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.
The Jose Santiago-Cummings BBQ Knife will rock your brisket.
Among Jose Santiago-Cummings’ growing ranks of customers are those he describes as “foodies,” and he built his second BBQ Knife expressly for them.
Not unlike a pirate boarding cutlass in appearance, the long, curved blade is designed for the rocking slices needed to cut meat and brisket. It’s similar to how a slicer is used as opposed to, for example, a nakiri for chop cuts.
Jose Santiago-Cummings
Jose, 62, used a cylindrical drum-sander-like attachment on a Ram tool to carve the grooves in the long, upswept handle. Jimmy Floyd forged the clip-point blade of damascus clad in wrought iron.
BBQ Knife Specs Maker: Jose Santiago-Cummings Blade length: 8.5” Blade steel: Damascus of 1084 carbon and 15N20 nickel-alloy steels clad in wrought iron Blade grind: Flat Handle: Black and orange G-10 resin Overall length: 13.25” Maker’s price for a similar knife: $450-$475
A knifemaking trio with little to no ego keeps Suprlativ super.
If you’re going to carry a knife every day, then it should be functional and stylish, a joy to use and look at. Otherwise, what’s the point? That’s Enrique Peña’s design philosophy. In addition to owning Peña Knives, along with Jared Oeser and Javi Garcia he is one of three founding members of Suprlativ Knives. Suprlativ (pronounced like superlative) offers limited-edition folders in eye-catching designs, constructed with modern materials, artistic colorways and a machinist’s attention to mechanics—all at an affordable price.
How do three creatives run a knife company without conflict? Easy—no one’s ego is so tied to an idea that he can’t incorporate suggestions from the others. All three maintain their own companies, their homes for signature work, so when they come together to design for Suprlativ they can push boundaries. The diversification means there’s no stress when they work on collaborative projects.
Suprlativ’s 3 Musketeers, from left: Jared Oeser, Javi Garcia and Enrique Peña.
As Garcia explained it, the mindset shifts to, “What can we make that would nurture the community?”
Enrique Peña
Peña is an associate of the South Texas Slipjoint Cartel. For the uninitiated, the cartel is a group of knifemakers that got together to honor BLADE Magazine Cutlery Hall-of-Fame® member Bill Ruple, each making a knife in the Ruple style. Bill, in turn, began sharing his knowledge with them, inviting them to his shop and answering questions by phone and email. He has been making knives since 1988 and is a master at multiblade slipjoints.
He sat on the board of the Texas Knifemakers and Collectors Association, the predecessor of the Texas Knifemakers Guild. Other Cartel members—all serious about preserving traditional knifemaking—include Bruce Barnett; Tanner Couch; Tommy “Bubba” Crouch; Burt Flanagan; Jeff Hawkins; Tobin “Toby” Hill; Bobby House; Matt Humphries; Phil Jacob; Tom Ploppert; Tim Robertson; Kendall Schorsch; Tyler Turner; Trae Gaenzel; Roan West; Rusty Preston; and Luke Swenson.
A swayback look complemented by a modified sheepsfoot blade highlights the Tirant. Blade length and material: 3 inches and CPM M4 carbon steel. Blade opener: Front flipper. Blade grind: Flat. Pivot: Ceramic caged bearings and detent. Frame: 6Al-4V Grade 5 titanium. Handle: Linen Micarta®. Weight: 3.4 ounces. Closed length: 4 3/8 inches. Country of origin: China. MSRP: $298.
In 2008, Peña was laid off from his job as a diesel mechanic and turned his knifemaking hobby into a full-time endeavor. He simply drove to Ruple’s house, knocked on the door and asked to learn knifemaking. Bill began mentoring Peña and credits him with being a quick learner. Ruple shared more than his craft; he guided Peña with business wisdom as well, which ensured the success of Peña Knives.
Peña’s X-Series offers the design and mechanical excellence of his custom knives in a more affordable production knife. Whether traditional or tactical, Peña’s fit and finish displays a respected exactitude. He maintains that clean, crisp, simple designs are harder to master because you can’t hide mistakes with bells and whistles. For example, to the experienced eye, grinder marks, or the lack of them, reveals something about the maker. Hand rubs take time. Peña, if you couldn’t tell, is a traditionalist.
Jared Oeser
Around three years after Peña took to knifemaking full time, Jared Oeser, owner of Oeser Knives, did the same. A building developer by trade and with little to do during the 2008 recession, he looked to his knifemaking hobby as a potential moneymaker. He said his wife can attest to the fact that his stress level plummeted during this time. Making knives provided an outlet for a creativity he had possessed since boyhood but couldn’t concentrate on as a profession except through designing houses.
Suprlativ’s 3 Musketeers, from left: Jared Oeser, Javi Garcia and Enrique Peña.
He asked his friend, fellow Salt Lake City resident and longtime knifemaker Dave Lang, to help him make knives. Lang swapped knifemaking ideas with the likes of Bob Loveless, Buster and Julie Warenski (now Warenski-Erickson) and Earl Black (Loveless and Buster are Cutlery Hall of Famers). Oeser’s father always carried a knife and brought his son up hunting, fishing and camping, traditions that Oeser passes on to his children.
Oeser’s first knives were bushcrafters. He couldn’t find exactly what he wanted—a bushcrafting knife that was both functional and good looking—so he made one. He and Peña communicated now and again, exchanging ideas and figuring out problems together. Now, though Oeser’s custom knives normally sell for around $1,000, some can go for over $10,000. In other words, he found his creative outlet and realized that the knife-art market still exists.
Prior to Suprlativ, he held a three-year contract with Benchmade, designing its Tengu and Tengu tool, so his design abilities have received praise from both collectors and industry giants.
The fully serrated blade of the Piranha deploys via a Rare Earth Magnet Lock. Blade material: CPM M4 carbon steel. Pivot: Bronze washers. Frame: 6Al-4V Grade 5 titanium. Handle: Brown canvas Micarta®. Weight: 2.1 ounces. Closed length: 3.76 inches. MSRP: $284.
Though Peña lives in Laredo, Texas, and Oeser in Lehi just outside Salt Lake City, and Peña is a staunch traditionalist and Oeser blurs the lines between traditional mechanisms and modern frames and furniture, the two had a working relationship that grew into a friendship.
Javi Garcia
Enter Javi Garcia. Formerly of South Texas and now living in central Texas, Javi first was a Peña customer, then a potential hire, then a friend and mentee. The two socialized together with their families, compatible in their shared Mexican heritage. Even though Garcia’s design approach is decidedly modern, Peña could appreciate his style.
Javi knew that Enrique was a master of knife mechanics, taking Garcia’s ideas and showing how they could be brought to fruition. Garcia began to share ideas with Oeser, too. He found himself going between the two veteran makers and telling each how the other approached a design idea or challenge. During these exchanges, the idea developed that the three of them start a separate company. Peña credits Garcia with bringing the three together to form Suprlativ.
How Suprlative Operates
Javi Garcia’s last-minute decision to enter the Canibl Phantom Lock resulted in Suprlative taking home Best Custom Knife Collaboration at BLADE Show 2024. The 3 1/8-inch blade is hollow-ground CPM MagnaCut stainless steel. Closed length: 4 inches. (Jocelyn Frasier image)
The men knew they could bring knives to the market that got the job done expertly and looked really good doing it, knives of high quality, high tech and high precision. Garcia and Oeser are extremely creative, and Peña’s hands-on skillset is, well, superlative. Garcia says Peña is more creative than he thinks he is. And that’s the way it is with these three.
They are endlessly encouraging and positive with each other. In a situation where three chiefs and no Indians could seem problematic, Garcia explained that the collaboration works because they relate to each other with positivity, respect and warmth. They reserve their individual knifemaking styles for their independent work and let loose with ideas for Suprlativ.
Part of the contentedness and success is that Suprlativ designs come from all three knifemakers, including Peña. It’s an equal contribution of creativity. “The designs never start in the same place,” Garcia said. It’s fluid. Once the design is finalized, Peña initiates contact with what’s considered the fourth member of the group: Reate.
The home-page image for Suprlativ’s website, an exploded view of the Hella showcases one of its various inlay options—carbon fiber—and a 2.07-inch blade of flat-ground Böhler M390 Microclean stainless steel. Weight: 1.2 ounces. Frame: 6Al-4V Grade 5 titanium. Closed length: 2.88 inches. Sheath: Premium vegetable leather. Country of origin: China. MSRP: $194.
Peña already had a relationship with Reate Knives, the high-end Chinese original equipment manufacturing (OEM) operation that makes knives for other companies. Peña said that Reate offers the highest quality production and is also more costly, but not exorbitantly so. Plus, Reate officials never seem to say no, he noted. For its part, Reate considers any deviation from the norm as a way to learn how to incorporate new production procedures. The company reportedly considers Suprlativ’s vision to be unique.
Steel choices depend on what Reate can get in stock, but M390 and CPM 154 stainless and CPM M4 carbon steels all have been used in prior releases. The most recent order will be in CPM MagnaCut. Handle materials include a mixture of titanium, carbon fibers and Micarta® with shield inlays—a nod to tradition—and come in an artistic array of color patterns. Each run is different, never just a colorway change. Peña, Oeser and Garcia determined early not to chase steel or frame material fads since it can take upward of a year to receive an order.
At the last minute during BLADE Show 2024, Garcia decided to enter the Suprlativ Canibl Phantom Lock in the custom knife competition. Once the three determined the design, Oeser cut the parts, did the precision grinding, fit the locks—every type of lock is on the table at Suprlativ—did the surface grinding and ensured the knife was functional.
The Cruzador slipjoint has a 3.224-inch semi-serrated/nail-nick-fullered blade of flat-ground CPM M4 carbon steel and a 6Al-4V Grade 5 titanium frame. It also comes in a plain edge. Blade pattern: Clip point. Handle material: Jungle Wear Fatcarbon® ($274 (top) and brown canvas Micarta® (bottom). Weight: 3.3 ounces. Closed length: 4.25 inches. Country of origin: China. MSRPs: $274 each.
Garcia did the blade grinding; he’s the youngest and is humble enough to take on the difficult and time-consuming part of the job, which is just one more example of the goodwill dynamic between the three. Then the knife went to Peña for hand-rub finishing, shield inlay and blade edging. It was an equally shared labor of love.
The effort paid off. The Canibl Phantom Lock won Best Knife Collaboration. The men each expressed surprise, excitement and a sense of validation that what they set out to accomplish resonated within the community. Their collaboration, peaceable interactions and professionalism obviously generated increased creativity for them, loyalty from customers and now well-deserved notice and approval from knifemaking standard-bearers.
How the iconic custom maker transformed pocketknives and the knife industry.
The story of the knife is one of evolution, with thousands upon thousands of steps along the way. When you boil it down, however, it’s really just the passing of knowledge gained from one individual to the next. One who earned an immortal slot in that incredibly long span of time is BLADE Magazine Cutlery Hall-of-Fame® member Tony “Old Dog” Bose.
Born of humble beginnings, Tony suffered the loss of an eye at an early age—a setback for anyone, though especially a craftsman—and grew up in Indiana far from any cutlery center. Nonetheless, what he did have was a job repairing knives, and that was all the springboard he needed to launch him into becoming a highly revered custom knifemaker.
Tony produced his first custom knife in 1975 and by 1990 was going full steam—this while the Gulf War was inspiring the modern tactical knife movement. But he had his own plans and continued to gain popularity with the traditional slipjoint crowd, a popularity that surged throughout his knifemaking career. He had a huge impact in his day, not only for the sheer quality of his work and innovative styling, but for his lasting contributions to both the custom and factory knife industries.
Tony Bose As Mentor
Another of Tony’s slipjoint standards is the Lanny’s Clip. “In 1989 I met a good ol’ boy named Lanny Shell,” Tony wrote. “He asked me to make him a knife between 3¾ and 4 inches closed for heavy work with a clip blade in it. I didn’t know what to call it, so I called it Lanny’s Clip.” (Caleb Royer image)
One way to judge a master craftsman is by the people he taught.
“I first met Tony at the Guild Show in Florida,” notes Cutlery Hall-of-Famer Bill Ruple, a knife legend in his own right. “I had just begun making knives and when I saw what he had on his table I was blown away! Before that I was making folders and a few fixed-blade knives. After seeing his work I focused on multi-blades. As time went on, we became great friends. One of my biggest regrets was not taking time to go and visit him. He invited me many times.
“Any time I had a problem, Tony was there to talk me through it. I’d always pick what I considered to be my best knife and have him critique it at the BLADE Show. He set the standard for all of us multi-blade makers. Reese [Tony’s eldest son] is continuing to set that standard today. I was just one of many who benefited from Tony’s generosity to share his knowledge.”
ABS master smith Harvey Dean, who makes top-notch slipjoints in addition to his award-winning fixed blades, has fond memories of Tony’s mentoring and friendship.
“I met him around 1993 at the New York Custom Knife Show,” Harvey recounts. “He had quite a few slipjoints for sale, and if I recall they did not last long [before they sold out]. I remember most of the people that bought them had memories of carrying his type of knives many years ago. Tony brought them back into popularity.
“Tony’s influence, I think, was his approach to making slipjoints. His grinds, swedges and the function of the knife were all spot on. His handle material was always exceptional. For me, Tony’s generosity in sharing his knowledge was the most important thing. I could call Tony anytime for help and he always helped me out. I still have, I think, three patterns Tony made for me, mailed them to me, and would not take any payment for them.”
Tony did the same for Ruple and ABS master smith Steve Dunn. “Tony sent me many patterns over the years and never charged me a penny,” related Dunn, who passed away last year. “He will go down in the books as the best slipjoint maker ever.”
At a BLADE Show circa 2010, Ruple told Tony his favorite knife ever was the Bose saddlehorn trapper.
“After the show I received a package from Tony,” Bill writes. “Inside were two different-sized saddlehorn trapper patterns. He had hand ground them! That’s the kind of guy Tony was. He was a kind, generous gentleman, always willing to share his vast knowledge of knives.”
One look at Tony’s knives at a Knifemakers’ Guild Show and Cutlery Hall-of-Famer Bill Ruple started focusing on making multi-blades. The rest is history, including Bill’s five-blade sowbelly. (SharpByCoop knife image; image of Ruple by Chris Wellhausen)
One of Tony’s greatest achievements, in his own words, was teaching his son Reese to make folding knives. Tony commented on mentoring him in about as strong a statement as it gets.
“I have helped a lot of guys figure out how to make pocketknives,” he noted, “but Reese is the only one I have taught.” Today, Tony’s son is considered one of the world’s best slipjoint makers.
Reese has fond memories of his father.
“When I’m asked about Tony, a few things come to mind: generosity, influence and impact,” Reese says. “Tony’s generosity with his time and knowledge were truly something special. I can’t even begin to count the number of phone calls we had over the years. I do remember one of our first conversations when Tony told me, ‘Boy, you are gonna have to learn swedge work.’ He was always ready to give advice about knifemaking and even the day-to-day of running a knife business.
“Many makers went in and out of his doors with no money ever exchanging hands. It was this time spent sharing advice, knife patterns, and even loaning out vintage knives that illustrated the influence Tony will continue to have in the knifemaking world.”
Tony Bose & Case Knives
The knife collaborations Tony did with W.R. Case & Sons increased the awareness of and interest in the company to much higher levels, even during times when the cutlery world was consumed with tactical fare. His was also a constant presence at assorted Case collector events for knife enthusiasts of all ages, giving seminars, meeting and greeting all in attendance, etc.
His contributions were such that on July 14, 2023, he became the first person in over 20 years to be honored with a Wall-Of-Fame induction ceremony at the W.R. Case & Sons facility in Bradford, Pennsylvania. The induction included a plaque of Tony installed on the Wall Of Fame in the Zippo/Case Museum. Tony’s son Reese, Bill Ruple and others were on hand for the event.
Fred Feightner, Case director of marketing communications, remembers the early years in 1999 when Case hired Tony as a designer to elevate the company’s folding knives to a greater level of quality and relevance.
One of Tony’s greatest achievements, in his own words, was teaching his son Reese to make slipjoints. “I have helped a lot of guys figure out how to make pocketknives,” Tony noted, “but Reese is the only one I have taught.” From the looks of his son’s five-blade congress pattern, Tony taught Reese well. (Eric Eggly/PointSeven image)
“My first one-on-one interactions with Tony came nearly 20 years ago as a result of an assignment I was given by Tom Arrowsmith, our company president at the time,” Fred recalls. “I had only been with the company a couple of years, so I was pretty new to the knife industry with very little exposure to the world of custom knives. The assignment was to produce an eight-to-10-minute video about Tony to support the introduction of the swayback pattern, our latest online edition of our Case-Bose series.
“Naturally, I was excited to be traveling to meet this famous knifemaker. So, with stars in my eyes, off I went to Tony’s shop in Indiana. The address I was given took me to Tony’s house. Once there, I was surprised to learn this superstar was making his impeccable knives from inside his attached garage. Tony came out to meet me and took me inside, showed me around the shop a bit, and introduced me to his son Reese, who was situated in a far corner. Then Tony offered me a cup of ‘cowboy coffee,’ which turned out to be coffee boiled in a camp pot and kept warm over a hot plate that was within easy reach from his desk all day.
“Over the next two days I would be treated to the most in-depth knifemaking tutorial series one could only imagine,” Feightner exclaims. “Being an eyewitness to the painstaking care that Tony took in preparing even a single knife for one of his customers was truly awe inspiring. I still recall watching him hunched in his shop chair, sanding down knife parts by hand for hours until they fit to perform perfectly when assembled. He was such a patient teacher! It was never a problem for him to answer questions while he was working away. That visit really provided me with the foundation I needed to do my job better as a Case marketing communicator.”
Tony collaborated on knives with Case for two decades, including this Eureka jack in abalone and 154CM stainless steel in 2017. (Case image)
Tony’s collaborations with Case worked like magic. His upscale Case XX limited editions, delivered in signed brown leather zipper pouches, are some of the finest pocketknives ever produced by the company—or any company for that matter—and his Bose-branded boxed knives are highly collectible.
His signature Lanny’s Clip, designed for a friend, has become legend among both custom folder makers and Case collectors alike. Tony passed away in 2020, only one year after being inducted into the Cutlery Hall of Fame, but his imprint on the cutlery industry will last as long as his knives walk and talk—which will be a long, long time.
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)
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.
“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)
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)
“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.
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.
“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.
Robert Young reinvents a classic Loveless fixed blade in flipper form.
Robert Young reproduces BLADE Magazine Cutlery Hall-of-Fame® member Bob Loveless’s New York Special fixed blade in a flipper folder format, and it’s something that would probably please even Bob himself.
Young also makes a standard fixed-blade repro of the knife. He holds it and the folder—when the folder’s open, both knives are the same size—side by side at shows to see if customers can tell which one’s which, and nine times out of 10 they can’t. Around 1976-77 when he was 16 and a California resident, he learned a man making knives lived three doors down from a friend’s grandfather’s house. Robert visited the man and it turned out to be Loveless. He had no idea who Bob was until later and then visited him about a dozen times.
Robert Young, 64, has been making knives off and on since 1976 and has been full time for two years now. He moved from California to Arkansas in 1993. He’s made about a dozen of the New York Special flippers and also reproduces Loveless City Knife, Junior Bear and Big Bear fixed blades, the latter with a 1-inch-wide sub-hilt. At press time he was working on a folding version of the City Knife and a less expensive version of the New York Special folder. Loveless, of course, never made a custom folder. (Jocelyn Frasier knife image)
“He taught me and I improved a lot real quick,” Robert said. “I wished I’d stuck around there more than I did but I was kind of embarrassed once I found out who he was. I didn’t want to bug him a whole bunch, but he did teach me quite a bit.”
New York Special Flipper Specs Blade length: 3” Blade steel: RWL-34 stainless Rockwell hardness: 62 HRC Blade grind: Double hollow on a 3-inch wheel Blade pivot: Ceramic bearings Scales: Stag Liners: 416 stainless, integral Closed length: 4.25” Maker’s price for a similar knife: $1,500
If your knife is a damascus folder, all eyes are on it when you pull it from your pocket and deploy the blade. Is that damascus? Is it sharp? Who forged it? What’s the pattern? The questions flood in and the conversation starts. Enjoy the discussion!
Bob Hook: Dress Locking Folder
ABS journeyman smith Bob Hook employs a damascus of 1080 carbon and 15N20 nickel-alloy steels forged by Salem Straub for the clip-point blade of his dress locking folder. The scales are Alaskan mammoth ivory and the bolsters are mokume gane. Blade and closed lengths: 2.75 and 3.25 inches.
David Kramp: Navy Rope Knife
Rose pattern damascus from Damasteel comprises the sheepsfoot blade of David Kramp’s Navy Rope Knife. The slipjoint is modeled after a Sheffield, England-built U.S. Navy rope knife likely issued around the time of the Spanish American War of 1898. A frame of 410 stainless steel supports the stag scales. Bolster: 416 stainless. Closed length: 4.5 inches.
Dirk Loots: Engraved
Dirk Loots opts for Fracture pattern damascus by Bertie Rietveld for the 3.5-inch hollow-ground blade of his exotic folder. Scales and liners/bolster: Mammoth ivory and bronze. Inlays: 24k gold and fine silver. Closed length: 5.5 inches. Dirk also did the engraving.
Tom Overeynder: Dagger
A 3.62-inch blade and 4.66-inch frame of Gysinge pattern damascus forged by Damasteel highlight Tom Overeynder’s folding dagger. The spanner bolts used in the construction of the knife are Blue Tongue pattern damascus, also by Damasteel.
Ted Moore: Hollow Grind
Larry Donnely forged the damascus for the blued, hollow-ground blade of Ted Moore’s folder engraved by Madeline Crumling. The frame and liners are 416 stainless steel and the inlay is black pen shell. Blade and closed lengths: 2.5 and 3.5 inches.
Manuele Messori: Halo
Damasteel forged the Thor pattern damascus for the 4.13-inch blade of Manuele Messori’s Halo. The blade inlay is white and black-lip mother-of-pearl, and the handle is zirconium, Timascus®, mother-of-pearl and Gibeon meteorite. Liners: Timascus. Closed length: 4.9 inches.
Andrew Takach: Harpoon
A damascus blade in a harpoon pattern, crosscut mammoth ivory handle in a bird’s-beak-butt pattern, and a flared damascus bolster with 24k-gold inlay complete a dress locking folder by Andrew Takach.
The author’s system is designed to help you accurately price custom knives.
After I wrote a recent BLADE® article on custom knife pricing, editor Steve Shackleford suggested I write a follow-up on the system I use to price custom knives—Robertson’s Maker Market Matrix or RM3. I wrote it to provide a basic guide for each collector or maker on how to do their own pricing. You can find many examples of weighted score tables with a quick Internet search.
A collection or business is a very individual thing. The research required to create a successful Matrix for either one depends on the individual doing it. Let’s dive in.
Market Position
A maker’s position in a market is not always apparent. While in graduate school, I wrote a paper on the impact of pricing and how it can apply to products. As a custom knife dealer, I was looking for a business advantage. I applied the findings in my paper to my business.
I opened my copy of KNIVES ’92 and, using a weighted score table, started to compare makers I found in the book’s index. Initially, I placed the knives in recognized categories, for example, hunters, fighters, bowies, tactical folders, etc. I wanted to compare similar knives/apples to apples. Each category had several hundred entrants.
My goal was to create a top-third, middle-third and bottom-third strata. This is where the weighted aspect of the table comes in. I developed essential criteria, such as quality of work, demand in the primary market, demand in the aftermarket, materials used, delivery time, awards and other gauges. Once I established the criteria, I gave each criterion an importance weight.
Maker: Steve Randall Model: Feather Damascus Fighter Blade Length: 8” Overall Length: 14” Blade Steel: Feather Pattern Damascus Guard Material: Feather Pattern Damascus Handle Material: Ancient Walrus Ivory Author’s Comments: “Steve is the quintessential ABS master smith. He is versatile, inquisitive, loves a challenge and always strives for perfection in every aspect of his knifemaking.” (Robertson’s Custom Cutlery image)
After the Matrix determined the maker’s position in the strata, the ultimate goal of the RM3 took shape in determining which makers’ prices accurately reflected their position in a particular market sector. My research showed that hundreds of makers’ prices were above their position in the market. In other words, many of these makers who were in the second strata were asking first-strata prices. The same was true for third-strata makers asking second-strata prices. The main reason for this is that the makers asked their knifemaking friends to price their knives.
Knifemakers are not knife buyers and, as such, generally do not have a real sense of what knives should sell for. This is especially true if they don’t know their market position. Additionally, asking your competitors/fellow makers to price your knives is not a recommended business strategy.
Among other things, one aspect of the RM3 I was surprised to find is that it identified makers who offered value pricing. At first glance, many people mistakenly think this means the least expensive price. Instead, given the maker’s position in the market, a value price provides the buyer value regardless of the price tag. The makers who came to my attention were those pricing their knives commensurate with the pricing in lower strata, e.g., a first-strata maker asking for a second-strata price.
Blade Game
When knife shows or knife sales are slow, the blame game begins. The reasons for the slowdowns usually center around the show promoter not doing the job. The economy is a favorite reason, along with the weather, lighting and position in the room. A maker once told me his sales were slow because he was facing a wall. Note that we were in a square room; everyone was facing a wall. What seldom, if ever, is brought up as a reason for slow sales is the maker’s prices.
Maker: Jimmy Lile Model: 20th Anniversary SLY II Fighter Blade Length: 6” Overall Length: 10.5” Blade Steel: 440C stainless Blade Finish: Bead blast Guard Material: Stainless steel Handle Material: Aluminum tube w/cord wrapping Author’s comments: “A BLADE Magazine Cutlery Hall-of-Fame® member, Jimmy did more to introduce the knife world to the tactical fixed blade than any other custom knifemaker. This young infantry lieutenant saw a Rambo movie and it changed my world.” (Robertson’s Custom Cutlery image)
Very few people will tell makers their prices are too high, as makers can be touchy about their pricing. At the same time, few makers ask collectors or buyers what they think of their knives. This interaction is a prime opportunity for a maker to work on his or her Matrix. Further, this is an opportunity to educate the collector on why the maker’s knives are priced the way they are, and to give the collector a chance to work on his or her Matrix.
I cannot overstate how vital this flow of information is for both the maker and the collector. For the past 30+ years, at every show I have attended I have heard, “Les, come and look at my knives and tell me what you think.” I have the utmost respect for the makers who ask me to do that. It can be daunting for a maker to ask someone to critique the maker’s knives and prices. A quick “good job” may be nice for the maker’s ego, but a critical examination of the work and pricing will ultimately improve the maker’s knives and bottom line.
Hype Cycle
The Hype Cycle occurs when a custom knife market sector takes center stage. In 1988, interframe folders were all the rage—many sold for over $10,000 each. In 2001, I bought one of the same knives for $600 at an auction. The original sale price was $14,000. What happened? Answer: the Hype Cycle. The hype drove up the prices, and when the hype went away, the prices crashed. The Hype Cycle is a Matrix killer as prices become skewed to the point that they are unsustainable.
Whether you’re a collector or a maker, the Matrix can benefit you. Identifying the maker’s position in the market aids in an appropriate price, thus increasing sales for the maker. At the same time, it gives the collector a chance to sell or trade a knife at a fair price in the aftermarket, as it is in the aftermarket where collectors pay to go to school.
Custom knife markets are small cycles inside of larger cycles. New criteria will always enter a Matrix. Consequently, both makers and collectors must be sensitive to the ever-changing markets. Retirements, new materials, awards, bad reviews and other factors can all impact pricing.
R&T
Reading this, some may think the RM3 is a quick and easy solution for pricing knives. I assure you, it is not. The amount of research and time you put into your Matrix will directly affect your ability as a collector or as a maker to identify the maker’s position in his or her market. It also will give valuable insight as to whether the maker is offering value pricing. Makers will gain useful knowledge on how to price their knives correctly for their position in the market, helping them eliminate the blame game.
Maker: David Broadwell Model: MLR Sub-Hilt Fighter Blade Length: 8” Overall Length: 14” Blade Steel: Wolf’s Tooth Pattern Damascus Guard, Sub-Hilt and Pommel Material: Wolf’s Tooth Pattern Damascus Handle Material: Ancient Walrus Ivory Author’s Comments: “Dave has been making some of the finest sub-hilt fighters for over 40 years. His knives are the epitome of the 4 F’s; Fit, Finish, Form and Function.” (Robertson’s Custom Cutlery image)
More On the Robertson Matrix
How do you give what you call an “importance weight” to each criterion in a Matrix? What makes specific criteria more important than others? ROBERTSON: One criterion that has moved up my list and now carries more weight is customer service. We deal in so much poor customer service in our everyday lives. We don’t need this in our hobby. I am still amazed at the number of clients who tell me they have emailed or called a maker, often several times, with no response. Everyone is busy but it takes literally 60 seconds to respond to an email acknowledging receipt and indicating a response will be forthcoming asap. Those makers who don’t respond in a timely manner are telling you it is about them and not you. If they are making it difficult for you to give them your money, don’t.
What makes the ratings for your criteria change? ROBERTSON: Actually, it is the ratings of knife organizations that have caused me to change the weight the ratings carry in my criteria. When I first started in custom knives, to be a Knifemakers’ Guild voting member carried a lot of weight in the knifemaking community. Today the Guild is more of a club, though still a good idea that provides insight and help for makers. For me, at least, if a maker tells me he or she is a Guild voting member, that mostly tells me the maker is serious and has shown improvement in his or her knifemaking skills over the years, but it does not carry the weight in my criteria it once did.
How often do you update the ratings, and why? ROBERTSON: The custom knife market is never static and is always evolving. This evolution demands that weight associated with each criterion evolve as well. The weight I associate with a particular maker changes with the maker’s ability to incorporate the changes the collectors want, be it materials or design elements.
How often do you change the criteria themselves, and why? LES ROBERTSON: I’m generally one-to-two years ahead of where a market sector that interests me is going. Given this extended lead time, I often have to account for new information and tweaking of the weight within a particular criterion or the criterion itself. Perhaps the most difficult aspect of this is to not put too much weight into a criterion due to my personal biases. In other words, just because a particular style of knife is my favorite does not mean the majority of other collectors feel the same way. I try to take my feelings out of the equation and I am not always successful. The Matrix is not an exact science.
