If you haven’t listened to Ben Howard or had the opportunity to see one of his amazing live performances, here is a small insight into his world.

For those who haven’t heard your music how would you describe it?
A sort of lumpy acoustic soup.

Your songwriting has been described as mature and honest. Would it be fair to say your nature is reflected in your music?
I try to be as honest as possible in my songwriting just so I feel it and believe it. As for mature, I think my friends would happily concur that I’m the child of the group most of the time. 

Why Newcastle as a tour stop and will you be taking some time off to surf these chilly shores?
We’re all big fans of Newcastle, my manager lives up here so we’ve spent a fair few times around the coast at Tynemouth. I listened to the Dire Straits album ‘Sultans of Swing’ relentlessly when I was a kid so maybe that’s why? There’s a possibility to get in the water, it all depends on how many beers we get through after the show!

You have support from Quiksilver and have played at some of their flagship events including this years Quik Pro France.  How did the relationship come about?
Through the Davies clan in the North East really. That was the original hook up, then Quiksilver thought I suited their style and everyone over there liked the tunes so it’s been rosy ever since.

Has surfing inspired your music and which if any lyrics are directly linked to your surf experiences?Although I try and treat the two entirely separately, life is always a blur and everything invariably inspires everything else. I write songs about what I know so the sea always creeps in there. There’s probably a fair few references in most songs.

You are currently on the ‘Old Pine EP’ tour, how has it been so far and where can we see you in the future?
The tours been great, really nice to do a little stint in the UK again. Hopefully we’ll be everywhere in the future. It’s great for all of us just to be playing music full time at the moment so as long as it’s sustainable we’ll be touring as much as possible for sure.

I heard there were extra dates added to some shows and tickets have been flying out the stores for gigs in your native South West. How does it feel to have this support?
It’s great to go home and have friends and family genuinely feel what you do. That’s where the luck with songwriting comes in, people either like it or they don’t and back home I guess I’ve been really fortunate. It’s a really heavy reassurance when the songs you write are taken up by people who live in the place that you write about.

You have released 3 EP’s, is there an album in the pipeline?
Yeah the albums almost finished. We’ve been recording at home all year so the records coming together nicely. It’ll be on the shelves when it starts getting a little warmer hopefully.

One last question… if you were stranded on a desert island with 5 albums/long players what would they be?
John Martyn- Solid Air
Willy Mason- Where the humans eat
Bon Iver- ‘for emma’
The National- ‘Boxer’
And probably Hejira by Joni Mitchell 

Knoxville takes us to meet Mat Hoffman and explains how Mat approaches BMX riding with the reckless abandon of a man who’s both in love with his sport and completely indifferent to pain. More than any other figure in BMX riding and action sports history, Hoffman’s responsible for the the big air tricks, hence the title of the Spike Jonze/Jeff Tremaine/Johnny Knoxville new documentary about Mat, The Birth of Big Air, Despite breaking over 20 bones and getting his arm shattered to bits by a semi-truck, Mat continues to just go for it.

Enough said. Just have a read and let the good times roll.

It’s a warm day in the busy surfing resort of Muizenberg on South Africa’s southern coast. Some rich kids from Cape Town arrive in a shiny car, boards tied to the roof rack. They get out and start changing into wetsuits, dousing their bodies in Suncream to protect against the searing African sun.

On the other side of the car park the scene is quite different. Three small, black children sit on a wall. Their clothes look worn and their general appearance is a stark contrast to that of the older kids in their designer surf gear. The rich kids stroll across the car park passing the younger boys as they make their way along the golden sands into the sea. A few years ago the younger kids would probably have pestered the older ones for food or money. But 11-year-old Chadwin and his friends Zoundrey and Chetebaga, both aged eight, have put this habit behind them thanks to a small organisation that teaches children from the area’s troubled townships how to surf.

The non-profit organisation, known as Son’surf Outreach Project, was set up by Mandy Weschta, a 28 year-old South African who moved to the town in 2007. Mandy grew up in South Africa’s surfing Mecca Coffee Bay and has been surfing since the age of 12. She moved to Muizenberg – a few miles south of Cape Town – in 2007, after spending seven years living in the UK.

She explains how she moved back to South Africa with the intention of starting a backpackers’ hostel, but spent her time teaching local children how to surf instead.

“I was saddened by how many children were on the streets begging for food and money,” she says. After speaking to the children, the committed Christian decided she would try to do something to help. “I decided that I loved surfing and being outdoors. So I thought maybe I could start a surf school to help the poor children and give them hope for the future and a better focus in life.”

She explains that there were 10 children who didn’t go to school and regularly hung around the beach begging. “I wanted them to have something to look forward to, instead of hanging around the beach begging every day,” she says. “And I thought if I could give them a surf board and feed them every day they wouldn’t have to beg for food anymore.”

“When I started one of the children locked me in the surf school,” she adds, unperturbed. “They are used to fighting, they aren’t used to peace. But it’s very disciplined here. If they swear or smoke we don’t let them surf. Our aim is to provide the children with hope for the future, to guide them into becoming successful in life, give them love and support and to feed them.”

Read our eighteen page encounter with Nigel here

Chris Preston caught up with Andy Haworth, the man behind a new British longboard film, for a sneak preview and to find out more about the man behind the lens…

(…) where he worked for several shapers while showing his paintings in a few art galleries. On his return to France he moved south to Biarritz, where he has been busy making art and glassing beautiful boards for some very renowned shapers. In a few weeks he is opening his own glassing business in Anglet (Creamy Glassing) and I decided it was a good moment to finally meet him and find out more about this very young (21) artist:

(Tristan) I became very interested in surfing from a very young age, like 8 or 9, at the same time as I started skateboarding. But I obviously didn’t have any money for a board so I could only surf in summer on borrowed boards… or skate. When I was 15 I started an apprenticeship in carpentry. With my first salary I finally managed to buy my very first board board, an old “Hawaiian Juice” and since then I’ve been surfing every week, basically at Ile de Ré and Ile d’Oléron.

Where do you surf normally these days? And what type of board?

These days I surf in the Anglet/Biarritz/Bidart area. I love it! I normally ride retro boards; I’m a big fan of them. I love beautiful boards and odd boards that are made to glide… just as long as they have good glass jobs.

What’s your current job?

I’m a freelance glasser and I work wherever I’m offered a job. Currently I split my time between two places. I work with Daniel’s Longboards – he’s a good friend of mine and, like myself, a fan of all things retro. I also work with Fabrice Morous at Blend Glassing, from whom I’ve learnt a lot (thanks Fab!). And now I’m about to open my own little glassing business in Anglet that will specialize in glassing, tints and polishes.

You have a blog devoted to mini-simmons boards. That is actually how I found out about you first. Where does your interest in these boards come from? Have you surfed any?

About three years ago I found photos of mini-simmons on different blogs. They were the very first that were being shaped, by Joe Bauguess and McCallum. I fell in love with the design, the concept, the shape. Not long after a friend of mine from UWL and myself wanted to have one shaped, so with Renaud Cardinal we started researching the fins (that I made) and we shaped the very first one that we both fell in love with. Since then that’s is the only board I ride except when I use a log. As far as I am concerned the mini-simmons are far better than the fishes.

As a European glasser who has worked for different Australian shapers, what are your thoughts regarding the way they approach their art? Is the average shaping level very different between Europe and Australia?

From my experience in Australia I’ve learned a lot, both personally and professionally. That has motivated me a lot and pushed me to open my own little business. Australia was definitely a very important experience for me. Clearly you’ve got many more board makers in Australia than in France, everywhere I worked they demanded the very highest level possible, sometimes they were extremely touchy about this. But they are very good and they make a very good job. Having said that I think you can find some very good boardmakers in France too, and they are producing a superb job. The potential is awesome.

What shapers have you glassed for?

Renaud Cardinal (UWL, T&C hawaii, Sharp Eye, Classic Malibu, Bob Cooper…); Rhino Laminating (Channel Islands, Steve O’donell, Campbell Brothers, Mike Psillakis); Sean Wilde, Aido (Rusty), Michael Cundith (George Greenough), North Coast Surfboards (Bear Surfboards, Donald Takayma, Rooster, Dick Brewer, Dick Van Straalen…), Peter White (Classic Malibu), Axel Lorentz, Daniel’s Longboards, Blend Glassing (Channel Islands, Billabong, Zaka, Chris Christenson, Josh Hall…)…

Who has impressed you the most and why?

Renaud Cardinal (UWL) without a doubt. He is an excellent shaper, a lovely guy, very passionate about his job, from whom I’ve learnt a lot and he’s a role model for me.

When looking at your art one is surprised that it’s got nothing to do with what we could call “classic surf art”… but you are showing your paintings in real surf meccas and some of it on surfboards. Do people from these places accept it easily or they are rather reluctant to move away from traditional surf art?

You are right, my paintings have very little “classic surf art” in it… if any at all. It’s more my “skate and rock’n roll” side that comes out. But I think that it’s been quite well accepted. On the other hand, when I’m making a board for myself I’d rather do a nice resin tint than one of my paintings.

Art influences? Graffiti?

Sure, 100% street art and graffiti. There are plenty of artists that I love dearly and that inspire me such as Dulk, Morning Breath, Koa, Thomas Campbell, Alexone…

Finally: where can we see your paintings?

At the UWL gallery. Also at Spacejunk in Bayonne and the Retrospect Galleries in Byron Bay (Australia). And also on some decks from Rekiem Skateboards.

The guys in questions are Stefan Hunt and Jonno Durrant, who are currently touring Australia with their second movie ‘Somewhere Near Tapachula’, a documentary about Mision Mexico, an orphanage owned and run by an Australian couple, Alan and Pam Skuse, who care for around 50+ Mexican children.

The movie itself is a emotional ride, telling the tale of how MM came about, sharing the deeply disturbing stories of some of the orphans, but also exploring how surfing has helped the children cope with their hardships, and how the wider surfing community has welcomed this new family with open arms.

A non-profit movie, funded by Hurley and GSI, everyone involved hopes that ‘Somewhere Near Tapachula’ helps show how surfing can make a positive impact on some of the most isolated parts of the world.

…I took a seat in the conversation and caught up with Stef and Jonno to find out how the film was being received…

Drift: I just saw ‘Somewhere Near Tapachula’ at Surf City (an event running alongside Noosa Longboard Festival) and was really moved by the whole thing. At what point did this turn from a volunteering trip into a movie?
Stefan: Mision Mexico ordered a copy of our first movie [‘Surfing 50 States’] for their surf club. A few months later I was researching a surf trip in Mexico and thought of them and decided to volunteer for two months. Within a week of being there and hearing both the story of setting up MM and how it has changed the children’s lives I knew I wanted to make a documentary. I called Jonno and he quickly got on the case rustling up equipment. Within a month he had joined me and we were filming. There was no pre-production, no storyboards, we just jumped straight in.

Drift: It’s a bit of a different angle from the humour and adventure of your first movie – was that a challenge?
Jonno: Yes. We could’ve easily focused on the surf and the pros coming down to teach them. But it was bigger than that, it wasn’t just going to be a surf movie. We wanted the orphanage to be the main story, using the surf to tap into that genre and the ethos it is founded upon. We also used the surf scenes to break up the movie when it got deep and heavy; we didn’t want it to end up being depressing.
Stefan: Yeah, we wanted to show surfers how lucky we are, especially in Western society. We take life and surfing for granted. You’ve got people leaving work with stress and heading to the water to clear their heads and relax – MM is that kind of vibe but on an intense level. Surfing is helping these kids escape from the harsh realities of their pasts.

Drift: It’s obviously quite a deep story – how has the experience affected you guys?
Jonno: It’s been life changing. Even just the volunteer aspect of it. Every time we watch the screenings it still gets emotional; we were there, we filmed it, but it’s still so raw. It makes you appreciate what you have in Oz. We bonded with the all the kids and I don’t think that will ever leave us.
Stefan: We were there for three months, filming and helping out. In that kind of time you get to know everyone and all their stories: it’s a heavy mixture of sadness for what they’ve been through and happiness for what their prospects now are.

Drift: So when did it go from making another movie to a full-scale fundraiser?
Stefan: Right from the start. It was the inspiration behind the film. Volunteers come and go from this place, many of them volunteer because they’re not in a place to help financially – I certainly wasn’t. We wanted to help them further – long term. And as a not-for-profit film, that’s what we’re doing.
People keep referring to the film as a project – I don’t think that’s the case. It’s a cause, we just happened to end up filming it. Like I’ve said before, there was no planning – it just evolved naturally.

Jonno: And once we spread the word about what we were creating and the fact it wasn’t for profit we had a lot of people chipping in – they wanted to do their bit to help. The tour was pretty much organised for us, there’s all these screenings that want to spread the message and all we have to do is turn up.

Drift: Funding wise you have some pretty big names behind you, both financially and for the soundtrack – how did you get them on board?
Stefan: Hurley have been involved with us since our first movie. When we approached them they were super keen and really supportive. GSI had already been involved with MM, donating heaps of boards and equipment to them even before we’d heard of it – for them helping out the movie was a natural step from that. They [GSI] had already seen the impact they’d made, and they wanted to raise awareness further. Between them, both companies covered all our costs – so every $ goes back to helping MM. It’s a win-win situation on everyone’s part.

Jonno: Music-wise the artists were also supportive. We’ve got some big names in there such as Jack Johnson, The John Butler Trio and The Beautiful Girls. A lot of those people already have their own charities and were more than happy to donate their music – the whole soundtrack was free.

Stefan: That was a massive load off our minds. We learnt from ‘Surfing 50 States’ how complex the copyright with music is. We could only use indie music! Also having big names such as Jack on the soundtrack always broadens the audience, which meant more people to spread the word.

Drift: You’re halfway through the Australian tour – what’s the feedback been like?
Stefan: It’s been raw, completely mind-blowing. It’s amazing how touched people have been by the whole thing – there’s tears at every screening.

Jonno: It was everything we’d been hoping and expecting due to the nature of it, but it’s gone even further than we thought. We’ve already raised over $50,000 for MM, so we’re set to smash our $100,000 target. People have been so generous.
The Tim Baker quote caught us well off-guard too – to hear our work described as “possibly the most important surf movie of our generation” got us really stoked. It’s also helped us as filmmakers, which we will obviously utilise further down the line on our next film and also boost the profile of MM.

Drift: Do you wonder about the knock-on affect the project could have – obviously there are potential positives and negatives.
Jonno: It’s weird viewing it as a project, I mean there isn’t a real start or end to this, we’re always going to be in touch with MM. I guess the main worry is obviously spoiling the empty surf where MM go. But we’ve been there, it’s a whole isolated coastline of empty waves – it isn’t going to get crowded in a hurry!

Stefan: Yeah, MM only really hit three breaks round there, so I don’t worry about that.
We have been speaking to Mo (one of the orphans, who’s now studying on the Gold Coast at University) and discussing the ways he can utilise the exposure – possibly setting up a surf camp and getting some cash in from tourism and westerners wanting to surf empty breaks. The only issue is he’s here in Oz, he’s seen how crowded places like Snappers and Noosa get – he doesn’t want to turn it into the Goldie!
On a major plus though, MM is packed out with volunteers now – they don’t have any places until well past September, which is brilliant!

Drift: People who hear about the story or watch the film are going to want to help out – any advice?
Stefan: There’s a few ways – obviously the first is financially, but not everyone can – so time is the next best thing. If you can – go volunteer. Sharing the story yourself is just as good, pass it on, share the stoke.
But it’s not just about MM. We want the film to help people realise that surfing can help everyone, even spending an hour helping out in your local town is just as good – we just want people to help anyone less fortunate than themselves.

Drift: You’ve obviously got the next few months tied up with screenings and such like, but are there any new projects in the pipeline? Are you taking a break from the heavy stuff for a bit or sticking with the documentaries?
Jonno: We were actually batting around ideas when you turned up! We quite fancy going back to the States concept again. I fancy hitting Japan but Stef seems set on India.

Stefan: Yeah, we’re taking a slight break from the heavy stuff. It’s been great and we’ve learnt a lot from it all, both professionally and personally. But it’s also a not-for-profit film. We want to get something commercially saleable done to help fund our next fundraising film – and if we go to India I’m sure we’d find our next Tapachula along the way.

Jonno: I think a lot of our movies will contain the Tapachula feeling from now on, even if it’s a small segment where we take some local kids to the beach.
We’ve also talked over the idea of making MM a long-running thing: there are so many stories and paths to follow – Mo coming to Oz is one of them.

Stefan: I think if we can build on the success of SNT it will mean we can produce better movies, which in the long run will mean we can help a lot more causes.
For the moment though it’s all just drawing-room talk – SNT still has a lot of life in it…

This inspirational film captures some of the best waves and beautiful coastline around the country, but contrasts this with a strong environmental message, as you would expect from our homegrown ocean guardians. Drift managed to grab five minutes with Rich, to find out a little more about the man behind the film…

How did you break into filmmaking?
I started out as an assistant to a few artists (Tony Hill, mainly) who were involved in filmmaking. A little while later I briefly became a wildlife film cameraman, but pretty much on the same day as I made it I fell in love with Anna, my sweetheart, and the idea of being away from her (and now our three daughters) some 300 days a year wasn’t feeling good.
Also, I wanted to be able to craft what I was working on, and so I became a director of photography (DOP), working on documentaries and music videos to begin with and then later on commercials, animations and films (you can see some of my other work at www.rsdop.com).
I filmed the Arctic Challenge 2000 in the Lofoten islands and there met Terje Haakonsen. Over the last few years I’ve been to the far north with Terje and his friends, and I think it was this work that made me think about filming surf.

Who or what influences and inspires you?
I’m influenced by so much stuff… I think Sean Mullens’ ‘Birthright’ is the most beautiful thing I’ve seen recently and I pretty much always cry watching the video for ‘1234’ by Feist.

Andrew Kidman’s films made me feel in some way connected to other surfers around the world and I like Patrick Trefz and Mickey Smith’s work. But it’s the guys I see every day near my home at the beach and their relationship with the water that inspires me to reflect that love on film.

How did you get involved with SAS?
I had been interested in working with SAS for a long time. I admired what Chris Hines was doing back in the beginning and then I started bumping into Andy Cummins around the place playing around with sustainable surfboard ideas (www.loraxsurf.com is a project I’ve been neglecting recently – I love surfboard design). Andy and Hugo saw ‘Powers of 3’ and asked me to come see them for a cup of tea and it just seemed like it was the right time to do something. The cup of tea was back in the spring last year but we didn’t really get started until the autumn. The film came out at the end of February, so only really took us a few months to put it together.

Did you storyboard the film, or shoot organically and piece it together afterwards?
There were no storyboards. I liked the way in ‘Powers of 3’ you could feel the friendship between the surfers,. so the SAS film had a kind of loose narrative of some friends on a road trip meeting locals at quiet spots. I was hoping that through these characters and the way the film is shot you would experience the sea and the coastline in an intimate and familiar way. We shot mainly at dawn and dusk to capture the most beautiful light and help protect the identity of some of the secret spots that we wanted to shoot at. We had decided from the beginning that all of the SAS issues would be contained in some funny little animated sequences and that the surfing – and most importantly the sea – should be idyllic, hopefully inspiring you to protect what you love and are passionate about – clean, beautiful waves. In the end the film has no need for words

Who got involved with the project?
I had so much support on this film; I was really inspired by the generosity and attitude of the surfers we worked with, and by those we came across in the early mornings on the cliffs and in the water. Charlie Chambers, a friend and filmmaker, was by my side, laden with gear clambering up and down cliffs and sliding across reefs, as well as driving us hundreds of miles through dark icy nights. Thanks must also go to the gang of accomplices from the world of music videos who helped us to finish the film once it was photographed.

Was this your first ‘environmental’ project?
I’ve always been interested in the relationship we have with nature (especially the sea and water), so I’ve done a few projects that had environmental ideas. It was pretty interesting for me to see how it affected my own life and attitudes once we got started – I’m suddenly acutely aware of litter and the amount of junk that is produced because of my existence.

I wanted to make this film for Surfers Against Sewage, but also to express in the simplest way possible my own relationship with the sea; to protect it and honour it. We all share in this world and these are our problems, which we face together, so all we can ask of each other is to do our best. I think that the apocalyptic cloud that hangs over us can be paralysing – all we can do is little things in our everyday lives. Whatever we feel we can do on any one day. Some days we can pick up the shit on the beach and other days we say “fuck it” but that’s ok… it’s just doing what we can, when we can. If everyone did just little things it would make a huge difference.

What’s next for you?
I’m in the middle of shooting a new video for the Chemical Brothers, and after that I’m starting on a film about terrorism.

All photos by Charlie Chambers

(…)

I started surfing as a teenager but stopped soon after as I didn’t like the close-mindedness of the people I was surfing with, and it kind of put me off it. When I was 25 i returned to surfing and I realized how much I had missed it. Since then I’ve developed a liking to ride different boards and different waves, and to experience the glide over the water in very different ways, from a shortboard to very long logs or a gun. Later, in 2004, I moved to the Basque Country and after quitting my job, I took a break during which I built our house and thought about my future. I had planned to start my own company and since surfing was my passion, why not in the surf industry?

Damien testing his wax at Parlamentia (Guéthary)

So that’s when Greenfix arrived?

Yes, I wanted to develop a product that was not heavily marketed (unlike surfwear) and I kept coming back to wax. It is something that every surfer needs and is not highly marketed. I did a survey of 250 local surfers to see what their feeling was and, after seeing the results I joined the ESTIA. The ESTIA is a local polytechnic university, but also an incubator of ideas and a cluster of technological companies that can use share all its technological knowledge and facilities. With their help I started researching different wax compositions and we managed to find formulas that resist very high temperatures (60ºC for the cool/warm and up to 70ºC for the tropical wax).

But not just any surf wax?

Right, the aim was to develop an excellent surf wax in terms or performance, but that was also environmentally friendly… and made locally. I don’t want the consumer to have to make the slightest concession: I’ve always seen our duty as a company to develop a product that is good, environmentally friendly and that doesn’t cost more -to the customer- than the less environmentally friendly ones. It is the only way that customers will shift to more eco-friendly products. Finally this past summer we launched the brand.

And how was it received?

We did a market test in early August in France and we have been very well received. So much so that we could hardly keep up with the orders. At the beginning we were outsourcing our production to a French company that makes candles and assorted wax products, but after a couple a little problems this past autumn we decided to make the wax ourselves, in Bidart. Today we pour the liquid wax in the moulds by hand, we demould by hand, etc… we would need a much higher production volume to afford a more automatic method. So for now we will keep it this way, although we are constantly trying to improve the process. On the other hand doing everything by hand gives us the opportunity to constantly check the quality of the wax.

There’s a trend from other wax brands to launch environmental friendly waxes. How does it affect you?

Before we launched Greenfix there already was a specific natural wax brand on the market. And some existing brands have launched eco-waxes too. So we are not the only ones and we like it, as it’s all a step in the right direction. But as far as we are concerned there are definitely several differences between us and them: (1) we don’t produce in China, but locally; (2) our wax is highly resistant to the heat, which comes in handy when you leave your board in the sun (or inside your car) in summer; and (3) the shape of our wax bar, that has been designed specifically for easy use and great performance. On the other hand we believe that certain natural waxes might not be as environmentally friendly as they claim they are. Back when I was having a look around, several Chinese suppliers offered me “bee wax” (a key ingredient), that after further research I discovered was not coming from bees at all, but rather an oil-based product modified to mimic real bee wax. This is just an example of what can happen if you don’t look closely enough.

Hence your decision not to mass-produce in China?

Correct. Today must of the surf-related items are made in China. Several large companies have launched eco-friendly labelled products or collections as a way to increase their market share, not because they want to make an honest move towards a more environmentally friendly production. We know that by producing locally our costs are much higher, and it is our choice. This is why we are planning a lab test, that an independent lab will carry out, to analyze most of the “natural-labelled” waxes existing on the market today and then (in a month or two) we’ll see which ones are 100% oil free and which ones aren’t. We want to set the record straight on behalf of all the customers.

Is this just marketing or a part of Greenfix’s ethics?

From the very first moment I had three pillars in mind around which to build the Greenfix philosophy: (1) to produce environmentally friendly products; (2) to produce locally as a means to help produce or maintain jobs, whether directly or indirectly by using local suppliers; and (3) to bring our staff into the ownership of the company in a similar way to a cooperative, with a strong emphasis on social responsibility. Producing in China would give us more time for sales and a lower cost price, but that is not how we want it. Some people say that I am an utopian. But I like making things. Maybe by the end of this year I will be proved wrong, but so far that is the way we are moving. Also, we work with a C.A.T. (centers that employ physically impaired people) for our packaging and logistics, something we are very proud of and that we couldn’t do if we were producing in China. And with other products that we are planning to develop soon, I hope we will be able to follow the same path. Actually these new products will also be heavily focused on their recycling possibilities.

Right, what’s next?

Commercially we are already in France, soon in Spain and we are actively looking for distributors for the rest of Europe (UK, Portugal, Italy…). Contact us through our website if you know someone who may be interested. We know that by producing in France we will always be more environmentally friendly than other brands that are made in China or California, if not only because of the environmental cost of the transport. If we ever decide to expand into other markets beyond Europe we will only do that by  producing locally; not just for environmental reasons but also to give something back to the communities where we are selling. But that is still a long way away.

Niegà