In Providence, Rhode Island, Janice McDonnell started one of the unlikeliest of revolutions. On seven empty lots in the inner city, she set up a new kind of playground—places where kids could build anything they want, break anything they want. Her larger goals? To fight the disappearance of play brought on by the relentless testing that’s become the norm in today’s schools—and to spread playful opportunities beyond rich white families.
As the economy’s reliance on innovation grows, the commercial offerings of toys for girls remains, well, somewhat less than innovative. Fortunately, a few women who are educators, engineers, and entrepreneurs are starting to figure this problem out by reviving the time-honored principles of tinkering. But how could we have gotten so off track? One writer goes searching for the answer.
In the depths of London, a “toy theatre” born in the 1800s continues to stage regular performances. In their heyday, these productions drew London’s top writers and artists, creating Victorian England’s version of the modern PR campaign. Replicas of these miniature theatres are still for sale.
Many cultures have enjoyed the playful freedom that one feels after donning a mask. But no place has taken it to greater extremes, both elegant and diabolical, than Venice. A tour of the world of Venetian masks, and the annual Carnival mega-party they have inspired.
Welcome to Craftsmanship’s inaugural gift guide, where we list the best (or at least the most unusual) items that we could find during our first year exploring the artisan world. Our discoveries include fine kitchen knives, cooking pottery, guitars, harmonicas, alcoholic drinks, and, of course, some real children’s toys.