Bundles of round reeds and handmade rattan baskets adorn the warm, character-rich Brooklyn brownstone of Erin Pollard, founder of Underwater Weaving Studio. Blending tradition with contemporary design, the former Vogue executive director has transformed the classic craft of basket weaving into modern artwork, celebrating both heritage and creativity.
Pollard's mother, in many ways, built the foundation of the brand in the 1990s as a weaver for LL Bean and a craft store owner. The two now collaborate on the basket designs brought to market. While most of the art and exploratory brand collaborations are made by Erin, it is Peggy who brings years of handwork experience to the meticulous repetition to the collections they produce. She explains, “Baskets may be the most ancient and ordinary of objects, but their utility and versatility are exceptional. They are woven with wisdom passed down since the beginning of woman, and they can serve extraordinary purposes. Making them and carrying them brings us down to earth.” Pollard also infuses her personality into Underwater Weaving Studio, showing us the limitless possibilities of basket weaving from selling kits, offering a basket weaving membership and club, and introducing basket couture via Moda Operandi.
Pollard’s energy and passion for authenticity transcend basket weaving, embodying her grounded and mindful philosophy. “Craft is fragile right now, especially here in the US. But I’m interested in creating experiences, reviving craft, and offering meditation, confidence, friendship, and real-life community,” she reflects. Through Underwater Weaving Studio, Pollard empowers us to restore organic connections with our true selves and the community.
photography by Kelsey Cherry
1.
Becky Kim: You’ve elevated the art of basket weaving by blending iconic fashion, design, and culture into hand-woven baskets with distinctive qualities. How do you envision the evolution of this craft influencing culture today?
Erin Pollard: Our culture feels a bit complicated right now. I know I’m personally drawn to simpler times and old ideas. Maybe it’s my age or the fact that I’m a protective mom, but I think we are all craving ways to disconnect from technology and reconnect with ourselves.
Expanding on that, “Progress” over the past 30 years– digital, global, travel, information, access, production, consumption– has exploded! And while it is a privilege to be a part of so much progress, it does feel like we’ve hit the peak. How much faster can we go? What about the damage? The excess?
Underwater Weaving is rewriting historical baskets, basket kits, and classes. In a way, it could be considered counterculture because we’re suggesting a bit of a rewind.
Basket weaving culture is counter culture because it’s about service and the organic transference of craft. Craft is fragile right now, especially here in the US. But I’m interested in creating experiences, reviving craft, and offering meditation, confidence, friendship, and real-life community.
Finally, baskets may be the most ancient and ordinary of objects, but their utility and versatility are exceptional. They are woven with wisdom passed down since the beginning of woman, and they can serve extraordinary purposes. Making them and carrying them brings us down to earth.
Ceramics from Jason Miller Studio
Underwater Weaving Studio Baskets
The Woven Backpack
2.
BK: The weaving atelier has fostered a new genre of community through modern crafts, creating transformative opportunities for us to become present through “hand-to-mind connectivity”. How would you describe the magic behind these group gatherings, and how can others replicate this experience in their own homes?
EP: I think the hand-brain connection is more powerful than we realize. I liken our gatherings to experiences I loved as a child: crafting, dancing, and singing in chorus. They are “individual sports,” but you do them together.
Doing meditative things with others creates a bond. In a time stripped of spirituality, I think we’re seeking ways to be with others. We are working to kick-off our basket weaving club, allowing interested weavers to make baskets at home and access our signature patterns, and video tutorials, and gather more.
3.
BK: I love that you’ve revived a family craft started by your mother, Peggy Pollard, and that you now continue with her at Underwater Weaving Studio 30 years later. Through building this studio together, were there any discoveries about your mom that you made?
EP: Admittedly, when I started basket weaving, the rebellious child in me wanted to do the opposite of “American Folk Art” which was what mother was making in the 90’s ( I do love folk art, but in discovering the materials on my own, i was drawn to make weird things). It was vital for me to forge my own creative path and discover the basket weaving on my own. And I intended only to make imperfect, non-repeatable things.
After a retailer approached me about producing at scale, I called my mom and asked if she’d come out of retirement to help. I quickly learned how complimentary our skill sets are and how much knowledge she has about the craft. Making baskets was muscle memory for her– it is in her bones. I think what I learned will sound weird; it’s that she’s good at math. Not in the traditional sense but intuitively and spatially. It made me think… maybe school math classes have it all wrong and we should be taking art instead.
4.
BK: How do you approach gifting?
EP: Considerations when gifting: Does the item tell a good story or carry a memory? Is it something the gifted will keep (unless food, in that case, is it delicious)? Is it presented creatively/ thoughtfully/ Personally?
Places to Shop:
The garden, bakery or farmers market, and vintage/ antique stores.
Presentation:
The best part about receiving a gift is opening the gift! I collect old newspapers, save Kraft paper from the flower market, and store vintage tea towels, note cards, paper, and ribbon in a drawer. I think even the smallest gifts should be individually wrapped. If a gift is presented in a basket, I enjoy the process of creating a whole experience—(It’s a picnic in Paris basket! A sailing in Maine basket! A black and beige things I love basket!).
Gifts
Tiny things of great importance:
Gambalunga, a vintage brooch, a Stone Frog, The Underwater Handbasket (small) filled with herbs), Laurel and Ash Maple Vinegar, a Karl Zahn Keyring, antique rolling pin / For a bride, I gift this for a close friend I’d gift printed film photos of our times together (in a basket :))
Statements & Heirlooms:
A vase with a single seasonal flower, A vintage painting, a great old book or magazine, a Taper Stool, The Underwater Pack Basket, or – if you’re looking to create an experience, host a weaving circle at your home with this. A Stoneware Pitcher
Erin's Gift Recommendations
5.
BK: If you could give a memorable experience as a gift, what would it be?
EP: A week’s vacation on a remote lake in 1990
6.
BK: What is one of the best and most impressionable gifts you’ve received?
EP: My wedding dress. My husband and I married in the summer of ‘21 (pandemic wedding) in our Montauk garden. My neighbor Cynthia Rowley offered to make my dress, and we designed it together on her porch about a week before our tiny gathering. She surprised me by hand-sewing a Velor French Blue ribbon as the back closure and delivered it hours before the ceremony. It was perfect.
7.
BK: From the uniquely designed Tuesday Evening to the Ribbon Basket, your studio's creations are beautifully one-of-a-kind products. When someone receives a gift from your collection, what do you hope the recipient to experience?
EP: I hope they use the basket for many different purposes and get excited about the versatility of it. I hope carrying it is satisfying.
TERA's
CULTURE SHIFTERS
A curation of intentional people who are uniquely redefining societal norms through their lifestyles.