ESTILA VOLUME 10 MENSPIRATION

FEATURED STORIES: MAURIZIO PELLIZZONI | BEDDABLE | OLLY HOWE | DISORDER | MACKENZIE LEATHER | DANIEL SANDLER | RABOT 1745 | HOMEGROWN

ESTILA inspiring stories for creatives in business VOLUME 10/ ISSUE 41

£7

EDITORS

COVER IMAGE

Karolina Barnes

"King of the Jungle" by Emilia Vespoli

Emilia Vespoli Flavia Young / luxe-layers.com

A big thank you to all our editors, contributors and

Nicola McCullough / strawberryblondebeauty.com

everyone who continues to support ESTILA.

STYLIST Karolina Barnes

ESTILA bookazine is created and published by STUDIO/ESTILA t/a Palantti Ltd. The entire content of this publication is protected by copyright and may not be reproduced without written consent from

PROOFREADER Natalie Barnes

the publisher.

The views expressed in this publication are those of the respective contributors and are not necessarily

FEATURED PHOTOGRAPHERS

shared by the publisher. Original work and photography are copyrighted by its owner.

Karolina Barnes Nicola McCullough

ISSN 2398-9041

Jake Fitzjones

Designed and printed in the United Kingdom.

Nicola Tree Anton Rodriguez Adam Weatherley

STUDIO/ESTILA

Keri Hunt

We design and create out-of-the-box and

Simon Gray

engaging brand stories for ambitious businesses with big dreams. To find out more visit studioestila.com

CONTACT

or email studio@estila.co

IG & Twitter: @estilamag Tell us your story: editor@estila.co Website: estila.co

3 MIN

ŠCopyright 2019 ESTILA

READ TIME This symbol indicates approximately how many minutes it will take to read an article.

WELCOME TO THE WORLD OF ESTILA

“

Be fearless in the pursuit of what sets your soul on fire.

�

Have you ever found yourself at a crossroads or been stuck in a rut?

We have. All of the powerful stories we write about in ESTILA have one thing in common - they are told by amazingly talented creatives who have gone through tipping points, frustrations and aha-moments that have led them onto a new journey into entrepreneurship.

Our mission is to inspire you to do the same. We believe that life is a journey about finding who you are and what your calling is. It's about challenging yourself, and the status quo. Only then you can realise your true potential. We hope that the following pages will trigger a spark or an idea for you to take action and just go for it!

BY CREATIVES FOR CREATIVES ESTILA bookazine goes beyond the content. With each issue, we are growing a community of cheerleaders, supporters, collaborators and ambassadors, connecting designers, brands, artists and creatives to each other. We are here to help you grow. Can spot an opportunity for a collaboration on the following pages?

editor’s note Welcome to the 10th print edition of ESTILA bookazine. The idea for this edition came from a conversation about men in creative industries. After hearing some amazing stories, I wanted to give them space where they all can share their journey and experiences.

I must say, they delivered. Each story is a great case study to get inspired by. We take you on a journey from the stunningly sophisticated interiors designed by Maurizio Pellizzoni, captivating art by Olly Howe to the timeless elegance with Mackenzie Leather and fascinating life of Daniel Sandler. Moreover, you will learn about Hotel Chocolat’s beauty brand Rabot 1745 and the newly opened private club for ambitious entrepreneurs in London called Homegrown.

Thank you for reading and your continuous support.

Karolina Barnes / editor-in-chief

MUST - READ STORIES

Mackenzie Leather p52

Circle Triangle Square p40

Copper & Silk p20

Homegrown p78

Daniel Sandler p76

Disorder p44

ALSO YOU CAN READ ABOUT Maurizio Pellizzoni p5 | Hayche p16 | Beddable p26 | Olly Howe p34| Tempus Faire p58 Ryan James p60 | men-u estilap66 | Rabot 1745 p74 4

INTERIORS “Applying Italian appreciation of style and design to interiors.”

estila 5

i n t e riors ¡ designer stor y 5 MIN

Maurizio Pellizzoni interview by Karolina Barnes, photography by Jake Fitzjones

With an impressive portfolio and awards to his name including from SBID, the ID&A Awards, the International Design Awards and the International Property Awards, Maurizio Pellizzoni is one of the most talented interior designers in the UK. Growing up near Lake Como in a family who is already in the design trade, Maurizio was able to hone his skills and eye for design from a very young age.

These days Maurizio runs his namesake design studio from the heart of London's design district, managing luxe interior projects of listed, period properties, new buildings, spacious country mansions and bijou townhouses in the UK and abroad. It is very clear that Maurizio’s signature aesthetic is inspired by his own experiences and travel, from the glamour of Lake Como, cosmopolitan New York to daily life in London where he lives.

Can you tell us more about your journey and how you got into interiors?

I have always been passionate about design, coming from a family working in this field and from a beautiful place like Lake Como, it was natural for me to take this path. However, it was not until after moving to London in January 1998, and furthermore working for Ralph Lauren, that I knew this was what I wanted to do.

estila 6

i n t e riors ¡ designer stor y

After a few years at Ralph Lauren, I decided to go back to university and study Interior Architecture at the London Metropolitan University. I then spent more than a decade as part of the creative team at Ralph Lauren Home where I directed the presentation of the home collections in London, Milan and Brussels. I founded my London-based studio in 2007 and have since launched my online boutique. It has been an amazing journey where I have learnt a lot and have been extremely lucky to design beautiful interiors all over the world, which I am very proud of.

estila 7

estila 8

i n t e riors ¡ designer stor y

What did you find most challenging in the early days of your business in terms of project management and getting new clients?

When I first went solo, I was very lucky to have clients of Ralph Lauren as my launch pad who were looking to implement the same look but wanted a designer to work with them on their entire home. The challenging part was to work alone on some of those projects.

When I was at university and then at Ralph Lauren, I always had the support of a team.

When I started to work solo, I was on my own and had to start from scratch, initially working from my kitchen table at home. I had to learn to project manage all aspects of each project from the ordering to installation, plus all the smaller issues whilst managing client relations to get a project completed on time. After the first few years, I knew it was time to open a design studio and settled for Chelsea, near the Design Centre. With the new office and employees to take care of, I had to start to find new clients, breaking away from the whole Ralph Lauren look. This was a particular challenge for me as there’s no real formula to winning clients. With many interior designers in London and more specifically in my area, the competition is so high and building a reputation and portfolio takes time. It was challenging to get noticed and is still one of the big challenges designers face today.

Previous and above: Surrey Hill Country Mansion

estila 9

estila 10

i n t e riors ¡ designer stor y

Previous and above: Surrey Hill Country Mansion

“

If I had to choose, the Surrey Hill Country Mansion is one of my favourite projects simply because of the size of the property and the fact that the client was very trustful of my ideas. estila 11

estila 12

estila 13

i n t e riors · designer stor y

We love your quote: "Life as art, art as life: design is an art, and this is my life”. How important is art in your design work?

Art is a must-have. I love art and I think it’s the key piece to any interior scheme. From photography to sketches or even an old cinema poster, I love the way art can change the final mood of each room.

When you look at the projects and / or collaborations you’ve done so far, what would you say is your favourite and why?

I love all of my projects the same way, but if I must choose one, I would say Surrey Hills Country Mansion. This is simply because of the size of the property and the fact that the client was very trustful of my ideas and therefore we were able to create a beautiful family mansion together.

My favourite collaboration project was being invited as a guest designer for British GQ three years in a row, designing interior sets for features to inspire their readers. I sourced some of the finest pieces internationally, some very special one-off items and brought together the very best of design with furniture, accessories and art to create stunning interior shots that were splashed across their pages!

British GQ project

estila 14

i n t e riors ¡ designer stor y

Can you tell us a little bit more about what you’re currently working on?

I recently launched a very exciting project where I was able to create a mono-brand property in the heart of Mayfair. I’ve just completed a stunning 6,000 sq.ft family home in the heart of Chelsea and now I'm working on two new projects - an apartment in Shoreditch for a young businesswoman and another family home in Chelsea. I am also working on my first Italian project, a large apartment in Milan, which is, and will always be, my first love!

For more information or enquiries, please call (+44) 020 7352 3887 or email to studio@mauriziopellizzoni.co.uk

mauriziopellizzoni.co.uk

estila 15

IG @mrpellizzoni

i n t e ri o rs ¡ fur niture brand

Hayche x Vladimir Kagan collaboration for Wallpaper Handmade

estila 16

i n t e ri ors ¡ fur niture brand 3 MIN

Hayche interview by Karolina Barnes, photography by Nicola Tree, Anton Rodriguez

London-based with a global outlook, Hayche is a furniture and chair company that embraces contrasts and celebrates differences. Here we chat to Elizabeth Encinas, Hayche's Head of Marketing, about their outlook on furniture design, sustainability while highlighting some of the exciting collaborations they have been involved in.

Can you tell us more about the story of Hayche? When was the brand launched and what does it stand for?

Hayche was launched in 2014 by Alejandro Villarreal, a Mexican Architect and Product Designer living in London. We launched Hayche with 3 collections: Leather, Brick and Corner which were all very well received both with the international press and interior designers around the globe.

Our aim for Hayche was to create furniture that stood the test of time, furniture that is well-crafted, and that connects emotionally and visually - enhancing people’s lives and their surroundings.

Hayche used to be called H Furniture and wanted to play with the letter H - which in English is pronounced Hayche!

How important is sustainability and functionality in the design of your products?

Sustainability is part of our everyday life, we want to not only use materials that are ethically sourced and work with manufacturers that use certified green materials, but also the craftsmanship and design play a very important role here - we build products that will stand the test of time, that are not just fashionable pieces that you will throw away, but a piece that is strong enough and timeless that you can keep with you and pass on to future generations. In terms of functionality, our designers are aware that furniture is meant to be used and needs to be practical. Our furniture is made for both - the contract market and residential customers. It is therefore important to keep in mind that furniture needs to be practical as well as impactful in its form and materials.

estila 17

i n t e ri o rs · fur niture brand

What is the most interesting project you’ve been involved in so far?

We have been lucky to work with many amazing interior designers and also like-minded brands. There are a few that come to mind. We collaborated with Wallpaper Magazine for Wallpaper Handmade 2016. This project was very special to us, as we were selected to work with the legendary Vladimir Kagan on a project commissioned for Wallpaper Handmade. Alejandro worked alongside Mr. Kagan to create a beautiful Merry Go Round looking magazine rack called 'The Wheel' that was exhibited in Milan and since then travelled the world for a few more exhibitions. We also worked on a project for the Marriott Hotel in Germany, our WW Chairs all in black were used for the hotel's restaurant, which we loved being involved in. Another lovely project was our collaboration with G.F. Smith and “The World’s Favourite Colour” where our WW Chair was painted and presented in the WFC Mars Green! Oh, and let's not forget our WW Chair by Alejandro Villarreal with Studio Makgill. This has been our most popular and fun project to date, which we continue to develop new products from. Every time I see them, I fall back in love again with them!

G.F.Smith collaboration

estila 18

i n t e ri ors · fur niture brand

For our interior designers and contract readers, can you describe how you work with your clients on bespoke projects?

Our Creative Director, alongside our dedicated team, works really hard to cater for the market's needs, so if you browse through our collections, you will see that we work with a popular selection of materials while bringing in some exclusive colours into the mix.

However, we know that there might be a project that comes along where someone is looking for a bespoke furniture size or different upholstery finish so we do our best to work with our clients to both source or produce the right product for their project. Our aim is to nurture relationships and collaborate long-term with each and everyone of our clients by helping them make their vision for projects a reality.

We also noticed that you partner with brands and designers on collaborations. Have you got anything exciting coming up?

We are always planning new projects and everything creative makes us very excited! We are working on a collaboration with a really talented British designer, Daniel Schofield - "The Backer Chair" is coming up this September for LDF. We are also working with a Belgium-based design duo PaulinePlusLuis - you will love the Dune Chair. The Dune Collection is dubbed by its creators as “modern-day bistro chairs”. Other than that, we have some designs in the books for a new lighting collection by Alejandro Villarreal, which will be revealing soon.

hayche.com

estila 19

IG @hayche

estila 20

i n t e ri o rs ¡ inde pendent supplier 4 MIN

Copper & Silk interview by Karolina Barnes, images provided by Daniel Fosbery

Over the past nine years, Copper & Silk has built up a reputation in the interior design industry as the go-to supplier for made-to-order lampshade and lighting designs. Named after the two core materials used in the workshop, copper-coated wire and silk, the brand has not only collaborated with the renowned textile designer and artist Ptolemy Mann but also worked on some impressive projects to date, including the Manolo Blahnik concession in Harrods. Here I chat to Daniel Fosbery, the entrepreneur and designer behind the Folkstone-based company about his journey and plans for the future.

Can you tell us a little bit more about your journey and how you got to starting Copper & Silk?

In 2009, I had been working in the decorative lighting industry for three years, working on bespoke designs for high-end interiors and commercial projects. I realised that although I loved the projects I needed more control on how the business I was working in was run and eventually this led me to dreams of being my own boss. I left the lighting company and joined David Collins studio. The plan was to gain experience in how interior designers operate to help me create my own lighting studio a few years later with the added insight as to what my customers really wanted. However, life often throws you curveballs and sooner than planned, a chance encounter with an old lampshade supplier created the opportunity for me to re-brand his lampshade factory from making high volume shades for large retailers and instead create a custom and more bespoke service for interior designers and architects. This was in 2010 and was the beginning of Copper & Silk, which has been evolving ever since.

When you look back at your beginnings, what do you think was a mistake you made, which could have been avoided?

I have had a few things not go the way I had planned or had hoped but I cannot think of a single mistake I have made that I would want to have avoided as this informs future designs and decisions. I wish I could have made the journey from university to running my own business faster with fewer hurdles and obstacles to overcome, but I wouldn’t know what I know today and certainly wouldn’t have such respect for the hard work it takes to get a business off the ground. Mistakes are a good thing, provided you only make them once!

estila 21

i n t e ri o rs · inde pendent supplier

Copper & Silk has a great reputation in the interiors industry for high quality and great design, what is the most interesting project you’ve been involved in?

Definitely the Manolo Blahnik concession in Harrods we created with Nick Leith Smith Architects. The project had nine large 900mm diameter brass chandeliers with ruffled coloured silk drapes. The design concept was sent across to me as a basic sketch. I then worked through the design and engineered it to work with the client’s budget. It was a turning point for me, going from lampshades to entering back into bespoke lighting and gave me the confidence to develop the lighting capabilities further.

All your products are made in the UK. How important is it for you to keep manufacturing in Britain?

It is so important, I am interested in adding new interesting fabrics and lampshades to interiors, things of interest to be valued and cherished. Anything too popular or mainstream just gets sucked up by mass-production and this means labour costs are scrutinised and ultimately production gets sent to cheaper parts of the world. It also breeds an attitude of throwaway, which is not something I agree with.

Making in the UK can be expensive but by selling our products directly without middlemen or retailers we can keep the production here in the UK and the customer can still buy a unique product at a very competitive price. The beauty, for me, is our ability to make 10 metres of fabric or a single lampshade for one customer in the colour, size and shape they need and it isn’t a problem. We offer over 70,000 lampshade combinations on our website all made in the UK, which we couldn’t do, if we had to make 1000’s to stock and import in from overseas.

Lastly, I live here and I want other companies to offer interesting things or experiences for me to enjoy in my time off. By employing people in the UK, in a small way I help the UK economy, which should mean there is more money floating around so other UK businesses benefit and in turn, we all benefit.

For interior designers, can you describe the process of bespoke lampshade design?

We have spent a lot of time on our website, making ordering a lampshade as easy as possible. The first thing to do, if you are a member of the trade, is to register for our Trade Portal. This is a short form on the website that asks some details about your business.

Once this is completed, we will check that you qualify within one day and then approve.

On approval, an email is sent and you can log in using your email and password. A trade discount is then applied with a breakdown of savings at the point of purchase online.

estila 22

i n t e ri o rs ¡ inde pendent supplier

From the top: Modern Ikat Asilah Monochrome with Ptolemy Mann | Oblique Coral Cushion Collection

estila 23

i n t e ri o rs ¡ inde pendent supplier

estila 24

i n t e ri o rs ¡ inde pendent supplier

To order a lampshade, just visit our website, go to the shop page and select a shape of the shade from "Custom lampshades". You can then choose the size, whether you want it gathered or card-lined, the outer fabric colour, lining colour and finally the fitting.

Swatches of fabric and linings are able to be ordered online free-of-charge. We can also make a shade in your own material but we need an email sent to us to write up the pro forma.

I’m excited to hear about your plans of transforming Copper & Silk into a unique fabric house as well as lampshade maker. Can you tell us more about the products you’ve added / will be adding to your product portfolio?

We are very excited about adding to our range of exclusive printed designs and custom dyed fabrics. We realised that people love our fabric designs but not necessarily want them as lampshades and have seen the sales of our fabric increasing. As part of selling the fabric, we are also looking at other products we can offer in the same designs and have started to make lovely soft cushions, the filler is responsibly sourced duck feathers all from Europe and the UK, RDS approved and made in Kent. The cushions will be available in all of our in-house printed designs, including the new fabrics being developed at the moment.

For the current product offering, please visit copperandsilk.com copperandsilk.com

estila 25

IG @copperandsilk

estila 26

i n t e ri o rs · emer ging brand stor y 4 MIN

Beddable interview and photography by Karolina Barnes

Sometimes the simplest ideas and the best ideas. Beddable launched last year with a mission to simplify the process of buying bedding by creating a one-stop shop for modern consumers. I sat down with Joe Ozkanli, its founder, and talked about his frustrations which led him to the concept for beddable and his vision for the brand.

What has been your journey so far? How did you get to starting beddable?

I started beddable after a frustrating experience trying to buy sheets for our new home.

We'd just moved to London and we wanted a simple, clean and masculine aesthetic.

Buying bedding just seemed unnecessarily complicated. There was so much marketing jargon and so many technical terms. Some prices were astronomically high, while cheaper products were of poor quality.

Almost all the bedding we could find seemed to target female customers. The bedding industry couches itself in those terms, even having product names like the “housewife pillowcase”. There were many more options with floral prints than in simple tones or patterns. It seemed to us that things needed to move on. Sheets, pillowcases, duvet covers were also often sold separately, which made it more expensive and more difficult to match colours and styles.

With beddable, I wanted to simplify things. I wanted to create a one-stop shop where you could buy good quality, matching bundles of products that would fit a modern home or a loft apartment like ours. And, I wanted to create bedding products with some masculine appeal.

We did lots of research about different fabrics to strike the balance between quality and price. We found the best producers for each product, which is why we work with suppliers from Portugal, Turkey and Japan as well as the UK. I’m a one-man show. I source our products and I built and manage the website, partly from our loft apartment in Hoxton. This area of east London has helped inspire the beddable brand, with its industrial heritage and creative spirit.

estila 27

i n t e ri o rs ¡ emer ging brand stor y

estila 28

i n t e ri o rs · emer ging brand stor y What is different about it? How are you solving customer’s problems?

A simple thing well done is the definition of excellence. That’s what we strive for at beddable. We’re making simple, stylish, high-quality bedding and delivering it to our customers quickly and without hassle. We’re aiming to make not only the products but also the whole shopping experience better. Our bundles simplify the process of buying bedding by offering all the elements you need for a luxurious bed in one box. They eliminate the need to traipse around multiple stores.

We have a programme called “Sleep on it” to help customers who are tempted by our bedding but want to feel the fabric first. We send them two pillowcases which allow them to get a feel for the quality of our products.

What is your mission and purpose with beddable? Is there any by-product of your existence as a brand?

There’s a misconception that men don’t care much about interior design, soft furnishings, or coordinating the style of their living space. We believe they do, and we wanted to create bedding that would appeal to them. Many of our customers, who include professional men living a fast-paced urban life just like us, don’t have the time to spend hours researching bedding or comparing thread counts. We want to make it easier for them to easily find well-designed, good quality and life-enhancing products for their home.

We’ve started with bedding, but we plan to expand into other products in the years ahead.

Who is your ideal customer? What lessons you have learnt in terms of communicating and engaging with them?

Our customers tend to live in design-led homes, contemporary living spaces in which they take great pride. We’ve found that many of our customers, though of course not all, are men. What unites our clients is an appreciation of quality and a taste for characterful but refined, uncluttered living.

We like to engage with our customers and get a feel for their tastes and lifestyles. That helps us to refine our offering as we expand into new products and designs. Inspiration flows both ways: we learn from our customers and we hope we can help inspire them as they refine their living spaces too.

There’s a saying in Turkish: “A lion makes himself obvious by where he sleeps.” It means that your home, and especially your bedroom, say much about you and your personality.

estila 29

estila 30

i n t e ri o rs · emer ging brand stor y

Where do you see yourself and beddable in future? How can your customers join you and be part of your journey?

I see beddable as a masculine-accented lifestyle brand revolving around the bedroom and gradually moving into other areas of home furnishing. We certainly want to remain a direct-to-consumer business, because it gives us that closeness to our customers. We have been approached by a couple of retailers about selling through them, but it’s not a route we want to take. Our goal is to keep our direct engagement with our audience.

We’re an online-only business and we’re on social media platforms including Facebook, Instagram and Pinterest. We also, of course, keep our clients notified of new product launches by email.

But we don’t hide behind the screen. I like to do some of our deliveries in central London myself, which gives me an opportunity to speak with our clients. My background before beddable was developing a bricks and mortar retail business and I miss that personal connection with customers. After all, we’re offering products to enhance the most intimate part of their homes.

beddable.co.uk

estila 31

IG @beddable.co.uk

estila 32

shopping

research and graphics by Emilia Vespoli

MY THERESA STELLA MCCARTNEY Cape Midi Dress

STUDIO SOMÉE KAYAPO Giclée Print

FELDSPAR Moor Soap

DESIGN WHARF IBRIDE Osorio Plates

LA BRÛMÉE Brume Fraîche Natural Hair Mist FELDSPAR Indigo Moor Blanket

ELISE SOM QI Table

WOLF & MOON Drop Circle Earrings

estila 33

ART “When the dream doesn't seem worth chasing, there has to be a desire and drive to succeed.�

Artemis

estila 34

art ¡ artist stor y 4 MIN

Olly Howe words and art images kindly provided by Olly Howe

MY BEGINNINGS My passion for creativity started at a young age, but the first real profound experience I had with art was when I travelled to the MusÊe D'art Moderne in Paris at the age of 18 to see the Mark Rothko exhibition as part of my A-Level art critical study. You weren’t allowed to talk inside the gallery, I just remember feeling engulfed standing in front of his huge awe-inspiring paintings in complete silence - that was the first time I had a true connection with art and realised it would always be part of my life. At college, I was obsessed with the abstract expressionist movement and I spent a lot of time painting works inspired by Rothko, De Kooning & Pollack, a lot of these pieces still hang on the walls of my parents' house. As bad as I think they are now, they paved the way for me as an artist.

Moving on from school, I ended up at Plymouth College of Art & Design where I studied Graphic Design - the course introduced me to Photoshop and from that moment I was hooked. The process of taking photographic elements, textures and anything else that could be scanned into a computer and then merged together to make something new and exciting totally inspired me.

In the early years, whilst at college, I did a lot of flyer and poster designs for club nights in Plymouth, mostly drum and bass nights. I remember being particularly chuffed with a flyer I did for a night with DJ Marky headlining - a pinnacle in the very early days of my career, haha.

From Plymouth I moved to east London where I worked as a designer and illustrator for various creative agencies and brands, eventually going full-time freelance around 2008.

At this time I started to work with some of the top illustration agencies in the UK and had my work regularly featured in magazines such as Advanced Photoshop, Computer Arts and Photoshop Creative.

estila 35

estila 36

art · artist stor y

Whilst working as a freelancer, I was always making my own art on the side, it was an outlet for me. So many of the freelance jobs I did were creatively suppressed by delusional clients - sometimes it was very frustrating. The thought of working as an artist and not answering to clients was the dream, although at this period in my life I wasn’t quite sure that dream would ever manifest itself as reality.

After almost 7 years in London, my first son was born and we decided it was time to move back to the coast - Plymouth for a couple of years and then eventually to Newquay in Cornwall. I was still working as a freelancer but very much focused on my own art and how I could develop that further. I had sold a few prints over the years but had never self-published any works. However, in January 2018 I released my first limited edition print called "Wilderness". The response to this was great, with it selling out in just three weeks. From then, I began releasing prints regularly and the sales momentum picked up very rapidly. In summer 2018, I met another established artist from Newquay, Ben Allen.

Ben exhibits and sells worldwide and is known for his graffiti pop style artwork. He had a purpose-built studio in town and after a few visits, he mentioned he was looking for someone to move in with him, I, of course, jumped at the chance. Within a month of moving into the studio, I had transitioned to a full-time artist. Feeding off each other, and having Ben next to me, showed me the way in terms of printmaking and finishing, and really pushed my art to the next level. Since then, I haven't looked back. Fast forward to 2019 and I’m working with a bunch of galleries across the UK and have just had my first big solo exhibition in London.

MY STYLE Each piece is its own entity, there’s always an initial spark of inspiration that will kick off a new one, but I usually don’t know how it will end up looking when I start. That’s the exciting part for me, experimenting with different elements and compositions until something ‘clicks’. That process can take a few hours or a few weeks, it’s not unusual for me to have five different versions of something going at the same time, eventually amalgamating them into a final piece.

Previous page: Lady Monarch

estila 37

art · artist stor y

From left: Opulence | Angellica The fundamentals of the way I work have never really changed. I take various different photographic elements as well as marks and textures that I create by hand, then edit and bring them all together digitally. Once a piece of art is complete, I move onto the ‘making’ process, which, depending on whether it’s an original or print, will consist of various techniques including digital print, screen print, stencilling and hand finishing.

INFLUENCES There’s been a lot of influences over the years but here are a few that currently inspire me: Tristan Eaton, Kathryn Mac, Thierry Duval, Hush, Zaria Forman, Findac, Dan Hillie, Gabriel Moreno.

CHALLENGES In the early days, working as a designer and illustrator, the goal was always to become fully freelance - it took me six years to get to that point spending a lot of those years working 9 to 5, then coming home and working on freelance jobs until the early hours. It was a juggle but worth it in the end.

estila 38

art · artist stor y

The Kingdom BEST ADVICE FOR EMERGING ARTISTS I was always given the same advice as a young creative: "Concentrate on a style that you enjoy and make a really strong portfolio of work."

There is obviously truth in this but it only really scratches the surface in terms of becoming successful. It’s taken me 16 years to become a full-time artist and my career has had a lot of highs and lows. At points, I almost completely stopped making any kind of art and just concentrated on ‘work’ but the inspiration never died and always brought me back to making my own artwork that was free from client restraints. Having a good portfolio is great, but there also has to be that desire and drive to succeed and most importantly to push you through those times when the dream doesn’t seem worth chasing.

ollyhowe.bigcartel.com

estila 39

IG @ollyhowe

art ¡ business stor y

Artists from top: Jasmine Mills - "Man in the Red Hood" , "Translucent Gods" | Opoku Mensah - "Encantations Encounters" | Harvey Kuyck-Cohen - "Waiting To Move On" Assemblage

estila 40

art ¡ business stor y 4 MIN

Interview with Edward May, Circle Triangle Square interview by Karolina Barnes and art photography provided by Edward May

If you're an artist just starting out, you might be finding hard getting your foot in the industry. Circle Triangle Square is a platform which supports artists in their beginnings.

Behind this brilliant idea is Edward May, who I met last year at an event. Here he shares the platform story in more detail.

Can you tell us more about Circle Triangle Square? How did the idea come about?

Circle Triangle Square is an art platform which represents and promotes the work of talented emerging artists. The idea for an 'art platform' stemmed from my ideas and experiences whilst I was a student studying Fine Art at Falmouth University. I was surrounded by artists making exciting work and was spending much of my spare time reading about the art world and more specifically, the art market, and the opportunities and difficulties of achieving success within it. I decided that I wanted to create an art platform which would provide exposure and support for these artists, but in a way which would avoid some of the risks associated with the more traditional art gallery. Circle Triangle Square operates as flexibly as it can, with a program of temporary exhibitions, a website, and an Instagram account.

What is the mission with the platform?

The art world can be notoriously difficult to break in to and artists can work for extended periods of time with very little recognition. For artists at the beginning of their careers, these barriers to entry can seem intimidating, but we see this as an opportunity to provide a service. Circle Triangle Square's mission is to help these emerging artists build their careers in the best way that we can, by prioritising their individual needs, whether this is helping them with writing applications, obtaining funding, PR or displaying their work in exhibitions and online. This will give the artists enough room to work independently, but with extra support and commitment from Circle Triangle Square. Although we are still very much at the beginning of our journey, Circle Triangle Square aims to eventually establish a sustainable business which supports itself through commission on the sales of artwork and/or other forms of revenue.

estila 41

art ¡ business stor y Who are the artists and how do you select them for the platform?

The artists we represent work in a variety of different mediums including painting, drawing, sculpture, film, installation and performance, but their practices are united by their engagement with contemporary culture. Currently, we are working with a small but growing number of artists. As artists generally do not achieve success overnight, we work with artists that are intent on building a career with longevity. We plan on increasing the number of artists that we are working with gradually, but not exponentially; increasing the number of artists too quickly too soon would reduce the quality of the support that we are able to give them - and it is this support system which forms the crux of Circle Triangle Square. It would be impossible to work with every emerging artist, but we are lucky enough to work with a small number of them in depth.

Can you tell us more about the projects you’ve been involved in?

One exhibition which we held last year was titled "Remades and Readymades". It explored the emotional and physical qualities of man-made objects and the natural environment (and the crossover between them) and the ideological position that they hold within the context of art and outside the context of art. By exploring the boundaries surrounding context and its relationship with art, we were able to challenge our views, and hopefully, had a positive impact on the way in which the audience look at their environment outside of the context of art.

A second project we have been working on (this time as an assistant organiser and co-curator alongside the artist Opoku Mensah) is titled "Heterotopia: Between Places, Spaces and Time". Heterotopia proposes the opening of a research-intensive art institution in Cape Verde, which will welcome experienced artists for stays lasting 4 to 12 months. During their stays, the artists will explore their contemporary circumstances and integrate the needs and aspirations of others to create art which is not a product of a single person’s actions, but instead produces social change, community interaction, cultural awareness, and shared experience. Currently, Opoku is in Cape Verde and has started work on making this project come to life, while Circle Triangle Square will focus on the organisation and fundraising that the project will need before it can launch.

Are there any collaborations you would like to get involved in future?

We believe that working collaboratively and openly is the most effective, sustainable and productive way of working, and it is this approach which will help to create real long-term value for everyone involved.

estila 42

art ¡ business stor y

Bronwen Anwyl - "Orange"

Circle Triangle Square is willing to collaborate with any individuals, organisations, or businesses who hold the same values as us. We would be particularly interested in working with other art galleries and organisations, interior designers, fashion designers, hospitality and/or food and drink, and independent retailers. Please do not hesitate to contact us. https://www.circletrianglesquare.co.uk/

circletrianglesquare.co.uk

estila 43

IG @ctscircletrianglesquare

FASHION “We are anti-mass, anti-corporate and anti-fast fashion.”

estila 44

fashion ¡ brand stor y 6 MIN

Proudly made in Britain with Disorder

interview by Karolina Barnes, photography provided by Mark Howard

The story of the Birmingham-based independent fashion brand, Disorder, started more than two decades ago when a husband and wife team started a small production of handcrafted garments. In this interview, Mark Howard shares the journey of the brand, its mission, challenges and vision for the future.

What has been your journey so far? Why and how did you go about starting your business?

We started our business 20 years ago when we unexpectedly found ourselves in Birmingham and I was looking to start a creative venture from our savings. It was 1997, we were into clubbing at the time, but saw that there was a gap in the market as the high street in Birmingham was very mainstream and corporate. As unemployed graduates, we wanted to implement the principles of sustainable development inspired by our Politics, Development and Sociological backgrounds. We went into partnership with a friend, however, we parted ways by the end of our first year of trading as we had intrinsic differences on the direction of the business. This was a tough first lesson, both financially and mentally.

The fall out from the 'break up' made us more eager to future proof our business. We ploughed a lot of our energy into developing the menswear side of our Disorder brand.

Through trial and error, we became overnight designers. I became a graphic artist and selftaught myself sewing and my wife/business partner Thiri, selftaught herself pattern cutting over time. Thereby we created a fully functioning vertically integrated business, making small production handcrafted garments, using British textiles, where possible, and selling it in our own one-of-a-kind store. Ideologically, we are anti-mass production, anti-corporate and anti-fast fashion. As the antithesis to the global brands, we are all about keeping things fresh by growing organically, with a handcrafted quality that prides itself on making it in Britain as much as possible.

Our business message is that 'made in Britain' is beneficial to our local economy and we believe that this should be enshrined in law whereby all businesses should make a certain percentage of their products in the UK.

estila 45

estila 46

fashion ¡ brand stor y The UK needs to diversify its export economy from arm sales and financial services. We waste our money on imports when we should look to start manufacturing more home grown products.

With our online channel, we also have customers all over the world. Our journey so far is definitely about resilience and the power of our determination is to show to anyone out there that a sustainable business is a viable livelihood that more people should consider.

Invest in yourselves, do not assume that you were born to join the corporate world; there is another path out there.

How important is sustainability to your brand?

Sustainability is at the heart of Disorder. We believe no matter where you live in the world, it is vital to create businesses that make one self-sufficient so that self-generated wealth can be reinvested back into the local community by using local expertise and resources.

We see venture capitalism as 'steroids' for business growth; it is the root of all evil within the fashion industry. Brands like ours, that is not venture capitalists backed, are few and far between. It is this form of rampant expansion that pressurises the high street chains and global brands to put profit over quality, which then leads to untold environmental costs of mass-production and exploitation. For example, our business model creates zero waste, as we only make the amount we need. Our T-shirts are printed locally using eco methods, we also print our original artwork on bamboo fabric, which is the most sustainable fabric to use, and we only buy British wool to show support for the textile industry in this country. Sustainability is the 'in' thing now, however, that's how we have run our business from day one. It was an experiment to see whether we would be able to compete on this uneven playing field with these values of sustainability on the high street. We assumed if we lasted three years it would be good enough. We would have never imagined to still be here after 20 years. I guess the experiment has demonstrated that it is possible and viable to have an ethical business, alongside the high street giants, if you brace yourself and have faith in your beliefs.

Who is your ideal customer?

Our customers are people that 'get' what we are doing and that value clothes as an expression of themselves. They are men and women who are in search of one-off dresses, one-of -a-kind garment that makes them feel individual and reflects their personality. They like to invest in quirky non-conformist jackets, shirts, t-shirts, trousers etc.

estila 47

estila 48

Many of our customers are from creative industries, and age is just a number in our store.

A lot of them are hard working globetrotters and often say they have never experienced a shop like ours in their travels. We could not do what we do without the kudos we get from our eclectic clientele.

Where and how do you find inspiration for your designs?

We get inspired by everything; from films to our far-flung travels to the East. We work on instinct and prefer to do our own twist on things, so we do not necessarily follow trends as such. I also do art portrait commissions for customers' favourite icons. Being a painter at heart helps to keep the free-thinking flowing. In a nutshell, we like to be the outsider, it's our default position.

estila 49

fashion ¡ brand stor y

What do you find most challenging in your industry?

To fashion, enemy Number 1 is the high street and the likes of morally corrupt moguls such as Philip Green from Topshop. It's a constant barrage of sales and the over massproduction of clothing which are criminal. It's equivalent to spraying toxic chemicals on any emerging green shoots (independent retailers and new businesses).

estila 50

Tweed Effect Jacket and Trousers

fashion ¡ brand stor y

To independents, enemy Number 2 are unfortunately city councils. There are parts of the council with some amazing individuals who do a fantastic job at helping, understanding and promoting independents/small businesses in our cities. But there are more brutal departments of the council that have actively helped to send independents out of business through their short-sighted 'greed is good,' ferocious policies to make a revenue for themselves.

What is the future vision for Disorder?

We want to keep bringing out new designs. We want Disorder to kick ass in this Brexit economic climate. We would be interested to start wholesaling again to like-minded boutiques. As a British clothing label, we would not have import tariffs as the EU brands would, so we hope that more independents would look to be motivated to source 'underground' British brands for a change now more than ever before. Up until now, we have found that fellow boutiques have been hooked on EU brands conditioned by global marketing.

We are open to more collaborations in 2019. The UK creatives are going to have to get stuck in at 'rebuilding' the country once Brexit sets in. It's going to be worse than the wild wild west, so we have to all learn to maximise our talents and resources in order to conquer our fears.

Lastly, our home-schooled soon to be 6 year-old-son will be starting his own clothing label next year, called 'Fortune Baby.' It will be a children's range, designed entirely by himself. His drawings are showing great promise and we want him to be our prodigy so that he can start running the business as soon as possible!

Photo Credits: Hair & Photography by Keri J Hunt www.kjhphoto.org Female Model & Make-up Charlie Bean Male Model Elusive Rio

disorderboutique.com

IG @disorderboutique

estila 51

estila 52

fashion ¡ c raftsmanship stor y

Beautifully crafted, made to last interview by Karolina Barnes, photography provided by Simon Harvey-Potts

Completely self-taught, Simon Harvey-Potts's passion for leather and craftsmanship drove him to take over a business he was working in and slowly building a reputation and loyal customer base in central Edinburgh.

These days Mackenzie Leather takes its customers on a journey of bag making in their shop and workshop where skillful craftsmen work their magic. Only the finest Italian and Spanish leathers are used to transform them into elegant and timeless leather accessories, which can be personalised to your taste.

Can you tell us a little bit more about your journey and the history of Mackenzie Leather?

My leather journey started in sunny Granada, Spain where I discovered local artisans and really admired their work and craft. After befriending one of the artisans who spotted my curiosity, I was given some tools, shown some basic skills and pointed in the direction of the local leather shop. I fell in love with the craft. Selftaught over the next year doing markets and selling my wares my passion was solidified. Returning back to Edinburgh I continued my exploration and bought books to advance the techniques and grow my passion. After two years of selfteaching, I started to pursue getting an apprenticeship at Mackenzie Leather and after much persistence, I started part-time in 2004. After a short but very efficient process, I was trained to a high standard of work and was running the workshop. Around 2008, we had to move the location of the Victoria Street shop that had been there since 1990 to Dundas Street. In 2011, the opportunity was passed to me to buy and take over the business and after a short time of planning the way forward, and encouragement from my now fiancĂŠe, I jumped at the chance. We closed the shop and moved to a central workshop/studio space where I slowly built Mackenzie back up from the bottom, regaining our strong customer base and bringing Mackenzie into the 21st century. I did many local events to promote and keep the business growing all the while looking for the next Mackenzie shop. In January 2017, we found the new shop and have been there since. The business now supports three full-time employees, is growing strongly and is proudly back where it belongs, in the heart of the old town of Edinburgh.

estila 53

5 MIN

estila 54

fashion ¡ c raftsmanship stor y

What did you find most challenging in building your business after you started trading independently?

The hardest part of my journey was looking for the right shop. Since buying the business I found massively disheartening looking for a shop, as the shops would be taken very quickly. Rents were way out of my price range and they weren't ever 100% ideal in terms of the space for the workshop and shop combined. When we found 17 St. Mary's Street, I contacted the agent and after a short discussion, they stated we are exactly what the landlady is looking for! Amazing! In my terms and conditions it states 'no tartan tat ', I didn't believe people like this still existed in city centres. Our landlady also owns the bagpipe maker, kilt maker and a Scottish clothes designer all on the street. It felt like fate had spoken.

What is your mission? What do you want to pass on?

My mission is to keep Mackenzie alive and proudly in Edinburgh where it should be.

With the workshop in the shop, visitors can see everything being made, which really helps build people's curiosity and understanding of the processes that are involved in any handmade, artistic craft. I feel we are fighting a good fight within a world of massproduced goods. Our customers can have a personal experience and be part of their bag production journey. Also, in keeping Mackenzie alive we can ensure that our knowledge and skills are being solidified and passed on to future generations.

We love featuring brands with great purpose and meaning. What do you find frustrating in the fashion accessory industry, if anything?

The fashion industry is based on next season's colours and trends, nothing is made to last.

The attention to detail, and sometimes materials, is not to a great standard either. For too long people (including me) wanted bargains, believing they are saving money. However, this is a false economy. Sometimes, when our potential customers question the cost of our belts, for example, we ask them this, "How many belts have you purchased in 4-5 yrs... how much did they cost?" Adding them together and there you go, that's a lot more money than buying one of our belts that can last for 15-20yrs. We are returning to the days of old where you would purchase one quality item that would last.

estila 55

estila 56

fashion ¡ c raftsmanship stor y

If you had to choose one of your products, which would it be and why?

Wow, that's very difficult, I can't! I will have to choose two: The Gladstone bag as it's a timeless classic based on the original apothecary doctor's bag, the name came from the maker being an admirer of the once prime minister William Gladstone. I personally love the framed concept and how much space it has inside, it's like a mini tardis. They are always very satisfying to make. The next is the Rucksack, this bag is a multifunctional bag - being a shoulder bag and rucksack in one. The concept of this apparently started in the 18th century in Paris so I find that very interesting. There are many components/parts that make up a rucksack, therefore the process is quite long, but then the magic happens and you have this elegant and practical bag which will last you many, many years.

mackenzieleatheredinburgh.com

estila 57

IG @mackenzieleatheredinburgh

estila 58

fashion ¡ emer ging brand stor y 2 MIN

Tempus Faire with James Lum

words and images provided by James Lum

My journey began in 2014 when I launched the watch cabin, an authorised reseller of branded watches. We placed customer satisfaction at the heart of our brand and we grew very quickly. However, I was shocked at the amount that big brands charged for poorly designed watches and believed that the watch buyer deserved much better. So I sought out some of the best designers in Europe and partnered with the same manufacturers of luxury watch brands. Tempus Faire is now able to offer unique, luxury timepieces without the unnecessary markup.

We wanted to create timepieces that were different from the same, mass-produced watches on the market. Tempus Faire gives recognition to each designer we work with. For example, our first designer, Clement Sinibaldi, is a highly skilled craftsman who has worked with some of the top watch brands such as Audermars Piguet and Faberge. We are also able to partner with the very same manufacturers of premium brands.

We wanted to give each designer the credibility, we feel they deserve. When people buy a watch, they don’t have much of an idea about the artisan who created it and their inspiration around the piece. We wanted to create a unique story around each watch artist so that the customer has more of a connection with the timepiece.

Our typical customer is someone who appreciates a well-designed, premium watch without the unnecessary cost. Someone who is looking for something more than a watch, but seeking to support designers and the communities we are building.

We are passionate about design and have partnered with a charity (Annos Africa) to help teach these skills to children in Africa. They run various art projects for children living in slum conditions in Kenya. Our mission is to bring 1,000 children out of poverty and have a career in the design and arts industry. I feel that as entrepreneurs, we have the tools and resources to make a positive impact on society. It’s our responsibility to give back as much as we can.

tempusfaire.com

estila 59

IG @tempusfaire

fashion ¡ retail stor y

estila 60

fashion ¡ retail stor y 3 MIN

Ryan James Studio interview by Karolina Barnes, photography by Simon Gray

Since opening the doors of Ryan James Studio in Glasgow in 2016, James Rennie, its founder, has been curating emerging and established brands sourced from the UK and Europe as well as more locally made products for his menswear and lifestyle store.

Paying attention to every detail and understanding what his clients want and need, and offering unique experiences, events and workshops, have helped him to build up a loyal customer base who keeps coming back for more. In this interview, I talked to James about his early days, struggles and mission.

“

I want to offer men a relaxed and personalised shopping experience. A place where my customers can chat about new products over a beer and can get an honest view on their choices.

estila 61

fashion ¡ retail stor y

estila 62

fashion · retail stor y

Can you tell us a little bit more about your journey and how you got the idea for Ryan James Studio?

After graduating from university with a degree in media, I moved to London where I started working for some of the biggest names on the high street. From Ted Baker to Karen Millen and House of Fraser I was responsible for implementing visual merchandising strategies across many flagship London stores. At this time, I also started traveling regularly to New York with my American friends and I fell in love with the boutique culture and the personalised, unique shopping experiences on offer. Feeling inspired by this exciting approach to buying, I decided to create my own company that offered male shoppers something fresh.

The idea behind Ryan James Studio is to give men of all ages and body types the confidence to discover their own style. We offer a curated range of new labels, styles and products as well as personal styling and events within a relaxed and comfortable space.

Why did you decide to open a physical store instead of just focusing on developing an online presence?

For me, Ryan James Studio was always about offering something more than a “high street” shopping experience. E-commerce has changed the way we shop completely and while it’s such a convenient method, I don’t think you can beat the excitement of discovering a new garment and getting a feel for it in store.

Ryan James Studio is here to curate a collection of menswear that is well made, with real attention to detail in fabrics and finishes and I believe this should extend to service too.

We offer men a relaxed and personalised shopping experience. From chatting about new products over a beer to giving them an honest view on their choices, we have grown a regular client base since the store opened in 2016. Now, when curating the next collection, we have those clients in mind and imagine what pieces they might select themselves. The high street and online are great but, for some men, it can be stressful. If we can provide clients with a tailored, personal experience then the store has delivered!

Who is your ideal customer?

The Ryan James man is one who wants to feel comfortable in quality clothing that reflects his own taste and personality. He isn’t afraid to try something new and enjoys a fresh take on high street fashion.

estila 63

fashion ¡ retail stor y

estila 64

fashion · retail stor y

What did you find most challenging in building your brand in the early days?

As a relatively new store on the high street, the biggest challenge is reaching the men we are here to curate collections for. Once they discover Ryan James Studio, clients come back time and time again. Whether that is due to the product range, styling service or the space itself, they enjoy the shopping experience we offer. To offer clients that something extra, we regularly team up with other local businesses to host workshops and events that reflect their interests. From ‘make your own aftershave’ classes to new product launches, this is a key part of our unique, personalised shopping experience.

What are the most common mistakes men make when it comes to styling? Any tips?

Although some clients come into the store with a clear idea of what they are looking for and know their own style, many others enjoy being given some direction and discovering something new that they may not have chosen themselves.

One of the mistakes men often make is trying too hard – wearing the simplest look will often work best. If you are wearing a statement piece, for example, a busy printed shirt, offset this with a plain trouser and jacket or sweater to let the pattern speak for itself. Most importantly, ensure you feel comfortable. You should wear the clothes, not the other way round!

ryanjamesstudio.com

estila 65

IG @ryanjamesstudio

BEAUTY “We wanted to introduce men to products that were different and specific to them.�

estila 66

be auty ¡ business stor y 5 MIN

Building men-u with Graham Fish

interview and product photography by Nicola McCullough

Would you be mad if your other half used your favourite shampoo or is your bathroom cabinet divided equally? We discuss male-specific products and building a man's grooming brand with Graham Fish, who founded men-u in 2001, armed with 40 years' experience in the beauty industry. men-u specialises in high performance, ultra concentrated products in compact, refillable packaging.

Tell us about the biggest challenges when establishing your brand.

Our objective with men-u has always been straightforward - to introduce more men to quality grooming. The strategy has also been clear... we felt that if we offered men products that were different and specific to them, they would respond accordingly.

What we misjudged was the level of communication required and relative insecurity of many men, with regard to grooming products and the prices that they are prepared to pay. While women talk openly about products and recommend them to friends, this is much less likely to happen with men. So the big focus for us was communication, which is why our main trading channels are communicative - quality online websites (such as Mankind and Lookfantastic) and the professional trade of salons and barbers.

We also launched a social media campaign, Educating Tubes with Peter Dale and Robbie Knox (Sky Soccer AM), who we worked with on 5 great videos for men-u.

estila 67

be auty ¡ business stor y

And your greatest business highlight to date?

Apart from multiple awards and great online reviews from guys that get what the brand is about, I would have to say the response to our launch of refills and what we term 3R Grooming: Reduce - Reuse - Recycle. The response has been beyond all our expectations, from inclusion on Ian King, Sky Business News to one senior buyer commenting that no one is doing anything like we are right now... a quality product, significantly reducing packaging, along with reusing pumps and caps while recycling much less.

We love to see men devote more time to personal grooming... is it becoming the norm?

The general trend is undoubtedly this way but there is a lot of product trial and error with men, which goes hand in hand with a mass of brands, product choice and mixed messages. The problem with trial and error is that market development is slowed if men become disillusioned with products that cost more and do not necessarily perform better.

Again, communication and research are key and the reason we primarily distribute via professional salons and barbers, along with quality e-tailers.

In what ways should a man's skin and hair be treated differently than a woman's (if at all)?

The most notable differences are that men have more active sebaceous glands and facial / body hair. Oilier skin is good news when older (fewer wrinkles), but in adolescence often means more spots and breakouts. The combination of oilier skin and facial hair for men means a massive requirement for very different shaving and facial products, including shave crème and aftershave balm. Our D-Tox clay 3-minute oil remover with kaolin clay helps tackle oily skin and is fast drying for time-poor guys. men-u matt skin refresh gel functions in a similar way to toner specifically developed for men in a gel format with pump for accurate dosage.

Men suffer a much greater incidence of flaky scalp / dandruff than women, based on androgen levels, diet and stress; men-u healthy hair and scalp shampoo is one of our hero products which helps address this.

estila 68

be auty · business stor y

What are your star products?

There are quite a few, from our shave crème to healthy facial wash, a top seller in Germany.

We have a great hair styling product called Liquifflex that can be used as a blow dry foundation and finishing product. It comes out as a cream, liquefies in the hands and is spread evenly through the hair as a result. So no heavy patches and the product is very light in the hair, which also makes it great for creating volume with thin, fine hair.

One of our other top styling products is clay, great for a matt, surfer look or choppy styles.

It has a great fragrance and since launch, almost 10 years ago, has had many copiers... a sincere form of flattery.

Finally, I should mention our men-u Pro Black shaving brush with manmade, black bristles that form part of a registered design. The manmade bristles use less shave crème, are easier to clean and do not retain water or product, reducing bristle loss.

What sets men-u aside from other male grooming brands? men-u as a brand - with the addition of 3R Grooming and refills - looks at grooming products from a clean sheet of paper and sets out to make a significant, positive difference.

The majority of our products are ultra concentrate, which enables us to improve performance, using a high proportion of modern, active ingredients in a small package. The key is accurate dosage and getting ingredients to where they are needed with minimal waste.

A good example of ultra concentration is our 100ml shave crème that provides up to 165 shaves... resulting in better performance and up to 90% less packaging.

Any tips on convincing the men in our lives to make a little more effort with their appearance?

Build up their confidence by pointing out their strong points and features. We should all care and look to make the most of ourselves when on this planet for such a short while.

Looking younger for longer and personal health and wellbeing, in terms of diet and training, are very important. Making the most of everything, including oneself - and good grooming products used well - do make a difference.

men-u.com

IG @men-ugrooming

estila 69

be auty ¡ business stor y

estila 70

be auty · business stor y 5 MIN

Interview with Daniel Sandler interview and product photography by Nicola McCullough

After 25+ years painting some of the most famous faces in the world, Celebrity Makeup Artist, Daniel Sandler, poured a wealth of industry knowledge into developing his own multi award-winning cosmetics range, with products designed to enhance natural beauty rather than disguise it. Here he shares a unique insight into building a brand among industry giants - and what it's really like behind the scenes at Fashion Week.

What inspired you to create your own makeup range?

I was working on photoshoots where I needed makeup to stay in place because I was either in a hot, humid and sunny climate where makeup runs, or I would be doing shoots where the model was in a swimming pool or a shower and I needed the makeup to be long-lasting. There were no blushes around at the time that ticked all the boxes so to speak, so I knew that there was a gap in the market. The very first product I created was my Watercolour Liquid Cheek Colour, which was born out of a need to have a product that blended easily, was both long-lasting & water-resistant, and available in a plethora of shades.

What's the ethos behind Daniel Sandler Makeup?

I create products that are unique but functional. Innovative, often multi-purpose, affordable and with the integrity of professional quality formulas.

I want people of all ages to feel better and more confident about themselves. My message is simple, be your most beautiful. It’s about applying the correct amount of makeup to enhance your favourite features as well as the right amount to disguise the bits you don’t like. It’s about getting the balance right. Makeup need not be complicated. Simplicity is key to looking your most beautiful.

estila 71

be auty · business stor y

Describe the kind of person you created your products for.

My makeup is for everyone, whatever their age or skin tone. It’s for anyone who wants to look their best without looking obviously 'made-up'. Because my formulas are so lightweight the finish you get will look incredibly natural and flattering.

Your products are used by many of the UK's most renowned MUAs. What was your biggest challenge in building your own brand among industry giants?

I guess the biggest challenge was getting Artists to put down other blushes and try mine.

As a pro, I understand that artists have their go-to faves and because they rely on them so much they become staples in their kit and therefore don’t really need to try new formulas; but because my Watercolours are so unique, artists were happy to give them a go.

What has been your greatest career highlight to date?

I’ve had quite a few. My very first job was assisting John Galliano at St Martins, and I’ve also worked on a Robert Palmer video. I’m very happy and lucky in my career that I’ve been able to work with some amazing people, like Kate Moss and Naomi Campbell. After gaining lots of experience at Bourjois for seven years, I decided to change my direction and create my own range. Building this range is a career highlight in itself.

What's your signature makeup style?

I love to create flawless skin and a naturally glamorous look. I prefer women to look naturally glamorous so that they receive comments about how fantastic they look, rather than how fantastic their makeup is, because then it would be all about the makeup rather than the person.

Tell us what it's really like behind the scenes at Fashion Week / on a red carpet shoot?

I’m going to comment in bullet points because I could write a whole essay on this wonderful subject.

Fantastic. Hard-work. Stressful. Fulfilling. Creative. Never enough time. Hot. Hectic. Often a cramped space to work in. Always working against the clock.

Euphoric once it’s over.

estila 72

be auty · business stor y

We love that your products are hands-on and fun to use; are we sometimes guilty of taking makeup too seriously?

I know when I discovered makeup I was definitely serious about it. I couldn’t get enough of it and I’m happy about that as it’s been my career of choice ever since. I still love it which I guess makes me guilty for over 30 years! The only part of taking makeup too seriously is when a product is bought, like a palette or compact, that is in incredibly beautiful packaging and costs a small fortune. For me, as a Pro, this isn’t always the best way to spend money, but I understand that the buzz of having a beautiful compact in your bag counts for a lot. Consumers often mainly buy with their eyes.

If you had to choose one Daniel Sandler Makeup product?

It has to be my Watercolour Liquid Cheek Colour. It was my first product and still unlike anything else available on the market. It makes everyone look effortlessly healthy and glowing.

Any insider makeup tips you can share with us?

1. It doesn’t matter what makeup style or colours you go for, the important thing is always to blend, blend, blend.

2. Always apply makeup in bright, even light.

3. Clean your makeup brushes at least once a week.

4. Chuck out products you never use. Invest in makeup you use every day, but don’t spend too much on anything you’ll only use a couple of times, such as trend-led shades.

For more information about Daniel Sandler products, please visit danielsandler.com and for latest updates, don't forget to follow IG @danielsandlermakeup.

strawberryblondebeauty.com

estila 73

IG @strawbryblonde

estila 74

be auty · business stor y 5 MIN

Rabot 1745 interview by Karolina Barnes and images provided by Sara Logie

While most of us are familiar with Hotel Chocolat's stores and cocoa cafés on our local high street, Rabot 1745 Beauty brand (named after Hotel Chocolat's Rabot estate in St Lucia) is an exciting new chapter in the Hotel Chocolat's story. For the past 14 years, Hotel Chocolat has been quietly revolutionising British chocolate. By growing their own beans, they disrupted the traditional cocoa farming model, bringing ethically produced, high-quality chocolate to a mass market.

Inspired by their love for the island, the people and the plants, Hotel Chocolat's cofounders Angus Thirlwell and Peter Harris thought of an idea for a beauty range when they learnt about the benefits of cocoa as an ingredient for skincare products.

With the launch of Rabot 1745 beauty range, they not only want to continue to nurture and develop the incredible Rabot estate for generations to come, but also to connect customers with the humble cocoa bean directly.

Here we chat to Sara Logie, the product visionary of Rabot 1745 about Rabot estate history, cocoa beans benefits and her favourite Rabot 1745 products.

How did the idea for Rabot 1745 beauty range come about? What is the concept and how does it fit within Hotel Chocolat?

When Hotel Chocolat founders Angus Thirlwell and Peter Harris discovered the beautiful cocoa plantation in St Lucia in 2006, they knew they had found the estate that would fulfill their dreams of growing their own cocoa and creating chocolate from the very beans they had grown. With its 250-year heritage of cocoa growing, the beauty of the Rabot estate, its high altitude, rich volcanic soil and rain forest water was, and is, a unique environment perfectly suited to allow cocoa trees to flourish. However, as they went around the estate, meeting everyone who worked there, shaking hands they quickly began to notice something else - the beautiful skin of so many of the people working on the estate. It seemed that the plantation wasn’t just able to produce something that was delicious for the inside (chocolate), what grew on the estate were plants that were wonderful for indulging the outside too!

estila 75

be auty · business stor y And so the idea for a beauty range, based around the natural flora and fauna of St Lucia, was born. The idea grew into reality two years later when, in collaboration with modern day apothecary Andrew Gerrie and me, the whole project came together and the Rabot 1745 Beauty range was launched.

The history of the Rabot Estate is very fascinating. Can you tell us more about its story?

It was originated back in 1745 and has farmed cocoa and provided employment for generations of local people. When Angus and Peter bought the 130-acre estate, cocoa farming across St Lucia was at one of its lowest points. Cocoa pods were left to rot on trees and the Trinitario cocoa variety was in danger of disappearing for good. By implementing the company's Engaged Ethics programme where farmers were guaranteed the purchase of each farm's entire crop, the estate has been able to flourish, working and supporting 167 farmers, including start-ups and established growers.

Cocoa seed butter is the “hero” ingredient of your range. What are its benefits?

Yes, cocoa butter is where it all began and what the original range is derived from - it's full of vitamins, fatty acids and wonderfully hydrating as well as having a beautiful perfume and easy absorption into the skin. Cocoa butter is often touted for improving elasticity. The fat in cocoa butter forms a protective barrier over the skin to hold in moisture.

One common use of cocoa butter is to smooth scars, wrinkles and other marks on the skin. We love it as an ingredient but we've since found even more inspired ingredients from St Lucia in the form of plants and flowers and in some cases we've combined the two - try our Cacao and Coconut hand cream or take in the aroma of our Cacao and Vanilla candle, for example.

estila 76

be auty · business stor y

We love your Rabot 1745 reusable cups which one can refill with a hot drink at your Hotel Chocolat cafés. How important is sustainability to your brand?

Andrew, as you know, is the former CEO of Lush Cosmetics, and having been there for 20 years, has sustainability ingrained in his every move. He is an investor in Plastic Energy, a company that turns plastic into low carbon fuel and back again. He has also started up a company launching scooters and other low emission vehicles into cities and urban sites.

We have tried as much as we can to use PET bottles as well as materials like bamboo that we feel are not only aesthetically pleasing but tough so that they can be reused. Our coffee cup is possibly our proudest moment - a fine example of beauty, made of 75% bamboo and 25% melamine, 100% biodegradable and totally 100% reusable!

Which is your favourite product and why?

Our three body scrubs incorporated into our reusable bamboo fibre coffee cups. It starts with the sustainability factor, then the beauty of the botanical cocoa pod design and understated branding and then, of course, the product itself; three body scrubs - Salt and Lemongrass, Sugar and Sour Orange and Coffee (made from our own Rabot house blend coffee grounds). If I had to choose one, it would be the Sugar and Sour Orange - made with essential oils and that delicious citrus fragrance!

rabot1745beauty.com

estila 77

IG @rabot1745beauty

TRAVEL & NETWORKING

estila 78

t rav el & networking 4 MIN

Home Grown interview by Karolina Barnes, images provided by Home Grown

A long time ago I learnt the power of networking. Always on the lookout for opportunities to meet and connect with like-minded creative business people, I came across Home Grown – a new private members’ club for entrepreneurs which opened its door back in April 2019 in London. With the luxuries of a private members club (Home Grown was created by renowned private members club Home House), the club offers plenty of networking opportunities, mentoring sessions, talks and events for its members every month.

Can you tell us more about what Home Grown Club is and who is it for?

Home Grown is the first private members club in London for the entrepreneuriallyminded - primarily, but not exclusively for high-growth entrepreneurs, investors and their professional advisors. For us, at Home Grown, an entrepreneur isn’t necessarily always the founder. Being an entrepreneur is a mindset and an attitude.

Whilst London is full of co-working spaces, they typically don’t provide a dedicated environment for entrepreneurs to connect and expand their network. We know that entrepreneurship thrives on collaboration. Building a successful business is a lot easier when you surround yourself with a support network and we’re here to help provide that.

Importantly, Home Grown also provides the standard of accommodation you would expect from a luxury hotel, but at affordable prices. We are in a prime central London location - ideal for those living outside of London and commuting in, and those based elsewhere in the UK that need a base when they come on business.

Home Grown has been created with a purpose to foster meaningful interactions, inspire innovative thinking and harness the power of the entrepreneurial community.

estila 79

t rav el ¡ business stor y

estila 80

trav el & networking

What are the benefits for members? Why should entrepreneurs and founders join?

Welcoming, facilitating and encouraging business is very much at the core of what we do.

We provide the physical platform and are curating the ecosystem to help businesses to flourish. With any luck, as we move forward, we hope that we may be fortunate enough to be part of the success stories of one or two unicorns!

Our members have access to a bespoke events programme which tackles every aspect of entrepreneurship. The calendar has been designed to support and accelerate the entrepreneurial growth journey, addressing typically identified fundamental knowledge gaps as distinguished by the UK Government-backed data by The Scaleup Institute, being leadership capacity, access to markets, finance, talent, skill and infrastructure. These events present the opportunity for members to develop networks and gain insight from industry leaders and keynote speakers which include ‘How To’ talks, and ‘Breaking Bread’; intimate monthly dinners with leading experts in specialist fields. Home Grown also enables high growth businesses with access to a community of investors and growth funds. Twenty percent of our members are investors, looking to invest at Series A and beyond.

For those who are not able to pull themselves away, why not sleep on it? We have 35 beautifully-appointed, yet affordable, rooms which offer unrivalled access to the city and our vibrant community.

Are there any specific criteria members have to have before they can join? For example, our community is mainly made up of independent, creative and lifestyle brands, designers and artists? Would the benefits you offer be helpful to them?

Our main selection requirement is that potential members are entrepreneurially-minded.

This might mean you are the founder of a thriving start-up, scaleup or SME. Indeed, 70 per cent of our members is high-growth entrepreneurs who can demonstrate growth, either in turnover or staffing. However, it might mean you are currently working for a corporate and looking to take the leap and set up on your own. It might be that you’re a freelancer planning your next venture.

As every person and business is different, we have created a membership package as individual as you and your goals. We are welcoming applicants spanning all sectors and industries, from beauty and banking to fashion and finance.

estila 81

estila 82

trav el & networking

We noticed that Home Grown has an exciting list of founding members including Baroness Karren Brady, Holly Tucker of notonthehighstreet.com, Ben Branson of Seedlip non-alcoholic spirits, and Andrew Jennings of the watch brand, Larsson & Jennings. Do members have opportunities to network with such calibre?

Yes, they do. Our ambassadors frequently use the club and members have the opportunity to connect with them.

We were drawn to the stunning interiors of the club. Who is behind the design and what was its main intention?

All the best ideas start outside the office, so we wanted to create a supportive and inspiring community for our members. Our interior designer, Russell Sage Studio, made sure this was reflected in the interior architecture, furnishings and dĂŠcor, making every inch of our six-storey building a place for big ideas and innovation.

Each room is unique and designed for socialising, for an altogether more inspirational and stimulating experience. From intimate dinners and bespoke business seminars to breakfast briefings and social drinks, we have rooms that work for any occasion.

It’s a place to connect and immerse yourself with people like yourself. Building a community which you can lean on and that can support you on your growth journey. We want members to walk away feeling inspired and coming back invigorated and hungry for more.

Location: Great Cumberland Place, Marylebone, London For membership enquiries, please contact info@homegrownclub.co.uk

homegrownclub.co.uk

estila 83

IG @homegrownclub

THE END Now flip the bookazine over and start reading from the other side.

ORDER YOUR PRINTED VOLUME 10. BOOKAZINE Now flip the bookazine over and start reading from the other side.

ON

THE END ESTILA.CO/SHOP

estila 84