Introduce us to your brand

AAKS was born from a childhood steeped in the beauty of Ghanaian basket bags and a vision for transforming them into something modern and vibrant. I had a desire for an AAKS bag to be softer, foldable, and adorned with tasteful, contemporary colours and detailing. This led me to research bag designs and fibres, discovering the alignment of these ideas with my dream brand’s ethos. Recognising a market gap for beautifully handcrafted bags, I embarked on a journey to Ghana to bring my vision to life, driven by a passion to create something uniquely fulfilling, both personally and professionally.

What makes you stand out from the crowd?

What sets AAKS apart is our dedication to craftsmanship, sustainability and cultural authenticity. Each bag is meticulously handcrafted in Ghana using traditional weaving techniques and ethically sourced natural materials like raffia. Our designs blend vibrant, contemporary aesthetics with the rich cultural heritage of Ghana, creating unique pieces that tell a story. By supporting local artisans and providing fair wages, we contribute to the economic empowerment of the communities we work with. In a world of mass production, AAKS offers stylish, practical and environmentally friendly bags, making each piece a cherished work of art.

What part of the process of making your items do you enjoy the most?

I love the freedom of creativity which comes with being a designer and running my own sustainable business. I also particularly love visiting my artisans. There’s a special feeling in seeing raw materials transform into beautifully crafted bags through skilled hands. I love sharing ideas with my artisans and watching my designs come to life. This hands-on involvement deepens my appreciation for the artistry and dedication that goes into every AAKS bag.

When did you realise you were a creative soul?

Definitely in my childhood. I was constantly sketching flowers from my parent’s garden in Kumasi, Ghana. This passion led me to art school and eventually to study fashion design at Kingston University in London. Immersed in vibrant colours and textures, I discovered my love for transforming traditional designs into modern, stylish pieces, sparking my journey into design and craftsmanship.

What’s the best feedback you’ve received about your brand or products?

A customer once said our bags are not just accessories but pieces of art that carry the spirit and craftsmanship of Ghana. They appreciated the quality, vibrant colours, and the story behind each piece, highlighting how our dedication to ethical practices makes owning an AAKS bag feel even more special. This heartfelt endorsement truly captures what we strive to achieve with every creation.

Why is sustainability so important to you personally and how you build your brand identity?

Sustainability is crucial to me and AAKS’s identity. Growing up in Ghana, I appreciated the beauty of natural materials and traditional craftsmanship. We use ethically sourced raffia and eco-friendly weaving techniques, supporting local artisans with fair wages and sustainable jobs. This commitment ensures quality products that reflect our values of integrity and environmental respect.

When looking at your journey so far, what would you do differently?

Looking back at my journey, I probably wouldn’t change much as every challenge has been a learning curve that has shaped AAKS into what it is today. If anything, I would have encouraged my younger self to embrace starting and accept imperfections as part of the process – it’s all a work in progress.

What’s next for your brand? What newness should we keep a lookout for?

We’re excited to bring our collections to new markets with fresh, innovative designs that combine traditional weaving techniques with modern styles. We’re also making progress in exploring the homeware market and plan to launch a unique homeware collection soon. Follow our journey for updates as we grow and evolve.
I

nstagram: @a.a.k.s
Website:  aaksonline.com
Any upcoming markets: Maybe Coterie New York and Shoppe Objet New York

The post August Star Maker: AAKS appeared first on Reclaim Magazine.

Unseen Icons are specialists in rescuing and refurbishing vintage cinema seats.  We’re rebels at heart with a passion for taking the unseen, neglected and forgotten and creating something truly iconic.

What makes you stand out from the crowd?

I guess we’re quite quirky you could say, we love colour and pattern and want to encourage others to be braver in their homes by surrounding themselves with things they love rather than what’s on trend.

What part of the process of making your items do you enjoy the most?

Taking something old, battered and unloved and making it beautiful once more.

When did you realise you were a creative soul?

I’ve always loved making things, my mum was great at making things like Christmas decorations or fancy dress costumers and could also sew really well so I guess I got it from her although when I was younger I never wanted to learn to sew.  As I grew up I had various ventures making things like fairy wings and tutus and selling them at festivals and online.

5. Whats the best feedback you’ve received about your brand or products?

When someone sees our cinema seats and it stops them in their tracks!  Making that wow impression and for people to see how much creativity, passion and handwork has gone in to the finished product.

6. Why is sustainability so important to you personally and how you build your brand identity?

I can’t bear waste and the thought of things that could still have a purpose ending up in landfill is just crazy!  When comes to vintage items this is even more important as once they’re gone, they’re gone for good.  Our whole brand has been built around taking the forgotten and unloved and making it beautiful once more.

7. When looking at your journey so far would you do differently?

Ooh this is a tricky one because I guess its a tough call to say whether I did the right thing choosing to niche down into vintage cinema seats.  I trained in traditional and modern upholstery and originally launched my business with the idea of bringing vintage chairs and sofas back to life but after a couple of years I fell in love with the old cinema seats and built a niche around these.  In some ways this has been fantastic, we have been continuously improving our techniques and I like to think when people think of vintage cinema seats they think of us.  The down side has been that perhaps people don’t realise we are also upholsterers and can reimagine and restore their chairs and sofas leading to less work at times.  Did I do the right thing? who knows, but I’m still loving the cinema seats and live to show them to a wider audience.

What’s next for your brand? What newness should we keep a look out for?

Collaborations are the life blood to a small brand like ours and we have some fantastic ones in the planning stages.  We are going to be working with the lovely Siobhan (@interiorcurve) from Design Masters using her eclectic designs on our cinema seats and then we have a striped collection launching with Colours of Arley

9. How can we find you?

We have a studio in Writtle, Essex

Instagram @unseenicons

www.unseenicons.com

Any upcoming markets:  Goodwood Revival in September

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Outdoor rooms are growing in popularity and, as someone who’s ridden this trend with fairy lights on her heels, I can let you in on the downside of it – the rain! This year, though, I’m on it. I’m going to be weather-ready. Firstly, no outdoor oasis is complete without a daybed and I know from experience that I’m useless at treating wood every year, so it needs to be metal. Secondly, the mattress must be waterproof. This led me down an Amazon and Facebook Marketplace rabbit hole and by the end I had purchased an IKEA metal daybed for £30, found a free single mattress, bought a rubber covering to encase the mattress (£8 from Amazon) and purchased a bottle of Polyvine Heavy Duty Extreme Varnish which is waterproof and has UV protection. This will be used to waterproof my cover and stop it fading. Not a bad hour’s work. Now just to create that fitted cover…

1 Take the measurements of your mattress, including the depth of the sides, and add about 4cm to each side for seam allowance, then cut your fabric to size (A).

2 On each of the four corners, measure and mark out a square to the depth of your mattress, plus the 4cm seam allowance – in my case this was 19cm (B). This is to create your fitted corners. With right sides facing, bring the two marked lines of the square together to create a diagonal crease. Stitch down from the top corner of the square, following your marked lines, then trim the excess fabric (C and D). Repeat for all corners.

3 To create the casing for the elastic, just fold over enough of an allowance that you could fit a pen easily through. Stitch all the way around the sides, but leave an opening to slide the elastic in (E).

4 Using about 3 metres of elastic (I ended up having to join some), attach the end to something that can be threaded through the casing. For instance, knitting needles, empty biros, safety pins or a small screwdriver (F).

5 Start threading your elastic through the casing, pushing the gathers back as you go. Make sure the end of the elastic is secure and doesn’t disappear, as it will mean starting all over again. Either pin it or use a safety pin. Once it’s threaded all the way around, knot the ends (G) and stitch the opening closed. For added protection, stitch a line either side of the knotted elastic, just in case it breaks (H).

6 Slip the cover onto the mattress and balance it on something you can get good access to all the way around. Pour some of the varnish into a spray bottle and add some water to make it easier to use (image I). Spray all over the cover, using a brush to work it in (J and K). Give the seams on the corners extra attention. Repeat two or three times, letting each coat dry in between.

The post Weatherproof IKEA daybed hack for your outdoor space appeared first on Reclaim Magazine.

Chintz: what a wonderful word. For me it invokes memories of bedrooms from the 1980s that were kitted out from top to toe in Laura Ashley and frills. For others the word implies something that’s a bit cheap or tacky. However, the contemporary version is anything but cheap. Brands such as House of Hackney lead the charge with their strong patterns and sumptuous floral designs. My favourite is the Artemis range, inspired by Diana Vreeland’s ‘garden in hell’ room in her famous New York apartment. This luxury comes at a price though, with lampshades costing anywhere from £375 upwards. Which, if you can afford that, go for it. But if, like me, your purse strings pull tight at the mere thought, read on – and I will show you how to make one at a fraction of the price.

What you’re looking for is a hard shade. It will feel like cardboard, when in fact it’s a sticky-backed PVC fire-retardant lining with fabric stuck to it. It’s great to find one with scalloped edges as this lends itself to the overall look. That said, fringes and trims make everything look amazing, so if a straight edge is all you’ve got, so be it. I find the best places to unearth these shades are charity shops and car-boot sales; eBay tends to be too expensive.

Once your shade has been sourced it’s time to figure out what you’ll cover it with. Think outside the box; this time I’ve used leftover Liberty fabric but in the past wallpaper, old dresses, wrapping paper and scraps of vintage fabric have worked well.

Step 1

Start by pulling off the trim (Image x). If by chance it doesn’t want to play, use a hairdryer to warm the glue up slightly. Next, carefully ease off the panels so they remain the same shape, but don’t worry about frayed edges, as these will get covered. You’re now left with a frame and eight panels. Now give the frame a scrub.

Step 2

To avoid waste, we’re going to reuse the old panels. The outside of the panels is now going to become the inside, so I decided to zhuzh up the floral design on mine by colouring over the design with a set of Sharpies, reminiscent of the Artemis range I adore (Image x).

Step 3

Turn the panels over and spray them with an adhesive (Image x). Arrange the panels sticky-side down on your chosen fabric and cut around each one (Image x).

Step 4

The next stage is to rebuild the shade, with the original outside on the inside. You’ll need some thin double-sided sticky tape and a glue gun. All the outside edges of your frame will need to be taped (Image x).

Step 5

Once completely covered, start positioning the panels around your shade, making sure you press them down firmly (Image x). For any edges not sticking down properly just add more tape, as these seams will be covered in trim.

Step 5

Heat up the glue gun and start gluing trim along the vertical seams (eBay is a good place to buy trims and fringes). Next glue the top edge, and then your fringe along the bottom. Finally, glue the last bit of trim over your exposed fringe edge, to create a neat and professional finish (Image x).

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Vintage fabric has a unique appeal. Aged French linen, 1960s bold graphics or faded floral chintz, they speak of fashion and trends of former times, as well as often having a special soft laundered feel. Many old textiles – such as tablecloths – were decorated to show off the beautiful embroidery or lace-making skills of the homemaker, which has now become a thing of the past. Whether you have metres of fabric or a few treasured remnants that you want to use, here are a few projects to show off these finds around your home.

Curtains

Often expensive in terms of making as well as fabric, learning how to create your own curtains can be a worthwhile investment (check out soft furnishing expert Gemma Moulton’s online course at Create Academy). If you’ve sourced a few metres of fabric that run short for your intended window, consider adding a contrasting trim along the bottom edge to extend the length. Vintage lace-trimmed linen tablecloths make beautiful net-style curtains, providing a bit of privacy while letting in suffused light. Attach with clip rings, as here, to avoid damaging the delicate lace.

Chair cover

Making a loose cover is a great option if you don’t have the skills or budget to reupholster an old chair. It also allows you to remove the cover for washing – ideal if you have pets and young children (or are perhaps partial to red wine or chocolate…). It also offers the opportunity to refresh your decor with a seasonal swap, re-dressing your chair: perhaps light-colour textured linen for a cool summer vibe (think vintage grain sack), swapping to a warmer tweed or rich velvet come the autumn. The less-fitted style of loose covers is perfect for informal settings, creating a casual chic – and is more forgiving than upholstery when it comes to a little less-than perfect handiwork!

Tablecloth

Any cotton or linen can be simply hemmed and used as a tablecloth, but make sure it is washable. Avoid using anything too precious where you’d worry about spillages leaving stains. As with curtains, a shorter length of fabric can be extended with a border around the edges or by adding delicate lace. Alternatively, it could be placed on top of a larger tablecloth for a contrasting layered look, where one is a solid colour and the other a pattern, or decorated wtih lace or embroidery.

Cushions

The ideal project for a small piece of fabric, a silk scarf, retro tea towel or perhaps material from a garment that’s not wearable, cushions are a great way to show off a special find. If you only have enough material to cover one side of your cushion, use another plain-coloured fabric – picking a colour to complement – for the ‘back’ of the cushion. Don’t forget to embellish with smart piping, chunky buttons, pretty lace, or go for on-trend ruffles around the edges. If you’re new to cushion-cover making, opt for an easy envelope style (see this tutorial from Hobbycraft) which avoids having to worry about fitting a zip.

Sink skirt

You may remember your granny (or great-granny) having one of these in her kitchen. Once considered old-fashioned (and not in a good way), the trend for cottagecore interiors has prompted the revival of the sink skirt, bringing it back to kitchens, bathrooms and elsewhere. While once it was used for practical reasons to hide unsightly plumbing under the sink, it’s now becoming a style feature in its own right, with cupboard doors being removed to accommodate one – and not just in rustic-style kitchens either. It’s still a great way to hide appliances for renters or if you’re in need of a thrifty kitchen makeover.

Pantry doors

Another look borrowed from farmhouse cottages of yesteryear. Pantry cupboards often had cotton fabric over individual doors, covered by chicken wire. The fabric allowed air to circulate, while the wire kept the food safe from pesky rodents. For a more contemporary look, attach your fabric behind the doors of a glass-panelled cupboard. You can go for a gathered style and hang from curtain wire top and bottom, or for a simple hack just attach a section of material with a staple gun, as above. When you’re tired of the look you can give your cupboard (and kitchen) a refresh with a different fabric.

Bunting

And don’t forget to stash away all those ‘waste’ fabric scraps left over from your other projects, as they just might make the perfect bunting! These fabric garlands bring a sense of festival fun to any space – strung alongside festoon lighting in the garden, hanging from shelving in a child’s room, or under the mantelpiece at Christmas. Depending on how polished you want your bunting to look, you can sew classic pennants (see Debbie Shore’s tutorial on YouTube) or just go minimal as here, with a mix of remnants simply cut to size and stitched to bias binding.

The post Ideas for using vintage textiles around the home appeared first on Reclaim Magazine.

Proudly photographing our homes has become a creative pastime for many interiors enthusiasts, sometimes leading to a new career with brand collaborations and more. For those new to photographing their home, we asked professional photographer Cathy to provide some advice. Based in Surrey, her work explores themes of home, sanctuary and the restorative powers of nature. She works with some of the UK’s leading interior and lifestyle magazines, as well as with creative brands and designers.

How did you get started photographing homes?

When I first started as a photographer I took on all kinds of work, but I soon decided that with my long-standing love of all things interior, it would be my dream to one day specialise in this type of photography. Then an opportunity to shoot house tours for Apartment Therapy came up and it all developed from there.

What do you most enjoy about it?

It’s a huge privilege to be welcomed into someone’s home. I find it endlessly fascinating to see how people express their personalities, passions and values in their private spaces, and how they create not just beautiful but highly functional and truly nurturing homes that work for them.

Which one home stands out the most?

I honestly can’t choose just one. My favourites are always very creative and individual homes, especially those belonging to artists: colour consultant and
artist Andrea Curtis’s home with all its shades of blues and greens, and artist Philippa Stanton’s quirky, colourful Brighton home (pictured opposite) are among my favourites.

If someone is taking a picture of their home on their phone, what’s the most important thing to consider?

The one thing I always recommend is to take care to get the horizontal and vertical lines right. This often means holding your phone at chest or waist level rather than eye level; you’ll need to play around to get it right but it really makes all the difference.

What’s the one most common mistake?

The best shots can take time to achieve, so I’d say the most common error is to rush things. Before starting to take a photo, if you take time to tidy away any clutter, consider how best to frame your shot and what items to include, you’ll achieve a much stronger image.

Is it better to set up a styled shot?

The best photos tell a story, so think about what story you’re trying to tell, and choose your props and how to put them together accordingly. I’ll often include something natural such as flowers, foliage or seashells and something vintage, both of which can add texture and character.

What’s your view on image filters?

Enhancing images is an inherent part of the photographic process – it’s how you ‘develop’ the photo and can help you achieve an appealing and impactful final image. Having said that, I personally like a photo to look natural so would advise using filters with a light touch.

Natural light or artificial lights on?

Natural light, every time! It’s always best to turn overhead lights off, although if you’re capturing a cosy corner, for example, lighting a table lamp will create a lovely warm atmosphere.

If someone wants to progress from using a phone, which camera would you recommend?

It will depend on their budget but also on what else they’d like to use the camera for, which will determine things like how heavy it should be, or whether they want to be able to change lenses. I always recommend finding a local camera shop, as they will give advice and you can try cameras out before making the decision to buy. If they sell second-hand cameras even better, as you can often pick up equipment in pristine condition at a more affordable price.

The post How to take the best photos of your home appeared first on Reclaim Magazine.

 When did you realise you were a creative soul?
I’ve always loved drawing and making things, particularly out of fabric,  but it wasn’t until my Art Foundation Course that I felt like I could truly explore my creativity. Discovering that printed textiles and surface pattern design encompassed so many forms and materials was just so exciting! I also have an M.A. in printmaking and I’ve absorbed all these different influences over a long period of time. My love of colour is definitely reflected in the flowers we grow, the clothes we wear and our home furnishings.

The post June Star Maker: We Grow Colour appeared first on Reclaim Magazine.

Sian noticed a contrast between hand-dyed fabrics and commercially manufactured ones and started experimenting, making natural dyes using plants and flowers. She went back to basics, collecting plants such as gorse, camellias, rose petals and berries, and boiling up mixtures in her kitchen, developing soft, romantic hues of pink, grey, gold or cream.

The process itself is low impact. Everything is done by hand on a small scale and she works to her own secret recipes, producing ribbons with a contemporary edge. ‘I started out experimenting in the fruit and veg department of my kitchen, and using things like tea and coffee. I learnt through trial and error to develop a small palette of colours and every season I expand on that,’ she explains.

She compares hand-dyeing to cooking. ‘It’s all about the process of these chemical reactions and that development of subtle colour. And just as people like to know where their food is sourced from, there’s a story to where these colours come from,’ says Sian, who explains that plant markings show up on the fabric and that appeals to her clients – often florists, stationers, cake-makers and wedding stylists. ‘All these imperfections in the ribbon have their own natural beauty.’

After spending a day gathering plant material, she produces a dye bath on the hob in her home studio. The petals or leaves are made into a solution with water, then gently heated up. ‘It’s the same principle as making a cup of tea,’ she says. Once the colour has been extracted, she adds a metallic fixer or mordant and soaks the fabric in this bath. ‘Then I just let the magic happen – sometimes I’ll leave it in for hours, depending on the depth of colour I’m looking for.’ Once dried, she frays each ribbon by hand, irons and hand-spools them onto a sustainable wooden reel. It’s time-consuming and far from high-tech.

‘People are often surprised by natural dyes,’ she says. ‘To me, it’s like alchemy – out comes something beautiful and there’s such a sense of wonder and delight! Naturally dyed fabric is imbued with nature; it has subtleties and shading and it changes with the light, just as plants and flowers do.’ And therein lies the magic.

Sian’s simple ribbon-dyeing recipe

Fancy having a go? This is a contact-printing recipe that’s easy to do. Note that the colours achieved may not be permanent, and will fade over time. Many people are sensitive or allergic to different plants and some plants are poisonous, so Sian advises researching any you are unsure about. Gloves are recommended when handling plant matter, and always use dedicated equipment for dyeing, rather than your usual cooking pans.

• Gather some plant materials from your kitchen and garden. Use berries in season (raspberries, blackberries or redcurrants), herbs, flower heads and petals from roses, geraniums, cornflowers or anything you can find that is safe to use.
• Take some strips of pure silk, either ribbon or torn strips, and wet a little with a water spray. It is important that the fabric is pure silk rather than a synthetic fibre, to get the best results.
• Lay the silk out on a flat surface and arrange your plant materials and other foraged items onto it. Don’t worry too much about creating a pattern; much of the joy is in experimenting! Roll the silk up and bind with fine string or dental floss.
• Pop the bundles into a bowl of diluted vinegar solution (2 teaspoons of vinegar to 500ml water) and give them a little squeeze to make sure the fabric is thoroughly wetted.
• Using a simple steamer, bring the water to the boil, pop the bundles inside and leave for 5–10 minutes. Alternatively, you could create a mini solar oven: put the bundles in a glass jar, seal and leave for a while for the colours to develop.
• Carefully remove – they will be hot! – and cool a little before unveiling your results. Air dry.

WORDS: ANNA TURNS

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