generate more referrals and repeat business....3 whisk in wine and half-and-half, season with salt,...

americanlifestylemag.com | 5

PUBLISHER

Chief Executive Officer Steven [email protected]

EXECUTIVE

President Luke Acree

EDITORIAL

Lead Editor and Layout Designer Shelley Goldstein

Senior Editor Matthew Brady

Content Writer Alexa Bricker

Content Writer Rebecca [email protected]

MARKETING AND CREATIVE

Vice President Joshua StikeProduction Manager Kristin Sweeney

Brand Content Manager Jessica [email protected]

SALES AND CLIENT SUCCESS

Vice President Nicholas [email protected]

OPERATIONS

Vice President Michael GraziolaDirector of IT Thomas Setliff

Print Operations Manager Shannon Mosser

[email protected]

FINANCE

Senior Controller Denise Walsh

HUMAN RESOURCES

Director David [email protected]

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American Lifestyle magazine is published by ReminderMedia. For more information about American Lifestyle magazine, please visit us at www.remindermedia.com, email us at [email protected], or call us at 866-458-4226. All rights reserved.

6 | AMERICAN LIFESTYLE MAGAZINE americanlifestylemag.com | 7

How did Ann Clark Cookie Cutters begin? How has it evolved? My mother, Ann, began her journey at the University of Maryland, where she studied art. After years of painting and creating small gifts for local businesses, she had the idea to transform her popular pig-shaped ornament into a cookie cutter. With determination and perseverance, she was able to convince a manufacturer that her designs had merit. The folk-art designs, combined with custom hand-painted recipe cards, were instantly a hit. From there, Ann Clark, Ltd. was formed.

The business started out as a hobby, where the products were primarily made for gift shops and designed exclusively by my mother. Today, the company is a professional operation with a large manufacturing facility. We employ nearly fifty Vermonters and make millions of cookie cutters. My family’s standards for good design, quality products, and competitive American manufacturing have been pillars of the business since the start, making it the success that it is. Our mission is to locally and competitively make quality cookie cutters and to support the community of people who want to use them.

Since its inception in 1989, Ann Clark Cookie Cutters has gone from a home-based business in Rutland, Vermont, to one of the largest manufacturers of cookie cutters in the world. Ann’s son, CEO Ben Clark, talks about how the company became a kitchen staple for bakers everywhere.

ONE SMARTCOOKIE CUTTERinterview with ben clark | wr i t ten by rebecca poole | photography as noted

Family seems to be an important part of the company. How has this contributed to the success of the business? Does it cause certain challenges as well? The family control of the company has allowed us to stick to our principles and keep our manufacturing local, as well as create a warm and friendly work environment. Of course, there are challenges with family dynamics and how they translate into a workplace, but we do our best to navigate them.

Why did you personally get involved in the business? When I was getting my MBA, my parents were starting this business. They would tell me about it, and I would have a ton of ideas for how they could improve the business model. A few years later, my wife and I decided to make the move back to Vermont to join them on this endeavor. The appeal was being able to raise our family in the splendor of the Green Mountains and keep our children close to their grandmother. © Ann Clark Cookie Cutters

© Ann Clark Cookie Cutters


How do you think the industry has evolved? Traditionally, cookie cutters were handmade by tinsmiths out of scraps. They focused on simple shapes, such as biscuit cutters, stars, bells, and Christmas trees. As cookie cutters became industrialized, more shapes were introduced: numbers, letters, snowflakes, hearts, and the like. Today, our focus is on those who are looking for a trendy and well-thought-out shape to fit a specific party theme—the people who follow the cookie decorators on social media and want an elegantly decorated cookie to be the star of their event.

What does it mean to have the cutters made in the United States, and, more specifically, how has being based in Vermont shaped Ann Clark Cookie Cutters? What has the company meant to the Rutland area?New England prides itself on quality Yankee craftsmanship. We see this in the work ethic and the workmanship our employees have. The Vermont business community has been very welcoming, teaching us a tremendous amount about how to run a world-class organization. We also live in a beautiful place with access to great outdoor activities that our employees can enjoy.

We try to share our success in the community as much as possible by supporting local charities and being an active part of the state economy and business culture. We even mentor start-ups to give back to a place that has given so much to us.

How do you ultimately decide on designs? We encourage customers to tell us what they want. The more requests we get, the more obvious it becomes

that it’s a design we need to make. Our creative director ultimately makes the call and drives our design process. It’s a combination of researching market and design trends and listening to feedback.

What is your favorite cookie cutter?My personal favorite is a custom cookie cutter we made for Virginia Tech. My daughter attends college there, and it was very exciting to see a product we made in her school bookstore.

What is the company’s best-selling cookie cutter? It has changed over the years. When we were primarily in the gift business, my mom’s moose shape was very popular. The year the New Orleans Saints won the Super Bowl, the fleur-de-lis was the best-selling shape. When we began selling to larger stores, the snowflake took the lead. Today, with the increase of online sales, the number ‘one’ has proven to be very popular.

How has the response been to offering customizable cookie cutters? What are some interesting requests you’ve gotten?Our custom cookie-cutter business is certainly welcomed by businesses and organizations. We’ve developed over a thousand custom projects, including custom cookie cutters of the Michelin Man and the GEICO Gecko, as well as designing Egyptian hieroglyphics and sports team mascots. We’ve worked with over a hundred universities as well, who sell them in their bookstores. One unusual request was a cardiology group who wanted an anatomical heart-shaped cookie cutter.

Who are some other notable people or institutions who have used or featured your cookie cutters?Last year, we were asked to represent Vermont at the Made in America Product Showcase at the White House. The White House pastry chef was the

Today, our focus is those who are looking for a trendy and well-thought-out shape to fit a specific party theme—the people who follow the cookie decorators on social media and want an elegantly decorated cookie to be the star of their event.

first person to reach our table and take samples. To have our cookie cutters being used in the White House still leaves us speechless.

What is the holiday season like at Ann Clark Cookie Cutters?From late summer to the week before Christmas, our facility can’t make or ship cookie cutters fast enough. Each year, we increase capacity and change processes to make this period run smoother. We want to make sure that people who decide to have a cookie-making party the week before Christmas can get our products quickly. The cookie cutters also make great gifts. There’s an element of thoughtfulness to giving the gift of making cookies because you’re helping to create happy holiday

memories for families. That touchpoint we have is very heartwarming.

What do you see for the future of the company? As cookie decorating has become more and more popular, we always ask ourselves, “How do we make this easier and reach more people?” It is and always will be about making cookie decorating fun and easy for people everywhere.For more info, visit annclarkcookiecutters.com

© Ann Clark Cookie Cutters © Ann Clark Cookie Cutters

© Flour Box Bakery

americanlifestylemag.com | 11 10 | AMERICAN LIFESTYLE MAGAZINE

Maple-garlic butter: 1 cup maple syrup

1 stick butter, softened

8 garlic cloves, peeled and minced

½ cup parsley, chopped

1 tablespoon rosemary, chopped

1 tablespoon sage, chopped

½ tablespoon thyme, chopped

1 tablespoon salt

½ teaspoon black pepper

10- to 12-pound whole turkey

2 bulbs garlic, tops removed

2 cups turkey broth or vegetable broth

Garnishes: 1 lemon, sliced

1 orange, sliced

Extra herbs (parsley, rosemary, sage, and thyme)

1 Preheat oven to 350°F.

2 In a medium bowl, whisk together maple-garlic butter ingredients until blended.

3 Place turkey in a roasting pan, and brush with ¼ cup butter mixture. Place whole garlic inside turkey, and pour broth into the bottom of the roasting pan. Cover with aluminum foil, and roast for 1 hour.

4 Remove turkey from the oven, and brush with another ¼ cup of the butter mixture. Cover, return to the oven, and roast for 1 hour.

5 Remove turkey from the oven, and brush with remaining butter mixture. Increase oven temperature to 425°F and roast, uncovered, for 30–45 minutes or until turkey is cooked completely and golden brown.

6 Let rest for 30 minutes before slicing and serving. Remove garlic from inside the turkey and add it to the platter as a garnish along with citrus fruits and herbs.

MAPLE-GARLICROAST TURKEY

In this fall-inspired main dish, turkey is brushed and basted with a maple-garlic butter throughout the roasting process, creating both sweet and savory flavors that harmonize into the perfect bite.

INSTRUCTIONS:INGREDIENTS:

SERVES 6–8

For video versions of these delicious dishes, visit americanlifestylemag.com/video

HOLIDAY DINNER,REIMAGINED

recipes by patterson watkins | photography by shana smith


4 tablespoons butter

1 yellow onion, peeled and minced

2 garlic cloves, peeled and minced 1/8 cup flour

¼ cup white wine

2 cups half-and-half

2 teaspoons salt

1 teaspoon black pepper

½ teaspoon ground nutmeg

¼ cup Parmesan cheese

1 pound fresh or frozen spinach

Roasted mushrooms: 2 pints cremini mushrooms, halved

2 tablespoons olive oil

1 garlic clove, peeled and minced

½ teaspoon salt

¼ teaspoon pepper

Sprig of thyme

Sprig of rosemary

1 Preheat oven to 400°F.

2 Melt butter in a large skillet over medium-high heat. Sauté onions and garlic for 3 minutes or until tender and translucent. Stir in flour, creating a roux.

3 Whisk in wine and half-and-half, season with salt, pepper, and nutmeg, and bring to a simmer.

4 Reduce heat to medium-low, and stir in Parmesan and spinach. Cover, and cook for 12–15 minutes or until spinach is tender and sauce has thickened slightly.

5 While creamed spinach is simmering, arrange mushrooms on a baking sheet. Drizzle with oil, sprinkle with garlic, and season with salt, pepper, and herbs. Roast for 10–12 minutes or until tender and golden brown.

6 Serve creamed spinach warm, topped with roasted mushrooms.

CREAMED SPINACHWITH ROASTED MUSHROOMS

This is a delicious holiday side dish, perfect to pair with any roast. Spinach is simmered in wine and cream before being topped with roasted, golden mushrooms.


SERVES 6–8


3 tablespoons olive oil


2 shallots, peeled and minced

½ cup red wine

1 (28-ounce) can crushed tomatoes

1 cup seafood broth

2 cups canned white beans

2½ teaspoons salt

2 bay leaves

½ pound shrimp, peeled

½ pound lump crabmeat

1 pound littleneck clams

1 pound mussels

½ pound lobster tail, split

Sprig of thyme

Sprig of rosemary

1 stick salted butter, melted


1 cup panko bread crumbs

1 Heat oil in a cast-iron skillet over medium-high heat. Sauté garlic and shallots for 3 minutes, and deglaze skillet with red wine.

2 Stir in crushed tomatoes, seafood broth, and white beans. Season with salt and bay leaves, and bring to a simmer. Reduce heat to medium-low, and add seafood and herbs. Cover pan with lid or foil, and continue to simmer for 15–20 minutes or until clams and mussels open and remaining seafood is cooked thoroughly.

3 While seafood is simmering, place oven rack on the top shelf (closest to the heat source), and preheat oven to Broil. In a large bowl, stir together melted butter, garlic, and bread crumbs.

4 Once seafood is cooked, uncover and sprinkle with garlic bread crumbs. Place skillet under broiler and broil for 5–6 minutes or until bread crumbs are golden brown. Serve hot.

CIOPPINO CASSOULET WITH GARLIC BREAD CRUMBS

Some of the classics of Italian-American cuisine are combined in this seafood-forward casserole. Shrimp, crab, clams, and lobster are simmered in a red-wine tomato broth before being topped with buttery, garlic-laden bread crumbs and broiled to golden perfection.


SERVES 4


Ice cream: 2 cups heavy cream

1 cup half-and-half

½ cup ground coffee

1 teaspoon salt2/3 cup granulated sugar

2 teaspoons vanilla

2½ teaspoons ground cardamom

Sesame caramel: 1 cup granulated sugar

1/3 cup water

¾ cup heavy cream

3 tablespoons butter

1 tablespoon white sesame seeds

1 tablespoon black sesame seeds

1 Pour heavy cream and half-and-half into a medium-sized pot, and cook at medium-low heat. Whisk in coffee, salt, sugar, vanilla, and cardamom. Steep for 10 minutes, and strain out coffee grounds. Cool mixture completely in the refrigerator for at least 2 hours, up to overnight.

2 Place coffee mixture into an ice cream maker following manufacturer’s instructions, and freeze until firm.

3 In a medium pot over medium-high heat, dilute sugar in water, and simmer while whisking until sugar caramelizes to a golden brown, about 8–10 minutes. Remove caramel from heat, and whisk in cream and butter, creating a sauce. Stir in sesame seeds, and let cool to room temperature.

4 To serve, scoop ice cream into bowls, and drizzle with sesame caramel.

TURKISH COFFEEICE CREAM WITH SESAME CARAMEL

This sweet, homemade ice cream with a bit of a caffeinated kick is the perfect dessert for a dinner party with friends. The nuanced flavor of the sesame caramel sauce will have everyone giving you a standing ovation.


SERVES 6–8


What did your path to the art world look like? Did your family encourage your love of art?I lived in China until I was about eight, at which time I came to the United States. My path to art was introduced really early on by my mom. When I was four or five, she took me to an art class in my hometown of Nanchang. I was immediately hooked; it was a very instinctual and natural way for me to express myself from the beginning.

My mom definitely encouraged my creative side throughout my childhood. The rest of my family was more of a mix—many of them were not sure if an art education would lead to financial stability. But I knew in my heart that this was the right path for both my education and my career.

You graduated from Rhode Island School of Design with a bachelor of fine arts in textiles. Was that always the medium you wanted to pursue?I initially went to RISD to pursue oil painting. Around that time, I became obsessed with knitting. Working with my hands in such a visceral way was

Originally envisioning a future as an oil painter, Yao Cheng abruptly shifted course into the world of textiles while studying at Rhode Island School of Design. A chance meeting with some watercolor paints and a tutorial from a colleague would alter her trajectory yet again and set her on the path to her current career as an artist and small-business owner in Columbus, Ohio.

AWASHIN COLOR

interview with yao chengwritten by shelley goldsteinphotography by christa kimble


really intriguing, and something in me knew I needed to change my major. I saw textiles as evolving my painting interests in a three-dimensional way.

During my junior year, I studied abroad at the China Academy of Art in Hangzhou for a semester. That was another distinct experience that has had a big influence on my work today. I learned a lot about traditional Chinese floral painting, as well as the power of expression through calligraphy and brushwork making.

How did watercolor painting enter the picture? Are you self-taught? I was designing patterns for Abercrombie & Fitch’s women’s brand at the time, including painted original designs. A work friend, who was much more experienced in watercolors, taught me different ways that I could play with them. He allowed me to see it from a modern, nontraditional way. It wasn’t about forcing the watercolors to be tight or highly technical; instead, I was challenged to control them only to a certain point and then allow them to do their own thing. It was so liberating and so much fun. I knew immediately that this was the medium that I had been searching for all along.

Did you always envision that your watercolors would go on textiles?No, but it has been an incredibly satisfying experience to see it on textiles. When I started my business in 2012, I was very focused on what I knew, which was painting. I really wanted to get back into painting but with watercolors. From there, people loved the printed reproductions that I was selling of my paintings, so I was able to expand little by little into other categories, including textiles.

I think my time studying abroad in China influenced a lot of my botanical work. I love trying to capture the life and energy that exist in plants. I find them poetic and so majestic.

It makes a lot of sense to see my work on textiles now, considering that so much of my education was about creating textiles. I find the industry really exciting, especially with the technology of digital printing—it really enhances the vibrancy of watercolors.

There is a lot of plant life in your designs. What draws you to this subject matter?I think my time studying abroad in China influenced a lot of my botanical work. I love trying to capture the life and energy that exist in plants. I find them poetic and so majestic. I love that they are imperfect and organic.

Tell us about your process. Do you sketch anything first? If it’s work that’s outside of my own line of products, I will create rough pen sketches. However, if it’s my own body of work, I sketch in the form of painting. It’s a good exercise to jump right into painting and not rely on previous sketches. The best ideas come from that improvisation process, and I build more confidence as an artist when I know that I can look at a blank page and eventually arrive somewhere that is really compelling.

Do you have any surprising sources of inspiration?I’m currently going through a phase where I want to find inspiration in real life, like going to an art museum. I want to experience art and find new ideas in a different way so that my paintings can move forward and be sparked by a different point of view.

But I think inspiration can also come in other ways, like music. I pay close attention to the tempo of music. The rhythms can spark a new idea or pair


that I admire, but I try not to look at their work too much because I believe deeply in respecting the work of others. I think a mistake that a lot of people make, especially in the beginning of their careers as they are finding their own voice, is looking too much at others’ work that they admire. It’s very easy to then subconsciously create work that feels similar. I am a believer that, as an artist, it’s my responsibility to find my own ideas and not recreate anyone else’s.

I’ve often revisited Van Gogh’s work throughout my career. I love that he painted in a medium that’s totally different from mine and that he tried to capture light in a million colors. His work has a shimmer and a glow that make me feel like the fields are moving right in front of me. I’m always trying to capture that same feeling in my work.

How do you fight creative blocks? What resets your brain? A creative block can be very frustrating

with something visual that I found in a book. It’s about combining inspirations from different places. I’m constantly mashing totally different things together—such as a geometric pattern combined with the colors that I see in a photograph of ice cream.

Funnily enough, I also find a lot of inspirations in my dreams. I think it’s my brain’s way of making sense of the things that I experience. Many times, I’ve painted a final piece after a nap or after a distinct dream that triggered an idea.

What artists do you admire?There are many contemporary artists

to go through. I’m currently in one now. Fighting it has never worked for me; doing so only makes me more frustrated and costs me a lot of wasted time. My best defense is to recognize that I’m in a creative block and that it won't last forever, and then I do something completely different until it passes.

You cofounded Rise & Design, a meetup for creatives in your area. What was the impetus for that?I cofounded Rise & Design with my good friend and creative, Danielle Evans of Marmalade Bleue, back in 2016. Columbus is a wonderful city, but a lot of illustrators and designers are scattered among the suburbs, and because so many of us work from home, it’s hard for everyone to get together. Rise & Design was a way for us to provide a place for everyone to come together and strike up important conversations.

The beauty of Rise & Design comes from the fact that we don’t all belong to one industry, so our discussions

are more expansive and provide more perspectives. We also see some college students come through, which is particularly exciting for me because I love being able to introduce the next generation of creatives to the real world of running a design business.

Rise & Design is something I’m incredibly proud of and am so grateful to have. It has grown into a community of amazing people. We are all genuinely supportive of each other, and having access to so many resources is very crucial for any small-business owner.

In an alternate universe, what is your profession? I would also love to be a ceramist, a therapist, a pianist, a dancer, or even an astronaut, but being an artist is my focus and love for this lifetime.For more info, visit yaochengdesign.com

“I’M CONSTANTLY MASHING TOTALLY DIFFERENT THINGS TOGETHER—SUCH AS A GEOMETRIC PATTERN COMBINED WITH THE COLORS THAT I SEE IN A PHOTOGRAPH OF ICE CREAM.

Yao Cheng paints in her light-filled downtown studio, the ideal environment for painting different renditions of her eclectic ideas.


THE WELL-KNOWN ARCHITECT FRANK Lloyd Wright, who knew a thing or two about nature, once said, "Study nature, love nature, stay close to nature. It will never fail you."

Wright had a kindred spirit in a seemingly unlikely ally: Pierre S. du Pont, one of the top industrialists in American history. Du Pont graduated with a chemistry degree from MIT, became a chemist, and then became a wildly successful businessman, running both the DuPont Company and General Motors.

Du Pont was also passionate about horticulture. So when he got wind that Peirce’s Park, a well-known arboretum in his hometown of Kennett Square, Pennsylvania, was being sold for lumber, he stepped in to purchase the 202 acres to save the trees—and began creating a new legacy called Longwood Gardens.

“Mr. du Pont was a man ahead of his time,” says Patricia Evans, communications director for Longwood Gardens. “He went to all the world’s fairs to see all the newest technology and always brought those ideas back to Longwood. Because he viewed the gardens not only as a place of beauty but also as a place to entertain his friends and wow his guests, he was innovative everywhere in the gardens.”

Du Pont dedicated decades to creating and improving Longwood, designing many of the garden displays himself. In 1907, his first display, the Flower Garden Walk, was completed, followed in 1914 by the gardens’ Open Air Theatre. In 1921, du Pont finished perhaps his greatest masterpiece, Longwood’s Conservatory—a four-acre perpetual indoor flower garden, the

LONGWOOD’SLEGACYwritten by matthew bradyphotography by longwood gardens


likes of which had never been seen in America. Another notable cutting-edge project was the Main Fountain Garden, on which he began construction in 1928. Once this project was completed in the 1930s, it instantly became a hit, as it featured fountains that sprayed 10,000 gallons of illuminated water per minute over one hundred feet in the air.

CULTIVATING GROWTHPierre du Pont was also a philanthropist, so he put plans in place for Longwood Gardens to continue being an internationally recognized horticultural epicenter after his time, and that’s exactly what it’s become. Since du Pont’s death in 1954, Longwood Gardens has continued to grow and evolve, with its founder’s vision—utmost distinction paired with innovation and imagination—always top of mind. “People, both in the public and within the garden industry, are impressed by the level of detail and the level of excellence here. You’d be hard-pressed to find a weed at Longwood,” Evans states. “I think, horticulturally, we’re outstanding on all fronts, which is what Mr. du Pont would have wanted.”

Perhaps rare for a center of horticulture, performing arts have always been a mainstay at Longwood Gardens, with hundreds of concerts taking place on the

grounds each year. Du Pont’s original Music Room, built in 1923, is now an exhibit area, but the Ballroom’s original, spectacular 10,010-pipe organ continues to entertain guests. Among the new exhibits created through the years have been a visitor center, a restaurant, and a trio of life-sized treehouses. Longwood’s bucolic Meadow Garden also doubled in size in 2014, so eighty-six acres of pristine rolling countryside now provide guests a wide-open expanse to enjoy. In total, the property is almost 1,100 acres, with approximately four hundred being open to the public.

Longwood’s biggest project to date has been renovating du Pont’s beloved

Main Fountain Garden. The two-and-a-half-year, $90 million revitalization, completed in 2017, included replacing all the original pumps, adding new fountains and lighting, and creating a new landscape design. In all, Evans says, “We tried to maintain the beauty of the gardens and the feeling that, when you come to Longwood, you’re really experiencing a world apart and coming to a place that is definitely different from your day-to-day experience.”

Once closed to the public, Longwood Gardens now delights about 1.5 million guests per year. And Longwood has something for everyone, depending on when you visit. The Orchid

Extravaganza, which features thousands of blooms both inside and outside, runs from January to March. The spring welcomes people outdoors to the gardens’ millions of blooming flowers, including a quarter-million tulips. The summer season features Longwood’s fountains on full, colorful display, as well as fireworks and outdoor concerts. In the fall, guests can enjoy the annual Chrysanthemum Festival—the largest chrysanthemum show in the country, which features a one-of-a-kind thousand-bloom flower.

But the busiest time of year at Longwood Gardens is during the holiday season.


HOLIDAYS AT LONGWOODIn 2018, a record 468,333 people visited during Longwood Gardens’ six-week holiday extravaganza, A Longwood Christmas. This annual event is so popular, in fact, that purchasing timed tickets is required because it sells out so quickly.

True to its ever-changing nature, Longwood features a different theme every year during the holidays. In 2018, it was the Tree Reimagined, so visitors witnessed a tree made of glass, a tree made of birdhouses, trees made of books, and even a spectacular floating forest of decorated trees in the Conservatory. The 2019 event, scheduled to run from November 22, 2019, through January 5, 2020, will celebrate the shapes of Christmas.

Implementing a theme, along with an accompanying new color scheme, takes a great deal of effort and planning, according to Evans. “We start working on it in January,” she says. “It really is an entire staff activity. We have around one hundred people between facilities and horticulture that work on projects for Christmas, and they work on them all year round. So, for example, we know that if we want to get certain kinds of lights, we need to figure that out by March in order to get them in on time and put them up. Once we know the theme, we make sure the color palettes are matching and that the theme is woven throughout the gardens, both indoors and out.”

To that end, Evans says that guest feedback is critical to determine what returns each year. However, even the returning displays get new twists. For example, Evans says the outdoor orbs display, a color-changing, glowing-

sphere spectacle that debuted last year, will return again in 2019 with even more glowing orbs. In addition, Longwood’s tried-and-true holiday staples, such as the Music Room, will have different trees with new ornaments, decorations, and colors. The Open Air Theatre, which features popular illuminated fountain shows for the holidays—choreographed to a Christmas song medley—will also be tweaked. As Evans succinctly puts it, “It’s very much a new experience every year.”

Because A Longwood Christmas is both traditional and fresh, people keep returning year after year, with the event becoming part of their holiday tradition.

They’ll take their picture at the same spot each year (in front of the big tree at the Conservatory is a popular one), while enjoying the many new elements to be discovered. “Of course, people always love the half-million twinkling lights in the outdoor gardens,” Evans adds. “In recent years, though, firepits and hot chocolate stands were added throughout the grounds for an even more engaging outdoor experience. Inside, you’re just gobsmacked by the beauty and attention to detail in the Conservatory, and the melodic, nostalgic sounds of a choir or carolers singing is something to really soak in. All the senses are engaged when you come to Longwood at Christmas.”

Longwood Gardens is a happy gathering place to celebrate friends, family, and nature, and an experience to be treasured and talked about—exactly as Pierre S. du Pont had envisioned back in the early 1900s and perhaps on an even grander scale. “Guests tell us about how they welcome the opportunity to reconnect with loved ones here as much as they bask in the wonder of the experience,” Evans shares. “People see us as a place of respite and beauty that they can’t get anyplace else—and that’s especially true at Christmas. We’re so thrilled that people want to spend part of their holiday with us.”For more info, visit longwoodgardens.org

“WE HAVE AROUND ONE HUNDRED PEOPLE BETWEEN FACILITIES AND HORTICULTURE THAT WORK ON PROJECTS FOR CHRISTMAS, AND THEY WORK ON THEM ALL YEAR ROUND.


What is your background when it comes to design?I majored in art as an undergrad at the University of Virginia and worked for a local design firm in Richmond. I enjoyed the work that I did there enough to go back to school and get my master of fine arts in interior environments from Virginia Commonwealth University. I worked for Lucas/Eilers in Houston for seven years doing large-scale residential projects and then started my own business after having my first child.

Where did you grow up? How does that experience inform the way you design? I grew up largely in Richmond, but I spent time in Pennsylvania and Texas. The East Coast’s love of English and Early American history taught me to love brown furniture, especially antiques and classics, like Duncan Phyfe and Sheraton. Texas loves a little more French influence and a more casual environment, so I possess a deep appreciation for a crusty old paint finish and an atelier style. Texas doesn’t have the same history as the East Coast, and

Virginia designer Sara Hillery set her creative sights on her own family home renovation, with an eye toward a light and airy space with a palette of blue, white, and neutral colors.

SKY-INSPIREDRENOVATION interview with sara hillery | wr i t ten by shelley goldstein | photography by kip dawkins

there’s a much more modern philosophy of building new history. I think this melting pot of locations forged my love of eclectic environments that aren’t all one style and that tell the story of the clients’ varied interests.

What is your earliest memory of looking at a room and wanting to redesign it?My mom always let me have input in my room; she even let me choose a cat theme at one point. She has always been crafty and enjoyed a love of homemaking, so design was encouraged in our house.

What traits make you well-suited to be a designer? What have you had to adjust about yourself in this business?I love being creative, and I look at design as a fun form of problem-solving. I like the challenge of taking a space and making it better. I also really enjoy getting to know people. I’ve had to learn

“THE EAST COAST’S LOVE OF ENGLISH AND EARLY AMERICAN HISTORY TAUGHT ME TO LOVE BROWN FURNITURE, ESPECIALLY ANTIQUES AND CLASSICS, LIKE DUNCAN PHYFE AND SHERATON.


how to be organized so that I can be creative and still run a business.

What types of design feed your creativity on a daily basis?I am definitely inspired by fashion. I also love seeing other designers’ work, especially designers who are working on projects that are very different than my own. There’s always something to learn from seeing how others design a space.

If you could have a design superpower, what would it be?The ability to read people’s minds about what they really would like their space to be and look like.

How would you describe your design style?No matter how modern, casual, or formal my designs are, I always incorporate an element of elegance. At the same time, my style is also practical and flexible.

Tell us about this project. What were you looking to accomplish?I wanted the design to be affordable and incorporate much of our existing furniture, be child-friendly for our three kids, and have open sight lines for windows and doors so that the house would feel more spacious and flowing and be a place where we could entertain

both kids and adults formally and more casually.

What were your first steps in conceptualizing the design of the house? The first thing we did was line up all the sight lines for natural light. We let that determine the arrangement of the furniture and cabinetry.

Will you talk about the reorientation of the furniture in the family room?We wanted the cooking fireplace, which is such a unique piece, to serve as the nucleus of the room. We made it into a conversation area and gathering


space that purposely doesn’t include a television. I wanted to encourage the art of conversation in this tech-obsessed age.

Where did the inspiration for your color palette originate?The whole house incorporates a lot of blue, white, and neutral colors so that the design flows from one room to the next. I was inspired by the Texas sky: big, blue, light, airy, and sunny.

What was the biggest challenge?Light is really important to me, so the low ceiling height, boxy architecture, and small windows were a challenge. We opened up walls to get more light in. I often tend toward light fixtures

that incorporate a lot of height, but the ceilings aren’t high enough, so I had to get creative.

The original space had wood paneling in the family room and bedroom. Why did you decide to keep it? How do you feel about the trend of painting over it? Originally, I thought I was going to paint over it, but I realized that reversing it would be timely and costly. On top of that, the paneling is old heart pine—you can’t get that particular grain anymore, so I felt like there was no going back. I’ve found that stains are more forgiving than paint and are lower maintenance. The paneling is warm and inviting, plus it’s brown, so it acts as a neutral.

What wasn’t working for you in the kitchen, and what were you able to salvage?We ended up gutting the kitchen: we ripped out all the cabinets, took down walls, and completely changed the layout. The original kitchen had an old, peninsula-style counter and didn’t

really work—there was no circular flow. We designed the kitchen with the idea that multiple hands, including little ones, are often preparing meals these days. The modern island design with multizone cooking suits us much better and is more welcoming when we are entertaining. We did salvage the white dishwasher. And we put in pine floors to make the room match with the others and not appear disjointed from the rest of the house.

Is it easier or harder to design your own space versus someone else’s? Harder! When I work on someone else’s space, I am setting aside the time and really devoting myself to the design process because it’s my job. For my own space, it’s more of an experimental playground. I’m grabbing fifteen minutes here or there and trying to make the design come together.

What is your biggest design pet peeve that you see out in the world or in other people’s houses?Overscale furniture, because it messes

We designed the kitchen with the idea that multiple hands, including little ones, are often preparing meals these days. The modern island design with multizone cooking suits us much better and is more welcoming when we are entertaining.


up the balance of the space. There’s a certain zen quality when everything is well-proportioned in a room, even if the colors don’t match perfectly. Sometimes people will have me come and look at a space because it feels “off” and they can’t pinpoint why. It’s often an issue of scale. But I truly welcome and am inspired by all types of design.

What is your philosophy on design and life?You only have one life. Design (and life) should make you feel good, it should be livable, and it should inspire you to be your better self. That being said, be yourself!

What are some hobbies or passions you pursue other than design?I love to travel and explore new cultures. I’m also passionate about getting involved with and supporting local parks. And anytime I can support arts causes or other artisans, I’m in.

If you weren’t an interior designer, what would you be? I used to want to be a doctor, so I would have continued to pursue medicine to improve people’s health. Instead, I get to improve their environment.For more info, visit sarahillery.com


ON JANUARY 31, 2019, THE HIGH temperature in Minneapolis, Minnesota, was three degrees below zero; the low was twenty-three below. Most people wouldn’t dare to brave weather like that—even with the help of multiple layers and insulated boots.

But the people of Minnesota are a different breed. They are dedicated to making the most of their environment, taking full advantage of the wealth of outdoor adventures available year-round. The annual City of Lakes Loppet Festival, which takes place toward the end of January each year, is a shining

FOR THE LOVEOF LOPPETwritten by alexa brickerphotography by f/go

example of just how unfazed most Minnesotans are by the cold—and how they choose to embrace it.

The festival began in 2002, thanks to a group of organizers led by Minneapolis mayor R.T. Rybak and two park board commissioners, Jon Olson and John Erwin. The group wanted to help foster a passion for outdoor exploration in the greater Minneapolis area, with a focus on inclusivity and creating a lifelong dedication to being active. With skiing being such a popular winter activity in Minneapolis, they decided to hold a point-to-point ski race modeled after some of the area’s other cross-country races. More than eight hundred skiers participated in that first event, and its success led to the creation of the Loppet Foundation, which now organizes not


only the Loppet Festival but also a handful of other popular events and programs.

“Over the years, the organization has grown to include many other initiatives,” says the foundation’s marketing manager, Alora Jones. “At its heart, it still focuses on holding high-quality, large-scale events like the City of Lakes Loppet Festival, engaging the north Minneapolis community in outdoor activities, and building a community around this active lifestyle.” According to Jones, the Loppet Festival continues to be the driving force behind the foundation, and its success helps keep its other programs running throughout the year.

LOPPET OR LEAVE ITWhat started with eight hundred participants has expanded to an average of 15,000 to 20,000 volunteers, competitors, and spectators each year. There are eight categories of events, including cross-country skiing, skijoring, fat-tire bicycling, and family events.

The events geared toward local children and families are among the most important and are closely related to the foundation’s mission of stewardship and community.

Youth athletes can compete in a number of events, such as the Minne-Loppet, which is designed to introduce children to cross-country skiing; the Junior Loppet, with divisions for ages 19 and under; and the Loppet Age Gap Relays, a combined event for adults and kids to race together. In addition, the Minnesota Youth Ski League SuperCarnival offers a number of relay and obstacle course events for kids of all ages.

The Loppet Festival doesn’t just attract skiers, though. There are many more exciting events representative of the region. For example, the Captain Ken’s Kubb Tournament—the largest winter kubb tournament in the world—encourages first-time players and those experienced with the game to compete head-to-head. The game brings out

“THE EVENTS GEARED TOWARD LOCAL CHILDREN AND FAMILIES ARE AMONG THE MOST IMPORTANT AND ARE CLOSELY RELATED TO THE FOUNDATION’S MISSION OF STEWARDSHIP AND COMMUNITY.


Minnesota’s Swedish roots, as it dates back to the age of the Vikings. It’s comprised of two teams facing each other, attempting to knock down the other’s five kubbs (small, upright wooden blocks) by throwing a baton. Five kubbs are lined up in a row on each side. There are also Loppet events for orienteering, snowshoeing, and skijoring—a popular winter activity that is similar to dogsledding.

Jones says that, seventeen years after the festival’s inception, the most popular event of the entire weekend remains the UCare Luminary Loppet, which has been a part of the festival since 2006. Over 10,000 people walk, snowshoe, or ski their way around the Lake of the

Isles to look at massive snow sculptures, watch special performances, and enjoy interactive activities, all surrounded by beautiful luminaries and light displays.

BLAZING A TRAILOne of the most exciting parts of the 2019 Loppet Festival was its new location at the recently completed Trailhead at Theodore Wirth Park. Traditionally, the larger ski races, such as the Skate Marathon and the Tour Skate, began at the park and ended at the city’s largest lake, Bde Maka Ska (formerly Lake Calhoun). However, 2019’s events began at the Chain of Lakes and finished at the new Trailhead. “This new 14,000-square-foot facility now serves as a year-round hub for outdoor adventure

in Minneapolis,” says Jones. “At its new location at the Trailhead, the Loppet Foundation is poised to serve more people than ever and will soon be host to some exciting new events as well.” One such event is a Cross Country World Cup ski race, which is slated to take place in March of 2020. This is the first event of its kind in the US in nearly twenty years, and it will bring some of the world’s most talented skiers to the Loppet Foundation’s headquarters at the park.

The Loppet Foundation always strives to provide Minneapolis residents with new ways to have fun and be active in their backyard through a culture of inclusivity and an appreciation of nature

that is deeply rooted in this state. “That outdoors and active culture is definitely evident, not just in our organization but also throughout the state of Minnesota,” says Jones. “Even without the world-class facilities and trail systems, we believe that everyone benefits from being outdoors and active because it improves quality of life across so many metrics—and it’s something that everyone deserves to experience.”For more info, visit loppet.org

The Loppet Foundation always strives to provide Minneapolis residents with new ways to have fun and be active in their backyard through a culture of inclusivity and an appreciation of nature that is deeply rooted in this state.


and NPR. Every year, though, the competitors and The Omni staff both put a lot of effort into it, and it shows—in many ways.

“Five thousand dollars is amazing, but you don’t give that much of your life, your holiday time, and your passion if you don’t love gingerbread—and these people love it, live it, and breathe it,” says Tracey Johnston-Crum, director of public relations and community outreach for The Omni Grove Park Inn. “Some people dedicate four hundred or five hundred working hours to them. It’s similar to dog shows or horse shows or Comic-Con, where there’s almost a subculture; in fact, they created their own private Facebook group called Gingerfriends. They have to be part of this culture, and that passion shows in the work.”

Johnston-Crum concedes that, for this reason, it’s easy to experience the highs and lows with the competitors. “The hardest part of the entire competition is

FOR MANY, THE SIGHTS, SMELLS, AND tastes of the holidays instantly remind them of happy memories and make the season even grander. Gingerbread certainly falls into this category—and one place that celebrates it like no other is the National Gingerbread House Competition, which has been delighting competitors and visitors alike in Asheville, North Carolina, since 1992.

When this event started, though, it wasn’t a competition: the gingerbread houses were created for display. However, someone ended up asking who won, so a winner was declared.

Twenty-seven years later, a lot has changed—including a very specific set of rules now in place. For example, each display must be made of edible materials

and constructed of at least 75 percent gingerbread. Entries sitting on their base can be no larger than twenty-four inches tall or wide. And, despite the moniker, you don’t have to create a house.

Competitors can enter their creations into one of four age-based categories: adult (18 and older), teen (13–17), youth (9–12), and child (5–8). The entries are then judged on overall appearance, originality and creativity, difficulty, precision, and consistency of theme. Thirteen prizes, worth over $25,000 in total (including over $10,000 in monetary prizes) are awarded: first, second, and third place in each category, plus one for whoever traveled the farthest. The adult category’s grand-prize package includes $5,000 and a complimentary stay at The Omni Grove Park Inn, where the competition is held.

In 2018, that was the reward for North Carolinians Julie and Michael Andreacola, who took top prize with their entry "Gearing up for Christmas"—which featured working gears made of gingerbread. Catherine Beddall of Ottawa, Ontario, earned second place with her intricate "Hickory, Dickory, Dock" clock, and third place went to Grier Rubeling, also from North Carolina, who created the whimsical "Reindeer Playing Poker." The first-place teen winners, Courtland High School German Club from Virginia, won for the fifth time with its “Old Towne Trolley Tour.”

BEYOND THE BATTLEOverall, the twenty-sixth annual National Gingerbread House Competition was another smashing success, with 190 gingerbread creations entered and the event being covered by media outlets like NBC, Food Network,

the art of written by matthew bradyphotography by the omni park grove inn

GINGERBREAD

Pictured Above:Guest judge and celebrity chef Carla Hall inspects the gingerbread creations at the National Gingerbread House Competition.

Pictured Opposite Page:A gingerbread bonsai tree is observed by judge Nadine Orenstein.


getting the gingerbread creation here,” she reveals. “Unfortunately, we’ve had a few that didn’t make it through the door. It is devastating, not only to the competitor but to all of us because we know the competitors. We have a vested interest in them—we’ve watched many of them grow up.” For such emergencies, The Omni has a triage area set up with things like royal icing and candies so competitors can try to fix their displays before walking them into the ballroom.

Specific rules also apply to the staff involved with the competition. “We are not allowed to pick up the houses at any time, and we are not allowed to move them for the competitors,” says Johnston-Crum. “But I do escort the competitors in because there are certain things in the hotel they have to walk around. And I like to talk to them and learn more about them.” The folks at The Omni also help the competitors by keeping the ballroom cold (which is

better for the displays) and keeping the entrants anonymous for the judges.

CREDIBILITY AND VALIDITYJudges have included renowned cake artist and chef Nicholas Lodge, who has made cakes for Britain’s royal family and is the call (or lead) judge, and Cheryl Forberg, who’s the nutritionist for The Biggest Loser and a James Beard Award winner. But others outside of the culinary field also judge. “We’ve got

educators and authors. We even have Nadine Orenstein, who’s a curator for the Metropolitan Museum of Art, and who’s one of my favorite judges. She looks for different things than the chefs may look for,” Johnston-Crum shares.

To help with the scoring, the judges carry flashlights so they don't miss any of the intricate details the competitors painstakingly add to their creations. On the opposite end of the spectrum, Johnston-Crum reveals that “our experts know what people try to get away with, so Chef Nick always brings his tool kit so we can drill into houses that we have concerns about.” (And for good reason: one time they even discovered that a PVC pipe ran through the center of a piece.) The judges will also occasionally break things off to eat them, just to make sure they meet the edibility requirement of the competition.

But it was a new judge, celebrity chef Carla Hall, who may have made the most impact in 2018 by expressing just how impressed she was by the quality of the event. “Chef Carla told me, ‘I’ve never been to a food competition that took care of their judges, integrated them, and made them feel like they were part of the competition the way that you do.’ Our whole goal is to make this an enjoyable experience for everyone involved—that is truly what makes this competition different,” Johnston-Crum says. “So it was validating to hear her, coming in with a fresh perspective, say that we do it for everybody, not just the competitors.”

THE SECRET INGREDIENT: JOYThe National Gingerbread House Competition has become a tradition for many families, who come year after year to view the winning displays during the

holiday season. “Most hotels empty out during the holidays, but we’re the exact opposite,” Johnston-Crum states. “We sell out every Christmas Eve and every Christmas Day. For many, Grove Park becomes Christmas personified.” The event also helps Asheville economically by drawing business from near and far, and The Omni's holiday parking program gives a portion of the holiday season's parking proceeds to the community. Over the past six years, over $430,000 has been given to local not-for-profits.

Johnston-Crum will be there again this year, welcoming every competitor to The Omni for the 2019 National Gingerbread House Competition, which is scheduled for November 18, with the winning creations to be on display through January 4, 2020. “The inventiveness and the passion

impress me every year, but it’s also a hard competition. People take it very seriously, and we take it very seriously,” she concludes. “But we also truly believe that it should be fun and that everyone involved is touched positively by it. We want you to find that little piece of nostalgia that takes you back to a simpler time and rekindles something in your childhood that made you joyful—because, when you get down to it, that’s what gingerbread houses do.”For more info, visit omnihotels.com/hotels/asheville-grove-park

“TO HELP WITH THE SCORING, THE JUDGES CARRY FLASHLIGHTS SO THEY DON’T MISS ANY OF THE INTRICATE DETAILS THE COMPETITORS PAINSTAKINGLY ADD TO THEIR CREATIONS.

Grier Rubeling reacts to winning third place in the

adult category.

Judges Mark Seaman and Steven Stellingwerf share notes with call judge Nicholas Lodge.

generate more referrals and repeat business....3 whisk in wine and half-and-half, season with salt,...

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