Giles & Brother was founded over a decade ago by siblings Courtney and Philip Crangi with the intent of create jewelry that told their story. “I always liked the idea that we’re making things that are impossible to place in the continuum in the canon of jewelry,” said Philip. Both grew up in Florida and Philip as a kid always looked for pieces that reminded him of pirate’s treasure. When they both moved to New York City to start their line of jewelry, they decided to name it Giles & Brother, Courtney’s nickname growing up was Giles.

In their studio in midtown close to the Garment District, they create various pieces everyday including their signature piece, the railroad spike bracelet, by hand using tools that a metal smith uses such as hammers, molds, fire torches, and different metals. The studio looks like a mini manufacturing space with multiple wooden shelves filled with rare beads, spools with various chains in different shapes and colors, hardware pieces, but the space at the same time is beautifully decorated with books, drawings, vintage radios, and a huge surfboard hanging on the wall. The space’s vibe brings one back in time when technology wasn't so advanced and things were made and perfected by hands.

The fact this type of craftsmanship still exists in such an urban and fast paced city such as New York is a true rarity. The art of making something with hands using basic tools doesn’t only show one’s love for their craft but also defines a true originals lifestyle. “That’s the fun part for me, telling a story. I guess it’s my story,” said Philip.

Moto Guzzi motorcycles have always been great conversation starters and we think Giles & Brother accessories are a perfect example of a timeless piece to own. Already sporting Giles & Brother? Just tweet or Instagram a shot of you and your favorite custom-made cuff or bracelet, along with a #guzzioriginals hash tag so we can feature you here in the Originals Dialogue and Gallery.

To view Giles & Brother full collection including the Railroad Spike bracelet visit GilesandBrother.com.

Last weekend, Thor Drake of See See Motorcycles brought The One Motorcycle Show to Austin, TX, to celebrate motorcycles, art, music, and design. During the 3-day event, the show had a myriad of bikes showcased along with the '21 Helmets Exhibit.'

"Revival Cycles" of Austin, Texas was the hosting shop that put on the show and designed two bikes, a 1975 850t and a 2010 V7 Classic. "However you look at this pair, as either similar or very different, I think the time and grueling hours we spent transforming them was worth it and completing them simultaneously proved to be our biggest challenge yet and I'm pleased to say that we pulled it off. We are all excited about the One Motorcycle Show Austin, but we're even more excited to have finished these in time for the show." said Alan Stulberg of Revival Cycles.

A few of the highlights at the show was the Moto Guzzi V7 Wayward bike which was designed in collaboration with James Hammarhead of Hammarhead Industries, and a beautiful Moto Guzzi V7 Stone designed by Moto Guzzi Austin/AF1 Racing.

Photo credit: Chris Logsdon, GodSpeed Co. and Sasha Valentine of Cafe Racer XXX.

For more photos visit the Moto Guzzi Americas Facebook page.

Miguel Galluzzi in the historical Moto Guzzi motorcycle wind tunnel in Mandello del Lario. Moto Guzzi created the first ever motorcycle wind tunnel in 1950 which enabled racers to mimic real-life riding conditions and optimize their seating and body position at varying racing speeds – an unprecedented advantage for racing and production motorcycles.

Do the two California 1400 Touring and Custom models best represent Moto Guzzi tradition or its future?

The California 1400 is a balancing point between tradition and the future. The design was intended to be reminiscent of the traditional California design, with the sleek lines of the fuel tank, the curved handlebar, the chromium passenger grab handle on the Touring, and the long mudguards. At the same time the new 1400 is more modern, more comfortable, more hospitable, richer and more sumptuous than the previous model. The style was born, I believe in a balanced way, based on tradition which we did not want to forget on one hand, and on the other it brings innovation and an advanced spirit that a modern day Moto Guzzi must have if it aims for the top. The center of the bike strongly recalls tradition as the lines of the tank and saddle converges there, forming that imaginary "cross" which is so typical of previous models. On the other hand, there is no lack of a certain innovative style, provided by the wide rear tire and the front headlight assembly. In fact, the characteristics of the lights are ultra-modern, the front light has full LED illumination like those on high end and elite cars. It is really as if it wants to illuminate the road that opens up before Moto Guzzi, in a new light, brighter and clearer.

What was the primary goal in designing the California 1400?

Exploiting the lines of its engine. It is the only one of its kind in the world and it deserves to be left as visible as possible. The engine, which is such a signature of Moto Guzzi, became a true aspect of design. Its brand new lines represent the character and power that this 90° V twin is capable of doing. This explains why we decided to trim back the tank side fairings, in order for them to not cover the cylinder heads. Its most attractive view is from behind, the two cylinders can be seen emerging, better yet, exploding from the fuel tank. This is a clear representation of the bike's character, an ultra-modern cruiser, splendid to ride at low speeds, but also ready for a bold and fun ride at a moment's notice.

What sets it apart from the competition?

First and foremost the brand on the tank. It is 100% Moto Guzzi, all built by hand in the Mandello del Lario plant. On a dynamic level, it stands out for its features of handling and riding pleasure, which is unique in its category. On a design level, it catches the eye with its powerful engine which bulges from under the fuel tank, as well as its refined details and the style of some of its solutions such as the light assemblies and the instrument panel. The California 1400 is one of the few bikes that manage to convey the impression of craftsmanship and truly exceptional attention to detail.

What is the aspect that a Moto Guzzi will always have?

Personality, style and character of a 'made in Italy' bike. The new California is the only custom that rides like a normal bike, with a high potential for fun in turns, in addition to comfort and protection from the winds at the highest levels. It is an example of an excellent combination of design and function.

What’s the backstory to the One Motorcycle Show?

Back in 2010 we decided to host a grassroots motorcycle show to replicate all the days and nights spent kicking tires in the garage, talking with pals about bikes and the endless hours obsessing over what the "One" bike would be if you could build it. We hoped it would inspire builders to bring in bikes that weren't just show bikes — the bike had a unique story and a reason to exist. The shows brought a whole bunch of rare, weird, old, new, and all around amazing bikes together in one place.

What are your goals for The One Motorcycle Show?

Each year I set a goal of double size of the show, between attendees and builders. We are also expanding to Austin, TX, this year in April around MotoGP. The main goal really is not financial - I’ve spent thousands of hours trying to make this show really good. All the time is worth it to me, and creating a really amazing coffee table book to go along with the show that highlights every builder and bike that has ever been in the show is an important part of that. Hopefully 10 years down the road we will have marked a point in history. And I think that it’s kind of an interesting goal, to document a point in history with something that you love to do. That’s my entire goal, to make The One Show books that document each bike and builder and hopefully it will continue for 20 - 30 years and you can say ‘remember that scene, that was cool.”

How did you get 60 builders to attend?

It’s a mix of reaching out to folks, meeting folks even on the street who have a cool bike and also people who contact me to be involved. With a lot of other shows that builders can participate in , they have to pay a fee to show their bike. I try to treat it differently. The hard work of people building bikes is why The One Motorcycle Show exists. I try to give them something a fun event, a picture in the book, a care package- things I would want out to get from a show if I was participating. I think it’s a cool thing to have a show acknowledge your hard work and want to support it. The theme ‘the one’ is based off the philosophy of ‘the oneness’. The ultimate machine. In your mind it is perfect and then you try to make it and it’s susceptible to the elements, so it never seems to come out entirely right but you keep adding and subtracting to make it like the image in your head.

Can you explain the process from start to finish of making the books?

The books document these bikes and builders. They are hardbound, full-color, high-quality books worthy of the finest coffee table or workbench

Making the books is the hardest part of the show. The first year we took photos of each bike and had these amazing photos. And I decided to make a little show recap. I’m a terrible computer designer and did what I could to get them together. And people dug it. The second year I planned to take photos again and try to make a book. I had no idea how to do it and I’d say a little bit of luck got me to the right place. A friend at design firm helped out. Our photographer for the first year was Chris Hornbecker, who took really polished detail shots. So I wanted to make his book look like a coffee table photo book. The second year we featured Ray Gordon and his photos inspired personality of the builders. I interviewed every builder in the show and they hand wrote all the answers to the interview questions. We scanned all the sheets and put them in the book so it gave you a good look at the builder. For the third year they were more personality driven portraits. Each book is a chapter in the broad range of what I think the motorcycle culture is so the first year more about bikes, then the second year it was more about builders, then the third year it flips to genres and cultures of motorcycles and this year I’ll be inspired by the photographs of Scott G. Toepfer and we’ll have to wait and see what type of book comes out of it.

We self-fund all of the books and are current raising funds on KickStarter. Your support on KickStarter will not only help us self-publish these books, it will further our efforts and energy to go out and get things done. It will validate the hard-work and energy of each builder and it will keep us all striving in our communal search to build the "One." If this campaign is successful , we will immediately start designing two more books, one for 2012 show and another for the upcoming show this February 8, 9 and 10th.

See a video and find out more about The One Motorcycle Show Book on Kickstarter.>

Did you ride motorcycles growing up?

I gravitated to anything with speed. I don’t know if it was choice or destiny, but I like to think destiny. Even though my family didn’t ride motorcycles, I come from an adventurous family; we were always skateboarding, snowboarding and spent a good amount of time outside screwing around with things to ride and how to make them work - or work better. A friend of mine, his dad was a desert racer so he had motorcycles and I hung out with him a lot. We would tinker and ride Honda Z50’s all day long. Once I started doing that I was hooked on motorcycles.

So going from a love of riding led to your current business, See See Motor Coffee Co?

I never thought of myself as being a café owner or a retail owner, which is funny because those are the two things I’m doing now. The initial idea for See See’s was to create a nice neutral place where people could relax and discuss motorcycles and just enjoy the culture. This was fed by my insecurity and rage. I didn’t fit in with the motorcycle scene. I always felt insecure and never really fit the vision of what people considered a motorcycle guy. I had a few bad experiences at dealerships or local shops, maybe I didn’t know the right questions to ask or wear the right attire, but it just wasn’t for me.

So I did my own thing. I wanted to create something that was welcoming and that you didn’t have to be gnarly to visit and enjoy. It was more about having fun and doing something that you love to do. To make it work in Portland we needed to integrate other aspects of a business model and since people drink a lot of coffee up here in Portland, it seemed natural to combine a relaxed coffee café with a motorcycle shop. We think it’s a nice formula and it’s always evolving, which continues to make it fun.

How did you come up with the See See name and logo?

I actually dreamt and created the logo before I created the name of the shop. I had a dream of the logo, seeing it on this guy’s helmet and then drew it myself on my phone. Then I was trying to come up with a name for the company. I didn’t want the name to be something expected like “Portland Motorcycles.” Most of the things I worked on were measured in cc or ccs, like engine displacement or whatever. I just thought See See Motorcycles was an interesting play on that and fit with the logo. See See is more related to the logo with the cc eyes, “See you can do something different” or “come See us.” I wanted more of a logo driven brand. It’s really about being happy and doing something that you love … that’s the idea of the logo, and that’s the idea of See See Motor Coffee Co. You definitely won’t see any skulls here.

How did you combine art with motorcycles and coffee?

Before I got really involved with building motorcycles and starting See See Motor Coffee Co and The One Motorcycle Show, I did a lot of creative building such as set designs, trade show booths, restaurants, basically if you could think it I could pretty much build it.

Artistically speaking I think I made a conscious decision to be an artist with anything I do. I think if you do one thing a long time and you have a knack for it, it forces it in to your blood. I’ve always been a visual person and I like drawing. I like the artistic process and seeing the end product. Not everything is fun to build and not everything built is fun but the artistic process is fun. I try the best I can to make the whole process fun.

Do you build motorcycles yourself?

Yes. I love building motorcycles. I do it as a creative hobby, which is tricky because it is also part of our business. My goal is to never be burnt out on motorcycles. I don’t want it to turn to work; I want it always to be fun. I build motorcycles slowly because I like the process, but the motorcycles go fast. I build on average one to two bikes a year for other people and a few for myself.

What was the inspiration for The One Motorcycle Show?

Drake McElroy and myself built these little motorcycle dirt bikes that looked cool, like a café racer style dirt bike. Everyone could appreciate it because it was something new. We didn’t have to build it to fit a stereotype because it was its own thing. It traveled around with the larger motorcycle show that visits a dozen cities across the country. The response for us was unsatisfying; we had to pay to see our own bikes in their show. It didn’t feel like going to your friend’s house to talk motorcycles in the garage, it didn’t feel like what we felt a motorcycle show should be. I was immersed in an advertising program with the agency Wieden+Kennedy and looking to work on something different while in the program, so I created The One Motorcycle Show.

The One Motorcycle Show highlights builders like Drake and myself who are not trying to make a living but just trying to have fun and do something that’s different. It’s what we always thought a motorcycle show should be, a place where you could feel like you were just like hanging out in someone’s garage; a place where you don’t have to spend a crap load of money to buy beer but could just hang out with your friends in the garage. We wanted to be as true to that as I could possibly make it.

There is no charge to attend The One Motorcycle Show, just come on in!

That’s me, Kelli. My husband Michael, is co-founder of Classic Car Club Manhattan. That means, I have a lot of experience driving some of the worlds best cars. I get to drive them on the track, to get the groceries and on one of Michael’s self-induced TT races up to Upstate NY. We’ve come to learn most of the boys in blue on a first name basis throughout the five boroughs. Speed obsessions are nothing new in the family.

But when it comes to bikes, my position is the pillion seat. Growing up, I had my own KD80 dirt bike, so I know a thing or two, but these days, I leave the two-wheeled controls up to him and I enjoy the ride, seeing the scenery from over his shoulder.

When Michael showed up on the V7 Stone, two things were immediately evident: The first was those wheels. The dark color cut-out spokes balance out the white of the tank and fenders, giving the bike a tough look. To me, the Stone looks two parts vintage splendor, one part back alley brawler. The second is the comfortable riding position. Normally, I’m forced to perch up on the back of a super bike like a gargoyle, clinging on for dear life, but the Stone looked perfect for a two-up romp through the city – the kind of bike we can enjoy together.

Gloves on, visors down and we hit the road. It’s worth noting that New York’s roads aren’t glassy and smooth. They’re more like a thoroughfare in Fallujah, riddled with holes, crooked cobblestones and your occasional guy sleeping in the gutter. Michael’s good with finding the smoothest path from A to B, but this is one of the first rides I’ve had where I needn’t get off the seat and use my knees as secondary suspension. The Stone hammered most bumps and unfriendly road surfaces town smooth, making the ride from the back one of the most pleasant.

Heading west on 14th Street brings us through the Meat Packing District. At night, 20-somethings step over the remaining puddles of beef blood in their Louboutins on their way to STK, but on this morning run, we’re heading north on West Street so we can open the taps of that 750 twin to see what’s up. I was able to smell welcoming coffee and pastries wafting out of Pastis – that sort of thing never happens when you’re inside a car. It’s what makes riding so great. With the traffic lights working for us, we take a brisk right-hander onto West.

Heading north, the thin profile of the Stone, even with that transverse mounted V-twin was thin enough to slip right through traffic and put the cages behind us. As Michael rolled the throttle on, the Stone wound up predictably and smoothly to speed. Some bikes are like a kick in the back, some are like the elderly on oxygen, but this bike kind of whooshed us to 70mph the way a Bentley or Roller gets you there – with power but not without all the unstableness. I haven’t bonked my helmet into his yet on this ride.

Next up is the 96th street turnaround. It’s one of Michael’s favorites because if you get the entry right, you can drag a knee around most of the full circle. With me on the back, no knees are going down (!) but I can’t say I was ready for the way the Stone tipped right in. By just merely covering the front and rear brake and giving it a little counter steer, the Stone leaned over and carved a really precise line through the entire corner. I’ve never had my head so close to the ground. Halfway through the turn, Michael started to open up the taps again and the bike stood up on command and we rocketed south, hovering the front wheel an inch or so off the ground up the hill and back on to West, mincing traffic once again.

Being a Sunday, the final stop was Ear Inn for some mussels and a pint. It’s a common stop for riders in the city. We baked the Stone into the line of bikes, giving it a final “Bwaap Bwaap” for good measure. As with most Italian girls in a crowd, the Stone instantly earned respect and kicked off questions and camera phones from the other riders…. I knew those wheels looked great.

What is it about the Moto Guzzi V7 vehicle range that interested you most for this project

James Hammarhead (JH): When I began thinking about a Hammarhead bike that could take on the urban commute and break free for fast and light travel, the modern take on the Moto Guzzi V7 seemed ideal with its simple air-cooled V-twin, updated with modern electronic fuel injection, and niceties such as electric start. The engine has ample power around town and really shines when paired with the sweet handling chassis and a twisty back road. The trouble-free shaft drive sealed the deal. The bike is long, low and smooth, with a history beyond reproach.

What inspired you to start this project?

JH: The challenge was to create a minimal motorcycle at home on the long road. We wanted to create a bike that confronted what features a functional transport in an urban setting would require, such as the ability to store a laptop, for example. At the same time we wanted the bike to be able to break free for fast and light travel and ultimately enhance the rider’s experience.

Can you explain the process from start to finish?

JH: We began the V7 Wayward project by stripping away layers of the bike to reveal the Moto Guzzi V7 Café Classic’s essential form. The bodywork was simplified and as a result, the chassis could be freed from excess brackets and mounting tabs. This reduced overall weight and visually lightened the motorcycle. To further reduce the bike, the large stock fenders were replaced with simple alloy units and ancillary components were cleanly repackaged. The engine was not internally modified but performance benefited from high flow K&N air filters, a free breathing custom exhaust and remapped fuel injection. Performance fork springs and rear shocks were fitted and the bike rolls on Avon tires.

Further changes were made to simplify and improve the riding experience. Up front the stock headlight and instrument cluster were replaced with a classic 7-inch teardrop shell that also houses a small speedometer. To achieve a relaxed yet aggressive riding position, mid-rise bars and wide foot pegs were fitted. The rear sub-frame was modified to accept a compact seat. These changes give the rider a comfortable, uncluttered view of the road. In an urban setting a heads up riding position aids navigating through traffic. On the open road, the ergonomics are roomy and allow the rider to shift forward to meet the wind. Low profile, but highly visible LED turn signals, were used and our preferred two-inch round brake light. Finally, inspired by the canvas bags of the 1950s, we created a pair of wax cotton panniers. The compact panniers feature an internal aluminum frame and are capable of swallowing a laptop and rain suit during the weekday hustle, or the bare travel essentials required for a 3-day, 3-week or 3-month ride.

The V7 Wayward offers the convenience, performance and reliability of a modern motorcycle and the vital character of the Moto Guzzi V-twin engine, apparent at the first twist of the throttle. The compact size of the bike and panniers challenge the rider to travel light. The spare and lean nature of the Wayward allows the rider to pursue the road unobstructed. Add a map and tomorrow’s destination, and legends can and will be written.

James Loughead is a man of science. With a PhD in clinical neuropsychology, Loughead led a brain imaging team in the Department of Psychiatry at the University of Pennsylvania. When he was off the academic clock, Loughead easily transitioned to James Hammarhead, designer, fabricator, builder. In 2012, James made the switch to Hammarhead full time. The name, a combination of his and his wife’s last name of Hammarlund, is also attached to his Philadelphia-based firm, Hammarhead Industries.

Here, Hammarhead creates products he personally has a passion for – first and foremost motorcycles that inspire him, but also a growing collecting of industrial-influenced soft goods, including gear and accessories, such as the urban-tough, supremely functional Hammarhead Daypack (complete with the same quality of straps used in racing harnesses).

Whether wheeled or seamed – each product embodies the Hammarhead design aesthetic of purity, simplicity and functionality. As with all his designs, he infuses each new concept with a nod to the past, while never becoming mired in nostalgia. The result is a thoroughly modern brand that captures the essence of what we seek among the clutter of life: an artisan and craftsman’s approach, unpretentious and timeless in its appeal.

Hammarhead’s machine design process is unique. No stereotypical cocktail napkin sketches or digital tools, his vision unfolds on the actual “donor” bike. Once he selects a motorcycle that intrigues him, Hammarhead iterates directly on the machine. He finds he’s completely focused on the physical nature of design. The art of manipulating the tangible carries allows his instincts to emerge, and in turn guide the final product.

Rather than take his inspiration from other designers, Hammarhead is drawn to the mechanical soul and simple beauty of machines, like a Bridgeport mill or a Soft Bend lathe. It’s the same lure that dirt bikes held for him early on.

A child of the 70s and 80s, Hammarhead’s interest in motorcycles was inspired by the backwoods enduro culture in his native Pennsylvania, then in its heyday with legends like “King” Dick Burleson dominating on lean, fast Huskies. Hammarhead gave his nod to the era with his modified Triumph Scrambler, named after the legendary Michigan Enduro, the Jack Pine.

Hammarhead’s latest project, scheduled to be unveiled January 18th, taps into his soft spot for Italian bikes – primarily those that go beyond brute performance. He is currently putting the final touches on the Hammarhead V7 Wayward, a Moto Guzzi V7 Café Classic has been optimized as a metro-friendly ride that is equally happy to take its owner outside of city limits for the weekend. It’s the first Hammarhead(ed) Guzzi, but not new territory for the designer. Hammarhead has fond memories of owning a Moto Guzzi LeMans 3.

The historic Moto Guzzi V7 vehicle range sparked his interest as Hammarhead was mulling over the next problem he wanted to solve with a build: “We were thinking about doing a bike that confronted what features a functional transport in an urban setting would require, such as the ability to store a laptop, for example. At the same time we wanted the bike to be able to break free for fast and light travel.”

As the name implies, the new Hammarhead V7 Wayward won’t be a mild-mannered commuter bike. To get a first look at this Hammarhead Moto Guzzi Original, check back in January 18th.

Sunset and sunrise are special no matter where you are. The leaving of the old and the coming of the new. In the very early hours, driving in a city you know well becomes rather more fun than usual. The light is special. There’s less traffic. And the cops are mostly inside grabbing that early-morning coffee and donut.

An early morning in New York City in fall wouldn’t be my first choice to test a motorcycle. But on the odd day when the sky is clear, the sun is shining and the crisp air adds a few BHP to the loins of your steed, it’s not a bad thing at all. In fact, it’s pretty great.

Read more.

Scott and his team took to the shores of Lake Como with the V7 Racer, the V7 Stone, and the V7 Special. The classic look of Scott’s photographs for Moto Guzzi are evocative of a late 1960’s aesthetic and captures one of the most joyous times in motorcycling history.

"Shooting the motorcycle stuff really changed the way that I saw what I did as a photographer, and it changed how I shoot everything else...the way that I shoot is based very much upon falling in love with motorcycles." -Scott Pommier

Watch the Scott Pommier for Moto Guzzi Motorcycles Video behind-the-scenes footage on YouTube.