A little-known gem on the luscious island of Barbados is Hunte’s Garden. Embedded in the hills of Saint-Joseph parish on the rugged east coast, the 3-acre oasis is home to hundreds of tropical plants and flowers, a colorful spectacle packed to the brim designed to delight the wondrous mind. As the saying goes, a creation is a reflection of its master, and Mr. Anthony Hunte and his fabulous garden are no exception. Now in his eighties, Hunte has been a devout horticulturist since the age of 27. Born on this land, he admired the beauty of the countryside and dreamt of building a public garden. Unlike most Caribbean islands formed by volcanic eruptions, Barbados consists of limestone built up by coral debris that occasionally erodes into giant sinkholes. Hunte was fascinated by this geological wonder and, with a team of four, laid out his garden in a crater about 150 feet deep and 500 feet across. At first sight, that's what made this place stand out. Vegetation clings to the slopes and creates a cascade of color tumbling out along the flagstone paths. Given the singular terrace-like structure, visitors can linger on different rest areas located on each level. Many seats are hidden behind hedges—beyond which lies a shy Greek muse, a ceramic fountain or perhaps a highly stylized old iron-cast patio set, like those found in Victorian courts.   Since its grand opening in 2007, this playground welcomes guests "every day, even on Sundays", as proudly advertised on the front sign. Most specimens are native to Barbados such as impatiens and golden shrimp plants, in addition to a rare collection of international provenance handpicked by Hunte over the decades. His most prized blooms are his orchids. He believes they are the soul of this earth. Unlike conventional botanical gardens, the plants are not named, but a simple identification panel and an explanatory brochure list them.     A visit to this wonderland wouldn’t be complete without a visit to the legend himself. Nestled among the towering royal palms, Hunte lives in a wooden veranda where he hosts parties of visitors and regales them with cakes, secret rum punch and local tales. This is when we discover the garden was a former sugar plantation called Castle Grant where Hunte grew up. In the image of its surroundings, his residence is nothing short of sublime chaos, from the furniture to the wallpapers, all in tropical fashion. The organic randomness of this place came about deliberately—after all, Hunte’s mission was to introduce people to the magic of nature. For most of us, thinking, looking and reflecting deeply about gardens, or even the activity of gardening, is a new experience stemming from the pandemic. We forget that entire worlds exist outside of our cities. Worlds in which lifeforms are free—free from judgements, norms and social boundaries. Simply put, free to be. Perhaps there is much to be learned from the way a gardener tends his garden to the way we should tend our bodies and minds. Not everything has to make sense, but as long as we allow ourselves to grow, growth will follow.

Setting a beautiful table for your holiday gathering might sound daunting, but it doesn’t have to be. It just requires a little planning and forethought. Setting an inviting table is worth the effort, though. It creates an inviting ambiance and serves as a visual treat for you and your guests. Your holiday tablescape also allows you to show off some of your favorite decor accents — bonus points if those products are made by brands that support causes like gender equality and community engagement. To help you get started, we’ve shared some tips on what you need to know for creating an inviting tablescape this holiday season. Small Fritz Hansen. Ikebana Vase - photography courtesy of Fritz Hansen   Start with your table size and shape: Do you have a round or rectangular table? You can create a tablescape for whatever size or shape (including an intimate two-seat bistro table), but, it’s important to keep these details in mind as you source items. Low centerpieces like this Ikebana vase by Fritz Hansen lend themselves nicely to round tables, while linear decor is great for rectangular tables. It’s also good to keep in mind what sort of occasion you’re hosting and what you want your overall aesthetic to be. If you’re going for a formal look, you’ll want to set the tone with a nice tablecloth and glass accents. If your meal is alfresco or held during the day, casual textiles and vibrant palettes work great. But, of course, this is your creation and there are no hard and fast rules — create a look that best represents you. Siafu Home Napkin Rings, Set Of 6 in Ebony and Congolese Napkin, set of 6 in Day   Add layers and texture: Layers and textures create a more interesting tablescape. One way to do this is with placemats for each setting. This Orchard pattern by Malaika on top of a contrasting tablecloth is bright and cheery and adds a pop of color as well as some dimension to the tablescape. Plates, silverware, and napkins set an elegant tone (even if your occasion isn’t “fancy,” a little elegance is okay to let people know this is a special event). You could just fold your napkins and place them next to the charger (a decorative plate on the place setting), but show stopping napkins like these deserve to be put front and center by draping on the charger or accenting them with napkin rings. Using napkins with a bold pattern is another way to add a fun textural element. Gunia Project ceramics   Don’t forget flowers and greenery: Flowers are a must when it comes to the holiday table because they add life, color, and beauty. You don’t have to run out and buy an expensive bouquet at the florist, though. In fact, scouting your yard or public spaces for local blooms, greenery, and branches is a sustainable way to create a sense of place. Herbs that you might have on hand also make nice additions to little bouquets or tucked into napkin rings. Creative centerpieces The flowers that you foraged (or purchased) can be arranged into a bouquet that stars as your table’s centerpiece. A singular vase is great, especially if you want height, but small bouquets in mini vases that can be spread around the table are lovely, too. Another centerpiece idea that’s simple to execute, is a shallow, clear bowl with seasonal filler. In the winter, oranges add warmth (and you can eat them later), but also consider what’s available near you such as seashells or pinecones (treat them first). Malaika Pomegranate Candle Holder in Red - photography courtesy of Malaika   Be intentional about your items: When you host people during the holidays, your tablescape is a chance for you to thoughtfully source items. Instead of mass-produced decor, intentionally shopping for items that are made with natural materials and help people in marginalized communities makes the holiday cheer go a little further. Doing this also lets you share your point of view with your guests. So when they ask you where you bought your pomegranate candle holder, for example, you can tell them it’s from Goodee and that it empowers women in Egypt.

s you grow older, you realize that function plays a big role in your wardrobe. To think there was a time in my life where I would wear a fussy garment and “make it work” makes my hair stand on ends. Coming to terms with a new normal and the constant recycled routine of wake-up, coffee, walk dog, work, walk dog, work, dinner, sleep through Toronto winters made me, dare I say, a bit careless with my daily attire. For context, pre-pandemic, I would never be caught in public wearing sweatpants. I viewed it as a moment of giving up, but my mindset and relationship with clothing has changed. Maybe it’s age? Maybe it’s confidence? I was a bit hesitant to add another “oversized sweatsuit” to my wardrobe as I didn’t want to play into this Groundhog Day lifestyle, but to be honest, I think I was more afraid of being trapped in comfortability. I have it ingrained in my mind that when you’re comfortable, you aren’t growing. But in reality, you also need those moments of stillness and at the end of the day, we are talking about clothing and how could I say no to an elevated, fun colored basic?     Drawn to oversized clothing by nature, being in an XL hoodie reminded me of when I would steal one of my dad’s favorite hoodies as a child. It brought me a nostalgic feeling of comfort and peace. Liam and I are both not the biggest fans of a cuffed pant. We both bet on the L (usually I’m a small) to get the widest leg possible. I’m glad I did, because the elasticity and drawstrings made the pant fit regardless of size. Speaking of which, the unexpected tartan on the drawstrings was a nice touch and pulled the look together on the green set. Liam found that the cuff on the joggers didn’t bunch as much as the typical sweatpant – something that often gets overlooked *chefs kiss*.   Musubi wears the Goodee Hoodie 2 in Eden At first glance, I look at a garment as a whole - shape, weight, fit. Liam immediately notices the finer details, a complementary trait. When pulling the garments out from the packaging, he immediately had an appreciation for the subtle embroidery on the sleeve and noticed the screen print detail on the back of the hoodie.     Tried and true, we did everything in the Slow Wear collection for a weekend – walked the dog, cooked, baked, danced, worked, lounged – it felt nice. Mornings start with the normal shenanigans of my skincare routine, prepping my French press, and an early morning walk with Musubi (the pup). Being able to throw on the set made it easy to have an understated moment, remain comfortable, and not have to think before caffeine consumption. I felt put together versus feeling like I was wearing a full slouchy tracksuit – who is she?! Forgetting about what you’re wearing is a good sign. It was as though I was in my element. Comfortable in my own skin, a rarity in the day and age of anxiety. I find that putting on new garments for the first time is a true test of your relationship with that piece. I grew up going into fabric stores just to feel fabric, its texture and correlated experience. The moment the hoodie was pulled over my head, it felt familiar, safe and natural. Something you could just slip into and go. I tend to skew towards thicker, plush fabrics when it comes to loungewear (for optimal coziness of course), but the light weight weave was different yet easy, breathable yet intimate. A great transition into spring.   Both of us agree that wearing tracksuits walks a fine line of laziness, but putting on Goodee’s Slow Wear, we both found that it was versatile from color to fit. We both found it easy to exchange the joggers for dress pants or the hoodie for a cardigan to create a completely different look. This may not be our daily uniform, but don’t be surprised if you catch us with Musubi in matching suits. After all, the word suit is found in sweatsuit, right?

You have roots in Ecuador but have chosen to make Egypt your home. What motivated you to settle in Egypt?There’s an Egyptian saying that says “if you drink from the Nile, you are bound to return.” I must have drank bucket loads because when I first came to Egypt fresh out of college at 22, on holiday, I simply never left. I grew up in between Chile and Ecuador to an Ecuadorean mom and British Chilean dad and felt like I didn’t properly belong to any one country. When I first came to Egypt, I felt that I had arrived home. It felt strangely familiar and yet it felt like a great adventure. I eventually, started a business, then got married, and had two incredible Egyptian daughters! Can you tell us about your journey to supporting Egyptian craftsmanship? What initially drew you to it? I’m in awe of the notion that crafts have been passed on through acts of generosity and resilience from one artisan to the next over thousands of years. Over the years, crafts evolve to reflect changing times but ultimately retain the essence of its origin. I love the idea that a hand made object is telling the story of past generations while being a vessel for the maker, so that each object is unique. And an intrinsic part of that uniqueness are its imperfections, I believe it’s what makes an object beautiful. In a world that sometimes seems to be in a race to be more efficient, the act of individually making one object seems heroic. Egypt, as one of the oldest civilizations in the world is privy to incredible crafts. We make tapestries and cushions from handwoven fabric, for example, made in Akhmim which is a textile centre since Ancient Egyptian times. It fills me with wonder that these traditions have managed to stay alive and it is a great privilege to work with such talented artisans and to be able to bring attention to Egyptian crafts.   What is it about Fayoum pottery that stands out to you? What makes it so special and unique? The town of Tunis in the oasis of Fayoum is unique in that it is a tight knit community of incredibly talented potters who are artists, makers and entrepreneurs simultaneously. The tradition of pottery making in Fayoum is the legacy of Evelyne Porret, a Swiss woman who came to Egypt in the 80s and started a pottery school in Tunis for local children ultimately transforming the village into a renowned centre for ceramics. Evelyne's efforts helped Tunis village become a vibrant artisan community, with many local families now involved in the craft. At Anūt we work with over 20 artisans and we are privileged to be part of this community. What stands out the most, from working with Fayoum potters for several years, is their sense of camaraderie. I find that they are constantly helping each other out. If one artisan finds a way to have less breakage, for example, they will be happy to share. I feel that, that sense of generosity, friendship and joy are very much part of the DNA of the pottery itself. How does the environment around Fayoum influence the colors and textures of the pottery? The artisans of Fayoum are traditionally inspired by their stunning surroundings. Tunis sits in an Oasis on the shores of a lake. In August it is filled with sunflower fields, September is the time to harvest dates, the lake provides fishing and beyond the fields lies the softest and most magnificent sand dunes, providing plenty of inspiration. At Anūt, we have also shared historical context and shared inspiration of designs from Ancient Egypt to Coptic and Mamluk eras with amazing results. Anūt Cairo is more than just a business; it’s a social enterprise. Can you explain how your model supports artisans and helps them 'leave their mark' on the pieces they create? At Anūt we endeavour to support artisans in various ways. On the one hand we hope to engage creatively with artisans to create something unique to Anūt while encouraging artisans to pursue their own designs and help them understand the global consumer. We assist with troubleshooting by finding and providing experts, we provide loans to invest in growth, we have an in house embroidery training centre where women can learn to embroider and then work from home so that they are able to make an income while staying at home taking care of children. We recently brought a graduate of the Royal School of Needlework in the UK to Cairo for a 3 week course for our embroidery teachers with the idea of achieving excellence that they in turn can teach. Introducing people to the artistry of Fayoum pottery is a gift in itself. What has been the most rewarding part of sharing these creations with a wider audience? The most gratifying aspect is to see the artisans we work with grow as Fayoum pottery becomes more renowned. Mohamed Mahmoud for example, has invested in a second oven and made refurbishments to his home and studio. Randa, one of the women potters we work with, is building a new studio while starting a family. Is there a particular story or memory from your time working with local artisans that resonates deeply with you? There are so many! One story is that of Sara who recently started working with us. Sara is only 20 but she has been working in the workshop that she herself set up for over a year now. Her family couldn’t afford for her to finish her schooling, but her mother was a friend of Ibrahim’s who ran the pottery school at the time, so she managed to start attending classes there. She spent her time there learning everything there was to learn until she felt ready to do it herself. That's when she set up her own workshop. Now, as a result of her workshop and the money she has made, she is finally able to rejoin the local high school and carry on with her education. She works part-time on the pottery and is incredibly talented. According to Sara, pottery started out just as a hobby, something to pass the time and now it’s the one thing that makes her feel at ease. How do you see Anūt Cairo's pieces fitting into holiday traditions and celebrations? I believe Anūt objects are perfect for the holiday season because they are full of joy and charm as well as the warmth that comes with an object, that is hand made with care by a master artisan. From our magnificent candelabra made by Mohamed Mahmoud to our beautifully hand embroidered Mr & Mrs Luna tablecloth, these are festive items to help celebrate the holidays. Then there are the smaller objects, like the Dunes bowl, that could be that perfect, thoughtful gift. What do you hope people feel or understand when they bring an Anūt piece into their home this holiday season?  That these pieces are timeless, that they have been made with care by uniquely talented artisans that have managed to keep traditions alive through perseverance and the generous act of teaching. Ultimately we hope an object from Anūt brings the ancient history of Egypt and the warmth of its land and people to your home.