Avant Garde issue #02

The Artisanal Issue N∞ ITALY ONLY 10€ / A 18€ / F 21€ / B, L, NL 18,50€ / D 24€ / E, P 16€ / UK £16

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Jon Kortajarena

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↑ Total Look PRADA. ← Coat BRIONI, Sweater ANDREA POMPILIO, Shirt SALVATORE FERRAGAMO, Glasses SAINT LAURENT. → Coat CANALI, Trousers SALVATORE FERRAGAMO.

Editorial

Set Designer Jeaninne Intriago, Fashion Assistant Alessia Beomonte Zobel, Photo Assistant Luca Trelancia.

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Editorial

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↑ Total Look PRADA. ← Coat BRIONI, Sweater ANDREA POMPILIO, Shirt SALVATORE FERRAGAMO, Glasses SAINT LAURENT. → Coat CANALI, Trousers SALVATORE FERRAGAMO.

Editorial

Set Designer Jeaninne Intriago, Fashion Assistant Alessia Beomonte Zobel, Photo Assistant Luca Trelancia.

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Editorial

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○ When did your passion for craftsmanship begin?

It’s always been a part of me. I prefer quality objects to items of fast and cheap consumption. To me, quality means luxury, and luxury is timeless. Craftsmanship symbolizes the early days of any current luxury brand.

○ How do you feel when you create your own masterpieces?

I try to enjoy the moment and work hard. Sometimes I fail, no doubt about it, but I am focused on my target.

While working I listen to music, mostly Native American and Indian. I have to say that, in my case, it works.

It really does.

○ Why did you choose to make hats?

When I first started out, hats were a niche product category, one where it was easier to experiment. I wanted to create a brand that could translate my creativity and vision into something tangible. The world of fashion and craftsmanship was full of denims and shirts, while hats were mostly unknown. Little had changed in over 100 years, and the only hats around were in black grosgrain…

○ Tell me your story: when did you decide to start your own brand?

Some years ago, I found a cowboy hat and began to wonder who had made it. It was really beautiful. Over the next few days my mind was full of questions until I finally said to myself: let’s try to make one. I gathered a collection of old tools and instruments; it was not easy to find them, as the craft is often handed down from one generation to another.

Interview

The very technique of hatmaking

What’s more, the very technique of hatmaking never really evolved. With my brand, however, I tried to experiment with different techniques, materials and designs…

never really evolved. With my brand, however, I tried to experiment with different techniques, materials and

○ Your hats always carry a small match, your style signature. Why did you choose this element?

It represents the spark of creativity. I’m always losing cigarette lighters, so I thought I could place a match on every hat.

designs…

○ What’s your source of inspiration when you create hats?

Everything inspires me. My life, first of all. Then music, nature, the Ocean, my travels, people I meet… I know this may seem a bit cliché, but it’s true.

Interview

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○ When did your passion for craftsmanship begin?

It’s always been a part of me. I prefer quality objects to items of fast and cheap consumption. To me, quality means luxury, and luxury is timeless. Craftsmanship symbolizes the early days of any current luxury brand.

○ How do you feel when you create your own masterpieces?

I try to enjoy the moment and work hard. Sometimes I fail, no doubt about it, but I am focused on my target.

While working I listen to music, mostly Native American and Indian. I have to say that, in my case, it works.

It really does.

○ Why did you choose to make hats?

When I first started out, hats were a niche product category, one where it was easier to experiment. I wanted to create a brand that could translate my creativity and vision into something tangible. The world of fashion and craftsmanship was full of denims and shirts, while hats were mostly unknown. Little had changed in over 100 years, and the only hats around were in black grosgrain…

○ Tell me your story: when did you decide to start your own brand?

Some years ago, I found a cowboy hat and began to wonder who had made it. It was really beautiful. Over the next few days my mind was full of questions until I finally said to myself: let’s try to make one. I gathered a collection of old tools and instruments; it was not easy to find them, as the craft is often handed down from one generation to another.

Interview

The very technique of hatmaking

What’s more, the very technique of hatmaking never really evolved. With my brand, however, I tried to experiment with different techniques, materials and designs…

never really evolved. With my brand, however, I tried to experiment with different techniques, materials and

○ Your hats always carry a small match, your style signature. Why did you choose this element?

It represents the spark of creativity. I’m always losing cigarette lighters, so I thought I could place a match on every hat.

designs…

○ What’s your source of inspiration when you create hats?

Everything inspires me. My life, first of all. Then music, nature, the Ocean, my travels, people I meet… I know this may seem a bit cliché, but it’s true.

Interview

Small Trades 28

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Small trades here take the form of still life.

The most common objects of each profession merge with fashion and become art: from the shoemaker to the baker, from the luthier to the ropemaker, the artisans’ magic is displayed on the work bench.

The only constant element in all the photos is the “hand”, symbolizing the extraordinary skills that can be acquired only over time and shaped day by day, like a block of wood.

Photographer

Kevin Mackintosh Serlin Associates

Production and Set Designer

Daryl McGregor Lalaland Artists

Fashion Editor

Javon Drake

← Savoy Steam EDP Cologne PENHALIGON, Hat WORTH & WORTH, Braces DRAKEí S.

Editorial

Editorial

Small Trades 28

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Small trades here take the form of still life.

The most common objects of each profession merge with fashion and become art: from the shoemaker to the baker, from the luthier to the ropemaker, the artisans’ magic is displayed on the work bench.

The only constant element in all the photos is the “hand”, symbolizing the extraordinary skills that can be acquired only over time and shaped day by day, like a block of wood.

Photographer

Kevin Mackintosh Serlin Associates

Production and Set Designer

Daryl McGregor Lalaland Artists

Fashion Editor

Javon Drake

← Savoy Steam EDP Cologne PENHALIGON, Hat WORTH & WORTH, Braces DRAKEí S.

Editorial

Editorial

Time Travel ó

Utility Jacket US Marine Corps World War II, the Paci c theater

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A jacket used by the USMC in the Pacific during the WWII. This jacket was not used in battle; the Marines wore it during trench digging and camp preparation; hence the name “Utility Jacket”.

The special herringbone twill was designed to allow perspiration despite the very hot climate. This item is very rare, as it still has all the original buttons and bears the USMC insignia on the breast pocket.

↖ Jacket, Waistcoat and Shirt LARDINI, Trousers ENTRE AMIS, Eyeglasses TOM FORD, Tie THOMAS MASON.

N1 Deck Jacket US Navy World War II

→ Sweatshirt LEVIí S, Trousers TOPMAN, Shirt BAGUTTA.

This is one of the most iconic jackets of that time. Paul Newman, Steve McQueen and James Dean used to wear this model.

This jacket was worn on US Navy ships in the winter, together with overalls in the same material.

This item is especially rare as it was used by the Coast Guard.

They no longer make garments like this, in terms of bulk, fit and wearability.

This is a cult item that can be worn with casual jeans as well as smart clothes.

Time Travel ó

Utility Jacket US Marine Corps World War II, the Paci c theater

47

A jacket used by the USMC in the Pacific during the WWII. This jacket was not used in battle; the Marines wore it during trench digging and camp preparation; hence the name “Utility Jacket”.

The special herringbone twill was designed to allow perspiration despite the very hot climate. This item is very rare, as it still has all the original buttons and bears the USMC insignia on the breast pocket.

↖ Jacket, Waistcoat and Shirt LARDINI, Trousers ENTRE AMIS, Eyeglasses TOM FORD, Tie THOMAS MASON.

N1 Deck Jacket US Navy World War II

→ Sweatshirt LEVIí S, Trousers TOPMAN, Shirt BAGUTTA.

This is one of the most iconic jackets of that time. Paul Newman, Steve McQueen and James Dean used to wear this model.

This jacket was worn on US Navy ships in the winter, together with overalls in the same material.

This item is especially rare as it was used by the Coast Guard.

They no longer make garments like this, in terms of bulk, fit and wearability.

This is a cult item that can be worn with casual jeans as well as smart clothes.

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→ Total Look ROBERTO CAVALLI.

← Leather Trench BALLY, Denim Jacket PALM ANGELS, Foulard HERM» S. → Suit ERMENEGILDO ZEGNA COUTURE, Shirt CANALI, Vintage Kerchief THE ELEPHANT BRAND.

Editorial

Editorial

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→ Total Look ROBERTO CAVALLI.

← Leather Trench BALLY, Denim Jacket PALM ANGELS, Foulard HERM» S. → Suit ERMENEGILDO ZEGNA COUTURE, Shirt CANALI, Vintage Kerchief THE ELEPHANT BRAND.

Editorial

Editorial

Time Travel รณ

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Time Travel รณ

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â—‹ The knife blades are both bold and refined, the handle designs are elegant, and the precious materials shine in their own light. What is the secret behind the creation of these objects?

I really like this high-low balance in my work, as it takes me back to my roots. When I have to present new ideas, I draw them by hand. For example, the knife blades come from parts of a plough, they are forged and polished until they attain the right curve and thickness; the handles (with a very fascinating design, editor’s note), are made from natural materials like ivory, horn, bone and wood.

Size can vary: there are pocket knives, cheese knives and even larger ones, warrior knives. It can take me two or more days to make just one.

We leave Max as he works on a knife in his workshop, but we intend to come back soon, to check out the new collections and let him captivate us with his history of passion and love for an art so rooted in his origins. â—?

I really like this high-low balance in my work, as it takes me back to my roots. When I have to present new ideas, I draw them by hand.

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Interview

Interview

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â—‹ The knife blades are both bold and refined, the handle designs are elegant, and the precious materials shine in their own light. What is the secret behind the creation of these objects?

I really like this high-low balance in my work, as it takes me back to my roots. When I have to present new ideas, I draw them by hand. For example, the knife blades come from parts of a plough, they are forged and polished until they attain the right curve and thickness; the handles (with a very fascinating design, editor’s note), are made from natural materials like ivory, horn, bone and wood.

Size can vary: there are pocket knives, cheese knives and even larger ones, warrior knives. It can take me two or more days to make just one.

We leave Max as he works on a knife in his workshop, but we intend to come back soon, to check out the new collections and let him captivate us with his history of passion and love for an art so rooted in his origins. â—?

I really like this high-low balance in my work, as it takes me back to my roots. When I have to present new ideas, I draw them by hand.

3

Interview

Interview

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