Nestled in the heart of India, NS takes pride in delivering slow, thoughtful fashion by preserving the time-honored techniques of our skilled craftspersons, using only ethically sourced leather and natural fabrics.
CRAFTED IN INDIA
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COLOR THAT CHANGES WITH LIGHT
For each throw, 500-600 individual threads have to be wound onto her historic nineteenth-century hand loom. Coverlets found in migrant homesteads in early North American homesteads have been a central inspiration to her dedication to handcraft. “Working with very simple looms, women would create these amazing coverlets as the sole decorative item in a home with one room. These beautiful hand woven pieces were one of the only ways women could express themselves.” Her designs for TOAST have been updated with a vibrant colour palette, and more elaborate designs have been simplified, building on the negative space in her textiles.Lærke Møller Hansen is a ceramicist working in Nexø, a fishing town on the east coast of Bornholm, a Danish island in the Baltic sea. “There’s so many stages in mastering ceramics,” Lærke says. “It makes me very excited to work with clay. Its state is shifting all the time. As a material, it has so much to say.”
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EMERGING CRAFT | MEET OUR NEW MAKERS 2025
For the past seven years, we have invited international craftspeople to apply for our New Makers programme. The successful artists receive expert guidance on their growing businesses, along with a platform on TOAST to sell their handcrafted goods. We started this annual non-profit mentorship to broaden the expression of our brand values, centering around thoughtful production and the preservation of centuries-old techniques. This year’s makers were chosen for their novel and inspiring approaches to such crafts.Craft is a verb. There is no fixed end, or point of completion. For our makers, it is a life of experimentation: refining their practice and cultivating an awareness of the world of natural materials.Handweaver Sabine Van der Sande creates textiles inspired by archival weaving patterns. “I love the intimacy of textiles,” she says. “People throughout history have worn them close to the skin - it’s the fabric of life.” THE THROW For each throw, 500-600 individual threads have to be wound onto her historic nineteenth-century hand loom. Coverlets found in migrant homesteads in early North American homesteads have been a central inspiration to her dedication to handcraft. “Working with very simple looms, women would create these amazing coverlets as the sole decorative item in a home with one room. These beautiful hand woven pieces were one of the only ways women could express themselves.” Her designs for TOAST have been updated with a vibrant colour palette, and more elaborate designs have been simplified, building on the negative space in her textiles.Lærke Møller Hansen is a ceramicist working in Nexø, a fishing town on the east coast of Bornholm, a Danish island in the Baltic sea. “There’s so many stages in mastering ceramics,” Lærke says. “It makes me very excited to work with clay. Its state is shifting all the time. As a material, it has so much to say.” CERAMICS Ceramicist Amy Leeworthy also finds expression in experimenting with form. Working from her home studio on the coastal Mornington Peninsula, outside of Melbourne, her practice is deeply linked to the blue sea and open skies of her expansive natural surroundings. Blues feature heavily in her collection of ceramic tableware for TOAST, and she uses an eighteenth-century cyanometer as a part of her practice. This was a tool invented to measure the blueness of the sky, a circle of gradually deepening blues. “The cyanometer was created to capture something intangible,” she says. “Working with clays and glazes is a bit like this, never the same twice. There’s a magic in opening the kiln and not knowing what you’re going to get.” JEWELLERY This intuitive, material-led approach resonates with woodworker Elise McLauchlan, who also discovered her craft through a deep sensitivity to material. Once a metalworker herself, Elise found wood to be a more forgiving medium: “It’s alive, always warping and changing shape,” she says.
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OUR MATERIALS
Every dedicated detail is a testament to the timeless artistry passed down generations, reminding us that beauty is truly a labour of love.
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