The Gillette Journal by Publications

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fr e e to enjoy at your le i s ur e

the GILLETTE JOURNAL C r e at i v e C u lt u r e & G r o o m i n g

amin, al y wcase yle.

 the Ambassadors Style icons André “3000” Benjamin, Gael García Bernal and Adrien Brody inspire men to showcase their facial hairstyle. Pag e s

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local legends The creative professionals Pag e s

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masters of style Capturing the city Pag e s

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Indigo & cloth One stop creative shop Pag e s

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OFFSET The Irish international platform for design Pag e s

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SOUTH STUDIOS Lights cameras and lots of action Pag e s

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q&a: oliver jeffers Neither here nor there Pag e s

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DESI G N G OAT All in the detail Pag e s

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ON THE STREET The Masters of Style series Pag e s

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G ALLERY OF P HOTO G RA P HY A photographic community Pag e s

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Welcome to The GilLette Journal Cr e ati v e

Cu ltu re

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We all have our heroes, the people who inspire

Gr o o m in g

us with ease of style in who they are and what they do. We speak to some local legends about how they create their own look and the people they in turn look up to.

to help announce the brand new Fusion ProGlide Styler™ from Gillette we are happy to bring you this publication, celebrating a wonderful world of men with facial hair and creative culture in Dublin. We’ve talked to designers, artists, actors and musicians and put together all the best creative Ireland has to offer, introducing you to the people and places making the biggest impression on our city right now. As the leading male grooming brand, Gillette is proud to be part of an inspiring world of entertainment and creativity; an integral part of the process for men in discovering their own sense of style and developing their individuality. While our landscape has undoubtedly changed in Ireland over the last few years, the emergent creative scene is something solid to build upon; presenting new talent with a distinct Irish identity, attracting international attention and making this an exciting city and time to be part of.

C ONTENTS l o c a l l e g e n d s The creative professionals

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E a t : B r o t h e r H u b b a r d Homespun values

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W h a t : T h e G a t h e r i n g Bringing it home

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W h e r e : C a f é R o t h a r Where the bike is king

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E a t : T h e F u m b a l l y Lunch lounging

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10 — 11

M a s t e r s o f S t y l e p o r t r a i t s Capturing the city

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12 — 18

P r o f i l e : I n d i g o & C l o t h One stop creative shop

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2 0 — 2 1

T h e A m b a s s a d o r s Gillette’s Masters of Style

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2 2 — 2 3

L i s t e n : F a l l e n R u l e Rock eats pop

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2 4— 2 5

P r o f i l e : O f f s e t The Irish international platform for design

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2 6 — 2 7

P r o f i l e : S o u t h S t u d i o s Lights cameras and lots of action

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28—29

Q & A WITH O l i v e r J e f f e r s Neither here nor there

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30 — 31

L i s t e n : R e j j i e S n o w Purveyor of poetry

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W e a r : L o u i s C o p e l a n d Tailor made

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p r o f i l e : D e s i g n G o a t All in the detail

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WAT C H : D a n i e l l e R o m e r i l SS13 collection Sliding Puzzle

Darren Kennedy

B rown S ugar

B log g e r & pr e s e nt e r

Ke y advice fo r m ast e r ing yo ur st y le . Don't care what others think!

Yo u h ave spe nt a lot o f t im e t r ave lling, h ow d o e s Ir ish st y le co m par e to ot h e r co unt r ie s? I've lived in Paris, Toronto, Bordeaux and currently split my time between London and Dublin and I've been lucky enough to travel to every corner of the globe as a presenter for Channel 5. So on an international level I think Irish style holds it own with the rest. That said, I think as a nation, we're still very much growing into fashion and Irish people are getting much more relaxed with their style and looking to experiment more. In comparison with London, I definitely find the Irish aesthetic much more relaxed and less contrived.

How im po rtant is facial h air as a stat e m e nt o f yo ur pe r s o nalit y? It's a fun way to change your look and it's interesting how many people have an opinion on whether you look better with hair or not . D o yo u like to ch ange t h e st y ling o f yo ur facial h air o n a r e gul ar basis? I like to chop and change a lot depending on my mood and I'd be quite influenced by what I'm wearing. I’ll go cleaner with a tailored look, but keep it more rugged with casual fashion. How influe nce d ar e yo u by t h e se as o nal ch ange s fo r fash io n? I'd say very influenced; beards are more of a fashion statement now and not just an excuses to have ten more minutes in bed! Wh o d o yo u co nside r t h e ' Mast e r s o f St y le ' and h ow h ave t h e y influe nce d yo ur lo o k? If I'm honest I've been a fan of David Beckham for years. I think he always gets it right whether he's casual or smart, hairy or not, he's still a trendsetter. Photo by Sean Jackson

34— 35

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WALDORF BARBER A brush with the past

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38— 39

STREET STYLE The Masters of Style series

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40 — 45

O n T h e S t r e e t A photographic community

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46 — 47

cr ed i ts edi tor : ai sling far i n el l a ed i to r i al as s i stan t: n i am h k eenan cr eati ve dir ecti on: i n d i g o & cl o th d es i g n : jam es cul l en

Mark O’Keefe

Local Legends

Wh at is yo ur m o st t r e asur e d pie ce o f clot h ing? Right now it's a grey/navy three-piece herringbone tweed suit from Hackett. It fits like a glove and I feel I'm ready for anything when I put it on. It's hard to beat quality craftsmanship and tailoring to look sharp. If I were to offer advice to any man, it would be to invest in a suit that is fitted to your shape. I don't necessarily mean tailor made, there are some fantastic suits on the high street. Pay a small bit more to have it tailored at your local alterers and you won't regret it. Apart from that, my camouflage biker jacket from All Saints, paisley oversized bow tie that I picked up on eBay and my Habana Oxfords by Hudson. Favo ur it e pl ace to sh o p in Dublin? Are you ready? Right, here goes. Harlequin for vintage bow ties, Hackett & The Kooples in Brown Thomas for suiting, Reiss, Topman, Indigo & Cloth, South William Street and wherever else takes my mood. I also have an irrational love of watches and I regularly pop into the Swatch store on Grafton Street. Yo u h ave quit e a dist inct st y le o f facial h air , h ow d o yo u m aintain t h is st y le ? I'd always wanted to have my bottom lip pierced but wasn't brave enough so that was when I decided to grow it - seemed like the easy alternative! Every few days I try to give it a precision trim to keep it in shape and from getting unruly. It's very low maintenance too, which is key for me. www.helpmystyle.ie

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Alistan Munroe

Mark Grehan

Sarah Doyle

Aonghus Og McAnally

William Armstrong

Judith Roddy

graph i c d e s i g n e r

The Garden

P HO TOG R A P HER

act o r

Dir ect or , Anti dot e

Actre s s

Tel l u s about your r a ng e of t ies .The AM logo is a geometric pyramid and shadow, forming an octahedron, designed within the laws of the golden ratio. With the use of computer logarithms, the logo forms a motif that has infinite possibilities for creating complex weave patterns for silks. At present Drakes of London are looking after my bespoke collection.

Yo u r sh o p ae sth e ti c i s qu i te u n d e r state d, d o yo u l i k e to re f l e ct th i s lo o k i n yo u r p e r s o n al st y l e ? When it comes to my own personal style I have always taken the approach that less is more, rather then trying to be overdone. I'm a jeans, preppy shirt and Barbour jacket kinda guy in the winter and I love to wear shorts in the summer.

Sta rting off in photo gra phy w hat wa s your ma in ins piration a nd w hy? The people in my life have always been my main inspiration — my parents, family and friends. I was introduced to lots of amazing ideas early on and that helped me to see that anything is possible - from that point everything begins.

What t ype of pu bli cat ions , I nt er ne t s it e s e tc d o yo u follow to keep u p wit h m ens st y le a nd/or cr eat i ve cult ure? Designboom.com is the only source of creative culture at present.

W h at i s yo u r favo u ri te l an d s cap e d are a aro u n d th e c i t y an d w h y? I love the Iveagh Gardens especially in the autumn when the leaves are turning, it tends to be a bit quieter and has loads of interesting features. As a student it inspired me so much I did part of my thesis on the gardens. If I have a long day at work I like to escape here.

Wa s your performa nce in your l ate st prod uction Fight Night ins pired by cage fighter s? I had been a huge fan of cage fighting for five years before Fight Night came about, and that was exactly why I was so reluctant to agree to doing a play about boxing when our writer Gavin Kostick suggested it! I had originally conceived the show as a play about a Gaelic footballer, because that's a world I know and understand, but I'm delighted Gavin talked me around to tackling a piece about a fighter, because it sits so well with the personal struggles of Dan Jnr's story. My main fear was just how tough the training would be, and I was right to be afraid because I had never boxed before; the original training camp was six days a week for three months. The hard work paid off though, and I'm still blown away by the success of the show, particularly all the international touring at the moment, which is hugely exciting.

Yo u r e ce nt ly wo n Be st Ne w Dir e cto r at t h e Kinsale Sh ar k adve rt ising awar d s and Silve r at t h e Canne s Yo ung Dir e cto r Awar d fo r yo ur t e st co m m e r cial Roam Th is Pl ace . Ple ase t e ll u s abo ut t h e ide a be h ind t h e vide o. Late last year I began putting together concepts that I could get into production with no budget. I wanted to make use of what I could get for free in Ireland; incredible landscapes. At first it was about how a man became worldly, then shifted to the idea that the well-travelled need a way of getting there. Making a car ad without a car appealed to me and after a few drafts, I found a way to explain the journey through the passing of a set of keys. Andrew Freedman who I work with at Antidote Films was completely behind the idea and I cast Mark Devine in the lead, a face you might recognise around town. He had never acted before but is completely captivating on screen and bloody brilliant to work with. After a couple of pints he agreed to join us in Connemara for a few days filming.

Eve ryo ne Is King Le ar In His Own Ho m e , is de s cr ibe d as a caut io nary tale abo ut m e m o ry. Wh at h as t h e e xpe r ie nce o f r e h e ar sing fo r t h is pl ay be e n like and wh at m e m o r ie s will yo u take away aft e r t h e r un h as e nde d? Rehearsing for this play has been like being in a constant state of between sleep and wake. The show is rooted in Lear text but the set is a real life carbon copy of Andrew Bennett’s flat. Our characters are elements of Lear characters and ourselves. So it's a strange but engaging mirage. There is a gerbil in the production called Curan. I'll remember him because I don't like him and I'll also remember Andrew's lines. For some reason I always remember other actors lines long after a show is done.

D o yo u prefer a clea n-s have n lo ok to wor k w ith your own tai lo r e d s ens e of st y le? Clean suggests simple, minimal and sharp ; that translates into my sense of style and application for my design works. Who d o you consi der M a st e r s of St y le in eit her fa s hion or graph i c d e s ig n? Edith Head, fashion and costume designer, Yves Henri Donat MathieuSaint-Laurent, fashion and Josef Müller-Brockmann, graphic design. Photo by Sean Jackson

B e i n g o u td o o r s a lot w i th gard e n i n g d o yo u h av e a parti c u l ar g ro o m i n g ro u ti n e to co m bat th e e l e m e n t s? I use Baxter products which I find great as my skin is quite sensitive. I try to use their moisturiser most mornings, as it has an SPF in it. On my hands most days I use Kiehl's hand cream, working with plants and flowers my hands get destroyed and this works best with my skin type. Yo u r fac i al h ai r i s qu i te a stro n g e l e m e n t o f yo u r lo o k , h ow d o yo u m ai n tai n i t ? I use a Gillette trimmer, it's small and works well. I tend to trim it tight once a week and let it grow out. I get my head shaved with Carlin Doran at Flatiron on South William street and I try to have a trim a few days before this, as I like the contrast of my head shaved and bit of facial hair length. If I've a really busy week I will just shave it tight on a Monday and let it grow out. I don't like it too manicured, I prefer to keep a bit of length. I use Gillette shaving foam when I'm going for a clean-shaven look.

Mo st memora b le photo s ho ot to date & w hy? I can't single one out. They are (mostly) all memorable to me for different reasons. Although there are days when you leave a shoot with more than you arrived with. Those days are magical. S o much of your photo s have a natura l feel to them, w hether it is the lo cation or st yling, is this reflective of your ow n per s ona l st yle? I think it's a kind of simplicity that I aspire to in every part of life. I find it more expressive and honest. It's not that easy to achieve. Who d o you cons id er to b e a ma ster of st yle? My late, great father. He had it in every sense and he meant it all.

Which actor s d o you a d mire or conside r m ast e r s of st yle? I've always been huge fan of Colin Farrell, he's actually really underrated as an actor, and I love how individual his style is. I'm a fan of a sharp suit, and very few carry it off as well as George Clooney does. But in terms of people closer to my own age, Joseph Gordon-Levitt is someone whose style I really admire. How much gro oming is involved in yo ur o n stage lo ok? Each new character brings a whole new challenge and a whole new look, whether it's a full beard for Shakespeare, a moustache for O'Casey or massive sideburns for something set in the 70s. Like most actors, I've had my fair share of dodgy facial hair over the years, including a handlebar moustache for my latest TV job — but luckily that was only glued on every morning in the make-up chair. For Fight Night, Dan has about three days stubble, which is a harder look to maintain than you'd think.

Yo u h ave a ne w pie ce co m ing o ut fo r Ele ct r ic Picnic wh ich yo u film e d at t h is y e ar ' s fe st ival . Did yo u m anage to capt ur e t h e spir it o f t h e e ve nt ? Wh at ' s it abo ut ?I don't want to say too much until it's out there and has a response - but the Stradbally experience is different to other European festivals and that sparked the idea. It's small enough to be intimate and large enough to leave you feeling like there's so much more to do after three days. I wrote a loose narrative about a girl experiencing it for the first time, her discoveries, the friends she makes, the things she sees and times she has. I was lucky to get a perfect cast and can't wait to release it in the next few weeks. Keep an eye on electricpicnic.ie! Wh ich dir e cto r s d o yo u m o st adm ir e as Mast e r s o f St y le ? There are really too many inspiring names out there, right now I find myself constantly going back to these reels: Ringan, Andreas Nilsson, Johnny Green, Seb Edwards, Nabil, but that's just this week. Photo by Sean Jackson

Yo u h ave wo r ke d o n a num be r o f pr o duct io ns wit h t h e awar d wining t h e at r e co m pany Pan Pan. Wh ich h as be e n yo ur favo ur it e to dat e and wh y? My favourite Pan Pan production to be involved in so far has been Playing the Dane. Purely because the dynamic of the cast was great. It was my first time working with Gina Moxley, Olwen Fouere, Daniel Reardon, Derek Devine, Conor Madden and Bush Moukarzel. These actors are the real deal and that's exciting. How im po rtant is war dr o be fo r yo u in t h e cr e at io n o f ch ar act e r ? I used to think wardrobe was of pinnacle importance when finding out how to play a role, but I'm not so precious about that anymore. Of course it's an important aesthetic for the audience looking at the whole picture but for me it's an added boost to something thats already created. Peter O'Brien designs costume like it's made for your skin only, incredible. And when you’re given pieces like that they have to be scored into the performance, every swish of a skirt gets ooh and ahh reactions from an audience. In t h e wo r ld o f t h e at r e , wh o d o yo u adm ir e m o st as a Mast e r o f St y le ? In the world of theatre I like Robert Wilson's style. He had a production of Woyzeck on as part of the Dublin theatre festival a few years ago and it was seamless. The set was very angular and punchy, supported by a Tom Wait's score and powerful ensemble cast.

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Eat

BROTHER HUBBARD

rother Hubbard was set up by James Boland and Garrett Fitzgerald just six months ago, after a five year trip spent eating their way through Australia and the Middle East. Standing out on it's own on Capel Street, minimalism and quality is key to this independent café. From the native Irish oak tables to the short menu, Brother Hubbard likes to focus on getting it right, and that they do.

Customers rave about their inspired menu, with firm favourites being traditional scones with orange blossom butter, and coffee to rival the best in town. Ingredients are seasonal and locally sourced, and absolutely everything is made from scratch. You won't find any packaged butter or even a can of coke; in their place is homemade creamy butter and freshly concocted raspberry, apple and rose drinks. The pair are fervent about food and want to share this passion with their customers.

It's not just the food that is inviting, the service is too. Greeted by either James or Garrett when you arrive, from beginning to end you feel more like you are in your new friend's amazing high-ceilinged house rather than a trendy new eatery. Coleman's mustard tins line tables as kooky sugar holders and a quaint courtyard sits out the back (soon to be lined with an edible garden). It's these simple touches mixed with good quality food that makes Brother Hubbard’s one of Dublin's busiest new lunch spots. With plans to extend opening hours and introduce a supper and wine menu this Capel Street spot is both one to watch and to visit. WR I TER

Niamh Keenan • P hotographer

Johnny Savage

C o ntact & o p e nin g h our s

Brother Hubbard 153 Capel Street Dublin 1 — t: 01 441 1112 hello@brotherhubbard.ie www.brotherhubbard.ie

Monday—Friday 8am—6pm Saturday 10am—5pm

Greeted by either James or Garrett when you arrive, from beginning to end you feel more like you are in your new friend's amazing high-ceilinged house house rather than a trendy new eatery.

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Project Ireland

On your bike

THE GATHERIN G

Café Rot har

WWW . T h e G a t h e r i n gI r e l a n d . c o m

he year 2013 will be remembered as ‘Project Ireland’. How it will be remembered lies at the feet of each and every one of us. John F. Kennedy a man of Irish descent said famously "Ask not what your country can do for you - ask what you can do for your country". JFK became the first American president to ever visit Ireland in the summer of 1963. Much of his address before parliament then is applicable now, presenting the idea of a ‘fully modern Irish economy’. Economies are more than bank bailouts and interest rates; they are the wheel in which every one of us is the spoke. The direction of that wheel depends not on one but many acting in unison. An economy is the result of a process that involves its technological evolution, social organisation, as well as its geography and use of resources. JFK went on to say in his address to parliament ‘It is that quality of the Irish — that remarkable combination of hope, confidence and imagination--that is needed more than ever today’. The Gathering will be a year long celebration of Ireland. The thinking behind the initiative came out of the first Global Irish Economic Forum in Farmleigh in 2009. It is a people-led project and an opportunity to do something positive for our country. Over the past number of months many partnerships have been established with regional facilitators in place across the country, working directly with the local community to ensure the initiative is a success, across large festivals and events through to family reunions. The Gathering Ireland is not one single event

and everyone is urged to engage with the Irish diaspora and invite people to visit the country in 2013. Ask any visitor and it is our people that make their experience unique. With a diaspora of over 70 million, it is hoped The Gathering will bring 325,000 extra tourists here next year and in doing so become the biggest tourism initiative ever staged in Ireland. The excitement generated around the Navy-Notre Dame game in September provided the perfect launch pad into the US for the kind of engagement and atmosphere that The Gathering will offer visitors throughout 2013. Around 50,000 American Football fans gathered at the Aviva Stadium in Dublin to watch Notre Dame take on Navy which generated about 60 million euro in terms of benefit to hotels, restaurants and transport companies. A total of 6.6 million visits to Ireland by overseas residents were recorded in 2011, an increase of 500,000 on the previous year, but this is still about 17 per cent below 2007 levels, when tourism to Ireland was at its peak. TheGatheringIreland.com will be the hub bringing together hundreds of festivals and events throughout Ireland in 2013. The country will celebrate the best in Irish music, art, literature, dance, culture, heritage, sport, film and food. Its success will depend on its greatest strength, its people.

WR I TER

Garrett Pitcher

The thinking behind the initiative came out of the first Global Irish Ec o n o m i c F o r u m i n F a r m l e i g h i n 2 0 0 9 . It is a people-led project and an o pp o r t u n i t y t o d o s o m e t h i n g p o s i t i v e f o r o u r c o u n t ry.

ehind a fairly humble Fade Street façade sits Café Rothar where — almost a year into its citycentre relocation from Phibsborough — something brilliant is happening to the Dublin bike scene. “There’s nothing like us in the city, or the country”, states proprietor Anne Bedos in a manner that’s more matter-of-fact than self-conscious, and rightly so. Indeed, one would be hard pushed to deny this proud sentiment upon considering the hive of bike-related activity that takes place behind the front of a typical neighbourhood coffee shop. Sales, repairs, and tutorials on how to care for and improve your ride form the dayto-day aspects of the business, and are conducted by the same friendly guys who also know how to pull a pretty perfect shot of espresso (fuelled by Grumpy Mule beans, should you be interested).

tight, even while dismounted. The look is homey-eclectic, with mismatched tables, chairs and a battered couch scattered across the aged and well-trodden floorboards; abstracted bicycle forms and portraits of loyal customers and their two wheels decorate the walls. The centrepiece is a precarious raft of endearingly dilapidated but entirely rideable bikes, most of which are open to offers. Ultimately, all of this lends itself to an atmosphere that is downright welcoming, that reﬂects an ethos of collectivism and connectedness, hoping to bring like-minded people together who not only like taking to two wheels but want in on the social and environmental aspect of it all as well. In sum, leave the bike-snobbery at the door and just enjoy the ride.

As if that wasn’t enough, Rothar keeps on giving, with evening ﬁlm screenings and regular open mic nights (“relax, have a drink, sing a song” being the order of the day), keeping the bike community

Stephen Moloney

Rothar keeps on giving, w i t h e v e n i n g FI l m s c r e e n i n g s and regular open mic nights (“relax, have a drink, sing a song” being the order of t h e d a y ) , K EE P IN G t h e b i k e c o m m u n i t y t i g h t, e v e n whilE dismounted.

W R IT E R

• Phot og rap he r

Johnny Savage

www.rothar.ie

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Eat

THE FUMBALLY

ust down the road from St. Patrick's Cathedral you could easily miss the low key front of this spacious café. Founded by native Italian Luca and Dubliner Aisling, this lunch spot is one you won't regret stumbling upon. Originally conceived to be a falafel restaurant, the café has developed into a buzzing yet relaxed space with a full lunch menu. The selection is varied and takes reference from the Middle East and Mediterranean. Here again, Irish produce is important to The Fumbally and all products are sourced as locally as possible; Aisling's brotherin-law produces his own cheese in Cork. Both owners are foodies, but in the most casual sense. Neither are professionally trained, instead they have a passion for cooking with friends and tasting different foods from around the world. Before setting up on the sweetly named Fumbally lane, Luca and Aisling travelled the world sampling different foods and getting inspired. The pair began their food careers making mini pizzas, which they then sold at festivals. Their involvement with food flourished and saw them take on the Newmarket Square

Food Co-op café and monthly flea market in Dublin 8 and more recently The Fumbally, located in the same neighbourhood. The Fumbally is airy and bright and you are sure to see both owners by the counter on a daily basis. At the moment the café is waiting on a wine licence and is limited to lunch service, closing daily at 5pm. The café is a mix of tasty dishes and enthusiastic food adoring staff. Both owners are keen to keep their love for food alive and avoid over complicating the café or having their labour of love, becoming purely labour. With a laid back approach, The Fumbally has quickly become a a popular hang out for the many local creative businesses, parents with kids, lounging lunchers and loving dog owners; a unique space in the city that is welcoming to all. WR I TER

Niamh Keenan • P hotographer

Johnny Savage

C o ntact & o p e nin g h our s

The Fumbally Fumbally Lane Dublin 8 — t: 01 529 8732 hello@thefumbally.ie www.thefumbally.ie

Monday—Friday 8am—6pm Saturday 10am—5pm

With a laid back approach, The Fumbally has quickly become a a popular hang out for the many local creative businesses, parents with kids, lounging lunchers and loving dog owners...

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Capturing the city

MASTERS of STYLE Gillette brings together a monumental series of portraits commissioned from rising star photographer Sean Jackson; capturing Dublin city’s distinguished collective of creatives and style makers and marking out an era where facial hair takes centre stage. the series of portraits will form an exhibition to be showcased at the gallery of photography from november 1st — 5th Darragh Shanahan Ga l l e ri s t

 Key advice for mastering your style. Style is a structure that you build around yourself using elements from your own character.

How important is facial hair as a statement of your style? It's getting harder to avoid it. ... Darragh wears ted baker — shirt, brown thomas and own neck piece

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BOBBY TANNAM

Andrew O'Donoghue

David Wall

Albert Hooi

Grap h i c D e s i g n e r

P r o p e rt y Mana g e r

Grap h i c D e s i g n e r

Fi l m m a k e r

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Key advice for mastering your style. There's no secret there really. I wouldn't consider myself a master.

Key advice for mastering your style. Functionality plays a big role for me in determining my style; it's really quite practical. I tend to stay away from the latest fashion trends as they date very quickly. My key advice would be that your style should reflect you and the way you live your life.

Key advice for mastering your style. Be yourself, enjoy it and don’t worry too much.

Key advice for mastering your style. Comfy clothes.

How important is facial hair as a statement of your style? I hadn't thought of facial hair as an extension of my personality... but I suppose it's right there on my face so there's no discounting the importance of it either. I keep my beard pretty neat, which is perhaps a reflection of my ongoing (and largely unsuccessful) efforts to keep control of my life..

How important is facial hair as a statement of your style? I look like a turtle without it.

How important is facial hair as a statement of your style? I've been cursed with a thick beard since I was about 14 or 15 and I haven't seen my naked face in about 5 years. If it says anything about my personality it's that I'm lazy. ... Bobby wears our legacy — shirt, indigo & cloth hat & jeans — bobby's own

How important is facial hair as a statement of your style? Put simply I feel much more comfortable with facial hair... also without it my girlfriend thinks I look sleazy... not a good look to be honest. ... Andy wears oliver spencer — waistcoat, indigo & cloth minimum — shirt, tk maxx paul smith by christy's — hat, brown thomas pocket square — urban outfitters

... David wears levi's made and crafted — shirt & trousers oliver spencer—jacket, all indigo & cloth

... Albert wears t-shirt, urban outfitters cheap monday - jeans, urban outfitters

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J o e Mcg i v e r n

Jason Kavanagh

Hair St y l i s t

Dir e c t o r , G e ni u s



Key advice for mastering your style. Taking care of your hair and facial hair is key — using good quality product to keep it healthy, that's the first step to looking good.

Key advice for mastering your style. Always be the master, never the servant!

How important is facial hair as a statement of your style? My beard is so thick I can keep things in it! Definitely can't imagine myself without it now. ... Joe wears our legacy — shirt, indigo & cloth tommy hilfiger — hat

How important is facial hair as a statement of your style? It's all a part of me, you take me, you take my beard. ... Jason wears diesel — long sleeve top, genius edwin — jeans, genius shirt — oliver spencer, indigo & cloth watch and ring — jasons own

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A GOOD DEED BRIGHTENS A HAIRY WORLD

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Damien Gormley

CANADA

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Key advice for mastering your style. Just let it do it's own thing.

How important is facial hair as a statement of your style? I would think of it as more of a natural look then a statement! ...

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Damo wears our legacy — shirt, indigo & cloth oliver spencer — tie, indigo & cloth gucci — jacket, brown thomas

IRELAND

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photographer · sean jackson / stylist · aisling farinella / grooming · roy leigh @ brown sugar photography assistant · dean ryan mcdaid / stylist assistants · kieran kilgallon & katherine hay

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arrett Pitcher of Indigo & Cloth is a man on a mission to educate and innovate within the realm of modern menswear in Dublin. With his South William Street basement business booming five years on, it's a delight, albeit a rare one nowadays, to hear of positive growth for an independent retailer. As such, no dank, dark basement is this. Filled with both light and life, a clean and functional Scandoinspired aesthetic dominates, which is punctuated by carefully curated rails of designer wares; Our Legacy’s classicism, the perennially cool Norse Projects, and menswear-man-of-the-moment Oliver Spencer, alongside heritage brands like Levi's Made & Crafted. The selection is a lesson in refined sensibility, cohesion, and a sensitivity to the sartorial ambitions of many Irish men. Each piece has an inherent, wearable simplicity but cut with enough distinction to appeal to the aesthetically-minded men of Dublin.

A roster of international titles like Acne Paper and Self Service make up a newsstand allowing further orientation of oneself within the spheres of fashion and culture. Most exciting, mind you, is what goes on behind closed doors. Diversification sees Indigo & Cloth widening its reach, broadening into a creative agency, and bringing to fruition some brilliant ideas. It facilitated and fuelled the collaborative effort of DublinTown.ie – a rich manifest of everything great this city has to offer – as well as working with the drinks industry (whiskey being the drink of choice here), and being an important component of Thread, Ireland’s front-running publication of what is relevant and current in Irish and international fashion.

Profile

Indigo & Cloth Indigo & Cloth started out on a good foot as an innovative menswear store over five years ago. Since then it has weathered the storm of retail and become the key point of reference for contemporarY men's fashion in Ireland. Add to that the assimilation of a creative agency into the fold and a never-ending enthusiasm for progressing everything from the clothes you wear to the city you live in and you’ve got y o u r s e l f o n e s e r i o u s m a n a b o u t t o w n . www.indigoandcloth.com

Considering the current retail climate Garrett openly admits that there exists “a perfect storm of events” seeking to conspire against the business. So how are both his shop - now split between two locations – and dynamic creative agency still standing and even expanding? It’s probably got something to do with the boyish glint in his eye that suggests these sort of challenges are exactly what drives him and his endeavours forward. That being said, it can also be reduced to one man’s love and dedication to plying his trade. So all-in-all an easily read success? That word, in this instance, is something that remains intangible. For Garrett, Indigo & Cloth in it's current manifestation “should not be considered a success”. Instead, success will come later in the shape of the legacy that it leaves behind, found along the path of all its interim achievements. Right now he will continue to let it evolve organically, “letting it be whatever it wants to be”, and allowing it to steer its own course. If that means bringing something new and exciting to retail and creativity in the city – with honesty and sincerity - as well as tugging at the parameters of what we should be wearing, then let's all be part of its journey. W R IT E R

Stephen Moloney • Phot og rap he r

Malcolm McGettigan

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 I'm inspired by all things around me and I feel style s h o u l d a lway s b e e v o lv i n g André “3000” B e nja m i N

Style icons André “3000” Benjamin, Gael García Bernal and Adrien Brody inspire men to showcase their facial hairstyle.

 While I p l ay m a n y different roles in movies, I think it is i m p o r ta n t to be true to yourself when showing up to the outside world Ga e l Gar c í a B e rna l

 Whether in front of the camera or in the director’s chair, I think it is i m p o r ta n t f o r c r e at i v i t y a n d character to come through

the

Ambassadors

hat happens when the world's leading male grooming brand teams up with three international entertainment icons? A slick advertising campaign to unveil a precision styling tool for men with facial hair - the Gillette Fusion ProGlide Styler. Just in case you’ve missed the memo that facial hair is the new style direction for a contemporary creative culture, Gillette have brought actor Gael García Bernal, musician and fashion designer André 3000 Benjamin and Academy Award winning actor Adrien Brody on board as brand ambassadors to help announce the product. The trio were selected because they best represent “Masters of Style” – true facial hair stylers who have talent alongside a strong sense of self-and authentic style. An integrated

ANDR é “ 3 0 0 0 ” BENJAMIN

marketing campaign sees the heroes morph through a series of colourful characters with characteristically styled facial hair; from saloon cowboy to English country gent right through to 70s disco pimp, each hair no matter how styled is ‘always on point’. Gael García Bernal is best known for his roles in Motorcycle Diaries, Babel and Y Tu Mama Tambien. Gael was ranked seventh on Entertainment Weekly’s “30 under 30” and named one of the 100 Sexiest Movie Stars in the world by Empire magazine. “While I play many different roles in movies, I think it is important to be true to yourself when showing up to the outside world,” said Gael Garcia Bernal. “I’m excited about the partnership with Gillette – and the ability to help inspire men to show off their individual style.”

Outkast member, actor and fashion designer André 3000 Benjamin does it all with serious style. GQ magazine named him as “Best New Designer of the Year” for his high-end men’s clothing line Benjamin Bixby and in 2010 he was voted one of the top 25 “Most Stylish Men in the World”. “I'm inspired by all things around me and I feel style should always be evolving,” said André 3000 Benjamin. “Being part of the Gillette Fusion ProGlide Styler ‘Masters of Style’ programme was a natural choice for me. My facial hair moves with my mood and definitely plays an important role in my look.” An American actor and film producer, Adrien Brody first received global recognition, including an Academy Award for Best Actor and the French Cesar Award, for his starring

A d ri e n B r o d Y

Gael García Bernal

role in The Pianist in 2002. He has since appeared in a range of independent and Hollywood productions, always engaging the audience with his slick big screen abilities. “I’m honoured to have been selected by Gillette to be a part of the ‘Masters of Style’ programme. Whether in front of the camera or in the director’s chair, I think it is important for creativity and character to come through.” said Adrien. “I’m glad to be able to help men celebrate their own sense of style.” The Gillette Fusion ProGlide Styler is a 3-in-1 styling tool designed to help men with facial hair trim evenly, shave closely and edge accurately. This new tool leverages top technology from two of P&G’s most powerful male brands including a Braun-engineered trimmer and Gillette’s most advanced razor

Adrien BrodY

blades to help men master their facial hair style with ease. Gillette has developed the product in response to the increasing popularity of facial hair styling around the world and the importance attributed by men in defining their individual style. Now here’s the science bit The Fusion ProGlide Styler features: Fusion ProGlide Blades, Gillette’s most advanced razor blade technology, helping men achieve incredible closeness and comfort; a Braun-Engineered Power Trimmer with three slim combs that maneuver effortlessly through hair, trimming evenly at three custom lengths; a Precision Edging Blade that helps sculpt accurate and defined facial hair lines; a compact handle with Ergonomic Grips for maximum control, manoeuverability and

visibility while trimming, shaving and edging. “For more than one hundred years, Gillette has been creating superior products to satisfy men’s grooming needs,” said Zaid Al-Qassab, Marketing Director, Gillette UK and Ireland, “Facial hair styling means a great deal to millions of men; it’s a reflection of their individuality, their personality and their identity. With the introduction of the Fusion ProGlide Styler and Clear Shave Gel, we’re providing the ultimate solution for their grooming routine.”

The RRP* for the Fusion ProGlide Styler is €27.69 and the Fusion ProGlide Clear Shave Gel is €5.29 *all pricing is at the sole discretion of the retailer

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INTERVIEW

Fallen Rul e

Fallen Rule is an Irish rock 'n' roll band from Dublin, and is the brainchild of lead singer and songwriter Scott Glennon. Scott has played and toured for years with other bands before forming his own, Fallen Rule. Things took a turn for the band when they were approached by New York based producer Fernando Loderio last New Years Eve. Scott was at first apprehensive about working with the producer (who has worked with the likes of Lady Gaga and The Arctic Monkeys), but soon warmed to Fernando. The new partnership has led to a new album, which after being recorded in Glennon’s father's home, is currently being mixed and finalised in New York. Now that the recording is over I caught up with Scott to hear about the album, his style and what’s next for Fallen Rule. I r e a l ly l i k e t h e wa y ban d s l i k e N ir v ana f o u n d a wa y o f c r e atin g p u r e an d simple Pop songs, wit h B e at l e s - l i k e m e l o d i e s ba c k e d wit h p u n k m u s i c an d it

put on the spot with your songs. I was lucky enough to record a choir for the album, that really was something magic and such a good addition to the album. We managed to squeeze them all into my father’s home to record and I wouldn't trade that experience for the world. Your produce r h as worke d with a varie t y of pe ople with ve ry diffe re nt s ound s. h ow would you de s cribe your own m u sic ? My main goal with the record was to find a nice blend somewhere between rock 'n' roll and pop music. I like simple melodies and songs that work in their most raw state. I really didn't want the songs to hide behind drones and effects, but for them to be open and accessible to everyone. I really like the way bands like Nirvana found a way of creating pure and simple pop songs, with Beatles-like melodies backed with punk music and it all worked. So working with someone like Fernando made sense to me, so that we could combine our thoughts and backgrounds to make the sounds I've heard in my head become a reality.

all worked.

You say it to ok a wh ile to warm to your ne w produce r Fe rnand o, wh y we re you h e sitant at fir st ? To be honest I have been in this business long enough to know that people say a lot of stuff and make a lot of promises without ever really intending on following through on them, so I suppose I've learned to keep my eyes well open for that. You m ade th e de cision to re cord at h om e , wh y not g o th e m ore conve ntional studio route ? It was more a case of how we were going to make it work. Conventional studios cost a lot of money and so we took advantage of the smaller and more accessible equipment made possible by new technology. It also meant we could sleep and eat there so it felt more contained and we were able to keep more focused.

LISTEN soundcloud.com/fallenrule

You h ave coll aborate d with a range of diffe re nt pe ople on th e ne w album , wh y did you de cide to ve e r away from th e original th re e-pie ce se t up of Falle n Rule ? The plan for the record was to never limit it to something we had to be able to reproduce live as a three-piece. I wanted the freedom of being able to make a record to keep you interested, instead of limiting it to a garage record or whatever. Also I'm a firm believer in what other people can bring to a situation. Most songwriters have a strong fingerprint that will always rear its head, so it’s nice to hear what other musicians can bring to the table when

Mu sicians ne e d a strong lo ok to g o with th e ir vo cals, h ow would you de s cribe your pe r s onal st yle ? Well with jeans I believe in finding the right brand and style that fit your physique and are comfortable to wear; they are the springboard for the rest of your outfit. I also believe in investing in good boots and jackets that will be with you for years. The staples of my personal style would be Lee Powell jeans, Belstaff boots and various jackets. Now th at you h ave your album produce d wh at are th e ne xt m ove s for Falle n Rule ? I have just recruited two new members for Fallen Rule and we are currently working on our live set to take the record out on the road. I can't wait to get back on stage after recording and mixing the record for the last couple of months and I'm excited for people to hear our debut album! We’ll be playing live on Saturday 3rd of November at The Retro Revival Club, Sweeney’s Bar on Dame Street.

Inte rvie w by Niam h K e e nan PHOTO GRA PHY by Ale ssio Mich e lini

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WE LOVE

Establishing an international design platform in Ireland may be what drives the festival, but on a more personal level it aims to provide motivation for creative minds alike.

creative ideas festival, OFFSET was started in 2009 by illustrator Bren Byrne and designers Peter O’Dwyer and Richard Seabrooke. Coinciding with the growing creative frisson in Dublin that was one upshot of the economic downturn, the festival began in City Hall before moving to the aptly designed surrounds of Daniel Libeskind's Bord Gáis Energy Theatre on Grand Canal. Heading for its fourth edition, set to take place on April 5, 6 & 7 2013, the annual weekend affair has enticed some of the world's top designers, visual artists, filmmakers and photographers to showcase their work to a rapt audience.

“We wanted something that was of international quality,” says Peter. “We didn’t just want to put on an event that was showcasing Irish design, we wanted to pit our designers against the best international names to show how good the work is here.”Speaking with Peter and Bren, it is clear they are adamant that the creative Irish community has a position of note on the global stage, an important fact for a generation laden with aspiring designers.

The city itself has become an important what you’re seeing is what we want to see player in the event; the attraction of Ireland ourselves,” admits Bren. “At its core, OFFSET is drawing many of the speakers in. “One of the a reflection of myself, Peter and Richard.” Over big positives is what goes on outside the theatre a relatively short lifespan the stage has seen all as well as inside,” says Peter. “We’ve been to a manner of guests including photographers, illot of conferences around the world and often lustrators, designers and street artists, and has when you leave, everyone disperses in their been graced with remarkable personalities such own direction. We try to keep people together as Nate Williams, Chip Kidd, Obey and Daniel for the weekend by putting on other events, and Eatock. Bren recalls his standout experience. I think there’s more of a sense of community “I’ll never forget my greatest moment. It was then there is to many similar festivals.” “If walking out on stage after George Lois’ talk to you want to think of it as a business, there’s a thank him, and the standing ovation that was great boost for the economy over the OFFSET there for him was incredible. Even though this weekend as well,” Bren expands. “Hotels and guy is a legend a lot of people wouldn’t have hostels, pubs, restaurants and clubs all benefit known about him, but he was just so passionate and it is great that we can have that effect.” and so articulate.” Establishing an international design platform With their phenomenal success to date, the in Ireland may be what drives the festival, but stick-to-your-guns attitude possessed by on a more personal level it aims to provide the directors of OFFSET is a lesson for both motivation for creative minds alike. “The im- creatives and the greater public. “If there were portance is in drawing inspiration from people too many informed opinions it would end up of various successes,” Bren explains. “Listening becoming quite bland,” Peter states. “We need to someone like Massimo Vignelli, one of the to make decisions and stand by them. George godfathers of graphic design, give a nostalgic Lois talked about how the Esquire magazine view of how to break into the industry in 1950s covers were dreadful before he started working New York… That’s the stuff of movies, and that on them. He simply told them ‘if you want me kind of romance is what brings you into design. to do it I’ll do it, but no one else will influence However when you hear about how Johnny me and the covers you get are what you’ll print.’ Kelly got started, this young animator from They were some of the best pieces of graphic Dublin who is only making it big now, in many design ever produced, and it was because he ways it can be even more inspiring because you had the balls to say ‘let’s make a decision and realise you’re only two steps behind, and all you stick to it.’” need to do is stay focused and have confidence in yourself.”

“Through everyone being online now, people around the world can see the quality of Irish design and are influenced by it,” Peter confirms. “People can work for international clients and still be based here. Good work will always travel.” OFFSET is a mirror to this global design marketplace, and for three days in spring positions Dublin at it’s epicenter. The festival takes over the Bord Gáis Energy Theatre on Grand Canal Dock, racking up twenty-five hours of talks whilst running concurrent in- The first three installments have captured terviews and panel discussions alongside the the imagination of Dubliners and attracted attention from as far abroad as Asia and the mainstage events. US, proving that whatever they are doing is working. So what is their secret? “Essentially

WWW . ILOVEOFFSET . c o m

W R IT E R

Jerath Head • Phot og rap he rS

Peter O’Dwyer & Myles Shelley

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outh Studios was founded in its current guise in 2008 on the top floor of a 19th Century protected structure. The intention was to create a space within Dublin for people of mixed disciplines. South Studios quickly became a hive of activity as freelancers joined... stylists, illustrators, graphic designers, architects. The list goes on.

The downstairs warehouse spaces became vacant in 2011 and co-founders and photographers Sean Breithaupt and Yvette Monahan quickly realised the building's potential and decided to take the leap of leasing studio spaces. With a bit of elbow grease, they turned the space into something really quite impressive,

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and now the high ceilings of the Laundry Room, the iron beams and natural light in the Loft Studio and industrial chic of the Shutter Room are seducing filmmakers and photographers on first glance.

Photography and film are now the mainstay of the rental business but artistic events and corporate clients looking for a space with an edge are always welcomed. Studio manager Kate Frances explains that every rental case is different and is always considered whether it be the Fringe Festival or a five day shoot with a global brand. “We are not exclusive and believe that we are providing people with a service whilst also giving life to a historic building that would otherwise

Profile

SOUTH STUDIOS T h e t e r m c r e at i v e h u b i s o f t e n ba n d i e d a b o u t, b u t n o w h e r e i s i t m o r e a pp l i c a b l e t h A n S o u t h Studios. Photographers, designers, illustrators, a r c h i t e c t s a n d m u lt i - fa c e t e d c r e at i v e p r o f e s s i o n a l s

preside under one roof, while a constant stream o f f i l m , p h o t o g r a p h i c a n d c u lt u r a l p r o d u c t i o n s f low i N a n d o u t, to wo r k a n d h av e f u n , i n t h e amazing Dublin 8 Studios. 4

become derelict.” She explains how many producers, directors and photographers are looking for aesthetically pleasing large open spaces but they often can't find them with extra facilities such as three-phase power, cycloramas, greenscreen facilities and Wi-Fi. "People like the atmosphere of an abandoned space but need the infrastructure to be modern." Breithaupt and Monahan who control the creative direction of the rental side of South Studios stress that the use of the space by externals is key to the vitality of the Studios as a whole, “It ultimately benefits the permanent residents on both a holistic and often a collaborative level”. Monahan goes onto explain how

residents utilise the space as well; for instance, online magazine publishers Le Cool Dublin, made use of the top and bottom floor to host an evening with photographer Gered Mankowicz. His iconic Jimi Hendrix prints were displayed at a drinks reception in the Loft Studio while the photographer himself gave a talk to a hundred people in the downstairs blackout studio. Ciaran Walsh of Le Cool says "People here aren't just creative there is a distinct sense that everyone is professional. We all take our businesses very seriously and having the space to do that is superb." P hotographe r

Malcolm McGettigan

 a selection of work spaces at South Studios www.southstudiosdublin.com

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A Q & A WITH

OLIVER JEFFERS

T e l l u s a l ittle about your u p b r in ging? I was born in Australia to Northern Irish parents who had moved out a few years prior. When I was eight months old they changed their minds about living in Australia and we all went back to Northern Ireland where I grew up and had a lovely time. I did manage to get an Australian passport though. I started travelling when I was young. At eleven I was shipped off to a summer camp in Upstate New York, where I made lots of friends and returned to several times. I also undertook some other North American voyages with said friends from the summer camp. On one trip to New York City, I reconnected with another old friend and subsequently came and went in summertime for several years. Then about five years ago I decided to move there. I now live and work in Brooklyn. To what exten t have t he p l ac es yo u wer e born i n/ g r e w up in /tr avelled to/ s h a ped yo ur wo rk as an a rtist ? Probably a lot. You are but an amalgamation of your experiences after all.

How di d you d is cov er you r i nt erest in pa in t in g? I come from an artistic family and have always enjoyed drawing. I suppose I've always been a visual thinker and painting was probably inevitable at some point along the line. When I started, the results went well enough to encourage more experimentation. Learning to paint isn't dissimilar to learning anything- it’s just a matter of figuring out the tools then bending them to your needs. What hav e b e en t he hi ghli g ht s of you r ca reer to dat e . T he e xp o s u re/ pu bli cat ion s you a re p rou d of ? I've been fortunate enough to have a few. Getting my first book published and embarking on that career. My first collection of 'Science' paintings; getting my second book turned into a movie; Some of the awards I've won. It’s been a pretty good road so far. You ju st l au n c h ed a n ew publi cat ion " N eit he r Here Nor T he re" . I s t h is a ret ro s p e ct iv e of you r work? Tell u s a b ou t t h e b o ok? I suppose it is a retrospective, though I try to refrain from calling it that as I'm only in my mid thirties and feel

too young to have a retrospective. A monograph is probably a better description. It's a collection of my non-commercial artwork, so anything that’s not commercial illustration or in a picture book. It's called Neither Here Nor There for a few reasons, one as it aptly describes what I do, which is a lot of different things, none of which can singularly define me. Secondly it describes my work, which takes different forms and examines the different lenses through which we try to understand our world. And thirdly it’s a great Northern Irish expression used when something is not important.

So many. Sooo many. More picture books, more illustrating other people’s novels, more painting collections and a few upcoming shows. I'll be busy. Which is way better than being bored.

W h at in f lu en c e s you th e s e days? Planet Earth. My eyes are open and my brain is a sponge.

T h a nk yo u fo r yo u r ti m e ! You are welcome.

You ' re a st y l is h d u d e , a ny es s en t ia l s for Au t um n? Clothes. Definitely clothes. It gets chilly in autumn. I just bought a nice new hat and scarf, which I'm looking forward to donning. Next essential is waterproof shoes that don't look like wellies. I hate getting my feet wet. And I hate the look of wellies. W h at is n ext for O l i v e r J e f f er s? A n y n e w p roj e ct s?

www.oliverjeffers.com

A nd f i na lly, i n yo u r o p i ni o n, a r e yo u b o r n a n a rti st o r i s i t s o m e th i ng yo u le a r n? Likely it’s a bit of both. You can be born with talent and vision, but if you don't learn how to utilise them, you'll be an artist only in your own head. Being an artist is easy; you just have to want to do it, and then do it. Every day. Even when no one else is paying attention or telling you to.

I nte rv i e w by C i a r a O ’D o nova n

American Matter (part 1) oil and letraset on canvas 122cm x 92cm 2010, Oliver Jeffers

H e y Ol iver , How' s i t g oi ng? Very well, thank you for asking.

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Listen

Wear

www.louiscopeland.com

REJJIE SNOW

he male shopper, who pretty much went missing at the onset of the recession, is buying again. The reason for all this attention to men is fairly obvious: since the recession, they have represented the fastest-growing segment of the adult apparel market. Burberry CEO Angela Ahrendts made a point in a recent interview to say that there has been a spike in their menswear business; “Men are dressing up again”. Somewhere between 2008 and the present, men started caring about dressing and looking good.

While the gain in menswear is partly attributed to the economy, a bigger factor has likely been the broader interest in fashion. Anyone in doubt of the rising prominence of the menswear market need look no further than Louis Copeland. Almost one hundred years in the business and entering a fourth generation, their bespoke tailoring business is seeing a revival.

With a sponge-like voracity to soak up artistic, literary and c u lt u r a l i n f l u e n c e s , Rejjie Snow is a young man on a very serious musical mission

r e j j i e s n ow.t u m b l r .c o m

he average young MC ordinarily cites the likes of Tupac, Biggie or more recent wordsmiths such as MF Doom, as influential figures upon the development of their lyrical style, but for Dublin-born Rejjie Snow it was Richard Aldington and Joseph Brodsky. Unless you hold an MA in Modernist English poetry these two names might not be familiar. Aldington was an English writer and poet, commonly known for his unrhymed free verse, while Brodsky was a Russian poet and essayist who fell foul of Soviet censorship. This more than anything illustrates the 19-year-old’s inherent interest in developing his own unique style and delivery. Image and presentation is key in hip hop, something he clearly understands too, which is why the artist formerly known as Lecs Luther changed

‘We have a tailor in every shop’ says Adrian Copeland Jnr. “I measure it up and style the look”. Louis Copeland employs twelve tailors in total, a couple of old schoolers remain but most are now foreign trained. Adrian goes on to explain that back in the 50s and 60s most suiting was made to measure, now it’s about ten percent of the business. They still own the premises on Great Strand Street, Dublin 1, which once housed up to forty tailors and continues to be where most of the bespoke work is carried out on behalf of the shops.

his name to Rejjie Snow. Taking time to perfect his public persona, finish his education and learn the production tools of the musical trade are the priority right now. With a sponge-like voracity to soak up artistic, literary and cultural influences, Rejjie Snow is a very young man on a very serious musical mission. In his own words “I want to be successful and look after all my friends and my city and give back to everyone... [and help get] the youths on the right path because right now the system is gone to sh*t and only favours the rich.” W R I TE R

Simon Judge • P h o t o graph e r

Philip White

Adrian Jnr works in the Pembroke street shop along with father Adrian Snr. He talks me through the process, which begins with an appointment or simple walk-in. The fabric choice is limitless as they work off the same books as Saville Row and other mills from across Italy and Belgium. “There’s always going to be that classic guy, that chalk stripe” but men are more educated and confident now. “A lot of the requests now are guys coming in with something they have seen in a magazine, that sharp look”

Louis Copel and Bespoke

Made to measure work is quite labour intensive but is a very important part of the Copeland company. “An analyst would probably say get rid of that part of the business now… but that’s intrinsically who we are and it’s a vital part”. “It’s a close personal relationship” explains Adrian Jnr. “Being an independent retailer, you are a bit more adaptable. That’s where I see us growing in the future, sticking to our roots. People are going back to quality and want craft back into things.” W R IT E R

Garrett Pitcher

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All in the detail

DESIGNG OAT w w w.w e a r e d e s i g n g oat.c o m

ian Corcoran and Acky Fakhry are in business together for less then a year but already they have been trajected into the creative centre of the city. Since locating themselves at South Studios last February they have taken on a commission for the Crafts Council of Ireland, inviting them to create shelving for display at Design Week in London before traveling on to Brussels to be part of an installation to celebrate the upcoming Irish presidency of the European Union. They have designed one of Dublin’s new cult cafés, Brother Hubbard, where they engage with everything from the interior (including a sunken kitchen sink for displaying drinks) to the execution of graphic design in the space and have recently taken over an Eircom phone box with TANK collective, installing a drum machine beating out sounds of Dublin. Add to this list a refit for burrito bar Pablo Piccante, dining experiments with molecular gastronomy in the Science Gallery and a host of collaborations, they are needless to say attracting attention around town. From café culture to public art installation Design Goat admit that at this point they have not said no to any of the projects that have come their way. The duo who take as much from the conceptual process of design as they do from hammering and sawing in the studio, credit their difference in taste and dichotomic approaches to their work as their driving creative force. After meeting in college and discovering a shared love for coffee Cian & Acky began working together with the self-initiated project of interior design for their own hero, champion barista

Colm Harmon at Third Floor Espresso. Their attention to detail has now become their calling card and attracted continued demand from a client base that are equally obsessive and inspired by the all- important particulars of their work. With a clear objective to contribute to an Irish creative scene and develop their business here while producing work of international appeal, Design Goat are set to be a mainstay in the new stages of design and our city. Acky states that Dublin is not in any way a stumbling block for what they want to do and from this position they have attracted plenty of attention from abroad. There are even talks in the pipeline with a US company about the possibility of developing their very own coffee machine for mass production — an exciting prospect for the perfectionists who not so long ago brought their own coffee maker to college. Looking forward to a lull in their schedule so that there will be an opportunity to focus on their personal work, potentially developing a range of products and investigating pop-up retail spaces, Design Goat are another encouraging sign of burgeoning creative life in our city.

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Aisling Farinella P HO TOG R AP HY (From top left t o bott om ri gh t )

Design Goat, Sean Jackson, Linda Brownlee, Sean Jackson, Al Higgins

Their attention to detail has become their calling card and attracted continued demand from a client base that a r e e q ua l ly o b s e s s i v e a n d inspired by the all-important particulars of their work.

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Watch

Danielle Rome ri l www.danielleromeril.com

anielle Romeril is the name poised to enter into the fashion foreground. The London/Dublin based womenswear designer already has an esteemed résumé of accolades and a long list of heavy weight fashion fans, but the future is all her own. With a degree from the Limerick School of Art and Design and a Masters from the Royal College of Art, London, Danielle studied under international names

Sharon Wauchob and Sinha-Stanic before going to work in the studios of Amanda Wakely and Alberta Ferretti, eventually this year setting up her own eponymous label. Her Spring/Summer collection debut is a manicured mixture of ladylike draped silks and kimono inspired sleeves, tailored silhouettes in metallic leather, and couture t-shirt tops with laser cut details.

Her love and understanding of three-dimensional stand-work makes the pieces ultra-wearable, says Danielle. On trend for next seasons love of all things Asian, the collection incorporates original China inspired geometric prints. Danielle has recently showed her first collection at Somerset House for London Fashion Week and has been invited to take part in a showcase for established and

emerging Irish designers in London, presented by Thread Fashion Magazine, in association with the Crafts Council of Ireland. Fresh on the scene, Romeril is an exciting new talent to watch. W R I TE R

Jo Linehan • P h o t o graph e r

Aidan O' Neill

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A brush with the past

Waldorf Barbers

he barbershop has always played a memorable role in a man’s life. Getting your haircut is a personal thing and guys are giving it more thought these days. Where you get it cut, who cuts it, the experience and service all play their part. It’s a man’s time out, the equivalent of a plane journey without a mobile phone.

If you didn’t know Dublin city that well, you would not happen upon the Waldorf barbershop. It’s only clue being the classic red and white stripe barber pole highlighting the entrance and steps down to the basement shop, where it has been located since the 1970s. Liam Finnegan owns and runs the shop with his daughter Linda. They took it over in 1994 and set about restoring it to its former glories. Liam, a veteran with methodical touches, has cut everyone’s hair from Frank Sinatra’s to your next-door neighbour’s. The Waldorf sees a clientele ranging from loyal pensioners through to modern day Teddy Boys. Built upon reputation and word of mouth this barbershop is likened to going back in a time machine. Full of vintage equipment gathered over the years since first opening in 1929, customers

There is a rare charm from a place where generations of the same family can come and experience a ceremony the same as their father before them; a genuinely special place.

listen to old 40s and 50s records whilst waiting their turn in the chair. Men have recently begun to reclaim their confidence in grooming and this has translated into the surge in popularity of barbershops like the Waldorf. Men not only need to look sharp, they want to look sharp. Boldness of style is returning to the boardroom and bars alike thanks to shows like Mad Men and magazines like Monocle. Traditions and time are treasured here. Badger brushes, shave talc and other paraphernalia line the shelves. You can almost imagine the stories from over the years that each chair could recount. There is a rare charm from a place where generations of the same family can come and experience a ceremony the same as their father before them; a genuinely special place.

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Garrett Pitcher • P hotographer

Oliver Keogh Smith

C o ntact & o p e nin g h our s

Waldorf Barbers 13 Westmoreland Street Dublin 2 — t: 01 677 8608 www.waldorfbarbers.com

Monday—Friday 9am—6:30pm Saturday 8:30am—5:30pm

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Peter O'Neill

T h e M a s t e r s of S t y l e S e r i e s

on the STREET Building an epic collection of Dublin's facial hair style makers for Gillette, photographer Sean Jackson takes to the street to capture the myriad of faces and characters that make up Dublin city. the series of portraits will form an exhibition to be showcased at the gallery of photography from november 1st — 5th

Gavin Herbert

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Simon Parker Takao Oshikiri

Igor Kwasaiak

Chris Shortall

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Brian Ly n c h

Tom Lawlor

Vladamir Skuratowski

Edward Brennan

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A photographic Community

Gallery of Photography T h e Ga lle ry o f P h oto g r a p h y wa s s e t u p i n 19 78 a nd m ov e d to i t s p u r p o s e bu i lt bu i ldi ng i n T e m p le ba r i n 19 9 5. W h o was b e h i nd th e i ni ti a l co nc e pt ? John Osman founded the Gallery of Photography Ireland and worked there until 1997. He describes himself as ‘an enthusiastic amateur’ and is a collector. He put together about 150 shows for the Gallery, some from his collection and some from photographers he admired. The Osman collection includes examples from the entire history of photography and in 1999 the Gallery published a book about the collection called ‘The Lightning Strike’, this is now a collectors item. W i th a no n- p r o f i t m a k i ng r e m i t a nd a rt s e nti ti e s b e a r i ng th e b r u nt o f f u ndi ng c u t s , w h at i ni ti ati v e s h a s th e Ga lle ry e m p loy e d to m a i nta i n i t s p r o g r a m m e s? We are collaborating with the wider photographic community with new initiatives such as next year’s SHOWCASE Symposium. This will focus attention on collecting photography – and aims to help stimulate photography sales with advice from private and institutional collectors. We are also continuing to advocate for public funding for contemporary photography – it is a strategically important art form for any democracy committed to social inclusion and arts participation, we are developing new programmes to target fund sources other than the Arts Council.

You’ ve h ad t wo sh ows ove r th e l ast t we lve m onth s, wh ich h ave be e n dire ctly re l ate d to th e cit y and it s fash ion/ youth culture : Wh e re We re You and THREAD. Wh at was th e public’s re sponse to th e se sh ows? Where Were You opened to a full house and was the fastest selling book we have ever had in the Gallery of Photography. The book functions on so many different levels and is a unique example of the democratic language of photography. It mixed together generations of personal photographic memories and encouraged people to celebrate who they are by looking at where they were and what style they were expressing. So many people in this book recognise or know each other and this was an interesting aspect to the exhibition and quite unique to Dublin, a community gathered. The Thread exhibition was very exciting for similar reasons and celebrated the contemporary view. It is wonderful to see so many creatives gift their talents to a project and invite an audience free to the performance. Can you te ll u s about th e Galle ry of Ph oto graph y’s annual artist award and th is ye ar ’s winne r Patrick Ho gan? Patrick Hogan was selected by a panel of twelve leading Irish curators from over 180 artists’ submissions. Patrick's show has transcended our expectations and is one of the most exciting new bodies of work to emerge in recent years. At the heart of this beautiful and

provocative work is a questioning of whether it is possible for photography to visually represent or make real our immediate emotional and physical landscapes.

moment. Five of Ireland’s hot names in photography will be on display in the SHOWCASE SELECT exhibition in December. Come along and judge for yourself!

How d o you g o about curating a sh ow? Wh at d oe s th e Galle ry lo ok for? We look for talent and evidence of a committed and considered approach to the medium. Technical perfection is not a requirement – it’s much more about the meanings and the emotions the images convey.

Wh at kind of cour se s and se rvice s are on offe r at th e Galle ry? The Gallery offers everything from entry-level courses in both digital and analogue photography to exhibition preparation tutorials. We have interested and experienced tutors covering all genres of photographic practice and printing and our bookshop carries over 2000 publications.

Pe ople are now constantly taking picture s for s o cial ne t working; ne w te ch nolo gy at our finge rtip s h as cre ate d po ssibly an unh e alth y obse ssion. How is th is re fle cting on th e world of ph oto graph y? Technology drives the growth of photography and its obsession is due largely to its simplicity but also because of the communicative possibilities. We don’t always know what is being said or understood but the language is only about 180 years old. It has changed how humanity views itself and the world of photography is still in its infancy. Is Ire l and h olding it s own at th e m om e nt with ph oto graph ic tale nt ? Are th e re any ph oto graph e r s we sh ould be watch ing out for? You bet! There is a real burgeoning of photography in Ireland at the

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Wh at h as be e n your favourite sh ow in th e Galle ry to date and wh at would be your dre am sh ow to h o st ?We couldn’t possibly single out just one... Unless it’s the next one!

Inte rvie w by Aisling Farine ll a PHOTO GRA PHY by Andre as Pauly & Darragh Sh anah an

The Gillette Masters of Style Series, an exhibition capturing the city in a collection of portraits will be showcased at the National Gallery of Photography from Nov 1st — Nov 5th