Home. Fashion. DIY. VintageKC WINTER 2016 | VOL. 5 ISSUE 3
‘LIFTED SPIRITS’
Gourmet cookware, bakeware & a treasure trove of modern kitchenware available in 5 unique cottages in a quaint country setting! COCKRELL MERCANTILE CO.
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2 VINTAGEKC WINTER 2016
Contents WINTER 2016 | VOL. 5 ISSUE 3
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14
learn 38 DIY DIVINATION Quan Tracy 26 BUY AND SELL Cameras do 30 DIY
31
06
community 06 VINTAGE MAKERS Dusty Shelf Antiques 10 VINTAGE DINING Henry’s Tea Room 28 MAKERS Hammerspace 34 MAKERS Maggie’s Corner inspiration 14 VINTAGE SPACES ‘Lifted Spirits’ 21 VINTAGE FASHION Hats Bits and baubles craft 31 VINTAGE RECIPES Cold weather favorites
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VINTAGEKCMAG.COM 3
^ from the publisher
staff
T he publication business isn’t like a lot of other businesses. Few other busi- nesses so readily deal with open-ended creativity within certain bounds of delivery while feeling increasing pressure from technological change that affects the ability to stay in business. Print is in survival mode as it faces the rivalry of the Internet. Yet, publications continue to be launched, some very distinct in what they of- fer readers and advertisers. VintageKC is one such publication, founded by Erin Shipps some four years ago. Erin did an outstanding job in pairing ideas from VKC contributors to readership predilections. Acknowledging her work and dedi- cation to VintageKC made it difficult and, at times, perplexing for me to step into this new role as publisher. It was also unpopular to the majority of former VKC contributors. The jury is still out as far as readership and advertiser temperament. In trying to decide what “vintage” means, I came up with a sort of mission statement. VintageKC seeks to inform its readers of the styles, fashion, technol- ogy, art and crafts of the past and how they fit in the contemporary world of people and things. It’s not perfect, I’m sure, in outlining our objective. But it is a useful guide as we seek people and ideas to write about, and present visually on the page and in social media. With this issue you will see a few familiar names as contributors and a number of new names. It is my hope that what we offer here and in the future upholds the vision Erin Shipps nurtured during her period as editor. All I can do as publisher is try, and to encourage our contributors to give their best. You, the reader, and the advertisers are the judge. I welcome your com- ments, good and bad. ^ The Same But Different
Editorial Calli Green, assistant editor/fashion director calli@vintagekcmag.com Reese Walley, editorial/sales assistant reese@vintagekcmag.com Advertising
Jackie Grawe, sales director jackie@vintagekcmag.com Jacquel Buschhorn, advertising rep jacquel@vintagekcmag.com Melissa Galgan, advertising rep melissa@vintagekcmag.com Cheri Nations, advertising rep cheri@vintagekcmag.com Design Emily Bowers emily@vintagekcmag.com Publisher Bruce Rodgers publisher@vintagekcmag.com
photo graphy Patti Klinge Sarah Teresinski Corbin Crable contributors Maggie Bonanomi Beth Brubaker Quan Tracy Cherry Melissa Cowan Corbin Creble Lauren Hedenkamp Rhiannon Ross Sarah Teresinski
VINTAGEKC VOLUME 5, ISSUE 3 IS PUBLISHED QUARTERLY BY VINTAGE MEDIA, LLC, IN KANSAS CITY, MO, AFFILIATED WITH AFFINITY ENTERPRISE GROUP, COPYRIGHT 2016, VINTAGE MEDIA, LLC. ALL RIGHTS RESERVED. REPRODUCTION IN PART OR IN WHOLE WITHOUT WRITTEN PERMISSION OF THE PUBLISHER IS STRICTLY PROHIBITED. PRINTED IN THE U.S.A.
Bruce Rodgers publisher
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Cover photo by Patti Klinge
4 VINTAGEKC WINTER 2016
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community ^ makers
Michelle Myers, Chuck Myers and Lonnie Johnson
From Barn Wood to Farm Table
by Calli Green
M aybe you’ve seen them— at Green- wood Mercantile or As Time Goes By in Greenwood, MO or Good Ju Ju or Hickory Dickory in the West Bottoms — or maybe not. The “not” could be because these old barn wood Farm Tables by Chuck and Michelle Myers, and builder Lonnie Johnson, fromDusty Shelf An- tiques & Repurposed Furniture in Lee’s Summit, MO don’t stay long on a shop’s floor. Michelle: I’m a special education teacher. The students and teachers I work with inspire me every day. And I had always been an antique/ vintage collector, even when it wasn’t as popu- lar as it is today. The tables had always been in the back of my mind from the beginning. I just knew my husband wouldn’t have the time because of a full time job that was requiring travel- ing. Now, he has become the chief bench maker, because the tables just naturally lend themselves to a bench that uses the same wood as the top. Many people like benches on one side, then they’ll have me re-purpose old chairs that they can use on the other side. We also restore or re-purpose old pieces to be beautiful and loved again. I always try to pass on savings to my cus- tomers. The cheaper I can buy, the cheaper I can sell. This allows me to sell more quantity. VKC: What motivated you to start your business?
I have lots of repeat custom- ers. They trust that I’m giving them a qual- ity product as affordable as I can make
it. I never sell anything that I wouldn’t put in my home. This continues to grow my business. I also surround myself with quality people. VKC: Where do you find the materials to build your tables? Michelle: Finding old barns isn’t as easy as you would think. I have a young man, Josh, in Bates
County, MO who contacts farmers, but mostly he runs across people who need old barns torn down to build new ones. My husband [Chuck] and I go to the sites and pick the wood up by the trailer load. We use those massive beams as table legs. We also purchase wood from other people who have torn down barns. The wood is stored at our table builder’s [Lonnie Johnson] house. VKC: How did you meet table builder Lon- nie Johnson?
Michelle: We met Lonnie through some finish carpentry work he was doing for us on our home, and knew he was perfect for our busi- ness. Lonnie’s attention to detail and quality of construction is above and beyond what’s ex- pected. He is a creative genius, and early on we decided that no two tables should be alike. So, when he constructs a table it may be the design on top, the bolts, the skirt, or the subtle edging differences; but they’re all different. This way each person who purchases a
6 VINTAGEKC WINTER 2016
tin can lid to cover a hole in the wood to keep wild animals from getting in. Lonnie used that board right in the middle of the table, rusty lid and all. The table sold within a few days of setting it in the store. It’s so validating to watch others appreciate these tables and their differ- ences as much as we do. Michelle: My finish process takes from 5 to 7 days, and it’s proprietary. You won’t find splinters on our tables and most of the boards are never touched with a sander. Each board is hand waxed. Sanding the wood would ruin the beautiful grain and saw marks that make each board unique. These tables are meant to be used in homes. They are fully protected [and they make fabulous blanket forts in homes with chil- dren]. That’s why the splinters are all waxed out. Many of them end up in my fingers! I can’t tell you the number of customers, or people who have seen our tables sitting in stores, who say, “We don’t know what it is about this table but we just can’t stop touch- Opposite page: One of Michelle’s favorite fin- ishes, because of the red barn paint still left, on one of Lonnie’s Chevron designed tables. Top: Perfect for entertaining on a back porch too, the crew has made many tables for outside spaces also. Left: Lonnie’s distinct building techniques add character to each table.Right: Each ta- ble is different, not just with the finish and stain, but the way they are designed and the wood is laid. This table design incorpo- rates horizontal and vertical boards. VKC: What else do you give special attention to?
Many times the first thing I have to do is use tweezers to pick the livestock hair out of the beams that we use for legs. This comes from years of animals using them as a scratching post. We don’t remove rusty bolts, gate hooks, square nails. Those are left and we construct around them. I had to laugh. In the beginning, Lonnie struggled with me wanting all that old hardware left and incorporated into the tables. Now, one of the last tables he constructed, he used a barn board that the farmer had nailed a
table knows theirs is an heirloom that no one else will have. Lonnie and I have both used some creativity for tables, but we’re finding a few styles that most people are drawn to. It’s the wood that gives them their beauty and life. VKC: How selective are you in picking the wood? Michelle: Very. Once a table is constructed, I pick it up and bring it back to my house.
VINTAGEKCMAG.COM 7
community ^ makers
ing it and running our hands across it.” That’s the finish I’m looking for. You can’t get that from a table constructed from new wood. If I had to pick one thing that I hear over and over from people, it’s that. People just want to touch them. VKC: What are some of the best stories a table owner/buyer has shared with you? Michelle: I don’t know that I could pick just one. A single mother, whose husband left her, wanted one of my tables to be her first “starting over” piece of furniture. A sweet couple from the West Bottoms area called me on my cell phone a few hours after they had picked up a table and placed it in their home. The husband said one side was high- er than the other three. I assured him that Lonnie, my perfectionist builder, checks the tables after he builds them. I check them for a week while I’m all over them, finishing them, and my husband checks them before we load them in the truck to take to a store. The husband persisted very nicely that he was just sure that something was wrong.
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because they love them so much. One couple was going to remodel their kitchen and decided to design the entire kitchen around the table. VKC: What do you love about working in the Kansas City metro area? Michelle: Far and away, it’s the people. I’m so glad you said the KC metro area because my husband and I were both raised on farms south of KC. People in this area work hard for their money and they appreciate quality. This suits me just fine. We’ve de- livered tables to folks all over the area and made so many friends who continue to stay in contact. I love when people send me pic- tures of something I’ve sold them in their homes, and they’ll also ask my decorating advice about other places in their homes. The people I meet make this so fun. Kan- sas City folks are just genuine. ^
The couple drove the table back to the West Bottoms and my husband looked at it. Sure enough, we had all missed this. One leg was longer. We fixed it, and drove it back to their house the next day, thankful that we hadn’t passed them off as “crazy customers”. My sweetest memory is a prin- cipal at my school, whose husband was a minister, had to leave and moved to another state. My staff all took up a collection to defray some of the costs and Lonnie made a table with the barn wood showing on top and white paint on the un- derneath side. We all took sharpies and wrote our favorite memories of her underneath the table we gave her for a going away present. She cherishes the table and sends me pictures of her and her friends lying on the floor reading the underside of her table. I’ve had many customers cry when they see their tables finished
Opposite page: Michelle loves seeing how owners decorate their tables throughout the seasons, and because of the neutral stains, anything goes. Above: Michelle and Lonnie’s favorite table sits in Mi- chelle’s dining room in Lee’s Summit. She loves pairing the table with mismatched chairs of the same height and benches.
Dusty Shelf Antiques & Repurposed Furniture can be reached at 816-809-0985.
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community ^ vintage dining
Henry’s Tearoom
The magic of yesteryear at Henry’s Tearoom by Rhiannon Ross
W hen I was five years old, I’d skip Nora’s tiny house in southwest Missouri, bellowing: I’m late, I’m late for A very important date. No time to say hello, good-bye, I’m late, I’m late, I’m late. Each time I passed the front porch where Grandma sat rocking, I glimpsed her amused grin. I was The White Rabbit in Alice’s Adven- tures in Wonderland, clasping my imaginary pocket watch attached to my imaginary, red, plaid waistcoat. I was on my way to tea! Teatime, a half-century later, still holds its fairytale appeal for me. There’s something magical about taking time out to sit and sip sweet, steamy, amber liquid and nosh on little cakes and sandwiches. Time out for polite conversation and contemplation. The tearoom at Henry’s Antiques and Col- lectibles, in historic downtown Lee’s Summit, offers an enticing opportunity to participate in the ritual of “taking tea.” Housed in a beautifully restored, old red-brick church, the white cross atop the lantern tower may now stand for the “T” in tea. Upon entering the white, double doors, one enters a wonderland of polished wooden staircases and floors, arched windows, and nooks and crannies. Antiques and vintage wares are creatively staged on each floor. One will find small delights such as a tin pail filled with porcelain and red-handled, wooden rolling pins or a window valance featuring dainty, embroidered hankies tied to a clothesline. And, of course, vintage tea sets. Spend time wandering the two floors in search of treasure. Wash your hands with a around the perimeter of my Grandma
and donning fabric tablecloths and steeple- peaked, folded cloth napkins. Seating con- sists of slipcovered chairs or oak, pressed- back chairs plumped with toile cushions. A sense of formality pervades. No Mad Hatter chaos here. Etiquette is important, with proper silverware placement (hint: the fork situated above your plate is the dessert fork). Tables settings include clear glassware, tiny silver salt and pepper shakers, and sun- flower centerpieces. Tea at Henry’s consists of a light-lunch, served with complimentary hot, cinnamon tea and tiny squares of shortbread. A refined gentleman named Will recites the day’s prix fixe menu. A novice may mistake him for Henry, the establishment’s namesake and she
scented, sea salt scrub in one of the quaint bathrooms. Envision what the church looked like when it was filled with worshippers on Sunday mornings. Imagine angelic voices emanating from the choir balcony. But know that soon, aromas will waft from the basement tearoom to dance in your nos- trils and entice you to descend the staircase. Here, swirled, gold-stenciled wallpaper adds a Victorian vibe and old photographs collage the yellow gold painted hallway. Hutches hold china tea cups; a commode boasts a silver tea service. Chandeliers glisten like icicles. Mirrors add an Alice in Wonderland sense of possibility. The tearoom is comprised of five, small rooms, each filled with tables of varying sizes
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HENRY’S ANTIQUES AND COLLECTIBLES 401 SE Douglas St., (Corner of 4th and Douglas Streets) Lee’s Summit, MO Phone: 816-524-0057 Website: henrystearoom.com Lunch served Monday through Saturday, 11 a.m. – 2 p.m. $16.95 plus tax and gratuity Reservations strongly encouraged.
Tea at Henry’s consists of a light lunch served with complimentary hot, cinnamon tea. The menu features salad, soup, croissant, a choice of four entrées, beverages and dessert.
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community ^ vintage dining
would be wrong. For Henry is the last name of owner Charla Henry. The menu features salad, soup, croissant, and choice of four entrées (two kinds of quiche, panini/sandwich, and Henry’s Signa- ture Chicken Salad), and choice of beverages and decadent desserts. Meals, prepared in the onsite kitchen, reflect seasonal changes. Our meal began with a spinach salad drizzled with vinaigrette; warm croissants served with real butter; and creamy pump- kin soup. My tea party companion, pho- tographer Patti Klinge, ordered a fluffy, arti- choke parmesan cheese quiche with flaky crust. I couldn’t pass up the opportunity to taste an entrée billed as “signature,” so I or- dered the chicken salad. Crisp, tart bites of green apple and crunchy, sweet pecans were a tasty surprise. I liked that the recipe was moist, not weepy, with mayonnaise. Will returned to tempt us with a silver tray of six desserts – chocolate cake with mocha icing, bread pudding, pumpkin swirl cheese- cake, peanut butter fudge brownie, carrot cake and applesauce cake. Patti selected the cheesecake and I chose the bread pudding drizzled with warm lemon sauce because I’m a sucker for anything lemon. Like the rest of the meal, they were delicious. Our only complaint was that portions were modest; however, the accumulation of each course was surprisingly filling. I think between us, we downed two pots of tea. My five-year-old, White Rabbit self, was very hoppy. ^ Writer Rhiannon Ross collects vintage tea- cups and saucers. Her favorite teacup features The White Rabbit.
The staircase lead- ing to the upstairs antiques’ area of Henry’s Tearoom is decorated in seasonal themes throughout the year.
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217 E. Broadway St., Excelsior Springs, MO 816-637-9062 Open Tuesday - Saturday 10-5 blissonbroadwayst
MONDAY-FRIDAY 10-5 SATURDAY 9-5 5622 JOHNSON DR., MISSION, KS 913-515-4941 SWEETANNIESHOME@GMAIL.COM w w
VINTAGEKCMAG.COM 13
^ vintage spaces
NOT YOUR DADDY’S
New Crossroads Distillery Crafts Artisanal Spirits in Renovated Stable by Rhiannon Ross
I n the late 19th century, at 17th and Cherry Streets, the yeasty aroma of bread rising from the corner bakery permeated the pre-dawn air and mingled with the pungent odor of delivery horses waiting in the two-story, red-brick stable across the street. The days of equine-delivery bread service have long passed in Kansas City. Today, in the trendy, up-and-coming neighborhood known as the East Crossroads district, one can still catch a whiff of fermentation. This time, it rises from an unlikely space: the renovated, former stable at 1734 Cherry St., the home of Lifted Spirits Distillery, which opened its doors in November. But this ain’t your grandpa’s backwoods’ moonshine. Nor is it your daddy’s commercially manufactured alcohol. Here, business partners Kyle Claypool and Michael Stuckey craft artisanal gin, vodka, whiskey and traditional absinthe. “We’re melding the old tradition of distillery with the science of it,” Claypool says. “Science proved there’s a better way.” Claypool, 30, ambles across the painted concrete floors of the 10,000-square-foot, renovated space in tennis shoes. A lanky man who holds a degree in marketing, he gives a tour of the first-floor distillery with the energy of a long-legged colt. Nearby, in a small office — perhaps a one-time horse stall –—Stuckey, 33, sits tucked
under his desk. A former pastor and real estate agent with a degree in theology, he scans a computer screen. Fittingly, Stuckey came up with the company name. “We’re creating community,” he says, “a place where people can feel uplifted.” Both men are married fathers boasting four children between them, all under the age of four (and one a newborn). They met one another about eight years ago through their wives — Gina Clay- pool and Bekah Stuckey— who have been besties since high school. The couples met for weekly card and board games. Claypool, who experimented with infusing crafted spirits, would share his intoxicat- ing concoctions. His creations were popular; his passion real. Before long, the entrepreneurs and their wives began to ask, “Why not open a distillery?” The search for a space was a short one. In 2014, when Claypool and Stuckey found the building on Cherry, they fell in love with its good “bones,” location and history. However, more than simple renovation was needed. For the past 35 years, the building was used to house overflow storage for Architectural Salvage, a reclamation and antique store in Kansas City’s West Crossroads.
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Michael Stuckey and Kyle Claypool
VINTAGEKCMAG.COM 15
“It was filled, nearly wall-to-wall, floor-to-ceiling, with old win- dows,” Claypool says. Undaunted, they signed a long-term lease with Abbot Properties and began the 18-month process of renovation. “But rehabbing a 130-plus (year-old) building with old gas and water lines is a challenge,” says Claypool. “The building was in really rough shape.” Claypool then pauses, as if counting into the hundreds when asked to list all the challenges the building presented while at the same time trying to retain its historical ambiance. Today, the scrubbed space feels cavernous while keeping to what one supposes was its original look. Claypool says, “media blasting” the walls other interior surfaces, instead of sandblasting, helped with the restoration look. “All the brick and wood were media blasted. It’s a gentler process than sand using glass beads and water for restoring the original look and feel.” The distillery features brick walls and exposed beamed ceilings with original timbers on both floors. Natural light enters the many, aligned windows where horses once peered out into the streets and fresh breeze aerated the stalls. Vases of wheat decorate several win- dow ledges. Cable spools found in the alley are repurposed as tables. A 20-plate silver still surrounded by glass for viewing, lives on the first floor of the distillery. Locally sourced grains from Wellsville, KS – a specific strand of Kansas Red Winter Wheat and rye – are deliv- ered in the back, where it is then milled, mashed, fermented, distilled and aged in barrels, all on site. A wooden staircase leads to the former hayloft, where hay bales were once hoisted from the ground up through the second-floor win- dow. The bales would drop through a hatch to the first floor to feed hungry horses. Today, The Hayloft – as it’s cleverly named – serves as an event space that accommodates about 200 people. An ADA- approved lift ferries those who do not wish to take the stairs. In addition, windows from outside of the building have been added to inside of the loft so customers can look down and view the distill- ing process below. A cocktail bar and an infusion bar are located at the front of the distillery where customers may both smell and taste. The infusion
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Above: A Toledo industrial-sized scale sits next to the infusion shelves.
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The infusion shelves are con- structed from repurposed barn wood from Kearney, MO.
VINTAGEKCMAG.COM 17
Lifted Spirits allows customers to select among dozens of botanicals to infuse spir- its they craft at the distillery. Locally sourced grains from Wellsville, KS are milled, mashed, fermented, distilled and aged in barrels all on site.
18 VINTAGEKC WINTER 2016
A cocktail bar and infusion bar are located at the front of the distillery where patrons can both smell and taste.
process allows customers to select among dozens of botanicals – hibiscus, lavender, lemon peel, to name but a few – to infuse spirits they craft at the distillery. “They can infuse their own vodka and make their own gin,” Clay- pool says. All gin first begins as vodka. The infusion shelves, standing next to a Toledo industrial-sized scale, are constructed from repurposed barn wood from Kearney, MO, obtained through Got Barn Wood in Lenexa, KS. Also, the bar was fashioned from reclaimed wood. Tasting Room Manager and Head Mixologist Jason Dowd, says tasting is essential to the overall experience at Lifted Spirits. “It allows people to fall in love with different craft beverages.” “We’re about transparency and authenticity,” says Claypool, who will lead daily tours. ‘It’s also about the sensory experience. People can stick their hands in the grain and smell it and feel it. It’s the sci- ence of smelling and tasting. “Authenticity seeps into everything we do and produce. It all comes from local brains, from the renovation to the distilling — all from the people in the building.” Lifted Spirits Distillery opened to the public on Dec. 2. For more information, call 816-866-1734 or go to www.liftedspiritskc.com. ^ Rhiannon Ross gulped her first (and last!) mouthful of moonshine from a backwoods’ still in southern Arkansas. Firewater, she says, accurately describes its taste unlike the smoothness of a Lifted Spirits’ product.
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^ vintage fashion
by Calli Green For generations, etiquette and art have been the driving force for headwear. Hats were not only created for uniforms, or to protect from the elements, but were an art form expressing fashion and lifestyle. We like to think we’re embracing that art form, and giving a new look to these unique vintage finds. This winter, top things off right with the perfect vintage hat for holiday parties, the perfect date night on the Plaza, or the flawless match to your winter coat.
Photos JONNY HACKETT, NO. 9 PHOTOGRAPHY Hair ALYCE WALTERS Makeup ASHLEY NELSON, ASHLEY NELSON STUDIOS Models ABIGAIL SCHIF, LACEY LEE, VOICES&; SHELBY SMITH, TALENT UNLIMITED Apparel RE-RUNS VINTAGE APPAREL & ACCESORIES Concept and Styling CALLI GREEN
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^ vintage fashion
An icon of the 1950s, the pillbox hat is elegant and refined. Through the years, it has been worn to fit any occa- sion, be it day or eve- ning wear. The pillbox hat is always a go-to accessory because of its versatility. Ornate beading makes this look, a piece that can be easily dressed up or be worn with a simple look. Pair an ornate pillbox hat with your looks this winter as a statement piece.
Feltedwool pillbox hatwith veil
Worn straight or at an angle, the pillbox hat sometimes featured a net in the front, cover- ing the eyes and, at times, the entire face. The pillbox hat, created in the ‘40s, became more ornate as time progressed. By the late ‘40s/early ‘50s, the hat was found at many price ranges, and in many styles. This hat was the most rec- ognized and sought after hat for women during those decades. Because of the rich brown, this hat gives plenty of room for variety, to be paired with many options this winter. Pair your brown pillbox hat with a neutral coat, or your favorite vintage dress this season.
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Elements of the Victorian era bonnet have peeked through in the ‘40s style bonnet hats. Because of the shape, and the way the hat sits on the center back of the head, the bonnet hat name came about. These hats usually have a small brim enclosed around one side, or a veil. This style is perfect for day or night. Designed with lightweight straw, and a lace veil, it is comfortable enough for all day wear, or to pair with you’re a dress, and make a statement in the evening. STRAWBONNET HATWITH VEIL ‘40 s
The 1920s/’30s Art Deco style often influenced the styling of the cloche hat, and in some cases, ac- cents were designed into the cloche hat to suit each individual. Some cloche hats were finished with a ribbon in the form of an arrow, indicating a woman was FELTEDWOOL BRIMLESS CLOCHE (BELL) HAT ‘60 s
single, but that her heart was taken. A knot was a sign that the woman was married, and a colorful large bow was an indication that the wearer was single. When the bell hat made it’s later appearance in the ‘60s, modern accents like this leather strap were added for trend purposes. This cloche is very ver- satile and could be paired with just about any style this winter. Grab a brimless cloche in a neutral color to rock with some skinny jeans and booties, or your favorite scarf and flats.
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^ vintage fashion
Mink fur brimless cloche (bell) hat ‘60 s
Derived from the French word “bell” because of shape, cloche hats made their appearance in the early 1900s and vastly evolved through the ‘60s. In the earlier years, cloches were made strictly in a bell shape, but as they evolved, we began to see them without brims and in many different fabrics. This cloche is perfect for our chilly Midwest winters, and the winter white fur definitely makes it stand out in a crowd. Pair a cloche hat like this with your favorite winter layers this year to stay warm and to stand out in the crowd.
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The 1940s cartwheel hats were cre- ated without much decoration. Most were made with straw and possibly adorned with a single ribbon. The 1950s versions were created with much more emphasis on less simplic- ity and more decoration, such as feathers and flowers. This hat provides a timeless FUR CARTWHEEL HAT ‘40 s
look and is perfect
paired with a simple winter dress. Pair a cartwheel hat like this with your dress, vintage or modern, this winter for a lightweight yet warm state- ment. ^
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shop ^ vintage cameras
Antique Cameras A vintage touch to any living space by Corbin Crable
T he first vintage camera my father, Greg Crable, bought wasn’t intended to sit on a shelf, unused but appreciated. Nor was it supposed to actually be used to capture and preserve special moments. It was bought with the intention to be used as a child’s plaything. It was the early 1980s, and I remember that first camera, an Ansco Readyflash, kept downstairs in our family room. Dad had removed the blue flashbulb, as well as any smaller parts that might prove to be prob- lematic for a young child to handle. But he kept the bright red shutter lever, and I was mesmerized by the clicking noise it made — the same noise that is now so familiar to me as a journalist. The Ansco Readyflash is just one of the more than 40 cameras now in Dad’s collec- tion — and they’re still quite easy to find at any of the antique stores, consignment stores and flea markets that call the Kansas City metro area home. The Readyflash, developed in the 1950s, wasn’t as common as the Brownie box cam- era, which Eastman Kodak had invented at the turn of the century. The camera’s simple, square design made it a no-frills addition to the post-war photography industry, and its use skyrocketed in the middle of the 20th century. Early Brownie models were sold for only $1 – now, they can be found at antique stores (and online) for anywhere from $10 to $50 for the rarer models. “I found the Readyflash at the Veterans Thrift Store on Minnesota Avenue in Kansas City,” Dad told me one Saturday afternoon as he rifled through his collection. “After
A stack of Brownie cameras sit in the kitchen of Crable’s home. One of the more common cameras, they are widely available at antique stores, thrift shops and flea markets throughout the Kansas City metro area.
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Clockwise: A flapper girl appears on the cover for an instruction manual for a Model 3 Victor Cine Camera. The camera was among some of the first to be manufactured for the general public in the early 1920s. Greg Crable of Olathe inspects several of his cameras on Nov. 12 at his home. He says he would eventually like to build display shelves in his study so he may properly display them. From simple box cameras to those with accordion-like, unfolding lenses, to heavier and more complex home movie cameras, most antique cameras usually cost between $10 and $50 in antique stores and online, making them affordable decorative pieces for the home. A detail of a Kodak camera bag shows faded leather with the company’s logo in a script font.
in any antique store. In addition to still-image cameras, home movie cameras remain just as popular for collectors. However, unlike their still-image counterparts, many early models, such as the Victor Cine camera, are now worth hundreds of dollars in good condition. The Victor Cine was among the first home movie cameras, hitting the market in 1923 (three years before the advent of the “talkie”). By 1923, the medium of film itself had existed for a little more than 30 years. Dad’s Victor Cine, besides being in good condition, even came with its original instruc- tion manual, complete with the image of a smiling flapper girl on the cover. Talk about a great conversation piece made even better. Of course, these cameras all look resplendent when displayed in your living room or study, but many vintage camera owners actively use the pieces in their collection. If properly cared for (and depending on age), the camera can still take striking images that will make you feel more like a professional and an artist. Be sure to research what type of film your camera will need. If you have a newer model that takes 35MM film (basically, anything made
that, I just started accumulating cameras. “To me, these cameras look like little works of art,” he continued. “There’s aesthetic beauty in the simplicity of their technology. You can see all of the parts move and see how they work together. Now, today, everything is done and saved on a small chip.” Though camera technology has been in existence since the early 19th century, the collection of early-and mid-20th century cam- eras for decorative purposes has seen a renais- sance in recent years. The oldest I found, both in my father’s collection and in my canvassing of Johnson County area antique stores, was a Hawkeye Shutter, stamped with a patent year of 1910. The Hawkeye Shutter features a fold- ing, accordion-style cartridge, characteristic of early 20th century cameras. The design of cameras produced and sold in the 1920s and 1930s is truly artful. The Kodak Jiffy is just one of many. The Art Deco design is sure to appeal to not only photography enthusiasts, but also anyone who enjoys the clean lines of Art Deco styles. The Kodak Jiffy 620, produced between 1933 and 1937, is one of the more common generations you’ll find
after the mid-1930s), you’ll have no problem. Nearly all of the film manufactured for cameras made before that decade has likely been discon- tinued. After the work of shooting is finished, it may be difficult to find a merchant to develop your film, depending on your camera’s age. Pro- cess One Photo and Digital Imaging Lab, which operates at 95th and Metcalf in Overland Park, has been in the business of developing older film for more than 30 years. Vintage cameras’ wide availability, low cost and ease of use make them an ideal venture for both the photography enthusiast and the collector. “I plan to display my cameras, definitely,” my father told me on that same afternoon, admitting that it was at the top of his list of post-retirement home projects. “I really think they have artistic value.” I’d say there are many others out there who would agree with you, Dad. ^ Corbin Crable of Olathe is a journalism profes- sor at Johnson County Community College. In his spare time, you can find him at antique stores, digging around for tintypes to add to his own collection.
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community ^ makers
Hammerspace A gymnasium for makers by Melissa Cowan
Beck and Dave Dalton
O utside of Hammerspace, two side- by-side buttons read “Doorbell” and “Auto Destruct.” We take our chances, push the left, and “I” alerts the staff of our arrival. I doesn’t draw a paycheck at Hammer- space, she’s not an employee, a member or even human. She’s an Interactive Real- time Intelligence System that welcomes guests over the loudspeaker and warns them of the eminent robot revolution, led by her and the many other smart machines and technologies that fill this community workshop on East 63rd St. in Kansas City, Mo. Dave Dalton, the proprietor of Hammerspace and lifelong maker, greets us wearing a white lab coat — like Dr. Frankenstein, preparing
an award ceremony that evening and a partially finished 3-D printed prosthetic hand, being made for a boy who was born without his. “Makerspaces give every individual a level playing field for pursuing their ideas,” Dave said, no matter how complex or silly a project — like the Push Button, Receive Bacon machine, con- structed from a porcelain hand dryer. Opened in 2011 with wife Beck — a maker in her own right —Dave describes Hammer- space as a gymnasium for makers, crafters and inventors. Call it a collection of keen minds with access to various manual and digital equipment, all for a monthly or yearly fee and materials for additional low fees. “There’s no such thing as too many tools for a creative person,” Dave said. Any project you can imagine — from paint, paper and textiles; to costume construction, special effects makeup and prosthetics; to flying drones, submersible robots and even biomedical research — you can create and explore here. They also offer classes and one-on-one mentorships. “We used to pass on skills from person to per- son,” Dave said. “[But] at some point, the way we do craft changed. Instead of having guilds and collections of knowledge, it became you go and
to build another monster — but only to protect his Rick and Morty T-shirt from lacquer. Though we arrive at 11 a.m. sharp, when the space opens to non- members, there are already works in progress: an intricately cut metal design, rows of wooden plaques for
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There’s a wackiness about Hammerspace both is what’s being made and who’s making it, including Dave Dalton and his bomb
White House invited Dave and 200 of his peers to the Office of Science and Technology Policy to discuss federal policy regarding
get a degree from a university and your employer expects you to already know everything about the thing you do.” Dave established Hammerspace to bridge this knowledge and skill-sharing gap — he has experienced firsthand the importance and impact of real-world learning and practice. At 17, Dave became a blacksmith apprentice after his future master smith complimented a piece of jewelry he made in his high school shop class. But his passion to create started much earlier in life as he watched his aeronautical engineer grandfather build a steam engine for a Ford Pinto. “I got the idea from a young age that when you want something, you just make it,” Dave said, and he is not alone in his ideology. Technological ad- vancements have revived this belief and sparked the maker movement. High-quality desktop 3-D printers, computer- controlled routers, and other costly equipment and software that were once only attainable by large corporations have dropped significantly in price. Now, small organizations like Hammer- space can afford cutting-edge tools — and share themwith all types of creative individuals. “The future of innovation relies on communal spaces like this, where you get a lot of unexpected overlap between disciplines that create these unique, new combinations no one would set out to create, but through just serendipity the right components are all in the same place,” Dave said. The bigwigs in Washington agree: The
makerspaces and how the government can help the maker movement — which has grown organically from the ground up — become more like the public library system, which has been supported from the top down. “They really get what we’re trying to do here,” Dave said, “and they’ve done some re- search that shows that the benefits of maker- spaces are transformative.” As for his makerspace, Dave’s vision is to maintain sustainability. Similar spaces have had a mixed track record of survival —mostly because they’re volunteer based and not well-funded or well-understood by local governments and com- munities. He hopes to change misconceptions and show people there are no boundaries to when or how they can get the artistic bug. “[Because] without creativity, we’re just a bunch of boring drones.” For more information on Hammerspace, go to www.hammerspacehobby.com or call 913- 686-6562. ^ Melissa Cowan was certain, at age 5, she was going to be a Rockette in New York City. But, as fate would have it, she reached 5’1” and stopped growing. Instead, she pursued writing at the
University of Missouri–Kansas City and gradu- ated cum laude with a Bachelor of Arts in Jour- nalism and Mass Communications in 2010. Now, she’s a full-time freelance advertising copywriter, writing websites, building brands, and keeping her cat, Carl, fat and happy in Midtown. Website: melcowkc.com. Email: melissa@melcowkc.com.
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do ^ diy
by Beth Ann Brubaker Repurposing Vintage Bits and Baubles
A woman that many people con- sidered their mentor and friend passed-away suddenly a few years ago. After family and close friends sorted through her jewelry and chose what they wanted as keepsakes, there remained a pile of vintage costume jewelry that had no home. I decided to make purse charms/ keychains using the deconstructed piec- es, and since I also had her sewing kit, I made tassels out of her thread. This project can easily be duplicated from tag-sale finds. This is a basic-jewelry making project, the main skill needed is closing jump rings.
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Step 1: Cut a length of wire for the charm, I cut eight inch pieces to work with. Crimp one end, then thread the beads until you are happy with the result.
Step 2: Crimp the other end, then add jump ring and a key chain clasp or fob. Step 3: To close a jump ring, twist it further than the start- ing point, then come back to the starting point. With practice, you can create a near-perfect connec- tion. You can also add a drop of glue for extra security/durability of the connection.
Step 4: Make a tassel by winding thread around a piece of cardboard, tie a knot (double-thread is easier to work with), then add a jump ring. Remove from cardboard then wrap a strand of thread around the tassel using a dab of glue to hold the thread in place. Trim to desired length. Attach tassel – you’re done. You can also add charms or bead caps if you want some extra bling on your project. It’s a Beautiful Day on Broadway in Westport has a display of the charms in honor of our mu- tual friend, Lynda Callon. ^
Beth Ann Brubaker became interested in DIY when her career in public service did not accommo- date her sometimes expensive tastes. This project was inspired by the late Lynda Callon, who was a mentor and friend to countless people. As the Executive Director of the Westside CAN Center, Lynda worked tirelessly to ensure that the westside neighborhood in Kansas City was safe, welcoming and prospering. As a tenacious advocate for the community, Lynda gained national recognition for her efforts. More info on Lynda’s life and work can be found at www.westsidecan.org .
do ^ vintage recipes
Words LAUREN HEDENKAMP Photos SARAH TERRANOVA Gourmet GLAMPING
E mbrace the biting winter weather that nips at your nose while lodging in a cozy glamper mini home. ‘Tis the season to indulge, either glamping or at home, which can be done with these two vintage inspired recipes that bring warmth and comfort to all. The aromatic and warm spiced chai tea with almond milk recipe emphasizes the traditional tastes and scents of the season. This method makes a concentrate that can be stored ahead of time. When ready to drink merely heat and add almond milk to warm up the soul. The skillet s’mores pie combines the classic camp s’more
with a decedent chocolate dessert. Warmed in a skillet, this sweet treat makes for the perfect holiday indulgence. An effortless winter table setting transformed the 1971 Swiss Colony glamper through flowers, vintage dishes, and family linens from Germany. ^ The Gourmet Glamping team, Lauren Hedenkamp and Sarah Terranova, became fast friends in Italy. They met studying in the same art and photo program and bonded quickly over their love of art and food. Lauren’s vintage camper Ellie serves as the backdrop for Gourmet Glamping.
Lauren lauren@leftpagecommunications.com Twitter @artsykansascity Instagram laurhedenkamp Sarah sarahterranova.com sarahterranovaphoto@gmail.com Twitter @cucina_camera Instagram cucinaandcamera COOKING NOTE: THE GLAMPER MUST BE CONNECTED TO GAS AND POWER TO COMPLETE THE RECIPES.
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Spiced Chai Tea with Almond Milk INGREDIENTS (MAKES 4 CUPS OF CONCENTRATE): 4 black tea bags 12 cardamom pods 2 star anise 8 whole black peppercorns 4 cinnamon sticks 8 whole cloves 1 ½ inch piece of fresh ginger 4 whole allspice 2 Tablespoons of brown sugar 1 vanilla bean sliced down the middle 1 whole nutmeg ½ teaspoon of orange zest or 1 inch piece of orange rind
COOKING UTENSILS: Big pot Slotted spoon or strainer Jar to store it
STEP - BY - STEP INSTRUCTIONS: 1. Boil 4 cups of water in a large pot. 2. Place all of the ingredients in pot. 3. Boil for 5 minutes and then remove from heat and let it steep for 20 minutes. 4. Strain/ or spoon out the ingredients
from the water. 5. Put concentrate in a jar to store or serve immediately. 6. When ready to drink, fill the cup half way with the concentrate and fill the rest with almond milk and enjoy!
Skillet S’mores Pie INGREDIENTS (SERVES 4): 1 roll of premade pie dough 2 bars of milk chocolate 1 bag of large marshmallows 1 Tablespoon of butter
COOKING UTENSILS: Skillet
STEP - BY - STEP INSTRUCTIONS: 1. Preheat oven to 350 o 2. Butter the bottom and insides of the skillet. 3. Cut thawed pie dough to fit the bottom and sides of the skillet. 4. Butter the top of the pie dough. Then break the chocolate bar into squares and layer on top of the dough. 5. Layer remaining pieces of dough to cover the chocolate. 6. Use remaining butter to butter the top of the pie dough.
7. Put in preheated oven for 8 minutes. 8. Remove from oven and break the remaining chocolate into squares and layer on top of the dough. Then place marshmallows to cover the chocolate. 9. Put back in the preheated oven for 10 minutes. 10. Let cool a few minutes and enjoy!
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shop ^ maggie’s corner
Creative Corner: Winter Touches For Your Home by Maggie Bonanomi
A s soon as December arrives on our doorstep and the year begins its slow slide toward the beginning of another year, it’s time to prepare for the upcoming holidays, whether you celebrate Christmas, Hanukkah ,Kwanzaa or just the joys of the winter season. Sometimes I feel as though I am speeding uphill, trying to get everything done and by the time the holidays are over I feel as if I’m in a free fall , having not had time to actually enjoy the holiday. I don’t think it’s just me, we all get very busy with work, families and other commitments and time just flies by! Now, I try to keep things simple! Decorating for the holidays is a great time to mix up your favorite collections, old and new, rustic and sleek, vintage and modern. Gather up some fresh green, nothing smells much better than that, fill containers and set them around your house. One year we missed getting
are easy to force but you can also buy pot- ted ones, they’re perfect gifts as well as fun to watch grow. I plant mine in old glass bowls and bakery molds with pebbles, the bulb sitting just about ½” into the pebbles. These are also great after all the holidays are over, it’s when I actu- ally have some time to really enjoy them. For some quick holiday treats when friends stop by keep some cookies and candies in the pantry, then plate them on an old platter with a sprig of green or a vintage ornament, looks fancy but is really simple. Have a bowl of clementines as well and of course something to drink. The New Year will come in quickly, I would put away all holiday except the silvery, white and sparkly decorations, lots of white or silver votive candles and add any old clocks or clock faces to the mix, maybe find some old calendars from years
a tree but found the scrap branches from the tree lot and used those, best smelling Christ- mas we ever had. I even like to buy several tiny decorated trees at the grocery store but I take off the cheap décor and place the pots in groups on a great old vintage platter along with a few old ornaments, perfect centerpiece. Running out of time? Fill a bowl or tray with your decorations, ready for trimming but beautiful on their own, a little like on old trea- sure chest! String up several strands of lights, colored or clear on the wall, set a tree in an old rusty galvanized bucket or an old silvered punch bowl add one special decoration, you’re done! Find an old lantern with a lot of glass or an old aquarium tank use these to highlight a collection of your holiday favorites. I placed a vintage Santa one year, in the old lantern, another year some of my bottlebrush trees. Paper white Narcissus and Amaryllis bulbs
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