"The cure for anything is salt water. Sweat, tears or the ocean." - Isak Dinesen
to use, indulge and apply
Orange ▪ White Rose ▪ Cedarwood ▪ Patchouli
Deep Forest is an earthy and herbaceous fragrance reminiscent of the wild Abies fir woods of Korea. Their monumental forests endure long, cool winters and warm, humid summers. Offering a fusion of grounded greens and gentle blossoms, this scent brings both wistfulness and a quest for new beginnings. Earthenware and steam. A yearning for a smell is intrinsically tied to our human nature.
Features
Gender-neutral for all
Formulated with natural, hand-picked ingredients
Thoughtfully developed in Denmark and expertly produced in Italy
The candle is made with responsibly sourced soy wax
100% cotton-wicked
Glass container and wooden lid
How to Use
To set an ambiance with a familiar fragrance, gently remove the wooden lid from the candle’s glass container. When using the candle for the first time, we recommend letting it burn for multiple hours and allowing the surface to melt. After extinguishing the flame with a candle snuffer, trim the wick for optimal burning. To preserve the scent, put the lid on after every use. After complete use, the glass container can be repurposed in various ways after carefully removing as much residual wax as possible.
Regenerate ▪ Nourish ▪ Smooth
A luxurious, skin-fortifying blend of moisture-replenishing botanicals designed to soften, smooth, tone, and instantly hydrate. This energising, nutrient-rich formula absorbs deeply to balance and regenerate, heal damage, and revive dullness while promoting microcirculation and improved elasticity. Both a protective elemental-defense treatment and potent moisturiser that leaves a lasting luminous glow.
Add a few pumps to a warm bath for added hydration and aromatherapy
ingredient highlights
▪ Marula
A deeply hydrating emollient that seals in moisture and contains epicatechin, a powerful antioxidant to help protect the skin.
▪ Jojoba
A light and nourishing oil that closely resembles our natural sebum, allowing for optimal absorption into the skin and long-lasting hydration.
▪ Moringa
Rich in omega fatty acids and Vitamins A + C, helping to deeply hydrate, plump, and repair moisture barrier without clogging.
▪ St John’s Wort
A powerful herb used for its wound healing and anti-inflammatory benefits, helping treat dryness and irritation.
▪ Neroli
A stimulating oil revered for its rejuvenating properties, helping to fade pigmentation and renew the complexion.
Red Rock. Southwestern Shadow. Painted Desert.
Inspired by artists’ palettes, natural elements, and the muses who we envision channeling specific colours or moods. A line of carefully-edited, high quality polishes for the colour-resistant. Polishes that consider the gracefulness of hands, and the role of subtle colour as an element in the considered wardrobe. All polishes are non-toxic, cruelty-free.
the cedar is a symbol of the strength of Lebanon – its people and its ancient culture. FAMILY TREE pays homage to this national emblem, blending wood, resin, and leaves into an all-natural fragrance that grounds you in the moment. we are confident you’ll love this scent, but to make sure we offer complementary samples to try before committing.
cedar to ground
fir to calm
sandalwood for clarity
jasmine for lightness
coriander seed to lift
bergamot to breathe in
violet leaves to breathe out
100% natural ingredients, made in france
founder's note
“For the first fragrance, it felt only natural to bring an ode to my roots, my father’s homeland. The cedar tree, Lebanon’s proudest symbol, became the heart of the scent. Around it, we blended other ingredients that remind me of my time in Lebanon: jasmine blossoms, coriander seeds, pine needles, and citrus. The result is a fragrance that feels like home — warm, earthy, and comforting, yet fresh and uplifting. Family Tree has become my daily ritual, and I hope it can bring the same sense of grounding and joy to everyone who wears it.”
to wear, decorate and adorn
Choker necklace measuring around 36 cm in Frost. Made with small frosted glass beads. Sterling silver findings and clasp. Handmade in Paris.
Sisi Joia creates jewellery and accessories from vintage glass beads, slowly collected in and around Paris, alongside those made by a Syrian glassblower using traditional techniques. Each object is made by hand in Paris, in a limited run.
Choker necklace measuring around 36 cm in black. Made with glass beads and waxed cotton thread. Sterling silver findings and clasp. Handmade in Paris.
Sisi Joia creates jewellery and accessories from vintage glass beads, slowly collected in and around Paris, alongside those made by a Syrian glassblower using traditional techniques. Each object is made by hand in Paris, in a limited run.
Frosted Czech glass beads and sterling silver hooks. Handmade in Paris.
Sisi Joia creates jewellery and accessories from vintage glass beads, slowly collected in and around Paris, alongside those made by a Syrian glassblower using traditional techniques. Each object is made by hand in Paris, in a limited run.
Frosted Czech glass beads and sterling silver hooks. Handmade in Paris.
Sisi Joia creates jewellery and accessories from vintage glass beads, slowly collected in and around Paris, alongside those made by a Syrian glassblower using traditional techniques. Each object is made by hand in Paris, in a limited run.
to view, display and place
colour: Butter
dimensions:h 19cm x w 9cm
Every ann vincent candle is made with a soy wax blend, poured into molds and finally hand finished with a sculpting knife. Each piece has details that make it unique. Small irregularities are characteristics of the handmade.
Directions: For most beautiful results, do not burn your candles more than 2 hours at a time. Keep the wick trimmed to 0,5cm. Please keep your candles on a non-flammable surface. Never leave a burning candle unattended.
About Ann Vincent
Ann Vincent is a visual artist based in Ghent, Belgium. She works across a wide range of disciplines exploring image and object.
The large vessel is designed by Asili in New Zealand using the natural soapstone of Kenya. Playing homage to the material that created it, beautifully showcasing the natural colour and pattern formed over time. Modern and simple, this vessel is made for decoration.
Size: 11 (dia) x 14.5 (h)
The Stacker Tray is a beautiful solution for your various storage needs. Created from soapstone and with a smooth finish created through hand carving, sanding and polishing. We call it a tray, but this versatile piece fits decoratively anywhere in your home – use it for spices or herbs in the kitchen, a place to hold your jewellery while you wash up, or to serve up individual treats.
Kenyan Soapstone is a metamorphic rock that consists of the mineral talc, also known as steatite, and is known for being soft and easy to work with. From marbled whites, soft pinks and oranges, to deep blue grey, the natural minerals found within soapstone make each Asili piece completely unique.
Small: 9cm
Medium: 12cm
Large: 15cm
colour: Off white
dimentions: h 18cm x w 3cm
Every ann vincent candle is made with a soy wax blend, poured into molds and hand-finished with a sculpting knife. Each piece has details that make it unique. Small irregularities are characteristics of the handmade.
directions: For most beautiful results, do not burn your candles more than 2 hours at a time. Keep the wick trimmed to 0,5cm. Please keep your candles on a non-flammable surface. Never leave a burning candle unattended.
to read, absorb and skim
Title: Arshile Gorky: 1904-1948
Publisher: Whitechapel Art Gallery
Publication Date: 1990
Binding: Soft cover
Pages: 196
Condition: Used, Light wear on the cover, new condition inside
Groundwork, a major new book by Sydney-based artist Bianca Hester, finds its footing in the volcanic terrain of Tāmaki Makaurau Auckland (Aotearoa New Zealand). An expanded sculptural project that grew out of a series of research residencies in 2015, Groundwork is both social and geological in scope. Focused on a series of sites across the city where human activity, geology and ecology have converged in fraught and revealing ways, the book maps connections between the landscapes of Te Kōpuke Mount St John and Te Tokaroa Meola Reef; Ihumātao and Takapuna; Waterview and Matukutūruru Wiri Mountain. Through collaborative and consultative processes with local people, this work encompasses walking, sculptural production, exhibition, archival research and writing between 2015 and 2020. Engaging with landscape as a nexus of geologic materialities, nonhuman durations, land expropriation, extractive activities and ecological transformations, the book proposes ways to apprehend the complex sedimentations of a city.
Writes Hester: In 2015, my feet made contact with ground materialised from millennia of lava flows, once liquefied, now solidified as the dominant geology of Tāmaki Makaurau Auckland. Emerging from the body of an aircraft, I stepped onto the international airport’s thin asphalt tarmac, which was as generic as any I’d seen. The standard airport aesthetic obscured any signs of the absolute specificity of this place...
This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.
Detail: 208 pages, 28 x 20cm, section sewn cold glue bound, softcover with flaps, Perimeter Editions (Melbourne).
Edition of 500
Lost is a magazine that features real stories, personal reflections and epiphanies from people around the world. It believes that travel isn’t about fancy hotels or tourist destinations, but about immersing oneself in someplace entirely foreign to feel extremely uncomfortable so that one can learn from it. It believes that travel is a state of mind.
Featured stories:
In “Half A Year”, Beata Wasilewska juxtaposes her life in Beijing with the memories of her childhood and home in Suwalszczyzna, Poland, where winter lasts half a year.
Ben Crisp finds a refreshing alternative way to lead a contented life while volunteering in the village of El Paredón in “Down The Dust Track”.
Mikolai Napieralski shares what it’s like to camp and get wasted as close as you can ever be to the Saudi border without going to jail in “Camping in the Kingdom of Saudi”.
Ester Keate discovers the importance and love of the motorbike to the Burmese people while travelling in the country of Burma. She documents this through her lens in “Boys, Bikes, Burma”.
Simone Spilka learns to let go of the tensions from city life and to reconnect with nature at a Yoga retreat in Guatemala in “The Art of Being”.
In “The Warmth of Winter”, Erin Stewart travels to Tromsø to find out how the people there cope with winter depression, only to discover a new perspective on darkness and cold.
Issue Five stories:
Half A Year / Paradise Island / Down The Dust Track / Camping In The Kingdom Of Saudi / The Thing About Solo Travel / Boys, Bikes, Burma / Let Me Think / The Art Of Being / Selfies / The Warmth Of Winter
Pages: 268
Language: Bilingual (English & Chinese)
Ghar Anu Kumar
Detail: 144 pages, 14 x 18 cm, section-sewn hardcover
Perimeter Editions 078
First Edition of 800
Ideas around place and identity have never been unequivocal for Anu Kumar. When the young Melbourne-based photographer returned to to her birthplace of Kavi Nagar, India, for the first time since childhood at age twenty-one, she felt at sea. ‘I remember a feeling of discomfort, of not knowing my place or who I was in that context,’ she says. ‘I began taking photos as an exercise in learning how to be Indian.’
The term Ghar, meaning ‘home’ in Hindi, doubles as the title of this, her debut book, and the broader outcome of her pursuit – one that is as much a new beginning as it is a homecoming. Shooting over a period of five years on a medium format camera, Kumar’s soft gaze meanders between the rooms and courtyards of the family home in Kavi Nagar, and out onto the neighbouring streets, sketching out the symbolic and aesthetic markers of a personal and cultural heritage. Formal portraits of her grandmother, aunts and uncles, echoing the traditional family album, give way to intimate scenes of daily tasks and quiet idleness – a thorough visual record to preserve intergenerational gestures and familial rituals that may otherwise linger in the undocumented everyday.
Kumar’s search for familial closeness was suddenly given a new sense of universality when the COVID-19 pandemic closed Australia’s international borders for almost two years. Edited and sequenced during this period, Ghar also speaks to the enforced distance experienced by cross-cultural families, and the role of photographs as vessels for intimacy and connection. The series contemplates ‘home’ in all its multiplicities. A place, a sentiment, a responsibility; something at once inherently familiar and other times distant and incongruous.
Anu Kumar (b. 1990) is a photographic artist living and working in Naarm (Melbourne, Australia). Working primarily with medium format photography, she interrogates themes of displacement and the diaspora, using her practice as a gateway to understanding her identity as a woman born in India and raised in Australia. Through her work, Kumar strives to archive the quotidian expressions of everyday life as an examination of self, family and belonging. Her photography has been published in the New York Times and Vogue Italia, and exhibited at the Centre for Contemporary Photography (We, Us, Them, 2022), Melbourne, and as part of the PHOTO 2022 International Festival of Photography.