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Knife collecting is an extremely rewarding experience for knife enthusiasts. There truly is a knife for everyone. Many increase or hold their value throughout the years, making collecting knives something to pass on to the next generation of knife collectors.

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Custom Flipper-Folders: Art Of The Flip

Mike Haskew
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Custom Flipper-Folders: Art Of The Flip

Aesthetically and mechanically challenging flipper designs that shine.

The flipper folder is one of those knife designs that continues to delight its makers and its owners with incredible vitality. Not only do the most recent flipper folders fill the traditional bill with great materials, mechanics and mesmerizing beauty, but they further garner high praise with an inherent level of energy.

Combining the attributes of excellence that set standards for custom knives with the sheer pleasure of smooth operation, the latest flipper folders hit the mark in quality and bring attention to their makers amid an ever-growing level of interest in the marketplace.

Scott Gallagher: Feather Damascus

Scott Gallagher says he’s seen an upswing in the interest in flippers in recent years. It makes sense with works like his feather damascus flipper. The feather pattern defines both blade and bolster, and is complemented by a fossilized mammoth ivory handle. (Jocelyn Frasier image)
Scott Gallagher says he’s seen an upswing in the interest in flippers in recent years. It makes sense with works like his feather damascus flipper. The feather pattern defines both blade and bolster, and is complemented by a fossilized mammoth ivory handle. (Jocelyn Frasier image)

Scott Gallagher recently completed a beauty with a 3-inch feather damascus flat-ground blade complemented by a damascus bolster and fossil mammoth ivory handle. With an overall length of 7¼ inches, Scott’s flipper folder features an upswept curve for fantastic visuals and intricate filework along the spine.

“I am receiving more requests for flippers right now,” commented Scott. “They have become very popular. I think the reason why is because they’re fun to use, kind of like a widget—they’re functional, they can be embellished and they are easy to carry.”

The single attribute of fun helps set the flipper folder apart from other designs. Anything incorporating fun into the knife equation is sure to gain increased attention. Still, Scott makes his flipper folders with exacting specifications and attention to detail. “A quality flipper should have a blade steel that performs well—good fit, finish and symmetry,” he explained. “The blade should close in the center of the frame. It should be fast opening and close easily without a sticky lock.”

For Scott, achieving the proper mechanics involves a combination of precise construction with materials that work in concert with each other. “Making the flipper tab is a matter of incorporating it into the design of the knife in the design phase,” he related. “In the closed position, the tab has to sit higher than the frame so your index finger can access it. I use bearings on my flippers. They are ceramic and very fast. To avoid pinching the user’s hand, I use a small tab. It’s only exposed enough to open the blade. My flipper tab is hidden in the frame in the open position. I have finger grooves designed into the frame to avoid fingers slipping forward.”

Alan Hollerbach: Spectre

There’s something ominously attractive about what Alan Hollerbach achieves with this knife. Christened the Spectre—an homage to the nemesis organization of James Bond—the wasp-wasted flipper gets right to the point. Baker Forge TigerMai steel for the blade and Fatcarbon Dark Matter scales add to the knife’s dark good looks. (SharpByCoop image)
There’s something ominously attractive about what Alan Hollerbach achieves with this knife. Christened the Spectre—an homage to the nemesis organization of James Bond—the wasp-wasted flipper gets right to the point. Baker Forge TigerMai steel for the blade and Fatcarbon Dark Matter scales add to the knife’s dark good looks. (SharpByCoop image)

When customers consult with Alan Hollerbach on the attributes of a quality flipper folder, his response is straightforward. “Look for high-quality materials—hardened washers and bearings, a smooth action and a solid detent,” he offered. “I don’t take orders. I make knives I like and hope others do as well.”

The degree of knifemaker proficiency is tested somewhat further with the flipper folder in comparison to other designs. Alan welcomes the opportunity to put his skillset to the test. “It takes some more designing up front to get the layout and how it looks and the action correct,” he related. “The tab needs to be in a comfortable position for one-handed opening, tall enough to engage easily, but not too tall it looks out of place. It needs to have a strong detent to allow proper pressure to fire the blade and a smooth action with the bearings to allow the blade to open with minimum friction.”

Alan achieves his technical and aesthetic objectives in a handsome flipper folder model he has christened the Spectre, in reference to the James Bond feature film series. This example includes a 4-inch hollow ground blade of Baker Forge TigerMai Chevron damascus steel with jeweled and anodized titanium liners and Skiff bearings with hardened washers. Handle scales are Fatcarbon Dark Matter with 18 inlays in nine different sizes of Space Coral. The backspacer is also Fatcarbon Dark Matter, and the screws are black anodized titanium.

Rising interest in flipper folders is a matter of likes and style, as Alan sees the buying landscape these days. “I think it is a personal preference,” he commented. “I like the flippers for easy one-handed opening, but you can do the same with most other ways. It takes some more designing up front to get the layout and how it looks with the correct action. I like the lines as clean as I can make them, so tabs are just to open the knife, as I try to hide as much as I can when the knife is open, just for aesthetics.”

The addition of a hole in the Spectre blade gets attention as well. “You can open the knife with the hole, but it was designed for aesthetics mainly,” Alan noted. “I wanted to smooth the lines of the knife in the closed position and show with the curves of the cutout it was done on a pantograph by hand.”

Robert Champion: Dark Wind

Robert Champion spends plenty of time perfecting the placement of the deployment tab. On his Dark Wind, he employs a low-profile tab to avoid pinching when the blade is deployed. Also noteworthy on this knife, the knock-out engraving by Dale Bass that takes the work to another level. (SharpByCoop image)
Robert Champion spends plenty of time perfecting the placement of the deployment tab. On his Dark Wind, he employs a low-profile tab to avoid pinching when the blade is deployed. Also noteworthy on this knife, the knock-out engraving by Dale Bass that takes the work to another level. (SharpByCoop image)

Examining the locking mechanism is a must for those contemplating an investment in a quality flipper folder, a tip Robert Champion emphasizes. “A 3-point constraint is better than a 2-point constraint,” he said. “A 3-point will lock the knife more securely in the open position as well as in the closed position. The blade should lock solid, not be loose and never have a sticky lock.”

Robert’s Dark Wind model exemplifies his perspective on the flipper folder. Its 6-inch blade features hollow ground Dragonskin Damascus steel from Shaya Forge, while the furniture is in 416 stainless steel and the handle scales are fashioned from giraffe bone. Dale Bass’ engraving complements the piece in its entirety.

“I’m receiving more and more requests for flippers,” Robert remarked, “especially the more dressed and upscale models. Their popularity seems to be trending up. They’re easier to deploy and in regions where automatics are not permitted, the flipper is a great option. The flipper tab is an integral part of the tang design that is easily roughed in while profiling the blade. Thumb pegs and discs are separately fabricated components that require drilling, tapping and a turning process on a lathe. Then, they are attached to the blade. Tab location is important when designing a flipper. Placing it too far forward or too far back on the tang will cause inefficient deployment.”

Bringing all these components together in proper tolerance with respect to the look and feel of the finished product provides a worthy test for the makers of flipper folders. Like any folder, smooth deployment and ease of carry rise to the top. However, the flipper aspect brings another dimension to the requirements for optimal performance.

“Depending on the size of the knife, I use good-quality stainless or ceramic ball bearings,” Robert advised. “I tend to use stainless bearings on my smaller models, but that is just a personal preference. I also use dry slide oil lubricant. I design a low-profile tab to prevent pinching and currently make single-tab models. In the future, I plan to make flipper daggers that will have more of a guard-type tab.”

John Curran: Alpha 3

John Curran has focused much of his work on flipper folders and his experience in this design shows in his Alpha 3. Clean and complex, the knife pairs a titanium handle with an Elmax steel blade, featuring caged bearings for absolute, buttery-smooth deployment. (SharpByCoop image)
John Curran has focused much of his work on flipper folders and his experience in this design shows in his Alpha 3. Clean and complex, the knife pairs a titanium handle with an Elmax steel blade, featuring caged bearings for absolute, buttery-smooth deployment. (SharpByCoop image)

John Curran created a flipper folder in a model he calls Alpha 3 with a flat ground 3-inch blade of Elmax steel and an overall length of 7½ inches with a titanium handle and frame. The flipper design has been a mainstay of his work for some time.

“I’ve predominantly built flipper-style folders over the years, though I’ve done my share of thumb-stud and thumb-hole deployments as well,” he related. “In terms of trends, I haven’t noticed interest in one style rising or falling dramatically. What I have noticed is that customers are spending more carefully. People know what they want and they are choosing their purchases very intentionally.”

As John tries to fulfill his customers’ expectations, he watches the intricacies of the flipper folders he constructs carefully. “From my perspective, flippers don’t necessarily hold an advantage over other deployment methods,” he commented. “It really comes down to personal preference. Some customers want a classic flipper, others ask for a flipper paired with a thumb stud and some want a hole cut into the blade as an alternative opening method. There is no single best option, just what feels right in the user’s hand.

“The complexity of the build depends on the design more than the deployment style,” John continued. “I spend a lot of time sketching concepts only to discover during mock-ups certain ideas don’t translate well in hand. I typically prototype in G-10 or even wood to check ergonomics, mechanics and overall fit. That stage tells me a lot about whether the knife is going to meet my standards.”

John’s basic components include caged bearings and hardened stainless washers for smooth action. “If a customer wants to keep the cost down, I can build the knife without bearings and use phosphor bronze washers instead,” he advised. “Ceramic bearings undeniably offer the smoothest action, but bronze washers still perform well. It ultimately depends on what the customer values most. Milling pockets for the bearings adds time and labor and is reflected in the final price.”

Design concentrations on clean, reliable opening mechanisms and functional finger guards when the blade is deployed are hallmarks of John’s finished product. The challenge is always in the “tweaking” to solidify the geometry, but the result is worth the investment of time and effort.

The flipper folders emerging in the custom knife market today offer diverse profiles, materials and interpretations along with a wide range of price points. Each of these factors influences the consumer and makes the genre vibrant.

More On Flippers:

50 Years Ago In BLADE: Taylor, Bowie & Sheffield Knifemakers

BLADE Staff
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50 Years Ago In BLADE: Taylor, Bowie & Sheffield Knifemakers

The 12th president was and is a hot knife commodity.

Some examples from the article of “Old Zach” bowies that included the American general and president’s name, slogans or likeness. The lower bowies have his visage, the second from bottom a stamp motif on the ricasso of Taylor on horseback, the bottom a bust of the celebrated general.
Some examples from the article of “Old Zach” bowies that included the American general and president’s name, slogans or likeness. The lower bowies have his visage, the second from bottom a stamp motif on the ricasso of Taylor on horseback, the bottom a bust of the celebrated general.

Ever in tune with what’s popular at the moment, knifemakers have never been afraid to cash in on a hot trend. William R. Williamson documented one of the more peculiar vogues of the middle 19th century when Zachary Taylor and bowie knives were all the rage.

Fresh off his triumphs in the Mexican-American War, Taylor was the 1850’s version of a rock star—Americans just couldn’t get enough of him. And while not known to carry a bowie nor affiliate with the hero of the Alamo—Jim Bowie—the general and president’s likeness began to pop up on the most American of knives.

Funny thing is, as William’s points out in his article “Old Zach and the Bowie Knife,” from the March-April issue of The American Blade®, it wasn’t the Yanks cashing in. Instead, England Sheffield’s makers had the pulse of the USA and stamped Taylor’s visages on blades and bolsters.

Unfortunately, Old Rough and Ready’s short-lived presidency didn’t inspire the same outpouring of effigies. But modern collectors did and do find these unusual and patriotic blades desirable, as Williamson points out in his article.

More Knife History:

Bowie Knives: Lingering Legacy Of The All-American Design

Mike Haskew
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Bowie Knives: Lingering Legacy Of The All-American Design

Truly an American design, the bowie continues to inspire today’s makers.

While its roots may be from across the sea, ties to the makers of old Sheffield and elsewhere, the bowie is today distinctly American. And it has been for more than two centuries.

Made famous by BLADE Magazine Cutlery Hall-of-Fame® member Jim Bowie and the fabled Sandbar Fight, no doubt present at the Alamo where Americans fought and died for freedom, and seen in countless photos of soldiers going to war—posing with the burly bowie in a proud moment—the iconic knife was also immortalized on the silver screen with the classic The Iron Mistress and other films. There is no other style of knife that more clearly defines the American spirit.

“Bowies are the quintessential American knife, deeply steeped in the mythos of our collective history,” observed ABS journeyman smith Matt Parkinson of Dragon’s Breath Forge. Shawn Shropshire of SDS Knifeworks agrees. “The bowie is the most iconic or at least the most recognized of American knife designs,” he said. “At the time of the Sandbar Fight, there was no single pattern that was called a ‘bowie knife.’ It varied in size, blade shape and even materials. Cinema later created what most people now recognize as the bowie knife, something with a large blade, clip point usually, with a double guard.”

ABS master smith Lin Rhea commented, “I do indeed believe the bowie knife is America’s knife design. It was created to fill a need. The country was expanding and was very wild and without law and order. The average traveler in the lawless wilderness needed a reliable defense weapon that could be carried on their person, that never misfired and was less conspicuous than a sword. The fact that a large knife was used in self-defense by Jim Bowie in the infamous Sandbar Fight just boosted the design into the realm of legend.”

Wrapped up in fact, fiction, myth, legend and lore, the bowie is a constant in the theme of adventure and survival. Although it does exhibit common attributes—among them impressive size—across the design, there are variations on the theme. To this day, the bowie remains a favorite form of expression for custom knifemakers who tip their creative cap to the history of the design and imprint their own skill, expertise and perspective on this truly American blade.

Barbary Coast Bowie

Matt Parkinson’s California-style bowie is deadly dapper. He describes it as “graceful and sleek,” featuring his own wootz steel and sterling silver bolster, pommel and guard. (SharpByCoop image)
Matt Parkinson’s California-style bowie is deadly dapper. He describes it as “graceful and sleek,” featuring his own wootz steel and sterling silver bolster, pommel and guard. (SharpByCoop image)

Parkinson chose the San Francisco theme to highlight his take on the classic bowie. Representative of the days of the Barbary Coast and the rough-and-ready youth of a nation stretching from sea to shining sea, the idea captivated him.

“I have long been intrigued with the California- or San Francisco-style bowie,” he remarked. “They are graceful and sleek in a way that many bowies are not. In designing this particular piece, I looked at as many examples of this style as I could, both originals and contemporary. I didn’t copy anything but tried to match the design cues I saw in the originals that made them so iconic.”

Matt’s San Francisco Bowie features a 6.25-inch blade, an overall length of 11.75 inches, a bone handle and generous applications of stylized silver in shell and pin. “The blade is forged from my own wootz steel,” he noted, “and the bolster in front of the guard was cast, as was the shell pommel, and the guard and frame are all fabricated from sterling silver.

“One of the things I most admire about the California style bowies is the uniquely American lineage. Much of the bowie styles we think of are influenced by the Sheffield and London makers …This isn’t the case with the California makers. The knife they made for the 49ers used local materials and was a show of wealth, as much jewelry as a weapon. I kept these ideas in mind in making this one. The cow bone was a logical choice and a nod to local materials, as was the choice of sterling silver over nickel.”

Antiques Actualized

Aiming for historical accuracy circa-1830 style, father-daughter makers Josh and Karis Fisher pull off this dynamic duo. Josh’s bowie (left) was inspired by an original Schively-Perkins piece, while Karis (right) crafted a rendition of the Daniel Searles bowie. (SharpByCoop image)
Aiming for historical accuracy circa-1830 style, father-daughter makers Josh and Karis Fisher pull off this dynamic duo. Josh’s bowie (left) was inspired by an original Schively-Perkins piece, while Karis (right) crafted a rendition of the Daniel Searles bowie. (SharpByCoop image)

The father-daughter ABS master smith duo of Josh and Karis Fisher share their own interpretations of the bowie with a pair of stunning knives touching the past. Each took inspiration from circa 1830 bowie designs: Josh the Schively-Perkins and Karis a Daniel Searles.

“I kept my reproduction similar to the original and as close in size as I could, so it would look and feel like the real knife,” Karis said. “I was mostly working from photographs, which made studying overall design really important. I also made a few changes to incorporate my own style. I left off the original silver pins and did hand checkering instead. I also changed the ferrule and butt cap. I didn’t use silver wraps. Instead, I used a combination of liners and spacers to match the original while adding my own style.”

“A few techniques that I used on my bowie were hand-checkered African blackwood on the handle and the silver ferrule and butt cap that I had to silver solder together, which was a challenge. It’s definitely a functional knife,” Josh reported. “While it’s on the larger side, it’s very well balanced due to the silver wraps on the ferrule and pommel.”

Capturing the notion of the bowie’s place in Americana, Josh related that his work in 80CrV2 carbon steel and sterling silver is true to such spirit. “It is a reproduction of an actual antique bowie knife,” he stated. “In my opinion, a bowie is a large fixed-blade knife, at least 10 inches in blade length, that is on the thicker side. I think typically they should have a clip point, but there are some exceptions as you can see in mine and Karis’s bowies.”

Small & Spruce

James Fleming’s gentleman’s bowie is diminutive in comparison to others but no less representative of the style. The damascus blade is complemented by an ancient walrus ivory handle with a nickel silver spacer and Parkerized steel bolster. Overall length: 11.5 inches. (Jocelyn Frasier image)
James Fleming’s gentleman’s bowie is diminutive in comparison to others but no less representative of the style. The damascus blade is complemented by an ancient walrus ivory handle with a nickel silver spacer and Parkerized steel bolster. Overall length: 11.5 inches. (Jocelyn Frasier image)

Working at Wasteland Forge, ABS journeyman smith James Fleming has produced a gentleman’s bowie, diminutive in comparison to others but no less representative of the style. The 6.5-inch damascus blade is complemented by an ancient walrus ivory handle with a nickel silver spacer and Parkerized steel bolster for an overall length of 11.5 inches.

“I wanted to make a knife that capitalized on the mosaic damascus pattern,” James explained. “I think the gentleman’s vest bowie complements the pattern. The knife is pretty recognizable as a bowie. It’s not as large as a regular bowie but has the same look and purpose. It fits the term ‘vest bowie’ perfectly. It is small enough to be concealed but large enough for defense in any western saloon. This is the kind of knife you’d see stabbed into a poker table after accusing someone of cheating at cards!”

The damascus pattern came from Fleming’s experimentation with Mareko Maumasi’s pattern-making process. He named it “Nazar,” which translates from the original Turkish as “evil eye.” He added, “I was also inspired by Lin Rhea in the way he makes his fittings. The nickel spacer is domed around the guard and bottom spacer, and it’s hammer textured to give it a nice look and feel in the hand.”

Mammoth Achievement

Attracted to larger bowie designs, Gene Kimmi pulls it off with a giant gem. Featuring ladder-pattern damascus—fashioned from dies he made himself—the 15.25-inch behemoth is further bespoke with a crosscut mammoth tusk handle. (Jocelyn Frasier image)
Attracted to larger bowie designs, Gene Kimmi pulls it off with a giant gem. Featuring ladder-pattern damascus—fashioned from dies he made himself—the 15.25-inch behemoth is further bespoke with a crosscut mammoth tusk handle. (Jocelyn Frasier image)

Gene Kimmi was intentional with his contribution to the bowie’s visual discourse. “I have always had a liking for the larger bowie knives,” he remarked. “When I made some laddering dies for my press, I knew one of the first knives I would make out of ladder-pattern damascus would be a large bowie. This one has some clam-shell type filing on the guard that I haven’t done before. The handle is heirloom/museum fit to the guard also.”

Gene’s bowie features the ladder damascus in a 9 7/8-inch blade and crosscut mammoth tusk handle with G-10 black pinning for an overall length of 15.25 inches. “The design is easily recognizable,” he asserted. “Anyone who sees it instantly thinks bowie. The lightness and the fit to the hand are attributes that everyone who handles it comments on. The uniqueness of the mammoth tusk handle adds to the beauty of the damascus. When I think of a bowie knife, I see a straight-backed blade of at least 6 inches. Limits can be pushed on the style and attributes of a bowie, maybe because of the mystery of the bowie knife’s beginning.”

User-Friendly Fighter

Shawn Shropshire wanted a bowie that not only looked sharp but also worked with the user. What he cooked up was this stag-handled beauty. With a 7.5-inch blade of 1084 carbon steel and a user-friendly bronze guard, the knife is easy to carry and manipulate. (Jocelyn Frasier image)
Shawn Shropshire wanted a bowie that not only looked sharp but also worked with the user. What he cooked up was this stag-handled beauty. With a 7.5-inch blade of 1084 carbon steel and a user-friendly bronze guard, the knife is easy to carry and manipulate. (Jocelyn Frasier image)

The famed Randall Model 1 provided some context for Shropshire to fashion his bowie of a 7.5-inch, 1084 carbon steel blade and stag handle with bronze bolster and an overall length of 12 inches. The proprietor of SDS Knifeworks blended the pattern with a desired functionality.

“I love making the larger versions of the bowie knife that many people think of, but as much as I enjoy them, they just aren’t very practical,” he reasoned. “This size and style is much more useful and easier to carry. It’s still a classic-looking pattern and functional without being so large that it is cumbersome and difficult to carry. I love the classic-looking lines paired with the look and feel of natural stag.”

After perusing photos of historical blades and the work of other makers, along with hours using a sketch pad, Shawn was pleased with the result. “In my opinion, this particular blade would have been right at home during the mid-to-late 1800s and at any time considered a bowie knife,” he advised. “I think most people today might refer to it more as a fighter because our notions of what a bowie knife is have been heavily influenced by cinema. The movies usually represent bowie knives as larger than life. Some were but many were not. I do think this blade hints at the history of what an American bowie is with the overall shape and the stag grip without instantly screaming ‘bowie knife.’”

Throughout the creation of his bowie, Shropshire kept user friendliness front and center. Aside from visual appeal, he designed it for easy carry with shorter “legs” on the guard and a coined spacer to help break up the smooth lines it exhibited.

The Legend Continues

The bowie theme lives—in thought, folklore and tangible craftsmanship. Staying true to its American heritage, the style has gained lasting fame and a following the world over.

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Magical Decades: Custom Knives Of The 1980s And 1990s

Les Robertson
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Magical Decades: Custom Knives Of The 1980s And 1990s

Custom knives came of age as collectables in the ’80s and ’90s.

Custom knives from the 1980s-1990s have become especially collectable, not just because of nostalgia but for specific reasons. To understand why, a trip down memory lane is in order.

The ’80s and ’90s encompass a unique intersection of custom knife history, innovation, craftsmanship and scarcity. In the 1970s, custom knifemaking was mostly hobby-based and regional. The two leading knifemaker organizations were The Knifemakers’ Guild and the American Bladesmith Society (ABS), established in 1970 and 1976, respectively. The latter, in fact, celebrates its 50th anniversary this year. The two organizations helped move knifemaking from a predominantly hobbyist pursuit into the business realm. Custom knifemaking had become a viable full-time option for some custom makers.

Willie Rigney was known for his fighters and daggers, with the latter usually incorporating engraving by Ron Skaggs.
Willie Rigney was known for his fighters and daggers, with the latter usually incorporating engraving by Ron Skaggs.

The Guild and ABS matured in the 1980s, and knife shows had become a separate venue from the previous gun-and-knife-show format. During the ’80s and ’90s, makers started to intentionally design knives with aesthetics, handle ergonomics and originality in mind. The concept of a custom knife being collectable began in earnest. For many, knifemaking became an art form. Knives were being made that looked like they should be behind glass in a museum and were displayed on tables at knife shows for patrons to observe and handle.

Many of the founding members of the knifemaker organizations were in their prime production years, developing signature styles, techniques and ideas that would influence future generations of makers. Almost all the knives were designed and built entirely by makers standing before machines in their shops. Blades, frames and scales were not laser cut or CNC’d as many are today. Blades were ground freehand. Each knife was individually fit, finished and, in the case of folders, “tuned up.” The tolerances, grinds and finishes required extreme skill and precision by the maker. Most custom makers were personally involved with every aspect of making the knife that came out of the shop.

Tech Boom

It is a natural progression in manufacturing to adopt technology to increase precision and create items that previously could not be made affordably. Some custom makers have adopted this technology and can produce exceptional work with precision that a human cannot replicate. This is especially true among custom folder makers.

Bob Loveless trained W.C. “Bill” Davis, and it shows in W.C.’s version of the Loveless Wilderness Fighter. 
Bob Loveless trained W.C. “Bill” Davis, and it shows in W.C.’s version of the Loveless Wilderness Fighter. 

This ever-evolving technology was a double-edged sword. The same technology has helped makers create the custom version of a knife, a semi-production version of the same knife, and, in some cases, to sell the design and program for collaboration with a factory.  This has allowed even more makers to go full-time.

However, in the ’90s it caused confusion for some buyers. Dealers/purveyors would list the names of five or six well-known makers only to discover the knives were the factory collaborations. The utilization of the technology also allows the maker to produce more knives. Today you can attend knife shows and see tables with 20 or 30 custom knives on them. In the ’80s and ’90s, it was a rare sight to see makers with that many knives on their tables. 

Unlike today, information was harder to come by. You had four main sources of information: print publications such as BLADE®, Knife World (today’s Knife Magazine), Knives Illustrated, Fighting Knives, Tactical Knives and, of course, the KNIVES annual.  Other sources were dealers/purveyors, fellow collectors and knife shows. It was the shows that provided the most information. You were able to see and handle the knives, compare knives in person and, equally important, talk with makers. Back then, it was face-to-face communication that really helped me to understand what I was buying and why.

Turning Point

Interframes dominated the custom folder world in the late ’80s, and Jack Busfield was among the pre-eminent makers of the style.
Interframes dominated the custom folder world in the late ’80s, and Jack Busfield was among the pre-eminent makers of the style.

In the ’80s, the fixed-blade market was primarily hunting knives and presentation knives. The go-to stainless blade steels included 440C and the new steel, ATS-34. Their high chromium content allowed for an exceptional mirror finish. Coupled with premium wood, Sambar stag and elephant ivory, the fighters, bowies and daggers became works of art that, as a new buyer, I could not afford. As the ’80s ended, the CITES (Convention on International Trade in Endangered Species) treaty made elephant ivory no longer a desired handle material. Elephant ivory was replaced with the mammoth, mastodon and ancient walrus (the latter my favorite) ivories.

It was in the ’80s and ’90s that custom knives experienced a rapid rise in collectability, and several makers in particular benefited. Rod Chappel was one. His knives often bordered on fantasy. His huge stainless-steel guards and pommels, along with his deep double-hollow grinds, became popular with many makers. Schuyler Lovestrand was another maker whose work never disappointed. He too utilized the deep hollow grinds, while his fit and finish, especially on his sub-hilt fighters, was among the best ever!   

Like Rod Chappel, Schuyler Lovestrand was a fan of deep hollow blade grinds.
Like Rod Chappel, Schuyler Lovestrand was a fan of deep hollow blade grinds.

It was also during this time that many of the knife patterns and styles that were to become iconic were developed or refined. The design influence of BLADE Magazine Cutlery Hall-of-Fame® member Bob Loveless was becoming more common. Loveless trained W.C. “Bill” Davis and it shows in W.C.’s version of the Wilderness Fighter. Corbert Sigman was another maker who worked with Loveless designs. His version of the Loveless chute knife is clean and accurate.

Art knives featuring engraving, gold inlay and, on occasion, gemstones were popular among both fixed blades and folders, as was the case with many of the interframe folders from Jack Busfield. Interframes dominated the custom folder world in the late ’80s. Willie Rigney was known for his fighters and daggers, with the latter usually incorporating engraving by Ron Skaggs.

Meanwhile, the bladesmiths were refining the forging processes and developing new damascus patterns. Perhaps in the ’90s, the knife style that had the most significant influence was the tactical folder, different versions of which were turned out by many makers.

They’re Out There

Like many of you, I was fortunate to be involved in custom knives during the time in question. When many of today’s knifemaking legends were in their prime, they attended shows with knives on their tables for sale. Imagine being at a show and buying a knife from Rod Chappel or Cutlery Hall-of-Famers Bob Loveless, Bill Moran, Jimmy Lile, George Herron, Buster Warenski or Kit Carson. This writer was fortunate enough to do that. Back then, custom knives escaped the social media hype cycle. There were no bubble prices brought on by speculative flipping. Many of the knives were historically foundational, mechanically innovative and truly handmade.

Rod Chappel’s huge stainless-steel guards and pommels, along with his deep double-hollow grinds, became popular with many makers.
Rod Chappel’s huge stainless-steel guards and pommels, along with his deep double-hollow grinds, became popular with many makers.

Unfortunately, too many of the makers from the “magical decades” have passed away or have retired. Fortunately, they left a legacy that is waiting for you to explore and learn about, and knives to obtain. These treasures are out there—enjoy the hunt!  
 

Replica Chute Specs
Maker: Corbet Sigman
Blade Length: 4.5”
Blade Steel: 440C stainless
Blade Finish: Mirror polish
Handle Material: Sambar stag
Guard Material: Stainless steel
Overall Length: 9.25”
Author’s comment: “Corbet made a wide variety of excellent knives.”

Integral Boot Dagger Specs
Maker: Willie Rigney
Blade Length: 4.75”
Blade Steel: 440C stainless
Blade Finish: Mirror polish
Handle Material: Ancient walrus ivory 
Engraving: Ron Skaggs
Overall Length: 8.75”
Author’s comments: “Willie was an incredibly talented knifemaker with limited output.”  

Wilderness Fighter Specs
Maker: W.C. “Bill” Davis
Blade Length: 6”
Blade Steel: 440C stainless
Blade Finish: Mirror polish
Handle Material: Black Micarta®
Guard Material: Stainless steel
Overall Length: 11”
Author’s comments: “Bill was one of the best at reproducing the Loveless style, as well as making one of the more affordable versions of this type of knife. Great guy, great maker.”

Interframe Folder Specs
Maker: Jack Busfield
Blade Length: 2.5”
Blade Steel: 440C stainless
Blade Finish: Mirror polish
Frame Material: Stainless steel
Scales: Jade 
Closed Length: 3.5”
Author’s comments: “This impressive folder features engraving and gold inlay by Dan Wilkerson. The knife was initially offered by the-then-premier dealer of interframe folders, Barrett-Smythe.”

F-2 Sub-Hilt Fighter Specs
Maker: Schuyler Lovestrand
Blade Length: 8.5”
Blade Steel: ATS-34 stainless
Blade Finish: Mirror polish
Handle Material: Sambar stag
Guard Material: Stainless steel
Overall Length: 13.5”
Author’s comments: “Schuyler made some of the finest custom knives ever. Clean, crisp lines, the epitome of fit, finish and flow.”

Hunting Leopard Bowie Specs
Maker: Rod Chappel 
Blade Length: 10”
Blade Steel: 440C stainless
Blade Finish: Mirror polish
Handle Material: Walrus ivory 
Guard Material: Stainless steel
Overall Length: 15”
Author’s comments: “This is Rod’s signature style and one of my favorite knives.”

Knife Reviews:

Tactical Fixed Blades: EDC With An Edge

Les Robertson
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Tactical Fixed Blades: EDC With An Edge

Don’t overlook small tactical fixed blades for everyday carry.

When most blade fans talk everyday carry (EDC) knives, they usually mean folders. The two main EDC advantages of folding knives are they are convenient to carry and, except for that pesky pocket clip, easy to conceal. Of course, while many overlook the clip, others know it indicates you are carrying a knife.  

Folders are designed primarily for smaller everyday chores—opening a box, peeling fruit and so on. This is especially true of slipjoints, which rely on you cutting away from yourself—which you should always do with all knives—and a half-stop as a safety device. Granted, when slipjoints were popularized long ago, lockback, linerlock and framelock folders were unavailable. The problem with both slipjoints and lockbacks is most take two hands to open and close, which, if you are trying to cut something you simultaneously must hold, can be inconvenient at the very least.

The late 20th and early 21st centuries saw a boom in the commercial availability of manual folders that could be opened and closed with one hand. Utilizing the flipper opener and the roller bearing system made the blade deploy quickly and smoothly, often even quicker than an automatic. With the perfection of linerlocks and framelocks, unlocking and closing the manual folder with one hand was no longer a problem.

Kydex sheaths can be molded to fit the blade and, over time, will not deform, providing a safer carry option. Rafal Kolakowski uses Kydex® for the sheaths of his Ridgeline set of small tactical EDC fixed blades.
Kydex sheaths can be molded to fit the blade and, over time, will not deform, providing a safer carry option. Rafal Kolakowski uses Kydex® for the sheaths of his Ridgeline set of small tactical EDC fixed blades.

Even with these technical improvements, the folding knife still has its limitations. A small blade can do only so much before it bends or, in some cases, breaks. Some tactical folder makers tried to address this issue by making folders with 5-inch blades of 1/4-inch stock. This was done primarily for cosmetic reasons without addressing the folder’s primary weakness—the pivot. The very nature of the pivot means it must allow some side-to-side movement of the blade, no matter how slight. If the folder is used for an unintended purpose or put under undue force, the blade can be moved off-center.

On top of that, folding knives require more regular maintenance than fixed blades. Locking folders with back straps and slipjoints with backsprings collect dirt, lint, etc., during daily use and must be cleaned. What’s more, using a folding knife beyond its capabilities and failing to perform regular maintenance can affect its opening and closing ability. Lastly, a folder cannot do anything until you first deploy the blade.

Fixed-Blade Pros

Fixed blades, on the other hand, offer several advantages. As already suggested, larger fixed blades can do tasks that smaller blades either can’t perform or do so with difficulty.

Finger/thumb serrations on the blade spine of Al Polkowski’s Boot Fighter help with controlling the knife in use.
Finger/thumb serrations on the blade spine of Al Polkowski’s Boot Fighter help with controlling the knife in use.

One of the fixed blade’s most significant advantages is full-tang construction, providing added strength and durability. A full-tang fixed blade especially is better suited for heavy cutting and repeated hard use, and safer for use with a heavy load.

A fixed blade also has a superior mechanical advantage. Unlike the folding knife, there is zero chance of mechanical failure under stress. Locks and pivots can fail, especially when using the knife for tasks for which it is not intended.

Another advantage is the style and size of the blade. Fixed blades can feature longer and thicker blades that will perform better under the rigors of hard use.  

Full-tang fixed blades such as the Trailhead set by Tomasz Dziubinski are better suited for heavy cutting and repeated hard use, and safer for use with a heavy load.
Full-tang fixed blades such as the Trailhead set by Tomasz Dziubinski are better suited for heavy cutting and repeated hard use, and safer for use with a heavy load.

A fixed blade typically will have better handle ergonomics. Its handle is usually designed for prolonged use, featuring a more comfortable grip that also aids in balance and is ready for immediate deployment. While many folders can be opened with one hand, not so slipjoints. If your hands are cold, wet, injured or gloved it can present a problem as many, if not all, slipjoints require two hands to deploy the blade or blades. On the other hand, with the correct sheath combination, a fixed blade can be rapidly deployed under almost any circumstance.

Sheath Concerns

Top material options for EDC fixed-blade sheaths are leather and Kydex®. Kydex gained popularity because it provides two main advantages over leather.

First, most makers can build at least a rudimentary kydex sheath. Leather sheaths are more of a challenge. Second, Kydex does not hold moisture and does not require tannic acid, which is used in the processing of leather. This is very important for EDC. Tannic acid in the leather can cause carbon steel to discolor. Leather, once wet, can shrink and/or deform, allowing the blade to accidentally cut or poke through it.

Conversely, Kydex does not hold moisture and does not require tannic acid. Kydex can be molded to fit the blade and, over time, will not deform, providing a safer carry option. Finally, the clip attachment on most Kydex sheaths can be adjusted to wear in either a vertical or horizontal position.

They Have The Edge

With the right sheath combination, a fixed blade can be rapidly deployed under almost any circumstance. The Street Scalpel by Rafal Kolakowski with Kydex® sheath and breakaway chain is a classic example.
With the right sheath combination, a fixed blade can be rapidly deployed under almost any circumstance. The Street Scalpel by Rafal Kolakowski with Kydex® sheath and breakaway chain is a classic example.

I’m not suggesting that folders do not have advantages as EDC knives; they do. They are usually more comfortable and concealable to carry than fixed blades. They are more socially acceptable and usually have limited legal restrictions. They can provide versatility for light tasks such as opening letters, boxes, cutting cord, etc.

It is in fact the EDC folders’ size that is its biggest disadvantage. The smaller blades and less ergonomic handles limit the number of tasks folding knives can perform. Also, their moving parts provide a mechanical disadvantage when compared to EDC fixed blades.

The majority of this story’s featured tactical fixed EDCs have a 4-inch or shorter blade. Many tactical EDC folders also have 3.75-to-4-inch blades. When open, they are about the same length as the featured fixed blades.

With perhaps the exceptions of concealability and some legal restrictions, fixed blades have the edge. Depending on what you are using it for, you may want to consider a knife that has the mechanical advantage, requires less maintenance, can be easier to deploy in difficult situations or environments, and is more comfortable in the hand: fixed blades, the other EDC!

Rebel Specs
Knife type: Small tactical EDC fixed blade
Blade Length: 4.25”
Blade Steel: Elmax stainless
Blade Finish: Two-tone satin and bead blast 
Handle Material: Textured black Micarta® w/OD green Micarta liners 
Overall Length: 9” 
Sheath: Custom-built by the maker; Kydex®
Author’s Comments: “Excellent all-around knife … the tip is ground to give the knife extra penetration … the texture of the black Micarta on the handle gives the user additional traction … primarily designed for belt wear, the clip can be configured for additional carry options … serrations along the top of the blade enhance the knife’s ability to handle small chores … a great knife that provides lots of user options.”
Maker’s price: $430

Ridgeline Specs
Knife type: Small tactical EDC fixed blade
Blade Length: 4” 
Overall Length: 8.75” 
Blade Steel: Becut stainless
Blade Finish: Satin 
Handle Material: Black G-10 
Sheath: Custom-built by the maker; Kydex®
Author’s Comments: “Double-hollow-ground blade with a fuller for added strength … full-tang construction … sculpted handle material for enhanced ergonomics … stainless-steel-tube-lined thong hole.”
Maker’s Price: $350 each

Boot Fighter Specs
Knife type: Small tactical EDC fixed blade
Blade Length: 4” 
Blade Steel: 154CM stainless
Blade Finish: Bead blast 
Handle Material: Black and green G-10 
Overall Length: 8.25”
Sheath: Custom-built by the maker; Kydex®
Author’s Comments: “Great little back-up knife … it features a double-hollow-ground double edge with an extended tang that features a thong hole … quick and light in the hand.” 

Trailhead Specs
Knife type: Small tactical EDC fixed blade
Blade Length: 3.5” 
Blade Steel: Sleipner stainless 
Blade Finish: Black Cerakote® 
Handle Material: OD green G-10 
Overall Length: 8.25”
Sheath: Custom-built by the maker; Kydex®
Author’s Comments: “Flat-ground, upswept utility-style blade … full-tang construction, excellent handle ergonomics … small knife built for hard work … stainless-steel-tube-lined thong hole … perfect knife for camping, a hike and everyday carry.”
Maker’s Price: $280 each

Street Scalpel Specs 
Pattern: Tactical fixed-blade neck knife
Blade Length: 2” 
Blade Material: 80CrV2 carbon steel
Blade Finish: Black Cerakote® 
Handle Material: OD green G-10 
Overall Length: 5.9” 
Sheath: Custom-made, multi-position in Kydex® by the maker w/ball-bearing breakaway chain 
Author’s Comments: “Perfect for utility or self-defense … the attachment holes on the sheath allow the knife to be carried however you like.” 
Maker’s Price: $280 

More Knife Reviews:

Japanese Swords: Can Tradition Outperform Modern Tech?

Mike Haskew
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Japanese Swords: Can Tradition Outperform Modern Tech?

There is plenty of lore surrounding traditional Japanese Swords, but do the master makers’ time-tested methods equal modern steel advancements?

Editor’s note: Long-time BLADE® subscriber and knife collector Rick Royster wrote us, wondering how the swords of the ancient Japanese samurai warriors would compare to today’s modern swords. Did all the steps the ancient Asian swordsmiths used really make a difference? “Employing special quenchants, some clay, some of this and that—is it science or mystical?” Rick asked. While we couldn’t test an ancient sword vs. one of today’s, we did go to the sources themselves for answers—some of today’s top swordsmiths.

The traditional Japanese sword blade is revered for its performance, perhaps even more than its beauty and ties to an uber-rich heritage in the world of cutlery. Combined, these elements make the classic Japanese sword something unforgettable, a work of art and poetry in motion—yet capable of delivering the decisive blow in combat.

Modern custom sword blades may not possess the allure of the centuries. They may not have a hamon—though many do—or the other attributes that make their vintage counterparts so revered. Nonetheless, they can claim respect and admiration when it comes to strength. If the comparison of relative strength is relevant and worthwhile, which is stronger—the ancient Japanese or the modern custom sword blade?

World-renowned Japanese swordsmith Yoshindo Yoshihara does yakire, the fast quenching of a sword, during one of his swordmaking demonstrations. (Aram Compeau image)
World-renowned Japanese swordsmith Yoshindo Yoshihara does yakire, the fast quenching of a sword, during one of his swordmaking demonstrations. (Aram Compeau image)

BLADE Magazine Cutlery Hall-of-Fame® member/ABS master smith Steve Schwarzer answers the question this way: “Modern steels are highly superior in almost every way except for visual structure. Traditional Japanese bladesmiths were all about taking inferior material, which was the best stuff on the planet at the time, and making it better. Modern steel is superior because it is a lot cleaner with alloys for specific jobs. Setting the structure up is what today’s American Bladesmith Society is all about: making steel better. It’s hard to compare the two, but modern steels are superior in edge holding and sharpness. Modern steel won’t bend like the old stuff because it is not designed to bend.

“Once you get the aesthetics out, the fancy hamons and stuff like that, ancient bladesmiths had a way to control the process in the old days from one portion of the blade to another. If you take a Japanese blade and quench and polish it, you have a big spring supporting the cutting edge, and that is why it would excel in battle.”

ABS master smith Zack Jonas sees the purpose as the primary differentiator in either case.

According to Steve Schwarzer, traditional Japanese bladesmiths took inferior material—the best stuff available at the time—and made it better. “Modern steel is superior because it is a lot cleaner with alloys for specific jobs,” he stated. He used modern steel and all the trimmings on his Japanese sword. (Eric Eggly/PointSeven sword image; image of Schwarzer by Chris Wellhausen)
According to Steve Schwarzer, traditional Japanese bladesmiths took inferior material—the best stuff available at the time—and made it better. “Modern steel is superior because it is a lot cleaner with alloys for specific jobs,” he stated. He used modern steel and all the trimmings on his Japanese sword. (Eric Eggly/PointSeven sword image; image of Schwarzer by Chris Wellhausen)

“The strength of the traditional Japanese sword would have been measured in its ability to withstand the test of battle without breaking,” he began. “By this measure, they were marvels of engineering. Today’s technology is capable of producing swords with performance characteristics that vastly exceed the finest traditional blades. We have steel mills producing bespoke blade alloys from ultra-precise ratios of refined base elements.

“We have modern heat-treating methods capable of holding plus-or-minus a fraction of a degree indefinitely within a perfectly controlled atmosphere. We have modern quenching oils and molten salt pots and ovens for tempering, and we have analytical tools that allow us to refine how we approach our materials. Traditional swords were purpose-built for war, and they lived up to those demands for a thousand years and more. But modern science gives us greater capabilities on a purely quantitative level.”

The cutting of the tatami mat—done here by James Williams during one of his Japanese sword demos at a past BLADE Show—is said to be a good analogue for testing cuts against a human target.
The cutting of the tatami mat—done here by James Williams during one of his Japanese sword demos at a past BLADE Show—is said to be a good analogue for testing cuts against a human target.

Schwarzer agrees that modern steel is produced in quantity, while the traditional Japanese sword blade was produced singularly.

“It truly takes a master to get the most out of any steel,” he remarked, “but modern steels are more forgiving because they are designed around production, not one-offs.”

Traditional Sword Construction

Dave Goldberg has made traditional Japanese swords since the 1990s and learned from masters in their construction, as well as in the forging of damascus. He sees the functionality of the traditional Japanese blade and says, “The edge of the sword blade is about 60-70 on the Rockwell scale and you want that to be about one-third of the blade area. The middle is somewhat hard, and the back is not hard but flexible.”

According to Zack Jonas, modern smiths have access to modern materials and technology, but in many or even most cases, modern swords are not made with careful consideration for the practicalities of combat. Zack’s wakizashi features a 22-inch damascus blade with a shinogi zukuri grind. Overall length: 28 inches. (SharpByCoop sword image; image of Zack by B. R. Hughes)
According to Zack Jonas, modern smiths have access to modern materials and technology, but in many or even most cases, modern swords are not made with careful consideration for the practicalities of combat. Zack’s wakizashi features a 22-inch damascus blade with a shinogi zukuri grind. Overall length: 28 inches. (SharpByCoop sword image; image of Zack by B. R. Hughes)

According to Jonas, the hardening process was essential during ancient times. The warrior absolutely depended on it. Traditional swordsmithing techniques have been refined over the course of centuries through the familiar process of trial and error.

“Since ‘error’ would have been a matter of life and death,” Zack observed, “we can say with a degree of confidence that traditional methods worked extremely well. For example, it was essential to employ differential hardening—which traditional smiths did by applying an insulative clay to the spine—because given the properties of the steel they were working with, a fully hardened blade would have created a number of problems both for the smith and for the warrior. It can be tricky to retrospectively disentangle the mystical from the scientific. Mystical practices that offered no benefit would have been winnowed out in favor of those that did, and those that did offer benefit can be scientifically explained today.”

Years ago, Goldberg traveled to Japan to study traditional sword blades under the legendary Yoshindo Yoshihara, whose family has practiced the art for no fewer than 10 generations.

Zack Jonas said modern steels can get harder, tougher and sharper than traditional Japanese tamagahane steel, but it remains important to remember that tamagahane was strong enough for a thousand years of battles. This traditional tamahagane was made in a smelter, or tatara. (Yoshihara Yoshikazu image)
Zack Jonas said modern steels can get harder, tougher and sharper than traditional Japanese tamagahane steel, but it remains important to remember that tamagahane was strong enough for a thousand years of battles. This traditional tamahagane was made in a smelter, or tatara. (Yoshihara Yoshikazu image)

“He taught me a lot of things about sword making,” Dave remembered, “and in his smithy, he had on the wall behind where he forges a Japanese shrine with lightning bolts hanging and incense burners, and there was a little teapot in the smithy, too. He said it was just decoration, but with the Japanese guys even if you are friends, there are still secrets. So, I put paper lightning bolts in my shop too—to protect my spirit and so the blades will come out well and get through the quench.”

Bound up in tradition, the mysticism makes the Japanese way an art form that can never be completely separated from its origins. Even in a straight-up test of strength, whether one steel prevailed over the other, there would be no loser. Each would continue to hold its relative place in time and space and fact and imagination.

“In absolute quantitative terms, traditional materials mostly do not offer performance advantages over their modern counterparts,” Jonas said, echoing Schwarzer’s observation. “For example, modern steels can get harder, tougher and sharper than traditional Japanese tamagahane steel, but it is still important to remember that tamagahane was strong enough for a thousand years of battles. Likewise, performance isn’t everything. One of the signature features of tamahagane is its appearance. It has aesthetic characteristics that modern steels lack entirely.”

Japanese Sword Features

Eighty-two-year-old Yoshindo Yoshihara, author of this classic Japanese sword and saya (scabbard), is generally recognized as the greatest maker of Japanese-style swords of his generation. (Francesco Pachi images)
Eighty-two-year-old Yoshindo Yoshihara, author of this classic Japanese sword and saya (scabbard), is generally recognized as the greatest maker of Japanese-style swords of his generation. (Francesco Pachi images)

Among the most noteworthy features found in traditional Japanese sword blades is the hamon, which Zack describes as the literal demarcation point between the hardened edge of the blade and its softer spine. The hamon, he says, is a visible representation of the technique that must be used due to the material constraints and demands of tamahagane steel.

It is visible due to light diffusing off the mixture of hard and non-hardened crystalline structures, where the hardened edge transitions to the softer spine. He adds that over time, the production of the hamon stretched beyond the practical necessities of the steel and into the realm of aesthetics. Whether the shape of the hamon has any bearing on the blade’s performance is an open question.

“Any steel hardened and tempered to its best molecular composition is good steel,” Goldberg commented. “Modern 80CrV2 steel is harder than any Japanese steel. Japanese steel can take it in battle, and from sword to sword, it can be amazingly hard. It becomes its own shield when the warrior holds it above his head and can then come around and cut the other guy. Japanese steel is really hard, but modern technology is something else. I have never seen anything harder than the CrV stuff. Everything is purpose-driven.”

Matt Venier made what he calls Mattyhagane to recreate tamahagane for the blade of his katana. The tsuka (handle) consists of a wood core with full rayskin and braided wrap. The tsuba (guard) and habaki (collar) are copper. (SharpByCoop images)
Matt Venier made what he calls Mattyhagane to recreate tamahagane for the blade of his katana. The tsuka (handle) consists of a wood core with full rayskin and braided wrap. The tsuba (guard) and habaki (collar) are copper. (SharpByCoop images)

Other attributes of the traditional Japanese sword, including the handle ornaments known as menuki, may contribute to performance as well. While some observers may see menuki as a sort of grip enhancement in functioning as a palm swell, allowing the user to index the sword better, others stress that they are primarily evidence of the maker’s desire to express his or her own identity and creativity. Menuki quite possibly can function on both levels.

Japanese Sword Folklore

Through the centuries, there have been claims that Japanese steel can perform certain tasks that modern sword steel cannot. Jonas says that many such contentions are simply folklore or myth and have been easily debunked.

“One popular example is the cutting of the tatami mat,” he related. “These straw mats, soaked in water and then rolled tightly together, are said to be a good analogue for testing cuts against a human target. It has been said that only the katana can do this well, but these days, videos can be found online showing a skilled swordsman cutting through a tatami with a blunted medieval-style longsword.

“The Japanese sword has been mythologized along with the warriors who made it famous. The samurai were incredible fighters who earned their reputation for fierce courage through feats in battle and cultural refinement. Their signature sword is a highly developed object with exceptional performance abilities, but traditional examples will not outperform their modern counterparts.”

Old & New Symbiosis

In the final analysis, the old and new steels co-exist, achieving a symbiosis, a sort of mutual respect. As Zack so aptly pointed out, the context of their comparison weighs in on the discourse.

“It is important to consider how this matter is discussed,” he noted. “Most of these topics bear on the question of superiority—what makes this sword better than that sword or vice versa—and while it is possible to give some answers in the absolute sense, there is a risk that these answers ignore important contextual factors.

“The traditional Japanese sword was designed for a particular form of combat and was designed with the constraints of the tools and materials available at the time,” he concluded. “Modern smiths have access to modern materials and technology, but in many or even most cases, modern swords are not made with careful consideration for the practicalities of combat. Modern smiths are unlikely to even be familiar with how a sword would need to behave in a fight.”

Times change, materials change, techniques and methods change. But through the ages, traditional icons endure, while new and emerging genres come to life and begin to build legacies of their own.

More On Swords:

50 Years Ago In BLADE: Buster Warenski

BLADE Staff
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50 Years Ago In BLADE: Buster Warenski

BLADE Magazine Cutlery Hall-of-Fame® member Buster Warenski was the subject of an extensive six-page profile a half century ago in the January/February 1976 issue of The American Blade. He was larger than life then and would get even larger in the years to come.

Unmistakable in the low-crowned Stetson and mutton-chop sideburns he wore back then, Buster was interviewed in his new Richfield, Utah, knife shop by then editor L.V. Baker. Richard Barney, co-author with Cutlery Hall-of-Famer Bob Loveless of the landmark How To Make Knives book, was along to take photos. The lead image of Buster holding one of his latest knives at the time is about as iconic as it gets.

Done about half a decade before Buster would go on to make his reproduction of the King Tut Dagger, the story and spread reflect how consequential Buster was to the handmade knife movement of the 1970s. It covers from his early influences, including Harvey Draper and Cutlery Hall-of-Famers Gil Hibben and Bo Randall, the first two knives Warenski ever sold, some invaluable magazine publicity from Cutlery Hall-of-Famer B. R. Hughes, Buster’s first Guild Show in 1973 and his position on the Guild Board of Directors at the time of the interview.

One of Buster’s best quotes: “I think the industry is going to get bigger and better, just as our customers and collectors are going to become better educated about the knives they buy and are going to demand a better product.”

Buster was right, of course—and would be among the vanguard of makers to supply the knives for which he predicted there would one day be such great demand.

More Knife History:

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