Kristen Noel Crawley who happens to be the wife of Don C, linked up with heritage sportswear brand Champion to create a fully size inclusive line of sweats, crewnecks, cropped tees, biker shorts & more. With sizes XS-3XL, the collaboration aimed to give women a fashionable set to feel comfortable in, wherever they go. There was an initial sneak preview of the collab at ComplexCon and the full collection can be found now on Champion’s website here. Cian Moore x Blackstock & Weber: Lucky Loafers New York photographer Cian Moore has shot some of the biggest acts in music and fashion, from Jack Harlow and A$AP Rocky to Cactus Plant Flea Market and Prada. Having begun the development of his Clover brand, Cian blessed us with the launch of his Lucky Loafer - yes, we’re on that loafer train! - made in partnership with Blackstock & Weber, one of the best makers of loafers in the game right now. The Lucky Loafers feature a buttery green and white leather upper with a Cian’s signature clover embroidered at the centre of each toe box. If the Lucky Loafer is any indication of what else is to come from Cian then we will be on the edge of our seats heading into the new year. The loafers are now sold out but follow Cian’s IG to stay up to date on his latest projects and releases. 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.

Photo: @samuelpasquier As a new brand, it can be very hard to go up against the big dogs. Finding a hole in the market and filling that space with a unique offering is key and Ostrya Equipment, a technical wear brand from Montreal, Canada is doing just that. Having observed many of the Canadian outer and activewear brands like Arc'teryx and Lululemon, which are designed in Canada but not actually made there, Ostrya founders Francois and Simon are putting Canada back on the map with hand made, top quality technical garments designed and produced here in Canada. With a team of less than ten but a passion as large as hundreds, Ostrya is showing that the best things can be achieved locally and has attracted a very large network of tech heads and fashion lovers alike. Taking things day by day but with visions of the future, Ostrya is focused on its mission and making big waves one stitch at a time. Hey guys! Thanks for taking the time to chat. Over the last year and a half, GorpCore - outdoors technical fashion - has become a mainstream style choice for many. While Ostrya is technical first, how important is the consideration around fashion for the brand? It’s great that technical wear has been adopted so heavily into mainstream fashion. We’re always thinking about this but we try not to let it influence the designs too much. Our main focus is creating products that can outperform any other. It’s cool to see that the fashion clientele are starting to look more at technical wear and made in Canada products and we’re happy they like our pieces but it’s always function first for us. We also know that price point may be a factor that can impact who is consuming our products. We sell expensive products because they’re the best and made by hand here in Canada. There’s no fashion or hype tax here. We’re breaking our backs to make the best product. If people are down to support that, then that’s great, no matter how they’re consuming it. Would there ever be an expansion into more fashion first products do you think? We’ll definitely make some product that is less technical down the line but not necessarily as a way to please the fashion clientele. Our goal is to continue to show that we can make more great products in Canada so that will always be the core meaning behind our product lines. I don’t think we’d ever just make a fashion line though. While fashion may not be the core focus, you’ve definitely caught the eye of some top tier fashion retailers. How does it feel to be a technical first brand selling in stores like SSENSE and Better Gift Shop? It’s definitely a pretty cool thing [laughs]! SSENSE was actually the first retailer to place a wholesale order with us which was awesome. They can buy from the biggest brands all over the world so to see them support us as the smaller local brand was an incredible feeling. It’s wild thinking about how they carry our chalk bags and people buy them. It’s funny because we don’t really know what people are buying them for though. Maybe people are buying the chalk bags to put a wine bottle in and that’s fine with us. It’s a really nice and well made bag so maybe that’s enough for them to buy and if it then inspires them to try climbing one day because they have the bag, that would be the best possible thing to happen. Love that attitude! The both of you come from technical design and production backgrounds so the foundation for creating the garments has always been there. What was it like coming at Ostrya from an entrepreneurial angle where you were now also responsible for things like brand development, finances and building a team? Oh man, it’s really intense. It’s a lot of work but it’s super fun. We both really complete each other. We have the same vision and that is super important to run a business. We’re learning every day. It’s like a never ending puzzle. There’s constantly new problems that you need to solve and things can take a long time and it can take a while to see the money. We have some nice days and some tough days but overall when I think about it, having Ostrya is great. When we were shipping things to retailers a while back, I just looked at it and thought “this is crazy'', seeing those boxes that used to be just rolls of fabric and now we’re packing garments. It’s crazy to step back and see it all happening now and having those moments where the team can chill and have a beer and just be happy about all the progress we’ve made makes all the hard times worth it. Do you have any tips for new entrepreneurs just starting out? It’s funny because we get asked this every now and then but we’re still super young and learning every day. I guess there must be some things we’re doing right though [laughs]. The main thing I’d say is that there’s no right time to start or launch your project. It’s easy to work and wait to launch forever but you’ll never be totally ready. You just need to start and then learn as you go. Once you’re going, don’t be afraid to seek out for help and advice and get another opinion. There are a lot of people around you that know things better than you and will be willing to give their time if you ask for it. Those are great tips. What would you say is the biggest mistake you’ve ever made? Hmm, that’s a tough one. It’s not necessarily a mistake but sometimes we laugh about how it would have been so much easier not to establish ourselves as a made in Canada brand. That’s what we are and our passion is in quality made in Canada goods so we’ll never change that but we know it would be so much easier if we just made it overseas. That’s our differentiator though so we know we have to stick with it. Lastly, while we bundle up for a brisk winter, what can we expect to see from Ostrya over the next few months? For Spring 2022, we’re making trail running and climbing gear as well as some more casual gear like hemp shirts and shorts. That will be more of a line or full collection than this past Fall/Winter line was and we’re super excited to have a bigger offering. While we’re growing so much though, we want to keep things small and close to home. We don’t want to grow too quickly to a point where we lose control. We want to ensure things are always enjoyable for everyone here on the team. Interesting. Have you thought about that growth more long term, like where you might want to be in 5 or 10 years? We’re taking everything one day at a time but we’re also trying to think about things more long term now. It’s hard for a young business to think like this because there’s a lot of uncertainty but, at the moment, we’re thinking about 5 years down the line a bit. We want the vibe of the company to be really great and focus on the culture for all of the people that work here. That’s key no matter what the growth looks like long term. If we can have a great culture and keep putting out the best possible product, that’s the win. Love that! Any final thoughts? Come to your showroom! It’s so good to be able to feel these clothes in person and try them on. Every time people come by and try on the jackets, they absolutely love them and it’s always a good time chilling here. For updates on new releases and events coming from Ostrya Equipment, follow their Instagram and keep it locked to Pier Five for more interviews and stories with the coolest entrepreneurs, designers, artists, activists and more.

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.

As a creative, there are many avenues that you can take to turn your passion into a career. More often than not, this will require others and understanding how to balance personal efforts and the inclusion of those around you will take you to great heights. Toronto based photographer Wade Hudson understood this early on, partnering with those whom he enjoyed and shared passions with, creating equal value and fostering growth for one another. The secrets of finding great people to work with take time to uncover and we got the chance to catch up with Wade to learn about how he identifies talent around him, capitalizes on opportunities at every moment and produces the best possible outcome within each situation. Take a read through the conversation below to hear from one of Toronto’s best shooters. In 2013 you did a shoot with a wee youngster by the name of Joey Bada$$. How does it feel shooting people at an early age and then watching them blow up into huge superstars? Nearly every person I shoot I am a big fan of so watching them come up is really quite fascinating to me. When I heard [Joey] bada$$, I was like “this guy is going to be a huge star”. It’s obviously hard for me to know at the moment where they’ll be down the line but that doesn’t matter to me when I’m working. When I’m around people like that I try to just be myself and show my interest in them. Joey and so many others are so genuine and great people and that makes it really fun to follow their careers and growth. The best thing is seeing where they are years later and know that their attitudes haven't changed and that they’re still humble. What are some tips you’d give to creatives looking to connect with talent to work with? If you’re seeking out talent to work with, make sure that your skill is at the level that it needs to be to execute your vision with the talent. After that, be ready to move quickly. Opportunities don’t always come with a lot of advanced notice. Be ready to move on things at any moment. I’d also say, from a mental standpoint, know that anyone is accessible if you persevere. This doesn’t mean they are accessible today but if you work hard enough, anyone can be accessible and so you should always shoot your shot. You won’t get anywhere if you never ask. Another way to get buy-in from talent is to remember that someone’s time can be more valuable than money. Don’t overlook experience and the impact that personal connections can make in the long term. Lastly, be patient. Things take time so don’t give up. When you have the time to plan with someone, how long does it take to ideate a shoot? It’s really as long as I have. I usually don’t have a ton of time so I work with the elements in the moment. When I do have time, I’ll just make sure I can complete all the needed - or ideal - steps in that amount of time. Finding references, finding the right people to bring in like stylists, creative directors, etc. is all important. I’ll try to get calls or meetings together beforehand to discuss how we can make the best product possible and how we can cater the shoot to the subject. How involved are the subjects in creating the story for the shoot? For the most part, when I reach out to people I have the concept of what I want them to look like already in mind. If it’s my creative shoot, it has to follow my style and I need you to do what I have envisioned. Obviously I'm open to ideas depending on who you are, like if you’re a creative director you might have good ideas, but if I simply approach you because I like your look, I will have the concept down. This is different though if I’m shooting for a client and their ideated project. In that case, I’m helping execute their vision. Would you say more of your work is client focused or your creative work? It depends on the time of year so that’s hard to say. They go hand in hand though for my career so it’s not too big of a deal to do one more than the other from time to time. My creative work is how I pull clients in and my client work pays for my creative work. I’d always like to do more creative work but client work is needed. Right. That’s a good outlook on the two. Do you think you could ever get to a point where you’re only doing creative work? I think there are photographers that have found a great balance where the work they do on their own and the work they do for clients are very similar but it’s hard to only ever do your own thing, if only due to money. I’m always working to bring my ideas into the client work to make it fun and reduce the space between that and my client work but I don’t think I’d ever stop doing client work. Interesting, and I guess client work also brings new sets of challenges that can make you a better photographer. Changing gears now, what are 5 do’s or don’ts of shooting with someone for the first time? That is true and a great question. I can only give these tips from my perspective but... DON’T have your camera in hand when you first meet someone. This helps to remove the power dynamic of the subject and photographer. DO have a conversation with the subject before you shoot. Learn about them and what they are comfortable with. This will make the shoot much better for everyone and deliver the best results. DON’T talk about why you’re qualified or who you’ve worked with in the past. In that moment, nobody cares about who you’ve shot in the past. DON’T show the subject the shots when you’re shooting. It often makes the subjects less comfortable. Instead, talk to them as you shoot. Sometimes you can’t follow this depending on the subject but this is what I find is typically best. DO discuss what the subject should be doing in the photograph before they sit in front of you. You want to make sure everyone knows what they’re going into. You recently became a father (congratulations!). Has that journey with your wife and now your newborn son influenced your work? Thank you! Right now, not too much has changed but I imagine as he grows, it may impact the work, what jobs I take, how I see things, etc. Just a crazy time learning to be a father [laughs]. Although it was published over 7 years ago, your Jamaican Proverb Series still lives as one of the best photography series that we have ever seen. Do you have a proverb that you live by? A lot of these are just kind of always relevant but one that I think back on a lot is “Ebry dawg ave im day, ebry puss im four a clock.” which translates to “Every dog has his day, every cat his 4 o’clock.” This has a few meanings. Some days you win and some days you love. Good fortune comes at different times for everyone. Do not behave as if you are better than others. Oh, love that. Super important as a creative for sure. Do you have a favourite story from your time as a photographer? Yes! About 5 years ago I went to London because I was interested in potentially moving out there and wanted to check out the scene. Some of the modelling agencies out there were having these openings where you can just go and shoot their models. They basically invite you out, introduce you to the models and you shoot for the day. I went out and shot about five or six models that day and got some shots that I really liked. After the shoot I went onto the agency websites to find all of the models I had shot but there was one person I couldn’t find anywhere. It turns out that it was Grace Bol who is a big time model, like she’s been on iPhone backgrounds including my own [laughs] and has modelled for so many major brands. She’s huge! I don’t even know why she was there that day and I had been speaking to her for about twenty minutes without a clue of who she was and it was such a wild moment realizing it after the fact. Honestly, it was probably better that I didn’t know at the time or I likely wouldn’t have had the confidence to ask her to shoot. Wow! That’s insane. I guess sometimes it’s better not knowing all [laughs]. Lastly, now that we are starting to return to some normalcy in the world, what are you most excited for work-wise? I just want to go back home to Jamaica. I have a ton of ideas and people that I want to be with and I just can’t get down right now so that will be the first thing I do when I can. I lived there until I was sixteen and then moved here. Before Covid I was there a few times a year so I really want to get back. Check out more of Wade's work on his website and follow him on Instagram to catch all of his latest work. Keep it locked to Pier Five for more interviews and stories with the coolest entrepreneurs, designers, artists, activists and more.