Bench Autumn/Winter 2012 Brand Book

AW / 2012 Jordan Hufnagel: quality matters: building world class bicycles Millicent Nobis: A JEWELLER’S PROCESS AND FORM M. Thomas & A. Johns: SECRET SKATEPARKS IN LONDON Mick Spratt: BUILDING THE HACIENDA SOUND SYSTEM Ingrid Donat: SCULPTING YOUR SURROUNDINGS

A BOOK ABOUT PEOPLE MAKING IT HAPPEN

This is a book about people who make things happen.

The people around the world who don’t take no for an answer. The people who don’t wait for things to be handed to them. The people who go out there and do it themselves.

This is Bench. Self-Made. We celebrate the hard-working and multitalented guys and girls with vision and ambition. The ones who aren’t afraid to get their hands dirty. The ones crafting their own futures and changing the faces – and the streets – of the cities they live in. In the pages that follow we take a closer look at this active and independent attitude in cities around the world, the dynamic people that drive it and the new collection inspired by it.

A self-made success in its own right, Bench. has evolved from a group of friends selling their t-shirt designs in Manchester to a global lifestyle brand. So we recognise and admire the determination and commitment needed to take on the world. Self-Made sets out to explore, document and inspire. And to shine the spotlight on those who deserve it, who always follow their own path.

As we start to collect these stories, the highs and the lows, this book is dedicated to the ones who understand that life is simply what you make of it.

AW / 2012 SCAN TO WATCH THE FILM

Campaign Film

SELFMADE HISTORY Laying roots in 1989, Bench.

by season we grew it, clothes

has steadily grown to become

that we rode in, worked in,

a global lifestyle brand. It took

studied in, partied in and woke

a lot of blood, sweat and tears

up in.”

to do it, so we know what it’s

Jon White, Bench.

like to claw your way to the top with nothing but hard work and determination to get you there.

Emerging into a fast-paced

By the end of the 90s Bench. was a bustling hub of creatives, designers and innovators

world of extreme sports and a

making real fashion for young

music scene that was dictating

men and women. Growing but

the sound of the globe, from

always grounded, its humble

the heart of Madchester came

and earnest attitude earned it

a small line of purpose-built

an army of loyal followers who

clothes: stylish and simple, and

knew what it was about. Every

designed for the city streets

new artist, club and event the

we work in. There we were,

brand worked with broke new

capturing the attitude of a new

ground and Bench. became

generation, determined to

known for being at the cutting

change the world. And change

edge. From the Haçienda

it we did.

to the Warehouse Project,

“Bench. was started by a

Snowbombing and Melt, we’ve

couple of guys wanting to add

always been at the front, giving

their handwriting to the ongoing

it our all.

story of BMX/Skate style. Season

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AW/12 INSPIRATION WOMEN’S COLLECTION The city dwellers are longing for the great outdoors, the rugged terrain and the unknown.

They are getting lost and finding the world. This season’s collection is a story of adventure and exploration, with clothes built for comfort and versatility.

Accomplished and functional, the line goes back to the origins of the brand. Military details, multi-pockets and wild craft-influenced trims all come together in workwear created for the journey.

The line is also a dedication to the misfits: the attention seekers and the unconventional, living life loud. Rugged and unapologetic, these pieces were inspired by the photographers capturing the late night stories: the Nirvana exhibition in Seattle, Berlin street art, the underground parties in London and festivals around the world. With a nod to 90s grunge, it’s impulsive and irreverent, with pieces essential for the fast-paced living.

With a colour palette built over two phases, the first is drenched in Autumn. Fallen leaves on the city streets with khaki, rusty shades of orange, saturated reds and burgundy, mixed with staple neutrals.

The second is daybreak on a bright, icy winter morning. Jaded colours from the night grow to bold tones with crisp clarity. Frostbitten evergreens and strong pine hues mingle with lighter tones and strong magenta pink and deep teal provide a contrast clash.

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MEN’S COLLECTION The AW12 range combines Bench.’s heritage with a functional approach to clothes. Reaching new heights and new landscapes, the line brings the hills and the mountains to the city. Nordicinspired sweat fabrics and shaggy fleece linings give the collection a modern winter feel. Practical, down-to-earth and utilitarian details mixed with traditional finishes and features create a unique, fresh style.

The supporting theme is the culture clash. inspired by new media, music and technologies.

Always on, always plugged in, the line is created for a digital world awash with sights and sounds.

The connected generation, experiencing life and friendships in full colour.

Sharing the same base colour palette as the womenswear line, phase two is all about the bright lights of the skyscrapers. Bright pop tones glimmer against black, charcoal and deep navy. Offbeat brights bring character and twist to the traditional winter palette, whilst a rustic influence comes in the form of Seal Brown, Picante and Blue Mirage for a more traditional feel.

A/W 2012

jacket BMKA1520B LABOUR B shirt BMAA1074B ACRE B

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HER: knitwear BLFA1127 TURBULENCE jeans BLMA0250-1 FRET V1 HIM: knitwear BMFA1082 KRYPTON trousers BMNA1225 KEMPSTON

jacket BMKA1474 DINKSY knitwear BMFA1094 KAKAZE shirt BMAA0945D CONI D jeans BMMA0236-1 ANTHEMIC

jacket BMKA1495 FRAISER jersey BMGA2685 INTERIM jeans BMAA0230-1 PIEZO

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HER: jacket BLKA1605 RASCAL dress BLSA1391 DROPPER earmuffs BLZA0076 KUKI HIM: jacket BMKA1496 LAYO shirt BMAA1047 ARKANSAS trousers BMNA1207 C IRVING C

HER: knitwear BLFA1127 TURBULENCE dress BLSA1359 HALF CENT HIM: shirt BMAA1034 MESSER knitwear BMFA1090 KRANKY trousers BMNA1222 KIRKHAM

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HER: jacket BLKA1605 RASCAL t-shirt BLGA2475 SPLUSHY trousers BLNA1331 MUSHABOOM HIM: jacket BMKA1495 FRAISER jersey BMGA2685 INTERIM jeans BMMA0230-1 PIEZO

HER: jacket BLKA1605 RASCAL dress BLSA1391 DROPPER HIM: jacket BMKA1496 LAYO trousers BMNA1207 C IRVING C

HER: knitwear BLFA1140 LOGISH jeans BLMAO254-1 PICK

HIM: jacket BMKA1492 KEVIN

MEETING THE MAKERS

Everyone has it in them to do something great, they might just need a bit of a push.

Whether meeting that person who’s truly passionate about what they do or stumbling across something that really gets you going, all you need is a spark.

Here we meet some of the inspirational guys and girls around the world who are doing just that, something great. Discovering what it means to succeed, we get to the bottom of what motivates them, what scares them and ultimately what they get out of the hard graft.

In the first of a series of profiles, we show that you don’t have to have a stack of cash to get the ball rolling. And you don’t always need a stamp on a piece of paper to be qualified to make an honest go of it. Laying their lives bare in order to inspire a global workforce to get off their sofas and move mountains, this book makes sure their stories are heard.

From Portland to Berlin it’s their dedication that’s driving them forward, changing their lives and the cities around them. Leaving a mark on the world.

We’re giving the stage to the people who aren’t always bringing in the money, but are always doing it their way: the guys getting shit done.

There’s something about bicycles that get

I am a custom bicycle maker and I share a large

but the ride. And in recent years the cycling scene

metal workshop in Portland, Oregon with my friend

around the world has exploded.

James Crowe. He’s a custom motorcycle fabricator.

No longer just for the sportsman or the

JORDAN HuFNAGEL: SHIFTING GEARS

What’s your set up?

people going. Not just the chain and the cranks,

We have a traditional metal shop full of things

conscious commuter, cycling has become a

like manual milling machines, lathes, sheet metal

lifestyle choice for an ever-expanding community

shaping machines, saws, grinders and hand tools.

of adorers. With bike cafes popping up on every

James and I both work a ton and we try to make

street corner and group rides like Critical Mass

all our time spent outside of the shop as rad as

getting larger every month, the taste for the tarmac

possible. That usually means things like camping,

is getting stronger.

motorcycling and swimming. Together we just

And with it, so is the appreciation for the

started a new company called West America. It’s

machine itself. Riders of all levels are looking into

more focused on all our parts, rather than being

more bespoke bikes than off-the-peg models.

hyper focused on our other respective companies.

Whether track, road or cyclo-cross, building a bike

With West America we are creating an outlet for us

is a process that takes patience, dedication and

to share stories, focus on some new products and

unbelievably fine-tuned skill. Frame-builders are

get lost more often.

artists of metal, and the craft often passes down through generations.

Bikes have ruled the streets in Portland,

So how does a bicycle maker end up in Portland?

I moved to Portland at the end of 2004. I had been

America, for a long time, and here cycling has

living in Austin, Texas for a few years at the time

enjoyed the same surging success as it has in

and was eagerly searching for the next spot. I spent

London, New York and Berlin. Nestled in the

most of 2004 on various road trips zig-zagging

city streets is frame-builder Jordan Hufnagel’s

back and forth across the States, only spending a

workshop, which he shares with his long time

few months at home. It was awesome and exciting.

friend, James Crowe.

That brought my first visit to the Northwestern

Hufnagel started out building frames over

United States. When I got to Portland it was

five years as a way of earning cash to do what he

summer time. Portland was in its full glory, packed

loves – cycling and building stuff. Producing only

with life and motivated people, surrounded by

custom-built bikes, each one of his creations is

mountains and rivers. I felt like I’d found the place

totally unique and involves painstaking detail and

I was looking for. I extended my stay on that visit

craftsmanship.

and when I got back to Austin I just bought a oneway ticket back immediately.

www.hufnagelcycles.com Portland has developed quite the reputation in America, especially in recent years, what is it that you love about the city?

Portland is the kind of place where you can really put your energy into whatever you want to be doing. It’s a cool town and the rent is cheap, so you’re not working your brains out just to pay the bills. More importantly, the community is really supportive here. There is a lot of opportunity - if you want it. These things make it a hotbed for the modern American craftsperson. On top of what the city has going for it, Oregon itself is amazing. extremely diverse eco-systems and beauty everywhere.

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To many, cycling has become almost a religion. At what age did you

that term I skipped out of town to take a couple of week-long frame

fall in love with the ride?

building intensives at a school called UBI. The classes set you up with

I don’t have the clearest memories of my first rides. I’m always glad

the very basics of frame building - exactly what I was looking for.

to be reminded, with pictures, that it was a Care Bears bike. Super

During all that time and the year prior, I’d been working my ass off at

funny and kind of a standout as far as my childhood possessions go.

two jobs, saving every penny to buy equipment and tooling so I could

My pops is from Pittsburgh, PA and because of that most of what I

have my own shop. Then, that’s where the real learning begins. I just

had was in Pittsburgh Steelers black and gold. Always looking tough

spent every moment I could in there working to be better and learn

despite my bright blond bowl cut and summer baby tan. My second

more. There are a ton of skills to learn in relation to frame building

bike was a Huffy Racing 50. In black and gold, of course. And I

and you’re always finding more and working to get better at the ones

loved it dearly. Our parents were old school and unstressed about

you already know. That’s one of the most important parts of being

supervision. So my pals and I were getting lost in the woods and

a craftsperson, to always be learning even when doing something

getting into trouble on our bikes as early as I can remember. No hand

you’ve done a thousand times.

holding and lots of quick learning. I loved the speed and freedom of bikes right away.

Is there a universal starting point for you when building a bike?

The starting point is always finding out what the bike is going to be

Your bikes are a seamless blend of modern aesthetics and

used for. Once I have a clear vision of that, I can start letting my brain

traditional craftsmanship, how did you build and hone your skills to

run with ideas to make it rad. I don’t think there is a particular part

become the expert you are today?

or detail that makes a beautiful bike, it’s more a sum of all parts. It

My dad raised me to appreciate and be competent with tools, and I’ve

has to be a total package. I prefer a simple, reserved aesthetic. One

always been into making stuff. But, when I decided to do this I felt

strip of flair that lets the craftsmanship shine. Pre-paint finishing work

like I needed to get a little more education to jump start me. I started

is of huge priority to me. I want my bikes to be stunners even when

off taking a general welding class at a community college and during

stripped of their paint.

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What are the most important qualities to have when you’re trying to set up a business?

Confidence, and comfort in poverty. The hardest part about starting a business is making the jump from talking about it to doing it. One of the things about the internet and communication these days is this melting pot of inspiration that’s out there.

Being alone in your taste is becoming a rare thing.

There are huge numbers of people seeing the same things, getting stoked about the same things, wanting the same things. Chances are, if it’s a business you really want to see happen, there are thousands of people out there that feel the same and that will support you. You just have to go for it and get it in front of them. Also, don’t half ass it and be honest with yourself. Otherwise the ride will suck.

But starting out on your own can be a daunting task, did you have worries about making it work?

I’m an eternal optimist, and I know that it’s always going to work out. I’ve hit many obstacles along the way and I’m still here. Money and burnout are the two biggest ones, and they feed each other.

Anyone who does work like this will tell you that the money isn’t great and the hours can be taxing.

Allowing myself the time to step back and clear my head, followed by determination to push through the hard times, has kept me at it.

What are your tips for someone looking to build their own bike?

What kind of jobs have you had before and what

Practice on a lot of scraps before digging into a

did you learn from them?

frame, and make sure the tubes are clean and they

I’ve done all kinds of stuff. Bike shops, working

fit up tight.

with kids, restaurants, bars, construction, sheet metal fabrication. All of which have taught me a lot

What wisdom would you offer to someone

and given me a well-rounded base for interacting

looking to start their own business?

with the world. Owning your own business

Just go for it. The worst that can happen is you lose

means wearing a lot of hats, and having a diverse

your money, and you can always make more money.

background helps you to be more prepared for whatever comes your way..

So what’s your ride?

I ride a classically designed porteur bicycle made

Have you always wanted to go it alone?

for speedy city function, with a large flat rack out

For sure. Never had much fun walking to another’s

front .

beat. I’ve always wanted to do my own thing, exactly how I thought it should be done.

ESTABLISHED:

In the first of this series of profiles, we look at the people who’ve made it. The ones who are already there. The people who are decades down the line and know the pay-off for sticking with the hard work. Because sometimes you can’t even think about where you’ll be next week, let alone imagine how the sweat might pay off years down the line.

These skilled and dedicated people have honed their craft and now they’re here to tell us how it’s done, how patience, willingness to learn and commitment to a passion can give you a job and a life that you truly love.

MICK SPRATT

SOuND ENGINEER

Mick Spratt is 40 years self-made. An expert in the field of sound

enthusiasm and carved by necessity. His talents would see the band

engineering and the art of building the perfect PA system, Mick

becoming a vehicle for enterprise, albeit slightly unorthodox. “We did

established Wigwam Acoustics in 1979, and has been providing

the Rochdale Festival in 1972. From there we continued to make this

sound systems for the loudest and finest musicians, bands and

gear and then sell it to keep the band on the road. Basically [it was]

venues for over a quarter of a century. The company supplied the

wheeler-dealing, because we couldn’t afford the gear on our own. We

internationally renowned Haçienda in Manchester, its last ever PA

made and sold loudspeakers to universities, colleges and other bands.

system, after Peter Hook called Mick in to have a look at the club’s

They’d see us and say ‘Nice PA, where’d you get it?’ and we’d say, ‘Oh,

ailing sound. It was Mick who set them straight. Bench found its feet

we made it.’ ‘Can we buy one?’ ‘Well, you can buy that one, and we’ll

in the midst of the ‘Madchester’ scene of which the Haçienda was

make a new one.’ We’d literally sell the band’s gear off the stage.”

so pivotal a part. It went on to sponsor the club’s global tour. But for

While this might paint the picture of a rock 'n' roll punk, the truth

Mick, it was far from the crashing noise and excitement of the late-

behind Mick’s abilities as a speaker-head is that he was actually a bit

80s Manchester, where his journey into the world of sound began.

of an anorak. “I was just interested, a real PA geek. I used to buy all

For him, his story starts four decades ago in a church belonging to a

the magazines and make things, you know? I got some drawings for

small town just outside of Rochdale.

American loud speakers, JBL, in about '72, 40 years ago.”

“I kicked off building PAs for a band because they couldn’t afford

Mick and his bandmates were getting what they needed by any

it,” Mick says, “I ended up being in the band, but I think I only got

means, “We bought from wholesale suppliers and we managed to blag

drafted in because I could build things. ‘Sure you can be in the band…

them from various places. If you’re motivated enough you can make all

because you can make speakers.’” Probably for the best, as Mick

sorts of things work.”

describes his playing ability as modest: “Three and a half chords. And I don’t read music.” In true DIY-style, Mick’s career was born out of

In 1978 Mick sold all the band’s gear and bought a branded PA and has been in business full-time since '79, renting out systems. The band

folded, although they did get together last year for a reunion that Mick describes as being like “Spinal Tap. I mean the singer is 70. I think it’s better to leave the past alone sometimes.” When Peter Hook brought Mick in to look at the Haçienda’s sound system, it was a reality check. Over the years many a PA system had made the walls shake inside the club, but according to Mick, “They weren’t brilliant. They used to have a lot of issues with them. I don’t think they paid enough money, they were trying to do it on the cheap.”

Mick ensured that the system they installed for Hooky “was amazing. You could feel the blinking pavement rumbling outside, there was that much bass in it. That’s what you want.”

The system’s whereabouts since the Haçienda closed its doors in 1997 are unknown. “We’ve heard it’s in Japan somewhere, but it’s only hearsay. I don’t know if there’s any truth in that.”

So how exactly do you go about creating a bespoke system for a club with as much reverence and cherished memory around it as the great Haçienda of Madchester? “[We] looked at the style of music first. Then we took the equipment down there and said, right, play the music through this system. You ask the question, ‘is that what you want to hear?’ You audition it. Then somebody goes ‘that’s it’.”

After his early days of touring with Manchester bands at just 16 (“I can’t even remember any of the names of the bands, it’s that bloody long ago”) in a van with “a bit of PA”, Mick went on to study electronic engineering at Bolton Tech. He failed his O-levels the first time because “I was in a band, so I re-sat them. The difference on the second attempt was that I wasn’t touring in a band”.

“There was a company called Mitrex Electronics and there was a guy there called Roland Lumby.

as half of the rest of the world’s superstars. If you’ve been to more

Roland designed an amplifier that was basically

than a few large scale music shows in the past decade, it’s likely that

indestructible, and this was in the early 70s. I went

you’ve experienced their handiwork. Mick is proof, as if more were

to work for him building amplifiers in '72. I don’t

needed, that humble beginnings from the likes of Manchester give

know why he let me, I think he just took a chance

birth to big sounds and big people, who go on to shape the world.

on me.” Roland Lumby is still sworn by locals as the man for amp repair in Salford.

Nowadays Mick and his business partner Chris, along with the rest of his team, are providing sound for the likes of Coldplay and Guns N’ Roses, as well

bag BMXA0655 GERVAIS

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MORE ON BENCH Our collection spans hundreds of pieces, from clothing to bags and accessories, with each detail and graphic inspired by the lifestyles and the energy of the people who wear them. We can’t show them all, but here’s a snapshot of some of the other pieces we love.

To explore the full Bench range, go to www.bench.co.uk

p 23

BENCH. AW/2012

Opposite page, clockwise from top left: shirt BMLA0905 EVASER hat BLWA0349 HATSU earmuffs BLZA0349 KINSEY jeans BLMA0270-7 bag BLXA0669 HARLOT DRUMMING This Page, clockwise from top left: hat BMWA0499 HUGO bag BLXA0674 HAPPEN hat BLWA0346 HOUGH bag BLXA0690 HAGEL dress BLSA1396 BARKKING

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BENCH. AW/2012

Opposite page, clockwise from top left: bag BMXA0679 HERCULES shirt BMAA1074B ACRE B bag BMXA0673 HENDRY shirt BMAA1053 KIPPER. This Page, clockwise from top left: knitwear BMFA1096 KIEV hat BMWA0501 HARIEM scarf BMVA0232 HUBERT

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HER: gilet BLKA1600 TRICKSTER sweat BLEA3057 CANDISH skirt BLDA0930 HAPPY HIM: jacket BMKA1476 KAWARA sweat BMEA2042 KIDDER jeans BMMA0235-4 MIX V

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knitwear BMFA1096 KIEV knitwear BMFA1098 KULTER

HER: sweat BLEA3084 ACEBASE jeans BLMA0267-2 LOUDSPEAKER HIM: jacket BMKA1495 FRAISER sweat BMEA2071 KLOOT t-shirt BMGA2847 FACTORY jeans BMMA0230-2 PIEZO

gilet BLKA1650 CONSPIRE sweat BLEA3125 DEWHOLME shirt BLAA0914 BOCOCA

jacket BMKA1485 OFFKICK sweat BMEA2043 jeans BMMA226-1 CHORD

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HER: jacket BLKA1579 RASLO t-shirt BLGA2457 WHATHARE jeans BLMA0250-2 FRET V2 scalf BLVA0285 HUDSON HIM: gilet BMKA1466 KITCHO shirt BMAA1037 FALA jeans BMMA226-1 CHORD

jacket BLKA1587B MISTER B sweat BLEA3046 BERNIE shirt BLAA0905 EVASER trousers BLNA1301B PRAIA B

jacket BLKA1587B MISTER B sweat BLEA3046 BERNIE shirt BLAA0905 EVASER

BENCH. AW/2012

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jacket BMKA1475 KIPPER jeans BMMA0224-1 BREAKS

LIFTING THE HOOD We spend a lot of time crafting and perfecting our products. Every stitch and every fabric is considered and tailored to meet the demands of a city lifestyle. In the following pages we deconstruct our processes, to spotlight the quality and the detail that goes into every piece.

KIDDER C (BLK A1298C) fur trim: acrylic based faux fur main fabric: pu coated cotton nylon body and hood lining: micro-fleece sleeve: lining taffeta wadding: soft touch waterproof wadding rib: 2x2 rib garment wash: rinse embroideries: front placket and central on

hood panel trims: total used 18 wash care labels: x2 inner back patch and hanger loop sign off:

used on 12w1 jackets fabric consumption : 1.79m man hours to make garment: 5898 sec. amount of thread used per garment: 386m

BENCH. AW/2012

fur trim: fake fur acrylic based fur

embroiderys x2: front placket & central on

hood panel

body and hood lining: microfleece

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main fabric: pu coated cotton nylon

sleeve lining taffeta

rib: 2x2 rib

HERCULES (BMX A0679) main fabric: 600D polyester with PVC backing; outer binding: herringbone; branding label: laser cut woven; zip: dark gunmetal; zip pull: PU,

seal brown; contrast fabric: PU; webbing: seal brown; fastening: ladder locks, and metal components; lining: 210D nylon and PU backing

BENCH. AW/2012

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MILLICENT NOBIS: THE WORK OF BEAuTY

Berlin has a difficult past. In the 20s the city was the world’s leading textiles centre, with 750 factories, but when it was torn apart by war, many of the designers fled, demolishing the city’s talent resource, and with it, its reputation.

However, recent decades have seen life breathed once again into Berlin’s streets. The cheap living costs and abundance of space have driven the city’s revival as a global cultural capital. It’s the resilience and determination of the place that drives its unique brand of creativity and this is the reason why people from around the world are rushing to fill the suburbs.

Millicent Nobis is just one of those people. Travelling to Berlin from her native Australia, she has a hand in many projects. Earning a name for herself as a model and a fashion blogger, she finally found her creative outlet in jewellery. And from the German capital she creates and pushes her label, Mies Nobis. www.miesnobis.com

BENCH. AW/2012

You’ve got a lot going on, does your work keep you busy?

Last week I spent a lot of time drinking prosecco and crazily sandpapering metal and wood cutouts into a new collection that I decided to create a week before a group show. And two days ago I flew to Paris to present my label, Mies Nobis, at Première Classe.

Have you always known that you wanted to work in fashion?

When I was little my parents dragged me and my sisters (four girls under 12) around Europe for a nightmarish few months. In London (actually the outskirts somewhere near Essex, but London sounds better) I saw a shop called Milly’s Boutique and it occurred to me that it would be fun to have my own shop. I studied fashion design in Sydney but quickly lost interest in actually graduating. Now I really like jewellery. As I always say, it’s easier to wear an experimental piece of jewellery than an eccentric piece of clothing.

How have you learnt your craft? What skills go into it? Have you always been craft-focused?

I’ve always liked creating things with my hands.

Throughout the years, I’ve had tiny wax dolls that slept in matchboxes, felt mice, pottery dolphin sculptures, twisted safety pin jewellery, feather earrings sold at Bondi Markets - oh, the list goes on and on. I love discovering new techniques and I’m actually pretty much self-taught. It’s funny, when I was studying and being trained in the traditional

inspired by thinking about how I can use a certain

methods of fashion design and production, I sort

process or material I discover. The most important

of lost interest. Maybe it’s the joy of figuring out a

part is taking care of the small details to produce

new medium.

something that looks really nice even close-up.

Sometimes I get lost in finishing something but this

What’s your production process?

is very important for producing something you can

I’m currently making my “Tier” pieces, for which

be proud of.

I’m laser cutting brass, wood, plexiglass and stainless steel shapes. And soon maybe porcelain,

How much did you think it through before you set

but that’s all in the experimental stage. Then

up your label?

it’s sanding, polishing, tinting, lacquering and

I just started really. It’s probably smarter to do it with

wrapping together with copper wire or waxed

some kind of financial plan but I thought, “I like

cotton cord into industrial-looking statement

creating jewellery”. So I spent all my money doing

pendants.

that, and got to a point where I thought I should try and actually make some money to keep it going.

How do you get inspired to create your pieces?

To do this you need to love what you do and have

Ideas pop into my head quite randomly, or I’m

determination. Also a bit of a disregard for your own

p 39

well-being probably helps you to “slave labour” yourself a bit.

Was there a part of you that was worried about giving it a shot?

I can’t say I’ve thought about it so much. What’s the worse that could happen? I try, I fail, I end up bankrupt maybe, I lose all my love of creating and I get a nice safe office job to pay off my debts. A lot of people I know are quite happy with nice, safe office jobs.

What did you learn on your journey from earringseller on Bondi Beach to hotly-tipped designer?

My life is an endless list of side jobs, thinking about them is a little depressing. I’ve had jobs in retail where I learned that I never want to do retail ever again in my life. I’ve been a waitress, a barmaid, a model. I learned the exact drinking water & peeing timetable that ensures your belly is as flat as possible when they are ready to shoot. I also learned that dating a chef can be fun.

What made you switch from the beach life of Australia to the colder climates of Berlin?

I came to Berlin in 2010. I’d wanted to come and live here for a while to improve my German, but I didn’t expect to stay so long – or speak so little German. People always say Berlin is free but that really is the sense I get from it. I think everyone feels like there’s space to really be who they are here. Sydney is quite different to that. I love Sydney because of my history – my family and friends – but really, I am “in love” with Berlin.

What do you love about being independent?

I always wanted to do my own thing design/ creative wise, I am not great at compromising in that aspect. I love it because I am quite good at being independent and it’s always fun doing things you are good at!

And what’s your favourite piece of your jewellery?

The next piece. The one that’s floating around my head looking perfect and amazing before it’s tarnished with the realities of actually being created.

BENCH. AW/2012

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French furniture designer Ingrid Donat is doing what she loves, and what she was born to do. Turning her back on education to go it alone, for 20 years she’s been steadily building a stunning body of work that combines interior design with the beauty of fine art. Designing and building all her own work, she is self-made “I started simply making furniture for my house.” says Donat, from her home based on the outskirts of Paris “I’m surrounded by my pieces at home because my house is my starting point, it’s where I work.”

Born in Paris in 1957 into a family of artists and architects, it was always in her blood to sculpt, mould and change her surroundings “I’ve always made pieces of furniture for myself, but started professionally at a relatively late age of 40.”

In 1975 she enrolled at the École des Beaux-Arts in Paris and, in the bright lights of the city’s bustling creative scene, her passion for sculpture flourished. Her talent and unique approach were noticed quickly by the upper echelons of the capital’s scene who were keen for her to improve “It was Sylva Bernt, sculptor and companion of André Arbus [who] taught me different techniques of sculpture. Diego Giacometti and Cesar encouraged me to develop my work.”

For Donat, the creating of

INGRID DONAT

FuRNITuRE DESIGNER

furniture is more than just knocking bits of wood together to sit the TV on, her pieces are works of art in their own right, “First and foremost I’m a sculptor and I keep to the traditional techniques of sculpture.”

Her background in art means she has

Images courtesy of Carpenters Workshop Gallery

an appreciation for how these things

of beauty should work together “I love [it] that the furniture is discreet, elegant, and doesn’t immediately attract the eye: pieces that fit in with the harmony of a room, leaving the works of art, the painting, the sculptures to stand out first, [and] that we can discover the details, the work, the refinement when the eye finally rests on the furniture itself.”

“What I like is working directly with my hands, if the materials allow me to do so.” It’s the fact that Ingrid looks at furniture through a sculptor’s eyes that allows each of her pieces to have their own identity and visual story. However, the approach means each work is a time-intensive labour of love.

“The creative phase can be very fast but sometimes very long,” she explains, “It depends on the inspiration.

Sometimes I explore the routes that I like immediately, sometimes I put them aside to pick up later. There are phases [that come] after, such as moulding, casting, chasing and patina. They take a long time. I produce ten or so new pieces each year.”

“The first step is the design and the production of a prototype in wood. After that I develop the material of the furniture that will form the final piece.

Sometimes, when I decide it’s right, I sculpt elements and afterwards we adapt each element. Then into the moulds, we pour molten bronze. Following this is a step called chasing, which is cleaning elements in bronze and then welding them together. The final step is the patina. It burns directly onto the bronze and oxidises it. This gives the deep colours and nuances.

And at the end: a layer of wax.”

Donat is now a resident a The Carpenters Workshop in Paris, a gallery dedicated to discovering new and ground-breaking design-art. It’s the gallery that looks after the financials because as Ingrid says “I’m not completely disconnected from the business side of things but my passion is for working with interiors. What I know is that I work by instinct, and I work primarily for me, if that pleases some fans, I’m thrilled.”

www.ingriddonat.com

BENCH. AW/2012

BENCH. AuDIO DESIGN AND COLOUR The look is all clean lines. A blend of vibrant brights and earthy neutrals, with the subtle Bench. signature detailing. Easy to wear, and understated with an urban edge and distinctly Bench.

Available in four colour-ways: black/white, black/grey, black/hot pink, green/neon yellow.

FEATURES In-line mic for play/pause, track control and taking/making calls. iPhone速 compatible.

Foldable headset for compact storage.

Lightweight design. Flat, anti-tangle cable.

Cushioned headband for enhanced comfort and fit. Plush, cushioned ear pads for comfort and bass seal. Gold-plated, rust-proof plug.

SOUND QUALITY Suited to all music tastes the Bench 2012 Headphone Collection delivers high quality sound. The closed cup design excludes ambient noise and provides great sound isolation whilst dynamic frequency response from 20 Hz to 20 kHz ensures that the sound combines high, medium frequencies and bass for detail and depth. Rich bass notes without compromise to the mid or high-range and excellent clarity provide purer sound experience.

p 45

FIT FOR PuRPOSE From industrial beginnings, denim has become the uniform of the global workforce on a mission, out there getting their hands dirty. Humble, unassuming and now a global phenomenon, they’re the ultimate example of style and substance. No nonsense, just fit for purpose.

Our jeans are designed for the people who wear them. Shaped by fast-paced scenes around the world, they reflect the energy of the people driving change.

Bench. denim. Stitched for city streets.

BENCH. AW/2012

p 47

AW12 sees a new line of washes that use handfinished fabrics, created to capture the look of a well-worn pair of jeans. The collection adopts lightly faded black, rich indigo, weathered-look rustic cords, rum-raisin and deeply saturated blue.

Stripped back to an overall clean and simple feel, the range has been finished off with iconic Bench. detailing that forms the design DNA – the off centre, quarter zip, the double belt loop and the full stop – putting their stamp on the line.

The soft hand feel fabrics for comfort and the super stretch compact denim used to create our skinny styles make sure our range adapts to a life on the move.

FLY DETAIL INSPIRED BY 1/4 ZIP

DOUBLE BELT LOOP

BENCH. CORP FULL STOP RIVET

BENCH. AW/2012

BENCH. BACK PATCH

p 49

SELFMADE PRESENTS To celebrate the launch of the new AW12 denim collection, we set out to find out more about the people who inspired it. In a series of short films, we explore the range while following these inspiring young people as they show us their streets and their lives.

BENCH. AW/2012

p 51

SAM CuNNIFFE Since its inception in 2011, NTS Radio has been setting the standards across London for independent radio stations.

Holding down the fort at the Gillett Square HQ, on-air producer Sam Cunniffe knows exactly what kind of blood, sweat and tears it’s taken to build one of the most respected and talked-about music developments around in little over a year. With the station’s schedule reading like a “who’s who” of the capital’s pioneering producers and artists, its beats are the soundtrack to the area’s creative community.

In the first of our films surrounding the Denim Range, Sam offers us a glimpse of the inner workings of the station. Exploring the role of independent radio in London, we see the

jacket BMKA1523 LYNDEN sweat BMEA2139 LARSON jeans BMMA0224-1 BREAKS

wires and sockets, the gaffer tape and coffee cups, and the faces behind the voices.

We follow Sam, kitted out in Bench. jeans, to a hidden, appointment-only warehouse filled with rare and sought-after vinyl. As he carefully selects records for the party that evening, which he runs and promotes, LIFE, he explains the role music has in his life and why it inspires him to push boundaries through the station, the events and his own.

SCAN TO WATCH THE FILM

CHERISH KAYA From beginning as a volunteer in Rough Trade West record shop, to becoming a staggeringly-young record label boss, 21-year-old Cherish Kaya hasn’t found her age an obstacle in her rise.

Having proven her mettle as an artist herself, playing in bands such as Ipso Facto and Florence + The Machine, it was while scouting for Columbia Records that Cherish developed an ear for talent.

Realising she knew a good thing when she heard it, she quickly decided that by going it alone she’d have the freedom to create something bold. In June 2012, Cherish launched Kaya Kaya Records, a subsidiary of the groundbreaking independent label XL Recordings.

With a select team of hand-picked artists that she believes in, she’s determined to make people sit up and listen.

We captured Cherish’s journey as she prepared to launch the label, confidently taking on the city in a pair of Bench’s finest blues. Our film follows her in the run-up to her debut event at Birthdays in Dalston as she explains the highs and lows of making a go of it, and reflects on what is really just the first step of her next big adventure.

jeans BLMA 0250-2 FRET V2 SCAN TO WATCH THE FILM

BENCH. AW/2012

p 53

jacket BLKA1634 SPARKLER knitwear BLFA1159 SNOW SHOWER shirt BLAA0912 LUMBERJILLIAN jeans BLMA0251-1 FREQUENCY

jacket BLKA1646 HUYTON knitwear BLFA1147 MAJORAMA dress BLSA1421 CLASSIC BLEARY hat BLWA0354 HEXONE

HER: shirt BLAA0909 PRIVATE knitwear BLFA1114B FANCY THAT B t-shirt BLGA2463 TYPOE skirt BLDA0934 FLYPAST HIM: jacket BMKA1466 KITCHO knitwear BMFA1081 KARIBOU trousers BMNA1207C IRVING C

BENCH. AW/2012

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jacket BMKA1535 LASSO sweat BMEA2144 BALLBROOK t-shirt BMGA2892 ADDERLEY jeans BMMA0236-2 ANTHEMIC

HER: jacket BLKA1635 LAKSO dress BLSA1400 DAMSELS HIM: jacket BMKA1512 LYME knitwear BMFA1111 LYKKIE jeans BMMA0226-2 CHORD 2

HER: jacket BLKA1644 LANG knitwear BLFA1174 CREWTON trousers BLNA1331 MUSHABOOM HIM: shirt BMAA1075 ALPHA

BENCH. AW/2012

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HER: jacket BLKA1639 BEST knitwear BLFA1171 HOOD TOWN dress BLSA1392 HIPSTA HIM: jacket BMKA1524 LOCAL t-shirt BMGA2888 LASER trousers BMNA1207D IRVING D

jacket BMKA1522 LEONARD shirt BMAA1066 LOOP trousers BMNA1230 LOWERY

HER: jacket BLKA1597 GREENLAND sweat BLEA3057 CANDISH HIM: t-shirt BMGA2761B JUROR B sweat BMEA1962 B INCE B jacket BMKA1472 ELECTRONICA jeans BMMA0224-1 BREAKS

BENCH. AW/2012

p 59

M.THOMAS & A.JOHNS: CONCRETE JuNGLE

The world’s pretty well-equipped when it

How long Have you been building?

comes to finding spots for skating. With a vast

AJ: I’ve built numerous things over the years, to skate with my friends,

network of purpose-built parks - not to mention

including jump ramps, quarter pipes, grind boxes, sketchy drop-ins,

entire cities of benches and curbs - there’s always a

an attempted mini ramp and even a tarmac skate park, which we

place to grind.

built with the money the council donated to one of the skateboarders’

But the scene’s always had a rebellious streak,

dads’, who was a builder, to create a skate park for us. All of us kids

and in recent years they’ve been taking up arms.

helped and no one had laid tarmac before. It was the worst quality

With cement mixers and shovels, they’re building

material and was a total fail. But we skated it for a good while anyway.

their own places to skate, perfectly formed and made to measure.

In the summer of 2011, a group of friends set

Does skateboarding naturally lend itself to the more hands-on person?

out to turn an abandoned pool in South London

MT: I think skaters have been building stuff forever, if not building

into their own private spot. A spot that’s secret and

then re-appropriating. Banks, ledges, pools, stairs, all get used or

illegal, the location is not to be revealed until after

“fixed” to skate. They already have the ideas to build, it’s just a matter

its demolition. Adam Johns and Martyn Thomas

of finding people who are into taking it a stage further.

were part of that group. They tell us what it was

AJ: Whether it’s creating your own skateboard companies or

like to be involved with such a big build and why

building your own skate parks, there’s always been a DIY element in

they’ve decided to take part in another.

skateboarding. So we now have skater-run, park-building companies.

Where do you even start planning and tackling something so huge?

AJ: The latest spot we are building, I actually found on Google Earth. Total luck. We decided to set out on a wet Saturday morning in March to check it out, with some tools just in case it had any potential. As soon as we got there it was obvious, “Yes, we can build something here”, and without hesitation we started moving dirt and stones into position. We levered up some large paving slabs, cemented them into place against a wall, and four hours later we’d built a wall ride.

BENCH. AW/2012

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MT: It’s a collaborative process, with everyone bouncing ideas

AJ: All you can do is be discrete and tidy so as not to draw too much

around. So it’s all down to who you have in your team. If you have

attention to what you are doing. I believe that when it looks like you

a lot of street skaters in your team you will most likely come up with

are working hard, people just presume you are meant to be there.

designs that reflect that. And a lot of it is spontaneous. I’ve watched

Hi-vis jackets can almost make you invisible. The more interesting

the key players all deep in discussion about what to build and where.

terrains and environments excite and inspire me, but it can be a very

All of them getting very excited about how hard, or f*cked up, it will

temporary thing. That is why you have to take advantage when you

be to try and skate it when it’s done. It’s a great atmosphere.

can, get motivated and get organised or you will miss out on a new opportunity.

What kind of commitment does it take?

MT: Everybody puts in a lot of money for concrete, dedicates whole

Is the worry of demolition why you try to keep it as secret as

weekends to prepping the rubble and the flashing (wooden frames),

possible?

then there’s mixing and pouring up to a ton or two of concrete by

MT: When you find a spot to skate, word gets out and then it gets hit

hand. Having spent a few days sweating with these guys, I can vouch

by everyone. Sites are being kept secret because it is so much work to

for how much hard work it is and how much dedication it needs.

get one built, you want it to last as long as possible. Skateboards have a nasty habit of making things fall apart.

What’s the biggest worry in the build team?

MT: Getting found out before we even get to skate it, that would be

Slaving away at the weekend with a cement mixer is like taking on a

hard. Though, depending on the location they might allow you to

second job that doesn’t pay. What kicks do you get out of it?

stay. The more unused and hidden the location, the more valuable it

MT: Pride in skating something that you actually build with blood,

is to the build team.

sweat and your friends. It’s way more rewarding than kicking back

with a cup of tea and admiring the shelves you just put up in your house, that’s for sure.

AJ: It gives us all our very own secret to enjoy. For a certain time. All skateboarders would rather ride something built by other skateboarders as opposed to those built by the car park building firms, which built a lot of parks in small towns during the 90s, when councils didn’t want to spend much money on proper spots. Plus it’s always challenging to skate because of its handmade quality. And there are no kids on scooters to crash into.

The second project is due to be demolished when the land is cleared; how will it feel to stand and watch the ship going down?

MT: There are videos called “The Strongest of the Strange” that feature an impressive build - one that inspired me and many others. They had to stand by and watch it get demolished, and it must have been hard. But they built another. And another. We’ve not yet had to stand by and watch everyone’s hard work be destroyed, but it will happen. I guess it’s just important to make the most of it and not rely on it lasting forever.

AJ: You are a little gutted. But you have to accept from the start that it may not be there tomorrow.

You can’t dwell on what might happen, as that may not happen for a long time. You would never consider doing it in the first place if you couldn’t accept that reality.

A build of this size involves a pretty hefty amount of skill, how did you guys get the sort of construction knowledge you need?

AJ: There has been more forward planning involved at times, when friends who actually build skate parks for a living came on site. They brought plywood shuttering as a template for the transition shape or ready made pool coping. You can always accomplish something if you’re motivated enough to get your hands dirty and work together.

MT: This inspired a lot of the others to buy the right tools and learn how to work the concrete themselves. Within a few days of building, the guys really knew their stuff and I found myself getting taught by my friends who were still pretty fresh to it. I was blown away and inspired by the whole operation.

BENCH. AW/2012

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