Nomadic Thread Society is a dedicated purveyor of exotic accents for beach, lifestyle and home. Motivated by chronic wanderlust, we source traditional textiles and indigenous finery from artisans and small producers around the world. We curate and design our collections with partners in India, Turkey, Kenya, Tunisia, Guatemala, Panama, Peru, Colombia and then some. The stories woven into each piece stretch back centuries, while our eye for design and attention to sustainability ensure their use for years to come.
Nomadic Thread Society focuses on artisanal luxury and leisurely style, but its people don’t take the good life for granted. In its effort to build an ethical business wherever possible, NTS carefully considers what materials and methods it uses throughout its operations, the number of steps in a supply chain, the fairness of wages paid to artisans, and whatever other decisions come up along the way. Here’s to finding the balance between conscientious commerce and high style.
On the beach in Tulum. That’s where former stylist Nicole Gulotta was sitting when a stranger, a fellow nomad, asked her, “How do I get like that?” The woman, in her little black jersey dress, hadn’t had time to pick out the chic beach bits to allow her to really feel like she was on vacation. Nicole, barefoot and kaftan-ed, knew she had something to offer. Once a stylist, she was now the conduit to bring her exotic-chic to the people: the makers, the surfers, the wanderers, the designers. Next summer, she dropped off a batch of her wares to the Montauk beach shop, Tauk. It was gone in a week. Then the calls started coming – Steven Alan, Malia Mills… happiness. After these first successes, she was ready to expand her global reach to forge relationships with the artisans who are still the people behind Nomadic Thread Society today.
FOUNDER BIO :
I’ve always been a touch eclectic with my wardrobe, sorting through piles of vintage treasures even as a kid. My earliest finds were in my maternal grandmother’s closets in Naples, Italy – Nonna Lillia was the original stylist in the family. A beaded flapper dress from her grandmother’s day, an antique, silver chainmail purse which I still use, and an array of feathered military hats rescued from the ancient city bazaar. My inner aesthete was further stoked by my mother’s involvement with exquisite fabrics – for 30+ years she worked with Cowtan&Tout, a leading designer and purveyor of luxury textiles for NYC’s decorating world. I kind of grew up there, it was a great part time job and education for me.
After studying art history at NYU, I graduated into a distinctly Gen X flavored NYC. My first job was with Barbara Kramer, now of D&A trade show fame, a gorgeous and powerful Scorpio lady running a savvy, multi brand showroom on 5th Ave and 17th St. It seemed like a good place to start. We worked with Gaultier Jeans, John Richmond Denim, Henry Duarte, and a few other cutting edge contemporary brands. I handled press+stylist requests – that’s how I learned the job of fashion styling existed.
From there I moved to LA for a year and assisted talented stylist, Agnes Baddoo, working with photographers like Carlo dalla Chiesa and Paul Jasmin on celebrity and advertising gigs. Back in NY, I went on to assist Jane Harrison, working regularly with rock and roll photographer, Danny Clinch, well known for his John Varvatos campaigns. When I set out on my own, I began working in moving picture – TV, music videos, commercials. My friends who had been in Tisch Film School at NYU were now directors, producers and such, so it was a natural progression.
Some of my favorite styling work has been: music videos for Gnarls Barkley and Kasabian, photo portraits for Thievery Corporation, DJ Hell, Brazilian Girls, Home Video, and Fatboy Slim, fashion shows for designers Diego Binetti and Ashley Tyler, online photography for Bergdorf Goodman, commercial work with the UK director ensemble, Tomato, and a short ad-film with director Michel Gondry for Motorola.
Around 2009, my attention when traveling started gravitating towards the discovery of exotic and traditional textiles. I was enjoying a sort of visual and cultural sustenance through the experience. This coincided with the a-ha moment I experienced in Tulum which signaled to me that there was a market for what I was attracted to. My personal design input began to develop, along with a dedication to the support of artisanship, slow design, fair trade, and sustainability. The transformation of heritage and eco textiles into exotic minimal lifestyle accessories and decor became my work. Bringing back the extraordinary work of far off lands felt like opening a window onto these cultures from home.
Nomadic Thread Society sprang up organically, like water in a spring. The challenge of running it is both humbling and gratifying. My newest wish is to be able to share what I’ve learned as an independent entrepreneur, and to that end I’m cultivating a small business mentorship practice. I’m crafting a series of workshops for entrepreneurs at different points in their business lives. They’re called Enterprise Matrixes, and have the aim of sorting people out with resources, operations documents, and a basic owner’s manual for operating their own business. They’re basically what I would have loved to have access to in years 0, 2, and 5 of Nomadic Thread Society’s trajectory.
And the ideas keep coming ++++