BEAU British Men's Style May 2016

The Briefing from Brummell magazine — The British Men’s Style Issue — May 2016

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Fitness expert What are the steps in creating a meticulously hand-crafted suit?

Welcome to the world of bespoke…

P.10 → Olympic-medal-winning gymnast Max Whitlock sporting – literally – A Suit To Travel In by Paul Smith

Runaway success

Spinning a yarn WHEN IS A SUIT NOT A SUIT? WHEN IT’S A SUIT YOU CAN DO THE SPLITS IN. LITERALLY

Photos George Harvey

Inspired by his own relentless schedule, hopping on and off planes, trains and boats, designer Paul Smith decided that what he needed was a suit that was genuinely travel-proof, something that looked sharp regardless of how many times you scrunched the jacket into an overhead locker or folded yourself into an aircraft or taxi seat (at over six foot, Smith is used to the bodily origami often required by modern journeys).

‘I’m constantly travelling,’ says Smith, ‘and often have to run straight from the plane to stand in front of an audience to give a talk, so having a suit that can still look fresh is really important.’ His solution has been to develop what he calls ‘A Suit To Travel In’, a garment made using high-twist 100 per cent wool yarn, a ‘quick-recovery crease-resistant cloth’ that, as an added bonus, also possesses water-repellent qualities.

To demonstrate the authenticity of the suit, Smith enlisted the help of Olympic and Commonwealth

Games medal-winning gymnast Max Whitlock to put it through its paces. Whitlock, who is destined to be a poster boy for Team GB at the Olympics in Rio this summer, became the first British man ever to win a World Championship gold medal (at the World Artistic Gymnastics Championships in Glasgow last year). So he knows a thing or two about being flexible and dynamic.

‘It’s literally the standard suit,’ says Whitlock.

‘Obviously the suit was designed for travel and not for a gymnast to perform in, so the team were originally thinking they might have to alter it, but they didn’t have to – and I’ve done my full routines on floor and on the pommel horse wearing it.’

One such performance was on a grand piano on the BBC’s Sports Personality of the Year awards show, for which Whitlock was a nominee. Wearing a navyblue Paul Smith travel suit and a white shirt, Whitlock used the glossy black piano Continued on page 2

Why the Range Rover Evoque Convertible is pushing the British brand to ever-headier heights

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Grown-up gear How Superdry’s collaboration with actor Idris Elba – now in its second season – is widening the brand’s appeal

P.03 DIG THAT TRENCH In praise of Aquascutum’s Voyager raincoat • P.04 FOR SHOE BUFFS Take a shine to the new collection from Jimmy Choo • P.07 GET A GRIP Find the perfect bag for any occasion at Gladstone London • P.11 FAST BUCK A chip off the old block, that’s James Hunt’s son Freddie P.12 SEW BE IT Gieves & Hawkes’ made-to-measure suits • P.14 WHIFF OF SUCCESS The winning new fragrance from Burberry • P.15 MAN OF ACTION Make like Bond in a shirt fit for a spy 01

Welcome to BEAU, a new briefing from Brummell magazine. Brummell is the magazine known as ‘the little black book for the City’, a publication for professionals that takes a sideways glance at City culture but is not about work; it looks at what we do with the fruits of our labours, covering subjects such as food, drink, motoring, travel, culture, collecting, design and style. It also champions those who possess the entrepreneurial spirit, others who use their success to support philanthropic concerns, while honouring the inspirational who encourage and mentor up-and-coming talent.

You can’t buy Brummell, as it is only distributed privately and available on subscription, so we thought it would be a good idea to bring a flavour of what it’s

all about to a wider audience, hence Beau, with each issue focusing on a particular theme.

In case you are wondering, Brummell and Beau are named after George Bryan ‘Beau’ Brummell, the famous Regency dandy who is said to have established the fashion for the modern men’s suit.

Should you wish to find out more about Brummell, or indeed subscribe to it, please visit brummellmagazine.co.uk.

Until then, enjoy this edition of Beau, which takes as its subject the best of British men’s style.

Beau and Brummell are created and published

by Show Media Ltd; showmedialondon.com; info@showmedialondon

Initially available only in navy blue, the travel suit now comes in a range of colours and patterns, including a window-pane check

Continued from page 1 as a surrogate pommel horse, spinning repeatedly, standing on his hands and launching himself off its top. After more than a minute of extreme exertion, he casually buttoned up his jacket, looking impeccably smart and crease-free and as if he could walk into any bar or restaurant or – for that matter – business meeting.

‘More people travel for work now than ever before and, for many, taking a plane is no different from taking a bus,’ says Smith. ‘The Suit To Travel In is just responding to their needs.’ And does he practise what he preaches? ‘Do I travel even long-haul in a suit?

Absolutely!’ he says. ‘I wear one pretty much every day, so know no different.’

Stylistically, Smith’s travel suit has details that make it part of the designer’s distinctive tailoring family: a contemporary silhouette, high-density corozo-nut buttons and a split melton collar with contrast panels – a signature design feature of Smith’s.

When launched last winter, the style came in navy blue only, but there are now versions in a number of colours and patterns, including one in petrol-blue windowpane-check wool. And, interestingly, reflecting the global-travelling nature of many of Smith’s customers, who, like the designer himself, find their schedules are no respecters of time zones or climates, this travel suit is something that’s available all year round, in the same weight of cloth, regardless of season.

‘The idea of seasons in fashion is meaningless – when it’s autumn/winter in the UK, it’s boiling hot elsewhere in the world,’ says Smith. A Suit To Travel In, from £730; paulsmith.com

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‘I HAVEN’T BEEN EVERYWHERE, BUT IT’S ON MY LIST’ SUSAN SONTAG

Prints charming —

Contemporary swimwear label Orlebar Brown and Savile Row stalwart Gieves & Hawkes may not be the most obvious of collaborators, but to celebrate their mutual love of travel and exploration the two have joined forces to create a capsule collection of tailored leisurewear.

Inspired by the real-life adventures of Dr Livingstone, it features reinterpretations of the Scottish explorer’s original hand-drawn maps printed on a range of utilitarian clothing.

Key pieces include a safari jacket, cargo trousers, desert boots and swim shorts, left, which are all wardrobe staples for the modernday adventurer. From £75; orlebarbrown.co.uk

Dead snappy

Coat of many colours

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British designer Christopher Raeburn, above right, is known for his sustainability credentials. Ever since he won an award from the Ethical Fashion Forum in Paris in 2009, he has been a champion of the idea that clothes should be made to last and not only employ recycled materials, but be themselves recycled.

His ‘Re-Made in England’ collections repurposed old garments to make new ones, and that spirit still influences his work today.

But as well as designing for his own label, Raeburn also wears another hat, as artistic director of the fashion division of Swiss firm Victorinox, most famous for being the makers of the classic Swiss Army Knife. These days, Victorinox makes some fine watches, luggage and clothing, all imbued with the sort of hardy, no-nonsense functionality that has made its army knife a favourite for years.

Interestingly, when it comes to apparel for the firm, Raeburn has come up with an ingenious idea that not only manages to replicate the type of multifunctionality that the knives possess, but also sits well

Weatherproof wear in which to boldly go wherever your fancy takes you this summer ‘This is a great coat to chuck into a suitcase or keep in the car for when the weather turns, as it so often does in Britain.’ Thomas Harvey, head of menswear design at Aquascutum, is talking about the shower-proof Voyager trench, a style he’s created for a very modern problem: the increasing unpredictability of the summer climate.

Aquascutum has always had an eye on the British weather – its name, after all, is Latin for ‘water shield’. The Voyager, Harvey explains, ‘plays with the core identity of the label, and the heritage of [founder] John Emary’s innovation’.

It was Emary who, back in 1851, created and patented the first waterproof wool – technology that would be famously pressed into service by the British army in both world wars, in Aquascutum’s iconic trench coat, developed in 1914.

Today, Harvey still creates coats in the spirit of those originals, but he’s realised that contemporary travellers need something a little less substantial, without what he calls ‘all the bells and whistles’ of that classic style – in short, a coat that’s ‘brighter, more fun, less serious’.

‘As the name suggests, the Voyager is a travel piece,’ he says. ‘And because people are travelling a lot – flying is cheap, if you plan ahead – they need items that are both useful and flexible, suited to how they live and how the weather is now. You can’t pack a traditional trench coat in the way you can tuck this into a bag or briefcase.’

The other thing that characterises the Voyager – a single-breasted, raglan-sleeve raincoat – is that it is relatively inexpensive. ‘It’s very lightweight and practical, and it doesn’t cost a fortune,’ says Harvey, ‘so we could afford to have some fun with the colour.’ Did we mention it comes in seven shades, including aqua green, top right, and cobalt blue, right? Voyager trench coat, £250; aquascutum.com

Two ticks —

Think of watchmaking and the first place that springs to mind is probably Switzerland, but we Brits too can lay claim to having pioneered some important breakthroughs: in the 18th century, for instance, Thomas Mudge invented the lever escapement.

The time of such home-grown horological titans may be long gone, but the past decade has seen a small-scale domestic resurgence in

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with his philosophy of being good to the planet.

The Victorinox Modular Liner System allows you to buy a piece of rainwear or a field jacket, such as the Highlander VI, above left, which has snap buttons inside, and attach a quilted Matterhorn vest, top, made from recycled material. As Raeburn says, ‘Nowadays, it’s not about having big heavy coats that become a bit of a nightmare when you get to the airport or go on the underground. Today, people want clothing that is trans-seasonal and adaptable. That way, you can glance out of the window and see what the weather is doing, and snap your lining in or out accordingly.’

The system will be expanded for winter with the addition of some more outerwear pieces and two more quilted inner liners – a longer one with a detachable hood, and a type of bomber jacket. ‘The intention is that we don’t change the system for snapping these things in or out, but continue it for years to come,’ says Raeburn. Which is a sustainable idea indeed.

Matterhorn vest, £135; Highlander VI field jacket, £265; victorinox.com

the field, spearheaded by the success of one brand in particular – Bremont. The handsome looks of its timepieces may draw you in, but the Henley-on-Thamesbased company has a genuine dedication to precision timekeeping that is designed, manufactured and assembled in England.

The launch of a new manufacturing facility in Silverstone in 2014, tapping into the technical knowledge of Formula 1, suggests this is only the start of its journey. Most famous are

the company’s pilot’s watches, rooted in its founders’ love of aviation (brothers Nick and Giles English both fly vintage planes themselves).

And, while you can rest assured that their timepieces perform in the cockpit, for those of us who prefer the passenger seat, they make a stylish and practical travel companion. The new ALT1-ZT/51 features a GMT function, allowing you to display an additional local time zone when on the move. £4,295; bremont.com

Photo: Jimmy Choo

Loveable brogues —

Jimmy Choo’s footwear for men is stealing the show, thanks to classic styling with a twist

‘THERE’S A FINE LINE BETWEEN BEING FASHIONABLE AND MAKING SOMETHING NO MAN WOULD WEAR’

Above left: Sandra Choi, creative director of Jimmy Choo, in her office. Above, from top: Argyle high tops, £495; Sloane slipper, from £425; Lars lace-up, from £525; Penn lace-up, from £495; jimmychoo.com

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Sitting in the bar of the Baglioni Hotel in Milan on the eve of her autumn/winter 2016 men’s presentation, Sandra Choi, creative director of Jimmy Choo, looks a full decade younger than her 43 years. ‘Elfin’ is an adjective that has been used to describe her, but it doesn’t do justice to her easy glamour, which is disarmingly present, even though tonight she is in work mode, wearing black Jimmy Choo trainers.

Indeed, she’s keen to point out that, while Jimmy Choo is famous for its red-carpet-style heels, she actually designs a whole wardrobe of different styles.

Which is why it seemed natural five years ago for Choi, who is Jimmy Choo’s niece, to launch shoes for men.

To start with, Jimmy Choo for men was based on the concept of shoes for the husbands and boyfriends of the Jimmy Choo woman, a person Choi knew well, as she’d been involved in her uncle’s business since she moved from Hong Kong, aged 13, to live with him. But, although she started by wanting to cater to the partners of her female customer, her approach developed.

‘Men’s is so different,’ she explains. ‘Men like an authentic way of dressing. A brogue has to be a brogue, a Derby is a Derby. You can’t mess with that too much. You can’t be too decorative. Tradition needs to be respected. But there are lots of other shoes out there, so you need to find that unique position for your male customer.’ It’s not like designing for women, she says. ‘With men’s, it’s more subtle – it’s about different types of material rather than radically different shapes.

And there’s a fine line between being fashionable and making something that no man would wear.’

It should perhaps come as no surprise, then, that what worked straight away was a range of dress slippers – glamorous slip-ons that can be worn either at home or with black tie. ‘The slipper provided us with a kind of blank canvas,’ says Choi. ‘Whatever the collection is about for the season, we can make it work on the slipper. The same with the trainer.’

What Choi has found is that these styles have universal appeal. Her decorative Belgravia high-top trainers and Sloane slippers are popular in Europe, America and Asia. But the more classic styles have taken longer to understand: Choi’s take on the utilitarian black leather lace-up, Lars, which comes with a chunky white rubber sole, is a case in point.

Yet, whatever your preference in styling, Choi is adamant that you’ll find her shoes comfortable and functional. ‘Menswear needs to be designed for men, not what a woman imagines a man needs to have,’ she says. And a big part of that is to do with performance.

‘My men’s shoes are fully functional. For example, I showed the spring/summer 2016 Belgravia high-tops on world-class skateboarders. We also had Mark Webb, the BMX champion. Now, if they didn’t work for him, he wouldn’t be wearing them.’

So, whether you’re a skateboarder doing tricks or an entrepreneur in jeans and a crew neck in a coffeeshop meeting, your shoes have to work for you?

‘That’s the skill,’ says Choi. ‘To make a fully functioning, stylish shoe. That’s the designer’s job.

Otherwise, you’d be calling yourself an artist.’

‘IT IS TOTALLY IMPOSSIBLE TO BE WELL DRESSED IN CHEAP SHOES’ HARDY AMIES

Give it some welly —

Until fairly recently, Hunter wellies were mainly worn by people in the countryside – namely farmers and horse riders – who needed shielding from the elements.

Then, Kate Moss was spotted wearing a pair at Glastonbury in 2005, and the brand has attracted a more fashion-conscious following ever since.

Alasdhair Willis, who happens to be Stella McCartney’s husband, became Hunter’s creative director in 2013, introducing more fashionable footwear designs – as well as trend-led outerwear and accessories – creating the impression the brand is moving towards a more hip, Glastonbury-meetsNotting Hill market. Its spring/summer 16 collection, for example, is music festival-themed, and its presentation during London Fashion Week featured giant tents and a muddy field-like runway.

However, while the Hunter Original range may be aimed at a young, trend-aware audience, the Hunter Field collection comprises technical, performancebased products inspired by the brand’s 160-year history. Hunter was, after all, commissioned by the War Office to make sturdy rubber boots for soldiers serving in the trenches during World War I, and again in 1939, following the outbreak of World War II. Step forward, the Balmoral boot. A staple of the Field collection, it is designed for the toughest terrain, thanks to its robust Vibram Newflex sole – shockabsorbing, lightweight and flexible, it’s finished in a new soft rubber compound for added durability and comfort. Some models in the Balmoral range, including the Sovereign boot, above right, also have commando cleats that provide high traction and firm grip for negotiating challenging conditions underfoot.

From £130; Balmoral Sovereign, £220; hunterboots.com

Boots made for walking —

Sole mates —

Crockett & Jones was founded in 1879 in Northampton by Charles Jones and his brotherin-law, James Crockett, with a grant of £100 each from the Thomas White Trust ‘to encourage young men of good character in the towns of Northampton and Coventry to set up business on their own’.

Today, it remains

Paula Gerbase, the 33-year-old designer at British shoe company John Lobb, is a bit of a nomad.

The daughter of an Italian father and a German mother, she lived in Brazil, America and Switzerland before moving to London to study fashion at Central Saint Martins art college.

Today, that sort of peripatetic background might account for her current love of country walks. ‘I’ve become completely, 100 per cent, absolutely obsessed with Dartmoor,’ she explains. ‘I feel like I’m from nowhere, but have found myself in Dartmoor.

It sounds quite odd, but there’s something about that primitive nature that just hits you.’

This sort of wanderlust is something that perfectly echoes the founding spirit of John Lobb. The story has it that in 1851, young John, who went on – via a stint in Australia – to create the celebrated business that still bears his name, left his home in rural Cornwall and walked all the way to London. A farmer’s son, who had been apprenticed to a local shoemaker, and aged only 22, he was accompanied on this epic journey by his handmade boots.

In homage to that event, Gerbase has designed the spring/summer John Lobb collection with the Cornish coast in mind, using tones inspired by the area’s

a family-run business and, as well as traditional styles, also applies its handmade craft to more modern pieces. One such is the Truro, right, a leather trainer style that matches the finest calf leather with a lightweight rubber sole and Crockett & Jones’s Goodyear welted construction for exceptional strength, durability and comfort.

Available in black, mahogany or blue, £395; crockettandjones.com

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landscape, and engineering the shoes to be both sturdy and comfortable. Men, says Gerbase, can develop a real attachment to their footwear. ‘It’s an intimate relationship. I mean, lacing up your shoes, or buckling your boots, is your last gesture before you leave the house. There’s something about that moment that’s very personal – that’s also why I always design at least one shoe that has two “gestures”. So, whether it’s a lace and then a hook, or a lace and then a buckle, I think highlighting that moment, even in subliminal ways, is really beautiful for me.’

The Endel boot, above, in leather and canvas demonstrates this philosophy perfectly, with its laces, hooks and buckle. A five eyelet and four hook/eye boot with top strap and buckle and single leather sole, its design was inspired by the archives of bespoke shoes made by the house. The canvas is featured on the boot’s quarters, framed by leather on the vamp, counter, collar and facing, leaving no canvas raw edge.

The combination of canvas and leather introduces a rustic texture and spirit to the style, which nonetheless maintains the characteristic elegance for which John Lobb has long been known. Available in chestnut misty calf and green linen canvas, or navy calf and navy canvas, £1,190; johnlobb.com

For serious metal fans —

Fine leather and tough aluminium have sat side by side in the creation of timepieces, motor cars and military aircraft for centuries. Now, luxury men’s-accessory company Passavant and Lee has combined the two materials to create a range of sophisticated

bags and cases that are practical and sturdy yet stylish enough for all manner of metropolitan adventures.

Founded by an Englishman, Benj Lee, and an American, Jon Passavant, the brand captures in its wares – designed in New York and hand-assembled in London – the pioneering spirit and creativity of each of its founders’

Rock your world

home countries. The No. 25 briefcase, right, is the company’s signature style. Its rigid, waterresistant outer shell, made from aircraftgrade aluminium, gives its contents maximum protection. Covered in full-grain leather and lined with high-density foam for durability, it’s as resilient as it is refined.

No. 25 briefcase, £1,950; passavantandlee.com

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Globe-Trotter suitcases and trunks have transported the belongings of Winston Churchill, the Queen and James Bond (aka Daniel Craig). They’ve accompanied Captain Scott on his intrepid expedition to the Antarctic and made it to base camp with Sir Edmund Hillary on Everest. And when you envisage the golden era of steam-powered travel, a pile of trunks with the famous Globe-Trotter leather corners, straps and buckles is sure to figure.

The company’s skilled artisans have been producing luxurious pieces of luggage as well as one-off collections and elegant accessories since 1897, yet Globe-Trotter has also moved with the times. A case in point is its collaboration with the Saatchi Gallery and the Rolling Stones for an exhibition in which a limited-edition capsule collection of Stones-inspired pieces pays tribute to the British counterculture icons.

Ranging from a 9in headphone case to a 21in trolley case, below, the luxurious leather kit comes – naturally – in the band’s favourite colour: black. And, of course, no piece of Stones memorabilia would be complete without the most famous logo in rock, the Jagger ‘tongue and lips’, emblazoned upon it. The Rolling Stones capsule collection comprises a 9in headphone case (includes luggage tag and guitar strap), £875; 12in record case (includes luggage tag and guitar strap), £940; 21in trolley case (includes luggage tag), £1,390; and leather luggage tag, £115; globe-trotter.com.

‘Exhibitionism: The Rolling Stones’ runs until 4 September at the Saatchi Gallery; saatchigallery.com

Put your back into it —

Hard Graft may well sell its leather goods solely online, but it is grounded in a very hands-on approach to production. Founded in 2007 by Englishman James Teal and Austrian monie.ka, the London-based company draws on traditional, quality craftsmanship, which, combined with a very contemporary aesthetic, has made it one of the most covetable modernaccessories brands around right now.

Its pieces are made in a small workshop in Italy, and constructed from premium-grade Tuscan leather that softens and ages beautifully over time. Colour is applied by hand, with the collections coming in handsome shades of ocean blue, grey and teal, as well as more classic tones.

One of its best-selling items, the 2Unfold laptop bag, above, exemplifies the brand’s functional, practical approach to design. This sleek bag holds a laptop measuring up to 17in and can be carried in three different ways – as a backpack or via a handle or over-the-shoulder strap.

As well as accoutrements for technological devices – from iPad cases, headphones carriers, camera straps and even a ‘rest station’ for the Apple Watch – you’ll find a range of well-designed sartorial accessories, built to withstand the strains of everyday life. Try the elegant and understated Snap wallet, £154, which comes complete with a pleasingly simple double metal snap closure. 2Unfold laptop bag, £598; hardgraft.com

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‘IT’S REALLY HARD TO BE ROOMMATES WITH PEOPLE IF YOUR SUITCASES ARE MUCH BETTER THAN THEIRS’ HOLDEN CAULFIELD, THE CATCHER IN THE RYE

Ahead of the pack —

Guaranteed to wow, Gladstone London’s bags are designed for the man who’s constantly on the go The Gladstone London story began when founder John O’Sullivan was given a book from the 1930s that contained templates for bag designs from leather-goods brands that are now long gone. Seeing the potential to revive these traditional designs, O’Sullivan – who’d already worked alongside some of Europe’s finest leather craftsmen throughout his career – established the London-based brand to bring back historic styles and crafting elements and make them relevant for the modern man.

Drawing inspiration from old canvas military kit bags used in World War I, the G23 backpack, top, is functional, stylish and designed to carry ample necessities for work, travel or sport. The large calfskin backpack is divided internally into three compartments, with a padded laptop pocket and inner zip pouch. It is available in four colours.

Equally practical, yet appropriately sophisticated for doing business in the Square Mile, the G8 City tote, bottom left, was inspired by a vintage bag that was found in an antique shop on the Sussex South Downs.

It features Gladstone London’s signature doublebacked handle bases with contrast hand stitching.

When the inside zip is fastened, the tote appears square and boxy in shape, but, for a more relaxed look, it can be left unzipped.

What’s most interesting about Gladstone London is how it reinterprets historical design details in

GLADSTONE LONDON REINTERPRETS HISTORICAL DESIGN DETAILS IN A MODERN, FUNCTIONAL WAY

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a modern, functional way. Though its designer, Moe Dakory, is only 24 years old, he’s already worked on commissions for innovative fashion icons, including Daphne Guinness and Lady Gaga, and his forwardthinking approach is evident in the collection’s minimal, contemporary aesthetic.

The G48 Hours bag, top left, is by far the most complex design of the collection. Inspired by a large sports bag thought to have been made during the early days of tennis, it’s ideal for transporting everything you need for a few days away. Lined in cleanable Alcantara, it has four multi-functional pockets on one side, as well as a sizeable back pocket with space for a laptop. It comes in midnight blue, military green, vintage tan, phantom grey and pure black.

The G48’s external pocket is locked with Gladstone London’s signature diamond-cut brassand-pewter bolt handmade by a jeweller in Florence.

The bolt lock is also a feature of the G12 Messenger bag, above, a classic design with a shoulder strap, well suited to carrying everyday essentials.

Each Gladstone London bag is handmade by a team of 10 craftsmen in a small factory near Lake Como, and the design and manufacturing process takes about 18 months from start to finish. O’Sullivan has seen many specialist leather-craft skills decline over the years, and by reinventing long-forgotten creations, he aims to keep these time-honoured skills alive.

Clockwise from left: G48 Hours bag, £1,095; G23 backpack, £850; G12 Messenger bag, £625; G8 City tote, £895; gladstonelondon.com/harrods.com

Bespoke tailoring is an intricate and uniquely personal service – one that Dunhill has been performing masterfully for decades Just as haute couture is the pinnacle of customised fashion for women, fully bespoke tailoring offers the same level of personalisation for men, in that garments are made to the exacting requirements of the individual.

Indeed, the word bespoke derives from the verb ‘to bespeak’, and was coined by tailors on Savile Row to describe cloth that was ‘spoken for’ by a customer.

All men’s formalwear was bespoke up until around the 1960s, when the industrialisation of garment manufacturing led to a global market of ready-towear clothing. However, traditional bespoke tailoring skills are still employed at tailors such as Dunhill and those on Savile Row, where suits are meticulously crafted by hand to ensure the most precise fit possible, and tailors can make any necessary adjustments to correct imperfections in body shape or posture.

Dunhill’s bespoke-tailoring service is based in Mayfair, at its London flagship, Bourdon House, a historic Grade II-listed building built in 1720.

The beauty of bespoke is that the options are almost infi nite. Yet, while at Dunhill there are more than 4,000 different tailoring fabrics to select from – everything from high-twist weaves and luxurious cashmeres to silk and vicuña wool blends – all Dunhill creations reflect the aesthetic for which the brand is globally renowned: classically British, understated and always elegant. Dunhill bespoke suits start from £4,200; dunhill.com

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Dunhill’s latest bespoke silhouette, the British Dunhill cut, is modelled on the archetypal British style of suit: slim but not tight, with moderate waist suppression and light padding in the jacket to enhance the natural line of the shoulder.

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The Dunhill bespoke process begins with an initial meeting, by appointment. A tailor takes the customer’s full body measurements and discusses their lifestyle to determine the purpose of the suit.

HOW IT’S MADE

A Dunhill bespoke suit Illustration Sarah Tanat-Jones

This page: Alfred Dunhill bespoke wool suit; cotton shirt, £210; honeycomb woven silk tie, £165; polka-dot silk pochette, £60; calfskin oxford cap-toe brogue, £425. Opposite: Alfred Dunhill bespoke wool three-piece suit; cotton bespoke shirt; large bean-print tie, £95; bordered cotton handkerchief, £60; calfskin oxford cap-toe brogue, £425

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Depending on whether the suit will be worn every day or for a special occasion, the tailor advises the customer on a suitable fabric from a choice of over 4,000 cloths and linings.

The first fitting is arranged after six weeks, when the customer tries the pocket baste – a half-made version of the bespoke garment, held together by basting cotton, allowing easy alteration after the fitting.

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The style of the garment is then decided. Jackets can be single or double breasted, with side or centre vents and slanted or straight pockets, and trousers can be pleated or plain, with pockets added or removed.

At the first fitting, the garment is chalked and pinned to refine the fit, before being broken down, re-marked and re-cut.

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Once the customer’s cloth choice, style preference and measurements have been recorded, the unique paper pattern is drafted by the head cutter, then laid on to the cloth, marked around with chalk and cut out precisely by hand.

The finished garment is presented to the client another six weeks later, and any finishing touches are made to ensure the garment fits perfectly.

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Photo: Rankin

A Fiennes bromance —

Belstaff is a British company with proper motorcycling heritage.

Founded in 1924, near Stoke-on-Trent, it pioneered the first water-resistant wax cotton. However, it was soon making clothing for the early bikers, a tradition that endures today. Now, embracing the spirit of adventure that is epitomised by two-wheel travel, it adds a new celebrity wearer to an impressive roll call that includes the likes of Steve McQueen, David Beckham, Che Guevara and Liv Tyler: feted British explorer Sir Ranulph Fiennes, below.

A marriage made in heaven —

Range Rover’s Evoque Convertible owes its phenomenal success to a game-changing bond between design and engineering ‘We’re calling it the vehicle for all seasons,’ says Gerry McGovern, design director of Land Rover, of the new Range Rover Evoque Convertible. ‘It’s equally at home on the sun-drenched boulevards of California and the snow-capped mountains of Val d’Isère.’

A somewhat sardonic northerner, when McGovern delivers marketing speak, it is with inverted commas firmly around it. His interests lie in one thing only – designing great cars that people will enjoy driving.

To illustrate the all-season, all-terrain suitability of his new baby, we have come to Courchevel, where the Evoque Convertible has to cope with the winter road conditions while showing off its ability off-road, too; even completing a course up on the pistes.

The original hard-top Evoque – a smaller, cuter version of the traditional Range Rover – was showcased in 2008 as a concept car. The production vehicle, says McGovern, changed the nature of Land Rover’s business. ‘We sell nearly 130,000 Evoques a year – that’s more than 500,000 since we started. In terms of desire for the car, we’ve seen no drop-off at all.’ Significantly, he says that 80 per cent of the people who are buying the car have never bought a Land Rover before, and 75 per cent have never bought an SUV. This is important because McGovern acknowledges that Land Rovers and Range Rovers

might have suffered in the past from the perception that they were a little forbidding. ‘A lot of people appreciated the brand but said, “That’s great, but it’s not really for me – it’s too specialist,”’ says McGovern.

‘So we are becoming more generalist… but we’re not about to sell the crown jewels,’ he adds. ‘We still represent certain values in terms of our vehicles’ allterrain capability and we don’t do ordinary vehicles.

We never have. We never will.’

Thus, the new Evoque – ‘the world’s first luxury SUV convertible’ – handles a variety of rugged terrain.

Inside, it responds to the surface you are on – select grass, gravel, snow, rock or sand mode, for example, and the sophisticated electronics cause the vehicle to behave differently for optimum traction. Moreover, it looks and feels luxurious, the stitching on the duotone seats suggesting a high level of craftsmanship.

But perhaps the most important thing about this car is that it shows the great British brand of Land Rover is moving with the times. ‘The level of empathy we now have between designers and engineers is not something we had several years ago,’ says McGovern.

‘When I first went into the business, designers were called flower arrangers and engineers were called members of the Flat Earth Society, and never the two shall meet. That’s all changed because Evoque has actually proven that you can have a car that truly resonates through design on an emotional level but still has a very high level of engineering integrity.’

From £47,500; landrover.co.uk 10

‘Belstaff is steeped in exploration and the British outdoors,’ says Fiennes – ‘both things to which I’ve always been very close.’ For a man who is used to braving the elements, performance and comfort are essential: ‘I like to be comfortable, and that’s always the case in Belstaff clothing.

The black Leighwood jacket is my favourite item… I also appreciate the slip-on shoes for fit and ease.’ For more extreme conditions, Sir Ranulph favours Belstaff’s Trialmaster biker boots.

Leighwood jacket, £1,095; Elmbridge regular-fit jeans, £195; Attwell short boots, £375; belstaff.co.uk

‘NOTHING BEHIND ME, EVERYTHING AHEAD OF ME, AS IS EVER SO ON THE ROAD’ JACK KEROUAC, ON THE ROAD

Freddie, steady, go —

A craving for speed has driven James Hunt’s son to follow in his father’s tracks It’s 40 years since James Hunt won the Formula One World Championship, but today at Goodwood you’d be forgiven for thinking time has stood still. The sixfoot-tall 28-year-old with the blond locks and smiling eyes sitting in a vintage Jensen C-V8 Mk II sports car is the image of the racing driver. But then, he is his son.

Freddie Hunt, like his father before him, is a driver, currently competing in the NASCAR Whelen Euro Series – in the same team as Mathias Lauda, son of James Hunt’s legendary rival Niki. Endurance racing is Freddie’s thing, he says, partly because, he thinks, it’s less ‘fun’ these days than when his dad raced. The aim, he says, is to get a drive at Le Mans.

But it wasn’t always the case. His big passion had been riding, for which he left school at 16 to become a polo player. Three years later, that all changed.

It happened ‘right here at Goodwood’, he says.

‘When I came here as a spectator, someone asked if I wanted to jump in and have a go.’ He did the hill climb ‘in front of 200,000 spectators, with no racing licence’.

Freddie was soon testing, and secured a season in British Formula Ford. Although he had no experience, he had ‘a craving for speed’, having spent his youth riding motorbikes and quads. ‘I’d always loved to drive things fast, and when I’m on a horse, I ride fast.’

As a driver, it is all about timing. ‘Racing is being able to do that fast time consistently.’ The subject is

apt, given that Freddie and his brother Tom have just helped develop two new chronographs for Swiss watch company TAG Heuer to commemorate the anniversary of their father’s 1976 F1 World Championship title.

TAG Heuer has good motor-racing credentials as long-time sponsor of McLaren (the team with which James Hunt won) and now of Red Bull Racing. It’s the manufacturer of the ‘Steve McQueen’ Monaco watch, as worn by the actor in the film Le Mans. Freddie likes what it’s done with the two James Hunt special-edition timepieces, above. ‘The way they’ve incorporated Dad’s colours is pretty cool. Red, blue and yellow,’ he says. ‘They come from Dad’s helmet – originally they’re the Wellington colours, Dad’s school.’

‘Personality-wise, we are pretty similar,’ says Freddie of his father. ‘I was never destined to sit in an office,’ he says, and you get the impression of a daredevil attitude that would translate well to the racetrack. But his sense of discipline is clear, and manifests itself in a fierce punctuality: ‘I can’t stand people that are even five minutes late.’ Like many of his generation, though, he has in recent years relied more on his mobile for timekeeping than a watch. ‘I was given four watches for Christmas when I was 13, and by the following Christmas I’d lost every single one… But now I’m very much looking forward to wearing my limited-edition TAG Heuer watch.’ The TAG Heuer James Hunt Special Edition chronograph, limited to 500 pieces, £1,200 on NATO strap, £1,300 on steel bracelet; tagheuer.co.uk

Above left: Blouson, £2,850, BRUNELLO CUCINELLI; polo neck, £139, JOHN SMEDLEY; denim trousers, £270, TOD’S; James Hunt Special Edition chronograph with NATO strap, £1,200, TAG HEUER. Above: Biker jacket, £2,130, FENDI; stretch cotton vest, £30, SUNSPEL; brushed cotton chinos, £395, THOM SWEENEY; Sonny boots, £499, MR HARE; Glyn sunglasses, £250, OLIVER GOLDSMITH; medallion, Freddie’s own; James Hunt Special Edition chronograph with steel bracelet, £1,300, TAG HEUER

‘PERSONALITY-WISE, WE ARE VERY SIMILAR. I WAS NEVER DESTINED TO SIT IN AN OFFICE’ 11

‘STYLE IS KNOWING WHO YOU ARE, WHAT YOU WANT TO SAY, AND NOT GIVING A DAMN’ ORSON WELLES

Hardy perennial —

A Savile Row suit for less than £400 In his seminal publication, ABC of Men’s Fashion, Savile Row tailor Sir Hardy Amies wrote in the foreword: ‘It is easy to think of fashion as frivolous.

Clothes are, however, very much part of our lives and should be used to make our lives easier.’ With this in mind, the brand is sticking to the philosophy of its founder with the Hardy suit – a versatile two-piece that’s easy to wear and not at all restrictive.

Most notably, though, this suit is designed on Savile Row, yet costs just under £400 – something of an anomaly, given the reputation of ‘the Row’ for expensive menswear, albeit of the highest quality.

Dressmaker to the Queen he may have been, but Hardy Amies was a designer who believed in the democratisation of fashion, as demonstrated when he entered into a venture with neckwear manufacturer Michelsons to create a range of ties in 1959.

He was also approached by Hepworth (which became Next) to work as a consultant for the chain on its range of ready-to-wear suits. These ‘off-the-peg’

Fitting addition —

A bespoke suit is the ultimate expression of exclusivity, craftsmanship and individual style, but it can be a daunting investment to make.

Thankfully, for customers who want the same exacting level of service and attention to detail of bespoke commissions but without the intimidating price tag, Savile Row stalwart Gieves & Hawkes has integrated all its made-to-measure services to launch a very reasonably priced private tailoring division.

It’s a somewhat unique proposition – an individually tailored, made-to-measure garment crafted to the

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highest specification on Savile Row for £1,200.

That’s a fraction of the brand’s starting price of £5,000 for fully bespoke, with the main difference being that made-tomeasure private tailoring modifies standardised patterns, and fittings are not usually necessary during the creation process, whereas bespoke pieces are designed and handmade from scratch.

If a complete made-to-measure wardrobe appeals, in addition to two- and three-piece suits, special-occasion suits, and dinner and weekend jackets, the personaltailoring service also extends to velvet evening slippers, waistcoats, trousers and shirts. gievesandhawkes.com

garments were not what Savile Row traded in, but, nevertheless, he obliged. ‘My mission in life is to create a wardrobe for what I call the “complete man”,’ he said. His first collection of 30 suits was intended to ‘make the customer feel younger and richer than they were, and more attractive’.

In 1962, for the launch of his second collection for Hepworth, Amies staged the first men’s ready-to-wear catwalk show, a pioneering move that not only endorsed the notion of ‘off-the-peg’ menswear, but promoted the idea of men’s style to the public at large.

The Hardy suit is the 21st-century answer to these non-conformist Savile Row activities. The cut of the Hardy creates a sharp, slim silhouette, with structured yet relaxed shoulders and a gently defined waist. It comes half-canvased, with notch lapels, and is available in navy, grey and black. There are other menswear staples in the Hardy family, too – a mac, overcoat and bomber jacket – and all at a similarly accessible price.

Hardy suit, £395; hardyamies.com

‘FIT WAS A HUGE THING FOR ME. I’M NOT A DESIGNER, BUT I CERTAINLY KNOW WHAT LOOKS GOOD’ IDRIS ELBA

Coming of age —

If a male equivalent of mutton dressed as lamb exists, the collaboration between Idris Elba and Superdry most certainly isn’t it ‘Actually, Idris was already wearing Superdry – picking what was appropriate for him – and that’s how we met him,’ says co-founder of the label Julian Dunkerton.

He fully understands that this might seem, on the face of it, a little surprising, as Superdry, the British sporty fashion company that loves to embellish its products with logos and Japanese characters, is more associated with younger customers. Like Elba, who is 43, Dunkerton and his co-founder, designer James Holder, are both ‘men of a certain age’ and aware that targeting an older customer is a new direction for the brand.

To reposition some of what Superdry does called for smart thinking, and Dunkerton and Holder are nothing if not smart, having grown the business from launch in 2003 to a global fashion brand. Thus, they came up with a way to expand the allure of the label quickly – Idris Elba. ‘We hit it off,’ says Holder. ‘Same ideas about fashion, same work ethic. We decided to do something together. Idris was very involved in the design process. It’s not just a case of putting a face to a brand – that’s not our way at all.’

The Idris Elba + Superdry collection, now in its second season, is based around classic styles that still

possess the brand’s love of details – pockets, belts, patterned linings and the like – but this has all been dialled down for a customer who wants something a bit more elegant, a little more restrained.

For his part, the actor most tipped to be the next James Bond explains that he could see how Superdry wanted something different from him. ‘We know what Superdry do and they do it amazingly,’ he says, but points out that the firm ‘wanted a departure’.

He expands: ‘And I certainly thought my collaboration should be more of my essence… something a little less with the logos and a lot more smart than casual.’

Elba says that as a 43-year-old. ‘I design for my generation, and I hope my generation really likes it, but at the same time there are pieces for younger people.’ However, the look is based around his wardrobe, his style. ‘It started off really with what I wear – and, yes, these are my favourite cut of jeans, this is my favourite type of T-shirt – and we sort of embellished on that. The idea was to take the things we like the most and just tweak them a little bit, paying attention to some of the details such as quality of material and fit. Fit was a huge thing for me.

I’m not a designer, but I certainly know what looks good. I can look at someone and say, that doesn’t work for you, but this will. That’s what I did when I walked into the room with Julian and James. I said, this is what

I think we can do, this is my eye, this is what I imagine my ideal customer will walk out in, feeling like this.’

The aesthetic is, he says, firmly home grown.

‘The truth is, I designed it for the English gent.

You know, we like a type of skinny jean, we like a type of fit, in our T-shirts and granddads and knitwear.’

But this is not a gent in an old-school, Savile Row incarnation, an image that inevitably brings with it class associations (and price expectations). Elba talks about how he wants to dress ‘the everyman’.

‘And that was important to me,’ he explains.

‘I come from a humble background. You know, I could have gone with my name and taken it to a more expensive designer high-street brand, but for me that wasn’t the goal. The goal is, actually, let’s make affordable, cool-looking clothes for people, the everyman. I come from a part of East London where fashion is important and, although we couldn’t afford the big brands, we still used to look good,’ he says.

For Holder, the benefit of working with Elba is simple. ‘Basically, men want to be like him and their wives want to be with him,’ he says. Because of that, says Dunkerton, Elba is the perfect collaborator for a brand looking to broaden its appeal. ‘He’s just the coolest Brit out there,’ he states. I’m not sure you’ll find too many men (or women) who’d disagree. For more information, visit superdry.com 13

Above left: Idris Elba wears Reversible Coach jacket, £125; IE Classic jeans, £75; Refined T-shirt, £30. Above, from top: Set suede bomber jacket, £345; IE Classic Maritime Chino shorts, £55; all superdry.com/idris

Photos: Burberry/Steve McQueen; Turnbull & Asser

TYPICAL OF MCQUEEN, THE MR. BURBERRY TALE IS AS GRITTY AS IT IS STYLISH

Above left: Director Steve McQueen with Burberry chief creative and CEO Christopher Bailey Left: Josh Whitehouse

History notes —

Burberry’s new fragrance, taking its cues from the past, is brought to life on film in a modern love story ‘The story of British-made perfumery is deeply rooted in the French Revolution,’ explains Francis Kurkdjian, the famous Parisian perfumer who, along with Christopher Bailey, Burberry’s chief creative and chief executive officer, has developed Mr. Burberry, the label’s latest fragrance for men. ‘That time, when French perfumery was momentarily in decline, led to an increasing demand for fragrances created in England. By the 19th century, barber shops had begun to appear on the streets of London. They were filled with aromatic and citrus notes from the renowned antiseptics that were used in grooming the facial hair of Victorian gentlemen. The atmosphere of the barber’s and these notes became closely linked to male fragrances, and this was the core element of the inspiration of the new fragrance, Mr. Burberry.’

It’s an intriguing idea, to look to the origins of British male scents in the 18th century to create a fragrance for the 21st-century man – and a Burberry man at that, someone who is more associated in our

minds with the metropolitan and high-tech than the old-world and old-fashioned.

‘For Mr. Burberry, we wanted to reinvent and modernise this heritage,’ says Kurkdjian. It is, he says, ‘a richly smoky and very sensual scent that never compromises its clean, earthy code – contemporary yet classically British. In this structure, I really feel that it radiates modern and masculine sensuality.’

It is that sensuality that Bailey sought to capture when he asked Oscar- and Turner Prize-winning British director Steve McQueen to make his first-ever advertising film, for Mr. Burberry. ‘I wanted to convey the idea of two people who are passionately in love with each other, and go off on a dirty weekend,’ says McQueen. ‘It’s that moment in a relationship where all you are thinking about is each other, and all you want is to be with each other.’

Set in a hotel overlooking Piccadilly Circus, the film features British actor and musician Josh Whitehouse and British model and actress Amber

Anderson, and has a soundtrack by British singersongwriter Benjamin Clementine. The full-length version is available online and, as you might expect from the director of Shame, a story about a sex addict, played by Michael Fassbender, the Mr. Burberry tale is as gritty as it is stylish – shot on 70mm film, for which there are just six cameras in the world.

Intended to be more than just a fragrance launch, Burberry has created a comprehensive men’s grooming range around the new scent as well as a capsule collection of clothing, including the new Chelsea-fit Heritage Trench Coat.

To tie it all together, the Mr. Burberry bottle is inspired by the black trench coat and its signature design details, such as the hand-tied knot in Englishwoven black gabardine that sits around the neck. You can also personalise the bottle with up to three initials through a monogramming service available online and at selected Burberry and wholesale stores. Mr. Burberry Eau de Toilette, from £48 for 50ml; burberry.com 14

‘LOOKING GOOD AND DRESSING WELL IS A NECESSITY. HAVING A PURPOSE IN LIFE IS NOT’ OSCAR WILDE

No mean feet

Arms deal

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Socks don’t have to be dull, and wearing a colourful pair is a great way to add flair to otherwise boring work attire. Founded in 2014 by ex-tech professionals Ryan Palmer and Dave Pickard, the London Sock Company has socks to suit all personalities, and each pair is knitted from luxurious Scottish lisle-thread cotton for maximum comfort and fit. The Simply Colour gift box (£69) includes six vibrant styles to brighten up any gentleman’s sock drawer, and the company offers a subscription service by which a new pair of socks is delivered right to your door each month – ensuring your feet have a bright outlook even on the dullest of days. Simply Sartorial socks, £12 per pair; londonsockcompany.com

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As a rule, men don’t have many opportunities to express their sense of style when going strait-laced. That’s where purveyors of playful cufflinks Deakin & Francis can help. From diamondencrusted white-gold skulls with flashing ruby

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eyes to whimsical vitreous enamel pineapples, its cufflinks and jewellery are beautifully designed and handmade by British craftsmen using age-old techniques in the same factory the company started out in over 200 years ago. Now in its seventh generation, Deakin & Francis is run by brothers James and

Henry, the great, great, great-nephews of co-founder CWS Deakin.

Perhaps unsurprisingly for such a British set-up, there are a few patriotic pieces on the books: the Union Jack and GB-motif cufflinks (from £220) are pretty unequivocal, while the Sopwith Propellers (£165) leave a little more to the imagination. deakinandfrancis.co.uk

Killer good-looks —

When Sean Connery, far right, made his Bond debut in 1962, his suave, sharp-suited spy defined what would become a British movie icon. Connery, quite simply, is James Bond. When one thinks of archetypal 007, it’s likely to be his Dr. No performance: Bond walking into a casino sporting a classic black tux, or in a singlebreasted blazer worn over an immaculate shirt, stiff drink in hand. The adage says ‘clothes make the man’ but, when it comes to Bond – girls, guns and gadgets aside – it’s the clothes that make the spy.

007 creator Ian Fleming was a man who understood the importance of style. His shirtmaker of choice was Turnbull & Asser, so, when it came to dressing his dashing protagonist, the Mayfair firm was a natural fit. Turnbull & Asser shirts have been worn by every Bond ever since. The cut and style – classic, elegant and beautifully made – set the precedent not just for Bond, but also for style-conscious gentlemen.

The original Dr. No shirt, custom-made for Connery, has been re-issued by Turnbull & Asser as part of its aptly named Legends collection, which celebrates iconic pieces worn by mavericks and movie stars alike. Available in classic white or light blue, as per the original designs, the Dr. No shirt features twobutton turnback ‘cocktail cuffs’, which are unique to the style and are shown close-up when we first see Bond drink his signature dry martini. A masterclass in understated sophistication. Dr. No shirt, £185; turnbullandasser.co.uk

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Frame work —

British men have a good track record when it comes to making specs fashionable, but not since the days of a young Michael Caine and John Lennon have glasses played such a crucial role in a man’s wardrobe as they are doing at the moment. Spectacles and sunglasses are now very much the thing, and there’s an array of rims to suit every outfit and occasion this summer.

1. Paul Smith opened his first shop in Nottingham in 1970, and quickly established a reputation for quintessentially British designs with a hint of the unexpected.

To stand out from the crowd, Smith’s round Alpert specs are a playful and chic option, the slim metal frames adding a touch of John Lennon-inspired flair to any attire. £182; davidclulow.com

2. Burberry is renowned for functional and innovative design, and still looks to its British heritage to inspire its contemporary collections. Its eyewear range is designed in London, and these square tortoiseshell frames from the Regent collection feature a modern reinterpretation of its signature Horseferry check. £178; davidclulow.com

3. Dunhill has been synonymous with masculine elegance since 1893. The brand’s origins are rooted in the world of motoring and driving accessories, and these vintage-inspired Longtail sunglasses from its debut collection, for SS16 – which feature the double ‘L’ of the Dunhill logo on the inside of the temples – will suit any man behind the wheel. £259; dunhill.com

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