The Three Corn Maidens blanket is part of our series for the American Indian College Fund. The Three Corn Maidens design tells the story of the Pueblo people’s belief that just as the sun gives life to the corn, the Corn Maidens bring the power of life to the people. The blanket was designed by Isleta Pueblo artist Mary Beth Jiron as a celebration of her acceptance into the Institute of American Indian Arts in Santa Fe, New Mexico. Jiron attributes the concept to visions she had and the desire to tell a story from her own culture in which corn is the staff of life and often the center of ceremony. Three Corn Maidens is the second design in the American Indian College Fund’s series of student-designed blankets. The Three Corn Maidens design won first place in the student blanket contest.

If you’d like to support that AICF through a blanket, you can see all the designs here. Since 1995, Pendleton Woolen Mill’s support of the American Indian College Fund (the Fund) has helped more than 400 students pursue their dreams of obtaining a college degree through the Pendleton Woolen Mills Tribal College Scholarship Program, which provides scholarships to American Indian students attending tribal colleges and universities (TCUs) in Washington and Montana, and the Pendleton Endowment Tribal Scholars Program, which provides scholarships in perpetuity to Native students attending TCUs throughout the United States.

“We are always inspired by the individual stories of struggle and triumph of the students who receive the scholarships,” said Robert Christnacht, Pendleton Home Division Manager. “Pendleton is honored to be able to contribute to the long-term growth of the tribal college system through the American Indian College Fund.”

Every year, Pendleton hosts a Tartan Party in each of our stores. These are spirited, fun events. We celebrate with fantastic discounts, free shipping of gifts across the USA, and refreshments. We send home ea commemorative plaid ornament with everyone we can.

Some of our customers are modern descendants of a specific clan or sept, and they wear their tartans with pride. And some of our fans just know a great plaid when they see one. Some customers wonder what the difference is between a tartan and a plaid.

Well, all tartans are plaids, but not all plaids are tartans.

Tartans were originally regional designs, worn as “plaids,” pieces of fabric worn slung over the shoulder. Scotland’s warriors wore their plaids with pride. The Dress Act of 1746 was passed to bring the warrior class under control, and their plaids were banned. That’s right, tartans were illegal; inflammatory and subversive.

When the Dress Act was repealed in 1782, tartans were no longer worn as ordinary Highland dress. They were adopted as the official national dress of Scotland. Tartan grew from regional plaid to warrior garb to a badge of kinship.  This may explain the passion of modern tartan researchers and enthusiasts. These patterns are a visual illustration of the bond between personal and political freedom.

We’re not tartan experts at Pendleton, just fabric experts. When we use these designs in blankets, jackets, shirts, skirts or coffee cups, we do it with respect. Our designers refer to rare reference books stored under archival conditions in our design department…and please don’t ask to see them because they will not hold up to visitors, so we have to say no. We also use modern tartans, like Canada’s Maple Leaf, and our own Pendleton Hunting Tartan, registered with the Scottish Tartan Society in 1999.

We do different things with different tartans every year, but Black Watch Tartan is almost always present in our women’s, men’s and home lines.

This is also known as the Government or 42nd tartan. It was developed to wear by the Black Watch, one of the early Highland Independent Companies. From a distance, the pattern reads as dark as night, so it is the stealth tartan, the ninja of tartans. It’s also one of our perennial bestsellers.

You see tartans all the time, but believe us, there’s more to these plaids than you might know. So put on your plaid and come see us for the Tartan Party, going on December 5th through 8th in Pendleton Retail Stores and Outlets.

Portland’s beautiful Pittock Mansion is open for holiday tours, and as usual, Pendleton products help adorn it. Henry Pittock’s bedroom is done in a northwest theme with the Chief Joseph blanket in sage on the bed.

The Pittock Mansion is a piece of Portland’s history. Guest can tour the grounds and enjoy panoramic views in every direction. So come take a tour! Details here.

With the first day of winter just around the corner, it’s only fitting that we say hello to this year’s Father Winter. Resplendent in a robe of Feather Storm wool fabric, he carries a dream catcher. His natural feathers and fur trims are gathered by the craftsman who makes him for us here in the USA.

He looks beautiful displayed with one of our snow globes.

Hope your season is fun and full of the special things that make it happy.

Greg Hatten, our drift boat adventurer, has been embarking on a new adventure, besides running the rivers of America in handcrafted wooden drift boats. He’s taken on grandfathering in a big way, with three little ones under two years old in his family.

Greg decided that for Christmas, he’d build his grandkids a rocking boat just like his own boat, at 33% the size. He worked with his boat-building buddy, Roger Fletcher, to make it happen.

The results? Beautiful.

The boats are carefully hand-built in the same way as the full-size drift boats for which Greg is so well-known. That is a lot of measuring, cutting, shaping, joining, sanding, staining and sealing. As Greg told us, “I only know how to build boats one way.”

Greg also adapted the classic children’s poem, “Winkin, Blinkin & Nod” by Eugene Field to reflect his passion for drift boating (and Pendleton blankets, it seems). He published copies for each of the grandkids, and the books and boat were quite the hits.

So please enjoy these photos of Greg’s grandkids enjoying their new boat. Information on the rocking boat and book can be found at the Rocking Boat website.

This beautiful car is part of the new  Portland Express, or, as 1859 magazine calls it, “The most Portland train car ever.”

With an array of makers’ good that include Pendleton wool slipcovers, typewriters, bottles of Oregon rain, chocolates, papers and more, this is one club car you won’t want to miss. Check out more photos here.

The Portland Express celebrates the  AMTRAK expansion between Vancouver B.C and Eugene, OR.  Details on booking here.

This post looks back to this past summer, when we helped outfit The Wilderness Collective for a trip to the Eastern Sierras. For this trip, they rode in on horse, braving rain and rocky trails for the reward of some serious fishing and camping away from the distractions of modern life.

The Wilderness Collective’s tagline is “Legendary Adventures for Men.” The gear is high-end, the aesthetic tends towards the curated, but there is no denying that these adventures are the real thing.

Watch the film below. Don’t you want to go?

WILDERNESS COLLECTIVE | WC-004 Eastern Sierra

The real stars of the film are the horses. They patiently pick their way across this stunning landscape, shod hooves on sharp rocks, to take the Wilderness Collective into seriously rugged territory. These horses definitely earned their Pendleton saddle blankets.

You can read more about The Wilderness Collective and see films of their other journeys here.

We are haunted by this beautiful shot of a young girl in the North Carolina mill where she worked. It was taken by Lewis Hines, who took over 5,000 photos of children while working for the National Child Labor Committee in the early 1900s. This photo is part of a feature in the Charlotte Observer about the efforts to identify unnamed subjects of those photos.

Child labor was part of life in early textile mills. Our own founder, Thomas Kay, got his start in Yorkshire mills as a bobbin boy in the 1840s. According to Wikipedia, “A bobbin boy was a boy who worked in a textile mill in the 18th and early 19th centuries. He would bring bobbins to the women at the looms when they called for them, and collected the full bobbins of spun cotton or wool thread. They also would be expected to fix minor problems with the machines. Average pay was about $1.00 a week, with days often beginning at 5:30 am and ending around 7:30 pm six days a week.”

The boy above is Tony Soccha, a bobbin boy in the Chicopee, Massachusetts mill. And if you would like to know who the pensive little girl is in the photo above,  you can read the full story here.

Ah, Olympic fever. Despite mixed reactions to the USA uniforms (thanks to Lizzie for this post) and some alarming tweets from the press about the hotels, we’re still excited for the official opening of the Winter Olympics in Sochi, Russia. Most fans have been watching the skating and snowboarding, enjoying the games in advance of the opening ceremonies.

Of course, Pendleton has an Olympic connection. In 1932, we won the commission to provide blankets to the Olympics. Here is a photo of the blankets leaving on a train for Los Angeles.

There are several known colorways for these blankets. In our archives, we have only one, with a very warm color scheme. There are also a light blue and a brights-on-white patterns out there, but we haven’t been able to track down examples. There might even be more. Here is our archival blanket.

Here is a close-up of the label.

That’s a VERY CLOSE close up, isn’t it? Even so, the label is worn enough that you might want the label’s text:

Genuine
OLYMPIAD BLANKET
100% Virgin Wool
1932
PENDLETON WOOLEN MILLS
PORTLAND, OREGON U.S.A.

Olympic fever is nothing new, and Pendleton traded on it with themed displays.

In the displays, mannequins wear tasteful blanket coats that look modern. We are not sure if those were sewn and offered for sale by Pendleton, or sewn just for display to encourage consumers to get creative with the blankets. Pendleton did manufacture labeled blanket coats for women over the years, but our first women’s sportswear line debuted in 1949 with our 49′er jacket as the centerpiece.

And yes, at $7.95, you can’t beat that price.

It has been a winter of winters here in the US, so as you sit back and enjoy the competition this year, we hope you stay warm. And if you have an example of the other colors of the Pendleton blankets, drop us a line! We would love some color photos.

Through February 28th, Pendleton’s history is on display at the Oregon Historical Society. This beautiful building on Portland’s South Park Blocks is very near Portland State University and the Portland Art Museum. Sounds like a great day downtown, doesn’t it?

The exhibit is a fun way to learn just how Pendleton is woven into Oregon’s history. The desk on display was an old oak roll-top from our corporate headquarters. It was reserved for use by the mill manager when he made his way to Portland from Washougal. Our current manager may have opened a laptop on it a time or two, but times have changed and the desk sat unused for decades.

As we approached the 150th anniversary of the opening of Thomas Kay’s mill, our visual manager, Shelley Prael, decided to incorporate the desk into a display at a sales meeting. When she opened the drawers, she found them full of items belonging to Thomas Kay’s nephew, C.P. Bishop, who used the desk in the old Bishop’s store in Salem.

Numerous treasures, including his college yearbooks, journal and eyeglasses, were accessioned into our archives. But don’t worry, some are on loan to the exhibit, along with other artifacts and a timeline that takes you from 1863 to the present.

More information here.

A brand builds a base in many ways. Pendleton has been around long enough that we have fans who’ve been shopping with us since the second World War. We also have generations of brand fans who have come to us through vintage shopping.

That’s why were were especially excited to be featured in the in-store publication of Buffalo Exchange.

They have a nice write-up about our brand history, with photos featuring apparel from our mens, womens and The Portland Collection, as well as some of our blankets.

And, they have an accurate shirt label guide on the last page.

We’d like to point out that the “2000s” example is from The Portland Collection. On Menswear, the label you’ll see is more like this one:

Thanks, Buffalo Exchange! If you are a vintage shopper, please check them out.

Ah, the serape. Just looking at it makes you happy. This blanket reads modern, but it has been around a long time.

The serape’s roots are in the Mexican weaving tradition, but it is now common to both Spanish and Native American textiles. Here’s a photo of a Native family in a historic Babbitt Brothers wagon with a serape peeking over the edge. This was taken in the Southwest, where the Babbitts plied (and still ply) their trade.

Colorful, sturdy and functional, this blanket shawl was part of life in the traditional Mexican home. It could serve as clothing, bedding and shelter!

The serape is known by many names throughout Mexico, including chamarro, cobiga, and gaban. It can be woven of a variety of materials and patterns but is generally lighter in weight. Different regions use different palettes, from the elegant neutrals of the Mexican highlands to the bold gradients of Coahuila.

Pendleton’s serapes are woven of 82% wool/18% cotton in bands of gradient colors to achieve that beautiful eye-popping dimensional effect. This is your perfect spring and summer blanket, just waiting to be invited along wherever you go.

All made in the USA and available at www.pendleton-usa.com .

When Ty Bennet sent us photos of this beauty, we were impressed by this beautiful Packard.

According to Ty, we were looking at the following: 1948 Packard 8 Station Wagon Woodie Woody. Restored. Excellent condition. Lexington Green Metallic paint. Powerful and Smooth Straight 8 engine.

High Speed rear gear for modern touring. Plaid highlander style interior. Real Wood Northern Birch rails over maple panels. Burl wood grained dashboard and door trim. Radial wide white wall tires. Ready for Summer touring.

Ty sent nice photos of the exterior, and this car has beautiful lines and trim.

But here’s a little more visual information on the interior of the car:

Yes, that is very definitely a Pendleton fabric, a traditional tartan. We’ve worked with truck and car companies on co-branded interiors in the past, but we don’t have any information on this particular car.

Our president, Mort Bishop III, shed some light. He explained, “I am not aware of this project for Mr. Disney. However with our Pendleton exhibit and store in Frontierland we worked closely with Mr. Disney…Pendleton was one of the 3 original lessees in the park when it opened. It would not surprise me that we provided fabric to him for his Packard.”

This car is labeled as part of a Frontierland exhibit, so we don’t know if it was driven much, or just displayed. Perhaps some of our fans might have old photos of this car on display?

Ty sold the car to a private party at auction. Someone has a nice touring vehicle!

Time for another guest post from our friend Greg Hatten, in which he replicates a run from the 1962 trek down the Colorado River in the Grand Canyon. This one is exciting, so hold on.

We scout the big ones – the ones you can hear for a half mile before you can see – the ones that sound like a freight train when you stand beside them.  The ground trembles.  Their names are spoken with respect and dread around the campfire at night and over coffee in the morning… House Rock, Hermit, Hance, Granite, Bedrock, Crystal, Lava…

Izzy & I Scouting a Rapid   photo credit:  John Schroeder

Just above Granite Rapid at mile mark 94, we pull our boats to shore on river-left, tie up, and hike down the river over unstable river rocks to “scout”.    It’s rated a 9 + on a scale of 10 by Larry Stevens in his River Runner’s Map and Guidebook to the Colorado River – one of the most difficult on the river.  Halfway down this rapid is one of the largest and most violent holes we have seen on the trip.  We stop at the midpoint of the rapid to have a closer look.  We watch, mesmerized, as water pours over a huge boulder we cannot see and then dives ten feet down with so much force it creates a wall of water that slams back upriver to create a turbulent cauldron and a suck-hole that we must avoid.  We are transfixed and for a long moment we can’t look away.   I wonder to myself, if a boat got sucked into that, would it EVER come out?

Scanning the river for a possible path through the rapid (the “line”) we speak a boatman’s language of laterals, V-waves, pour-overs, eddies, and cheater lines.  There is a seriousness in our tone this morning as we dissect the rapid and discuss what we see.  I love the banter, I respect the experience, I trust the judgment of these teammates.

Two days ago my boat was swallowed and flipped in an ugly hole at Grapevine – a Class VIII.  My boat took a beating and so did my confidence.  It’s on my mind as the hole in front of us thunders away and we continue to search for the “line.”

There are big rocks all the way down the left side which appear and then disappear with the crashing waves.  At this low water level those rocks would tear our boats to pieces… left side is not open today.  We look at the middle run but everything coming down that V-wave is getting sucked into the hole-that-must-be-missed, so it’s not an option either.  The only path we see at this level is a far right run where a ridge of water is formed by the current careening off the canyon wall.  The run requires a boat balancing act on a tight wire of white water that’s uncomfortably close to the canyon wall.

Portola popping out of the hole – Photo credit:  Dave Mortenson

The hard part is getting up on that water ridge in the first place.  There is a hole above the ridge on the far right side of the river formed by the first steep elevation drop.  If you can put your boat half in the hole and half out of the hole, it will pop your boat out and fling it right on top of the ridge for a twenty second thrill ride to the bottom.  Hit the hole too far right & you’ll get sucked into it.  Skirt the hole too far left and you’ll miss the ridge and be swept into the V Wave and the big dangerous hole we must avoid.

We are all agreed – it’s a far right run.

After the scout, it’s a quiet walk back up to the boats.  We are alone with our thoughts and visualizing our moves and I pose the question to myself… again… “why am I doing this”?

Portola riding the ridge  Photo Credit:  Dave Mortenson

Robb goes first – he’s been rowing since he was four years old and makes every rapid look easy.  He gives us confidence as he hit the exact line we talked about and has a splashy ride down the ridge.  Perfection.  He pulls into an eddy below the rapid and sets up for rescue as a safety precaution.

Steph is next – he’s rowing the Susie Too – a remake of the original from 1962 and a twin hull of my boat, the Portola.  He takes the Susie Too over the first big drop and disappears.  His line is a little too aggressive – his boat is too far into the hole at the top.  The power of the hole grabs his right oar and almost pulls him out of the boat.  The force is so strong it springs the brass oar lock and releases the oar which is now useless in his hand.  He slams the oar back in place just as he gets spit out of the hole, a little sideways and twisted, but up on the ridge none-the-less.  A quick correction and he rides the ridge like a bucking horse although dangerously close to the wall.  Nice!!

Exploding wave   Photo Credit – Izzy Collett

I tighten my life jacket, put on my helmet, and row quietly to the other side of the river several hundred feet above Granite.  The approach to the infinity edge is slow.  Too slow.  Too much time to think about my disaster at Grapevine.  I snap back to the moment and reach the edge where I can finally see down the steepness of the other side and know for the first time that my alignment is spot on.

This is the nerve that Craig Wolfson talks about.  I’m lined up to hit one hole so I can miss a bigger hole and it’s only two days and twelve miles after almost losing my boat and my passenger in a hole that looks a lot like these.

Sliding down the backside   Photo Credit – Izzy Collett

I drop over the top and everything speeds up – now I’m racing for the edge of the hole on the right.  Half in half out – I hit it perfectly and I keep my right oar up away from the turbulence (thanks Steph).  I’m rewarded by a clean exit from the hole and a little air as I get deposited right on top of the ridge of water.  I ride the waves as they explode under my boat and shoot me down the other side.  The canyon wall is cozy and I feel like it’s inches away from the tips of my oars.  I go speeding by the hole-that-must-be-missed on my left. It’s so close I can touch it with my oar.

Speeding by the big hole – Photo credit:  Dave Mortenson

One more big wave at the bottom and it’s over.  In 20 seconds.  Wow…and then I remind myself – “THIS is why we do this!!”

That run at Granite restored my confidence – which would be tested repeatedly over the next 190 miles.  Three days later I would flip in Upset Rapid – Class nine.

Portola flips in Upset – Photo credit:  Dave Mortenson

It had a bigger hole than Granite on the day it got me…but THAT’s another story.

Pendleton Blankets drying – Photo credit:  Dave Mortenson

You wreck a wood boat, you fix it.  You flip a wood boat, you dry out your blankets. And that’s how you run a rapid.

Coming up in Part III…read about night-life on the Colorado.  Ever wonder what it’s like to sleep in the canyon for a month or how we cook, clean, relax, and get re-charged for a challenging day on the river?  Read about it next week and enjoy some beautiful night-time shots in “Night in the Canyon”

Enjoy this, out third and last guest post from Greg–for this trip, anyway.

Nighttime in the Grand Canyon adds another dimension to darkness for me.

Photo by Nate Pickens

Towering walls rise up almost a mile above the Colorado River to touch the night sky, soft sand wraps around our sleeping bags in a warm embrace, and the river of darkness between the canyon cliffs overhead is filled with so many bright stars that most nights, the ground is visible without the aid of a flashlight.  Darkness in the Grand Canyon is filled with light, and my favorite light comes from the campfire after dinner.

Photo by Nate Pickens

We throw another log onto the bed of half-spent coals in the fire pan, sink deep into our camp chairs…and take a long breath.  No rapids to scout, no river to run, no boats to wrangle.

The banter is lively as we replay the day – the heroic runs, the botched lines, and the close calls.  Laughter and teasing settles into quiet conversation and reflection as we enjoy the flames of the fire and each other’s presence.  Together, we unwind from the challenges of the day.  Sometimes the only sound in our circle of camp chairs comes from the flickering fire and the river (and occasionally, snoring from Tony).  We listen to the river every second of every waking hour and we hear it in our sleep.  Darkness in the canyon is filled with the sounds of the river and laughter from the circle.

When we’re talked out, we fold our chairs, and one by one, leave the warmth of the fire. Sometimes two or three of us take the campfire conversation deeper into the night.  The smoke from the fire follows us to our sleeping bags and tucks us in. Our best and our worst is on display in the stressful situations of the canyon and in the solitude of my bedroll each night, I sort through which of those “won the day” – and then I sleep.

Darkness in the canyon is filled with the smoky smell of a campfire and self reflection.

Photo by Izzy Collett

Brightly colored tents sit below the steep rock walls of the canyon.  Some are scattered between boulders and sagebrush or even clustered in bunches on the sand banks of the river.  They glow with a dreamy light.

Some nights there is a special sound to the darkness as Izzy plays a Native American wood flute while she sits on her boat.  The rich low sounds are from a different time and place.  Authentic music mingles with the smoke trails and travels up the canyon on its way to the stars.

It adds a richness to the experience that I will never forget.

The darkness in the canyon is filled with the haunting sounds of the Anasazi flute.

Photo by Dave Mortenson

In the daylight, my canvas tent blends with the light tan color of the sand.  It’s the same material they used for tents and bags on the 1964 trip we are replicating.  I use the tent when there is a threat of rain or I want a break from the strong winds and blowing sand.

When we’re not in tents, we sleep on the open ground with nothing overhead except the stars in the night-sky.  The distance we hike away from the river to throw our bags down on shore is in direct proportion to the energy we have left at the end of a day spent rowing heavy boats through heavy rapids.  Most of the bags are within 100 feet of the boats on the sand banks above the river.  Some mornings we wake up as part of a sand dune and have to shake our way out of our bags.

Photo by Greg Hatten

Many nights we sleep on the boats.  It’s my favorite place to spend the night.  Down here boats are life… they’re everything.  We row them through the valley of death and they deliver us from evil… repeatedly.  They carry everything we own and faithfully get us to our next campsite at the end of our rowing day.  They “connect” us to the river with a bond that’s hard to explain.  We love our boats.

Photo by John Schroeder

All covered up in our warm blankets, we peek out in the dark and occasionally see a falling star in the night sky as the water gently slaps the sides of the boat and the river rocks us to sleep.  On “two-blanket” nights it’s cold enough to see our breath – which makes the blankets feel even warmer and the boats seem even cozier.

The darkness in the canyon is filled with cold cheeks, cold noses and gently rocking boats.

Marble Canyon Tunnel – Photo by Robb Grubb

The darkest dark I found in the canyon wasn’t on the boats at night.  It was in an exploratory tunnel drilled deep in the side of Marble Canyon where construction had begun in the 1950s on one of the last proposed dam projects in the west.

A couple of us tied off our boats on river left and scrambled up the loose shale to the mouth of the tunnel – a hundred feet above the river.  From that elevated vantage point, the canyon looked spectacular.  I tried to imagine a dam in this special spot and couldn’t.  We turned from the river, climbed over the railroad ties and boulders guarding the entrance, and crawled through a portal into the heart of the Marble Canyon wall.

Marble Canyon Entry – Photo by Robb Grubb

Twenty feet in and we were covered in darkness.  Real deep dark heavy darkness…. an eerie black quiet darkness… and I thought of orcs, and goblins, and the Lord of the Rings.  We turned on a laser light, splashed our way through the puddles on the packed-dirt floor and tripped over loose rocks that had fallen in the narrow passageway.  Walking with an awkward stoop, we finally reached the end of the tunnel several hundred feet from the entrance.  For a moment we turned off the light and just stood there listening to “drip…drip…drip” coming from the dank ceiling and falling to the floor somewhere in the blackness.  For the first time in days we couldn’t hear the river – it was silenced by the tunnel and it was deafening.

We shimmied back out the portal, slid down the shale pile back to our boats and spent a quiet afternoon rowing through the beautiful rose colored walls of Marble Canyon.

Marble Canyon – Photo by John Schroeder

That night, I reflected again about what the trip in 1964 meant to river runners like us.  That trip and those guys made a huge impact by shining a bright light on the beauty of the canyon.  Their pictures, their videos, and their words inspired millions of people to take a closer look at the Colorado River in the Grand Canyon and for the first time, many of them saw this place as much more than just a source for water.

The darkness in the canyon is filled with passion.

Last of the Three Part Series by Greg Hatten

Please come enjoy this beautiful new Pendleton Outlet. A sneak peek below!

As much as we dislike half seasons, the decision to spread Mad Men’s last episodes over two years puts off the inevitable, painful farewell to a fascinating show.

We’ve seen Pendleton on Mad Men’s men, in robes and Topsters. Peggy disguised her pregnancy under the waistband of an ever-higher Pendleton reversible skirt–or Turnabout as it was called back then.

The early seasons captured an iconically Pendleton look. The characters seemed to step right out of a Ted Rand illustration.

Time has passed in the world of Mad Men, and the characters are wearing miniskirts and bell bottoms. As always, the costumes are pitch-perfect.  And, as always, we will be watching–for just as long as we can.

As most of our blog readers know, we have a wonderful resource for fabric in the Woolen Mill Store in Milwaukie, Oregon. One of our customers went custom on his truck, and we thought you’d like a view. He didn’t want to give us his name, but he was kind enough to give us the photos. This is pretty awesome, yes?

Net-a-Porter’s third issue of Porter Magazine features our blankets in a beautiful way. Basket Dance and Spider Rock never looked so stunning.

All model shots courtesy  PORTER magazine.