FJORDE MAGAZINE ISSUE 21 by FJORDE MEDIA

LONDON EDITION ISSUE XXI

ABSENCE OF COLOUR / SAVILE ROW / RHEA THIERSTEIN / THE BLITZ / TOM VEK

one thousand cranes

exposing local fashion

one thousand cranes (melbourne central) level 1 lonsdale bridge, 300 lonsdale street, melbourne vic 3000 www.onethousandcranes.com.au

EXCLUSIVE FASHION DEALS www.cityblis.com

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CONTENTS

34 SAVILE ROW

ABSENCE OF COLOUR

Heba lets us in on some interesting facts about In the heart of London lies the soul of traditional bespoke tailoring... A.O.C. and the London fashion world

42 BRITS STORMING THE WORLD

Peter Pilotto and Christopher de Vos are behind one of the UK’s most exciting brands

50 BEHIND THE SCENES

DRIVING DISTANCE

A look at curious campaigns, enchanting editorials and imaginative installations

There’s a whole world to explore just outside London

THE BLITZ

A tribute to London and her elegence and grace

104

80 ABBESSE

CICELY IRVINE

Beauty can be anything but simple

Cicely Irvine, raw and refined

114 GOOD LUCK

Tom Vek, brash-faced and bold, and tied together with a controlled flair

EDITOR’S DESK

HOW TO: TAKE A SELFIE

COVER

HEALTH & WELLBEING

Photography AN.DREW & Mansfeild Photography Illustrated By Rachel Beck Hairstylist Ambree Leigh Make Up Artist Mallory Montesano Assistants Amy Wilde & Tyler McDaniel Models Alexandra Boyce

FJORDE STYLE: WOMEN

20 21

FJORDE STYLE: MEN BEAUTY: STAPLE BEAUTY BUYS

STOCKISTS

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Alexandra is wearing: Dolcetti Jacket $285 Dolcetti Top $140

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CO N T R I B U TO R S

EDITORS

CREATIVE DIRECTOR

ONLINE EDITOR

Patrick Price

Ben Anderson

Irish Rivera

CONTRIBUTORS

PHOTOGRAPHY

MAKE-UP & HAIR

Camille Gower Claire Story Goerge Seraphim Lauren Raffa

AN.DREW & Mansfeild Photography Ru Eklove Thomas Lachambre

Aubree Leigh Chiao Shen Frédérique Van Espen Mallory Montesano

Lauren Roberts Lucy Pilz Natash Pitra Reuben Cheok

Stina Markan

STYLING STYLE ME 365 Bastiste Polin Maya Dals Rachel Beck Sylvie Portugal de Moura

ART YDNA CREATIVE

EDITOR-IN-CHIEF Patrick Price pa.price@fjordemagazine.com

CREATIVE DIRECTOR Ben Anderson enquiries@fjordemagazine.com

enquiries@fjordemagazine.com

ONLINE EDITORIAL

ADVERTISING

MARKETING

Irish Rivera irish@fjordemagazine.com

Lachlan Taylor ltaylor@fjordemagazine.com

GENERAL ENQUIRIES

SUBMISSIONS FJORDE accepts submissions from freelance artists, photographers, designers and journalists, however, we cannot reply to every submission. Please see www.fjordemagazine.com for submission guidelines.

FJORDE Magazine will assume no responsibility for consequences that may result in the use of, or reliance on, the published information. No responsibility is taken for the content, images or advertisements. No part of FJORDE magazine may be reproduced without the written permission of the publisher. Copies of this publication may not be sold. The opinions expressed herein are not necessarily those of the publishing staff. Reproduction in whole or part is prohibited without the permission of the publishers. Articles received with no name, address and phone number(s) will not be published. Articles received will only be published by approval of the editorial team. FJORDE Magazine reserves the right to shorten and or edit received articles and letters. FJORDE Magazine does not accept responsibility on articles written by various columnists and writers.

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E D I TO R ’ S D E S K

ACROSS THE POND This issue sees us venture accross the pond to our friends in London. We explore the culture, music, creativity, fashion and all things London for you. From Absence of Colour giving us the low down on the London fashion scene to Rhea Thierstein taking us behind the curtain to see how she works to bring together her creative masterpieces. We even took the time to check out what’s just outside of London just incase you’re feeling that extra bit adventurous.

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And for that little cherry on top we had a chat with Tom Vek, making waves from the UK all the way to our shores. We hope you enjoy the London Edition as much as we enjoyed putting it together. So sit back brew a pot of tea and happy reading.

Patrick

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BRIDE BRIDE NOW

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Welcome FJORDE’s newest venture FJORDE Bride by staying up to date with the latest bridal news and fashions. Simply subscribe for free here: www.fjordebride.com

FJORDE Bride brings you wedding fashion, accessories, advice on the greatest areas in Australia to take those memorable snaps, tips and tricks, and of course the greatest bridal dress designers Australia has to offer! All encased in the FJORDE style you’ve become familiar with – class, elegance and sophistication.

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H OW TO : M A K E T H E P E R F E C T C U P O F T E A

HOW TO:

MAKE THE PERFECT CUP OF TEA BY: LAUREN ROBERTS

THE BASICS AND BEST OF THE LEAFY VARIETY THE PERFECT CUP OF TEA REALLY DEPENDS ON THE SIPPER. MUCH THE SAME AS WE HAVE A FAVOURITE ALCOHOLIC BEVERAGE, EACH PERSON ALSO HAS A SPECIFIC PALATE WHEN IT COMES TO TEA. EACH TYPE OF TEA HAS A TIME WHICH MAKES IT THE PERFECT CUP.

THE BASICS 1 2 3

Brewing time – tea is not instant and the perfect cup needs time to sit. It needs to brew before being poured.

Loose leaf – the ideal cup of tea doesn’t come from a bag but rather from a scoop of loose leaf tea. Small cups – small cups ensure that tea doesn’t cool too fast. Often, when tea is served in too-large a cup, the drinker is forced to skull the end of their beverage, ruining the taste.

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Don’t tip in cold tap water. If your cup of tea is too warm, a cube of ice will cool it down faster and won’t disturb the leaves. The most important thing to remember while drinking tea is to enjoy it. Like eggs, everyone likes their tea a certain way. If you haven’t found the perfect cup, keep trying the different varieties.

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GREEN TEA

DECAFFEINATED GREEN TEA

CAMOMILE TEA

The perfect cup to drink just before bed – a smooth and relaxing cup while watching old Seinfeld re-suns before heading off to a deep slumber.

A cup of tea to drink in the early afternoon while counting the final hours of work. A light, refreshing tea that doesn’t fill you up and tastes like flowers (in the very best of ways).

GINGER TEA

ENGLISH BREAKFAST TEA

EARL GREY TEA

A perfect cup of tea when you aren’t feeling fantastic. Ginger helps to settle the stomach any time of day when it’s a little precious.

A 10.30am type of cup of tea. Ideally served with milk and a small spoon of sugar and a thin slice of cake - between friends and amongst gossip.

Tea to have straight after dinner, either black or with a small dash of milk. The strong, popular tea is perfect to drink for a kick of caffeine after a meal.

PEPPERMINT TEA

FRUIT TEA

The perfect cup of tea to have with a weekday lunch. The strong mint flavour is the perfect complement to a sandwich that would otherwise be rather dull.

A strawberry, blueberry or peach flavoured tea is ideal with brunch – a Summer cup is the perfect start to a weekend morning.

The morning cup of tea for the health conscious and the detoxing. Ideal to drink whilst eating fruit salad and flicking through the newspaper.

OOLONG TEA This fragrant tea is one that should be drunk whilst eating late-night delicious Chinese food – a small pot is ideal to share with chicken chow mien or a vegetable omelette

No matter which type of tea you chose though, there are some universal rules of tea-drinking.

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T O G I V E AWAY C O N T R O L

TO GIVE AWAY CONTROL BY: GEORGE SERAPHIM

SIT HERE FOR A MOMENT AND ENTERTAIN THE IDEA THAT THE WAY TO SELF REALIZATION IS TO GIVE AWAY CONTROL. LIKE A LOTUS FLOWER MERELY PERCHED ON TOP OF THE COOL FLOWING WATER OF A NEARBY POND, IT ALLOWS ITSELF TO JUST BE AND IS ALSO PART OF THE IMPERMANENT WAY OF THINGS - AS IT BEGINS SO IT ENDS.

Inside of this impermanence so are we and all the things that we experience. We are here right now and in this very moment thousands of cells in our body are dying and being regenerated. We are impermanence itself down to the core and so is everything around us - one day it will not be here anymore, where you sit for instance might be a great ocean in a million years time. In the giving away of control, we gain itâ&#x20AC;Ś can you grasp this concept??, because it is absolutely profound and inside this way of being, this space, we are expanding ourselves greatly not just on a spiritual level but on the material plain as well. Allowing everything around you to just be instead of attaching a need for it to be a certain way and thereby inducing suffering, this is acceptance which precedes forgiveness. Suffering is attachment to things, not being open to change, the need to control everything around you and to see to it that it

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works out exactly how you planned. Being attached to this induces fear and anxiety on a scale which increases the older you get and eventually leads to illnesses of all forms. The giving away of this attachment and control frees up the mind and magnetises copious amounts of energy around us once again, we are motivated and now are operating on a much higher level than before, all of our senses become heightened because we are not congested by things, we become more free than ever before. So the next time you feel very low or out of energy or congested or blocked in some way, just sit and ask yourself, what am I not allowing myself to accept, and you will eventually find through the giving away of control and allowing yourself to accept you will become one with everything instead of separate from it and feeling alone. The truth is you are not alone, instead you are everything and everything is you.

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WOMEN STYLE REUBEN CHEOK [WWW.REUBENCHEOK.COM]

TRUE BLUE The standout colour that everyone was raving about at London Fashion Week, was blue. From the electric blue collection from Roksanda Ilincic to the navy in Topshop Unique, blue is the hue for the cooler season. Michael van der Ham and Whistles both used a melancholic shade with a dove grey, duck egg hue in their collection, whereas “It” girl, Cara Delevingne’s choice of a royal blue custom-Mulberry suit to launch her new bag is pretty telling of this trend. Roksanda Ilincic’s collection featured garments in the electric blue hue - from statement overcoats to geometric shaped dresses mixed with black and orange to the oversized pullover, it demonstrates the versatility of such a shade that can be mixed and matched, or even worn head-to-toe for maximum statement.

Choi, a relative newcomer to the London schedule also utilised a more muted blue azure - in their double breasted plaid trenchcoat to a varsity blazer in the same pattern but teamed up with a brighter shade of blue tailored pants. To break up the gaudiness of such a shade, Choi toned down the blue plaid with a black turtleneck underneath with a contrasting coloured shoe. With this colour, it doesn’t matter which shade you choose, as long as it is blue! It is an universally flattering colour, so you can wear that striking statement knee length dress in an electric blue or for a more muted, wintry look and feel, switch to a muted azure coat with matching belt. From peacock blue to navy, to periwinkle to cornflower, the key note is that the shade is the statement, not necessarily the piece.

FOLKLORE FANTASY The emerging trend at London Fashion Week have been the shift to more earthy undertones, textures such as heavy wools and a more fluid, draping shape. Completely removed from the digital print craze and sharp tailored lines, this more relaxed trend is not comfortable, but practical in the cooler season. Even digital print queen, Mary Katrantzou eschewed her signature style to one that favoured a collection rich in textures - such as employing manufacturing techniques like crochet to heavy embroidery.

brings a youthful exuberance to the stagnant Bohemia in womenswear. A rich tapestry of print and pattern, as well as patchwork motifs, the silhouettes can be refreshingly modern.

There are two directions this particular trend can head: clean, simple lines or deeply embellished with a mixture of materials. Materials that are plush, textured, embroidery, patchwork and appliqué craft a creative yet cohesive style. By teaming furs and shearling to the mix emphasises the bohemian vibe. This was none more evident than Burberry Prorsum AW14’s collection that showcased Deep rooted in tradition, folk motifs and intricate embroidery entered the fashion realm monogrammed folksy blankets. in a subtle manner, but taking the industry The key pieces that epitomises the “folk” by surprise. From designers Antonio Marras trend are the sheer blouse, flared pants in to Matthew Williamson to even famed Italian couturier, Valentino, all have favoured suede or twill, the blanket coat, tapestry overcoats, maxi dresses, fur coats and another this trend in each of their collections. Folk emerging trend - mixed media sweatshirts. 20

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MEN STYLE CHECKE MATE London Collections: MEN AW 14 was undoubtedly the most varied and dynamic range in menswear this season. From a mixture of bold, bright colours to black, to animal prints to punk, British designers was putting their own twist into traditional wear and garments.

None more emerging have been checks. Menswear can’t seem to get enough of checks of all sorts, from plaid to gingham to chessboard motifs, to tartan or Prince of Wales, even knitwear wasn’t sparred. One of the easiest trends to wear, it caters for both spectrums - with smaller checks in muted hues for a subtle and refined style, and loud, oversized checks for those who like a bit of sartorial flair and attention.

Hackett offered clean cut, impeccable suit jackets, trousers and outerwear in traditional plaids and window-pane patterns. For a more colourful array of wintry attire, follow Ricard Nicoll’s direction with purple plaid knitwear, gingham check shirts and windowpane checkered suit. Another vibrant approach comes from Jonathan Saunders’s fine multi-tone checks and chessboard motifs demonstrated across trench coats, shirts and knitwear. McQueen epitomised the punk-look in styling head-to-toe in the same print - from doublebreasted jackets to pleated skirts and kilts teamed up with trousers.

The best thing about this trend is its versatility. You can add a subtle, muted check to any outfit for an eyecatching touch Traditional tailors from Saville Row, including of detailing, or go all out, decked out from designers Richard James, Chester Barrie and head-to-toe in oversized checks in brash, bold colours.

TRAWLER WEAR This 16th century English term derives from the word “a person who trawls” - essentially a fisherman. As traditional checks were used in Saville Row tailors to craft impeccable tailoring and suitings, the Brits have reinvented and redefined an old-fashion, but practical outerwear used by fishermen and refashioned it for the London lads.

trousers and high neck woven knitwear drawing inspiration from the texture and structure of fishing nets. The entire collection was muted in colours, from blacks to greys, from coal to burnt orange. The mixture of natural and man-made materials provided a texturised haven that epitimoses masculinity in menswear.

Unashamedly masculine, several British designers used hard-working fishermen as a strong inspiration for their collections. Perfect for the harsh wintry weather experienced in the British Isle, many runway shows utilised functional rain macs, rubberised treatments and water-proof materials.

While one can wear modernised trawler wear from head-to-toe, we generally do not experience extreme wet weather conditions to make this trend our own. The key message is to find a mixture of water-proof materials in an overcoat and team it up with simple trousers in muted colours of petrol, charcoal or gun-metal blues and greys. Select woolen The defining moment came from Topman oversized knitwear with heavy texturised Design collection, where male models walked elements to keep in line with this theme to rug on a sodden runway as a result from simulated up perfectly for the chilly (wet) weather! rain in rubberised raincoats, duffles, PVC W W W. FJ O R D E M A G A Z I N E . C O M

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FJ O R D E B E A U T Y : L O N D O N B E A U T Y

LONDON BEAUTY BY LUCY PILZ [WWW.SKEETERANDSCOUT.COM]

LET’S BE HONEST, LONDON WILL ALWAYS HAVE A PULL FOR MANY AUSSIES From their ornate buildings, Kate and William, dense historical interludes, “Downtown Abbey” and jovial circumstances - but it is their beauty brands that are trending higher than cronuts. It is no secret the Brits know their beauty, so what better way to learn about the best beauty products on the market, then with a tilt of the hat to the most iconic British brands we all need to be a part of.

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WINTER 2014

BURBERRY BRIT RHYTHM $99/50ML http://burberry.com

Nothing says London like a touch of tradition and iconism. Burberry is the essence of London culture, and a brand that is so entrenched in the social demography of the city, it is no surprise I just had to include it in my London beauty-fling. Burberry Brit Rhythm is a fragrance for free-spirited yet feminine woman that oozes class and adds a touch of rock and roll. British lavender, intoxicating orange blossom and a deep base of vetiver set this scent of in to pungently scented nasal-nirvana that paints “lustworthy” all over you. It definitely is a true iconic fragrance for the everyday woman.

JO MALONE ENGLISH PEAR & FREESIA HOME CANDLE $85 / 200G www.jomalone.com.au

Walk in to any Londoners home and you will be sure to find at least one thing from Jo Malone. It is an institution – it would almost be un-British not to own a Jo Malone something. Sure, their products verge on the more exxy side of the scale, but they are worth every penny, that is for sure. Jo Malone English Pear & Freesia Home Candle adds a little luxury and British warmth to your household with an unequivocally ‘across-the-pond’ scent. With sensuous freshness of just-ripe pears wrapped in the essence of white freesias this is an autumnal scent that is the perfect accompaniment to a glass of red, a jumper knit sweater and an open fire place. This luscious scent is warming yet fresh and envelops a room – leaving an impact even after the flame has been blown out.

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FJ O R D E B E A U T Y : L O N D O N B E A U T Y

SANCTUARY SPA 30 DAY YOUTH REVOLUTION BOX PACK $39.95 www.sanctuary.com

The Brits are known for their gorgeous skin – the colder climate certainly does great things for circulation and lethargic skin. But, it isn’t all to do with the temperature, it certainly helps that they are home to one of London’s best-kept secret – Sanctuary Spa. Born from the iconic day spa, this beauty brand has evolved into much more than beauty that you can achieve for one day – it is an extension, and boundrypushing brand that you can use in the home (now that their Spa has closed down) to achieve “that aftersalon” glow. Sanctuary Spa 30 Day Youth Revolution Box Pack is a powerful at home treatment that helps combat the signs of ageing by removing a layer of dead skin cells and improving the skin’s overall firmness, tone and hydration. Through the powerful ingredient – Glycolic Acid- your skin is renewed, on its way to being firmer and more radiant, and is a powerful recipe for wrinkle obliterating.

RIMMEL LONDON SCANDALEYES ROCKIN’ CURVES MASCARA $16.95 http://au.rimmellondon.com

Forget big hair, it is time to rock big, bold, and loud lashes – and what a way to do it with an inexpensive option that is Rimmel London. Rimmel nails affordable and effective beauty on the metaphorical head every single time. The cleverly shaped mascara applicator twists and swerves to hug the lash line, whilst the thin tip grabs hard-to-reach inner lashes. Lashes are left plumped, lifted and with no clumps in sight. This little red tube is most definitely an iconic beauty staple.

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WINTER 2014

FUDGE HAIRSPRAY BIG HAIR MEGA HAIR MILK $19.95/ 50ML http://www.fudge.com

No British look is complete without a banging hairdo! Fudge certainly knows how to let you inner rockchic come to the surface, and it is little surprise that most Brits would have a bottle of Fudge something in their arsenal of hair products. Not to mention, Lou Teasdale, the woman with (what I would call) some of the best hair in the country, is a Global Brand Ambassador. You know a brand is pretty fab when it is endorsed by your Beauty idol! If you lack fullness in the hair department (let’s be honest, that is most of us), then this Hair Milk is for you. Comprising of keratin and wheat protein with natural bamboo, this milky hair complex boosts volumes, adds shine and says sayonara to frizziness – basically the holy grail of hair products that we all need in our hair treasure trove.

ELEMIS DAY-SPA, LONDON http://www.elemis.com

Apart from selling iconic and lust-worthy British products, Elemis also own a day spa worthy of every fashionista’s credit card when they hit London-Town! Situated in the heart of Mayfair, London, the Elemis day-spa is a premium treat for all the senses, and a means of escaping the daily grind and pressures of life. Designed to subconsciously stimulate all your senses, the spa is an amalgamation of luxurious exotic cultures and a private sanctuary where therapists knead, heal and offer a solution to any beauty qualm. I know I will be checking in for a day of pampering after I make the move across the pond – it would be un-British of me!

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ABSENCE OF COLOUR

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ABSENCE OF COLOUR BY NATASA PITRA

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ABSENCE OF COLOUR

ABSENCE OF COLOUR IS A LONDON BASED WOMENSWEAR BRAND ESTABLISHED IN 2013 BY HEBA HALLGRIMSDOTTIR. FOCUSING ON THE CLASSIC BLACK AND WHITE, WITH THE ADDITIONAL LIMITED EDITION PIECES IN THE PRESENCE OF COLOUR BEING ADDED TO THE COLLECTIONS FROM TIME TO TIME, TODAY I HAD THE PRIVILEGE OF CHATTING WITH HEBA HERSELF, TO FIND SOME INTERESTING FACTS ON THE LABEL AND LONDON FASHION WORLD:

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FJORDE :Name five words to describe your Absence of Colour:

F: What is your advise for any aspiring designers out there?

HEBA: minimalistic, quality, black,white,timeless

H: Of course to just go for it!!! It´s a tough business but it´s so much fun at the same time and if your hungry enough you can make it happen.

F: What inspires you? H: My nordic roots first and foremost clean cut and minimalism is always rich in scandinavian design and I think Absence of Colour represents a lot of that. I also love people watching. people inspire me a lot, living in London its the perfect place for people watching. F: Where did it all begin? H: I had had the name and concept in my head for quite some time and after having worked in the fashion business for most of my working life I decided in 2013 to make Absence of Colour happen. I packed my bags and moved to India, where I spent a year sourcing manufactures and suppliers. In December that same year the first Absence of Colour collection came in to stores.

Also try to get experience in other factors of the business, designing a garment is one thing, but there are some many other factors that come in to running your own brand. Ive in my working carrier had the experience of working in all aspects of the fashion industry from being on the shop floor to managing stores, to buying, to wholesale to manufacturing. This experience benefits me a lot with my own brand because I have an understanding of the whole scale which I think is very important. F: What’s trending at the moment? H: Absence of Colour is all about making timeless clean cut pieces that you can always pull out from your wardrobe and wear for any occasion, but if I had to pick one then i would go for the boiler suit which we are doing in black and limited edition electric blue at the moment - it´s just so wearable and chic.

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ABSENCE OF COLOUR

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F: What is your design process? Is it from sketch to fabric, or fabric to sketch? Please explain. H: It depends, I did not study design in school and my drawing skills are not the best, but I manage to get the occasional sketch down, I also sometimes work with other designers in getting my ideas down on paper, so sometimes I work from a sketch. Often though I take an old garment and use as a form and make changes and adjustments to it .. but I always start with the garment and then decide on the fabric. F: What are you favorite fabrics to work with and why? H: Rayon I use quite a lot, It´s classy, wearable and looks very rich. Im also a big sucker for fringe and sequins. You just look so glam in it! Another one is viscose jersey, you can always put on a good viscose style and dress it up or down for any occasion, look chic and be comfortable at the same time. F: What do you see trending in the future ? And why? H: Ethical fashion - A lot of people are suffering and working in very poor conditions in order to cater the hungry consumer with quick and mostly cheap fashion … Like Vivianne Westwood said, “buy less and choose well” . Care about who is making your clothes and how!

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S AV I L E R O W

SAVILE ROW BY CAMILLE GOWER

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S AV I L E R O W

IN THE HEART OF LONDON LIES THE SOUL OF TRADITIONAL BESPOKE TAILORING... WITH ITS LONG HISTORIC TRADITION SAVILE ROW HAS BEEN THE HOME OF SOME OF THE FINEST TAILORS AND CRAFTSMAN OF MEN’S FASHION OVER THE LAST TWO HUNDRED YEARS. SO WHAT DOES A TAILORED SUIT REALLY MEAN. CAMILLE GOWER REFLECTS ON THE TRADITION OF SAVILE ROW AND THE SIGNIFICANCES OF A WELL MADE SUIT.

A male friend of mine recently told me he was going to the opera, and asked if he should wear a suit. My response, immediately given, was “Yes! Of course!” as visions of cravats and pocket watches whizzed through my mind. So fixated was I on this dandified daydream, that the subsequent “Why?” from my friend – let’s call him Mr Sharp – came as a surprise. “Because… it’s the opera,” I replied, and fell back into my reverie. The thought of wearing jeans to the opera remains repulsive, yet looking back, it seems this carefully nurtured fantasy of perpetuallymonocle-wearing men in tuxedo jackets might never become the reality to which I aspire. Even so, the traditions of decades past reach entreatingly down the passage of time, and beg me to consider what man would be without the suit. There is, in fact, something very important about a man in a suit. Be it a smoking jacket or a tux, or even a blazer, formal menswear unequivocally bespeaks polish, masculinity and decades of post-French-revolutionary tradition. A well-fitted suit is the sugar glaze to a crème brulee: crisp, polished, and absolutely essential. And just like a delicious, traditional dessert, an impeccably-cut suit has a recipe devised and perfected over decades by experts in the field. Nowhere else have been found such experts as those that made up the world-renowned Savile Row, with tailors including Gieves & Hawkes, Dege & Skinner and Henry Poole & Co.

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From a humble start in the early 1800s, Savile Row has remained a fixture in the world of bespoke menswear; still host to a collective of tailors wielding an impressive influence today. Over the years, Savile Row has boasted a clientele list that includes such notables as Crown Prince Hirohito from Japan – who ordered suits in 1921 from Savile Row’s Henry Poole & Co for his tour of Britain – as well as Cary Grant, the Duke of Bedford and members of the Beatles. Stylish trend-setter Katharine Hepburn even ordered bespoke denim jeans from Savile Row tailor Huntsman in 1971, and in 1978, Roger Moore wooed thousands in a navy pinstripe three piece suit by Douglas Hayward – another Savile Row aficionado. In an attempt to control the reputation and renown for quality production, in 2004 the Savile Row Bespoke Association was formed, introducing a series of rules and objectives for tailors inhabiting the famous strip, including the requirement that each two-piece suit produced by the member tailors is required to include at least 50 hours of hand labour. Prestigious, exclusive, and steeped in tradition, Savile Row tailors even have their own colloquial language according to the Savile Row Bespoke Association, developed by those in the business over the years. In industry terms, “crushed beetles” are badly made button holes, and a “pig” is an unclaimed garment. A sewing machine is best known as a “mangle” and a “banger”, perhaps not surprisingly, describes a piece of wood with a handle, used to steam iron garments.

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S AV I L E R O W

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Undeniably, a collective that has been around long enough to have developed its own language has an element of exclusivity that is profoundly attractive. The impact Savile Row has had on menswear worldwide is undeniable. It speaks volumes that the term used in Japan to describe a well-tailored piece of cloth is “sebiro” – an adaptation of Savile Row.

Certainly, the commercial viability of the strip has fluctuated over the years, with around 40 tailors on the strip in the 1950s, that number was halved by 2006, largely due to an industry shift toward more accessible ready-to-wear items.

“Still, having a great suit is like a cup of coffee. It’s a little boost, but if you’ve got nothing in the tank anyway, the caffeine’s going to do nothing,” he adds.

It’s a statement made with conviction, but if that’s the case, why do businessmen still shell These industry changes should be no surprise, out up to $30,000 for the privilege of owning as certainly, the basic menswear silhouette a Savile Row suit? and aesthetic were a revolution of their own Mr Crisp, another male friend of mine, says when first introduced in the early 1800s. The famous Row has undergone changes of it’s the history which makes Savile Row Espoused by that “pink of the ton” Beau course. In opening “Nutters of Savile Row” unique. Brummel in the late 18th Century, the swift in 1969, Tommy Nutter made an impact on and dramatic change in favoured style from the tailoring traditions of Savile Row that “It’s not about snobbery, it’s about 200 years should not go unnoticed. Breaking away from the overly flamboyant affectations of the of tradition and quality that you just can’t conventional tailored pieces, Nutter employed 1700s into the meticulously neat yet manly buy,” he asserts. garb of the 1800s is owed in great part to wild new cuts, wide lapels and bold fabrics which attracted celebrity customers including his introduction of this style into the Prince Certainly, it seems the richness of history, Regent’s court. Mick Jagger, and Jack Nicholson, whose tradition and superior quality behind a Savile purple Joker suit in “Batman Returns” was Row suit cannot compare to any tangible sum Breeches, cravats and boots were suddenly in one of Tommy Nutter’s final commissions. that may be paid for it. demand. At the introduction of ready-to-wear, It seems whether you are the type of man to This elegant, understated aesthetic is what traditional tailors began to lose clientele, wear a tux to the opera or not, a bespoke suit especially with the endorsement in the 1990s remains for Savile Row today – the subtle from Savile Row will always be a cut above detailing and quality remains the same even by Giorgio Armani of off-the-peg suits. This the rest. as the fashions have changed. was an era in which a new generation within the menswear industry, identified as the “New Therein lies the Savile Row difference. Bespoke Movement” was born, with designers moving away from the traditional production Even Mr Sharp, despite his earlier reservations techniques and styles advocated by Savile on donning a full tuxedo to the opera, had no Row for decades. qualms in asserting the superior nature of a made-to-measure suit. “There’s an obvious difference in cut,” he explains, “a made-to-measure suit just… fits. It fits every curve of your body.”

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THE BRITS STORMING THE WORLD WITH A FLURRY OF COLOUR BY LAUREN RAFFA

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T H E B R I TS STO R M I N G T H E WO R L D

MASTERS OF PRINT, DESIGNER-DUO PETER PILOTTO AND CHRISTOPHER DE VOS ARE THE NAMES BEHIND ONE OF THE UK’S MOST EXCITING BRANDS, PETER PILOTTO THE LABEL. FROM FEMININE FORM-FITS TO SLEEK AND DEFINED STRUCTURES, PETER PILOTTO PROMISES A KALEIDOSCOPE OF COLOUR, SHAPES AND PRINTS. VIBRANT AND SATURATED IN COLOUR, THE CLOTHES BURST TO LIFE IN A SWARM OF FUN AND FIERY ENERGY.

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Peter Pilotto has been seen on the likes of everyone from Hollywood’s elite to First Lady Michelle Obama - making the brand a true global sensation. Launched only in 2007, Peter Pilotto’s approach to womenswear is a marriage of new and classic perspectives of elegance. Throughout their designing journey, each season brings a new and exciting array of pieces consisting of architectural pieces and eye-popping prints. The duo stole the prize for the emerging talent award at British Fashion Awards in 2009, only a mere two years after starting the brand. Today, the brand boasts over 140 stockists world-wide, and over 10 seasons of London Fashion Week in their repertoire.

some of their influence to trips to India, Nepal and Florence. They claim that there is not one specific influence to their designing, and that they’re merely on a journey that does not have one set theme. In an interview for Drapers Online, De Vos said “I think our time in Florence had an effect – the research for the venues was so incredible. We took loads of pictures of details, stuccos and wallpapers. But it’s always this journey that inspires us in a way, the journey to different places.”

Earlier this year, the duo were presented with the honour of the 2014 British Fashion Council/Vogue Designer Fashion Fund award. The coveted prize provides the brand with a bespoke, high level mentoring support programme over a twelve month period, as well as a £200,000 grant to provide necessary Belgian-Peruvian De Vos and Austrian-Italian infrastructure to take them to the next stage in Pilotto met in the year 2000 at Antwerp’s their business. prestigious Royal Academy of Fine Arts. De This kind of industry support is not Vos was studying architecture, and Pilotto unrecognised by the pair. The boys stay was pondering graphic design. According true to their roots, passionately involved in to Pilotto, these interests help explain their approach to fashion, and ultimately run in the supporting British fashion. According to the twosome, “In the beginning we made almost label’s DNA. everything in the UK,” says De Vos, “but The boys’ tribute a large part of their creative there should be more support for British stimulus to extensive travel. De Vos attributes

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industry. We want to continue to make [the collection] in the UK, but for separates we had to move to Portugal – [and] since adding that category our business has tripled.” De Vos continued: “UK businesses, the ones we’re working with anyway, need the same sort of support we need. There’s only so much business they can take on because they’re such small units. They need cash-flow advice, business advice, and advice on financing production runs. As a designer sometimes it’s hard to pay on delivery of goods and that’s something they need”. On February 9th this year, the brands muchanticipated collaboration for Target hit stores, introducing a 70-piece collection, a chaos of digital prints and sculptural silhouettes to the masses. In a first of its kind, Target partnered with Net-a-Porter to make the collection available outside of the United States, making the collection available to all corners of the globe. The collection was Net-a-porter’s fastest selling collaboration, beating Karl

Lagerfeld and Christopher Kane who had also previously teamed up with the website. One order was placed every second for an hour when the collection debuted. Given the global popularity of the brand, international expansion seems imminent for the pair. Despite this, the pair believes that their capital has much to offer them. “That’s what’s so exciting about London, it attracts people from everywhere in the world,” says Pilotto. According to Drapers Online, the pair has pledged that London would be the home of their global flagship if the time comes – and that their evolution was unlikely to have happened anywhere else but the UK, due to the wealth of established support systems and awards available to aspiring designers. One thing rings certain... It’s an exciting time in British fashion. Peter Pilotto, a household name since its inception, has an undoubtable long journey ahead – and they’re set to soar to astronomical new heights.

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BEHIND THE SCENES

BEHIND THE SCENES THE WHIMSICAL WORLD OF RHEA THIERSTEIN BY CLAIRE STORY

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BEHIND THE SCENES

BEHIND THE SCENES OF CURIOUS CAMPAIGNS, ENCHANTING EDITORIALS AND IMAGINATIVE INSTALLATIONS YOU WILL FIND RHEA THIERSTEIN, A TALENTED YOUNG CREATIVE WHO BRINGS WHIMSICAL WORLDS TO LIFE ON STAGE.

While you might not recognize her face or even know her by name, this London-based artist, set designer and art director is a prop star, and is quickly making a name for herself in fashion through her quirky creations and dreamlike designs. All the world’s a stage for Rhea as she sets the scene for fashion editorials, films and art installations. Combining themes of vibrancy, elegance and surrealism, she creates sophisticated scenes that have graced the pages of Italian, American and British Vogue, POP, Wallpaper, Vanity Fair, Love, Another Magazine and W. Her inventive sets, props and costumes have brought life to advertising campaign concepts of some of the worlds most iconic brands including Mulberry, Selfridges, Claridge’s, Chopard, Hermes, Uniqlo, Ted Baker and Bombay Sapphire. While her art direction has lead her to produce and direct projects for

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M.I.A., Rattling Stick Films and Pulse Films. Rhea describes her work as ‘surprising, beautiful and surreal,’ and the wonderful worlds she creates evoke a magical and surreal feeling. She combines contrasting materials, old and new, found and bought, beautiful and ugly, to achieve her unique aesthetic, explaining, ‘I love mediums that are everyday materials - chicken wire, masking tape, pva glue - anything you can get hold of in a craft or DIY shop, mixed in with natural materials found and bought.’ One recurring theme in Rhea’s work is insects, which she has been fascinated by since she was a child, and she delights in bringing them to life on stage. She constructs gigantic insects such as flies, grasshoppers and beetles for fashion editorials, and cleverly juxtaposes them with musical instruments in their hands standing alongside perfectly manicured models. One of her personal favorites was

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when she was asked to create an art installation in the Selfridges windows to celebrate London Fashion Week, where she designed and constructed giant paper mache wasps resulting in a beautiful and beguiling scene. Rhea finds inspiration during walks in the countryside, reading, travelling and exploring. ‘I love to travel and go on trips where I can immerse myself in nature and wildlife. I surround myself with a lot of images and books in my studio, which I’ve collected over time. I watch films and also love going to museums and galleries.’ And she admires fellow artists Tessa Farmer and Kate McGuire, whose work ‘embraces nature, are incredible installations and defy everyday reality,’ she explains. Rhea also shares a mutual appreciation for Tim Walker, one of the world’s leading fashion photographers, and she frequently collaborates with him on fanciful photo-shoots. She lists the Mulberry Spring/Summer 2014 campaign featuring it-girl Cara Delevigne as one of her favourite collaborations with Tim, saying ‘I love the collaborations we do, and the magic that happens on set.’ Rhea also worked with the famed fashion photographer on his debut film The Lost Explorer, overseeing the art department alongside one of her mentors Shona Heath, whom she credits with teaching her everything in set design.

Rhea’s star has been constantly on the rise since she ‘fell into set design and production’, but she admits she didn’t know the industry existed until she got into it. The quirky creative started her career in photography, studying at Bournemouth University in London, followed by an internship at Nick Knight’s ShowStudio. However she never felt completely comfortable with photography, so she moved on to work with Shona Heath, one of Britain’s leading creative directors and set designers. During her four years with Shona, Rhea worked with well-known clients and collaborators, and established herself as a prominent voice in set design. When she finished working with Shona, Tim Walker asked Rhea to make some hats and props for a Monty Python shoot for Vanity Fair, and the rest was history. ‘Its been a real whirlwind,’ she says of her journey, ‘I think set design found me!’ Rhea now has her own studio in London where she is currently working on her latest project, ‘a shoot for Love magazine with Tim Walker, which is a really exciting one!’ she exclaims. As for future collaborations she says, ‘there are a few exciting jobs around, but I’m sworn to secrecy,’ but adds, ‘I’m planning a possible trip to the Galapagos Islands.’ With inspiration like that, there’s never been a better time to watch this space.

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DRIVING DISTANCE BY LAUREN ROBERTS

THE BEST TO SEE OUT OF LONDON TOWN LONDON IS A CAPTIVATING CITY. IT’S A VIBRANT TOWN OF SHOPPING, DRINKING AND DECADENT FOOD. JUST A SHORT DRIVE AWAY FROM THE HUSTLE AND BUSTLE LIE TOWNS THAT ARE COMPLETELY DIFFERENT – TOWNS THAT HAVE QUIET STREETS AND BEAUTIFUL NATURE STRIPS. TOWNS WITH CHARACTER, CHARM AND SOMETHING DIFFERENT TO OFFER THE INQUISITIVE TOURIST. HERE ARE SIX OF THE BEST IN DRIVING DISTANCE OF LONDON TOWN – STONEHENGE, OXFORD, BRIGHTON, STRATFORD-UPONAVON, DOVER AND BATH.

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STONEHENGE

OXFORD

(90 MINUTES)

(80 MINUTES)

Driving for over an hour to look at large, confusing rocks on a grassy field doesn’t sound like a worthy road-trip in theory. Getting there, however, and seeing the size of the massive rock formation and rolling hills is worth every minute on the road. The rocks are cornered off by a rope fence and visitors must stand at a distance to ponder the “why” that has baffled historians for decades.

Oxford is a city full of history. The beautiful old buildings are breathtaking and aimlessly walking around the town with a strong coffee in hand is highly recommended. Whilst there, see if you can sneak your way into an Oxford University lecture, the campus is spread around the town but follow the backpacks and thick novels you’re sure to find something interesting.

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BRIGHTON

DOVER

(85 MINUTES)

(100 MINUTES)

One of the best little beach spots in England, Brighton is a major contrast to the busy streets of London. Catch the town during the “warm” season and you can spend the day lying on the beach and eating salty fish and chips wrapped in newspaper. The Brighton Pier is a major tourist drawing card and a walk down the wooden pathway is a must. The town itself is a little eclectic with a funky nightlife and an interesting assortment of characters to meet.

This small town has some pretty major tourist attractions. The White Cliffs of Dover are an icon of the English Channel, the striking white tall cliffs indicating to English Seamen that they were nearing home. Dover Castle is a beautiful old building with pristine ocean views and lush green grass surrounding it. Boat tours offer a way to see the town from a different perspective and the various museums can teach the humble tourist about Dover’s history.

STRATFORD-UPON-AVON

BATH

(120 MINUTES)

(190 MINUTES)

Shakespeare’s birthplace is a quiet town a few hours outside of London Town. His childhood home still stands as does the Royal Shakespeare theatre and fans of Shakespeare’s work can join an educational tour and learn about the playwright from the town who knew him first.

The thermal Roman baths are the first stop that every tourist must make when visiting the town. The streaming natural springs are a beautiful contrast to the Roman architecture that surrounds them. Statues and tall pillars transport the visitor to an earlier time as they soak away their worries in the 40 degree natural water. The beautiful town offers tourists the chance to wander through romantic streets and see galleries and museums.

Driving in London is crowded so, when renting a car, try to pick it up from the airport or a tube station on the outer London streets. Parking in the capital is a challenge so make sure that you are good to set off on your journey when you obtain your automobile. Buy tickets (where possible) before you head off, especially if your journey is over a Summer weekend. London Town is beautiful place full of adventure and excitement but England has a lot to offer both tourists and local residents. The beautiful sights and history of the country do not end at London Town – but continue across to the striking White Cliffs of Dover and the architectural beauty of Oxford. From the hot springs of Bath to the wonderment of Stonehenge, there is a lot to offer the tourist that is keen to venture out and find it.

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STYLE ME

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image by filip konikowski FK Photography

THE BLITZ PHOTOGRAPHY AN.DREW & MANSFIELD PHOTOGRAPHY ILLUSTRATED BY RACHEL BECK

Dolcetti Jacket $285 Dolcetti Top $140

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THE BLITZ

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Frock You Jacket $225 Uli Herzner $400

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Uli Herzner Sweater $650 Uli Herzner Skirt $425 Diana Cavagnaro Hat $400

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Marcus Hanish Dress $950

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Andre Soriano Dress $1,400

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Marcus Hanish Dress $825 Diana Cavagnaro Hat $400

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Frock You Fur Shawl $475 Uli Herzner Skirt $525

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Frock You Slip $275

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Created by: AN.DREW & Mansfeild Photography / Illustrated by Rachel Beck / Hairstylist Aubree Leigh / Makeup Artist Mallory Montesano / Assistants Amy Wilde & Tyler McDaniel / Model Alexandra Boyce

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ABBESSE PHOTOGRAPHER THOMAS LACHAMBRE STYLIST SYLVIE PORTUGAL DE MOURA

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Jacket and Blouse with Sleeves Ball Dice Kayek Satin Skirt Headgear Chiselled Plexi & Veil: On Aura Tout

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Jacket and Blouse with Sleeves Ball Satin Skirt, Dice Kayek

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Dress with Plastron: Véronique Leroy Cape in Muslin: Paule Ka Collar Metal and Enamel: Viveka Bergström Rosary in crystals: On Aura Tout Vu

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Chiffon Cape, Plein Sud Lace Dress, Yiqing Yinut

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Eyelet Dress, YDE Lingerie: Door Chantal Thomass Headband Velvet Veil, Karuna Balloo Metal Cuff, Jean Paul Gaultier

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Muslin Dress Painted, YDE Mask Leather Belt, Zana Bayne

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Chiffon Cape, Plein Sud Lace Dress, Yiqing Yin

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Pleated Satin Dresscoat, Julien FourniĂŠ

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Dress Coat, Clarisse HiĂŠraix Crown Hair, Marisol Metal Rosary, On Aura Tout Vu

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Openwork Dress, Amaya Arzuaga Torque Metal and Leather, Jean Paul Gaultier Vintage Rosary

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Collar Engraved Plexi, On Aura Tout Vu Pleated Shirt, Barbara Bui

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Bolero Feathers on Fishnet, Serkan Cura Embossed Jacket, Corie Nielsen Satin Skirt, On Aura Tout Vu

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Photographer Thomas Lachambre / Stylist Sylvie Portugal de Moura / Hairstylist Chiao Shen / Makeup Artist Frédérique Van Espen @ Aurelien / Model Eline Van Den Bergh [MAJOR]

Muslin Dress Painted YDE Mask Leather Belt, Zana Bayne Leather and Metal Boots, Christian Louboutin

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CICELY PHOTOGRAPHER RU EKLOVE

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Photographer Ru Eklove / Makeup Artist Stina Markan / Model Cicely Irvine

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GOOD LUCK

GOOD LUCK BY CAMILLE GOWER

BRASH-FACED AND BOLD, AND TIED TOGETHER WITH A CONTROLLED FLAIR, “LUCK” IS THE LATEST OFFERING FROM LONDON-BASED NEW WAVE MUSICIAN TOM VEK. ELECTRO-GARAGE AND BEATS-Y POLYPHONIC-GRUNGE WITH A BRIT-POP ‘TUDE, THE GENREBENDING ALBUM IS POLISHED AND AT TIMES AGGRESSIVE, AS IN THE PSEUDO-TITLE TRACK “PUSHING YOUR LUCK”, GIVING WAY TO A MORE CLASHING LYRICAL RESONANCE IN “BROKE”, AND MELTING INTO REFLECTIVE TREACLE-LIKE MINIMALISM IN “THE GIRL YOU WOULDN’T LEAVE FOR ANY OTHER GIRL”.

The first video and single release off the album, “Sherman (Animals In the Jungle)” –through London indie label Moshi Moshi – sees Vek himself in a self-designed shirt, reeling the viewer in with his spliced synth hooks and conceptual ambiguity. The song, described as a commentary on moral ambivalence, was influenced by Tom Wolfe’s 1987 novel “The Bonfire of the Vanities”, Vek says. “‘Sherman’ is the only song on the record that I’ve had a specific reference point for, but I think that it kind of ties together with the theme,” he explains. This moral commentary contributes to an almost aggressive post-punk aesthetic, which Vek explains wasn’t entirely unintentional. “I grew up on so much angry grunge that I think there was always going to be some thread of dealing with the idea of frustration. As young men, we weren’t really angry, but we were in bands that sounded angry because it was fun. We were copying angry bands I suppose…” “What I’m trying to do with this stuff, increasingly, is to say that it’s not about coming across as being maniacally angry. I make a point of trying to solve problems pragmatically. I don’t think a song is going to solve it.”

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“It might be cathartic… a lot of music stems from the blues,” Vek resolves. “You’re just singing about it for the sake of it.” “But there are still things that everyone experiences in everyday life that are immoral or unfair – that’s where I think these elements of luck tie in,” he adds. “There’s that theme running through most of the record, which is kind of debating this idea of control and the parameters of fortune.” “I think the graphic designer in me kind of kicked in too,” Vek says, explaining the decision to use Luck for the album name, “and I thought you know if it looks good on a t shirt…” “The letters seem quite abrasive almost. Its quite an ambiguous word, you know, good luck, bad luck...” Vek’s background in graphic design (he studied at London’s famed Central Saint Martins) spills over into his music in an interesting way – there is a very precise ambivalence in his output, a neatly packaged roller derby. “It’s about controlled chaos in a way,” Vek explains. “Presenting something that might be a bit rough around the edges in a clean environment; you know, the “mangled car in the art gallery”… I think that’s quite fun.”

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Of his own music, Vek says that there is a punk, DIY aesthetic to it. “But I think there’s also that more kind of melodic rock element. I always look for some kind of melodic chaos – try to make it so I’m not writing lullabies,” he says. “I feel like there’s a grungier element to this record, in particular,” he adds. There are, too, aspects of Vek’s work which seem quintessentially British, the deadpan tonality and punk-rock aesthetic reminiscent of bands from The Clash, to the Stones, to Arctic Monkeys. “There is a brattiness, and a kind of authority to the British voice,” Vek concedes. “At the same time it’s very stuffy, so I think that you can play on that – the composed Brit getting angry. It’s more fun to see someone straight-laced flip out.” “I’m kind of like a “smart” dude; I’ve got smart shoes and smart hair, and I’m making scrappy grunge music, its meant to be like ‘ha ha’,” Vek jokes. It’s an intriguing concept, which seems to encapsulate Vek’s “controlled chaos” aesthetic, and the resonance of his musical output with his background in graphic design. The follow up album to 2005’s “We have Sound” and 2011’s “Leisure Seizure”, Vek’s “Luck” is a lesson in slick design – a simultaneously brash and elegant output from an artist that trades in thriving talent, not just good luck.

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