Corridor November Radio - it’s clean and bright in NY - fluffy tufts of foliage beginning to turn deep autumn hues - life is comfortable in layers and the sun is going down early with long mid afternoon shadows - drinking tea at home but still finding time to move with friends and strangers alike - fall is here in all its glory.



Corridor 2021



In 2021, Michael took the leap of moving to New York City
to pursue his dreams of making work. We visited his studio
for an interview about navigating life, art and New York.

Photo: Phoenix Johnson
Stylist: Michael Grayer
Interviewer: John Kalnins


There will always be that desire to create something beautiful that makes me or others feel free.

JK: If you could describe your personal style in three words what would they be? 

MT: Colorful, wonky, big. Big wonky colors. There it is.

JK: I like that. So, how long have you been in New York? And do you think that your overall growth and development would have happened in a similar way If you weren't in New York?

MT: So I've been in New York since July 2020. I don't know, that’s an interesting question because most of my success in my career has come from Boston, where I'm from, so I don't know if I would be as successful or less successful if I wasn’t in New York. I don't know if it’s changed a lot in terms of my career but I feel like I’ve grown as a person so much.

JK: And in what ways would you say you’ve grown?

MT: I mean, I moved out of my mom's house and just the way you learn about yourself when you’re on your own is crazy. On top of that, being in the mecca of culture and being in such close proximity to everything you love and idolize from afar changes the way you see things. Being right in the middle of the melting pot is amazing and has really taught me a lot about myself and expedited a lot of things that may have taken a little bit longer if I was somewhere else.

JK: Yeah, I feel like living on your own for the first time in New York City forces you to grow up fast in a lot of ways. So, what would you say motivates you to create?

MT: What motivates me to create? Honestly, one of the big ones is the fact that I need to make money. A lot of the times when I have money I'm kind of chilling you know? But then of course there is this desire just to make something beautiful and the desire to create things that make people feel something that I'm constantly chasing. But to be real... yeah, the money factor is a big, big motivation. If I had all the money in the world, I don't know how much I would create. I mean I still would, for sure, but I don't know how much or how often I would do it. But there will always be that desire to create something beautiful that makes me or others feel free.

JK: So, I know that you worked in the corporate world briefly before jumping into your solo art career. What's the difference in feeling? This is maybe a tough question but when you wake up in the morning on a day where you're coming to the studio or a day you have a show versus when you were waking up before going into the office. What's the difference in the feeling there?

MT: It’s literally day and night. Being on your own time doing something that fulfills you and not somebody else. I say it all the time, there's no better feeling than waking up without having to be somewhere and I do that every day. I hope everybody experiences working in something where the only person you're trying to satisfy is yourself. Also, I was not a fan of working for somebody that's not doing anything good for the world. Just being a part of that toxic capitalist system. It's funny when you get out of that world you realize how nonsensical it all is. Being there from nine to five, when a lot of times you could get all your work done in like four hours, but you have to be there because of XYZ and seeing that it's all the same thing over and over and over. That’s not to say I don't work my ass off... I work. I work way longer than nine to five but it doesn't feel like work. So I would never go back ever. I will be broke and homeless before I go back.

JK: How do you navigate the art world?

MT: I don't really know. I'm very fortunate to have built a team around me that helps me navigate it. I just try to be as genuine and nice as possible and try to give myself the best fighting chance and then you just have to see where the cards lay you know? It's just all subjective. I could be the hottest one day and trash the next day. So what are you going to do? I would never want to just make stuff that people want. You know, it's like, I don't expect to be hot. Hot now, but I don't expect to be hot forever. Because when you're hot forever, you know you're not exploring, you're not pushing yourself. Navigating it just really is this monumental monster that's always going to be there. So I just get with people like my gallery, a small gallery that really champions me, and then rock with them and let the beast of the art world just be there. You know, you might as well try to be as happy as possible.

JK: Do you ever experience creative blocks at all? And if that does happen, how do you overcome or navigate them?

MT: I don’t like to call them creative blocks but more like moments where I don't feel motivated, the way I try to get through it is having all these fail-safes in place because all of my work is pretty much pre-planned. I try to be as prepared ahead of time as possible. I’m not an artist that steps up to a blank canvas and inspiration just pours out of them. I find it hard to believe that any artist is like that, but I've seen plenty of people do it. I am constantly drawing. Constantly drawing source material. Just draw, draw, draw. So whenever I do have that point of a creative or motivational block, I always have something to go back to and then it kind of becomes mindless. But then there’s the issue of motivation too, just because it can get really repetitive. I've been fortunate to set up this system where I'm always trying to think three ideas ahead so that I won't ever get bored and I think that means always trying to be innovative, not in the moment necessarily, but more long-term innovation, where maybe in five years I'll do this but let me start thinking about it now. Yeah, It’s just always drawing things so when you do hit those ruts, you can always lean on yourself. You’ve already done the work.

JK: Oh, that's interesting. When you say you're thinking of things maybe five years from now that you want to do. Do you look at your world in that way at all? Are you a guy that thinks five years from now, “I want to be in this museum”, etc - or is it more, like, you're taking it day-by-day and taking things as they come?

MT: Yeah, I think it's a day-by-day thing. The thing that makes you have to look at the bigger picture is that the art world’s very slow. So you might get a museum show but it could be three years out. So you have to maintain this for three years. You know, that's always an anxiety-inducing thing, but then I think, “Okay, well, these people have committed to me so something’s gonna work out”. But, yeah, every day is new. I'm excited. I'm living life. On the one hand, it goes day by day but the way that our institution is set up makes you think longer-term because you want your work to be around forever. I always think of my shows in terms of - “If this is the last show ever. Am I gonna be happy about it?” Every time I enter a show, that's the thing that motivates me to push myself out of whatever I'm doing or to ‘get fun with it’.

JK: I mean, that's a good way to look at life overall, right? If this is the last day, I've got to make the most of it. Speaking of making the most of every day, how was starting your solo art career in the middle of a global pandemic?

MT: Honestly, it’s been great. The fact that I could make money doing this thing I love during the pandemic was crazy. I never had my own studio. So, it allowed me to get these routines and best practices down, and to understand how I work. I'm still learning but I’ve got it pretty down at this point. And understanding all that, when nobody was doing anything helps now when there's, literally like, four gallery openings tonight. Knowing that I don't have to go, or if I wanted to, I can get some work done and then go. I can totally see myself being a little less mature and not dedicating the actual time I need to create if I didn’t start in such a strange time.

JK: Do you think if you had come out here, and there were parties and gallery openings on the regular, it would have been more difficult?

MT: Yeah, I could totally see me being a wild boy and getting into shenanigans instead of dedicating the time I need to know my process. So, it was great to figure that out coming here when nobody was doing anything. On top of that when I moved nobody was out on the streets so that made that actual moving process a lot easier.

JK: Have there been any moments for you where you’ve thought, “Wow, this is crazy… I’m a fully functioning professional artist”?

MT: I don’t know if there’s necessarily been one moment in particular. Well, it’s funny to get back to our conversation earlier... It almost becomes in a weird way like a new nine-to-five. It doesn't feel corporate at all, of course, but a lot of times especially when I’m gearing up for a show or in the winter, things can get monotonous coming into the studio, working and going home and that's the interesting thing; that's how you know you’re really in it. You're just doing the work. Making the work on a day-in, day-out basis. That's the jump, you know? Most artists always have something else they have to do to make money, and then making art is their release. So, when you're doing it every day, what becomes the new release?

JK: Yeah, that's a great answer. It wasn’t some bullshit like, “Oh, my first gallery opening” or whatever. Everyone has things they love and everyone wants to make a career out of things they love, but I don't think everyone notices or realizes that even when you are doing things you love - you're still going to hit those monotonous periods in life.

MT: It's funny, you know, thinking about my boy, who is a touring musician, and is doing really well. Everybody has this idea of being a touring musician, partying all the time, and going wild after shows. And I remember after his last show I went to he was eating a salad and drinking water. And he said, “I gotta do this same thing tomorrow”, and I thought, “Oh, he really lives this. He's got to be his best self every time he's on stage. He can't take a day off because he wants to party.” That’s when I realized that typically the whole idea of who and what an artist is so reduced to the time you see the work.

You see the art, you see whatever that is, and people think that's the coolest thing, which it is, but then they don't see the amount of work that goes into that and the often times monotonous process of perfecting your craft. Doing the same thing. I was reading about Jerry Seinfeld recently, it was interesting because he said he would rework the same joke for years. He would go to the comedy club and do the same routine every single time just make it a little different. Not different, but better. It was all about timing and the way he's delivering it. He’s thinking ‘if this is going to be the greatest joke of all time, it’s going to take time’. I really respect that and I try to approach my work in the same way.

JK: You said something that caught my attention and I'm curious. So you were saying artists who, maybe aren't in the same position as you, have these day jobs and they're so excited to go home and work on their art. You said something like “what is my release now?” So, is there something?

MT: I mean, it’s really when people see my work. When they see it presented, wherever it may be. It’s crazy because you get so wrapped up in the logistics and the nonsense of making art. You start to forget that something’s dope when you see the same piece for so long. By the end of it, you're over it. But then when other people see it and they're like, “What the hell! This is crazy!”. That’s the new release. That's what I do it for. It's for other people. It's for me of course, but I've learned that I definitely feed off of the energy of other people and how my work makes other people feel. How can I make something interesting that’s gonna provoke people in any which way?

It's always exciting in the beginning, but the novelty rubs off. We need to be reminded that we do dope shit. I remember back in the day, which is so hilarious to me now because I don't fuck with Instagram or social media anymore, but I remember back in the day when my biggest goal in life was to get 100 likes and now I’m not even thinking about it. I post something and it goes up every single time. It's always something new and exciting. My buddy said it best: It's about never settling. Be in it, all now, but the next day let's keep pushing. How do we make this thing that was banging again? How do we keep this thing going and keep people interested? That's a constant thing. I think it's interesting, because now, it's such a multifaceted career in the arts. I think it's really hard if you just solely rely on the work. People want to figure out who the artist is. They want to be interested in the artist. So they do cool stuff on the side, like hang out with a couple of cool brands, you know. They get affiliated with a couple of cool people and then people get fascinated. I think that's a thing that I am constantly thinking about, what’s the next step? ‘I want to do this cooler’ or ‘I want to do this better’, but then it’s also not getting lost in the monotony. It’s just one of those things that you need to constantly keep climbing the ladder and to be excited because you don't want to lose that enthusiasm.

JK: So it's not just your work, per se. There's a lot of different elements to this, right?

MT: It's a lifestyle. The work is, of course, the biggest component of it but people wouldn't care about me if it was just a “cool dude”. There's enough “just cool” people these days and I think we're starting to transition out of that phase of just being cool for cool’s sake. The biggest component is the art because, again, that can become stale. The way I look at it, the people I'm attracted to, and the people that I think are really cool, They have the whole package. They don't just sit in the studio and only make their work. The people I like are just cool to be around, you know? You want to get a beer with those people and then you see that they also work with this brand, cool! I feel like that's like The New Age artist. I mean, Basquiat was walking for Comme Des Garcons for instance. The cool factor has always been a thing. When you have the right brands or people to validate you, then you become even more of ‘a thing’ every step of the way. You’re building this aura around yourself. 

You need to be careful because you can’t just start doing things for validation. Art and life is this weird balance of being true to yourself and making cool stuff. Of course, appreciating the validation when you get it but not seeking it out. I don't really think about it day-to-day because I think I have my moral compass right, but it is a thing that I can totally see being a slippery slope. It’s interesting finding that balance, because if you start doing a lot of things with brands in the art world you can just be considered a commercial artist. At the same time, if you’re a cool artist doing cool things, then there’s some respect in the art world. Nobody wants to see a stale artist who doesn’t get jiggy. I don’t know, maybe I'm wrong. I look at it like, artists have to be the complete package. It goes back like to the age-old question “Are you interested in art or the artist?”

JK: Okay speaking of the art or the artist, who is your biggest style influence and then biggest influence in terms of your work and what you create?

MT: I really love the way old white men dress and the practicality of their stuff. They wake up and put on whatever they like and need for that day because it's functional. They’re dressing with a purpose. You know, it's not like, I mean fashion. It's just so effortless. That’s the whole thing about style. And what people really gravitate towards are those people that pull it off and make it look effortless no matter what it is. I think that's the biggest thing people try to achieve and that's the cool factor. Big Wonky Color. If I could add another word to that one, it would be effortless. 

JK: Yeah, I think that effortless style is something that certain people spend a lifetime trying to achieve while it just comes to others so naturally. Okay, so that’s your personal style, how about your work?

MT: Yeah I’d have to say David Hockney. I realized he just creates what he sees. He just tries to create something beautiful. He doesn’t overthink it and that's a trope, especially that a lot of black artists get into where everything has to mean something. You know, like, I just got into Seinfeld and I was reading how the show is dubbed the show ‘about nothing’. And I thought, “Oh, that's cool”. And then Jerry and David were talking about how that's not how they pitched the show. The show is about how comedians, like Jerry Seinfeld, get their content for their stand-up and that was just by living life. I then thought that is so relatable because my work is just like my existence and sometimes it doesn't mean anything - sometimes I’m just making something beautiful.

Corridor NYC 2021


Phoenix Johnson is a photographer born May 18, 1995
currently residing in NYC. In this series Phoenix takes
us on a trip into the future and back in time simultaneously
as he captures what the rebirth of nightlife looks like.





Corridor 2021


The best time of the year to dress has arrived, and so has our October Radio + Mood. Here are some big tracks and some beautiful songs for this gorgeous season ahead.



Corridor 2021


Cowboy is a branding experiment and coffee pop-up between consultant Elliott Foos and photographer Austin Withers. Bringing the feeling of horses, cattle, and coffee around a fire to the suede streets of NYC. We went to Italy for a couple of weeks to create something of a spaghetti western for ourselves. Sipping bad Italian coffee and smoking cowboy killers while basking in the salty, warm Amalfi air.




Elliott in our Tea Olive Single Piece Polo and Herringbone Canvas Bucket Hat in Coyote.

Elliott in our Crochet Grandpa Cardigan and Variegated Cord Trouser in Midnight.

Corridor 2021



We've partnered with Frederick to bring his
quarterly astrological readings to our
community and hope you can find something
useful for your life in his words.


As this is the first of what will be a quarterly column for Corridor, an introduction is in order. Let me start with a question. The same perennial question I’m asked by lots of different folks from lots of different backgrounds: “Do you really believe in astrology?”

My answer is annoyingly another question, “Do you believe in the screwdriver you use to screw in a screw?”

I’ve practiced astrology professionally since the first Moon landing (it really happened, Google it), and the fact that astrology ‘works’ continues to astonish and occasionally waylay me. Although there is no definitive answer as to why it works. Ask 50 different astrologers and you’ll have 50 different opinions flung across the universe.

Sometimes I’ll answer the question with a more abstract question: “Do you believe in art?”

Astrology is firstly an art. Those other 50 astrologers might ascribe a scientific, philosophical, or spiritual sheen to astrology. But no matter. Astrology is first and foremost an art.

So what is art?

The astrologer-as-artist is a middle person, someone who mediates between the various dimensions that comprise life. And in the process, they unite the terrestrial with the cosmic. As the Jungian astrologer Liz Greene puts it:

“The images, sounds, words and forms which the artist utilizes are languages which can communicate the meaningful patterns of levels of reality which would otherwise be incomprehensible or incommunicable to the rational mind.”

Commenting on astrology the culture critic Camille Paglia adds: “Rationalists have their place, but their limited assumptions [about astrology] … must be kept out of the arts. Interpretation of poem, dream or person requires intuition and divination, not science.”

Consider the last time you saw a piece of art that moved you deeply. Most likely it spoke to each part of your nature: the emotional, intellectual, intuitive, and maybe even physical. I once had a client in New York bolt from the room after I broached the topic of his extreme Martian temper as it impacted the women in his life. Never having met his partner he drilled me with, “What did she tell you?"

“Above us only sky,” as John Lennon put it. There’s no requirement to believe in heaven or astrology. Heaven is a crap shoot but we live and breathe astrology 24/7—astrology is in our blood and bones.

You’re up with the sunrise and down with the sunset. The Moon changes shape and your boat rises and falls with the tides. Each day of your week is presided by a different light or planet—Saturn for Saturday, the Sun for Sunday. You’re smitten and in love under Venus’ influence. And then you're hard and raring to go (Viagra-free) during a thrust from Mars. Mercury is retrograde? Forget it! — your computer just froze. And so it goes.

In this column, I’ll offer commentary and suggestions on how men can align with the various planetary transits that dominate each season.

A quick footnote: Although the planets, Sun, and Moon are beyond gender—over time a language developed in Western astrology that borrows heavily from psychology, with its concepts of the feminine and masculine—the yin and yang qualities—of life. Of course, these characteristics are not the purview of any one gender. Men and women contain a mixture—or perhaps neither as we’re coming to understand in our current cultural moment. But that is a longer discussion for another column.

The autumn of 2021 is caught in a colossal turnaround of cosmic forces as the planets Saturn (the reality principle) and Pluto (destruction and rebirth) change their direction. Translated: October will feel like your life has re-engaged with destiny—but at a price. Stalled plans that went stale will find a new impetus and direction.

Because life is always about ups and downs occurring simultaneously, this return of momentum comes with a caveat. Namely, Pluto’s forward motion and the planet’s continued dismantling of the sign Capricorn. This transit echoes one of Picasso’s key axioms: “Every act of creation is, first of all, an act of destruction.”

Here are pointers for the guys of the following Sun signs.

ARIES: Pluto’s hard angle to your sign places you in a nuclear reactor. There’s tremendous power at your disposal but with it the fear that you might annihilate anything or anyone that hampers your momentum. Although sometimes you just need to make a mess. You can apologize later. Insensitivity might be the surest way to break free from self-doubt—or your tendency to over-intellectualize and stay stuck in your head. You discover success when you find ways to work independently. There is nothing sadder than an Aries male taking orders from another guy. Especially if he considers the other fellow to be an asshole. Famous Aries guy: Quentin Tarantino

TAURUS: Your tendency is to stick to the ship until it sinks. And in doing so exhaust every possibility or angle that you might have missed otherwise. Your tenacity is admirable up to a point. But don’t drive yourself towards a ‘tipping point’ and the exhaustion that follows. Usually, your body will throw signals by displaying symptoms or tics—all of which should be honored. Yours is an instinctive wisdom, hardwired by nature. Retreat into the natural world when you feel fried. A forest hike, a lush garden, a swim in the ocean, will reset your mainframe. Famous Taurus guy: Salvador Dali.

GEMINI: Your mercurial nature might give the impression that you’re not serious or committed. That’s a mistake, especially now with Saturn bringing gravitas to your bag of tricks. Achievement will depend on placing yourself into a schedule or system that disciplines your everywhere-all-at-once mindset. Problems or seeming dead-ends can be solved with what the Tibetans call Crazy Wisdom (get the book here). This mindset takes advantage of your talent for being on and off, lazy and diligent at the same time. Famous Gemini guy: Paul McCartney

CANCER: Pluto, the god of “what doesn’t kill me makes me stronger” has refashioned your crab shell into a sleek Teflon model. If you felt waylaid or thrown off course during the past couple of years know that destiny demanded some under-the-hood adjustments. Now you’re ready to invest your efforts into a project the requires a steady application of will. And sobriety. Keep in mind Thoreau’s insight: “The price of anything is the amount of life you exchange for it.” Simply put, you get what you pay for. Famous Cancer guy: Kevin Hart

LEO: You're accustomed to getting your way with whatever your imagination deems necessary to your creative survival. But 2021 started to counter this tendency, forcing you to apply yourself like the common folks do. All of the fire signs have a difficult time maturing. They’re also not keen on the word ‘no’. But lions are doubly prone to cling to childlike ideals. Saturn opposing you now indicates that you’re ready to invest in fine-tuning your already stellar talents. Study and discipline bring rewards. Replaying old habits bring diminishing returns. Famous Leo guys: Stanley Kubrick.

VIRGO: Remember in the Wizard of Oz when Toto pulls back the curtain and reveals a powerless old man and his collection of show-stopping gizmos? You don’t want that to be you in 30 years time. You’re a maven when it comes to running (and re-running) your popular programs, schedules, and organizational systems. But the universe requires something unfamiliar and fresh now. Allow for the unexpected and the unplanned to guide you to a new jumping-off point. And then, well, jump. Famous Virgo guy: Kobe Bryant.

LIBRA: The fall kicks off with a burst of high octane Martian energy and super-sharp focus. You can sustain your momentum by anchoring your intention to a tangible project by mid-October. The more you move out of your head and commit to a pragmatic approach the smoother your ride. You’ve been blessed with an inordinate amount of charm and beauty, see if you can apply your gifts to the advancement of others too. Sharing wealth brings you the greatest form of satisfaction and honor. Famous Libra guy: Neil DeGrasse Tyson.

SCORPIO: You take pride in knowing that you’ve left no stone unturned and yet, behind you right now, is a brand new mystery awaiting your sleuthing skills (hint: it involves your interpersonal relationships). The autumn is about embracing out-of-the-blue revelations and following clues and crumbs that didn’t originate from your loaf of bread. Perhaps your partner or an associate is offering you solutions or insights you hadn’t considered yet. Allow for surprises—shocks that shore up your innate trust in the Tao—the flow of life. Famous Scorpio guy: Pablo Picasso.

SAGITTARIUS: You’re caught in a bit of a push-pull as your ruling planet Jupiter moves away from Saturn’s weighty drag. This means your urge for freedom is still tethered to your notions of responsibility, commitment, and slowing down a tad. Look at it this way: your intuitive mainframe’s being overhauled and upgraded, preparing you for the long haul in the years ahead. You’re the zodiac’s most colorful dreamer. But occasionally some shade and shadow are required to highlight and put in relief your brightest ideas. Famous Sagittarius guy: Samuel L. Jackson.

CAPRICORN: You go through the most peculiar changes when it comes time to commit to a goal. First there is a big draft of doubt. Followed by a rearrangement of priorities and restructuring of schedules. (No one knows how to manipulate time better). Then the networking begins. Although you prefer to work alone, others are essential to fueling your climb to the top. I mention all of this to reacquaint you with your innate skill for achievement. It might not be as inspired or glamorous as some of the other signs, but who cares once you’ve won your prize. Tortoise and the hare. Rinse, repeat. Famous Capricorn guy: Timothée Chalamet

AQUARIUS: Viewed astrologically, cultures unfold in precise 20-year cycles. And your sign has set the terms for the two decades ahead. What does this mean? Well, the same ideals that defined the 1960s are returning. Namely a focus on the enhancement of humanity rather than more crownings of kings, industrialists, and Kardashians. You’re at the forefront of spearheading ideas of equality, tolerance and freedom. Right now we need your unique, sometimes eclectic or eccentric takes on self-expression—ideas that benefit brother- and sisterhood worldwide. How to shift from ideas into actions? That’s your assignment this autumn. Famous Aquarius guy: Franklin D. Roosevelt (see what I mean?)

PISCES: Everything is relative for you—and this is a blessing and a pain in the ass when it comes time to anchoring your dream to a method that brings success. Because Neptune, the planet of ecstasy and delusion is still moving through your sign, find a way to tune into frequencies that are beyond this world, but still grounded to the earth. That means giving equal due to both sides of your nature. The dreamer and the scientist. Look what fellow Piscean Albert Einstein achieved by blending his imagination with his rational mind. Hint: That hobby you’re involved with that seems like no big deal? Make it a big deal. Famous Pisces guy: George Harrison

Frederick Woodruff’s weekly musings on pop culture, astrology, and fate appear regularly in his WOODRUFF Substack. You can subscribe for free here.

His new book All Across the Universe: The Astrological Beatles arrives in the spring of 2022.


WELCOME TO SEPTEMBER - Crisp in the morning and warm in the afternoon - its officially shorts and cardigan season. Here’s our new playlist, retitled more accurately to Radio because this is what’s played in our studio and our stores; and what we love to listen to. Hope that you give it a spin too.



Corridor 2021


Designer: Dan Snyder
Photographers: Eric Chakeen & Phoenix Johnson
Set Designer: Joe Garvey
Producer/Stylist: Jacqueline Hur
Stylist Assistant: Jonathan Roensch





This year has forced us to look outwards and inwards at the same time - being inside has made us both introspective and desperate to be in nature. The collection, Into the Forest, reflects the juxtaposition of inner feeling of connection to self and outwards focus of being part of the natural world - both forms of coming back to oneself. The colors, derived from deep forest colors of the late fall - russet, coffee, crimson and thrush, evoke a natural setting just before the branches go bare. The textiles and knits are blended to camouflage into the natural setting rather than to stand out - settling in for comfort and ease.

- Dan Snyder / Designer + Founder

Corridor 2021


Words: Jacob Gallagher

Our designer and founder, Dan Snyder, is featured in the Wall Street Journal article titled: Crochet Clothes: Not Just for Grannies Anymore, about knitwear and the rise of crochet. Read the article below to find out more.




As a child in rural Virginia, Ray Prunty would watch his aunts and grandmother craft comely crochet throws to pass the time. Today, the 23-year-old sales assistant in Richmond, Va., proudly plops a hat crocheted in a grid of “granny squares” by Philadelphia’s Stahl Knit on his head several times a week. Mr. Prunty, who said he “grew up on crochet,” was attracted to the cap’s prismatic color scheme and its cozy nostalgia value.

Stahl Knit is one of a number of small-scale labels—some with just one employee— producing colorful, handmade clothing using crochet, a traditional hook-needle crafting technique. These designs include a fluffy sweater pieced together from large red, purple and aqua granny squares by California’s Chamula; a delicate, almost lace-like crochet tank top from New York’s Bode; and a sprawling handmade scarf dotted with on-the-nose peace signs from England’s Story MFG. Some larger fashion brands also produce pieces that appear hand-crocheted but are machine-made.

Earlier this year, Brett Hymes, 29, a writer in Santa Clarita, Calif., purchased an oatmeal- colored granny-square cardigan from New York’s Corridor that was handmade in Peru. The sweater has a pleasing “grandpa vibe” to it, said Mr. Hymes. Indeed, crochet epitomizes down-home comfort. The tightknit sitcom family on “Roseanne” (which premiered in 1988 and ran for 10 seasons) kept a crocheted throw draped across its plaid couch throughout the show’s run.

Crochet also conjures the ’60s, when young people traipsed around in shawls and tops fabricated from multicolored yarns. Corridor’s cardigans were, in fact, inspired by an image of a shaggy-haired Paul McCartney wearing a bluish crochet vest on the set of “The Magical Mystery Tour,” the Beatles’ 1967 British television movie. “There’s all sorts of flower-power stuff happening now,” said Dan Snyder, Corridor’s owner, noting that his sweaters slot into a larger throwback moment.

“There’s all sorts of
flower-power stuff
happening now,”
- Dan Snyder


Although this summer didn’t end up being a repeat of the freewheeling summers in late- 1960s America, as some had hoped, brands like Tache Clothing and Wild Orange Tree have been selling hippified, sleeveless crochet dresses and loose crochet crop tops. These flowy knits, in vibrant oranges, purples and greens, wouldn’t have looked out of place in the Haight in 1969.

“Our customer definitely is always seeking an element of nostalgia,” said Madeline Sensibile, manager of content and partnerships at Lisa Says Gah, an e-commerce site out of Los Angeles and San Francisco that sells a slew of crochet pieces. Some of its most popular items include amusingly quaint tank tops made from vintage granny squares by the Series, a small company out of New York. Shoppers are “always looking for that playfulness in their outfits,” said Ms. Sensibile. “It’s the idea of getting something that’s vintage, but also reworked for now.”

Some fans of the look have even taken to crocheting themselves. A couple of years ago, Ella Dixon, 23, a cheesemonger who lives in Rockaway, N.J., taught herself to crochet via YouTube. She’s since turned the hobby into a business, generating around $400 a month selling various crochet goods including cardigans and tanks through her own website. Though some pieces take her around 60 hours total to make, Ms. Dixon cherishes the diversion. “I usually crochet before work, after work. I crochet nonstop,” she said.

At-home crocheters like Ms. Dixon sparked what Marian Park, the strategist for trend forecasting company WGSN, called “the craftcore” movement. This trend is led by young, DIY-driven folks who’ve embraced the magical, time-passing powers of knitting and crocheting. (The most famous fresh-faced knitter is Tom Daley, the 27-year-old British swimmer who knit in his spare hours between winning medals at the Tokyo Olympics.) Making one’s clothes, or even buying from small, homespun crocheters like Stahl Knit, also satisfies a desire to be environmentally friendly. Ms. Dixon referred to crochet as “slow fashion,” a painstaking process that represents a deliberate alternative to faddish, low-quality fast fashion.


Corridor 2021


Phoenix Johnson is a New York-based photographer. Join us on a trip with him and his friend, and model, Julia as they explore the beaches and nightlife of Todos Santos, Mexico.




Julia in the Fuzzy Olive Flannel, Washed Summer Indigo T-Shirt, and the Organic Cotton - Stone Bucket Hat

Julia in the Linen Glenplaid - Natural.

Above: Our Banana Hawaiian SS, Olive Oxford Canvas Shorts, Natural Coordinates Rockaway Cap and some really cool goggles.

Julia in the Waffle Madras.

Julia, poolside in the Ticking Stripe Linen Overshirt - Natural.

Corridor 2021


Words: Dan Snyder
Photos: Eric Chakeen

Kennedy Magazine is a biannual journal based in Athens, Greece. Its aim is to explore the views and ideas of certain individuals that have influenced their aesthetics and cultural wanderings in one way or another. It's a journal about the people and places they love. A collection of words and images that are revisited from time to time when like-minded readers will look for inspiration and a familiar intimate place. Read our featured article, written by Corridor designer and founder, Dan Snyder, about COVID-19 and it's impact on us.




In February, we closed our stores as the wave of COVID-19 hit. We stuffed ourselves in our apartments and waited and panicked and waited for the virus to end. After a few weeks of the exhausting news cycle, many people, including myself, settled in for the long haul. The simmering anxiety, listening to, and sometimes participating in the clattering of pans and bells at 7 PM, walking the tightrope of life and death in the narrow aisle ways of Key Foods, not knowing what was to come.

It’s now October and the panic has turned to a form of malaise. Working from home has become a meme, everyone in Brooklyn has a car, and midtown feels like the Walking Dead.

Since then, we’ve had the BLM movement and the city’s remarkable unity, and the subsequent looting of businesses, big and small. It was a surreal day when I could feel the electricity in the air, and that I knew that violence/looting or something was going to happen. Somehow, whether it was the news, or the subconscious unified field or whatever - everyone in Nolita got the memo, and the neighborhood turned from ghost town to construction zone. Every empty store had a contractor or expeditious store owner haphazardly cutting and drilling in plywood for the coming days - the evening before the coming storm. These boards stayed put until September, and in an interesting twist - the contractors are now back but this time at the restaurants preparing for winter.

This has been a bright spot, I feel, the Paris-ificiation of NY, outdoor dining giving life to streets, and a reprieve to otherwise desolate blocks. New Yorkers feel like they are outside more than ever because to be inside after all that quarantining is too much to bear. The parks are teeming with people.

This in sharp contrast to the mobile morgues and suspicious glances exchanged on the sidewalk. There has been community building, too.

There was a nightly block party on St James Place, where hundreds of people would dance to a sidewalk DJ at 7 PM. This felt like a community and provided an excellent reason to get out of your apartment and see some people.

The months have passed and it’s felt like years - so much has happened, so many people have died. My grandmother died of COVID, my best friend lost both of his grandparents, I had to permanently close the Williamsburg store. I guess I shouldn’t mourn the loss of my grandmother and the loss of my store in the same sentence, but building out a store- scrubbing the floor with your hands and bringing it to life - it’s a bit like creating an entity of some sort, a thing that exists and breathes and has a life of its own, so to snuff it out was difficult.

Going to my grandmother’s funeral was dreamlike - and I guess most funerals feel that way. It was August and it was so hot in suburban Baltimore at Sol Levinson’s funeral home where everyone I know/knew/still know has their services. We sat outside the building, socially distanced, while the rabbi remarked on my grandmother’s life. My sister couldn’t make it - she’s at risk and did not want to risk it. After I read my remarks I delivered hers. They were the best, painting the picture of my grandmother who lived her life as she damn well pleased: cigarettes, affairs, and burnt chocolate chip cookies. I wept as she was lowered into the ground and we recited the Mourner’s Kaddish. There was no shiva- no bagels or whitefish salad: that’s a separate tragedy worth noting.

Like everywhere, people are sick of it. New York, as it was, was already stressful, verging on manic. Have you ever witnessed Midtown Manhattan at 5-6 PM? Office workers are piling into the streets. So many people that the sidewalks are not big enough, the workers are moving as fast they can, speedwalking to Penn Station to get back to where they came from. Desperate to get out of the city. It feels a little like that everywhere now; the sidewalk isn’t big enough.

I’m a clothing designer and I guess I could remark on that, but it’s been a blur. Designing the SS21 Collection, producing AW20, and now we’re into AW21 - I’m surviving. I’m running as fast as I can, patching together what I can, and making things work as best I can as we limp into 2021.



For some 2020 was a great time to be a digital nomad. Flying to Tulum. Opening your laptop and you’re at work - this is not me. There are knowledge workers, and there are material workers, and if materials were your thing in 2020, you had to stay put. We had samples to fit and colors to adjust and plaids that needed new CADS. My work is touch and sight, and unless I have a full collection and dress forms, yarn books, and all of my other materials, I can’t do much. I guess that’s why I never left Brooklyn. I had to make it work. So this is my little NY pandemic missive. I’m confident that everyone has had a very different experience during this time. I’ve heard from more than a few people that quarantine suited them - they could work at home, get on their Peloton, walk around the block and rinse, repeat. This isn’t for me. I miss the city’s vibrancy. I don’t like the constant and omnipresent COVID-19 predicament, and I don’t think that’s going to stop anytime soon. But this is my home, and I love it. New York has allowed me to chase my dreams and become my most me, so I’m not leaving.


Corridor 2021


Aaron Bengochea is a photographer born and raised in Las Vegas, NV and based in NYC. Bengochea has been shooting photos from a young age, ever since his oldest sister purchased him a Polaroid camera. He's continued a career in photography, documenting interior spaces and anything that catches his eye. Join us as he photographs our Fort Greene location.


Corridor - Fort Greene
165 Dekalb Ave
Brooklyn, NY 11217


Corridor 2021


Aaron Bengochea is a photographer born and raised in Las Vegas, NV and based in NYC. Bengochea has been shooting photos from a young age, ever since his oldest sister purchased him a Polaroid camera. He's continued a career in photography, documenting interior spaces and anything that catches his eye. Join us as he photographs our Nolita location.


Corridor - Nolita
245 Elizabeth St
New York, NY 10012


Corridor 2021


WELCOME TO AUGUST - as Summer's heat begins to cool - squeeze the best, last drops out of the season. 



Corridor 2021


Join us on a short tour of Brighton Beach and order plemeni at Tatianna’s - that’s what we did. If you can’t make the trip, this should work as a decent replacement. Photos: Dan Snyder


Benji in the Hand Painted Selvedge Shirt, Natural Ticking Stripe Linen Drawstring Pants, and the Stone Bucket Hat

Benji in the SS Horseshoe Pocket - Gold Coast and the Rinsed Corridor Denim - Regular Fit 14oz


HERE COMES JULY - it's time for BBQs, bucket hats and beaches. Summertime is in full swing - apply and reapply - and don't forget your towel. It's time to soak up the sun.



Corridor 2021


Words: Martin Allen
Photos: Dan Snyder

Head Hi is a coffee/bookshop and arts space located in Fort Greene near our studio. We chatted with founders, Alexandra Hodkowski and Mösco Alocer, about the books they stock and the beans they brew.




Corridor: Tell us about yourselves?

Head Hi: We are the co-founders of Head Hi. Mösco is from Cuernavaca, Mexico (been living in New York for 21 years!) and Alexandra is from the mountains of Colorado (been in New York for 11 years). We left Manhattan for Brooklyn several years ago and absolutely love it.

We both have been immersed in the arts and in creative environments for a long time. Mösco is an artist and Alexandra studied art history and has worked for artists, in museums and non-profits. Books are essential to us and searching for special titles is our passion. Alexandra has a refined sense for finding incredible books, she’s extremely organized and has degrees in art history AND business/administration, which helps running our business. Mösco does most of the visuals and creative direction - he drew our logo and is an excellent barista!

What's the history of Head Hi? How long have you been around and how did the idea come about?

We’ve been open for 3 years now. We have both dedicated our lives to the arts. We have always loved the spontaneous dialogue, ideas and inspiration that is found at independent, off-the-beaten path book, record and coffee shops. We thought, “why not create that next in our neighborhood, a place that is home to many makers in the Navy Yard and surrounding area?” We also wanted to create a place to enjoy excellent specialty coffee, which was hard to find in our neighborhood before we opened.

Our focus is featuring mostly independent and self-published books on art, design and photography.

What can we expect in the future from Head Hi?

Now that we have gotten through our first year and then COVID-19 in our second year - the sky is the limit! We are constantly dropping new books into our webshop. We were just invited by our friends Love Injection to participate in an amazing weekender event located in upstate New York, put on by our favorite electronic music venue GoodRoom. Join us where we will be selling books poolside July 30-August 1 for Summer of Joy! In the Fall, we will be launching an amazing collaboration involving records (more details coming soon!) and we will have the Head Hi Book Kiosk at the New York Architecture and Design Film Festival.

Lastly, what have you been listening to/watching/reading these days?

We just watched an incredible movie 499. It is made in a style called magical realism combining real documentary footage of the harsh reality of modern-day Mexico with a fictional 16th century conquistador character. The scenes are so beautifully filmed by one of our favorite cinematographers Alejandro Mejia (who won an award for it at the Tribeca Film Festival).

At the shop every Saturday we listen to Love Injection’s show on The Lot Radio. We also love DJ Prince Klassen’s show Shared Time on Soho Radio.

We have different kinds of reading time, some are more visual or studious and others are more fun. For visual, we are loving all the New York findings of artist Yuji Agematsu in the book Four Seasons published by Sequence Press. For the more studious times, we are reading The Last Man Takes LSD and for more relaxed reading we are loving the latest magazines coming out such as balcony.


Thanks very much to Alex and Mösco for taking the time to chat with us. Head Hi is located in Ft Greene:

14 Clermont Avenue

Brooklyn, NY 11205


This upcoming weekend, join Corridor and Head Hi for a special pop up event in the Corridor Backyard. Coffee, tea and books will be available.

Corridor 2021


Words: Martin Allen
Photos: Dan Snyder

Audrey Rose Smith (Editor in Chief) and Vicente Muñoz
(Creative Director) are the couple and creative force behind balcony, a new art magazine that focuses on personal,
artist-centric profiles. We met up with Audrey and Vicente
in their Clinton Hill home to chat about the mag and take some photos.



While the idea for the publication had been germinating for several years, balcony’s release was bolstered by the newfound free time brought about by the pandemic. “We found time to really connect with some great graphic designers to start getting this project going.”, Smith noted, specifically mentioning designers Ben Fehrman-Lee and Julia Novitch, who have been helping with the project from the very beginning.

A writer/editor and Sales Assistant at David Zwirner Gallery, Smith explains the origins of the mag. “It really stems from this interest in wanting to experience art and artists through a more humane and intimate lens.” Muñoz, a commercial photographer, designer and bonafide magazine junkie who’s new design space Estudio Piedras is currently in the works, notes that “the care that we have put into selecting and balancing the imagery together with the long-format interviews” makes it feel like a comprehensive and complete experience. “I think that people who are participating in the art world are going to relate to it and enjoy it”, he adds, citing the more-personal, less-stuffy style of balcony as a key factor.

By remixing the traditional artist profile, Smith and Muñoz blur the lines between the art world and the everyday. Smith states “I hope that balcony, in some ways, can sort of be the antithesis of what we understand as art journalism.”

balcony is available in print at Corridor Fort Greene, Corridor Nolita and online, here, at

“It really stems from this interest in wanting to
experience art and artists
through a more humane
and intimate lens.” 
- Smith

“I think that people who are participating in the art world are going to relate to it and enjoy it”
- Muñoz

Corridor 2021


Chloé Horseman is a photographer based in New York. Join us on a photo walk with her and her partner Hayden as they capture the essence of Kerhonkson, New York.

Chloé Horseman is a 24 year old photographer from
a small town Georgia. She currently resides in Kerhonkson, NY. She has one self published book, “Outtakes” and shoots for many
fashion brands around the world.


Upstate with Chloé Horseman | Upstate with Chloé Horseman | Upstate with Chloé Horseman | Upstate with Chloé Horseman

Hayden is wearing the Ticking Stripe Linen Overshirt - Indigo, Olive Paisley Handblock - Veg Dye Shorts and Natural Coordinates Rockaway Cap.

Hayden is wearing the Perfect Denim Shirt LS, Dusty Rose Drawstring Shorts and Dove Grey Recess Runners.

Hayden is wearing the Embroidered Bouquet Hawaiian - Natural and the Dusty Rose Drawstring Shorts.

Hayden is wearing the Open Weave Overshirt - Dusty Rose and the Natural Linen Cotton Trousers.

Corridor 2021


NY IS BACK BABY - go to a party, meet a stranger, leave the dance floor at 6AM light on your feet and bright in your mind. New season, new perspectives, new beginnings - say yes and enjoy your summer; you deserve it.



Corridor 2021