Home Authors Posts by Mike Haskew

Mike Haskew

Collaboration Knives: How Do They Come Together?

Mike Haskew
-
0
Collaboration Knives: How Do They Come Together?

Top makers explain how they collaborate with knife companies.

The old cliché of the win-win holds a real grain of truth. Any successful partnership must be mutually beneficial, and in the knife industry the phenomenon of the collaboration has come to exemplify the upside of working together.

Years ago, a veteran custom knifemaker described his relationship with a major manufacturer as serving as the company’s research and development department. Such a description is accurate in that the manufacturer often relies on the custom maker for new design inspiration, from good looks to materials and mechanics. The collaboration has emerged in the last 35 years or so as an outstanding means of bringing innovation to the public and putting first-rate knives in the hands of the mass market.

The ins and outs, nuts and bolts, and give and take of the collaboration process raise questions for makers interested in striking deals of their own. A few comments from makers who have achieved great success on the collaboration frontier offer helpful insights.

“It goes both ways,” observed BLADE Magazine Cutlery Hall-of-Fame® member Bob Terzuola, who indicated he completed his firstfactory collaboration with fellow Cutlery Hall-of-Famer Sal Glesser and the design team at Spyderco in 1989. “You can go to the company or the company can come to you depending on your notoriety. If you are just starting out, you probably have to go to the company.”

On the business side of the ledger, Suzi Terzuola takes the lead and has demonstrated proficiency in making the deal work for everyone involved. Her flair for negotiation and finding the right blend of maker-manufacturer cooperation has been demonstrated through the years as Bob has worked not only with Spyderco but also the old Camillus, Boker, Fox, Pro-Tech, Tactile Knife Co. and others.

BLADE Magazine Cutlery Hall-of-Fame® member Bob Terzuola has done collaborations with many companies, including the Bob Terzuola ATCF Auto Ultimate from Pro-Tech, the BLADE Magazine 2022 Investor/Collector Knife Of The Year®. (Eric Eggly/PointSeven knife image)
BLADE Magazine Cutlery Hall-of-Fame® member Bob Terzuola has done collaborations with many companies, including the Bob Terzuola ATCF Auto Ultimate from Pro-Tech, the BLADE Magazine 2022 Investor/Collector Knife Of The Year®. (Eric Eggly/PointSeven knife image)

“I was raised by parents with their own successful businesses,” Suzi observed, “and I saw Bob receiving passive income from Spyderco and Camillus, and of course passive income is how you survive after having only so many years to make knives. I began looking at the knife designs Bob had and tried to match the design to the company. Bob has patents lining the walls, and when he lends his name to a knife he should receive a signing bonus and a bonus against the royalties.”

In return for his design skill and the use of his name in promotions, Bob has certainly established himself as a leader among successful custom collaborators. His contribution to a company’s success has enhanced his reputation of excellence across the industry, while Suzi has forged a business posture that results in security for the future.

Knife Collaboration Contracts

The contract is the key component of a collaborative deal, and depending on the circumstances everything is negotiable. Although early agreements made among friends were sometimes done on a handshake, it has become a “best practice” to hammer out the terms of the collaboration on paper, invest in an attorney’s review, and formally memorialize the discussions. Standard royalties run roughly 5 percent of the price at which the company sells the knife.

The Terzuolas include a period of time in which the company is allowed to produce the knife; the period may be extended at maturity with the agreement of both parties. Further, there may be a requirement that the company produces a certain number of knives in a given time period, also renewable. Restrictions on wholesale pricing or discounts that affect royalties may also be negotiated.

For those considering a foray into collaborations, Bob and Suzi offer some advice: “If you’re a new maker, you shouldn’t just walk up to [the company’s] booth at a show. Make an appointment to see them because they are at the show to deal with customers. Approach a company with one or more finished designs. They want a package presented to them, a prototype or existing model, something they can hold in their hands, and in the case of a prototype it’s good to have as many innovations and design creations as you can—anything that will set the knife apart from other potential deals out there.”

Lucas Burnley has designed several iterations of his Kwaiken for Boker, including the Kwaiken Auto Frazetta.
Lucas Burnley has designed several iterations of his Kwaiken for Boker, including the Kwaiken Auto Frazetta.

Suzi added that a higher profile in the industry can drive success.

“We are the R&D for a knife company,” she noted, “and when you approach them for a collaboration your social media resumé is very important.”

Making custom knives since 1994, Darriel Caston has concluded collaborations with numerous companies, including CRKT, Spyderco, Boker, V Nives, Kansept Knives and more.

“I’m prolific when it comes to designs,” he affirmed. “There are probably about 300 that I will never get to making. I’m an engineer by trade and my 3D drawings are almost ready for production, and that helps with the deals. They ask for STEP files [standardized 3D model data files for CAD and 3D printing] that can go right into machining. Sometimes we work with a prototype, and sometimes we work with a knife that I have been doing for quite a while.”

According to Darriel, one significant element of the collaboration is the retention of the rights to the design.

“Anybody who wants to do a collaboration must put footprints in the sand, get their work out there and show a story,” custom knifemaker Darriel Caston observed. One of his latest designs for CRKT is the blacked-out MinimalX framelock folder, an evolution of a knife originally made for SpaceX to commemorate a rocket launch.
“Anybody who wants to do a collaboration must put footprints in the sand, get their work out there and show a story,” custom knifemaker Darriel Caston observed. One of his latest designs for CRKT is the blacked-out MinimalX framelock folder, an evolution of a knife originally made for SpaceX to commemorate a rocket launch.

“You never want to give up your design,” he warned. “I would license the design to the company usually up to four or five years, and the average is three years. After that, you can discuss if you want to continue if the relationship has been good for both parties. License the design and never sell it. If a company buys the design, then they own it forever. If it became their best seller, I could never make the knife again, and I would have to stay away from anything that looks like it.”

For Caston, every deal starts with a friendly conversation. As progress is made, attorneys draw up the contract. He sees the process as straightforward, whether dealing with an American manufacturer or a company headquartered in a foreign country.

“I find the knife community for the most part to be very honorable,” he commented. “I haven’t run into any bad juju. When you want to do a collaboration, I tell people they need to have a name and a track record of good designs with people following them on social media and stuff.”

Since his first collaboration—with Spyderco in 2015—Darriel can speak with confidence regarding the potential for success.

“It would be rare for someone to take a design to a company without a history or a footprint there. They look for your story,” he noted. “Anybody who wants to do a collaboration must put footprints in the sand, get their work out there and show a story. Then it becomes easier.”

Getting A Collab Off The Ground

Darriel Caston has concluded collaborations with several companies. “I’m prolific when it comes to designs,” he affirmed. “There are probably about 300 that I will never get to making.” Now discontinued, the Squarehead was one of his early collaborations with Spyderco.
Darriel Caston has concluded collaborations with several companies. “I’m prolific when it comes to designs,” he affirmed. “There are probably about 300 that I will never get to making.” Now discontinued, the Squarehead was one of his early collaborations with Spyderco.

Custom maker/U.S. Marine Corps veteran Les George found early collaboration success at the SHOT Show some years back. He approached Pro-Tech a decade ago, and the association has continued since then.

“I had just finished my first batch of VECP [Value Engineering Change Proposal] mid-tech knives,” he remembered, “and I thought it would be cool to see Pro-Tech make the knife in an automatic. So, I did the CAD work to change the knife to an automatic and walked up to their booth at the SHOT Show. I asked to speak to the owner, and Dave Wattenberg came over and shook my hand. I drew a big breath and told him, ‘My name is Les George and I am a knifemaker and I have a design I think would be a great knife for you to make as an auto and I already have the CAD done would you like to see it?’ I said that all as one sentence in one breath!”

Still, a pragmatic view of the collaboration landscape demands preparation and planning. A so-called “cold call” may not meet with success.

“It depends on the company whether a direct approach will work or not,” George conceded. “Don’t walk up to a company at the BLADE Show and tell them you’re a hot maker and they should pay you to make one of your designs. Instead, walk up, introduce yourself, and show them with CAD pictures, a 3D printed model, or a real knife, and tell them why you think it would be awesome to work with them on a production project.”

When it comes to her husband Bob’s collaborations, Suzi Terzuola takes the lead and has demonstrated proficiency in making the deal work for everyone involved. An example of several overseas Terzuola collaborations is the Clap from Italy’s Maniago Knife Makers.
When it comes to her husband Bob’s collaborations, Suzi Terzuola takes the lead and has demonstrated proficiency in making the deal work for everyone involved. An example of several overseas Terzuola collaborations is the Clap from Italy’s Maniago Knife Makers.

Les sees the components of a particular collaboration deal varying. Of course, some of the structure depends on the negotiating skills of the parties. Commonly, the compensation may revolve around a percentage of dealer or distributor pricing on each unit, and particular deals may extend as long as each party is pleased with the progress.

“Collaborations should run as long as they are profitable,” Les remarked. “Companies don’t generally kill a successful project unless there is a capacity constraint issue or something else outside hindering it. Both parties can end the deal at any time with some allowances for production to finish with the things they have in progress already. Every contract I have ever seen gives one company the rights to exclusively make a particular model. My contracts have a provision that I can make as many customs of my models as I want. In the end, it would be counterproductive to license the same model to multiple companies. The maker would be competing with himself at that point, and it’s not helping the companies.”

Priming The Pump

Award-winning maker Lucas Burnley appreciates the help of friends in establishing a firm footing for collaboration.

“In general, I’m a big fan of pulling on my network,” he said. “If you have someone you can reach out to for an introduction, that’s always a strong move. If you don’t have someone to make an introduction, you might be able to ask around and at least figure out who you need to talk to. Regardless of how you get your foot in the door, I highly recommend going to a knife show and trying to set up a meeting in person.

“A design is only one part of a collaboration,” he continued, “so bring your ‘A’ game and think about what other value you can provide for the company. I was introduced to Boker by Jens Anso and Jesper Voxnaes, and Ken Onion put in a good word for me with Columbia River Knife & Tool. I’ll be forever grateful for those introductions and the relationships behind them. I’ve been able to pay it forward a few times, and hopefully I’ll be able to do it many more times in the years to come.”

Les George’s V14 dagger design for Spartan Blades was the BLADE Magazine 2014 Investor/Collector Knife Of The Year®.
Les George’s V14 dagger design for Spartan Blades was the BLADE Magazine 2014 Investor/Collector Knife Of The Year®.

In Burnley’s experience, contracts provide compensation most often in the form of monthly or quarterly royalties based on a percentage of sales. One-time lump sum payments are also seen; however, the income generated depends on the goals of the two parties involved.

“I want my designs to run until my grandkids are old enough to thank me for my good decisions,” he laughed. “If a model is selling, I want it to keep selling. On the flip side, I will routinely ask what models we can kill if they aren’t pulling their weight.

“One caveat here is that if a design is still in production, I want to get paid for it,” he concluded. “Some companies will offer a contract for a set period of time but have the option of continuing to produce the model. I view this as somewhat akin to a one-time payout. If it works for you great; just make sure you are paying attention.”

George specifically limits the number of companies he works with in order to give the relationships the priority he believes they deserve. Consistency, he says, is huge. Real, solid collaborations are not “get-rich-quick schemes.” He remembers getting his first collaboration check in 2014 totaling a whopping $6.

“A design is only one part of a collaboration,” Lucas Burnley observed, “so bring your ‘A’ game and think about what other value you can provide for the company.” His Tuna Compact framelock design for CRKT is one of his latest collaborations.
“A design is only one part of a collaboration,” Lucas Burnley observed, “so bring your ‘A’ game and think about what other value you can provide for the company.” His Tuna Compact framelock design for CRKT is one of his latest collaborations. “A design is only one part of a collaboration,” Lucas Burnley observed, “so bring your ‘A’ game and think about what other value you can provide for the company.” His Tuna Compact framelock design for CRKT is one of his latest collaborations.

Times change—and checks change with good business practices, commitment, follow through, and most of all a process from contract to design and product that proves profitable for everyone.

More On Knife Collecting:

How To: Marketing Knives On Social Media

Mike Haskew
-
0
How To: Marketing Knives On Social Media

How to get the most from your knives on social media platforms.

It’s immediate. It’s visual. It’s effective.

These are just a few of the attributes that describe the impact of social media on modern life. Whatever the topic, some form of social media allows participants, observers, critics and commentators to weigh in, expressing their views and—of course—buying and selling.

For instance, the platform of Instagram has become a prominent factor in the marketing of many custom knifemakers, purveyors and collectors, and the reasons for the phenomenon are varied. They center around the immediacy, visual quality and effectiveness in showcasing and selling, developing a following, and generally in raising a knifemaker’s profile in the all-important marketplace. Setting up an Instagram account is simple, cost-effective and for many generates the desired results.

“Instagram and other social media platforms are an excellent way to put yourself in the public’s eye,” noted purveyor/ABS master smith Dave Ellis of exquisiteknives.com. “Through good knife photography, clear and precise descriptions of the same, and reasonable follow-up you can publicize your products as well as introduce your website. TikTok is rapidly gaining popularity, and YouTube is an excellent way to achieve your goal of spreading the gospel of custom knives.”

“I do videos and tutorials and just basically little blurbs of me building a knife,” Kim Breed commented. “Tutorials let people know this is why I charge what I charge, the little steps that you do when you’re making a knife.” ABS master smith Steve Randall grinds a blade in his shop. (Steve Randall image)
“I do videos and tutorials and just basically little blurbs of me building a knife,” Kim Breed commented. “Tutorials let people know this is why I charge what I charge, the little steps that you do when you’re making a knife.” ABS master smith Steve Randall grinds a blade in his shop. (Steve Randall image)

Kim Breed, knifemaker and BLADE® field editor, uses Instagram to generate sales and promote awareness among the buying public while also offering some insights into the knifemaking process. The value of experience is levered through the visual, and everybody gains.

“I do videos and tutorials and just basically little blurbs of me building a knife,” Kim commented. “I show the blade when I’m finished grinding and then the final product. That’s when it is put up for sale. Tutorials let people know this is why I charge what I charge, the little steps that you do when you’re making a knife. For example, when you’re forging you can show that process.”

Breed, whose videos are available on Instagram at kimbreed1911, advises that would-be Instagram users monitor their posts, beware of hashtags that are too generic, and frequently assess the return on their investment of time.

“A lot depends on the hashtags,” he said. “People can copy stuff, come up with a fake account, or hack into anything. Once you start, you’ve got to stay on it. I’ve gotten messages that don’t make sense, and you can catch situations where people have set up fake accounts and used your pictures to get people to send money first when they are scamming. Check every hashtag you do and make sure it’s going to a knife site. That was something I’ve picked up in the five or six years I’ve been doing Instagram.”

For those who choose to display their wares on Instagram or any other social media, Ellis recommends, “Scammers are everywhere, so do your due diligence and look deeper into anything that looks too good to be true. Haters are very common, so expect some negative comments and take them in stride. Getting into a heated battle only fuels the folks that like to fan the flames, so keep a cool head and remember that your goal is to promote the use and collecting of custom knives as an art form and tool.”

Knife Makers & Knife Collectors Connect

ABS master smith Neels van den Berg, who runs Black Dragon Forge based in South Africa, keeps his Instagram use in perspective. There are obvious positives and potential pitfalls, but he sees an incredible opportunity to raise visibility.

Showcase your knives as tools for culinary use, outdoor adventures or collectible art. The BBQ Chef’s Knife by Matt Williams has a 9-inch blade of 400-layer damascus forged from 1084 carbon and 15N20 nickel-alloy steels. Overall length: 15 inches.
Showcase your knives as tools for culinary use, outdoor adventures or collectible art. The BBQ Chef’s Knife by Matt Williams has a 9-inch blade of 400-layer damascus forged from 1084 carbon and 15N20 nickel-alloy steels. Overall length: 15 inches.

“Instagram is a free platform designed primarily for sharing photos and videos to foster social interaction,” Neels commented. “Users can reasonably expect to engage with its 2.11 billion users worldwide by uploading and interacting with content through likes, comments and direct messages [DMs#]. However, it’s important to understand that Instagram’s core purpose isn’t sales, it’s connection. Social media users should approach the platform as a tool for storytelling, networking, and building a community rather than expecting it to function as a direct sales engine. Understanding this distinction is critical when crafting a marketing strategy for your business.”

According to van den Berg, Instagram can amplify a knifemaker’s reach, create brand awareness and build credibility, which may lead to sales. But these are byproducts of fostering genuine engagement and building relationships through the platform.

“For a knife business or hobby, this means showcasing the passion and craftsmanship behind your work,” Neels remarked. “People will follow you for who you are—your skills, values and story—not just for what you have to sell. Social media users are often turned off by hard sales pitches, so the focus should be on creating content that resonates emotionally or intellectually with your audience. While sales might be part of the eventual outcome, it shouldn’t be the primary intent. Instead, aim to captivate your audience by showing the process behind your craft: the highs and lows, the struggles and triumphs, and the sheer joy of creating. When you build this level of connection, your products naturally become a way for followers to support you rather than a commodity you’re trying to sell.”

Videos of forging are another great way to demonstrate how knives are made and build interest among viewers. (Lin Rhea image)
Videos of forging are another great way to demonstrate how knives are made and build interest among viewers. (Lin Rhea image)

The secret to Instagram and social media success is certainly influenced by the delivery. Setting up a presence and presenting a perspective on the maker’s work and creative journey do make a difference.

“Users should expect to display their point of view in a clear and cohesive way,” related ABS master smith Nick Rossi of Vassalboro, Maine-based Nick Rossi Knives. “That means who they are, what they make, and why they make it. Social media is a relatively efficient way to project that to a potential customer. Sales and cultivating a customer are byproducts of that action.”

Setting Social Media Goals

Finding the right combination of social media outlets depends on the knifemaker’s perspective. Analyzing what the maker hopes to achieve drives the investment of time and attention.

“The best social media platform depends entirely on your goals, audience and the type of content you want to share,” van den Berg observed. “Each platform serves different purposes and attracts unique demographics, so a thoughtful combination works best.

According to Neels van den Berg, using in-progress shots can sidestep direct visual triggers while still highlighting a maker’s work. In his version of frame handle construction, bladesmith Salem Straub uses a threaded fastener in an internal slot in the frame to mechanically lock all the parts together tightly. (Salem Straub image)
According to Neels van den Berg, using in-progress shots can sidestep direct visual triggers while still highlighting a maker’s work. In his version of frame handle construction, bladesmith Salem Straub uses a threaded fastener in an internal slot in the frame to mechanically lock all the parts together tightly. (Salem Straub image)

“I have three primary goals on Instagram: 1) Showcasing my craftsmanship—I aim to highlight the intricate details and artistry of my creations, emphasizing their quality and uniqueness. This draws attention to the skill and effort behind each piece, making my work stand out in a crowded marketplace; 2) Building my brand identity—My goal is to establish a recognizable and authentic brand that resonates within the knifemaking community. This isn’t about a logo or maker’s mark, it’s about the story, values and personality behind my work; 3) Engaging with my community—Social media is about relationships. By actively participating in discussions, responding to DMs and comments and sharing insights, I foster a sense of community among knife enthusiasts and artisans.”

To achieve his goals, Neels relies on high-quality visual content, educational posts, consistent branding, and authentic interaction through responses to comments or joining a relevant conversation.

Ellis commented, “For retail sales, I prefer TikTok and YouTube. By utilizing every media that you can, your products are constantly put in front of not only the buying public, but you are also promoting yourself to show promoters and attendees.” Instagram and Facebook are the priorities for Rossi “because that’s what most of my customers use.”

He added, “I only have time to manage two platforms on top of being a professional craftsperson. For collecting and very niche topics, Facebook groups provide a wealth of knowledge. I have a private Facebook group for only my online and in-person students that has worked very well for advice and troubleshooting.”

“I want people to think of me as a skillful knifemaker with a focus on forging, a maker of interesting and innovative knives, and an experienced educator,” noted ABS master smith Nick Rossi, here giving a class on how to hand rub a blade to a satin finish in a BLADE University class.
“I want people to think of me as a skillful knifemaker with a focus on forging, a maker of interesting and innovative knives, and an experienced educator,” noted ABS master smith Nick Rossi, here giving a class on how to hand rub a blade to a satin finish in a BLADE University class.

Variations of content help keep social media posts entertaining and business related, and encourage a possible exchange of information.

“We live in a world of short, informative, and, let’s face it, lively. Clicks mean interaction, potential video formats,” Rossi observed. “Attention spans have grown shorter, and social media users have come to expect shorter, action-packed video. If you are going to have narration, subtitles are important. Users want the option of viewing without sound. Choosing popular songs may help your videos pop up in the algorithm more readily. I want people to think of me as a skillful knifemaker with a focus on forging, a maker of interesting and innovative knives, and an experienced educator. Each post focuses on one of those three things.”

Social Media Do’s And Don’ts

An awareness of certain standards provides knifemakers with extra assurance that their posts meet the chosen platform’s guidelines and minimize the risk of being flagged or taken down. Though Breed said he has done well with Instagram sales, the limitations of filters can have negative effects on viewership.

“Filters can hurt a knifemaker, so before you might get 100,000 or 200,000 views,” he said, “but you can’t do that if you picture a knife as an item of war, and watch out what you say about politics and whatever. Stay away from there.” Ellis agrees. “Stay away from animals or any violent visuals when posting,” he added. “Stick to the art or utilitarian uses for custom knives, and you should be OK.”

For van den Berg, compliance and creative communication are essential to success when visualizing or discussing knife-related topics on social media.

“The key is to reframe how your work is presented, ensuring that it aligns with platform guidelines while still engaging your audience,” he remarked. “Avoid flagged terms like ‘knife,’ ‘blade,’ or ‘weapon,’ and instead use neutral or creative alternatives such as ‘tool,’ ‘craft,’ or ‘functional art.’ These terms emphasize the artistry and utility of your pieces, shifting focus away from their potential as weapons. Repositioning your knives within broader contexts is another effective tactic. Showcase them as tools for culinary use, outdoor adventures or collectible art. Using in-progress shots, close-ups of handles, or images that emphasize materials and craftsmanship can sidestep direct visual triggers while still highlighting your work.”

Another knifemaker option is to place the work in context.

Knifemaker/BLADE® field editor Kim Breed advises that would-be Instagram users monitor their posts, beware of hashtags that are too generic, and frequently assess the return on their investment of time.
Knifemaker/BLADE® field editor Kim Breed advises that would-be Instagram users monitor their posts, beware of hashtags that are too generic, and frequently assess the return on their investment of time.

“To further circumvent restrictions, use storytelling and indirect messaging,” Neels encouraged. “Instead of explicitly saying, ‘Check out my new knife,’ share the inspiration behind the design or challenges faced during its creation. Platforms like Instagram and TikTok, which favor storytelling and visual diversity, are ideal for this approach. Additionally, private groups, email newsletters, or niche forums provide safer spaces to share uncensored content with your core audience.”

Reaching as many followers, shoppers, and potential buyers as possible, custom knifemakers who take advantage of social media routinely find that the reward is in lock step with the attention and time devoted to originate and maintain a strong presence. For those who manage it well, social media exists in the present and will remain a formidable asset in the future.

More Knifemaking & Knife Collecting:

Roadblocks to U.S. Knife Manufacture

Mike Haskew
-
1
Roadblocks to U.S. Knife Manufacture

Leading domestic factory companies outline barriers to producing knives in America.

The slogan “Made in the USA” carries a specific meaning across the globe. American knife manufacturers tout that aspect of their operations with justifiable pride. Still, they face challenges in the arena of worldwide competition, constantly seeking methods and management that offer the best opportunities for success.

In addition to the inherent competition related to the actual quality of their finished products—the attributes that compel the buyer to choose their knives over that of a competitor—American cutlery manufacturers often find themselves up against a foreign-government-subsidized or bankrolled competitor. Trade barriers may prevent their products from reaching a broader customer base, and the shifting costs of labor, materials and production demand attention.

Export Hurdles

To remain successful in today’s competitive knife marketplace, Anne (left) and Tim (right) Reeve of Chris Reeve Knives focus on consistency in the company’s brand and models, as well as uncompromising quality in materials, designs, workmanship and customer service.
To remain successful in today’s competitive knife marketplace, Anne (left) and Tim (right) Reeve of Chris Reeve Knives focus on consistency in the company’s brand and models, as well as uncompromising quality in materials, designs, workmanship and customer service.

“One major challenge is the cost of distributing products overseas, particularly to the European Union,” related Curtis Iovito of North Carolina-based Spartan Blades. “The combined impact of Value Added Tax [VAT] and customs duty can exceed 21 percent, and in some countries it is even higher. These additional costs ultimately get passed on to the consumer, making it harder to remain competitive.”

The Spartan experience is not unique, and in order to address the issue American knife manufacturers naturally gravitate toward the domestic consumer.

“One of our strategies is to focus on the American market,” Curtis advised, “where consumers value high-quality products and excellent customer service. We optimize our manufacturing processes for maximum efficiency, allowing us to control costs as effectively as possible.”

Such an inward perspective is driven both by access to markets and by an acknowledgement of the barriers that exist in global trade.

Illustrative of Chris Reeves Knives' approach to the market is the most American-looking of the U.S.-based manufacturer’s knives: the Sebenza 31 CGG Forever Flag Drop Point. MSRP: $550.
Illustrative of Chris Reeves Knives’ approach to the market is the most American-looking of the U.S.-based manufacturer’s knives: the Sebenza 31 CGG Forever Flag Drop Point. MSRP: $550.

“In regard to stuff abroad, we source everything in the U.S., period,” asserted Ernest Emerson of Emerson Knives, Inc., located in the Los Angeles, California, area. “We don’t get steel screws or handle materials except from U.S. suppliers at this point, so availability of materials doesn’t affect us. Also, 99 percent of our product is sold domestically, so we don’t have any dealers set up in Europe, although there is a tremendous fan base for us there.”

The benefits of an established brand and loyal following are hallmarks of the success story at Chris Reeve Knives, located in Boise, Idaho, as well.

“We are in the very fortunate position of having established a legacy brand many years ago and are supported by an incredibly loyal customer base,” explained Anne and Tim Reeve. “The market has changed considerably in recent years, but we have remained stable. To keep competitive, we focus on consistency in our brand and our models and uncompromising quality in materials, designs, workmanship and customer service.”

Dangers Abroad

Domestic competition is welcomed among American knife companies. Consumers are invited to question, evaluate and commit with their dollar at home. However, in the wider world there are obvious signs that the playing field is far from level when it comes to price points.

Known worldwide for his custom as well as his factory knives, Ernest Emerson—putting blade to grinding belt here—said he finds Chinese knife companies and their advantages a real danger to the knife industry overall. “They are ruthless,” he opined, “and their endeavors inside our industry are the same exact game plan as the Chinese government is using across all U.S. industries—break them down, undercut them, put them out of business.”
Known worldwide for his custom as well as his factory knives, Ernest Emerson—putting blade to grinding belt here—said he finds Chinese knife companies and their advantages a real danger to the knife industry overall. “They are ruthless,” he opined, “and their endeavors inside our industry are the same exact game plan as the Chinese government is using across all U.S. industries—break them down, undercut them, put them out of business.”

Further, the encroachment of foreign knife companies into the American market with the economic power and financial backing of their government’s bankroll is troubling—and among these foreign companies no others stand out more prominently than those headquartered in the People’s Republic of China.

“A very real danger to our industry is the Chinese knife companies,” Emerson declared. “They are ruthless, and their endeavors inside our industry are the same exact game plan as the Chinese government is using across all U.S. industries—break them down, undercut them, put them out of business. They are funded by the Chinese Communist Party, and don’t get me wrong, the product is good. But what happens is they come in at prices just under [Emerson], Buck or Spyderco. So, in the consumer’s mind they may reason that the Civivi or WE knife is $50 cheaper and buy that knife. It’s a shame because we have seen companies that have been in business for years go out of business. If you take an 18-to-25 percent hit to the bottom line, it affects you like crazy. That’s millions in revenue.”

Iovito adds to that perspective.

“There are two main disadvantages,” he said. “Increased competition from Chinese-made products and rising concerns about counterfeiting. The lower labor costs and government funding available to manufacturers in China create a significant competitive gap. Additionally, counterfeits have become harder to distinguish from genuine American-made knives, especially as platforms like Alibaba make it easier for counterfeiters to distribute their products. The situation is compounded by foreign-government-backed knife companies with substantial marketing budgets, which make it difficult for smaller U.S. companies to compete at sub-$150 price points. We’re also seeing foreign interests penetrate U.S. industry organizations through donations and sponsorships aimed at market expansion.”

At Chris Reeve Knives, the owners acknowledge the market conditions that drive profitability.

In terms of state and local taxes and restrictions, the Chris Reeve Knives business environment in Idaho seems to be better off overall than some other domestic knife manufacturers. “We are fortunate that Idaho is a good place to do business,” Anne Reeve noted, “and there are no particularly difficult restrictions.”
In terms of state and local taxes and restrictions, the Chris Reeve Knives business environment in Idaho seems to be better off overall than some other domestic knife manufacturers. “We are fortunate that Idaho is a good place to do business,” Anne Reeve noted, “and there are no particularly difficult restrictions.”

“It is becoming more and more expensive to produce knives or anything else in the USA, but we are grateful that we established ourselves as much USA-made as is possible many years ago,” Anne commented. “Labor costs have skyrocketed and all materials have increased. We monitor costs closely and negotiate as much as feasible with our suppliers. We focus on innovative manufacturing processes, employee training and scrap reduction without compromising quality.”

Hence, keeping costs contained in light of wage pressure, materials availability driven by demand, and other factors that are basic for any business—including utility costs, equipment maintenance, upkeep and upgrades, and the retention of skilled and even unskilled workers—is always a priority. The companies who manage such challenges best are those that survive and prosper.

Trade Protection

However, where is the pressure point or the point of relief when it comes to foreign competition? How does the American knife manufacturer remain competitive and keep each of these critical components in fragile balance? Perspectives on trade protection are somewhat varied but they may well have a purpose in the overall economic scheme of things.

“We see an average Total Import Tax of about 22.4 percent on folding knives and 23.6 percent on fixed blades,” Iovito related. “Often it is much higher. There aren’t many solutions to this issue other than competitive tariffs and trade agreements. The VAT and tax outlay by our dealers can almost double the price of our knives in the European Union. Additionally, the dealer doesn’t receive a refund on the VAT until the knives are sold. This effectively disincentivizes the stocking of American knife brands.

Spartan Blades won its first-ever BLADE Magazine Overall Knife-of-the-Year® Award last year for the full-tang Clandestina fighter designed by BLADE Magazine Cutlery Hall-of-Fame® member Bill Harsey. The 5.5-inch blade is flat-ground CPM MagnaCut stainless steel. It is also available in a flat-dark blade finish and canvas Micarta® handle. MSRP: $360.
Spartan Blades won its first-ever BLADE Magazine Overall Knife-of-the-Year® Award last year for the full-tang Clandestina fighter designed by BLADE Magazine Cutlery Hall-of-Fame® member Bill Harsey. The 5.5-inch blade is flat-ground CPM MagnaCut stainless steel. It is also available in a flat-dark blade finish and canvas Micarta® handle. MSRP: $360.

“I believe in maintaining ‘Most Favored Nation Status’ with our allies,” Curtis added, “but tariffs could still be adjusted to ensure fair competition. Ideally, tariffs should be leveled in a way that provides an advantage to U.S. manufacturers, helping to balance the playing field. For those countries that are international trade competitors, I feel their products should be taxed at an equal rate or in a manner that places them at a competitive disadvantage.”

Fair is fair, say Anne and Tim.

“Tariffs hurt the international dealers and, as a result, the end users. The dealers often work on reduced profit margins simply to sell the product at an affordable price. We are fortunate to be an accepted luxury brand and, without sounding arrogant, our international end users generally have higher disposable incomes. There is little that we can offer by way of incentives or discounts to combat tariffs.

“First reaction [to U.S.-imposed tariffs] would say that reciprocity would be fair,” the Reeves concluded. “We should charge as they [other nations] charge us. However, the reality is that high tariffs on incoming knives hurt our industry by making everything more expensive. Tariffs are such a political thing, and a general rise in tariffs is not a good answer to the problem.”

Domestic Taxes & Restrictions

“The Los Angeles council passed a law that the minimum wage will be $30 per hour by 2028,” Ernest Emerson noted. “They are sneaky in that they apply this only to groups like ‘hospitality workers,’ but the truth is that any worker can look at what they are currently doing and say, ‘I can fold bedsheets for $30 an hour instead of doing this.’”
“The Los Angeles council passed a law that the minimum wage will be $30 per hour by 2028,” Ernest Emerson noted. “They are sneaky in that they apply this only to groups like ‘hospitality workers,’ but the truth is that any worker can look at what they are currently doing and say, ‘I can fold bedsheets for $30 an hour instead of doing this.’”

In addition to foreign competition, there are restrictions right here at home that challenge the knife manufacturer on a daily basis. That situation is particularly true for Emerson Knives, Inc. Ernest says the continual pinch of California’s local and state taxes, restrictions and legislation impede his company’s performance. But don’t jump to the conclusion that simply relocating to another state holds the answer. Emerson is committed to his employees, many of whom have been with him for more than 25 years. They have families and deep roots in California and can’t relocate to a more business-friendly state.

Still, Ernest bristles at the simple fact that taxes are levied against every piece of equipment on his facility’s floor. He must follow rigorous guidelines on disposal of byproducts, pay fees for parking, comply with building restrictions, and fork over a fee for a license to operate his laser machines. All the while, he is aware that other companies operate under the radar, ignoring these state-imposed requirements.

“The Los Angeles council passed a law that the minimum wage will be $30 per hour by 2028,” Ernest noted. “They are sneaky in that they apply this only to groups like ‘hospitality workers,’ but the truth is that any worker can look at what they are currently doing and say, ‘I can fold bedsheets for $30 an hour instead of doing this.’ That means that everybody has to pay $30 an hour to retain their workers. Imagine what the cost of a Big Mac will be when fast food workers at McDonald’s are paid $30 an hour.”

In contrast, the Chris Reeve Knives business environment in Idaho is apparently better overall.

“We are fortunate that Idaho is a good place to do business, and there are no particularly difficult restrictions,” Anne remarked. “One of the biggest issues for small businesses is high rates of taxation. I understand that taxes are necessary, but I would rather invest in my employees and equipment than see my tax dollars spent unwisely. The American drive to make high quality goods is still very much alive! We are fortunate to have employees who are proud to work for an ‘all American’ company and strive to make the very best. Most of our market is in the USA and our customers appreciate the fact that we are so doggedly ‘Made in Idaho!’”

Anti-Knife Laws

For years, the issues surrounding restrictive knife laws have influenced American knife manufacturers, from the types of knives they make domestically to their ability to import or export. These days, some softening has been experienced, particularly due to the efforts of groups like Knife Rights and the American Knife & Tool Institute (AKTI), which have challenged some laws in court or successfully lobbied to keep others from reaching the books at the federal or state level.

“Our knives don’t gain too much attention in anti-knife legislation,” Anne said. “The one-hand-opening issue that caused so much concern some years ago has subsided. AKTI and Knife Rights have done yeoman’s work in overturning dated and irrational legislation, and we are happy to support them.”

Interstate commerce remains solid for Emerson as restrictive knife laws appear to be on the wane.

“Knife restrictions state to state don’t really affect us,” he commented. “I’m not aware of any state that we can’t ship to. Thank goodness for AKTI and Knife Rights fighting the good fight for us. I’ve always told everybody that we have to fight for the 2nd Amendment whether you are a gun person or a knife person. No matter what, where guns go, knives are soon to follow.”

When it comes to tariffs, Anne and Tim Reeve recommend reciprocity. The USA should charge other nations as those nations charge the USA, the Reeves stated, though noting that “high tariffs on incoming knives hurt our industry by making everything more expensive.” Here Tim inspects a tray of folders in the Chris Reeve Knives manufacturing facility.
When it comes to tariffs, Anne and Tim Reeve recommend reciprocity. The USA should charge other nations as those nations charge the USA, the Reeves stated, though noting that “high tariffs on incoming knives hurt our industry by making everything more expensive.” Here Tim inspects a tray of folders in the Chris Reeve Knives manufacturing facility.

Iovito added a positive point of view.

“In the U.S., legal restrictions on knives are often based on a mistrust of citizens or as a way for a politician to appear tough on crime instead of addressing the root cause of crime in his district. However, I’m seeing positive change as lawmakers and the public recognize that most people carry knives as tools rather than weapons. As knife laws in the U.S. evolve, I’m optimistic about their eventual liberalization. While I won’t comment on laws in other countries, most of these laws tend to be reactive responses to broader societal issues.”

American Resilience

Considering the challenges of modern business and the complications presented, American knife companies have proven remarkably adaptable and resilient.

“The thing that has kept Emerson Knives, Inc., afloat,” Ernest explained, “is being the right size to be super flexible. We are small and every operation is done in-house, and I have worked with companies over the years to make smaller amounts of knives to fill orders. That way we don’t sit on ‘XYZ number’ of knives and wonder what we’re gonna do. Small businesses and shop owners really drive the average Joe in the U.S., and I’m proud to be a part of it.”

Read About Custom Knives:

Knife Fuller: What Does It Add To A Blade?

Mike Haskew
-
1
Knife Fuller: What Does It Add To A Blade?

They’re role is more than making a knife look groovy.

At first, it’s an item of curiosity. The fuller, the symmetrical groove that runs along the partial or full length of a knife or sword blade, might function simply as an aesthetic touch. It could have some utilitarian purpose. Or maybe it’s a bit of both.

Makers of knives and swords have included the fuller with their work for centuries, and today it remains a focal point in the process. Its presence is often prominent but its purpose is at best somewhat obscure. Why, then, is it common among the work of accomplished makers?

“The primary purpose of the fuller is to lighten a blade without compromising strength,” explained award-winning custom knifemaker and swordsmith Vince Evans. “Many cultures incorporate a decorative aspect into the fullers on their blades. Italians are well known for segmented fullers. You also see segmented fullers on Chinese swords, as well as some German hunting swords.”

Evans took home the custom awards of Best of Show for his Italian Cinquedea and Best Sword for his Italian Schiavona—the former at last year’s Solvang Custom Knife Show and the latter at BLADE Show 2024. He also won Best Sword for his Roman spatha and Best Fixed Blade for another of his cinquedeas at BLADE Show 2022. All four feature multiple fullers. Vince sees the fuller as operational on more than one level, from practical to pretty.

Thomas Taylor’s kukri sports a 12-inch fullered blade of W2 tool steel with a compound bevel grind and heart-shaped Spanish notch. Handle: buckeye burl. Overall length: 17 inches. The sheath is cowhide and water buffalo. Taylor’s price for a similar knife and sheath: $550. (SharpByCoop knife image)
Thomas Taylor’s kukri sports a 12-inch fullered blade of W2 tool steel with a compound bevel grind and heart-shaped Spanish notch. Handle: buckeye burl. Overall length: 17 inches. The sheath is cowhide and water buffalo. Taylor’s price for a similar knife and sheath: $550. (SharpByCoop knife image)

“Even in the Bronze Age you see multiple fullers,” Evans continued. “Sometimes they are very narrow. Multiple fullers can give more rigidity to a blade but with reduced weight, and a wide blade lends itself to multiple fullers. Typically, fullers are on both sides of the blade, although not always. There are examples of 2nd-century Germanic swords that have fullers on only one side or have different numbers of fullers on each side. Their purpose may be partially aesthetic.”

Evans uses a fullering tool to press the groove into the hot steel when working with a larger blade. On smaller blades he usually grinds the fullers into the steel after the blade has been shaped and beveled. Other techniques involve the use of round or flat tools to scrape the groove in, depending on the blade style.

Much of Vince’s work is an homage to history, and the fuller finds its place there for sure.

“Since my work is primarily historical in nature, I use fullers where they were seen on originals,” he remarked. “A fuller may be used on any blade that you want to lighten without losing strength.”

Varied Methods Of Creating Fullers

Seth Lopez outfitted each side of the 9.38-inch recurve blade of his BLADE Show 2024 Best Fighter winner with a stylized fuller. The blade is a damascus of 1080 carbon and 15N20 nickel alloy steels and the grind is a combo convex/hollow clip. The handle is African blackwood with 416 stainless steel domed pins. Overall length: 14.5 inches. (SharpByCoop knife image)
Seth Lopez outfitted each side of the 9.38-inch recurve blade of his BLADE Show 2024 Best Fighter winner with a stylized fuller. The blade is a damascus of 1080 carbon and 15N20 nickel alloy steels and the grind is a combo convex/hollow clip. The handle is African blackwood with 416 stainless steel domed pins. Overall length: 14.5 inches. (SharpByCoop knife image)

Seth Lopez is an accomplished master of the fuller and took home the custom award for Best Fighter at BLADE Show 2024. His take on the fuller lies in function, helping the blade to perform as optimally as possible.

“In a sword, the fuller will provide rigidity through surface area while also taking out a lot of weight,” he remarked. “In smaller knives, I like the way they look, and they help take out some weight. Fullers can be on one or both sides of the blade. Many single fuller blades are ground only on one side, so the fuller on the opposing flat side relieves that area. Many culinary knives and sushi knives are made this way.”

According to Lopez, fullers can be achieved via several methods. Traditionally forged blades may have them scraped in, while they can be milled, ground or filed in as well. Seth’s method is dictated by the size and shape of the blade he intends to create. The application from a practical standpoint is seen easily in the sword or chef’s knife, while in smaller knives he says fullers add “some completeness and flow to the overall design.”

When custom maker Thomas Taylor includes a fuller, his methods are varied.

The 3.4-inch fullered blade of Eyal Landesman’s folding dagger is RWL-34 stainless steel with a hand-rubbed finish. The handle is zirconium with mosaic paua shell inlay. Closed length: 4.75 inches. (SharpByCoop image)
The 3.4-inch fullered blade of Eyal Landesman’s folding dagger is RWL-34 stainless steel with a hand-rubbed finish. The handle is zirconium with mosaic paua shell inlay. Closed length: 4.75 inches. (SharpByCoop image)

“There are dies available for a press, and a fuller can be pressed in or hammered in,” he related. “Most bladesmiths will grind the fuller in before grinding the bevels in. After the initial grinds are done, fullers and bevels, then the heat treating and tempering are done. Then the long, tedious process of hand sanding begins.”

Taylor agrees that strength and weight reduction are primary purposes for the fuller.

“I think when you get to smaller blades under five inches, that it’s really for looks at that point. Yes, it does take some weight off, but it’s very little and any added strength is not noticeable in use. However, a tapered fuller can really dress up a knife, and the shape of the blade can be very pleasing to the eye. I believe that fullers should be on both sides of the blade and of the same depth and length. This, in turn, gives an even balance and slice. In my opinion, if a knife has a fuller on one side of the blade it would cause more drag on one side versus the other and would cause an arc in the slice.”

When knifemaker Eyal Landesman uses the fuller, it expands the aesthetic appeal of his blades.

Robert Wayman goes the cleaver fuller route on the damascus go-mai/damascus nickel core/damascus clad blade of his Kitchen Chopper. The handle is crosscut carbon fiber, G-10, stainless steel, malachite, ancient brain coral and amboyna burl. Overall length: 14 inches. His price for a similar model: $1,850. (SharpByCoop image)
Robert Wayman goes the cleaver fuller route on the damascus go-mai/damascus nickel core/damascus clad blade of his Kitchen Chopper. The handle is crosscut carbon fiber, G-10, stainless steel, malachite, ancient brain coral and amboyna burl. Overall length: 14 inches. His price for a similar model: $1,850. (SharpByCoop image)

“My work is mainly making folding art knives,” he commented, “so my experience with fullers is always on the small scale. I mainly use them for aesthetic reasons as I love to mix traditional classic design with a modern touch.

“The fuller on a pocketknife has both utilitarian and aesthetic purposes,” Eyal continued. “From the practical standpoint, the fuller can help with weight reduction as it removes material from the blade without compromising strength. This can be a plus for making lighter-weight everyday-carry pocketknives and even enhances the knife’s rigidity under stress, like an I-beam. Aesthetically, my main reason for using them is that they add a distinct, sleek look to the blade, as well as for the historical appeal that I draw inspiration from.”

Landesman says that the single fuller is rather uncommon in blade construction, and when it is used the reasons are generally aesthetic or to facilitate a specialized design. Fullers on both sides help with balance, structural integrity, symmetry and reliable performance.

“Fullers are most appropriate for swords and larger knives, such as daggers where weight reduction and structural integrity are important to performance by making them easier to handle and therefore more maneuverable,” Eyal added. “While they can add aesthetic value, the functional benefits are mainly seen in blades used in combat or heavy-duty use. Fullers are less essential for smaller, precision-focused knives such as scalpels.”

There’s no machine work—including the tapered blade fuller—just all hand filing and sanding on the Hauteclere by Wolfgang Loerchner. Blade length and steel: 13 inches and 440C stainless. The handle is 440C, carved gold, black-lip mother-of-pearl and Bertie Rietveld damascus. Overall length: 19 inches. (SharpByCoop image)
There’s no machine work—including the tapered blade fuller—just all hand filing and sanding on the Hauteclere by Wolfgang Loerchner. Blade length and steel: 13 inches and 440C stainless. The handle is 440C, carved gold, black-lip mother-of-pearl and Bertie Rietveld damascus. Overall length: 19 inches. (SharpByCoop image)

His fuller process is straight forward.

“After I cut the blade profile, I then harden it,” he explained. “Once it has been through heat treatment, I then hard mill the fuller into the blade before grinding it.”

Blood Groove, I-Beam

Accompanying the positive elements of the fuller are a couple of interesting observations related to its function. The I-beam phenomenon as noted by Landesman is described by some as providing additional strength or rigidity, and by others as allowing flexibility while lightening the overall weight of the knife or sword. Its principle has long been utilized for steel beams in the construction industry.

“The I-beam effect does lighten the blade and can help in flexibility, but I don’t know that it will make the blade stronger,” Evans observed.

Ryan Breuer abbreviates the fuller on the clip-point/false-edged blade of 80CrV2 carbon steel for his recurve fighter. Guard and ferrule: blued damascus. Handle: ironwood. (SharpByCoop image)
Ryan Breuer abbreviates the fuller on the clip-point/false-edged blade of 80CrV2 carbon steel for his recurve fighter. Guard and ferrule: blued damascus. Handle: ironwood. (SharpByCoop image)

Added Landesman, “I agree that the main job of the fuller is to lighten the blade and increase its strength through the ‘I-beam’ principle used in construction. However, its main job is to look good.”

Blood groove is often associated with the fuller, and while there is plenty of speculation as to the origin of the term, practical evaluation doesn’t lend itself to validating that purpose.

“I think the term came with the use of the fuller in bayonets,” Evans said. “I don’t believe this is an accurate name for the fuller or its purpose.”

Lopez commented, “With many aspects of weapon history there is a lot of speculation on why certain features existed on different blades. Many of these speculations are made up, and it’s my understanding that there is no ‘blood groove’ function to a fuller on any blade.”

Billy Salyers covered almost the complete blade length with the fuller of his Best Sword winner from the 2024 Texas Select Custom Cutlery Event. The blade is a Rohans Mane damascus of 1095 carbon and 15N20 nickel alloy steels and the handle is African blackwood. Overall length: 35 inches. Billy’s price for a similar sword and scabbard: $7,500. (SharpByCoop image)
Billy Salyers covered almost the complete blade length with the fuller of his Best Sword winner from the 2024 Texas Select Custom Cutlery Event. The blade is a Rohans Mane damascus of 1095 carbon and 15N20 nickel alloy steels and the handle is African blackwood. Overall length: 35 inches. Billy’s price for a similar sword and scabbard: $7,500. (SharpByCoop image)

Perhaps in the hunting application there is some remnant of actual usefulness in the role.

“Some call the fuller a ‘blood groove,’” Taylor said, “thinking that it gives the blood a way out of the entry point of the carcass and makes it easier to remove the blade. This may help in these areas some but it is not the intended reason for the fuller.”

The consensus is summed up well by Landesman, who related, “The ‘blood groove’ term stems from the theory that it was designed to allow blood to flow out of a wound, supposedly preventing a vacuum from forming and thus making it easier to withdraw the blade in battle. In my opinion this is probably not an accurate representation of the fuller’s purpose, which has much more to do with its utilitarian and structural benefits, unconnected to blood or wound dynamics.”

There it is. Practical, pretty and adding a touch of class, the fuller brings along a bit of historical conjecture, completing a package that delights in many ways.

More On Knife Making:

Japanese Blades: Mystique Of The East

Mike Haskew
-
0
Japanese Blades: Mystique Of The East

Japanese blades have enchanted and endured for centuries with no end in sight.

The lure of the Eastern style has captivated cutlery artisans for centuries, and interpretations of it remain alive and well, blending tradition seamlessly with modern techniques and materials while staying true to their roots in Japanese culture. While there is plenty of skill required and the artist’s eye lends its perspective, custom knifemakers continue to produce wonderful examples in fusions of blade, tsuka (handle) and furniture—and they are quick to explain the reasons why.

Denis Tyrell

Denis Tyrell’s aptly named Silver Moon katana features a 29-inch blade that is pure silver laminated: damascus over silver with an 80CrV2 carbon steel core. The traditionally wrapped tsuka (handle) has silver and mild steel fittings and silver inlay. The tsuba (guard) is mild steel. Overall length: 40 inches. Tyrell’s price for a similar sword: $9,500.
Quite a Japanese blade! Denis Tyrell’s aptly named Silver Moon katana features a 29-inch blade that is pure silver laminated: damascus over silver with an 80CrV2 carbon steel core. The traditionally wrapped tsuka (handle) has silver and mild steel fittings and silver inlay. The tsuba (guard) is mild steel. Overall length: 40 inches. Tyrell’s price for a similar sword: $9,500. (Jocelyn Frasier sword image)

“Japanese blades have both an elegance and a mystique to them,” said maker Denis Tyrell of Livermore, California. “They have subtle curves that really appeal to me. They are also very complex to build and get right—I’m still striving for a higher standard.”

Setting out on a creative path that brought modern and traditional methods together, Tyrell made great strides toward that standard in his Silver Moon katana. “I appreciate all the complex fittings on these swords, so I try to keep to that mix,” he noted. “The blade is where I step out a bit more into the modern, using damascus steel and other techniques to really show it off.”

The result of Tyrell’s effort succeeds in highlighting the 29-inch damascus blade and handle wrapped in faux leather. The fittings are silver, while the guard is mild steel with silver inlay. The blade presents something of a surprise with its damascus cladding over silver with a solid core of 80CrV2 carbon steel. To preserve the integrity of the damascus, the blade was not heat treated. The sword is 40 inches overall and the blade grind is convex.

“The melting point of silver is 1,763 degrees Fahrenheit,” Denis added, “so it’s challenging to forge that together with the damascus cladding and core without melting it. I also found getting the fittings perfect so a single pressure-fitted peg will hold it all together with no slack to be a challenge.” Denis said the Silver Moon sold for $9,500. The owner has invested in an authentic Japanese-style sword that not only exhibits great talent but also pays tribute to the historical appeal of those produced in the past.

Drew Lininger

A hollow-ground blade of AEB-L stainless steel and a jade-green G-10 handle highlight Drew Lininger’s Tanto Kwaiken. His price for a similar piece: $400.
A hollow-ground blade of AEB-L stainless steel and a jade-green G-10 handle highlight Drew Lininger’s Tanto Kwaiken. His price for a similar piece: $400. (Jocelyn Frasier knife image)

Drew Lininger of Belgrade, Montana, honed his knifemaking skills further with his Tanto Kwaiken, a stylized version of the small, single-edged dagger carried by the Samurai for close self-defense.

“I love slimmer, more streamlined knives, and the Japanese style really appeals to me with its simple lines that make for a complex knife,” he related. “I also like how you can scale the designs easily. You can basically make the same knife in multiple sizes without having to change anything but the dimensions.”

The Tanto Kwaiken has a 4-inch blade and 8.25-inch overall length. Drew decided on AEB-L stainless blade steel complemented with a handle of jade-colored G-10, its fibers presenting a pleasant textured look approaching the ricasso. The guard is Grade 5 titanium. The most difficult aspect of the knife’s production was succeeding with the precision required for the numerous angles and lines to meet at the same apex without variation on all sides of the handle.

One departure from tradition is the blade grind. “It is a 6-inch hollow grind,” Drew commented, “definitely not standard for traditional kwaikens. I had originally seen the full hollow grind on some folding knives and wanted to try it on a kwaiken.”

Jim Perkins

Jim Perkins’ wakizashi takes down by removal of the pin from the Japanese maple handle. The 19-inch blade is 1,724 layers of 1095 carbon and 15N20 nickel alloy steels. Overall length: 28.25 inches. Jim’s price for a similar piece and saya (scabbard) is around $2,500.
Jim Perkins’ wakizashi takes down by removal of the pin from the Japanese maple handle. The 19-inch blade is 1,724 layers of 1095 carbon and 15N20 nickel alloy steels. Overall length: 28.25 inches. Jim’s price for a similar piece and saya (scabbard) is around $2,500. (SharpByCoop knife image)

Jim Perkins of Garden City, Kansas, built a superb wakizashi at 28.25 inches overall with a 19-inch damascus blade consisting of 1,724 layers of 1095 carbon and 15N20 nickel alloy steels. The stunning blade is accented with copper habaki (collar), seppa (spacer) and tsuba (guard), and a handle of gleaming Japanese maple. Jim’s price for a similar sword would be around $2,500, and he likely would relish the opportunity to take another stab at such a piece.

“For me, the appeal of the Japanese style is in the history and the flow of the traditional blades,” he offered, “along with challenging myself to make the symmetry of mine as aesthetically pleasing to the eye as possible. If you look at traditional Japanese blades, you see a natural beauty that has been a tradition of the master smiths who have made them. It is hard not to be inspired by their work.”

Giving a nod to his preference for modern materials, Jim also takes advantage of some conveniences in the shop. “Since I’m a bit older, the hydraulic press is invaluable,” he explained. “It saves my shoulder from the abuse hammering out the steel would inflict. That said, while I am working the steel I try to keep in my mind’s eye the process the masters might have used, and attempt to honor their traditions the best I can using modern materials and methods. Examples of this would be that I ‘bed’ the tang in the handle and my milgraining treatment to the tsuba.”

Jim describes the wakizashi as full takedown with the removal of the handle pin. He fits the tang to each side of the handle using a saya nomi, Japanese for scabbard chisel, made by Walter Sorrells. Afterward, Jim glues the handle sides together for fitting to the tang, applies petroleum jelly to the fittings and the tang, and fills the handle cavity with epoxy, which he allows to cure for approximately three hours.

From there he removes the handle from the tang, cleans off the petroleum jelly, and resets the handle in the tang to allow final setup. Jim works the tsuba with a hammer from the center toward the edge, and hammers a design into the material with a small ball-pein hammer. In this particular case, he finalized a textured finish on the engraving bench with a milgrain tool.

“I allow the copper tsuba, seppa and habaki to patina naturally through handling as opposed to using a chemical application,” Jim said, “and I would be remiss not to mention the meticulous requirements of prepping the steel for each forging session. Keeping the steel as pristine as possible for the next forging session to eliminate any forge welding failures is tremendously important. The discipline required to do this increases as the layer count goes up, but it is an absolute necessity to avoid disappointment in myself or the final product.”

Kieren McNeilly

An 11-inch blade forged from W2 tool steel sporting a slanted choji (clover-tree flower) hamon and a raw stingray hide handle top off Kieren McNeilly’s traditional tanto. The stingray hide underwent no dying or tanning to keep it nice and hard. Overall length: 16.5 inches.
An 11-inch blade forged from W2 tool steel sporting a slanted choji (clover-tree flower) hamon and a raw stingray hide handle top off Kieren McNeilly’s traditional tanto. The stingray hide underwent no dying or tanning to keep it nice and hard. Overall length: 16.5 inches. (Rod Hoare knife image)

Capitalizing on available media such as books and YouTube videos while also talking with other makers, Kieren McNeilly of Warwick, Queensland, Australia, stepped into Japanese-style knifemaking with optimism. “I highly recommend anyone thinking about making one to just go out and do the same,” he smiled.

McNeilly’s work is a reflection of other aspects of his life. “My house has touches of Japanese art all around, from Samurai masks to antique tsuba and more things not related to knives,” he said. “Japanese knives are simple, well-thought-out designs, all built for a purpose. I’m also a big fan of a satin or polished finish on a blade with contrasting forged texture, which is another common thing you see in Japanese knives. Same for the swords. All parts of the katana serve a purpose, from differential heat treatment of the blade to the ray skin down to the mekugi [pin] that holds it all together.”

McNeilly’s traditional style tanto is 16.5 inches overall with an 11-inch blade forged from W2 tool steel. The saya (scabbard) is buffalo horn and the handle is raw stingray hide. The latter did not go through any dyeing or tanning process, which keeps the material hard and stiff.

“Three areas of this knife gave me issues,” he related. “The first was the heat treatment when the water quench failed. Luckily, I had no cracks. The blade didn’t fully harden, so as an easy fix I went back through my normalization cycles, clayed the blade again and then quenched it in oil.

“The second issue was the constant attention needed to get the width and diameter of the handle and saya to match as closely as possible when sheathed, with perfect fit-up and zero gaps. Lastly was working with the raw stingray hide. The calcium nodules are extremely hard and make cutting the material difficult. The hide also has to be soaked in water to take shape around the handle.”

To solve the problem of gaps developing as the raw stingray hide dried, McNeilly used masking tape to add mass to the handle and then removed the tape to allow the hide to shrink to the proper position. “It left just enough space for the hide to shrink that last little bit,” he remembered, “and this still took me a few attempts to get it right.”

Using a combination of Japanese and Western methods and materials, Kieren achieved magnificent results. “I have not used tamahagane, a precious bloomery steel, and if I were to, I would make a point to use all traditional materials and more traditional techniques,” he concluded. “Synthetic materials like G-10 and Micarta® work great as substitutes for more traditional materials like bone or horn, although I love how horn and bone can add a lot of character to a piece.”

More On Knife Collecting:

Choosing The Right Knifemaker

Mike Haskew
-
0
Choosing The Right Knifemaker

Veteran collectors discuss what to look for in a top knifemaker.

When it comes to spending your hard-earned dollar, knowing what to look for in a knifemaker provides a perspective that can’t be achieved any other way. The knife itself offers a real, tangible opportunity to assess the workmanship, and a dialogue with the maker—or at least some knowledge of his or her career and standing in the knife community at large—allows for informed decision-making.

“The main thing I look for in a knifemaker is someone with an original design aesthetic,” observed longtime collector Jim Berkenfield. “I always tell up-and-coming makers that they want to create something that can be immediately identified as theirs if it is sitting on a table in the middle of 100 other knives.”

Meanwhile, being mentored by a leading maker is not something Jim looks for in a maker.

“I always tell up-and-coming makers that they want to create something that can be immediately identified as theirs if it is sitting on a table in the middle of 100 other knives,” collector Jim Berkenfield advised. Veteran maker Bertie Rietveld’s Makiti folder in composite dragonskin damascus and gold inlay meets that standard and then some. Closed length: 5 inches. (SharpByCoop image)
“I always tell up-and-coming makers that they want to create something that can be immediately identified as theirs if it is sitting on a table in the middle of 100 other knives,” collector Jim Berkenfield advised. Veteran maker Bertie Rietveld’s Makiti folder in composite dragonskin damascus and gold inlay meets that standard and then some. Closed length: 5 inches. (SharpByCoop image)

“I don’t necessarily think a maker needs to have some well-known mentor or instructor,” he opined. “These days, savvy and creative people can access all the information they need via social media or the internet to get them started down the road to knifemaking.”

The first impression is key to developing any relationship, and finding a maker with his or her own creative voice is an essential component for many.

“Firstly, and most obvious, I have to be drawn to the maker’s work, assuming I don’t really have any previous interaction with the maker,” collector Chris Schluter said. “I think these days social media is certainly an easy and quick way to get some information. There are countless knife groups on Facebook, for example. One could ask in these groups if anyone has had experience with a certain maker or knives. Of course, doing this in person at a show is an option as well.”

Personal Interaction With Knifemakers

Many think it very important for a new maker to attend knife shows. According to collector Chris Schluter, “A show is a great opportunity to get feedback on your knives and also check out other knives and speak to other makers for tips and inspiration.” Chris Losacco (right) of Elemental Forge shows one of his damascus fixed blades to customers at last year’s BLADE Show West.
Many think it very important for a new maker to attend knife shows. According to collector Chris Schluter, “A show is a great opportunity to get feedback on your knives and also check out other knives and speak to other makers for tips and inspiration.” Chris Losacco (right) of Elemental Forge shows one of his damascus fixed blades to customers at last year’s BLADE Show West.

Larry Hirsch, a veteran collector of Lloyd Hale’s work and that of other classic custom makers, sees the value in social media but also understands the benefits of personal interaction across the table at a show.

“I think it’s important for makers to attend knife shows,” he commented. “Meeting people, talking about their work, hobbies, family, ideas, networking and making friends is all part of a successful business. I’ve bought knives from makers that I’ve met at shows and become friends with. I’ve sold off knives from makers that were rude to me at shows.”

Consequently, there is more than just an exchange of cash for steel in the building of a mutually beneficial relationship between maker and customer. Even though it may sometimes be difficult for a maker to attend a show, there are still opportunities to interact.

“I don’t think it’s mandatory for makers to attend shows because knife shows are expensive,” Berkenfield said. “For new knifemakers in particular there is no guarantee that they’ll even sell anything. When a maker is exhibiting at a show, yes, I think it’s important that he engages with people as they walk by—without being pushy. I think the biggest reason knifemakers should try to attend shows is to gain inspiration from other work in the room, acquire materials, and just make some contacts in the industry.”

Larry Hirsch is an experienced collector of the knives of Lloyd Hale. Larry indicated before placing a custom order, ask the maker about the things that are important to you and be sure you get the answers you want. The example of Lloyd’s work is a spectacular sub-hilt in gold-lip and white mother-of-pearl, abalone and 440C stainless steel. (image of Larry Hirsch and Lloyd Hale courtesy of Hirsch; SharpByCoop knife image)
Larry Hirsch is an experienced collector of the knives of Lloyd Hale. Larry indicated before placing a custom order, ask the maker about the things that are important to you and be sure you get the answers you want. The example of Lloyd’s work is a spectacular sub-hilt in gold-lip and white mother-of-pearl, abalone and 440C stainless steel. (image of Larry Hirsch and Lloyd Hale courtesy of Hirsch; SharpByCoop knife image)

It’s entirely possible that young makers seeking to establish themselves could complement their use of social media such as Instagram with regular visits to shows. Visibility is a key in promoting a knifemaking career.

“It’s very important for a newer unknown knifemaker to attend shows,” Schluter advised. “A show is a great opportunity to get feedback on your knives and also check out other knives and speak to other makers for tips and inspiration. I think that this is probably best done in conjunction with a social media presence so any customers or followers know where they can handle some knives ‘live.’”

SPECIAL ORDERS
When a potential buyer wants a special order or the maker has a waiting list, it makes sense to weigh the dynamics of the situation, including whether the maker takes custom orders and whether he or she requires a deposit.

Schluter remarked, “Many say that a true custom knife is a knife made to a customer’s specifications with specific materials. Many makers will do this, of course. However, many makers, especially very ‘in-demand’ ones, will just make what they want and it will sell. And customers will be happy to get anything from that maker. As far as waiting lists and order books go, it’s really up to the maker and not the customer. Someone told me once long ago, ‘There’s real time and there’s knifemaker time.’”

“I think the biggest reason knifemakers should try to attend shows is to gain inspiration from other work in the room, acquire materials and just make some contacts in the industry,” collector Jim Berkenfield said. ABS master smith Kyle Royer (left) and BLADE Magazine Cutlery Hall-of-Fame® member Steve Schwarzer (right) admire the work of an exhibitor at a past BLADE Show. (Whetstone Studio image)
“I think the biggest reason knifemakers should try to attend shows is to gain inspiration from other work in the room, acquire materials and just make some contacts in the industry,” collector Jim Berkenfield said. ABS master smith Kyle Royer (left) and BLADE Magazine Cutlery Hall-of-Fame® member Steve Schwarzer (right) admire the work of an exhibitor at a past BLADE Show. (Whetstone Studio image)

“If a maker says six months, don’t be surprised if it’s a lot longer,” Chris cautioned. “Many makers who are popular simply don’t take orders anymore, though it never hurts to ask nicely even though they state this. Others who do take orders will regularly have wait times in excess of a year. It’s not unheard of to wait several years! I generally don’t like deposits or paying in advance. A small deposit as a sign of good faith or for special materials is not out of the question, though.”

Hirsch doesn’t see a willingness to take custom orders as critical, but he does emphasize the need to manage expectations.

“I have talked to many knifemakers about this, and the ones that don’t take orders have valid reasons for not taking orders,” he explained. “I’ve had the pleasure of working with several knifemakers that do take custom orders and enjoyed the knives that they made for me. Before you ever place an order, you need to ask the maker about the things that are important to you and receive the answers that you want.

“The timeframe for receiving your knife should be reasonable based on the maker’s backlog,” Larry added. “I suggest that if you don’t have the patience to wait longer than expected, don’t custom order a knife. It almost always takes longer than promised or expected.

As noted collector Jim Berkenfield, deposits typically are not required on custom orders, though if the build has expensive materials such as mammoth ivory, he will often offer to pay for it in advance—or even provide the material himself. Schuyler Lovestrand’s curvaceous sub-hilt features a handle of mammoth ivory rich in golds and dark greens. (SharpByCoop image)
As noted collector Jim Berkenfield, deposits typically are not required on custom orders, though if the build has expensive materials such as mammoth ivory, he will often offer to pay for it in advance—or even provide the material himself. Schuyler Lovestrand’s curvaceous sub-hilt features a handle of mammoth ivory rich in golds and dark greens. (SharpByCoop image)

“Deciding on placing a deposit is a very personal decision. Sometimes everything goes perfectly and you’re happy about your decision. Sometimes life, sickness or death prevent a maker from starting or completing your project, and your deposit is lost. When you deal with an individual, it’s not like a factory. There’s no one to take over when the knifemaker is sick or gone, and there’s no company to call to complain or ask for a refund.”

Berkenfield says that depending on the knifemaker it isn’t uncommon to wait two years for a custom knife to be delivered, particularly if the maker is well known and has a following.

“When you’re collecting knives, you need to play the long game in terms of acquiring a piece from a specific maker,” he commented. “Typically, deposits are not required, although if the build has certain expensive materials, for example, mammoth ivory, I will often offer to pay for that in advance or even to provide it myself.”

Questions To Ask

A prospective buyer should not be afraid to ask a maker specific questions about the maker’s operation, a certain knife, or what the prospective buyer’s expectations should be as the proud owner of one of the maker’s pieces.

Does the maker supply a quality sheath with a fixed blade? Paul LeBatard does with his Field and Stream knife in D2 tool steel and amber stag scales. Overall length: 8.75 inches. (Jocelyn Frasier image)
Does the maker supply a quality sheath with a fixed blade? Paul LeBatard does with his Field and Stream knife in D2 tool steel and amber stag scales. Overall length: 8.75 inches. (Jocelyn Frasier image)

“I think it’s always good to ask a maker you’re not familiar with but interested in how they got into knifemaking,” Schluter recommended. “How long have they been making knives? Why do they enjoy it? Most custom knives are not inexpensive, and I think it’s perfectly reasonable to want to know about the maker. As many have said, ‘You buy the maker, not the knife!’”

Knowledge is power and Hirsch suggests that prospective customers invest in some research of their own before contacting a maker who interests them.

“There’s typically a wealth of information available online,” he related. “Ask other collectors their opinions. Find out the knifemaker’s preferred method of communication and what hours they are available to communicate with you. Remember that when you are talking with them during working hours you are taking them away from making knives. Be respectful of their time.”

Communication is a two-way street, so what is appropriate in terms of responsiveness from the maker?

“When a maker is at a show, yes, I think it’s important that he engage with people as they walk by—without being pushy,” collector Jim Berkenfield observed. Toby Hill (left) talks knives with a customer at the 2024 BLADE Show Texas.
“When a maker is at a show, yes, I think it’s important that he engage with people as they walk by—without being pushy,” collector Jim Berkenfield observed. Toby Hill (left) talks knives with a customer at the 2024 BLADE Show Texas.

“Like any business, there is a customer service aspect,” Schluter acknowledged. “Someone who is unresponsive to a sales inquiry might also be unresponsive if there’s a problem with a knife in the future. Of course, there’s the whole ‘knifemaker time’ thing so don’t expect Nordstrom-like customer service, either. For a knifemaker, I generally like to hear back from them within a few days to a week.”

Other Tells Of Good Knifemakers

Other tells of a maker’s work and business conduct might include the existence of a dedicated website; the inclusion of a sheath in the purchase of a fixed blade; the potential cross-over of a knife from everyday carry and field use to the collector’s case, and vice versa; and the relative cost of the piece in comparison to the popularity of the man or woman who made it may all weigh proportionally on the eventual appeal of a maker to the buyer. Some conditions, after all, will always remain subjective.

In the end, a prospective customer and his or her maker of choice should be able to accommodate one another, striking a balance in mutual respect and appreciation for their common interest. Communication is an important part of any relationship or business transaction. When a healthy give and take is present, both parties will tend to be more satisfied with the outcome of a discussion and, hopefully, a satisfied buyer and seller.

More On Custom Knives:

Fantastic Voyage Of Gil Hibben and Paul Ehlers Collaborations

Mike Haskew
-
0
Fantastic Voyage Of Gil Hibben and Paul Ehlers Collaborations

The collaborations of Gil Hibben and Paul Ehlers speak volumes without using words.

When the great design prowess of Paul Ehlers and the incomparable shop skills of BLADE Magazine Cutlery Hall-of-Fame® member Gil Hibben merged some 40 years ago, they produced a synergy seldom seen, elevating the knife industry to a new plane of creativity in the realm of the fantasy piece.

Following a trail blazed early by the likes of W.W. “Bud” Cronk, the pair brought vision and glimpses of other worlds from the realm of theory and the ephemeral to tangible, captivating and thoroughly gripping. During a custom knifemaking career that has spanned nearly seven decades, Hibben has been recognized as the author of extraordinary work, designing the first Browning hunting knives in 1968, earning a rightful place in the Cutlery Hall of Fame, and creating legendary knives for famed actor Sylvester Stallone in the Rambo film franchise, as well as the American Kenpo Knife for Gil’s martial arts sensei, Ed Parker.

Paul’s drawing of it and Gil wearing the gauntleted piece at an early ’90s Knifemakers’ Guild Show in Orlando. (Drawing courtesy of Paul Ehlers)
Paul’s drawing of it and Gil wearing the gauntleted piece at an early ’90s Knifemakers’ Guild Show in Orlando. (Drawing courtesy of Paul Ehlers)

Ehlers is well known for his work in film, writing, voice, design and illustration. He was hired to produce a poster illustration for the 1981 cult classic film Madman and found himself cast as the title character, delivering an amazing performance. Versatility has been his hallmark through the years, expressing his artistic talent through a variety of media. His interests are literally boundless and his talents have been displayed across a broad spectrum of the arts.

It was Ehlers’ wide range of interests that led to a fortuitous conversation and brought about the most renowned collaboration in fantasy knife history—and one of the greatest industry wide in custom knives. “It arose from creativity on both parts,” attested Linda Hibben, Gil’s wife and a key individual through the years of the joint effort. “It was intended to create things that were never seen before in the knife industry, taking up the challenge to be true artists.”

Linda Hibben said Alien was the biggest Gil Hibben-Paul Ehlers showstopper and it’s easy to see why. (Image of Alien by Mike Carter)
Linda Hibben said Alien was the biggest Gil Hibben-Paul Ehlers showstopper and it’s easy to see why. (Image of Alien by Mike Carter)

Paul remembered, “Gil Hibben’s knives were featured in every martial arts magazine that I read. I was familiar with the Parker knife and wanted badly to buy one of Gil’s knives. So, by the mid-1980s I had saved enough money and placed an order with him.” Hibben produced a custom survival bowie with a 10-inch blade, characteristic sawteeth reminiscent of his Rambo knives, and a handle in the style of the Parker knife. Pleased with the finished product, Paul told Gil that he was a designer and illustrator with a particular love for fantasy characters. He commented that he had always wanted to see his characters with stylized knives and swords to complement their presentation.

Gil responded enthusiastically to Paul’s offer of sending an illustration for his review. “Love to see one!” was the reply. Game on.

Ehlers calls the initial brush with collaboration a “chance meeting of kindred souls.” The illustration led Gil to the shop with the goal of producing a knife named the Shark. A short time later, the designer asked about the maker’s progress. Hibben’s response was electrifying: “I already made it and sold it!”

Paul Ehlers conceived the Dragonfly, drew it on paper and mailed it to Gil Hibben, who took care of the rest. They exhibited the knife at the 1983 Knifemakers’ Guild Show, where it sold for $3,000—an unheard-of price in those days. (Eric Eggly/PointSeven image)
Paul Ehlers conceived the Dragonfly, drew it on paper and mailed it to Gil Hibben, who took care of the rest. They exhibited the knife at the 1983 Knifemakers’ Guild Show, where it sold for $3,000—an unheard-of price in those days. (Eric Eggly/PointSeven image)

In a short time, the creative tandem gained momentum. Interestingly, their success may be linked to the fact that Paul does not make knives. “I admire, collect, use and draw them,” he commented. “But Gil Hibben makes knives.” By the time Gil and Paul brought their Dragonfly creation to the 1983 Knifemakers’ Guild Show, there was excitement but also some trepidation. “We were concerned about how to price it, whether it would sell and how it might be received,” Paul recalled. “Gil suggested that we put a price of $3,000 on it, and such a premium was almost unheard of in those days. But it sold!”

Ehlers had conceived the Dragonfly, drawn it on paper, rolled it up, and placed it in a mailing tube addressed to Hibben. When it reached him, Gil pursued the project with gusto even though the effort in itself was unprecedented. “Nothing like this had ever been made,” Paul advised. “But that didn’t stop him. He huffed and he puffed, he ground and he buffed and emerged from his shop holding the new Dragonfly.”

Unseen Realms

Gil Hibben made the Elf Dirk in 1984. The image for it sprang from Paul Ehlers’ fascination with gnomes, elves, giants and other mythical creatures. A spider dangles from its web, carefully crafted in a crevice of the handle. (Eric Eggly/PointSeven image)
Gil Hibben made the Elf Dirk in 1984. The image for it sprang from Paul Ehlers’ fascination with gnomes, elves, giants and other mythical creatures. A spider dangles from its web, carefully crafted in a crevice of the handle. (Eric Eggly/PointSeven image)

Through the years the Hibben-Ehlers team flourished, one teammate with ideas and the other with the astonishing ability to grind steel and finish creations that brought visions of light, darkness, other worlds, and realms unseen as the tangible, real and dazzling works that are known the world over. Paul’s imagination effectively pushed Gil to new heights of creativity. The designer’s mind had remained fortuitously free to imagine the fantastic and the elements of the outer limits of innovation

“My mind was left open to create,” Paul explained. “If I knew then what I know now it is possible my concepts may have been restricted by the ‘impossible’ factor. I know now what other makers mean when they ask Gil, ‘How the hell did you make that?’”

Naja was completed in 1993. Norman Leigh’s sculpted bronze cast of a cobra rises above the grip, gazing with inset cat’s eye jewels for eyes and baring fangs. Paul Ehlers stated he considers Naja perhaps the finest art knife he and Gil Hibben have ever brought to life. (Eric Eggly/PointSeven image)
Naja was completed in 1993. Norman Leigh’s sculpted bronze cast of a cobra rises above the grip, gazing with inset cat’s eye jewels for eyes and baring fangs. Paul Ehlers stated he considers Naja perhaps the finest art knife he and Gil Hibben have ever brought to life. (Eric Eggly/PointSeven image)

Hibben, on the other hand, has stood up to the challenge and then some, delivering time after time. As the collaboration aged like fine wine to more than 30 years, it had produced more than 40 pieces—knives that came to life, from the mist of imagination to the gleam of steel, sculpture and artistry. According to Linda, Gil once said, “I loved the challenges and making these pieces, each and every one of them. They made my creativity and skills set on fire! Paul’s dreams are my nightmares!”

Looking back, a turning point for the Hibben-Ehlers collaboration occurred in the 1990s when a representative of the Sultan of Brunei contacted Paul with the shocking pronouncement that his employer wished to purchase many knives produced by the pair, with the added kicker that “money is no object.” It was a compliment of the highest order and led to some remarkable achievements.

If it doesn’t have the signatures of both collaborators, it’s not a Hibben-Ehlers knife. Here’s how their signatures appear on Naja.
If it doesn’t have the signatures of both collaborators, it’s not a Hibben-Ehlers knife. Here’s how their signatures appear on Naja.

Throughout the collaborative years, Linda has been a tremendous contributor to the success of the enterprise. Gil is approaching his 90th birthday and suffered a stroke in the spring of 2016. However, he has been resilient and remains in touch with the custom knife community while Linda assists with his communications. Gil has stayed active in the shop and keeps up to date on the happenings in the knife community. “He still goes to his shop and even oversees knifemaking classes to this day,” Linda noted. “The only lingering effect from the stroke is he has trouble with words and numbers once in a while. He has no major lingering side effects other than that.” Ehlers, meanwhile, is quite busy with numerous endeavors, his creative energy as effervescent as ever.

St. George’s Axe is 22 inches long and features lost wax carvings by Richard Englers.
St. George’s Axe is 22 inches long and features lost wax carvings by Richard Englers.

Linda captured the spirit of the great team’s aspirations, commenting, “They wanted knives to be taken to another level of art and imagination—to create and make sharpened shapes in steel that had not been done or seen before, and show that thinking ‘outside the box’ and making those creations into tangible works of edged art took a tremendous amount of skill. Just look at some of the grind lines Gil was able to accomplish.”

Showstoppers

Through the lens of knifemaking history and the gleaming facet of fantasy, those who see and admire the vision of Gil and Paul will continue to gaze with wide-eyed wonder at their works, including some of the most famous. The Alien, for example, was created in 1986 from a single piece of 440C stainless steel. “It burst from my mind in 1986,” Paul recalled. “There are a myriad of extra blades, spikes and projections Gil calls ‘long horns,’ plus hooks and a leather arm gauntlet.”

St. George’s Axe is 22 inches long and features lost wax carvings by Richard Englers. Gil Hibben and Paul Ehlers (inset) exhibit their collaboration at the 1986 New York Custom Knife Show. (St. George’s Axe image by Eric Eggly/PointSeven; image of Hibben and Ehlers courtesy of Linda Hibben)
Gil Hibben and Paul Ehlers Exhibit their collaboration at the 1986 New York Custom Knife Show. (St. George’s Axe image by Eric Eggly/PointSeven; image of Hibben and Ehlers courtesy of Linda Hibben)

Linda noted, “The Alien was our biggest showstopper. This one got more attention at knife shows than any other. We allowed people to reach their arm into it and ‘wear’ the Alien, and in every instance the person’s entire demeanor changed. It was like they became powerful, and the smiles on their faces when posing for photos was and is priceless. Gil made a total of five of these Aliens, each one a bit different. Number five rests in our private collection, and to this day when people come over and actually hold or ‘wear’ it, the magic is still there. They become a ‘Master of the Universe’ for those few minutes.”

An early classic, the Elf Dirk was produced in 1984, and the image sprang from Ehlers’ fascination with gnomes, elves, giants and other mythical creatures. Hibben wrought its sleek lines in 440C with a reconstituted coral handle, 14-karat gold and garnets. A spider dangles from its web, carefully crafted in a crevice of the handle. Naja, completed in 1993, remains a favorite. The undulations of the cobra are almost physically felt as Norman Leigh’s sculpted bronze cast of the serpent rises above the grip, gazing with inset cat’s eye jewels for eyes and baring fangs. Gil’s expertise is on full display in this tour de force, and Paul considers Naja perhaps the finest art knife the two have ever brought to life.

Artists, innovators, visionaries and friends, Gil and Paul have created a body of work that speaks volumes without words, just towering interpretation and storytelling in thought and grind, idea and finish. Those who contemplate their many completed projects are often left speechless as well, awed by the intricacy, the timeless, tantalizing and touching renderings of their complementary experience.

More On Custom Knives:

123...12Page 1 of 12
Advertisement

Must Read Articles

Read this before you make a knife

Knifemaking 101 – Read This Before You Make a Knife

Wayne Goddard -
  by Wayne Goddard My experience has taught me that there's nothing like digging in and getting started. I've often said the hardest part of the...
forged in fire knifemaking tv show

8 Things You May Not Know About “Forged in Fire”

how to forge damascus steel

How to Forge Damascus

James Huse ordered a custom sheath by No Surrender Holsters for his BBQ knife.

How to Create Damascus Patterns

Why Are Switchblades Illegal?

Advertisement
Advertisement
BladeMag.com
Facebook Instagram Pinterest Twitter