Somewhere around the middle of 2019 I came across the Greater Goods brand and its friendly founder, Jaimus Tailor. Images of his first and second tote bag collections were in heavy circulation across Instagram, and the community was beginning to chatter excitedly about the brand’s focus on functional materials, sustainability and unique product construction.

Assuming you didn’t already know, Greater Goods is a London-based design project created by Jaimus Tailor that uses upcycled outerwear product to craft one-of-a-kind functional bags and accessories, each designed, cut, and sewn by Jaimus and his trusty sewing machine. As of recently, the brand has also dabbled in some multihued hand-knitted pieces - big shoutout to Paula Zahn here. 

What I’ve come to appreciate most about Jaimus is that he’s very nonchalant about his work. There’s no immediate sense of rush or heavy strategic thinking with him, both rare and refreshing when placed against a backdrop of P Diddy’s nonsensical wisdom and the incessant, soul-crushing whirlpool that is social media. And while he doesn’t like calling himself an ‘artist’ - as apparently we can only be the judges of that - Jaimus is driven by a wicked form of creativity that’s personal to him and his own artistic tastes. This is what makes Greater Goods so interesting: there’s an unfaltering red thread throughout, an inherent passion for really good design.

Word on the street is that Greater Goods will be expanding its product roster this year, looking into woodwork, furniture and new apparel styles. Read more about the brand’s future and its two-year journey so far in the interview below.

What is Greater Goods?

I always describe ‘Greater Goods’ as a design project because it’s constantly evolving. Anything I like or have an interest in making, I’ll put it through Greater Goods. It started off with woodwork and making pieces out of scrap wood, and then evolved to textiles and making things out of GORE-TEX products and old jackets. Recently, I did hand-knitted balaclavas. Greater Goods is very hard to define in a sense. It’s anything that I like making created at a small scale.

And the brand focuses on sustainability. Why?

I feel like it just makes sense. It never started as a sustainability project but the notion of making items out of things that are old and discarded becomes sustainable in itself. I realised that later, and even then, it’s just fun making out of old products. It has a story and it forces you to work in a certain way. I’ve always found it more engaging to look at old products and see how they’re made and be able to physically handle them. It’s the way I’ve been working for years and I’ve just stuck with it. It just so happens to also be sustainable.

It started from woodwork and furniture. I did carpentry for a year on my own, completely self taught, and I was making a lot of products for neighbours, friends and family. I was using discarded wood and old bits of other furniture. That’s what really appealed to other people, how every product that I make is totally unique. I then transferred this to textiles.

In fashion, sustainability has become quite a big thing, especially this year. You’ve collaborated with a few brands that are looking into that. Are brands mainly into the trend of reusing materials or is the sustainability focus itself primary for them?

It’s definitely a mixture of both. A lot of brands have realised that the sustainability issue is a problem and to be honest, if they can use deadstock fabrics, then that’s an efficient process for them. It’s like when the Nike Space Hippie used all the excess bits, it’s so much more efficient to use all of that offcut material. Being sustainable in that aspect actually benefits everyone. I feel like in certain cases it is for a good cause, being done in the right way, but obviously you have brands that are doing it to tick a box. 

Both ends of the spectrum will always exist but if the demand from people changes, then that will force brands to act differently because they want sales at the end of the day. If the consumer decides not to buy then it’ll force brands to either go bust or change their ways.

So when you started Greater Goods, did you have any intentions of turning it into a brand?

Not really. I never scribbled up a plan on a piece of paper or made a note. I made the logo in five minutes and was like ‘cool, I’m sticking with that’. I don’t like branding stuff with my name - I guess I find it a bit self-centred - so I decided to put it under a brand name that could be absolutely anything. 

I didn’t want to have brand guidelines in the sense that I would be limited in what I make and the graphic design style that I use on the Greater Goods Instagram. I wanted to know that I could go and make dog jackets next week and it’ll still fit under Greater Goods because it’s just this playful brand.

That’s really interesting. I think that hinders people quite a lot. Many feel like they need to get it right the first time, really hit it on the head, in order for something to be worthwhile. That doesn’t seem like a hurdle that you came across?

That’s such a big thing, especially in graphic design. Any student who’s just graduated and wants to start a brand will have all these art-boards, colour selections, typefaces, logos, but at the end of the day it’s the content and the products that matter. I don’t care about the brand name or identity. The only thing that’s constant is the name, and maybe then a colour that I quite often gravitate to is orange. I just like the colour orange.

Let’s be serious, your products this year have popped off. Why do you think people have gravitated to what you’re making? Why are people craving these unique, one-of-a-kind pieces?

I think a lot of stars have aligned: sustainability, lockdown, a focus onto independent designers, and generally a big shift in the direction that consumers are taking. I guess that all means that people want those individual pieces more.

Lockdown put a big spotlight on arts and crafts. Friends started asking me if I had paintbrushes, if I had certain tools. The shift onto that really showed the importance of independent makers. I feel like people are now more attached to that ‘independent’ aspect in comparison to the pre-made, mass produced products. 

Everything I make is small and I have made every single product myself, apart from the balaclavas which my girlfriend knits. It’s all very hands on. It’s a labour of love, definitely.

How would you describe your process from start to finish?

Get an existing product or garment, or a scrap piece of fabric. Look at it, feel it, see how it works and bends. Back in the day I used to go straight in, just cut and make, but now I’ve become a bit more sensible with planning out designs beforehand. I get a pen and paper, start scribbling out some ideas and then start cutting up and making. I don’t usually make prototypes. I just get to it. If it doesn’t work, unpick it, cut it up, try again. I have no textiles background. It’s just a big freestyle.

Really? With a jacket for example, it feels like you’d have to know your way around certain pieces, the structure, fabrics, how it all moves together. How did you get to grips with all of that?

You learn. I’ve taken apart hundreds of jackets by now so I kind of know how each bit is put together and how it works and what brands do differently and what materials they use differently. It’s just reverse engineering. When you remove something, you’re taking things apart, and if you do that enough times you can probably put it back together. Learning by doing has always been my way of things.

To be honest, my process is quite slapdash. I’m neat and tidy but my processes are a bit unrefined. It’s about improving every time and expanding my skill set. I’m working on a lot of projects but at the same time, I’m still learning how to sew properly.

Do you know what a product is going to look like before it’s finished?

The majority of the time now, yes. Back in the early days, not really if I’m honest. The final sew would be when I’d realise how big a bag is. Now I work by patterns but this was definitely not the case before. It was nice, now that I think about it, I loved it so much. That final straight stitch along the edges and the top and it’s like ‘Oh! Okay, that’s pretty cool.’

"Tom Sachs’ art approach is very DIY, and I’ve always gravitated towards that mentality."

Do you have any design inspirations?

Just Tom Sachs. I have loads of inspiration in terms of graphics and colours. In terms of bags, products and clothing, there’s not many really. I work to my skill set. I always work to what I’m wanting to do. There are many things that I’m inspired by in the sense that I like how it looks but I also know that it’s way beyond my ability. I tend to respect it but never fully be inspired by it.

But Tom Sachs’ art approach is very DIY, and I’ve always gravitated towards that mentality. I’ve got a bunch of his books. I’m not a fan of the Nike stuff he’s done but his artwork is great. I’ve seen every Keynote talk he’s done, every stream. And the fact that his style hasn’t changed since he was 8-years-old is kind of crazy. Not changed one bit!

So wait, what is it about Tom Sachs that you like so much?

He’s unapologetic. He doesn’t cover up mistakes. You look at his work and think ‘I can actually do that because I can see how that’s put together’. All errors are on show. It’s almost kid-like. It’s just very nice to look at and see how raw it is. It’s in the art world as well; I hate fine art and refined paintings that are selling for a quarter million. To see his stuff in that area, in that industry, but still so badly put together, that’s just so good - for me personally. The fact that his style and approach hasn’t changed shows that he’s very dedicated to it. It’s not just a front. 

The first piece of his that I saw was that Nikon camera that he made for his dad. It was a clay camera that was painted, Nikon FM2 maybe? He was like 9 when he made that? Something ridiculous. It looks like some East London DIY ceramics.

A lot of the materials that you use for bags and jackets are from outerwear products. What is it about outerwear that makes you gravitate towards it?

The technicality. I like things with webbing. I like things with drawstrings. I like climbing gear although I barely climb. It’s very sad because I’m very much a city kid. I hardly go into the outdoors because I’m sewing so much but there’s just something about it.

I remember buying my first North Face jacket, a black HyVent, really simple. I loved it, everything about it was so good. And that’s when I made my first tote bag. It was that jacket. That colour.

And when was that?

January 2019. It was my New Years Resolution. I bought my sewing machine then for that specific resolution.

That’s insane.

Yeah, it picked up pretty quickly. The first collection went live in April 2019, four months after I bought my sewing machine.

Where do you source all your materials from?

It used to be online. eBay was my spot and Depop occasionally. Friends and family too. I became that guy that used old stuff so anyone that ripped their trousers and didn’t want them, they’d give them to me. Now I’m fortunate enough to have brands send me damaged or out of warranty products.

At the beginning, sourcing online was very tricky. I spent a lot of time trying to find damaged product and choosing the right jackets. Back then, I would use every single piece down to the centimetre. I’d keep everything. I still do now but I’m a bit more rough and ready with it.

Have you ever made a bag out of two different jackets?

Yeah. I’m working on a few pieces now and they’re a patchwork of different jackets. There might be like 10 different jackets in one bag? The patchwork effect creates different textures and the colours just choose themselves.

Say when I made the bottle bags, they were very ‘it is what it is’. I work with all the small off-cuts, sew them altogether and then just that’s it. I have no other choice in its design. It’s a very organic process, me working with everything.

You seem to be very confident when it comes to your approach to design and how it is you want to work. Don’t you think that’s something that shows promise, a bit like Tom Sachs’ never wavering in his style?

Hah I haven’t thought about that before. I don’t really care about legacy. I just like making things. I’m happy to be in my studio, listening to some music with a friend. I don’t really care if I’m not remembered for being creative. I don’t want to be this millionaire artist. 

It’s also very weird calling myself an ‘artist’. I’ve only done it once on my website bio where I had to put something. It’s the worst when someone asks me what I do and I say ‘I make things’ and leave it at that. They probably think that I’m not doing anything. It’s a very strange one - I’ve never thought too long and hard about it.

Why don’t you like calling yourself an artist?

It’s not something you can choose upon yourself. It’s fine if people’s perception of me is that of an artist but for me, it’s a very high accolade. Being called an artist means that you’re evoking emotion. I don’t make anything to evoke an emotion on purpose.

Can’t someone say that you actually are creating and evoking emotions when you work with these brands, the brands that give people a sense of value or confidence, a type of lifestyle?

Yeah, 100% correct but doesn’t everything evoke emotion somehow? For me, an artist is something that has to be externally decided upon, you know? I just can’t put that on myself. It makes me feel weird introducing myself and saying I’m an artist - suddenly people have a different view of me totally.

Do you spend a lot of time doing material research?

As I work with existing products I don’t really have to do too much research because I never go out and source my own. I am working on a project at the moment where I did have to look at samples and choose what properties I wanted to work with. I’m slowly expanding on what materials I’m using but personally I’ve never done heavy research.

"The satisfaction you get from making something, it can’t be matched, you know?"

Got you. I’ve noticed that you’re always working, always sitting on a project of some kind. Where does your drive come from?

I have absolutely no clue but also, I’ve never seen this as work. There have been a couple stressful days but otherwise, I enjoy all of this. I started Greater Goods just because I liked making things. It’s a hobby really.

I don’t watch TV. I don’t have a Netflix account. I don’t have a games console. I guess that might play a factor? Before Greater Goods I liked drawing and then went into furniture and carpentry and ended up here, in textiles.

The satisfaction you get from making something, it can’t be matched, you know? This is an issue I had with drawing at the beginning - you would start with a piece of paper and you would end with a piece of paper. It would always stay in that form. But with product design and making things, you would start with a trash jacket and you’d end up with three different tote bags. It’s rewarding and it keeps me away from my phone. If it keeps me away from a screen then I’m good.

Yes, definitely agree with the rewarding aspect. Finishing a piece of work puts me on a massive high.

It’s exactly that. People have different outlets and I’ve found mine. It just clicks.

So back to the products. Say you have a bag that’s made out of GORE-TEX and a bag that hasn’t. Will the customer gravitate more to the one that’s used GORE-TEX even if the other is their preference aesthetically?

The power of brand and logo is huge. It’s definitely a big part of what I’ve done and it is a driving factor, for sure. It’s what differentiates every brand, you know? At the end of the day, we’re all making products - thousands every day - so that stuff really matters. Branding and trends are a big thing.

People love the GORE-TEX logo. I have a box of labels that have been taken from a bunch of products. In there there’s a heap of big vintage GORE-TEX labels and they’re the ones that people always gravitate to, the ones with all the technical information. And that’s just straight up the power of brand.

Has the madness of 2020 affected your creative process?

Yeah, it definitely made me work hard, harder than I usually would. I had nothing else to do. I used to play a lot of badminton and that was my one main outlet. This year I realised how hard I could push myself in terms of what I can handle.

Creatively, in terms of my making process, it gave me more time to refine that. It didn’t directly change how I worked but the more time it gave me, the more I developed.

Lockdown has meant that generally people are going outside more, being more active, and that seems to correlate with the outdoor industry blowing up this year. Do you think that’s had an impact on how people are viewing the products you’re making, especially the materials you’re using?

It definitely has because suddenly people are using their stashed away GORE-TEX or waterproof trainers. Suddenly you realise the use of functional items, you know?

My whole wardrobe has completely changed. I’m completely waterproof, head-to-toe, doing a food shop. And now there are so many new outdoor groups that are resonating with a wide range of different people, Flock Together for example, running groups, cycling groups. Loads of people got into climbing. The first lockdown, there were so many runners and cyclists in my local area. Anything to get out of the house really.

What was the first project that Greater Goods worked on?

Tote Bags made from The North Face jackets - I think it was a collection of 15.

OK, and why tote bags?

Simplest thing to make for me because I had only been sewing for three months. I made one tote bag for myself from my old TNF jacket and then shared it online - just because I shared everything I made back then. It picked up, people resonated with it, and I decided to make a small collection of them.

Can you list all of the projects that you’ve worked on in 2020?

Hah I can’t remember what was this year and what was last. OK so there’s been 7 bottle bag collections, 1 side bag collection, 2 tote bag collections, 1 collection with LNCC, 1 collection with Highsnobiety, 1 collection of Carhartt wall organisers, a Paynter jacket collection, a collection with Bodega and New Balance, a Patagonia bag collection, the Story mfg. collaboration - that was really fun - Arc’teryx x Greater Goods x Flock Together, and two hand-knitted balaclava collections.

Out of all of those, what’s been your highlight?

It’s probably gotta be Arc’teryx because that’s kind of wild. It’s not really registered with me, you know? It was such a stressful project in terms of workload and it was so new to me. I was doing 15-hour days and that whole project was done in my bedroom. Crazy. I don’t know how I pulled that off. All the product photos were shot on my bedroom floor. I hired friends that I studied with for that project. Got Flock Together on board. I didn’t think I was capable of something like that and the response it had was just insane. Yeah, it was manic.

How did that Arc’teryx partnership come about?

Basically, the project with Arc’teryx was to support a charity of some kind. There are loads of great charities out there but with a lot of them, especially the big ones, I knew my donation would get lost and pay the wage of a CEO or what not.

I also joined Flock Together at the time. I didn’t tell them about the project but I went on the walks to gauge what it was like and I was just like ‘yeah, this would be perfect’. I told Arc’teryx about them. They loved them. It happened pretty organically from that point on. I’m glad I brought Arc’teryx and Flock Together together on the same project because they’re both great people.

Yeah, the whole thing came across as very authentic.

With Greater Goods being one person, shit doesn’t need to get filtered through a PR team. Nothing gets overthought. There’s no tactical moves. It’s very ‘it is what it is’ and if it feels right then we’ll do it.

What was your first experience of working with brands?

It was with Highsnobiety. I made a little collection for their shop.

So coming from only working on these personal projects, what was it like then working on that side of things, in a more structured and corporate brand world?

Pure stress. I’ve got a rough business mind but obviously it’s not my forte at all. The emails and the Zoom calls… it’s just not the same, a lot less fun. Everything that should be simple just isn’t simple. But I’m adjusting, learning as I go. I realised that I do have to work with other people and other professionals in the industry. It’s all a learning process but that’s a stressful part of it, no doubt.

The Story mfg. collection was so cool too. How did that come about?

Saeed sent me a DM saying we should work on something. I was like ‘cool!’ We met up in Brighton, spoke about it, and then made it the next day or something mental like that. It was very straight to the point and easy. We wanted it to be a charity piece and then sadly that huge explosion happened in Beirut, and we just said straight away that it had to go to them. Then it went live. 

Working with smaller, independent brands is good fun. Always a pleasurable experience. It wasn't very formal, which is nice.

"It’s about finding a balance and that’s what Story mfg. have done really well. Their clothing is outerwear-inspired but simultaneously uses all of these natural materials."

The products you were making with Story mfg. had a very different style to what you had made before, as well as used different materials. What was that like?

It was so good! Using natural fibres, cottons, denims - it was so nice to work with. I’m so used to synthetics and polyesters that I forget how fun it is to work with other materials.

I made everything in two days. I was loving it so much that I just carried on sewing. All the natural dyes dyed my sewing machine blue and black. Everything was covered.

Why don’t you work with those materials yourself, for your independent projects?

I plan to but I’m kind of caught up in this GORE-TEX whirlwind at the moment. I’m getting through all of that and then I’m definitely branching out a lot more. I just like the technicality of these synthetics. You can get so much from a GORE-TEX jacket, all these toggles, elastic cords, zips. There’s just something about the details, I’m really into them.

It’s about finding a balance and that’s what Story mfg. have done really well. Their clothing is outerwear-inspired but simultaneously uses all of these natural materials. They’ve done a great job of finding that in-between. But 100% I’m hoping to expand; it’s like the knitted balaclavas, that’s been the first step towards expanding outside of synthetics.

And what other brands would you like to work with in the future?

That’s tricky. The first one that comes to mind is Brain Dead just because of their wild graphics and colour palettes, and their ‘do whatever, don’t give a shit’ design approach. If Tom Sachs counts as a brand then sign me up. That’s about it, honestly. I don’t have a massive drive to collaborate with someone. I guess Nike would be amazing but what would we work on?

As with the Arc’teryx initiative, do you think more brands should get involved with projects aimed at a good cause?

100%. Brands have so much power to spotlight on individuals or groups that are making a change and doing great things. It just makes a lot of sense. I don’t get why before this whole 2020 period it wasn’t a massive thing. It’s only now that it’s slightly more known that bigger brands can support small charities and really make a difference. It also helps the brands get more in touch with things that are happening in the real world, so why not just directly support people that are making a difference?

A lot of brands are hindered by their internal structures and 5-year plans. What makes Greater Goods so good is that it’s flexible and it doesn’t have this bullshit plan that tries to predict the future. I don’t know how brands design so far in advance, like how do you know what’ll be in fashion?

I want to quickly touch on your Instagram and the Greater Goods visual identity. 

Well yeah haha, it’s all me. Whenever I need to do an Instagram post, I’ll come back from the studio, sit at this desk where I’ve got my scanner next to me and think of something and then put it together.

When I print something off from the computer, I keep the off-print. I have a stack of printed paper that I’ve printed on, so if I ever need to do a quick graphic, I’ll make something on inDesign or Photoshop and then print it on this, and it’ll already have an image overlaid. A tree or something, for example.

It’s just a happy process of collaging stuff together and going crazy. It’s also surprisingly quick to do, to be honest. I really enjoy that, just scanning things in. I’ve got a massive texture pack I’ve made of things I’ve scribbled and scanned. I’ve scanned in a bunch of fabrics and papers.

What have been some of your favourite drops this year, brand partnerships or just mainline collections from brands? 

I really like the Space Hippies by Nike, the whole campaign for it was just so sick. The videos they made and the typography on the box, great. Brain Dead x The North Face was wicked as well. Anything by The North Face Purple Label. I think the Palace x Arc’teryx collection was kind of cool too recently.

My next question was actually going to be about your thoughts on Palace collaborating with Arc’teryx.

It was destined to happen and I think they executed it very well. It was to the core of Arc’teryx but also had that Palace design element. I’m happy it wasn’t over the top.

Thinking about it now, it’s kind of crazy how I used to queue up for Palace and Supreme store openings and drops, and be really, really into it. Then when I started making my own things and becoming more and more involved in that process, I slowly detached myself from that world. 

I found my thing that I liked. I wasn’t outsourcing my attention. I found what I enjoyed doing and no longer needed to buy loads of stuff etc. I only buy what I really like now.

"I learned things I didn’t expect I would learn at all, just in terms of character and carrying yourself. Seeing someone who’s done it, you know?"

Yeah, often it’s the people that are the least loud that are the most confident and assured in themselves.

That’s such a true statement. Do you know Michael Kopelman?

Yep!

I had a meeting with him at the very beginning of Greater Goods. My friend managed to hook it up. I had no goal for the meeting, I just wanted to chat to him. He seemed like the most normal guy yet you look at his history and what he’s done and it’s crazy. He helped start streetwear in London.

He was so comfortable, concise and slow in what he said. You could tell that he was really aware of himself. I learned so much just from that one meeting with him, and that was very early on for Greater Goods. That conversation really helped me. I learned things I didn’t expect I would learn at all, just in terms of character and carrying yourself. Seeing someone who’s done it, you know?

So in that vein, what advice would you give to other designers working in upcycling or DIY fashion? Like Michael's, some cohesive and clear advice, what would it be?

I’d say focus on the product and skillset that you’re using. Don’t focus on brand identity, making the Instagram look good, filling up the feed with a bunch of content. Focus on what you like. Don’t try to target a customer and think this is what they want, this is what the mass wants. If you make it for yourself then you’ll be happy with the product. From there, there’s a strong likelihood that other people will gravitate towards it. 

Don’t try to make it bigger than it is, don’t hype things up for the sake of it, and try to be true to yourself. I appreciate it’s very difficult to do that. It’s weird. It’s like being authentic is the hardest thing to do.

Oof, that was deep. Who are some of your favourite independent designers?

Story mfg. comes to mind straight away. Saeed and Katy are just so nice and knowledgeable about their process. What they’ve done is kind of insane. They’ve made natural dyes and their method of production is so different yet they’re being stocked at END and Goodhood. It’s amazing. They’re complete pioneers of that, in terms of bringing an ancient technology to the forefront and really flipping it on its head.

My friend Pia runs a great brand called Loutre - she does these insane upcycled curtains and generally some really wild stuff. It’s really underrated and she’s got a great creative vision in terms of what she wants to make. Its quality. She’s also a great ambassador for female skateboarders. 

Helen Kirkum comes to mind too, I really respect her process. She’s very carnivorous in terms of collaging and it’s very nice, I can relate to that style of her making approach. I was going to say Nicole McLaughin but she’s just killing it at the moment.

Hmm, who else? What Happened brand, they do custom product and gear repairs. 1733 too, they design and manufacture really interesting bags and accessories in-house in small batches. There’s also allmansright, an outdoor lab based in the Bronx that specialises in designing lightwear gear. They’re definitely all worth checking out.

Brain Dead, Arc’teryx, Beams, Snow Peak and Li-Ning (maybe). Arc’teryx is the best at what they do, hands down. Li-Ning is a Chinese brand and they make badminton rackets. They’re actually a sportswear brand, but some of their stuff is so sick and I feel like they’re really underrated. I always see their stuff and I’m like ‘damn!’ The designs, the colour palettes, the silhouettes are so unique. They’ve really taken a sketchpad and gone at it.

The maddest thing happened actually. Montbell and Beams made a kimono recently. A friend from Arc’teryx sent me a photo of it like ‘Oh, I thought this was yours?’ and I was like ‘yeah, extremely similar!’ It’s crazy that me in my bedroom making that kimono has ended up on a moodboard in Japan. 

I had no plan on mass-producing that wrap-around jacket so I’m not going to bash them for making it, you know? It’s not a crazy concept, it’s not a wild idea or mad unique. I’m not shocked that it’s being produced but it’s just amazing to see. I’m quite pleased with it to be honest! Beams is sick.

Final question. What can we expect from Greater Goods in 2021?

I hate to be that guy but there are products that I can’t talk about. I’m working on the biggest project I’ve done in terms of numbers, another product with materials that I’ve never worked with before - or planned to work with even - and there are new styles of product that I want to work on, so like totally new bag designs. Loads of collabs but also developing on the personal side in terms of webstore products. There are many ideas in the works. 

Definitely expect furniture, I’m already planning ahead on that. Whether it’s for sale or what, I don’t know. I just want to make furniture, some that go beyond camping furniture and are just nice wooden pieces. Yeah, that’s kind of it. Oh, and also for me to slow down a bit more and spread things out over the year rather than in one month. Not sure how likely that is though.

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Writer and Interviewer:

Marianna Mukhametzyanova

Photography and Imagery:

Jaimus Tailor