EARLY SHIBUMI 2005/06
This photo takes me back to early SHIBUMI, when I first opened the doors in November of 2005. I started out showing about 12 artists along with my own work. I still had my consulting job as Art Director for The Jerry Garcia Estate, so I could only open on Saturdays.
In the last days of 2004, my then partner and I, Eric Powell, bought our building. It was the day that interest-only loans were handed out easily, and we could just barely pay the mortgage. The building was mixed-use residential, so that meant I could have an artist studio and maintain a limited number of retail hours.
My work at the beginning had primarily been enamel, which was the work I had been know for.
These were often intricately painted enamel pieces which sometimes took over forty firings. The solid colors took less, but were at least 6-8 firings. Along with my work, I had asked a few other artist to show at myspace and amazingly, they said yes and sent me their work on consignment. The cases I used were re-purposed showcases that I had used when traveling for shows.
And my signature display at the time was stacks of white paper. I would write the artist's name on the page and the pricing near the piece. (See first photo) I loved the part of the job that qualified as 'display'. The gallery was also a showroom for my partner's sculpture, and he slowly built out new cases, which have moved to our current location on Fourth Street.
In the early days, I also showed the work of Ocelot Clothing, which had an amazing following.
When I started I felt like our work paralleled a certain aesthetic. Her collectors also cross-pollinated and found my collection of jewelers, and when the Jerry Garcia Estate closed in 2006 I discovered I could 100% support myself and my big mortgage with my work.
Prior to starting SHIBUMI, I had worked for Susan Cummins’s gallery as a gallery assistant and was known for updating the displays.
It was there that I gained confidence in my eye. I was complimented not only by Susan but also by two of her artists, June Schwarcz and Dominic Dimare. I still remember when Dominic said to Susan. "She truly has an eye, Susan.” I was so honored and validated.
I was also introduced to Susan by June Schwarcz, for whom I worked one day a week, apprenticing and helping her with her world-renowned enamel vessels.
I loved June and she became part of my Californian family. We worked for a few hours, ate lunch, and always finished with ice cream. Every week, she would send me home with a new book or show me a new art piece or item of clothing she had purchased. After ice cream, we would talk about why she bought it and what she liked. I felt like her vision was being imprinted into my younger self and I was open and admired many things about her.
Then, In 2006, I attended my first gem show. I had a no-interest credit card and charged 10k of diamonds and new stones to add to my work. I walked slowly in fear around the gem show, wondering if I could ever pull myself out of this debt.
I had never carried debt. I had no family money to fall back on. This was going to be solely on me, my vision and my talent. I was afraid, but then I thought of the phrase I asked my students when I taught Concept Design at CCA to Fashion students. "Do you have a motto you live by?” I had them each tell me if any guiding phrase popped into their heads. Mine had always been, 'The thing that I am most afraid of is the first thing I do.' To me, fear and excitement were just an octave apart and one could usually peel back the fear and find that the real feeling was excitement.
I also loved high-karat gold, so I invested in enough 22k to make 7 rings. Two bands and five rings with natural diamond crystals. I had bought unusual diamonds which I loved their subtle glow and rough nature. I carved my first rings with barely any wax experience. I wanted them to feel unearthed from ancient times.
I learned that because I was not the perfect jeweler, I could use my eye to balance the organic nature of my work. I wanted my work to feel organic yet still refined and well-crafted.
The first weekend I put them in the case, I sold one for $3,300. I was elated!
I want to share some of the jobs I did before I opened SHIBUMI. It took a while, but every job led me to where I am now.
I showed up for each of these jobs and did my best, even though some of them did not feel 100% like me. I was fully engaged and learned, and it led me closer and closer to being able to run a business where not only can I be 100% myself but my staff are encouraged to lean in that direction too. There were many mentors along the way who helped shape me and I am truly thankful to them.
Here is the list. I hope it inspires some to be their best, show up, and keep moving towards their individuality and vision. Have courage, take small risks along the way, stay true to who you are, yet be open to others around you who have much to share and teach.
- Freelance Photo Stylist - various magazines and photographers
- Nini Bambini - design/production assistant (children’s wear clothing)
- ESPRIT- textile design and sourcing (women’s clothing)
- FORTUNA METALSMITHS - my first production jewelry company
- Lilith Clothing - buyer and retail sales
- Karen Alweil Studio - freelance display to redesign her showroom biannually and trade shows in NYC
- June Schwarcz - artist's assistant
- De Novo Gallery - freelance display |
- Susan Cummins Gallery - gallery assistant, jewelry display.
- The Jerry Garcia Estate, Consulting Art Director
In 2017, when SHIBUMI had been in business for just over 10 years, I gave this presentation at a SNAG conference. It's a nice re-cap of SHIBUMI's first 10+ years.
And now SHIBUMI is 20 years old! It’s hard to believe all the growth and evolution it has had. It has staffed over 40 artists and makers during these years. I really like hiring creative people to my team. I like to foster an environment where people can grow creativity, yet themselves, and share the SHIBUMI ethos - a considered life that cultivates beauty, ignites creativity and encourages self-expression.
\ shi-’bu-me \ n. a subtle, unobtrusive, and deeply moving beauty cherished by artists & connoisseurs
As we continue, we promise to stay inspired, to treat our staff well, and bring you many small moments of beauty.
We’ll see you in 2026 and hopefully for many more years to come.
Thank you for your support!
~ April Higashi