b Magazine ­ Autumn/Winter 2009-10 ­ Issue No 1

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L O N D O N N O W C A R O LY N M A S S E Y, P I E R S AT K I N S O N , K E Z G L O Z I E R , YA S M I N A D E X T E R T I M S O A R , P E T E R J E N S E N , F R A N C I S U P R I T C H A R D , M I C H A E L VA N D E R H A M , N ATA S C H A S T O L L E , M A R T I N O G A M P E R , C L A I R E D E R O U E N , S H O N A H E A T H , C A S E L Y- H AY F O R D

UK

£4.50

(COVER) J A S O N WEARS HAT, SHIRT AND TROUSERS

BY O U R L E G A C Y ; TIE FROM BLAIR’S ANTIQUES PHOTOGRAPHY: ROGER RICH, FASHION EDITOR: SAM RANGER

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AT H O M E W I T H

THROUGH THE KEYHOLE OF FOUR UNIQUE HOMES W O R D S C L A I R E WA L S H P HO T O G R A P H Y R E T T S W O O D

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B SHOCK

THE ICONIC CASIO G-SHOCK GETS A B MAKEOVER W O R D S D A L C H O D H A P H O TO G R A P H Y D AV I D C L E V E L A N D

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A VERY MODERN MAN

AN INTERVIEW WITH MENSWEAR DESIGNER TIM SOAR W O R D S D A L C H O D H A P H OT O G R A P H Y W I L L E M J A S P E RT FA S H I O N E D I T O R J A S O N H U G H E S

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COLLECTIONS W H AT ’ S I N S T O R E F O R AUTUMN/WINTER 2009-10

P H O T O G R A P H Y FA S H I O N E D I T O R

R O G E R R I C H S A M R A N G E R

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LONDON NOW

B P R E S E N T S F O R T Y- N I N E C R E AT I V E S F R O M T H E A RT S, FA S H I O N , F I L M , G R A P H I C S A N D M U S I C P H O T O G R A P H Y A I T K E N J O L LY E D I T O R J A S O N H U G H E S

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THE PRICE OF LOVE

B E S S AY: E VA L U AT I N G T H E M A L E WA R D R O B E W O R D S

B E N

P E R D U E

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R E A D I N G M AT T E R S

B S H O P S F O R B O O K S AT L O N D O N ’ S L E A D I N G INDEPENDENT BOOK STORES W O RD S M I C H A E L N O T T I N G H A M P H OT O G R A P H Y G E O R G I A K U H N

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SHOP

Y O U S E E , Y O U WA N T … H E R E ’ S W H E R E T O G E T I T

B-store, Dover Street Market LONDON

Harvey Nichols HONG KONG

Opening Ceremony NY, LA , TOKYO

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C H R I S T O P H E R C O L V I L L E - W A L K E R Contributing editors

B E N P E R D U C L A I R E W A L S M I C H A E L N O T T I N G H A S A M R A N G E

E H M R

Subeditor

S T E P H A N

T A K K I D E S

Contributing photographers

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A D G K R R W

I T K E N A V I D C L E E O R G I A A S I A B E T T S O G E R I L L E M J

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O L L V E L A N K U H O B U L W O O R I C A S P E R

Y D N A D H T

Fashion assistants

A N N A H A R D Y C A I A R Y S Z K O W S K A C R I S T I N A H O L M E S R O S E A G N E W Creative consulants

M A T T H E W M U R P H Y K I R K B E A T T I E This issue was completed to the sounds of The A s s o c i a t e s , C a b a r e t Vo l t a i r e , D a v i d B o w i e , F a d Gadget, Giorgio Moroder, Joe Crow and Magazine. b M A G A ZI N E — I SSN 2042– 096X 24A SAV ILE R O W, LO N D O N W 1 S 3 P R + 4 4 (0 ) 2 0 7 7 3 4 6 8 4 6 bs to r e l o n do n .c o m P R E SS E N QU I R I E S PAT R ICK T CHER N O , V ILLA G E P R E S S + 4 4 (0 ) 2 0 7 4 9 0 7 3 9 4 patr i c k @ v i l l ag e - pr e s s .c o m b Magazine is published by b Store London. b Magazine is a registered trademark. Nothing in this magazine may be reproduced in whole or par t without the prior written permission of the publishers. Transparencies and any other material submitted for the publication are sent at the owner’s own risk and, while ever y care is taken, neither b Magazine, nor its agents, accept any liability for loss or damage.

Although b Magazine has endeavoured to ensure that all information inside the magazine is correct, details may be subject to change.

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AT H O M E W I T H

C L A I R E WA L S H TA K E S U S T H R O U G H T H E K E Y H O L E O F F O U R U N I Q U E H O M E S

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TIM AND SHONA Shona Heath’s fantastical sets are filled with the brilliant and the unexpected. With that in mind, I peep through the window of the basement flat she shares with her photographer husband, Tim Gutt, desperate to get inside. “You won’t notice it but we are both so messy, it’s hideous!” she says, as we make our way through the very neat living room filled with second-hand gems and out to the walled garden. Grass wouldn’t grow, she tells me, so instead it’s covered in clover. Nestled in the corner, a clutter of moulded deer and kitsch 1970s cat ornaments watch on, as we settle down to coffee.

Shona has lived here for 10 years and Tim moved in four years ago, since when Shona’s personal collection of “junk” has thinned out a little and what’s left is the “common ground”. I spy a spindly wooden chair (a friend expertly grafted to make it more than five feet tall) and three child-sized Victoriana chairs (adapted from a local market buy – “I rarely leave Dalston when propping”). Then there’s the

1980s-looking, thick wood guitar (no strings – a prop) and a pair of thong sandals walking up the bathroom wall. Although they’ve been careful not to transport the latest set home, the wit and theatre of both Shona and Tim’s work has certainly crept into their flat.

Their possessions fall into two camps, Tim tells me: “Expensive things made of good materials, or something crap we have made into something special.” They both find shopping stressful and most of the London markets void of anything decent.

“They feel exhausted,” Shona says, so they normally only acquire or adapt pieces they have come across when sourcing for jobs.

Although they have recently finished renovating, Shona admits that it does not look so different from when she moved in a decade ago: “I think it is because of what I do; you change a room, change a whole set … I have never really changed my home.”

Tim and Shona both have studios across the road from their home and do their best to keep the flat work free; but as they are often called upon to collaborate, discussion on the latest project does continue into bed. Together they produce work that exposes some kind of reality; they cast from the street and create tension in their pictures that feels both authentic and dramatic. “Most of the time we have a loose idea, pick a couple of elements and then trust that on the day we are good enough to create something different.” Future projects together include a live shoot as part of SHOWstudio’s Fashion Revolution, taking place at London’s Somerset House in September during London Fashion Week.

Work aside, the couple are expecting a baby toward the end of the year and although they love their home, space may become an issue. “If we move, maybe we’ll do something dramatic,” Shona says, “but for now we think the baby is dramatic enough!”

“ Y O U C H A N G E A R O O M , C H A N G E A W H O L E S E T …

I H AV E N E V ER R E A L LY C H A N G E D M Y H O M E . ”

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PETER JENSEN Conversations with Scandinavian friends about living in British homes have been none too complimentary; they were riddled with stories of dodgy boilers and the horror of carpeted toilets.

These scenes are familiar to the Danish fashion designer Peter Jensen. He has experienced the loathsome shared houses of the East End and come out the other side, living with his partner in their own petite apartment in Primrose Hill for the past nine years. “The longer you live away from your own country, the more you romanticise it,” he admits. “In my eyes now, Denmark is perfect … it can do no wrong. But that is obviously not true.”

That said, Peter has stuck with his Scandinavian roots when kitting out his home: “Yes, everything is Scandinavian here,” he smiles.

The flat is tiny, a sacrifice perhaps for it’s enviable location. “It has a villagey feel, the people like to keep it the same and I find it really nice, I have to say – it has kept some history.” The walls are lined with shelves, photographs and pictures. Vintage family snaps, show invites and shots from past collections jostle for space. The neat shape and clean lines of their classic Finnish and Danish furniture are the perfect choice for the short proportions of the

rooms and make visual space for Peter’s keepsakes.

I ask him if he is neat. “Yes!” he answers without missing a beat, “things should be where they should be,” he tells me rather dryly. I root through the knitted and patchwork cushions on the sofa. “I made that one when I was little,” he says, “I found it at my grandma’s house, she had kept it.” It nestles in next to dolls given to the designer by Japanese fans.

Life at Peter’s East End studio is very different: it changes constantly with new ideas and additions.

His home evolves at a slower pace: “I add pictures, I add furniture … it’s getting more and more cluttered!”

Lucky he has an eye for order. Keeping a distinction between home and work is essential to his sanity, but Peter finds he draws best when sat at his own dining room table: “I have a specific routine.”

We talk about the Scandinavian homemaking tradition and how he hangs flowers to dry from his ceilings, fills the space with plants, and lights candles most evenings. It is not just about collecting, he tells me, it is having nice pieces to make use of everyday. He finds only one drawback to living in such a small but perfectly ordered space: “Dinner guests are limited to five … including me!”

“THE LON G E R Y O U L I V E AWAY F R O M Y O U R O W N C O U N T RY, T H E M O R E Y O U R O M A N T I C I S E I T. ”

14 J U D I T H WAT T Minutes away from the ancient Hampstead Heath, the area’s peace is briefly broken when I ring the bell of Judith Watt’s home to be greeted by the barks of her four adorable dachshunds: Bobbey, Wiggles, Hettie and Raffles. We all (the dogs, photographer and I) follow Judith into the long living space, adorned with Judith’s collection of antiques. She admits she was a little shell-shocked when she moved to the heath four years ago, always arriving late to everything, she could not get used to the distance: “Once you do get used to it, the peace and quiet is fantastic and being around people who don’t have anything to do with fashion – it offers a different perspective and reality.” Working as a fashion journalist, author, historian and tutor, Judith’s passion for the subject is infectious, and her knowledge astounding; antique prints hang on the walls, alongside paintings by her parents, who were both artists.

China lines the shelves of the kitchen: blue and white, Deco era, “anything that I think is beautiful”. She boils the kettle on her 1930s cast-iron stove (salvaged from a renovation of the neighbouring flats), makes coffee and takes me next door into her office.

The soft-green sharkskin-papered walls of the hall (inspired by the Deco era), contrast with the shocking pink of the study: a combination seen on the catwalks that Judith can chart through history. “Contemporary fashion does not really influence me as I have seen it before. My look is informed by the 70s, by orientalism, hot colours and I love 18th-century chinoiserie,” she tells me, showing me through her collection of fashion illustrations and books. The shelves heave with her reference library – books, softness and light make a home for her and so her favourite spot is here among them: “There is a sense of sanctuary.”

History informs the patterns and colours in her home, but also much of the furniture is inherited from her family, so stories and emotion are attached to each piece. The mahogany bookcase, made by her grandfather, framed antique embroideries, the prints and the china. “I hope I am not too precious!”

She believes in preserving them but using and enjoying them, giving them a continued life.

Judith’s latest book, Dogs in Vogue, will be published in the autumn and is, of course, a marriage of two of her great passions. She directs me to an 18thcentury decoupage screen in her study that belonged to her grandmother. Covered with fashion plates, it is something that, she tells me, she would look at for hours as a child and has obviously been a great inspiration in her life. She points out: “See, there are bloody dogs all over it!”

“ R B 7

C E E 0

O N T E M P O R A R Y FA S H I O N D O E S A L L Y I N F L U E N C E M E A S I H AV E S E E F O R E .

M Y L O O K I S I N F O R M E D B Y S , B Y O R I E N TA L I S M , H O T C O L O U R S I L O V E 1 8 T H - C E N T U R Y C H I N O I S E R I E

N O T N I T T H E A N D . ”

F R A N C I S A N D M A RT I N O

18 A three-storey 1980s-built terrace in the middle of an east London housing estate may seem an unlikely home for the artist Francis Upritchard and her furniture designer husband, Martino Gamper; however, once through the front door the wealth of space and light explains all. “It’s brutal, it’s ugly and it’s anti. It looks unassuming,” Francis says.

She has lived in and around London Fields for nearly a decade and established the artist-run Bart Wells Institute locally in 2001 with Luke Gottelier.

Martino too knew this side of the fields: “I used to cycle through but would never stop – it was a no go,” he admits. These presumptions have been replaced with an appreciation for the area as a quiet, leafy and neighbourly place. The proportions of the building are generous and comfortably house the couple’s design and art collections.

“To me the house is less important than the art in the house,” Francis explains, her favourite spot being the ground-floor living space, which belongs to two large canvases hanging on opposite walls.

The room is dissected by open shelving, filled with hand-thrown bowls, many of which are from

Francis’s native New Zealand and Wabi-Sabi-style pieces, picked up on trips to Japan. Martino’s Italian gusto and passion for food is evident from the excess of pans and utensils that hang in the kitchen: “We cook and eat together three times a day, here or in the studio,” he tells me.

Francis had thought that when Martino moved in a year ago, the furniture would be overhauled. “But actually he does not really care – in the way I don’t really either … working on our own house does not seem as exciting as working.” So the space is slowly evolving to suit their tastes and needs. Neither buys into the pre-packaged way of living, Martino explains: “We enjoy the idea of reappropriating things and creatively working things out.” They pick up pieces from the local weekend market, known as “the waste”, it’s “all sorts and random”. These ad-hoc acquisitions mix with Francis’s sculptures and Martino’s furniture, alongside swaps – paintings, drawings and sculptures by artist friends, traded for their own work.

The full three floors of the house are home to contemporary, engaging work, of all scales and

“TO M E T H E H O U S E IS L E S S I M P O RTA N T THA N T H E A RT I N T H E H O U S E . ”

mediums. A solid-silver root-ginger ornament by their friend and collaborator Karl Fritsch catches my eye, as do Francis’s own sculpted ceramic lights, edging their way clear of the dining table.

Francis shows me a kaleidoscopic patchwork quilt by Caroline Larch; it is a one-off and was a wedding gift. The collection is made domestic by its surroundings: we all sit on chairs by Martino and Max Lamb as we sip tea at the 1970s-looking dining table. Yes, these chairs are design-art pieces, but furniture too and the couple readily make proper use of them.

Recently married, the couple plan to travel as much as possible next year. Exhibitions are scheduled for the Vienna Secession and the Triennale di Milano for Francis and Martino respectively. And they are working on collective shows with Fritsch in New Zealand. So it looks as if any home plans will have to wait a little longer.

Claire Walsh writes and researches the interiors field for WGSN. She has worked for Elle Deco and is putting the finishing touches to her first travel guide for Wallpaper*.

PHOTOGRAPHY

RETTS WOOD

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The iconic repute of the Casio G-Shock watch harks back to the mid-1990s for many of today’s fashion army, but the G-Shock model was first released in April 1983.

It was created to challenge the traditional concept of a watch as a fragile and easily damaged accessory. The G-Shock was different because of its rugged and bold design and it was virtually unbreakable – a watch that could be dropped from the top of a building and still not break presented a vision that was both novel and no-nonsense.

The G-Shock and Baby-G went on to make their mark on a decade identified with a youth that partied just as hard as it played, while observing the Spice Girls’ world takeover – a time when Absolutely Fabulous was just that, Hyper Hyper reigned the high street and the “supermodel” title was de rigueur.

b SHOCK

In February this year, the latest line of G-Shock’s Tokyo models were presented in a way befitting Casio’s long history of innovation: a retail collaboration between G-Shock and b Store entitled Tokyo Calling. Matthew Murphy of b Store, who commissioned the London-based art directors Hellicar & Lewis to oversee the project, said: “We were honoured to be asked to collaborate with

THE ICONIC CASIO G-SHOCK GETS A B MAKEOVER G-Shock, as for both myself and Kirk [Beattie] growing up, Casio and G-Shock were the coolest brand around!”

The conceptual window display Together (Everybody Hertz) was showcased during London Fashion Week.

Pete Hellicar (of Hellicar & Lewis) says of his own G-Shock: “I tested one by trying the G-Shock ‘wrap it around your bike tyre’ test. The watch was fine, but it definitely ruined the beautiful symmetry of my wheel!”

Casio’s ethos is simple: creativity and contribution – in short, offering original and useful products in a way not dissimilar to the b Store, which has been selling the best in independent design since 2000. The two forces came together again for autumn/winter 2009–10 and the recent collaboration has resulted in two limitededition b Store Super Squares. Using prints from the autumn/winter b Store collection on the G-7800-1ER model, the two designs skilfully fuse the retro appeal of G-Shock with Casio’s commitment to new technology.

One with spots and one with plaid, the watches are a timely example of a meeting between two much-loved brands. DC PHOTOGRAPHY: DAVID CLEVELAND STYLIST: CLAIRE WALSH

GSHOCK.COM

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“ PA R A D O X I C A L L Y, B E C A U S E T H E R E I S S O M U C H A R O U N D , Y O U H AV E T O B E E X T R E M E L Y F O C U S E D O N W H AT Y O U WA N T T O S AY. THE TIM SOAR WORLD IS ABOUT TRYING T O C O N V E Y A C E R TA I N E M O T I O N ; I T ’ S A B O U T H AV I N G T H E A N A L O G Y B E T W E E N ESOTERIC AND FAMILIAR.”

A VERY MODERN MAN AN

INTERVIEW

WITH

TIM

SOAR

P H O T O G R A P H Y W I L L E M J A S P E R T FA S H I O N E D I T O R J A S O N H U G H E S

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Beginning as a maker of models for architects and TV commercials, the tangential career of Tim Soar has been the result of what he humbly terms “moonlighting”. Soar teamed up with the graphic designer Neville Brody to launch the interiors project POST Design in the 1980s and subsequently worked as a graphic designer, moonlighting as a DJ because, in his own words, “it was a hobby that I really enjoyed and getting paid for it was brilliant”. Soar then went on to set up the music consultancy firm CONCRETE MUSIC, responsible for creating the sounds heard thrusting into several of London’s designer hotels, most notably Ian Schrager’s two London projects, St Martin’s Lane and Sanderson, and the Great Eastern hotel in the City.

Today, as Soar sits in the garden of his south Hackney flat, he is a designer – a designer at the forefront of London’s current menswear moment with few qualms about his latest role. “There is a steep learning curve in fashion,” Soar says, “and of all the disciplines I have done, fashion is the hardest because of the technical aspects involved in it. The fact that it is so cynical too – it is brutal!” The feted association music has with fashion makes Soar’s latest move all the more logical.

“Well, I was doing a lot of work with designers who were wanting catwalk music and I had always been really interested in fashion. This idea of doing a fashion label became stronger and stronger by association almost – by association with all of the other people I was working with, who were in fashion.”

As a young boy growing up in Sussex, Soar’s earliest creative memory was his obsession with Airfix modelling. The skills he then learned have carried him through countless avenues of creative commotion. But Soar sees his transition from model maker to graphic designer to DJ to music consultant as an evolution that formed the backbone of his current career as a designer of arcane menswear.

During a time when the stylish appear to be playing extras in a sartorial theatre production, wearing a homogenised costume of plaid shirts and skinny jeans, Soar is reacting the only way he knows how. “It’s fucking hard to go down the route of trying to compete in this whole plane of style without the backing. I don’t

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think it’s possible for a small designer to be all things to all people.” Soar’s vision relates back to his early days in London, moving to Camden Town in 1978, during the post-punk movement: “You’d missed the real punk nihilism of ‘burn everything’ and got the really interesting bit, so I moved into the music scene naturally. It was a bit less black and white than early punk; post punk was more nuanced. The music of that time was jazz, it was world music, it was electronic, it was early hip-hop – all these different things were suddenly mashing together … it was the start of the culture we have now where any influence is valid if you deem it to be.”

The influences Soar draws on today have developed from the relationship between the definite and the intangible. Having lived in London at a time when interesting images and photographs were harder to come by, Soar recalls: “You could get images in NME or on the albums you bought and then i-D came about, but now we are at the end point of history where i-D began, which was showing what people looked like on the street. Now everyone is doing that.” The fact that pictures and information are so readily available to

“ W E L L , C L O T H E S A R E I N C R E D I B LY P O W E R F U L I N Y O U R E V E RY D AY L I F E A N D I D O N ’ T U N D E R S TA N D P E O P L E T H AT D O N ’ T W A N T T O E N G A G E W I T H T H A T. ” today’s blogosphere generation is key to Soar’s design aesthetic. “Paradoxically, because there is so much around, you have to be extremely focused on what you want to say,” Soar explains. “The Tim Soar world is about trying to convey a certain emotion; it’s about having the analogy between esoteric and familiar.”

When working as a music consultant to hoteliers, Soar remains to some extent removed from the process, as ideas tend to be developed over time. With fashion, however, Soar works much harder to make his message understood. “Consultancy is never about making your statement of intent known right away and that is what fashion is about – presenting your statement of intent at a particular time. When I’m DJing, it’s great because you can draw people in that really don’t understand esoteric music and carry them along, so they will go with it next to people who do understand it. That is directly parallel to what I try and do with my fashion, which is to have this esoteric element that is still very approachable and is not wilfully odd. It’s important to be approachable and be esoteric and forward thinking … but treading that fine line is the challenge.”

Although the concept of being approachable is hugely personal, Soar is quick to recognise where his clothes fit in among today’s level playing field of style and the stylish. “I have to sell a particular focused image, which is why I’ve initially worried about generating the image over the sales of my brand. People need to understand the vision among the scene of homogenisation.” But Soar teases that his clothes – from spring/summer 2009’s Hawaiian-print suits to this season’s latex single-breasted jackets – are approachable. “Of course my idea of approachable might be clearly different from someone on the high street, but you have to have a resonance that everyone can understand in some way and whether they embrace it or not, I think it is important that things resonate with everyone. Today men are much happier to engage in fashion. Even if they cannot quite understand it, they will still consider it.”

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“For me, clothes and fashion are interchangeable, but what I find really engaging about clothes is the way they allow you to present yourself in a different way and I play with that all of the time.” As is appropriate for such a multifaceted designer/creative, Soar’s own costume changes frequently. “Well, clothes are

incredibly powerful in your everyday life and I don’t understand people that don’t want to engage with that,” he says.

Soar’s collections with their esoteric and familiar nuances have created a uniform for a new man, who is able to appreciate investigative craftsmanship and is willing to take the odd sartorial risk. Motivated by a vision inherited from the Japanese designers he coveted when he first became aware of design in the early 1980s – “It was Comme, Yohji and Issey, and then Gaultier was really big in the mid to late 80s.” – the point of interest for Soar was not just the clothing, the fabrics, the button detailing, but the creative prophecy these designers alluded to. He concludes: “They felt like they had some intellectual package or baggage with them. Whether it was deliberate or not, who knows. But that’s what it felt like. I would like to have that with my collections but that really isn’t for me to say.” DC

All clothes by Tim Soar. soar-london.com

GROOMING: ADRIAN CLARK @ CAREN MODEL: ASH @ SELECT PHOTOGRAPHY ASSISTANT: JON CARDWELL FASHION ASSISTANTS: ANNA HARDY AND CAIA RYSZKOWSKA

(OPPOSITE) J A S O N WEARS HAT, SHIRT AND TROUSERS

BY O U R L E G A C Y ; TIE FROM BLAIR’S ANTIQUES (THIS PAGE) I E VA WEARS JUMPER AND JEANS BY O U R L E G A C Y

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COLL E C T I O N S PHOTOGRAPHY R O G E R R I C H

FA S H I O N E D I T O R S A M R A N G E R

J A S O N WEARS SUNGLASSES AND JUMPER BY A N N S O F I E B A C K

I E VA WEARS LACE TOP AND DENIM SKIRT BY A N N S O F I E B A C K ; TIARA FROM BLAIR’S ANTIQUES; TIGHTS BY EMILIO CAVALLINI; SHOES BY TUK A L E K WEARS TIARA FROM BLAIR’S ANTIQUES; LACE TOP AND JEAN SKIRT BY A N N S O F I E B A C K ; TIGHTS BY EMILIO CAVALLINI; SHOES BY TUK

A L E K WEARS DRESS AND BOOTS

BY B E R N H A R D W I L L H E L M ; HAT FROM BLAIR’S ANTIQUES; SOCKS BY CELESTE STEIN, AVAILABLE AT MYTIGHTS.COM I E VA WEARS DRESS AND BOOTS

BY B E R N H A R D W I L L H E L M ; HAT FROM BLAIR’S ANTIQUES; SOCKS BY CELESTE STEIN, AVAILABLE AT MYTIGHTS.COM

J A S O N WEARS TOP AND TROUSERS

BY B E R N H A R D W I L L H E L M

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J A S O N WEARS SHIRT BY B S T O R E I E VA WEARS SHIRT BY B S T O R E ; WATCH BY C A S I O G - S H O C K

J A S O N WEARS SHIRT AND TROUSERS

BY C H R I S T O P H E L E M A I R E ; HAT FROM BLAIR’S ANTIQUES; BOOTS BY B S T O R E

A L E K WEARS CARDIGAN AND TROUSERS BY C H R I S T O P H E L E M A I R E ; HAT FROM BLAIR’S ANTIQUES; SOCKS BY PURDEY

J A S O N WEARS COAT BY U T E P L O I E R ; TROUSERS BY T I M S O A R ; SOCKS BY FALKE; SHOES BY B S T O R E

I E VA WEARS SHIRT AND CARDIGAN BY STEPHAN SCHNEIDER; HEADBAND FROM BLAIR’S ANTIQUES; SOCKS BY CELESTE STEIN, AVAILABLE AT MYTIGHTS.COM; SHOES

BY O P E N I N G C E R E M O N Y A L E K WEARS DRESS BY STEPHAN SCHNEIDER; HEADBAND FROM BLAIR’S ANTIQUES; SOCKS BY CELESTE STEIN, AVAILABLE AT MYTIGHTS.COM; SHOES

BY O P E N I N G C E R E M O N Y

A L E K WEARS DRESS BY B S T O R E ; SOCKS BY CELESTE STEIN, AVAILABLE AT MYTIGHTS.COM; SHOES BY RUPERT SANDERSON I E VA WEARS JUMPER AND TROUSERS

BY B S T O R E ; SOCKS BY CELESTE STEIN, AVAILABLE AT MYTIGHTS.COM; SHOES BY RUPERT SANDERSON

48

J A S O N WEARS T-SHIRT AND TROUSERS BY B S T O R E

A L E K WEARS JUMPER BY B L E S S

A L E K WEARS DRESS

BY S O P H I E H U L M E ; TIGHTS BY CELESTE STEIN, AVAILABLE AT MYTIGHTS.COM; SHOES

BY RUPERT SANDERSON I E VA WEARS COAT

BY S O P H I E H U L M E ; TIGHTS BY CELESTE STEIN, AVAILABLE AT MYTIGHTS.COM; SHOES

BY RUPERT SANDERSON

(OPPOSITE) J A S O N WEARS SHIRT AND BEADED CAPE

BY P E T E R J E N S E N (THIS PAGE) I E VA WEARS HAT, JUMPER, SHAWL, TROUSERS AND BOOTS BY P E T E R J E N S E N A L E K WEARS HAT, CAPE, DRESS, BELT AND BOOTS

BY P E T E R J E N S E N

54

A L E K WEARS DRESS BY HARTMANN NORDENHOLZ; HAT BY MACCULLOCH & WALLIS; BOOTS BY RUPERT SANDERSON I E VA WEARS DRESS BY HARTMANN NORDENHOLZ, HAT BY MACCULLOCH & WALLIS; BOOTS BY RUPERT SANDERSON MAKE-UP: FLORRIE WHITE @ D+V USING GIVENCHY HAIR: KENICHI @ CAREN MODELS: ALEK T AND IEVA @ PREMIER, JASON WILDER @ FM PHOTOGRAPHY ASSISTANTS: MARK SANDERS AND MATT FOXLEY SHOT AT STREET STUDIOS, LONDON RETOUCHING: BIG TED AND LITTLE TED

R A I M U N D B E RT H O L D D E S I G N E R “ T H E F I R S T W O R K P L A C E M E N T I H A D WA S AT V I V I E N N E W E S T W O O D . T H E H E A D O F S T U D I O D E C I D E D T H AT T H E B E S T P L A C E F O R M E T O L E A R N WA S AT T H E I R O N I N G B O A R D … S H E H A D M E R E - C O V E R I N G I T A N D T H E N E X T D AY S H E G AV E M E A R O L L O F W O O L TA R TA N FA B R I C T O R E - C O V E R A L L T H E O F F I C E C H A I R S I N T H E S T U D I O . T H A N K F U L L Y T H I N G S I M P R O V E D A F T E R T H AT. ”

L OND O N

N O W

B P R E S E N T S F O R T Y - N I N E C R E A T I V E S F R O M T H E A R T S , F A S H I O N , F I L M , G R A P H I C S A N D M U S I C

P H O T O G R A P H Y A I T K E N J O L L Y E D I T O R J A S O N H U G H E S M A K E - U P Z O E T A Y L O R U S I N G M A C H A I R J O H N N I E S A P O N G @ J E D R O O T U S I N G K I E H L ’ S

SOPHIE STEPHENS I L L U S T R A T O R

“PINNING

DOWN

WHAT

S T Y L E I S, I S L I K E S AY I N G FAT

GIRLS

WEAR

STRIPES,

DON’T BRA AND

SHOULDN’T

WEAR

A

UNDER THAT’S

BREAKING

OR BLACK

WHITE BORING

THE

–

RULES

A LWAY S W O R K S . ”

BEN PERDUE F A S H I O N

“ C R E A T I V I T Y

O N L Y

E V E R

W A N T S

J O U R N A L I S T

C A U S E S A N

C O N F U S I O N

E X P L A N A T I O N . ”

I F

S O M E O N E

TIM SOAR D E S I G N E R

60

“ M Y F I R S T R E A L M E M O RY O F FA S H I O N WA S I N 1 9 6 7 . W E H A D T H I S R E A L LY C O O L H I P P Y G U Y W H O C A M E I N T O S C H O O L T O D O A TA L K A N D H E WA S W E A R I N G S O M E B U C K S K I N , H I G H L A C E - U P M O C C A S I N S W I T H H I S J E A N S T U C K E D I N . A N D I R E A L LY WA N T E D T H O S E M O C C A S I N S A N D I M U S T H AV E B E E N A B O U T S E V E N O R E I G H T. ”

“ S T Y L E

I S

A N D

A B O U T

T H E

I S

V E R Y

P E R S O N A L

C H O I C E S

I N D I V I D U A L

…

O F

P L A I N LY

S P E A K I N G I L O V E B E A U T I F U L , T H O U G H T F U L

C L O T H E S .

B U T

FA S H I O N ? FA S H I O N I S A B O U T W H AT I S I N T H E M O M E N T A N D O F

T H E

M O M E N T. ”

P H Y L L I S WA N G A C T O R

COMMITTEE CLARE & HARRY RICHARDSON D E S I G N E R S

“WE JUST WORK TOGETHER. IT STARTED IN LIVERPOOL WHEN ONE

OF

US

MADE

INSTALLATION

OF

A

PA I N T I N G

ORANGES

GOOD TOGETHER. THEN WE AND

SOMEHOW

PORCELAIN

FOUND

ORNAMENTS,

ON

AND

THE

STICKS

AND

KNITTED AND

O U R S E LV E S CHAIRS,

OTHER

MADE

THEY

AN

LOOKED

MADE

CABINETS

DESIGNING

SCARVES,

G L A S S WA R E ,

LIGHTING,

S C U L P T U R E S, WA L L PA P E R , R U G S A N D O T H E R S U C H T H I N G S.”

I A N B AT T E N D E S I G N E R

“ F O R M E S T Y L E I S I N D I V I D U A L I T Y / PA S S I O N A N D A K N O W L E D G E O F Y O U R O W N C O M M I T M E N T T O W H AT D R I V E S Y O U . I H AV E R E A C H E D A P O I N T T H AT I D O N ’ T T H I N K FA S H I O N , J U S T C L O T H I N G ! I T ’ S T H E C O N N E C T I O N W I T H P E O P L E T H R O U G H D E S I G N A N D S T Y L E T H AT R E A L L Y I N T E R E S T S M E . I T ’ S J U S T M Y WAY O F L I F E . ”

JAMES WELLS A S S I S T A N T

D E S I G N E R

“ S T Y L E T O M E I S S O M E T H I N G T H AT I S T I M E L E S S , N E V E R F O L L O W S FA S H I O N A N D I S A LWAY S P E R S O N A L T O T H E I N D I V I D U A L . I T ’ S E V E R G R O W I N G A N D S H O U L D A LWAY S S E E M Q U I T E E F F O RT L E S S . T H I N K : T H E D U K E O F W I N D S O R ! ”

“STYLE

FOR

ME

MEANS

NEVER

H AV I N G T O S AY Y O U ’ R E S O R R Y. ”

SAM RANGER S T Y L I S T

N I N A P O RT E R S T U D E N T

A N D

M O D E L

66

“I’M

A

A LWAY S

PART-TIME LOVED

ESPECIALLY

MODEL

FASHION

MAKE

A

LOT

AND

AND OF

STILL

CREATING

BEADED

AT MY

THINGS

SCHOOL, OWN AND

I

BUT

I’VE

GARMENTS. LOVE

I

VELVET!“

“THE

ABSENCE

KNOWLEDGE

OF

OF

UNIFORMITY

INDIVIDUALITY

STATE

THAT

STYLE

IS

STYLE

THAT

CAPTURES

ABOUT A

IS

AND STYLE

THE TO

TRANSCENDING

PARTICULAR

UNCONSCIOUS

ME. TIME,

FLEETING

PEOPLE BUT

MOMENT

OFTEN

TO IS

ME

A

JUST

AS, IF NOT MORE, IMPORTANT AS SOMETHING THAT IS TIMELESS.”

JOE & CHARLIE C A S E LY- H A Y F O R D C R E A T I V E

D I R E C T O R

A N D

D E S I G N E R

I VA N A

B O B I C

D I R E C T O R “I’M

A

AND

WORKED

18, HAD

I

FILM

DIRECTOR

WORKED TO

PA I N T E D

MAKE AN

MY

WAY

ON HOT

A

NOW U P.

VERY

FILM DOGS

ACTRESS’S

BUT

STARTED E A R LY

SHOT IN

THE

TOENAILS

ON

ON,

A

OF A

RUNNER

WHEN

CAMBER

BACK IN

AS

A

SAND

I

WA S

SANDS. VA N

I

AND

DUNE.”

MARK BARKER A R T I S T

“ ‘ S T Y L E

I S

A

S I M P L E

WAY O F S AY I N G C O M P L I C AT E D – J E A N C O C T E A U ”

T H I N G S ’

ANNA BREWSTER A C T O R

70

“ I T ’ S

P R E T T Y

D A U N T I N G T R Y I N G T O D O A S C E N E C R A M M E D F U L L O F P E O P L E . ”

I N

A

R O O M

C A R O LY N M A S S E Y D E S I G N E R

“ T R U E

S T Y L E

I S

I N N AT E

A N D

C A N ’ T B E B O U G H T. A N D I F Y O U ’ R E REALLY STYLISH, YOU’VE PROBABLY J U S T

TA K E N

M Y

B R E AT H

AWAY. ”

M A T T H E W M U R P H Y & K I R K B E A T T I E S T O R E

O W N E R S ,

“TO OWN YOU

BE

B U Y E R S

ABLE

FUTURE R E A L LY

TO

D E S I G N E R S

CONTROL

DOING

LOVE

A N D

IS A

YOUR

SOMETHING PRIVILEGE.”

MARIANNE SPURR A R T I S T

“I

THINK

IN I

FLUX, WA N T

FOR

THE

MY OF TO

WORK

OFTEN

STATES L E AV E

VIEWER

A N D

C O N S U L T A N T

HAS

CHANGING

NARRATIVES TO

A

PICK

UP

SENSE OR

AND AND

OF

THINGS

BEING

BEING

INCOMPLETE.

THREADS

OPEN-ENDED

THEN

TAKE

AWAY. ”

THE GRA

A D UAT E S

CLOCKWISE FROM LEFT EMILY

M U R R AY,

MATTEO VIBE

BIGLIARD,

LUNDEMARK,

RACHAEL CHARY

WESTBERG,

MARIE MATTHEW KATIE

B A R R E T T, HILL, G R A N T,

HILDEBRAND

J O S E F

V A L E N T I N O A R T I S T

“I

GET

BORED

TYPECAST SUCH

AS

VERY

INTO

A

STUART

E A S I LY

AND

HATE

SINGLE

JOB

SPEC.

SEMPLE

WHO

THE I

IDEA

OF

ADMIRE

SUCCEED

IN

BEING

ARTISTS

COMBINING

THEIR CREATIVE AND ENTREPRENEURIAL SPIRITS WITHOUT COMPROMISING

R U T H

ANY

OF

THEIR

INTEGRITY

P O S T- Y B A . ”

WAT E R FA L L - B R O W N A R T I S T

“GROWING

UP

IN

THE

NORTH,

I

H AV E

NEVER

TAKEN

ANY

OPPORTUNITIES FOR GRANTED. I FEEL EVERY NEW EXPERIENCE C A N O N LY E N H A N C E W H A T I H AV E T O O F F E R I N T H E F U T U R E . ”

M I C H A E L VA N D E R H A M D E S I G N E R

“ S T Y L E

I S

T H E

WAY

Y O U

C A R R Y

Y O U R S E L F. ”

N ATA S C H A S T O L L E D E S I G N E R

78

“ I S TA RT E D W O R K I N G F O R O T H E R P E O P L E N I N E Y E A R S A G O B U T N O W T H AT I ’ M H E A D I N G M Y O W N C O M PA N Y, I ’ V E A D O P T E D T H E S A M E A N N O Y I N G H A B I T S T H AT E V E RY O N E I ’ V E E V E R W O R K E D F O R H A D A N D W H I C H I C O U L D N ’ T U N D E R S TA N D.”

LAUREN BLANE F A S H I O N

E D I T O R

“ C R E AT I V I T Y C O M E S W I T H S E L F - D O U B T. START

TO

OTHERS WHEN TELLING

WHEN

BELIEVE ARE

YOUR YOU

YOU WHAT

S AY I N G , GUT THEY

IS ARE

W R O N G , Y O U A R E R I G H T. ”

S AT Y E N K U M A R PAT E L D E S I G N E R “ R U N WAY O R R U N AWAY … ”

Y A S M I N A

L O V E R

“CLOTHES

ARE

LIKE

TOYS…YOU

D E X T E R

KNOW…I

LIKE

TO

PLAY

WITH

THEM, DECORATION AND TEMPORARY EXPRESSION. BUT STYLE, FOR

ME,

IS

THE THEN

STORY

THAT

MOUTH AND

COMES BODY

FROM

ONE’S

M O V E M E N T. ”

EYES

AND

C A RY K W O K A R T I S T

82

“SEX APPEAL IS PRETTY MUCH THE ORIGIN OF STYLE. TO ME SEX AND S E X I N E S S A R E T H E M A I N F O R C E O F M A N Y A S P E C T S O F O U R W O R L D , AT LEAST A MAJOR INFLUENCE TO THE VISUAL SIDE OF OUR WORLD. YOU DON’T EVEN NEED TO BE A SEXUAL PERSON TO BE INFLUENCED BY SEX.”

KEZ GLOZIER I L L U S T R A T O R

“I LIVE BY THE SWORD AND I’LL DIE B Y M Y P E N – T H E R E S T I S H I S T O R Y. ”

SIRI JOHANSEN K N I T W E A R

“WHAT’S AND

NEXT?

SOME

D E S I G N E R

LOVE, HAPPINESS

MORE

KNITTING.”

J O E WA L S H M U S I C I A N

“I

W O R RY

A

SUBCONSCIOUS

WHEN

SOMETIMES

I WA S

WA K E M A N

T H AT

RESPONSE

I

O N LY

TO

LITTLE. TO THINK

WOULD

BE

A

MY I

HORRIBLE

S TA RT E D DAD

CAME

P L AY I N G

C O N S TA N T LY FROM THE

THING

TO

H AV E

KEYBOARD P L AY I N G

SCHOOL TO

OF

LIVE

AS

YES RICK

W I T H .”

K R I S L AT O C H A E D I T O R ,

P U B L I S H E R

A N D

L I B R A R I A N

86

“ M Y F I R S T ‘ S E R I O U S ’ P U B L I S H I N G E X P E R I E N C E WA S R E G U L A R LY S N E A K I N G I N T O M Y M U M ’ S O F F I C E , L AT E AT N I G H T, A G E 1 3 , W I T H A B U N C H O F F R I E N D S , S P E N D I N G O U R N I G H T S P R O D U C I N G Z I N E S O N T H E O F F I C E P H O T O C O P I E R .”

P I E R S AT K I N S O N M I L L I N E R

“ I WA S AT A N D R E W L O G A N ’ S B I RT H D AY PA RT Y A B O U T 1 2 Y E A R S A G O … M O L LY PA R K I N WA S S W E E P I N G A R O U N D I N T U R Q U O I S E C R U S H E D V E LV E T A N D A T W O - F O O T- H I G H M A T C H I N G T U R B A N ; ZANDRA

RHODES

CREATURE

IN

A

WA S

WA F T I N G

B A B Y- P I N K

LIKE

SHREDDED

SOME

CHIFFON

UNDERSEA CREATION

W I T H M AT C H I N G H A I R ; A N D R E W WA S, I T H I N K , I N A H A R L E Q U I N DUPION

SILK

SUIT

AND

V E LV E T

SLIPPERS;

AND

EVERYONE

H A D G L I T T E R I N G L O G A N J E W E L L E RY. I T WA S S O S U R R E A L ; I T WA S A B I T L I K E A N L S D V E R S I O N O F H O G WA RT S ! ”

CONTINUES PA G E 1 0 0

THE PRICE OF LOVE B E S S AY T H E VA L U E O F G O O D M E N S W E A R H A S L I T T L E T O D O W I T H I T S P R I C E . FA L L I N G I N L O V E W I T H A PIECE IS THE REAL DRIVING FORCE BEHIND MEN’S S H O P P I N G H A B I T S . B E N P E R D U E E X P L O R E S W H AT W E FA L L F O R I N T H E P U R S U I T O F S A RT O R I A L H A P P I N E S S .

88

Traditionally men have opted for occasional statement pieces and not – as many would have you believe – bought in bulk to avoid the Saturday crush. “It’s very much a new thing this type of massconsumerism,” explains the designer and Royal College of Art menswear tutor Lou Dalton. “The most stylish individual is often the one who buys less but whose wardrobe is far more considered, which is exactly how it should be.” If men don’t buy clothes very frequently, it doesn’t mean they’re not adventurous with them. Individuality and newness of design are just as likely to seduce a man as fit and functionality. Statement pieces, by definition, should stand out.

“Basically when I invest in a piece, it has to be iconic yet timeless. I don’t invest purely for the design, but for the whole image and persona you give off when wearing it. I do the same thing with my collections – it’s about great design, but mainly about an image of this fantastic man who is fashion conscious and well put together,” says the London menswear designer JW Anderson. His MAN debut last season was a collection of luxury sportswear punctuated with a handsome array of shaved mink, silks and tweeds.

When it’s that good, you can smell the quality from a distance. But even more than the construction and provenance of a piece, first impressions are imperative. “A garment has to be beautiful,” says this season’s debutant MAN designer, Katie Eary. “Men appreciate a really special statement piece. But it has to get your attention with beauty first. You can fall in love with the story after.”

The story a garment tells is, though, another factor that can override the issue of cost for many shoppers.

This can cover everything from company heritage

or design inspiration to the factory it was made in.

Antonio Marras – who as its creative director has transformed KENZO Homme with the same mathrock aesthetic his own label is known for – puts it down to the importance of making men feel they’re investing in more than a brand. “Men often cannot justify buying something merely because it looks good on them. Money is a factor but it is not the only one. The bestsellers are often very expensive pieces because men feel they are buying into something,” he says. “Fashion cannot rely on the worth of the label that is sewn into the clothes anymore. The clothes themselves have to be meaningful.”

An engaging narrative related to a single piece or collection can undoubtedly contribute to its appeal.

But it means nothing if quality and functionality aren’t there to back it up. “I’m not sure about the measure of worth, but I do know that a lot more customers are getting serious about values,” says Nathan Brown, the managing director of the bespoke footwear brand Lodger. “There has been a lot of talk about a ‘flight to quality’ and this is something we are seeing more frequently. Most of our customers are able to comfortably afford the price of our shoes. But the move to purchase is triggered when they feel it is good value. The narrative of a given product can contribute to a valuing of the item, but it is only one factor.”

Unexciting as it sounds, practicality will always be an influence that guides how we shop. And it’s a more sophisticated thought process than simply sticking to safe shades of blue, black and grey. “I think the majority of male consumers are still need-based shoppers. They buy to fulfil a specific function,” says Brown. “But there is a growing percentage of men

who are becoming more thoughtful about what they purchase and how they present themselves to the world at large. We try to speak to the second group without scaring off the first.”

Many Japanese boys collect the big trend pieces knowing they will never wear them. But that’s just fashion mania.”

Lasting appeal is another important factor men consider when judging what makes a practical purchase. Longevity means not only durability but also a silhouette that will stand the test of time. A garment should have the potential to span several seasons but also fit seamlessly into your existing wardrobe. “At KENZO Homme I had to take into account all the factors that make a man fall in love with a piece,” says Marras. “It had to be masculine, it had to be different and it had to be more than just wearable – it had to be mixable. Something you can wear in different ways and adjust to suit different styles. Something that you could mix with what you already have so that it really becomes everyday.”

The most functional aspect of ensuring longevity in a garment is its construction quality. Enduring appeal has to rely on durability and, more often than not, that means a return to traditional standards of manufacturing. “Most of us have plenty of ‘stuff’, so investing in a great menswear piece should be about longevity,” says Brown. “Is it something that will last for more than a season or two, both in terms of style and quality? For me, the provenance of the item is very important. Having a piece that is anchored to a classic style means it will have staying power for more than the next six to 12 months. And an item that is well crafted in a time-honoured manner should be durable enough to give pleasure for a long time to come.”

Seasonal trends evolve more slowly in menswear than womenswear, so there are fewer about-turns to contend with in terms of cut and colour. But that

Provenance goes hand in hand with construction quality. Where something was made, who made it, how it was made and what from; these are all

“THE MOST STYLISH INDIVIDUAL IS OFTEN THE ONE WHO BUYS LESS BUT WHOSE WA R D R O B E I S FA R M O R E C O N S I D E R E D ” takes nothing away from the importance of labels providing buyers with a constantly updated source of innovation and unique design. “No man ever bought anything to wear just this season,” says the cult shoe blogger and footwear designer Mr Hare. “In his heart that purchase was made for life. I treasure the things in my wardrobe that are out of style more than the things that are in style because it means I have something that is totally against the prevailing mood.”

From a practical point of view, each season provides a platform for designers to showcase what should be modern classics. Personal style then dictates which pieces or ideas men will buy into, according to their own unique aesthetic. “Of course I buy some pieces depending purely on design and materials … knowing the inspiration can be interesting too. But as a fashion editor, it’s really important for me to wear things from the current collections,” says Shun Watanabe, the fashion editor of Vogue Hommes Japan. “That doesn’t mean dressing wholesale in the new season’s trends, though. I only choose the elements that will look good on me within them.

factors that contribute to the narrative of a piece of modern menswear. The history of a jacket or shirt has become an increasingly important influence on its value, even if it isn’t vintage. “The provenance of an item is one of the things most important to me personally,” Brown continues. “Design and silhouette should be grounded in a particular school of thought but still push boundaries. Materials and construction should be intrinsically linked to the aesthetic, not an afterthought related to production. As for story and inspiration, these should be an organic part of the design process. There are too many artificial ‘heritage’ projects these days.”

The commercial importance of this link between heritage and value has seen a recent resurgence in traditional menswear manufacturing. The skills of tailors, knitters and pattern cutters have become a highly prized commodity once again – just in time to save such artisan industries from extinction. The Cooper & Stollbrand factory in Manchester is the last remaining outerwear manufacturer of its type in the UK and works with a client list that includes Purdey & Sons, Cartier and Holland & Holland.

“We are not the cheapest, but what you’re paying for is trust in the finest fabrics, trims and expertise,” says its managing director, James Eden. “There is a renaissance of premium garments made in England.

You would think that people would be more price sensitive at the moment but they are prepared to pay a premium for clothes made to last.”

Bespoke tailoring combines the same calibre of time-honoured production skills with an unparalleled level of customer service that ticks all the heritage and quality boxes. Recent shifts toward a more formal aesthetic in menswear pay testament to the enduring influence of tailoring, and the industry has benefited from this renewed interest with a new generation of customers as a result. “Men want to look good now,” says John Hitchcock, the managing director and head cutter for the Savile Row legends Anderson & Shepherd.

“The clientele is much broader now than it ever was. When I started, only the bosses of large companies, establishment types and lords came in. They used to drop by for a fitting on the way

“In the 1980s, it’s the ambitious star photographers like Bruce Weber, perhaps Jean-Paul Goude, Nick Knight, Jean-Baptiste Mondino and stylists like Simon Foxton, Judy Blame and Ray Petri that you associate with extended men’s stories. That is, until there was sufficient men’s advertising in the 90s to merit a distinct men’s style press. If you think of the kind of work featured in Arena Homme Plus at the start of this decade, for example, you see a distinct agenda to re-explore narrative in men’s fashion photography,” says Penny Martin, the former editor in chief of SHOWstudio and curator of When You’re a Boy. “Foxton is responsible for the complete sea change in attitudes to men’s dress over the past 25 years: men wearing colour; black men in British fashion magazines; gay style in the mainstream; the influence of historical portraiture in fashion photography; the persistence of rambunctious, energetic and funny imagery during a very conservative and staid period in fashion. These are things we now take for granted but you only need to look at the appalling fashion in men’s magazines at the end of the 70s to realise how important he’s been.”

“NO MAN EVER BOUGHT ANYTHING TO WEAR J U S T T H I S S E A S O N . I N H I S H E A RT T H AT P U R C H A S E WA S M A D E F O R L I F E . ” home from their gentlemen’s clubs. Now we cater for people in all industries.”

The success of Savile Row is in part thanks to its versatility but also owes a debt to the newfound importance of menswear at the moment, with men making educated fashion choices once again.

“People want bespoke no matter the budget.

Nowadays people will research the house style and the tailors online before they even come into the shop. It’s a new way of doing things. In the old days, fathers would bring their sons to the tailors for their first suit fitting. Men are learning again.”

This new attitude must have emerged from somewhere and the style press is a clear source of inspiration. The relevance of men’s fashion journalism and imagery is stronger than ever and its influence can be measured by the reverential status of writers, photographers and stylists. When You’re a Boy: Men’s Fashion Styled by Simon Foxton, a show of the iconic stylist’s work at The Photographers’ Gallery, illustrates its creative importance and wider reaching commercial influence on the menswear market.

For independent menswear destinations such as b Store, none of this is news. The way these boutiques buy already reflects a sophisticated approach to menswear and plays a big part in generating the new confidence that underpins how we shop today. That their skill for editing and supporting young talent is now being courted by high-street names and online retailers in the form of collaborations and endorsed capsule collections, only confirms their influence.

Traditional manufacturers such as Cooper & Stollbrand working with the same big-brand retailers and e-commerce sites to produce their heritageinspired lines is further evidence of the commercial importance of this prevailing mood. “Investment in British design is strong at the moment it seems to be fearless and experimental,” says seasoned MAN designer James Long. “Owning a part of that is priceless.”

Ben Perdue is menswear trends editor at WGSN and has written for L’Uomo Vogue, Wonderland, Man About Town, QVEST and Sang Bleu.

B A C K S TA G E P H O T O L O U D A L T O N A / W 0 9 - 1 0 PHOTOGRAPHY KASIA BOBULA

R E A D I N G M AT T E R S F O U R O F L O N D O N ’ S P R E M I E R B O O K S E L L E R S T E L L U S W H AT W E SHOULD BE READING. MICHAEL NOTTINGHAM MEETS ANGELA HILL, CONOR DONLON, CLAIRE DE ROUEN AND LYDIA FULTON.

92 IDEA BOOKS “ W H E N I WA S Y O U N G E R A N D L I V I N G O U T S I D E C E N T R A L L O N D O N , T H E E A R LY I - D S W E R E M Y L I F E L I N E . I ’ D C O M E I N T O T H E C E N T R E T O G E T T H E N E W I S S U E . I T F E LT A B I T D A N G E R O U S , R E A D I N G THIS IN THE SAFETY OF MY BEDROOM.” Angela Hill has built something of a reputation as a purveyor of highly desirable fashion books.

From her early days as a fashion photographer – when her enviable book collection caught the eye of Sarah Lerfel of Colette – to the small bookshop at Dover Street Market she runs with the vintage collector David Owen, Hill has always been the one to visit if you’re looking for that highly prized collectable fashion tome. The most recent incarnation of her and Owen’s IDEA books was a pop-up shop that ran from June till August in the coveted space at the front of London’s St Martin’s Lane Hotel.

Glass fronted with a white minimalist interior and fitted with stylish Vitsœ shelving, it had almost as much the feel of a gallery as a shop.

As well as fashion, IDEA specialises in books on interiors, design, art, music and counterculture. The inventory runs the gamut from Laura Ashley to Malcolm McLaren – but everything shares a status as a collectable and, to some extent, a corresponding price tag. While cost may put off the odd wandering tourist, the serious collectors (and the hotel’s wealthy clientele) come in droves, from

celebrities including the Black Eyed Peas and Motley Crue – Nikki Six is apparently into photography of a “dark” nature (no surprises there!) – to industry players such as the staff of Russian Vogue.

Clockwise from left: Alaia by Azzedine Alaia. Comme des Garçons by Rei Kawakubo. The Pleasures and Terrors of Domestic Comfort by Peter Galassi. i-D issues 2 and 3. Interview Unitied States Olympic Special issue. Jungle Fever by Jean-Paul Goude. All books available from IDEA books.

Among the many sought-after items on display at the pop-up shop are the very first issues of i-D Magazine, which have a personal resonance for Hill. “When I was younger and living outside central London, the early i-Ds were my lifeline,” she recalls. “I’d come into the centre to get the new issue. It felt a bit dangerous, reading this in the safety of my bedroom.” Another prized find is a wonderful hardback coffee-table book on Comme des Garçons. Published by Chikuma Shobo in 1986 and covering the label’s collections from 1981 until then, it is filled cover to cover with lavish photographs by the likes of Steven Meisel and Bruce Weber. “I remember all these collections so well,” says Hill. “In the late 80s,

I used to work for Comme des Garçons as a Saturday girl, in the shop they had in Baker Street next to Claridges.”

Hill is still an avid collector for herself – “Paris is a gold mine for second-hand books” – and she still takes fashion photographs – “in a very documentary style” – for magazines such as Purple and Exit. Aside from fashion and music, her other major interest is interiors; and a current favourite book on the subject is a 1991 book from MOMA called The Pleasures and Terrors of Domestic Comfort. Depicting the domestic life of Americans through the lenses of photographers such as William Eggleston, Nan Goldin and Cindy Sherman, the volume veers from funny to unsettling, but leans perhaps a bit more toward the latter.

“But I’m also a huge fan of Laura Ashley,” she says grinning, as if to counter any assumptions that she’s too serious.

IDEA-BOOKS.COM

DONLON BOOKS

94 “ M Y R E A L P A S S I O N I S T H E C O U N T E R C U LT U R A L , T H E T R AN S G RES SI V E. A ND IN T ERMS OF T HE PHO TOGRAPHY I S E L L , I T DO E S T END TO B E RAT HER … DARK, FOR L A C K O F A B ET TER DES CRIPT ION.” Visiting Donlon Books, easily overlooked in a stretch of Cambridge Heath that offers little more than an auto dealership and a strip club, is a little like taking a walk in the collector Conor Donlon’s mind. “It’s a bit of everything I’m interested in,” he explains. Fortunately, a survey of the shelves quickly reveals that these interests couldn’t be any further removed from the staff picks at your local branch of Waterstone’s.

“I like to have books and ephemera here that other people might be disturbed to sell,” he

explains. A prime example may be the returnaddress envelope displayed on one shelf – its elaborate scripted typeface spelling out “Jim Jones, People’s Temple”. To those unfamiliar, he was the crazed messianic leader of the Jonestown cult, who persuaded his followers to drink cyanide-laced Kool-Aid. (Donlon also sells the People’s Temple Choir on vinyl.)

“My real passion is the countercultural, the transgressive. And in terms of the photography I sell, it does tend to be rather … dark, for lack of a better description.” Books like a 1934

medical study, consisting of close-up portraits of people on their death beds – unsettling but also hauntingly beautiful in places. Or Phototheque Imaginaire de Shuji Terayama, by the Japanese avant-garde filmmaker. A beautiful crimson hardcover published in Japan in 1975, it is filled with surreal staged portraits and fake postcards depicting mysterious, often erotic scenes. Donlon developed his eye for photography (if not his predilection for the macabre) as an assistant to Wolfgang Tillmanns for nearly five years, helping compile the artist’s monographs and to install his shows at galleries all around the world.

An idiosyncratic melange of the strange and esoteric, Donlon’s literary wunderkammer has attracted a loyal following, including curators and local artists and filmmakers – as well as some not so local. In addition to big collectors, he cites the filmmaker John Waters, of Pink Flamingos infamy, as a regular customer. “He’s interested in artefacts related to criminal cases

and religious cults, among other things. The first time he came in, he bought a legal folder for the Baader-Meinhoff gang with their photos and fingerprints.” Nothing too surprising for someone who has an electric chair in his home.

Another piece representative of the shop’s aesthetic is a wonderful one-off tabloid-style promotional document for the transvestite extravaganza The Cockettes (with whom Waters’s muse, Divine, briefly collaborated).

Also on sale is the very different, though similarly sexually transgressive, Jenny Lives with Eric and Martin: Susanne Bösche’s seminal primer to children on same-sex parents, which managed to create quite a scandal in the late 1980s thanks to Thatcherite intolerance.

Donlon Books also hosts events ranging from an erotic book club to a series called the Readers Archive, in which an author, filmmaker or artist is asked to chose 10 favourite books and do a talk about them.

Clockwise from left: Imaginary Phototheque: The People of the Dog-God Family by Shuji Terayama.

The Cockettes tabloid-size newspaper. Jenny Lives with Eric and Martin by Susanne Bösche. All books available at Donlon Books.

DONLONBOOKS.CO.UK

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96 “ T H E F I R S T B O O K WA S H E L M U T N E W T O N ’ S S E N S AT I O N A L WHITE WOMEN, WITH THOSE STRIKING AND SEXY IMAGES O F C H A R L O T T E R A M P L I N G A N D PA L O M A P I C A S S O. T H E N R I G H T A F T E R T H A T, I S AW D I A N E A R B U S ’ S W O R K – E Q U A L LY A M A Z I N G Y E T C O M P L E T E LY T H E O P P O S I T E . ” Tucked inconspicuously above a sex shop on the Charing Cross Road and packed floor to ceiling with hard-to-find publications, Claire de Rouen may well be to photography books what Claridges is to afternoon tea.

The shop is named after its manager, who was hired on the strength of her reputation for establishing Zwemmer Books as London’s foremost purveyor of photo books up until it closed in 2003. Not content to wait for the best new books to come to her, Claire was and is known for going to great lengths to get them before they hit the shelves

anywhere else in the UK. When the Photographers’ Gallery was preparing for an exhibition of Corinne Day’s work, for example, de Rouen rang the German publisher of the exhibition catalogue and managed to acquire 100 early copies. She placed the book in Zwemmer’s prominent corner window and got the artist to come in for a signing. “As I said to my friend who was organising the show at the Photographer’s Gallery: ‘All’s fair in love and war,’” she recalls with a mischievous laugh.

While its flagship store prospered, Zwemmer overextended itself with too many satellite branches

and went into receivership, with Shipley’s taking over the Charing Cross Road space. De Rouen stayed there for a year and a half but, when invited in 2005 to manage a bookshop in a new space, she jumped at the chance. That September Claire de Rouen opened with a book signing by the war photographer Don McCullin, which saw long queues stretching down the block. Shortly thereafter, a launch for Bruce Weber’s Blood, Sweat and Tears drew similar crowds – and the customers have kept coming back ever since.

Clockwise from left: Situations by Antoine d’Agata. Richard Avedon 1944-2000 by Carol Squiers, Vincent Aletti, Philippe Garner, Willis Hartshorn, Richard Avedon. All books available from Claire de Rouen.

Claire’s first foray into the world of the photo book was as a Saturday girl at the Photographer’s Gallery, where she found early inspiration. “The first book was Helmut Newton’s sensational White Women, with those striking and sexy images of Charlotte Rampling and Paloma Picasso,” she recalls. “Then right after that, I saw Diane Arbus’s work – equally amazing yet completely the opposite.”

One of de Rouen’s current favourite is Situations, a recent book by Antoine d’Agata, whose work she links to that of Larry Clark and Nan Goldin.

Its haunting, blurred forms evoke Francis Bacon’s contorted figures and have pathos and a visual intensity, which she identifies as a hallmark of strong

photography. At the other end of the spectrum is Avedon Fashion: 1944–2000, another favourite for the sheer breadth of its powerful iconic images, which provide a fascinating, beautiful record of fashion photography in the latter half of the 20th century by one of its leading figures.

Upstairs from the bookshop, the Exit Gallery features regular exhibitions by up-and-coming photographers, such as Babette Pauthier, as well as group shows including A Fairy Tale of Fashion and A Looking Glass Eye: 21st Century London. The latter was one of the gallery’s most successful shows and presented a composite portrait of London as a sort of multicultural wonder of the world, through the lenses of a wide range of photographers, from established names at Magnum to fresh new talent.

The shop is a source of inspiration for young creatives. Students from nearby Central Saint Martins stop in often and the university’s librarian is a regular shopper on behalf of the school. “When I was at Zwemmer, she’d always come in as soon as I put a particularly wonderful book in the window,” de Rouen laughs. “Of course I’d have to sell it but I’d say ‘Oh, don’t take it today … let me have it for a few days so I can have the glory of it in the front window!’”

CLAIREDEROUENBOOKS.COM

WA P P I N G P R O J E C T B O O K S H O P

98 “A F I R S T E D I T I O N , I T ’ S V E RY M U C H O F T H AT M O M E N T. ” The Wapping Project art gallery has one of London’s best-kept secrets in its garden – a glass greenhouse filled not with geraniums or tomatoes, but with an eclectic selection of books on art and design, cooking and recent fiction for adults and children. Open Thursday and Friday evenings as well as weekends, the bookshop is run by Lydia Fulton, herself a writer and a staunch supporter of local literary talent.

Housed in bespoke metal cages, the books include many first editions and volumes from small publishing houses or writers based in London. The shop’s clientele is mixed between

families from the local community and gallery visitors, and its collection reflects this.

Cookbooks and children’s stories share shelves with adult fiction or photography books, such as Saul Leiter’s Early Colour, a book of colour photographs taken between 1948 and 1960 in New York: “A first edition, it’s very much of that moment,” Fulton explains. “I suppose it represents some of the earliest colour photographs, these snapshots of people on the street in New York. They’re just beautiful!”

On Thursday nights the display table moves out into the garden and people huddle on the floor for readings. In winter a tiny antique woodstove and glasses of mulled wine keep

the audience warm, while in summer the group sometimes moves out into the garden, which has an outdoor screen for film nights or talks by local directors. Mike Figgis recently talked about his work and showed clips of his films and recent authors who have come to do readings include Jeanette Winterson, Iain Sinclair and Edna O’Brien.

O’Brien’s new biography of Lord Byron, Byron in Love, is one of Fulton’s current favourites: “It’s really interesting because Byron was famous for his many lovers, and Edna as well – so there’s a curious parallel.” A much less adult-themed book, Tomi Ungerer’s illustrated children’s book The Three Robbers, is also a top pick. Winner of the Hans Christian Andersen Award, this dark Scandinavian story was first published in 1963 but has been reprinted to excellent standard by Phaidon Press. Beneath the table displaying these highlights is a small but selective range of local magazines including Cent, Hackney’s Le Gun and the colourful children’s magazine Anorak.

At a small risk of sounding cliched, there is something about this colourful environment that brings out the child in you. Browsing through books in a greenhouse, sitting next to a power station full of fanciful objects, is perhaps just a bit Through the Looking Glass after all. The playful nature of the programmes can also lend light-hearted moments. Fulton recalls one evening when the young author Richard Milward read from his second novel, Ten Story Love Song. The artist is known for making headdresses for his readings, so for this novel, set in a block of flats, he came out with a cardboard council estate covering his head. “So for the whole reading he was peeping out through these tiny windows while he was reading,” Fulton laughs.

Michael Nottingham writes about contemporary visual art, film, fashion and other cultural detritus.

He is also struggling to finish an interminable doctoral thesis on eastern-European puppet animation cinema.

PHOTOGRAPHY

GEORGIA KUHN

Clockwise from left: Saul Leiter: Early Colour by Saul Leiter & Martin Harrison.

The Three Robbers by Tomi Ungerer. All books available from the Wapping Project bookshop.

LYDIAFULTON.CO.UK/BOOKSHOP

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BE N P E R D UE FAS H ION JOUR N AL IS T

C AR OLYN MASSEY D E SIGNER

Brewster stars in BBC1’s comedy drama Material Girl, which airs in December 2009

Perdue is menswear trends editor at WGSN and has written for L’Uomo Vogue, Wonderland and Man About Town. benperdue.blogspot.com

As well as presenting her own collection, Massey designs for Topman under Carolyn Massey for Topman and works as a consultant. carolynmassey.com

C A RY KW O K A RT I S T

COMMITTEE: CLARE & HARRY RICHARDSON D E S IGN E R S

D AL CHODHA E DITOR

Kwok has begun his latest research for a new series of drawings inspired by Paris, which are to be shown on the Herald St booth at FIAC in Paris this October

Currently designing for the Venetian glass-blowers Venini and UK furniture makers Established & Sons. They plan to open a coffee shop before the end of 2009. gallop.co.uk

Chodha is the editor of b Magazine and contributes to the global trends magazine WeAr

ELLI E H AY TR E NDS E DI TOR A N D G RA P H I C D ES I G N ER

IAN BATTE N D E S IGN E R

IVANA BOBIC DIRECTOR

Hay has worked for WGSN as a trends editor for three years and has just started to freelance as a trends editor as well as a graphic designer. elliehay.com

Batten’s new collection is available at b Store

Bobic is currently directing a short film, working on live visuals for the London-based band S.C.U.M. and shooting her second film for Stella McCartney. ivanabobic.com

J AM ES W ELLS A SSI STA N T D ES I G N ER

FAS H ION GR AD UATE S JAMIE C OC K E R IL L & P H OE BE AN D R OME D A H AL L AY E N GL IS H

JOE & C H AR LIE CASELY-HAYFORD C R E ATIVE D IRECTOR & DESIGNER

Wells continues to work on Savile Row for Norton & Sons and E Tautz. nortonandsons.co.uk / etautz.com

Both Cockerill and Hallay English are to begin their MA at Central Saint Martins

Autumn/Winter 2009-10 sees the launch of CaselyHayford’s exclusive made-to-measure special tailoring service at Dover Street Market. casely-hayford.com

J O E WA LS H M U S I CI A N

ARTIS TS JOS E F VAL E N TIN O & R UTH WATE R FAL L - BR OWN

K E Z GLOZIER IL LUSTRATOR

Walsh is currently working on recording more music and performing at more live shows. He moonlights as a model

Both Valentino and Waterfall-Brown work for Pollocks.

Valentino is working on his next exhibition, titled Army of Dreamers. pollocks.org

Glozier works for numerous brands and has exhibited work for Colette and BMW in Paris, most recently contributing to 10 Men & Women. jedroot.com

K R I S LAT O CH A E DI TOR , PUB LI S H ER A N D LI B RA RI A N

K UN I AWAI SH OE MAK E R AN D AC C E S S OR IE S D E S IGN E R

L AU REN BLANE FAS HION EDITOR

b Store recently hosted a pop-up bookshop curated by Latocha. He is the publisher and editor of Paperback Magazine. mrlatocha.com / paperbackmagazine.com

Awai works in b Store, is a trained shoemaker and makes accessories. She will soon be producing an accessories collection for b Store

Blane works as fashion editor at both Wonderland and Man About Town. laurenblane.com

M A R I A N N E S P U RR A RTI ST A ND CO N S U LTA N T

MAR K BAR K E R ARTIS T

MATTH E W MUR PHY & KIRK BEATTIE S TOR E OWN E R S, BU YERS AND DESIGNERS

Spurr has recently taken part in group shows exhibiting at WALL and Paradise Row, both in London. She is currently working on commissions. mariannespurr.com

Barker works with video and performance art and is currently working on two videos that will be screened in the autumn

The b Store’s own clothing line will be shown at London Fashion Week this September. bstorelondon.com

M I C HA E L VA N D ER H A M DE S I G N ER

NATASCHA STOLLE D E S IGN E R

N IN A PORTER S TUD E N T AND MODEL

Van der Ham will debut his spring/summer 2010 collection at London Fashion Week as part of Fashion East. michaelvanderham.com

Stolle will present her spring/summer 2010 collection during London Fashion Week and was recently appointed womenswear designer for b Store. nataschastolle.com

Porter is studying for her A-levels and hopes to go on to study fashion and design at university

OL I V I A RO S E A RT PHO T O G RA P H ER

PAUL P IE R ON I C UR ATOR AN D WR ITE R

P H Y L LIS WANG ACTOR

Rose has recently photographed street children and slums for a charity. She continues to work on commissions. oliviarosephotography.co.uk

Pieroni continues to work on shows as well as writing for NERO, Dazed & Confused, i-D and ART WORLD. ppplondon.com

As well as pursuing a career as an actor, Wang is head of marketing and sales for the fine jewellery designer Jacqueline Rabun

PI E R S AT KI N S O N M I L LI N ER

RAIMUND BERTHOLD D E S IGN E R

S AM RANGER S T YLIST

Atkinson is working on his next collection, Sex on the Brain. His work has been featured in British Vogue, i-D and V Magazine. piersatkinson.com

Berthold has recently launched his line of metamorphic men’s outerwear, sold exclusively at b Store. berthold-uk.com

Ranger works as a freelance stylist and consultant.

Beyond editorial work, she consults on and styles the London Fashion Week show for House of Holland

SATYE N KU M A R PAT EL D ES I G N ER

S IR I JOH AN S E N K N ITWE AR D E S IGN E R

S OP HIE STEPHENS IL LUSTRATOR

Satyenkumar has been sold in Harrods, Oki-ni and Daniel Jenkins. Spring/summer 2010 debuts at Vauxhall Fashion Scout during London Fashion Week. satyenkumar.co.uk

Johansen works for Burberry Prorsum as a men’s knitwear designer. sirijohansen.com

Stephens is currently working on interiors commissions and is soon to release a line of T-shirts with the LA-based label Blood is the New Black. sophiestephens.com

TIM SOAR D ES I G N ER

TIM S TE E R ARTIS T AN D GAL L E RY MAN AGE R

YAS MINA DEXTER LOVER

Soar will present his spring/summer 2010 collection at London Fashion Week. soar-london.com

Steer continues to work on his own practice: everything from essay writing to photography. He also works as a gallery manager. timsteer.com / seventeengallery.com

Alongside working as a fashion consultant, Dexter works as a DJ and creates soundtracks for catwalk shows. pandoras-jukebox.blogspot.com

THE GR A DUATE S CLO CKW I S E F RO M LEF T

VIBE L UN D E MAR K Graduate from MA at RCA

MARIE HILL CSM BA graduate, awarded L’Oréal Professionnel prize

E M I LY M U RRAY UCA Epsom graduate, to begin MA (MW) at RCA

R AC H AE L BAR R E TT Graduate from MA at RCA, working on her own collection

MATT HEW GRANT To begin MA menswear at Central Saint Martins

M ATT EO B I G LI A RD Graduate from MA menswear at Central Saint Martins

C H ARY WE S TBE R G CSM MA graduate, currently designing for Marimekko

K ATIE HILEBRAND Kingston University graduate, to begin MA (WW) at RCA

Ben Perdue wears spring/summer 2006 T-shirt

by Raf Simons from Fanny and the Cave.

Kez Glozier wears suit jacket by Casely-Hayford; shirt by b Store.

Carolyn Massey wears own designs.

Kris Latocha wears trousers by Stephan Schneider; tie

by U Handmade in England; shoes by Casely-Hayford.

Ellie Hay wears trousers by Ann Sofie Back.

Ian Batten wears own designs.

Jamie Cockerill & Phoebe Andromeda Hallay English wear own designs.

Joe & Charlie Casely-Hayford wear own designs.

Ruth Waterfall-Brown wears jumper by Casely-Hayford.

Mark Barker wears cardigan by Casely-Hayford; trousers by Margaret Howell; shoes by b Store.

Matthew Murphy & Kirk Beattie wear own designs.

Michael van der Ham wears T-shirt by Complex Geometries.

Natascha Stolle wears own designs.

Nina Porter wears hat by Christine Bec.

Tim Soar wears own designs.

Paul Pieroni wears blazer by Ute Ploier.

Piers Atkinson wears own designs and denim shirt by Acne.

Satyenkumar Patel wears own designs.

Siri Johansen wears jacket by Burberry Prorsum.

Sophie Stephens wears denim shirt and jeans

by Ann Sofie Back; shoes by b Store.

Tim Steer wears shirt by Casely-Hayford; shoes from Loake.

SHOP W H E R E

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ACNE

I A N B AT T E N

acnestudios.com

bstorelondon.com

ANN SOFIE BACK

LOAKE

annsofieback.com

loake.co.uk

B STORE

L O U D A LT O N

bstorelondon.com

loudalton.com

BERNHARD WILLHELM

MARGARET HOWELL

totemfashion.com

margarethowell.co.uk

BLESS

N ATA S C H A S T O L L E

bless-service.de

nataschastolle.com

C A R O LY N M A S S E Y

OPENING CEREMONY

carolynmassey.com

openingceremony.us

C A S E LY- H AY F O R D

OUR LEGACY

casely-hayford.com

ourlegacy.se

CHRISTOPHE LEMAIRE

PETER JENSEN

christophelemaire.com

peterjensen.co.uk

CHRISTINE BEC

P I E R S AT K I N S O N

christinebec.com

piersatkinson.com

CLAIRE DE ROUEN

R U P E RT S A N D E R S O N

clairederouenbooks.com

rupertsanderson.co.uk

COMPLEX GEOMETRIES

S AT Y E N K U M A R

complexgeometries.com

satyenkumar.co.uk

CUTLER AND GROSS

SOPHIE HULME

cutlerandgross.com

sophiehulme.com

DONLON BOOKS

STEPHAN SCHNEIDER

donlonbooks.co.uk

stephanschneider.be

FA N N Y A N D T H E C AV E

TIM SOAR

fannyandthecave.com

soar-london.com

G-SHOCK

U HANDMADE IN ENGLAND

gshock.com

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H A RT M A N N N O R D E N H O L Z

UTE PLOIER

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IDEA BOOKS

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