Essential Journal - Issue 35

style

lifestyle

dining

culture

Column

Talking Shop: International cycling community, Rapha

The Skateroom's quest to save the children

Expert cheese advice from Paxton & Whitfield

Custom creations from Mutt Motorcycles

Gents, we need to talk about influencers

page 17

page 23

page 36

page 47

page 54

I n

p u r s u i t

o f

a

q u a l i t y

l i f e s t y l e

I s s u e

3 5

“Straight form, classic design and no messing.� w w w.e s s e nt i a ljou rna l .c o.u k

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Official Official fuelfuel consumption consumption for the for the Jaguar Jaguar F-TYPE F-TYPE range range in mpg in mpg (l/100km): (l/100km): Urban Urban 17.4-32.1 17.4-32.1 (16.2-8.8); (16.2-8.8); Extra Extra Urban Urban 33.2-45.6 33.2-45.6 (8.5-6.2); (8.5-6.2); Combined Combined 25.0-39.2 25.0-39.2 (11.3-7.2).

(11.3-7.2).

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† Important † Important Information.

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Representative Representative Example Example relates relates to a to F-TYPE a F-TYPE 19MY 19MY Convertible Convertible 2.0L2.0L i4 300PS i4 300PS Turbocharged Turbocharged R-DYNAMIC R-DYNAMIC AutoAuto RWD. RWD. 5.9%5.9% APRAPR Representative Representative available available on new on new F-TYPE F-TYPE models models registered regist the vehicle the vehicle and and not pay not pay the Optional the Optional FinalFinal Payment.

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F-TYPE CONVERTIBLE 2.0L 300PS TURBOCHARGED R-DYNAMIC AUTO RWD PCP REPRESENTATIVE EXAMPLE F-TYPE CONVERTIBLE 2.0L I4I4 300PS TURBOCHARGED R-DYNAMIC AUTO RWD PCP REPRESENTATIVE EXAMPLE † † the Road Price†† OnOn the Road Price†† Finance Deposit Allowance (FDA) Finance Deposit Allowance (FDA) Customer Deposit Customer Deposit Total Amount Credit Total Amount of of Credit Purchase (included optional final payment) Purchase feefee (included in in optional final payment) Monthly Payments 3636 Monthly Payments

£60,395.00 £60,395.00 £3,120.00 £3,120.00 £13,015.00 £13,015.00 £44,260.00 £44,260.00 £10.00 £10.00 £599.00 £599.00

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Total Amount Payable (Including FDA) Total Amount Payable (Including FDA)

£66,935.00 £66,935.00

Duration Agreement Duration of of Agreement

Months 3737 Months

Representative APR Representative APR

5.9% APR 5.9% APR

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5.75% 5.75%

††Model shown is the F-TYPE19MY 19MY Convertible 2.0L 300PS Turbocharged R-DYNAMIC Auto RWD with optional Silicon Silver premium ††Model shown is the F-TYPE Convertible 2.0L i4 i4 300PS Turbocharged R-DYNAMIC Auto RWD with optional Silicon Silver premium metallic paint (£1,310), 20" 6-Split-Spoke 'Style 6003' Dark Grey and Diamond Turned wheels (£1,565) the Road price £63,270. metallic paint (£1,310), 20" 6-Split-Spoke 'Style 6003' Dark Grey and Diamond Turned wheels (£1,565) at at anan OnOn the Road price of of £63,270.

O.2CO emissions 2 emissions 163-269 163-269 g/km. g/km.

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Features

Contents Middle Eight

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ONE THING DONE WELL: SCHOTT NYC Our series of brands doing one item of clothing especially well continues with Schott NYC leather jackets

6

THE PRIMER A rundown of where we’ve been visiting, who we’ve been talking to, and what we’ve been reading this month

8

RESPONSIBLE NOSTALGIA We talk to King & Tuckfield about craftsmanship, post-war aesthetics and changing perceptions of denim

13

COVER STAR: OLIVER SPENCER Brutalism, musical influences and why a solid outfit always begins with good shoes

43 ARCHITECTURAL THOUGHTS ON: NOMADIC ARCHITECTURE This month’s architectural thoughts focus on our yearning for buildings on the move

17

TALKING SHOP: RAPHA This month we speak to the chaps at the London chapter of the Rapha Cycling Club

44 HIGH (SPEED) ART A look at how Falcon Motorcycles blur the line between custom bike and cultural artefact

19 TAILORED THOUGHTS Huntsman cutter Matthew Gonzalez considers the place of women’s tailoring in a progressive society 24 SKATE LIKE YOU GIVE A F*CK We take a look at all-important intersection between skate culture and social activism 36 CHEESE: THE INTERVIEW We chat to Hero Hirsh, Head of Retail at Paxton & Whitfield, the UK’s oldest cheesemongers

34

25

partner content

partner content

AN INTRODUCTION TO:

THE ESSENTIAL GUIDE TO: BUYING AN ENGAGEMENT RING

LILLET

From the classically original to the vibrantly new, Maison Lillet have proved themselves to be masters in the bold, the beautiful and the quintessentially Bordelaise aperitif

37 HIGH SPIRITS Liz Lock of The Whisky Exchange talks us through another month in the world of fine spirits 38 DRINKING Bringing you teetotal drinks pairings, white negronis, and fermented tea 39 A MOVEABLE FEAST: ANNA MAE'S MAC 'N' CHEESE We look at the food truck that’s been melting handfuls of fancy fromage

With the help of David M Robinson, we've put together a helpful guide to choosing that all-important engagement ring

40 HOT OFF THE PASS: MATT ABERGEL We discuss how skateboarders make better businessmen and why the customer isn’t always right 42 POSTCARDS: BALI & MANCHESTER We reached out to those in the know to lend some generous guidance to unsuspecting visitors

45 A BIG DAY OUT AT: THE CONFUSED. COM LONDON MOTOR SHOW We discuss the trials and tribulations of our visit to the capital’s biggest indoor car event 47 MATCHING BARK WITH BITE: MUTT MOTORCYCLES Mutt’s own Benny Thomas on custom bikes, the joy of riding and the return of old fashioned values 48 TOM WILLIAMS CINEMA REVIEW This month, our film critic returns with his verdict on Hotel Artemis 50 BOOKS FOR THE MONTH AHEAD Featuring two wheel wanderlust, thirty years of gay Britain and dispatches from the corner of the Oval Office 52 THE IAIN HOSKINS COLUMN Iain Hoskins ponders the often dangerous notion of six degrees of separation 54 GENTS WE NEED TO TALK ABOUT: INFLUENCERS This month, our editor recounts his 15 minutes of instafame at Berlin E-Prix

Online web www.essentialjournal.co.uk @essentialjournal

CONTRIBUTORS Anna Mae Benny Thomas Charles-Antoine Bodson Dan Harvey Dik Carrol Hero Hirsh Iain Hoskins Ian Harrold Jess Morgan Liz Lock Matthew Gonzalez Matt Abergel Oliver Spencer Róisín Hanlon Tom Williams

PUBLISHERS Singleton Publishing EDITOR Davey Brett d.brett@singletonpublishing.co.uk CREATIVE DIRECTOR Thomas Sumner t.sumner@singletonpublishing.co.uk STAFF WRITER Will Halbert FILM EDITOR Tom Williams LEAD DESIGNER Jennifer Swaby FRONT COVER Oliver Spencer photographed by Milo Brown

Issue 35 | The Essential Journal

@essentialjournal @TEJOURNAL

PARTNERSHIP MANAGER Lara Poynor l.poynor@singletonpublishing.co.uk For all advertising enquiries please contact: sales@essentialjournal.co.uk For all other enquiries including guest editorial and feature opportunities please contact: info@essentialjournal.co.uk

TERMS & CONDITIONS Under no circumstances must any part of this publication be reproduced without prior permission to the publisher. Whilst every effort is taken, the publisher shall not be held responsible for any errors.

Furthermore, the publisher shall not be held responsible for any advertising material/content. Please also note that the views and opinions written within this publication do not necessarily represent the views and opinions of the publisher. All prices and details stated within this publication are correct at the time of print, however these are subject to change and the publisher shall not be held responsible for these. Third party contributions own exclusive copyright to their own material that they have submitted as part of the publication. All rights reserved.

5

THE PRIMER

– stephen king

A note from

The humble

the editor

wheel,

Image credit: Courtesy of 12 O'Clock Boys

“Life is like a wheel. Sooner or later, it always comes around to where you started again.”

WHAT we’ve been RE-WATCHINg 12 0'CLOCK BOYS (2013) Wheelies. Wheelies everywhere. You can’t walk down the street these days without someone on a mountain bike riding past you in first gear on one wheel. Wheelies got us thinking back to Lotfy Nathan’s 12 O’Clock Boys, a masterpiece of a documentary based around the Baltimore motorbike gang of the same name (said label, coming from riding their bikes at speed with their front wheel facing twelve o’clock). The film - which for three years follows the life of a Baltimore boy called Pug and his quest to join the gang – is a vivid, high-octane and at times poignant look at a group rebelling against American society. DB

man’s most notable invention since sliced bread. This issue we explore it in all of its various guises from skateboards to bicycles, motorbikes to

Available on iTunes

cheese. EJ35 sees us chat to cover star and automotive enthusiast Oliver Spencer, talk shop with cycling lifestyle heavyweights Rapha, drop in on the chaps at Birmingham’s Mutt Motorcycles and even find time to visit the London Motor Show. We’ve also paired non-alcoholic options for designated

Where we’ve been listening to WINE FOR NORMAL PEOPLE The Images If you’ve ever gone into Marks & Spencer and asked for a bottle of Rioja and pronounced it the way it is spelt (which we can assure you, our editor definitely hasn’t), Wine For Normal People is the podcast for you. Covering the entire wine spectrum from the shape of the glass to the controversy surrounding culinary pairing (as well as the grapes) WFNP is a gradual climb towards an impressive wine knowledge without the tedious pretentiousness of the vino elites. If podcasts aren’t your thing, a book is also on its way… DB

1965 PORSCHE 911 IN PAUL SMITH ARTIST STRIPE

Available on iTunes

drivers, considered cities on wheels and quizzed the UK’s oldest cheesemonger on how to upgrade the average cheeseboard. A big thank you to everyone involved. God bless Southgate and the boys, follow us on Instagram. DB

WHAT WE'RE LOOKING FORWARD TO WERNER HERZOG’S FORDLANDIA Not only is Werner Herzog coming to ‘television’ (that’s what we call things that aren’t films now, right?) but he’s coming with Fordlandia, a series - based on the Greg Grandini book of the same name (pictured) - which tells the incredible story of Henry Ford’s doomed attempt at utopia by transplanting suburban America into the rubber-rich Amazon rainforest.

Aside from Oscar-nominated Christopher Wilkinson on screenplay duties, details are thin on the ground, but the subject matter smacks of Aguire, the Wrath of God (1972) and thus the series should be an absolute hoot. DB

Let’s face it, we couldn’t have done a wheels issue without a nod to Paul Smith.

The only question was whether to feature a car or bike. When this beauty popped up, the decision was made easier. A personal project by James Turner, founder and director of Sports Purpose, a historic Porsche specialist based in the UK, this unique 911 has been given the Paul Smith artist stripe treatment inside, outside and even underneath.

The car raced in the Porsche Classic at Le Mans this month before going on to appear at the Goodwood Festival of Speed to celebrate Porsche’s 70th birthday. DB paulsmith.com; sports-purpose.com

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The Essential Journal | Issue 35

Image credit: Mathieu Bonnevie

THE PRIMER

Issue 35 | The Essential Journal

7

55 Jermyn Street, London, SW1Y 6LX

|

24 Brook Street, London, W1K 5DG

www.johnsmedley.com

8

The Essential Journal | Issue 35

STYLE

Responsible Nostalgia We chatted to the King & Tuckfield founder about craftsmanship, post-war aesthetics & changing perceptions of denim words by Davey BRETT

Image Credits: Courtesy of King & Tuckfield

T

o say that Joan Marion King and Graham Aubrey Tuckfield had merely an influence on their granddaughter is to understate how well they dressed. Afterall, the two dressed so timelessly that their granddaughter, Stacey Wood, named her brand after them. Talk about a compliment.

“My Grandmother wore a striped denim wrap dress with clip on earrings and smelt of Chanel perfume.” Wood says, as she recounts memories of her grandparent’s sartorial choices. “My father would always move gracefully in his tailor-made suit or if the weather was hot he would put on his lightweight smart trousers with a short sleeve tailored shirt.”

Despite only being on the market for two years, King & Tuckfield has become a firm favourite in both men’s and womenswear circles.

Inspired by her grandparent’s lives and the clothes they dressed up and down in (boilersuits down the mines, the formless uniforms of ballet), but also post-war utilitarian fabrics like denim and merino, K&T creates clean, contemporary clothes with an emphasis on materials and a playful nod to nostalgia.

Said nod to nostalgia from the outset, as Wood points out, was quite the risk.

“The 40s and 50s styles are gradually becoming more relevant, but when we first started King & Tuckfield I think people thought we were mad, going against the fashion trend of 90s and streetwear, but one of the reasons we launched was to celebrate that very era. A time of utilitarian fabrics like merino and denim, that never go out of fashion, age beautifully, look effortless and a time when the wearers of such garments, like my own family, took pride in them, cared for them and frequently passed them down to the next generation.”

It’s not just post-war styles that have rubbed off on King & Tuckfield.

At a time when ‘sustainable’ feels like more of a buzzword than a mission statement, speaking to Wood, it’s Issue 35 | The Essential Journal

“The 40s and 50s styles are gradually becoming more relevant, but when we first started King & Tuckfield I think people thought we were mad...but one of the reasons we launched was to celebrate that very era." clear that attitudes from the eras she is inspired by have rubbed off too.

“I hear a lot of brands throwing the word sustainable around as if it’s an on-trend thing to say. As a brand we have invested a lot of money into working in a more sustainable way and will continue to do so, and if everyone starts to do their bit together we can make a huge impact.” She says, before hitting the nail on the head.

“Sustainability starts with consumption. If consumers continue to buy more product for less money, three pieces that last them a few wears instead of one investment piece that lasts a life time, sustainability will continue being another industry buzzword. But if everyone pulls together a real impact can be made.”

When asked about what makes the materials she uses so special, she’s not shy on detail.

“We source from all over the world. Our merino is not simply of the highest quality but coming from New Zealand sheep - known for its longer staple, due in part to both the altitude and vegetation available to herds - it lasts longer.

Our Italian selvedge denim is from the biggest denim manufacturer in Europe and one of the most sustainable businesses within denim worldwide. In the process of making our selvedge fabric, it is estimated that a material saving of sixty-two percent is achieved due to their loom technology, with a seventy percent reduction in chemicals during the indigo dye process.”

It was denim that inspired the

company’s most recent collaboration. Denim, and a curious case of converting a male model. “I saw an article in GQ, where Richard Biedul made a comment about not wearing denim, so me being me pulled him up on it.” Wood says.

Wood showed Biedul that the be all and end all of denim doesn’t have to be a five pocket jean. Denim can be tailored, it has heritage, it has special characterisitics and the more you wear good denim, the more of a personal identity and story it creates. The conversation sparked collaboration and resulted in an AW18 four-piece capsule collection.

Textured polos and a bomber jacket feature alongside an indigo smart jean and a high-waisted indigo pleat trouser.

Speaking about the collaboration,

Wood describes the experience of working with Biedul as “symbiotic, effortless and organic”. Quiz Biedul on what he’s learned and his reply is equally positive, “What haven’t I learnt?” Pictures of Biedul wearing the SS19 collaboration capsule on the front rows of LFWM18 also suggest a handsome future of collaboration.

Looking to the future (and backwards) Wood continues to find inspiration in the moodboards of her family’s history whilst sticking to what the brand is best at. “Being only in the market for two years we are still in the early stages, so we are growing organically, carefully and taking our time to ensure we can stay true to our beliefs.” King & Tuckfield, a lesson in not letting bygones be bygones. EJ

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no.

12 Schott NYC

STYLE

One Thing Done Well

Our series of brands doing one item especially well continues this month with the Schott NYC Perfecto jacket words by Will HALBERT

Image Credits: Courtesy of Schott NYC

Y

ou can say what you want about the enduring charm and timeless appeal of the classic leather jacket, but seventy years ago the collective opinion was very different: Leather jackets scared the hell out of people.

Over the course of the late forties and early fifties, the leather jacket was a rallying call for thrill-seeking war vets and rebel-againstanything biker gangs alike. On the silver screen, anti-heroes like Marlon Brando and James Dean posterboys of rebellion and cowhide cool - added fuel to a fire that, to some extent, still burns today.

All the while, New York-based leather jacket makers, Schott NYC have looked on without so much as batting an eye. And why would they? For the last 105 years, Schott’s only concern has been creating premium, homegrown, American leather jackets that outlast trends and go the distance.

Schott’s Perfecto range is the ultimate expression of that endeavour. Fashion-forward but always built with the ride in mind, the Perfecto jacket is a hand-crafted celebration of Schott’s heritage: ‘My great grandfather started making fur lined raincoats in the Lower East Side of Manhattan in 1913 and sold them door to door,’ says fourth-generation Schott family member and Chief Operating Officer, Jason Schott. ‘In 1928 he invented the modern day motorcycle jacket. Today, the third and fourth generations of our family still create the classic original designs in our New Jersey factory using original machines.’

These classic designs in question make for an iconic (and oft-replicated) biker jacket that - in a testament to its versatility - can be enjoyed both on and off the bike. From the asymmetric zip designs and sturdy collars, to the gusseted rear panels and rich, uncompromising leathers, the Perfecto is a utilitarian but undeniably cool jacket that will only get better with age. Over time, every crease, scuff and blemish (not to mention every well-placed pin badge) will tell a story that’s all your own. In an industry plagued by fast fashion and throwaway style, the Perfecto stands out as a bastion of the ethically-bought, the well-made and the hard-wearing.

And as the Perfecto turned 90 this year, Jason Schott’s own choice for one thing done well comes as little surprise. After all, All-American icons Harley Davidson are fellow experts in going the distance: ‘I’ve always admired what Harley Davidson has done to deliver such an emotional connection to a product’ he says. ‘People are driven to tattoo [their] logo onto their own body as a statement of their lifestyle. To me, there is no greater emotional connection to a brand than that.’

It’s a long-standing mantra of the Schott family that you can’t do business by sitting on your ass. ‘We try to lead by example and don’t expect anyone to do a job for us that we wouldn’t do ourselves,’ says Jason. ‘It’s extremely important to my family to be involved in every step of the manufacturing process. We are all on the factory floor every day and managing every level of production.’

Aside from their superior quality jackets, it’s this hands-on approach to business and production that has secured Schott’s place in the hearts, minds and wardrobes of riders and fashion enthusiasts alike for almost 100 years. EJ Issue 35 | The Essential Journal

11

Style

Three Hours in Bloomsbury with Oliver Spencer We caught up with the menswear designer to talk brutalism, musical influences and why a solid outfit always begins with good shoes words by Davey BRETT photgraphy by Milo BROWN

‘U

gly good’ and ‘off the radar’. Two terms, that after walking around the picturesque sun-bleached streets of Bloomsbury with Oliver Spencer, quickly become apparent as what you might call ‘Spencerisms’.

Ugly good refers to things that, as the name suggests, are ugly but good. Brutalist architecture and (although he’s not fond of them) the grotesque ‘ugly sneaker’ trend would fall into said category. Off the radar meanwhile, refers to things that are so cool, they’re unable to be picked up by your standard radiowave detection system. David Byrne’s recent show at Hammersmith Apollo? “Off the flipping radar.”

Most people would agree that Oliver Spencer himself is off the radar. Starting out as an art student, before abruptly leaving education to work on a market stall selling second-hand clothes on Portebello Market, an early sense of streethoned entrepreneurial spirit has never left him. His first stock came from house-clearing sales that he found listed in newspapers. The formation of formalwear brand Favourbrook soon followed, with the film Four Weddings and a Funeral (1994) providing the perfect advert for the brand’s tailoring.

A decade after the launch of Favourbrook came Oliver Spencer the brand, a significant departure from the former’s eccentric country estate tailoring. His namesake brand kept the principles of quality and love of textiles, but added a contemporary and relaxed spin. If Favourbrook was attire for the manor-dwelling monopoly man (and woman), then Oliver Spencer the brand was for their city-dwelling creative alter egos.

Thinking back to his time as Issue 35 | The Essential Journal

a student, Oli admits he wouldn’t have done anything differently. “At the time, I was plain and simply, too busy for art school. Too much going on.” He tells me. For him, the practical side of creative education was and still is lacking. It’s one thing making something, but you’ve got to learn how to plug it too.

We first meet Oli on Lamb’s Conduit Street, the quaint and leafy home of his first store and the shopping street equivalent of The Kinks song, The Village Green Preservation Society. People on cowhorn bicycles idle past revelers basking outside cafes and pubs, as the odd delivery lorry parks up for loading. The briefly Channel 4 famous The People’s Supermarket is a few streets down.

I ask Oli about the future of

shopping and his response comes with a grim warning for the high street. “The high street’s going to die a death. People around there are cheating people. Delivering stuff to them that costs 10p and selling it for £10. All wrong.”

Oliver Spencer’s own stores are carefully curated boutiques, with his Lamb’s Conduit Street stores (one for clothing, another for shoes and accessories) feeling especially homely. Channeling the Paul Smith school of shopkeepery, the spaces are punctuated by the odd trinket, as well as beautifully curated clothes.

One or two open notebooks in the shops dare visitors to sketch and every visual detail feels well thought out. There’s stuff, but no clutter.

We leave the shop and head into

“The high street’s going to die a death though. People around there are cheating people.

Delivering stuff to them that costs 10p and selling it for £10. All wrong.”

the surrounding streets to take photographs.

Despite the sweltering temperature and the chore of having your photo taken being tedious at the best of times, Oli is in good spirits. He’s been busy of late, but found time to enjoy the World Cup. To escape the heat, he’ll be watching tomorrow’s game (England’s 2-0 Quarter Final win over Sweden) in an air-conditioned basement. I assume he’s referring to his office, but it’s difficult to tell.

Walking around Bloomsbury with Oliver Spencer and our chat follows a varied course. Football gets a good run-out (Oli is in the running as one of Coventry City’s most famous fans; others include various members of The Specials, Westlife’s Brian 13

Style

“You know what music does? It takes you back to a time and place. I could tell you the girlfriend I had then, tell you where I was travelling then, tell you everything I was doing whilst I was listening to that Fugees album.”

McFadden, darts player Seb Hines aka. the muffin man and sexism’s very own Richard Keys) and so does architecture. As we walk through the nearby Patrick Hodgkinsondesigned Brunswick Centre, Oli crowns the brutalist structure as peak ugly good.

His love of Bauhaus is widely known and if you ask him about it, he points to basic themes of the movement which he channels into his own work. “Straight form, classic design and no messing.” He says.

If architecture is one of the biggest inspirations for Oli, the other is music. Today, he’s been listening to The Fugees.

“This afternoon, I was designing and I was like, Spotify, play me that Fugees album, the one with Lauryn Hill in between the two guys on the front cover [The Score, 1996].

I haven’t listened to it for 15 years, played it for the afternoon. It’s a brilliant album.” He says. “You know what music does? It takes you back to a time and place. I could tell you the girlfriend I had then, tell you where I was travelling then, tell you everything I was doing whilst I was listening to that Fugees album.”

Music has been a constant throughout Oliver Spencer’s work.

Whether it’s the carefully curated soundtracks to his shows, going to 14

David Byrne gigs with Brian Eno, kitting out musicians (Oli’s friend William Gilchrist styles The Rolling Stones, more often than not in Oliver Spencer) or simply harvesting inspiration from the odd documentary (Cream-founder and absolute nutjob Ginger Baker in 2012's Beware of Mr. Baker inspired AW16).

When I ask Oli if there’s a classic band that has managed to pass him by, he revels in pondering the question before giving his answer.

“Steely Dan. I’ve just never really sat down and given them the time of day. I know loads of mates who’re in bands and in the music industry and everyone says Steely Dan is it. I can’t tell you the name of an album, I can’t tell you the name of a song. I’ve never really listened to them.” I ask him if he’s waiting for the Desert Island Discs call. “Let’s face it, I’d love the call. Everyone would love the call.

I’m not shy to say that.”

As we sit in the pub later in the afternoon, talk turns to sustainability, a fashionable buzzword of a topic, granted, but one that’s pressing.

Oli puts the heightened awareness down to one gentleman in particular. “I think David Attenborough is pretty much solely responsible for getting it in front of us all with that documentary, it was incredible.”

He says. Closer to home, his own

priorities are rooted in the reduction of plastic.

“All I need to talk to you about is plastic. It’s awful. Sustainable or not, we need to get rid of the plastic.

We’re going to get rid of all the plastic out of our shirt packaging. My guys worked out that we use about 20 tonnes of plastic a year in our packaging. That’s enough to fill an entire double decker bus and we’re done with it.”

Elsewhere, mill’s stances on organic cotton are a problem, but Oli insists he and his fellow designers need to use their buying power to encourage a sea change. “I force my play, I say look I’m not going to be doing anything else with you.”

The conversation also takes in other aspects of an overall strategy. The appropriate use of textiles for instance; using more linen in summer and British woolen mill-sourced wool in winter which has a better longevity. His stores meanwhile, are powered by energy sourced from wind and tidal.

With buying less and buying better in mind, I ask Oli about the basics of stylish dressing. Happy that we’re finally moving away from the oasis of sportswear, he already sees more men buying shirts and “buttoning up”. When it comes to the basics though, it all begins with what’s on

your feet.

“Start with shoes. Get yourself a decent pair of shoes. Trainers box fresh. Goodyear welted shoes at any age, but the more bashed up they are generally, the better. Really nice trousers are the key to everything, then you can just do a t-shirt with a bomber jacket and I love that.”

He says.

Before we wrap up, I ask Oli what advice he would give to his younger self. Like a reflex, he responds with one word: womenswear. “Don’t do womenswear. Womenswear has been a nightmare. They want everything on sale. They’re too used to buying everything for cheap.” He tells me. I ask him what advice he would give to other shopkeepers.

“We’ve got to be better shopkeepers, deliver better service, better in-shop experience. It’s all going to be about niche, having a product you can’t get anywhere else.

Having a product that is value for money. Having your green sustainable credentials. Talking about organic. Being organic. Living in an organic way. Getting rid of all the packaging. But just delivering a great experience in store.”

A little sprinkling of ugly good doesn’t hurt either. EJ

Off the Radar Curious as to what else might be deemed ‘off the radar’?

Here’s a few helpful picks from Oliver Spencer: •

Mercedes-Benz GLS-Class Automobile

•

Italian kosher food in Rome’s Jewish Quarter

•

Commes Des Garcons

•

St Petersburg’s Hermitage Museum

•

Caribbean hamburgers on Portebello Road

oliverspencer.co.uk The Essential Journal | Issue 35

Festival of Contemporary Art 14 July – 28 October Free

Liverpool Biennial is funded by

biennial.com Issue 35 | The Essential Journal

Founding Supporter James Moores 15

ALL THE TRADITION BEHIND THE

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The Essential Journal | Issue 35

STYLE

Rapha Talking Shop:

words by Davey BRETT photography by Thomas SUMNER

We sit down for a coffee and a chat at Rapha’s East London clubhouse with London Marketing Manager, Jess Morgan, to chat niche origins, office-ready cycling apparel and biking goals for the year ahead

“I

t used to be all about suffering.” Jess Morgan tells me, as we perch on stools at Rapha’s Old Spitalfields Market clubhouse. What might sound like an intense conversation starter is actually a reference to the brand’s original slogan. Although Rapha still caters to the serious side of cycling, Jess tells me, the aim is now accessibility.

There’s still the expensive lycra, serious accessories and competitive cycling on the clubhouse TV, but there’s also clothes for commuting, cycling awareness events and bikes for hire at each clubhouse. In fact, as Jess reveals more about Rapha, from the cycle travel wing (think a travel agent for cycling trips) to the benefits of cycling club membership (free coffee for a year) it becomes quickly apparent that Rapha is more than just a place for ‘mamils’ (middle-aged men in lycra).

With the company’s first ever brand campaign encouraging anyone and everyone to embrace two wheels and ‘change your scenery’, we sat down to find out how a website selling merino wool cycle gear turned into one of the world’s biggest cycling communities. essential journal: Morning Jess.

Where does the Rapha story begin? jess morgan: Rapha was founded in 2004 by our CEO Simon Mottram who is a really keen cyclist. He was working as a consultant, but was also doing these massive trips through Europe. He found that although he could spend a lot of money on high-tech cycling gear, bike parts for instance, when it came to cycling kit, everything was ugly and made of very cheap materials.

And how did the company grow from there?

Originally the company was just online, a very basic website, then we grew a passionate fanbase who really got the brand. They loved the ethos, that it was connected to cycling history, that it wasn’t just kit.

All of our kit has hidden story labels on the inside of pockets and parts of clothing, they just tell stories about the sport of cycling and people liked that. We also ran events and rides, something that other brands don’t really do. We are very community-based.

Where was the first Rapha store?

The first store was in Osaka. We had a London pop-up on Clerkenwell Issue 35 | The Essential Journal

Road, but we didn’t have a permanent shop until six years ago. We call them clubhouses because they’re places people come to after they’ve been on a ride or just to hang out.

Since then the number has grown. Now we’ve got 23 around the world and that’s within the last five or six years. We’re in America, Australia, Asia, every city around the world that has a significant cycling community, we’re there and growing it, trying to get more people on bikes. If we were just online, we couldn’t do that.

In terms of brands, you’re unique in the fact you only stock your own Rapha apparel…

We’re direct to consumer. We only sell Rapha and we’re not stocked in any other stores. You wouldn’t be able to go on Wiggle for example, like the other brands. That was a conscious decision. We didn’t want the brand to just be about buying clothes, we wanted the community with it.

How has the range of clothes expanded over recent years?

We started off with the classic collection, which was bike kit.

Black merino sports wool, basically everything was black for a couple of years with a white armband. Then it grew. The classic collection was inspired by the kit they used to wear in the golden age of cycling and then to react to people getting more into the serious side, we brought out this pro team kit which was what you would buy if you wanted to look fast.

Was it around this time you began sponsoring Team Sky? We then got the opportunity to sponsor Team Sky which was huge for us as a business as we were only nine years old. Then we had four years of making kit for Team Sky so they were pushing us to do the best stuff we could. We were doing things that hadn’t been seen before in the pro peloton.

What about the city range? How did the idea of clothes that could be worn off the bike come about?

Following on from that we started making the city range. People aren’t always doing long road rides and

again, Simon’s great in this respect.

He wanted something he could ride to work in and then wear in the office all day. The city range began with some jeans and a shirt, then we did collaborations with Paul Smith and Christopher Raeburn which was great. It showcased us as not just a cycling company, but off-bike leisurewear too.

Are there any especially popular items?

We do stuff that’s for quite a smart audience, but over the last few years the men’s collection has been getting a little bit cooler, aimed at a more casual younger audience. We do a loopback jacket, that’s nicely cut and looks great, but it’s got these subtle details for being on the bike.

On t-shirts there’s reflective strips on sleeves if you want that extra bit of visibility and peace of mind when you’re not wearing head to toe highvis. We’ve done research and found that it’s not just about being covered head to toe in high-vis or reflectivity.

Something like a stripe, can work just as well because it’s about seeing contrast.

17

STYLE column

Bike & Brew: Coffee and Cycle Culture words by Dan HARVEY, La Marzocco UK

T

here’s a multitude of reasons for our cultural fascination with coffee and the culture that surrounds it. We fall in love with the romance of ritual, rewarding your flavour cravings and enjoying the social aspects of visiting your favourite coffee shop. All these add up to show why there is such a cultural connection between the world of speciality coffee and cycling.

Besides being an incredibly delicious beverage, the caffeine within coffee has many benefits for riders of all skill levels. It can help increase stamina and allows you to go harder for longer and helps bodies turn fat into fuel.

In addition to the physical benefits, the postride coffee shop stop is fundamental for most cyclists who use it as a social hub. The North of the UK has some of the best stop offs and these are our recommendations: Bold Street, Liverpool @boldstreetcoffee Sam, the owner, is a keen cyclist and often hosts rides starting from his coffee shop.Bold Street is one of the original coffee spots in the north and also has cycling memorabilia adoring its wall.

Homeground, Windermere @homegroundcafe Located in the heart if the Lake district next to lake Windermere, Homeground is a popular destination for everybody, but especially cyclists. A popular stop for the coffee enthusiast.

What is London’s cycle culture like?

More people are cycling, but the hype surrounding cycling has died down a little. Cycling infrastructure is improving which is really good and more people are riding their bikes. It’s important for us to think about those hardcore cyclists, but also about being more accessible.

We started with this intense slogan, ‘suffering is glory’, making suffering the coolest thing about cycling.

Whereas actually, if we’re going to make this accessible, we need to make it about having fun and going riding with your friends.We’re trying to break down the stigma of riding your bike in London.

Redbank Roastery @redbankcoffee The roastery is now open to the public, in the middle of the high mountains, making it a popular spot for all adventure seekers who need to fuel up before they tackle the mountainous terrain. An idyllic spot!

What are the Rapha Cycling Club members like?

Our CC members are brilliant.

To join the club, it’s an annual membership. You pay £135 for a year and that gets you free coffee in any clubhouse around the world. The reason we do that is it helps to build a community, so people will come to the clubhouses, hang out, meet other people. We get about a dozen people that come in everyday and they spend time, have meetings here, and they’ve integrated themselves so much with the brand that they’re almost part of the furniture. Earlier there was a whole gaggle of people that came in. You can spot them because they’ll be wearing the grey and pink RCC kit. Members are integral to the clubhouses. Without them we’d just be some shop. People that come regularly, even if they’re not cyclists, coming here they usually become cyclists.

Bloomfield Square, Otley @bloomfield_square In the popular cycling town of Otley in Yorkshire, Bloomfield square is a hot spot for a mid ride café stop, traditional Yorkshire tea room décor with great coffee and cake too. A space to lock your bike up and baristas who are cyclists; a very welcoming experience for the two wheeled public.

office. What is yours?

I’m racing a little bit. There’s this series called the Red Hook Crit that I’m competing in Milan in October and I’d like to get a top 20 finish. I haven’t been training much recently though. My other one is to do Manchester to London, a ride we organize. I’ve organized it for the last four years, but this year I’m not, so I’m riding it. It’s 120 miles from Manchester to London in one day.

lots of rides and lots of parties. We’re going to have a wine tasting here in this space because it’s such a vibrant and cool area. We’re trying to engage other people in the community, people who aren’t hardcore cyclists but who are interested in standard leisure persuits, so we’ll be doing yoga for cyclists, spinning, we want to make a wellness trifecta. You don’t have to be a cyclist to come here, you just have to be open to being fit.

We’ve been told in the past that everyone working in the Rapha office has to have a personal cycling goal and they’re all on display in the

What does the future hold for Rapha?

July is a big month for us because it’s the Tour De France. We’re doing

Rapha, 61-63 Brushfield St London, E1 6AA; rapha.cc

18

Atkinsons, Lancaster @coffeehopper Central Lancashire is a popular spot for cyclists and lots choose to enjoy their coffee at Atkinsons café, located next to their roastery. Plus, they have lots of spaces for your wheels!

Commute Cycle Café, Ilkley @thecommutecyclecafe The ultimate cycling café; inhouse cycle workshop with lots of cycling goods such as Paria Clothing and Beacon Bikes. The café relies on attracting the cycling community daily and this is seen by the décor inside.

"We started with this intense slogan, ‘suffering is glory’, making suffering the coolest thing about cycling...We need to make it about having fun and going riding with your friends."

Rapha, Manchester @rapha_uk Rapha keeps its great reputation in the north with its popular coffee shop that is also home to a great retail selection of clothing and old classic memorabilia that truly shows the history and heritage of the sport.

Holmeside, Sunderland @holmesidecoffee Owner Joe who is a cyclist himself is very welcoming to all bikers, Lots of space to sit outside and keep your bike in a safe place. Offers great food and coffee to fuel up before your coastal ride around the North East.

Fossgate Social, York @fossgatesocial Great stop for a relaxed bike ride around York, perfect place to enjoy a coffee, and a craft beer! Very welcoming to cyclists and even offers a traditional beer garden to enjoy your mid ride brew in.

Visit www.uk.lamarzocco.com for updates on The Northern Roadshow The Essential Journal | Issue 35

Whether you are in need of a bespoke tailor for your special day or a business suit, we have exactly what you’re looking for.

At Harland Collier, the only limit is your imagination.

Metquarter, Liverpool For appointments call 07555 775 385 or email info@harlandcollier.com

STYLE

Tailored Thoughts on:

Women’s Suiting In the first part of a new column, Huntsman cutter Matthew Gonzalez considers the place of women’s tailoring in a progressive society words by Matthew GONZALEZ illustration by Dick CARROL

20

A

few years ago, a debate about whether pockets were a symbol of sexism entered mainstream discourse. Why is it that most men’s clothing has them and women’s doesn’t? As a Savile Row tailor, I was recently asked another question which was not as perplexing but equally relevant. Why aren’t there many bespoke tailors for women? This question forces us to look at how perceptions of men’s and women’s attire can in some ways be a barrier to gender equality.

I’ll admit, in the march for equality, especially in the age of the #metoo movement and campaigns for equal pay for equal work, it may sound trivial to argue that clothing is one of the stepping stones towards a brighter future. However, what we wear plays a huge role in how we are perceived; and women’s clothes tend to be judged much more harshly than men’s, especially in the office. A friend once shared with me that she was told in her workplace that she dressed too casually, too formally, too flirtatiously and too conservatively.

This is a problem that men rarely face. The fact is, all men working in a white collar office job have benefitted from the existence of bespoke tailors. It was in large part the tailors of Savile Row who helped shape what business men wore during the industrial revolution, and their influence has not waned. Men dressing for work each day are guided by a centuries old rule book that doesn’t exist to the same extent for women.

In the absence of a rule book or women’s bespoke tailors, their relatively recent addition to the office workforce has resulted in women being expected to improvise their own rules of dress, even while facing harsh criticism if they “get it wrong” in the eyes of their peers. Perceptions and expectations of women’s clothing have changed dramatically over the past 50 years making their improvisation all the more difficult. Mad Men’s Joan Halloway is a perfect example of the objectification of the 1960s woman in the workplace.

Whilst the film Working Girl (1988) illustrates how the women of the 1980s were beginning to be taken seriously in the office, designers still felt compelled to mimic the strong shoulder line and ‘masculine’ silhouettes of their male colleagues. Hindsight tells us that by dressing to look like the men, the women of the 1980s were inadvertently reinforcing the outlandish stereotype that femininity was somehow inferior to masculinity.

This is where bespoke tailors can be pivotal to the cultural divide. Tailors are trained artisans who create clothing that evokes power and authority for our clients. It really has nothing to do with masculinity or femininity. It’s about wearing clothing that makes you stand out sartorially without anyone being able to know why. It imbues you with a confidence that, regardless of whatever room you might walk into or person you might meet, leaves you perfectly dressed for the occasion.

Bespoke suits represent more than the social rules of dress forged over the years.

Beyond this is the experience and social meaning of having a bespoke suit commissioned.

Once I was fitting a client for his first bespoke suit and his mobile phone rang. Before I could excuse myself, the gentleman answered it quickly and said “Can I call you back, I am just at my tailors.” The client hung up, turned to me with a beaming smile and said “I’ve always wanted to say that.”

In businesses across the world, more and more women are being promoted to leadership positions, yet these women at the top tend to wear the same clothing as their employees. Yes, that may sound a bit classist, but the fact is men have been going to tailors for centuries and at every tailor shop I’ve worked at, there has been this social interaction that women are not a part of.

The act of buying a bespoke suit opens the door to a social club that high achieving men of means have always had the opportunity to walk through. I am lucky to be a pattern cutter at one of the few bespoke tailors in London that has a long history of dressing women but it is high time that more women are given the same opportunity. MG

'What we wear plays a huge role in how we are perceived; and women’s clothes tend to be judged much more harshly than men’s, especially in the office. A friend once shared with me that she was told in her workplace that she dressed too casually, too formally, too flirtatiously and too conservatively.'

The Essential Journal | Issue 35

What’s On

September– November

Friday 21 September 8pm Music Room

Friday 26 October 8pm

Thursday 11 October 7.30pm

Sunday 25 November 2.30pm & 8pm Music Room

Owen Jones: Building a New Britain

Trembling Bells Richard Thompson

A Theatr Mwldan Production

Saturday 13 October 2018 7.30pm

On the Waterfront: Film with Live Orchestra (cert U) Saturday 20 October 8pm Music Room

Catrin Finch & Seckou Keita

Box Office 0151 709 3789 liverpoolphil.com

Liverpool Irish Festival

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LIFESTYLE

COLUMN

A Cut Above This month, Ian Harrold considers the meaning of masculinity and the rise of the ‘found man’

Image Credits: Tim Moolman

words by Ian HARROLD

O

n the surface, the metrosexual, the spornosexual and the hipster don’t appear to have that much in common. The metrosexual has become synonymous with manbags, man-buns and guyliner, the spornosexual boils down to a bunch of #lads entirely too happy with their own abs, while the hipster not-so-quietly pretends to be above it all (presumably whilst listening to something you’ve never heard of and drinking something you can’t pronounce).

But in truth, they’re really not that dissimilar. And if we’re being totally honest, they all get a far worse rep than they deserve. Sure, the size of their egos is often matched only by their headband, supplement or vinyl collection, but to dismiss their sense of self-awareness as vanity is to miss the point a little. And the point is this: There’s nothing wrong with taking pride in your appearance and keeping the smaller details in check.

Staying unkempt and ungroomed out of some misplaced sense of masculinity isn’t inherently more manly, it’s just scruffy. Growing your beard out without some kind of care in place isn’t a stance against the babyfaced and the beardless, it’s just sloppy housekeeping.

Like it or not, even ruggedness requires a little sophistication nowadays. Shorter, well-shaped beards, acceptable levels of body hair and oddly immaculate bedhead have become the norm nowadays. Teeth whitening is rife, manicures are par for the course.

And why not? Starting the day with your best foot forward means more than a morning shave and a splash of cold water nowadays. When you’re out and about shaking hands and faking smiles all day, these things aren’t vanity, they’re just good manners.

The bottom line is, men are spending more time and money on the way they look and feel, and in doing so, they’re reconfiguring what it means to be a man. Sure, that can get a little cartoonish at times. But there’s nothing wrong with things being a little more considered, more measured. And the quicker we just start talking about modern grooming rather than poking fun at it, the quicker we can remove some of the stigma around it.

I’m not saying that a ‘real man’ should go out and get his nails done, I’m saying that the question of what makes a ‘real man’ has become trickier to answer. And by all accounts, that’s good thing. Because the further we move away from toxic masculinity the better. And if all it takes to do that is a headband, a protein shake and/or an overpriced vinyl then so be it. IH Issue 35 | The Essential Journal

Skate like you Give a F*ck The Skateroom is on a quest to save the children, one skateboard at a time

T

he Skateroom’s premise is a simple one: Collaborate with some of the biggests underground artists and high-profile estates that the contemporary art scene has to offer, reproduce said artists’ work over a series of beautifully-rendered, fully-functional and wonderfully rare skateboard decks, and sell them to subculture enthusiasts and art collectors the world over. Even if gallerist, philanthropist and founder of The Skateroom, Charles-Antoine Bodson, were to stop there, he would still stand as an expert curator of board-based art and irreverent blurrer of popular culture and fine art boundaries.

Only Charles didn’t stop there.

Instead, he teamed up with NGO Skateistan to pave the way for a novel, socially-conscious and ethical breed of artistic entrepreneurship.

Working in Afghanistan, Cambodia and now in Johannesburg, both The Skateroom and Skateistan harness the collaborative and communal pull of skateboarding and art to engage with at-risk youths in war-torn and poverty-stricken countries.

Again, the premise is a simple one: Donate 20% of each board sale to build skateparks and schools, create nurturing communities and creative outlets for those that have neither, and just let kids be kids.

The decks themselves deftly blur the line between art, skate culture and social activism. From the fevered vibrancy of JeanMichel Basquiat to the blistering, political commentary of Ai Weiwei, The Skateroom’s curations set the high-brow and the lo-fi on a direct collision course with explosive results. Art curation, counter culture and sobering doses of social realism give the whole enterprise a double

words by Will HALBERT

authenticity as both socially engaged and artistically relevant.

For all the philanthropic merit and artistic clout of The Skateroom’s endeavours, however, what the initiative truly highlights is the importance of ethical consumerism.

It’s a sad truth that consumerism and ethics seldom go hand-in-hand.

That The Skateroom is able to appeal to consumers, elevate the artistic merit of skateboard culture, and support children in an engaged, enduring and meaningful way is a searing blow to current trends of consumer apathy.

In practice, Charles-Antoine Bodson has achieved an almost impossible juggling-act between artistic integrity, street credibility, and social engagement, but his premise remains a simple one. It’s a heartfelt, selfless and artistically enriching premise that also has the added charm of, well, saving lives. EJ 23

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1 Regina House | 1 Victoria Street | Liverpool | L2 5AQ The Essential Journal | Issue 35

The

essential guide to

IN ASSOCIATION WITH DAVID M. ROBINSON Liverpool | London | Manchester | Altrincham www.davidmrobinson.co.uk Issue 35 | The Essential Journal

25

A WARM WELCOME FROM DAVID M ROBINSON

L

ove is in the air. It’s summer and summer means weddings. Chances are by the end of the warmer months you will have travelled far and wide across the British Isles (maybe even a sandy beach abroad if you’re lucky), playing

your part in the special days of your nearest and dearest. All of these trips haven’t

gone unnoticed by your partner either. Wedding inspiration has rubbed off, wishful thinking is in the air, questions are waiting to be asked and the finalizing of details is in the offing.

There’s also a major purchase to be made. Of all the items you will buy in this life, few will carry the same importance as an engagement ring. But gentlemen, don’t worry. We’ve got you covered. With the help of David M Robinson, we’ve put

together a helpful guide to choosing your engagement ring, featuring what to know before visiting the store, what to expect at the counter, a rundown of styles and help with bespoke and remodeling services. It’s time to take a few minutes out, get yourself a writing implement (for notes) and let’s get you started.

Pear Shape Diamond Ring £8,750

THE ESSENTIAL GUIDE TO BUYING AN ENGAGEMENT RING

IN ASSOCIATION WITH DAVID M. ROBINSON

WWW.DAVIDMROBINSON.CO.UK

A Little Background to Engagement by Ring…

S

o, you’re going to propose. Nervous? Don’t be. Chaps have

Round Brilliant Cut Compass Diamond Ring | £6,250

been doing this sort of thing for thousands of years and the tradition of proposing with a ring goes right back to the

Egyptians. It’s said that in ancient Egypt, men of wealth wore rings and the gifting of a ring to a future wife symbolized the joining of those riches. The tradition continued, albeit less romantically, with the Romans too. The groom would present the bride with a golden ring to wear on special occasions, but an iron ring was worn for daily use to signify ownership. Do as the Romans don’t in this case.

Cushion Cut Trilogy Diamond Ring | £8,650

Once the church sanctified the importance of rings as part of the wedding ceremony during the mid-16th century, rings became a common feature of marriage. According to the American Gem Society, the first diamond engagement ring was commissioned

by Archduke Maximillian of Austria when he proposed to Mary of Burgundy. The trend soon caught on and European aristocracy was exchanging diamond engagement rings left, right and centre.

The 50th anniversary of Queen Victoria’s reign is often cited as fuelling the popularity of diamond engagement rings due to the sheer amount of diamond jewellery that was commissioned.

Associations of patriotism and regal luxury led to an increase in demand. By the 1920s the trend had spread to America, before The Great Depression put the stops on buying power.

Then came a slogan. In a feat of real-life Madmenesque copywriting, De Beers staffer Frances Gerety came up with the slogan ‘A diamond is forever.’ Sales

Round Brilliant Cut Diamond Ring | £27,000

rocketed over night, popular culture continued the message (Broadway and later Shirley Bassey) and the rest, they say, is history.

WWW.DAVIDMROBINSON.CO.UK

IN ASSOCIATION WITH DAVID M. ROBINSON

THE ESSENTIAL GUIDE TO BUYING AN ENGAGEMENT RING

A Closer Look at the Rock Cliches aside, there’s no better gem to set off an engagement ring than a diamond. Although not technically indestructible (pressure is applied along fault lines to shape them), no gem is harder or more resistant to heat. When it comes to diamonds, it’s all about the four C’s.

Carat

The weight or size of a diamond is measured in carats (ct.).

One carat weighs 1/5 of a gram and is divided into 100 points, so a diamond weighing 1.09 ct. is referred to as ‘one carat and nine points.’ In diamond mines large gems are discovered much less frequently than smaller ones, which make large diamonds much more valuable. Diamond prices rise exponentially with carat weight. So, a 2-carat diamond of a given quality is always worth more than two 1-carat diamonds of the same quality.

Clarity

Due to diamonds forming under extreme heat and pressure, they have their own internal and external characteristics. These characteristics help gemologists separate natural diamonds from synthetics and simulants, and identify individual stones. There are two types of clarity characteristics: inclusions and blemishes. In order to grade the clarity of a diamond, it is necessary to observe the number and nature of external and internal characteristics of the stone, as well as their size and position. The difference is based on their locations: inclusions are enclosed within a diamond, while blemishes are external characteristics.

Emerald Cut Diamond Ring £14,950

Cut

Although the colour and clarity of a natural diamond is down to the force of nature, man is responsible for the cut quality which brings it to life. The planning, proportions, cutting precision and details of finish determine how brilliant, dispersive and scintillating the diamond will be. Diamond faceting has changed over time, particularly as lighting has evolved. There are many shapes and cutting styles, each with different visual properties. The most popular diamond cut in the age of modern electric lighting is the ‘Round Brilliant Cut.’ The different elements of diamond beauty can be described as brilliance (all light returning to the eye), dispersion or 'fire' (seen as white light is broken into spectral colours), contrast patterns (contrasting light and dark areas created by the viewer's reflection) and scintillation or 'sparkle' (seen as the diamond, the light source or the observer move).

These qualities combine to create the life of the diamond and the way it reacts to lighting and environment.

THE ESSENTIAL GUIDE TO BUYING AN ENGAGEMENT RING

IN ASSOCIATION WITH DAVID M. ROBINSON

Colour

Most diamonds of gem quality used in jewellery vary in shade from completely colourless down to a visible yellow or brown tint. The rarest and most expensive are diamonds in the colourless range graded D,E and F on a scale that descends to Z. Diamonds with more colour than Z, or in other shades such as orange, pink, blue, etc. are classified as ‘Fancy Coloured Diamonds’ and are graded on the IGI Coloured Diamond Report. To determine the correct colour, all submitted diamonds are compared to a master set of stones, the colours of which range from D, or colourless (the most sought after) to Z, the most yellow/brown - aside from "fancy" yellow or brown.

[Source: International Gemological Institute]

WWW.DAVIDMROBINSON.CO.UK

Know Before You Go When choosing the perfect engagement ring, a little bit of preparation is key and without going too Pink Panther, it helps to do some background research. Although David M Robinson staff are extremely friendly and helpful, your time at the ring counter will be far more productive having taken a few minutes beforehand to consider some simple questions.

Where will your partner be wearing the ring?

A big consideration for choosing a ring is your partner’s occupation.

Is their's a hands-on job? If so, it might be worth considering a more practical ring shape or style.

What is your partner’s current jewellery selection like?

You might have to do some snooping around your partner’s jewellery collection for this, or ask a close friend or relative. Look out for particular features. Does your partner favour a certain metal? Do they like to make a statement or keep things understated? Are they contemporary with their jewellery or do they prefer something classic?

The bottom line…

With almost 50 years of experience in engagements, the David M Robinson staff are more than happy to talk you through the process, so don’t worry if you haven’t done your research.

WWW.DAVIDMROBINSON.CO.UK

IN ASSOCIATION WITH DAVID M. ROBINSON

THE ESSENTIAL GUIDE TO BUYING AN ENGAGEMENT RING

A Visit to the Store You’ve made it to the counter. Congratulations. Whether you have booked an appointment or sporadically walked in, it’s here that a David Marquise Cut Diamond Ring £10,500

M Robinson Sales Ambassador can begin to gauge some details and ideas. This first conversation will take in your price range, what sort of ring you are looking for, who the ring is for and a timeframe for the project.

All details have been considered, it’s time to look at some rings. After introducing you to the company (usually over a coffee or a glass of champagne), a Sales Ambassador will present a broad product selection

Round Brilliant Cut Halo Diamond Ring | £4,650

allowing you to see the range of rings on offer in the showroom.

This presentation also includes an introduction to the bespoke and remodelling services offered by David M Robinson.

After the full presentation, the Sales Ambassador will narrow down a selection based on your preferred diamond shape. Once this selection has been made, the concept of the ring can take shape; setting and

Oval Cut Diamond Ring £13,150

mount options can be explored as well as different style options.

Diamond specification soon follows, with a sales ambassador introducing you to the four C’s and the science behind the world’s favourite gemstone. At this point the first conversation about price happens, taking into account the prices of options in stock and diamond specification. Staff are happy to contact the company’s diamond merchant to source stones for different price ranges. At this

Pear Cut Diamond Ring £8,750

point staff can also consult on payment options including Interest Free Credit for 12, 24, or 36 months.

So, you’ve bought an engagement ring. The relationship doesn’t stop there. Sales ambassadors are on hand to discuss wedding ring options, and the services of the master goldsmith are also at hand for resizing and Emerald Cut Diamond Ring £74,000

corrections. The David M Robinson service goes beyond just the sale.

Round Brilliant Cut Diamond Ring | £2,100

THE ESSENTIAL GUIDE TO BUYING AN ENGAGEMENT RING

IN ASSOCIATION WITH DAVID M. ROBINSON

WWW.DAVIDMROBINSON.CO.UK

The Bespoke Experience A bespoke piece of jewellery is the ultimate symbol – the perfect piece leaves an everlasting imprint from the very first wear. When you commission a bespoke piece of jewellery with David M Robinson, you create a piece utterly unique to you and your story

It might be that you have a piece with sentimental value that you would like to adapt. David M Robinson are experts in the art of jewellery redesign, and can keep as much of the essence of the previous style as you would like. They can make tiny changes, or use the same materials to transform the piece into a new style more suited to you.

Whether you would like to create a new piece or adapt an existing one, every design starts with a personal conversation with one of their friendly, passionate experts in store. They will explore what it is you want to say with your unique piece, and what you’d like to symbolise. You are involved in

When you work on a design with them, they guide you through their highest quality gold, platinum and expertly selected diamonds and coloured stones – and can advise on the best choice at each step.

the creative process from start to finish.

“Our clients entrust us with exceptionally sentimental items,” Perhaps you are looking to create a stunning engagement

says Cerian, Head of Jewellery design at David M Robinson,

ring and you already have an idea of what you might like

Canary Wharf. “Customers know we’ll treat the jewel as our

– or you’re not sure what material to use, but you know

own. It’s not just a cut stone or a piece of metal that has

exactly what you want to say. They can help you choose

been handed over for us to work on – it is memories and

which design direction to take and advise you in any way.

stories that span generations. That’s what makes our craft such a joy and a privilege.”

WWW.DAVIDMROBINSON.CO.UK

IN ASSOCIATION WITH DAVID M. ROBINSON

THE ESSENTIAL GUIDE TO BUYING AN ENGAGEMENT RING

Glossary A handy guide for deciphering ring-related Jargon

LOUPE A classic, small magnifying lens used for examining diamonds.

MOHS SCALE The 10 point scale of mineral hardness.

Due to its unrivalled hardness, Diamond scores ten on the scale.

SYMMETRY Grading term for the preciseness of shape and placement of facets. Faults affecting symmetry include culets that are not centred, misaligned and misshapen facets and irregular girdles.

CHIP A shallow dent on the surface diamond which extends from a facet junction or girdle edge. Larger or deeper than a nick.

BRILLIANCE Refers to the Intensity of the internal and external reflections of white light from the crown of a polished diamond.

Factors that affect a gemstone’s brilliance include: hardness, refractive index, reflectivity, polish, lustre and proportions..

CLEAVAGE A break in a diamond which is parallel to the diamonds crystal planes. A cleavage may be caused by internal strain or a sharp blow when cutting.

CROWN The area of a diamond above the plane of the girdle. Consists of the table and the crown facets below it.

FANCY SHAPE A cut that isn’t a round brilliant or single cut. Traditionally, fancy cuts include the marquise, emerald cut, heart shape, oval shape, pear shape, half-moon, kite, triangle and other modified cuts.

CULET A small facet on the point of the pavilion of a brilliant-cut diamond or on the keel of a step cut; fashioned to reduce the risk of damage. Term commonly refers to this area in general.

FEATHER Also referred to as a ‘gletz’, usually a cleavage or fracture. Can be transparent, but often has an off-white appearance when viewed at a right angle to the break.

Round Brilliant Cut Diamond Ring £34,000

FLUORESCENCE The release of visible light (usually a soft coloured glow) by a material such as diamond when it is simulated by some forms of higher radiation.

FRACTURE A chip or break on a diamond that is not in the direction of a plane of cleavage. Their shape is usually steplike in appearance.

FACET Polished flat surface on a finished diamond.

INCLUSION Types of clarity features (knots, crystals, needles, clouds, pinpoints etc) which are enclosed within a host diamond and may reach the surface.

GIRDLE A narrow band which marks the edge of the line separating the crown and pavilion of a polished diamond.

The girdle can be faceted, bruted or polished.

PAVILION The part of a polished diamond below the girdle.

THE ESSENTIAL GUIDE TO BUYING AN ENGAGEMENT RING

BRILLIANT CUT Cut so that the arrangement of facets radiates from the centre of the stone out towards the girdle, with kite-shaped or triangular facets. Round brilliant is the most common cut; other modified cuts include the marquise, half moon, pear shape, antique cushion brilliant, heart shape, oval, cushion.

TABLE Large facet in the centre of the crown of a polished diamond.

DISPERSION Also referred to as ‘fire’, the separation of white light into the colours of the spectrum, the passage of each colour through the gem is dictated differently by respective frequency.

IN ASSOCIATION WITH DAVID M. ROBINSON

WWW.DAVIDMROBINSON.CO.UK

Dining

Services Residential Conveyancing Freehold & Lease Developer Work Sale & Purchase Tenant Evictions Fixed fee including court representation Other Services Personal Injury Family Law Wills

Contact

0151 958 0808 info@mrblaw.co.uk

The Royal Liver Building Pier Head, Liverpool, L3 1HU michaelrosebaylis.co.uk Issue 35 | The Essential Journal

33

PLEASE DRINK RESPONSIBLY

@LILLET

@LILLET

Partner Content

An Essential Introduction to

Lillet

Expressions & Tasting Notes

Discover Lillet and immerse yourself in a French fairytale one hundred years in the making

Lillet hums a fine tune on its

E

it sing in a spritz. Discover the

laborated in the wine cellars of Podensac - a small, picturesque village just south of Bordeaux - Lillet is a premium French aperitif that boasts a singularly subtle blend of Bordeaux wines and organic fruit infusions. This masterful balance of rich fruit and superior wine means Lillet pairs effortlessly with a splash of prosecco for that perfect summer spritz.

Whether you’re dining in the gentle warmth of the afternoon sun or raising a glass with friends in the last of the evening light, there’s no entertainer quite like the Lillet spritz. Dress it up in a

wine glass with a little sparkling wine and Lillet will wow all summer long with its confidently-balanced, Bordelaise charm. Bold, refined and effortlessly elegant, the Lillet spritz is an iconic summer double act that has been played to perfection for the last one hundred and forty years.

Every last drop of Lillet is imbued with the free-spirited elegance and classic charm for which the French have become famous. So raise your spritz and bask in the sun-kissed class and bold, mediterranean majesty of France’s most enduring fairytale.

Santé!

Lillet & Friends It might hum a fine tune on its own, but Lillet positively sings in

own, but we invite you to hear bars putting their own summer spin on the classic Lillet spritz

Lillet Blanc The result of Lillet’s traditional process of cold organic fruit maceration and quinquina infusion is a playfully bold, confident and delightfully approachable experience. Lillet Blanc boasts a singularly floral charm on the nose that quickly gives way to a silky, decadent flourish of candied oranges, honey and pine. The lingering dried-fruit and light oak finish makes Lillet’s barrel aging unmistakable.

a spritz. Here are the Liverpool bars putting their own summer spin on the classic Lillet spritz

Lillet Rosé Offering an expert balance not unlike that found the best of rose champagnes, the light, summer freshness of Lillet Rosé is celebrated in the rose petal tones of this young and exciting aperitif. Playful aromas of fresh berries, orange blossom and pink grapefruit are an indication of a new direction for Lillet.

This all-new experience continues with a fresh, vivacious and fruity mid-palate that enjoys a final hint of rounded acidity.

Filter & Fox

Dock Leaf

F&F Lillet Blanc Spritz Pink & White Spritz

Maray Maray Rouge Spritz

Simplicity done perfectly

A frozen twist on the French delicacy of the Lillet spritz, with a touch of summer berries

Ruby red hues hint at hidden depths of fizz and flavour

ingredients

ingredients

ingredients

Lillet Blanc Prosecco Lemon Zest

Frozen Lillet Rosé Summer Berries Prosecco

Lillet Rouge Blackcurrant Apple Peychaud's bitters Pink peppercorn tonic

Filter & Fox 27 Duke St, L1 5AP

Dock Leaf Terrace Cains Brewery, 107 Stanhope St L8 5RE

Maray 91 Bold St, L1 4HF 57 Allerton Rd, L18 2DA

Issue 35 | The Essential Journal

Lillet Rouge A true celebration of terroir; Lillet Rouge’s ruby hue brings promise of ripe red fruits and deep, structured flavours. True to its word, it does not break this promise on the tongue. Lillet Rouge offers a sweet sip, with its red fruit freshness offset by vanilla tones and a light, orange and cinnamon spice. A lingering, tannin finish rounds off the whole experience.

All available to buy at The Whisky Exchange. thewhiskyexchange.com

35

DINING

As well as being head of retail for Paxton & Whitfield, Hero is also an award-winning cheesemonger, she won Cheesemonger of the Year at the 2012 World Cheese Awards, and is a professionally trained chef; paxtonandwhitfield.co.uk

Cheese:

The Interview Because no wheels-themed issue would be complete without cheese, we chatted to Hero Hirsh, Head of Retail at Paxton & Whitfield, the UK’s oldest cheesemongers words by Davey BRETT

essential journal: Hi Hero, could you introduce Paxton & Whitfield to our readers?

Hero Hirsh: The first record of the P&W partnership was 1797, so there’s 220 years or so of cheese experience. The origins actually go a little bit further than that to 1742 with a stall in Aldwych market. The flagship store, which is the Jeremyn Street branch, has been in the same building since 1896, so just over 120 years now. We specialise in artisan cheese and have 150 different types of cheese on our counter. We refrigerate the whole shop, so in this weather it’s perfect.

It’s 10 degrees, really cool and you’re entirely surrounded by cheese. Everything’s out. There’s a huge counter with hard cheese and open fridges with our soft and goat’s milk cheeses. Most of them are cheeses which we cut, so they’re open and ready for tasting.

What cheeses should people consider for upgrading from their cheeseboard experience?

The safe choice for a cheeseboard is a Brie, a Cheddar and a Stilton and there are so many different types of cheese which are a little bit different to those, but not totally alien. We have a huge range of fantastic soft cheeses, for example, instead of a Brie, maybe try an unpasteurised Brie - the ultimate Brie.

In terms of a blue, thinking beyond Stilton, we have around 25 amazing blues on our counter and some amazing soft ones from France. They look like Stilton, but the taste and texture is totally different. Cheddar, is a massive crowd pleaser, but there’s a lot of very average ones out there and a lot of amazing ones to discover. At P&W we normally have four or five Cheddars on the counter, with a few more tucked away in our cellars.We’d recommend taking the time to find a really good, unpasteurised, traditionally-made cloth-bound cheddar.

36

What should our readers know about cheese etiquette?

I think there are a lot of people that might be hamstrung by the idea of cheese etiquette. If there’s one thing you need to know about cheese etiquette, it’s take an even portion of the rind. Be fair. There are people that say if you cut the nose off the Brie then you’ll never be invited back. I think maybe a little too much is made of that. Just be fair.

Wine and cheese are obviously an iconic duo, but what other refreshments should we be considering when pairing cheese?

I think there’s a huge interest in cheese and beer matching. Beer goes particularly well with British cheeses. We have a long history of beer and cider making as opposed to wine making and it seems like a natural idea that traditional British styles like Cheddars and Lancashires are better with beer and ciders in a lot of ways.

Beyond that, we’re always interested in what people are drinking with their cheese. We’ve done events here pairing cheese with sherry, port, gin and recently mocktails. People will drink anything with cheese, evidently, but beer and cider are certainly the most popular outside of wine.

Did any mocktails in particular stand out?

Absolutely. We paired up with The Stafford Hotel and they created a summer menu of mocktails and there was one particular one, The Scoop. I think it was named after the pelicans in St James’s Park and it was made with Seedlip’s non-alcoholic gin equivalent, aloe vera, coconut water, cucumber and some citrus. A very refreshing concoction. We paired that with Golden Cross which is a goat’s milk cheese from Sussex and it was amazing. A bit like a cucumber and cream cheese sandwich at afternoon tea. An instantly fascinating match that we weren’t expecting.

Finally, do you have a favourite cheese?

I adore Mimolette, a fascinating looking cheese from Northern France. From the outside it looks like a moon, really cratered surface and then the paste itself is coloured, so it’s the same colour as

Image Credits: Courtesy of Paxton & Whitfield

What do people not know about cheese that they probably should?

If there’s one thing that I’m always surprised by, it’s when people get lots of different bits of cheese. They might get six or eight little bits and I feel like it’s a bit much. If you get bigger lumps of cheese, they last better because they don’t dry out as quickly. Also if you’re having a cheeseboard, any more than four is going to really confuse your palette. That’s the one misconception that we encounter a lot. A few decent-sized lumps is better.

What are the must-have cheese accessories?

I like a wooden board myself, keeping the materials natural. I also think a wooden board is better for your knife, as opposed to marble.

Finding a really good utilitarian but beautiful cheese knife is key.

"There are people that say if you cut the nose off the Brie then you’ll never be invited back.

I think maybe a little too much is made of that. Just be fair."

a Red Leicester. It’s hard as a Parmesan to cut, so in addition to being the hardest cheese to cut, it’s also spherical which means it rolls around on the board, so it’s one of the most dangerous cheeses on the board. It’s the cheese that got me interested in cheese. I tried it when I was at catering college many years ago. It made me realise cheese is fascinating and it’s got such a complex flavour profile, the flavour would develop and change as you ate it.

Would you perhaps describe it as a gateway cheese? [laughs] I love that. A gateway cheese indeed.

Paxton & Whitfield; 93 Jermyn Street, St. James's, London, SW1Y 6JE The Essential Journal | Issue 35

DRINKING

High Spirits A month’s worth of comings and goings in the world of The Whisky Exchange words by Liz LOCK

W

here to begin? I suppose the biggest news for us this month is the grand opening of our brand new, bricks and mortar store in London’s Fitzrovia region. Expect the same floor-to-ceiling selection of whiskies and other world spirits, with an added emphasis on some truly spectacular French cognacs and armagnacs. Elsewhere, we bear witness to the rebirth of one of Turin's oldest family-run vermouth brands, which has recently restarted production using its original 1876 recipes, just in time for this summer’s vermouth renaissance. We couldn’t be happier!

Who we're visiting

what we're dramming

The Whisky Exchange, Fitzrovia

Compass Box Delilah’s XXV Blended Scotch Whisky

Ok, so we’re a little biased about this month’s destination, but we’ve opened a brand spanking new Whisky Exchange in the heart of London’s Fitzrovia district and we’re all rather excited.

It’s a little bigger than our other shop in Covent Garden and is quite the treasure trove of spirits, wines and beers. There are jeroboams of spirits for a personalised ‘fill your bottle’ service and the shop has an unrivalled selection of armagnacs and cognacs selected by our superstar buyer Dawn Davies MW. And of course there’s whisky. Lots and lots of whisky. Come see for yourself.

Delilah’s bar in Chicago is a must for any travelling whisky lover – they’re serious about their whisky. They’re also serious about their entertainment. You never know what you might get until you get there. This special edition of Compass Box celebrates the Chicago bar's 25th year. Owner Mike Miller has worked with Compass Box's John Glaser to create a suitable follow-up to their 20th birthday bottle.

This takes some of that original edition, further aged, and combines it with a variety of other whiskies, including lots of sherry-matured spirit.

Weighing in at a respectable 46% ABV, the result is a creamy and fruity dram with a backbone of dried fruit and spices.

The Whisky Exchange, 90-92 Great Portland Street, Fitzrovia, London W1W 7NT Open seven days a week Mon-Tue: 10.30am – 7pm Wed- Fri: 10.30am – 8pm Sat: 10.00am – 8pm Sun: 12.00pm – 6pm

£110 - thewhiskyexchange.com What we're drinking Chazalettes vermouth This is officially the summer of vermouth so it’s time to discover more about this aromatised wine.

Chazalettes was a huge player in the vermouth industry in the Savoy region but ceased production in the 1970s. Now, with a helping hand from the Bava winery in Piedmont, Chazalettes Vermouth di Torino is revived. The Chazalettes and Bava families are bringing back one of the oldest producers in Italy, bearing the Royal House of Savoia’s seal, granted by Queen Margherita in 1907. With vermouth sales quickly rising as people turn to lower ABV, summer-friendly options, it’s high-time you rediscovered Queen Margherita’s favorite vermouth. Available in rosso, bianco, and extra dry expressions. £22.75 - thewhiskyexchange.com

Who we're following

what we're mixing Lion of Soho The inevitable has happened: We’ve started to look for something other than tonic for our gin.

It was always going to happen, and whilst the good old gin and tonic will always be a part of our lives, it’s time to move on to something a little more sophisticated.

This deliciously refreshing little pick-me-up keeps it simple with some fresh juice and sugar syrup.

Issue 35 | The Essential Journal

INGREDIENTS 50ml King of Soho Gin 15ml Sugar Syrup 25ml Lemon Juice 15ml Fresh Grapefruit Juice 3 Basil Leaves METHOD Shake well with ice before fine straining into a tumbler filled with cubed ice. Add an optional pinch of pink Himalayan salt. Garnish with 3 basil leaves and a slice of grapefruit.

@thecocktaillovers Cocktail-loving duo Gary and Sandrae are The Cocktail Lovers. Give them a follow to catch a glimpse of the latest and greatest that the cocktail world has to offer. From masterful mixes to the most fabulous garnishes, the @thecocktaillovers capture cocktails that look so good you’ll want to reach right out and taste them for yourself. While you’re at it, you could even subscribe to their neat little quarterly magazine.

37

DRINKING WITH WILL HALBERT

Featured Libation

Vesca Negroni

The Perfect Pairing Because pairing beers with automobiles seems a tad irresponsible, here’s a few low-ABV pairing suggestions to help those on the wagon to keep their wheels spinning words by Will HALBERT

W

ith titular odes to the likes of Virginia Woolf and Emile Zola, the drinks menu at Fitz’s Bar (tucked away in The Principal London, Bloomsbury) is a real tour de force of literary nods and mixological showmanship. The menu not only offers up a series of solid house cocktails, but boasts a couple of creative riffs on longstanding classics.

The Vesca Negroni is one such riff.

Thanks to a potent but floral blend of Fords gin, Luxardo Bitter Bianco and Dolin Blanc, the classic, crimson charm of the old-school Negroni is replaced with a crystal clear clarity that upholds the drink’s famously bold flavour.

But the guys and girls at Fitz’s don’t stop there: The second half of the drink’s charm (and namesake) is to be found frozen in the Vesca’s giant, globular ice ball. With hefty notes of woodland strawberry (or Fragaria vesca), rosehip and coconut locked into the ice itself, Vesca Negroni demands to be sipped and savoured over time. As the carved ice melts, these sweeter, fruitier notes shine through, offsetting the classic Negroni’s typical dryness to create something truly unique.

Overall, the Vesca strikes an expert balance between classic Negroni sensibilities and the fruity, silky sweet freshness of something new. By all accounts, the drink boasts exactly the kind of artistry and attention to detail we’ve come expect from The Principal London’s prestigious bar. WH

FOR THE DESIGNATED DRIVER BIG DROP BREWING PALE ALE You’re the hero, the game-saver, the real MVP, your night of for-the-greater-good sobriety deserves more than an endless succession of soda and limes. But let’s be honest, the vast majority of low ABV beers have the flavour profile of a soggy beer mat. Enter big drop brewing and their range of exceptional 0.5% beers. Dry-hopped and packed full of citrus, pine and honey notes, Dig Drops’s Pale Ale is a game-changing (and awardwinning) entry into the ever-growing market of low ABV brews.

FOR THE GYM-BOUND STUMPTOWN NITRO COFFEE If the post-work gym session is often made all the more difficult with happy hour threatening to derail your gains, try nitro cold brew on for size.

Not only does it look and feel like a swift, cold, half of Guinness, the high caffeine content makes for the mother of all pre-workouts. Whilst you will typically see it on tap, Portland-based Cold brew pioneers, Stumptown Coffee Roasters have gone so far as to can the stuff. Their 10 oz pop-tops offer a complex, smooth and full-bodied brew with a sweet finish for those looking for a more gym-friendly alternative to the black stuff.

FOR THE HEALTH KICKERS REAL KOMBUCHA You’ve gone organic, you’ve taken up yoga, and you only eat meat once (okay, twice) a week. Bravo.

But you’ve just realised you can’t actually drink avocado and you need liquid refreshments that are worthy of the temple that your body has suddenly become. The answer? Kombucha! Essentially super-healthy fizzy pop for adults, Kombucha captures the craft beer spirit of brewing without the booze. Real Kombucha’s Royal Flush, for example, offers a delicious balance between tea’s natural astringency and Darjeeling's subtle notes of rhubarb, white peach, and almond. It won’t help with your downward dog, and it certainly won’t make your ‘namaste’ any less of a glaring cultural appropriation, but it sure is tasty over ice.

Kombucha Showcasing the unsung heroes and hidden ingredients of your favourite libations 38

N

Squeeze a wedge of lime in it. Add a sprig of mint.

Garnish with a wheel of cucumber. Dress it up however you want, you’re still left with the same thing: Fizzy water. But add a helping of natural fruit juice, a dash of natural sugar and some light pasteurization and you have The Soda Works: a healthy, preservative-free alternative to soft (and hard) drinks that also happens to be delicious.

Their pineapple and coconut soda conjures up images of summer nights spent sipping piña coladas without the excess of rum and not-so-summerfriendly double cream. And with each pop-art inspired can containing less than 5% sugar and only 69 kcals, The Soda Works is as easy on the eye as it is on the waistline.

FOR THE ALREADY HUNGOVER: BIG TOM’S VIRGIN MARY You were never planning on going out-out last night, and yet here you are. Your mouth is full of cotton wool, your brain feels two sizes too big for your skull, and you have those lunch time drinks with the in-laws that you’d forgotten about until just now. Naturally, you could try to power through. But hair of the dog is a gamble that often sees you bitten twice. Play it safe with a Big Tom Virgin Mary. Awarded the Royal Warrant in 2002, Big Tom tomato juice is a delicate blend of herbs and spices. The welcome addition of mustard, celery, cloves, pepper, chilli and ginger make for the perfect bloody mary mix that, unlike you, will stand up without the help of vodka.

on-alcoholic fermentation at it’s finest, fruitiest, and most floral, Kombucha has quickly risen in popularity not only as a health drink and a reliable cocktail ingredient, but a solid, all-round alternative to beer.

Put simply, kombucha is a natural fermentation of sweet tea. Unlike beer and wine, though, kombucha is the product of both a yeast and bacterial fermentation.

This basically means that, in one single-vat process, yeast cultures consume sugar to make alcohol, while bacteria consume said alcohol to make acid. These brewing measures make for

a slightly tart, sparkling beverage that’s low in sugar and alcohol but dense with complex flavour.

Despite the low ABV, kombucha boasts a robust, fully fermented flavour and a crisp, clean, dryness that lets its natural flavour speak for itself.

As with the hops in your favourite craft beer, the unique brewing process behind kombucha puts the natural astringency and subtle acidity of the humble tea leaf front and centre. And while the brew can (and should) be enjoyed on its own merits, we’d be lying if we said it didn’t go down a storm with a healthy slug of gin and a splash of Punt E Mes. WH

The Essential Journal | Issue 35

Image Credits: Vesca Negroni - Jason Bailey, Real Kombucha, Big Drop Brewing

The Secret Ingredient

FOR THE OH-SO-SICK OF SODA AND LIME THE SODA WORKS

DINING

A Moveable Feast:

Anna Mae’s Mac n’ Cheese words by WILL HALBERT

Armed with a love of American comfort food and a pimped out, 1986 GMC Vandura called Burt Reynolds, Anna Mae’s Mac ‘n’ Cheese has been melting hearts, minds and handfuls of fancy fromage up and down

Image Credits: Courtesy of Annna Maes

the UK since 2010 Essential Journal: How did it all start? Where did your idea for Anne Mae's Mac n' Cheese come from?

Anna Mae: It happened through a whim and a prayer. And then a lot of hard graft, blood, sweat and tears!

When we started, American food was not a big thing beyond burgers and hotdogs in London. We had an idea and some knowledge of Southern food from travels in the States so decided to try out some ideas. And then the trend for American food went crazy! So luckily for us it was the right place, right time.

How difficult was it to get started?

Running a business is pretty allconsuming and stressful, and of course we are subject to the weather very often also. A whole event can be wiped out by rain or worse, wind, and if you’re relying on that job or have invested a lot of money in it, this can be huge pressure, especially when you're starting out.

We started small with a table a pot and a burner and invested what we made into the next job, and improved things gradually which was the right decision for us. Within this industry as there are so many variables to consider. It’s wise to minimise risk as much as you can.

You're also learning on the job which can in some ways be a benefit but also at times you wish there was a rule book you could check to make sure you're on the right track!

Not that we're complaining, but why Mac and Cheese?

When we started out we were the only people specializing in mac ‘n’ cheese in the industry and it was really exciting doing Issue 35 | The Essential Journal

something totally new. It’s an incredibly versatile dish and we love playing around with flavours and combinations – we had loads of fun recipe-testing for our book. To be excited about what you do is really important and we’ve always tried to keep this originality at the heart of Anna Mae’s.

Tell us a little about Burt Reynolds!

We found Burt in Croydon through Ebay and it was love at first sight, ite him being a little tatty. He had no brakes, 4 different wheels of completely different sizes, some pretty dodgy mood lighting and upholstery but we could really see the potential. Converting him was tricky but we’re really happy with how he turned out. We’ve put a lot of thought into not just how he works as a kitchen but in the design and branding, we wanted him to be a real asset to the events we do and people love seeing him. He’s even appeared in the odd celeb selfie!

If you could use Burt for anything other than Mac ‘n’ Cheese, what would it be?

When we converted the truck one

of the things we had in the back of mind was that he would make a brilliant bar or DJ booth, so we kept things flexible so he could be multipurpose. If you take out the pans and burners its a blank canvass. So I guess if I could make anything else it would be merriment!

Your food truck takes you all over the place; any favourite events or destinations over the years?

I love the festival circuit and we have built up a real following over the years where we have become part of people’s festival experience, and they come back year on year. I love that, chatting to the same faces and seeing how much people enjoy what we do is really rewarding. All of the festivals we do are lovely, but we also get to do some really quirky events that are loads of fun.

Lambeth Country Show is probably one of the few places you can enjoy some jerk chicken whilst watching a sheep shearing competition or pig showing, so one of my faves!

What are the added challenges of running a food truck compared to, say, a bricks-and-mortar

"When we started out we were the only people specializing in mac ‘n’ cheese in the industry.

It’s an incredibly versatile dish and we love playing around with flavours and combinations."

restaurant?

Any venture in the food industry is super challenging, but for us I guess the sheer amount of paperwork and red tape we have to do is enormous. It’s kind of like setting up a restaurant every time we trade and we have to satisfy the requirements of each council, event organiser, H&S consultant, local fire authority, landowner etc etc. It’s a huge part of what we do that people don't realise when you're out at an event trading, just how much work it takes to get there!

What advice would you give to people looking to tread a similar path?

There is real value in starting small - don’t put in a lot of investment into something you know nothing about.

Research and understand your market/product/service before you throw in all your cash. It’s essential to be flexible and prepared to tinker with your idea if you find aspects of it don't work, be prepared to change them and pay attention to what does.

And most importantly just go for it! anna-maes.com 39

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Hot off the Pass:

We sit down with Yardbird and Rōnin founder, Matt Abergel to discuss how skateboarders make better businessmen, who you should and shouldn’t tip, & why the customer isn’t always right words by Will HALBERT

Essential Journal: First off, can you break down the idea behind Yardbird?

Matt Abergel: Yardbird is our Japanese style yakitori izakaya over in Hong Kong. An izakaya is probably best described as a Japanese pub. You know the kind, the neighbourhood stalwart where people come to drink and grab a bite after work. Like with any pub, there are real varying levels of quality. So there’s some izakayas that are super cheap, down-and-dirty, fried-foodand-cheap-drinks kinda places.

Then there are more upmarket places that really specialise in what they do, whether that’s the food or the drink. Yakitori is basically chicken on a stick. It means different things to different parts of Japan, and it can even be things other than chicken. But in most of Japan it comes down to chicken.

And how does Rōnin, your second restaurant, differ from that?

Rōnin actually started in my mind as more of a tachinomi, which is a standing-only bar. We have this huge selection of Japanese whisky: About 130 different expressions of the stuff.

But the whole thing soon got out of hand! Yardbird was getting really, really busy, the kitchen was so small, and we have this menu that we don’t like to change too much. So I ended up spending more time in Rōnin and before I knew it, it had evolved into a restaurant. Rōnin is seafood focused, which is where most of my training actually comes from, so it was a lot of fun to get back into it.

When Yardbird first opened, it went against the grain a little. How were its policies of no service charge, no reservations and no lunch service received?

At the beginning it was definitely a 40

The Essential Journal | Issue 35

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Image Credits: Jason Lang and Siu Yan Fung

Chicken and Charcoal: Yakitori, Yardbird, Hong Kong (Phaidon) is out now

challenge. But like anything it just takes a little time and persistence.

We’re not being pretentious, we’re keeping things fair and democratic.

Once people understood the experience we were trying to provide, the whole thing got a lot easier to swallow. It pays to stick to our guns and there are more places doing what we do now. Seven years ago was a very different story.

Does sticking to your guns mean moving away from the idea that the customer is always right?

Hell yes. The customer is not always right and that has never been our way of thinking. We educate our staff to be professional and courteous, so there’s never a problem that can’t be fixed. But it’s always going to be fixed our way. We invest a lot of time into our staff, they’re part of our family, so we don’t bow down to any kind of rudeness or ridiculousness.

One of the greatest pleasures in life is being able to kick out assholes.

I mean, as long as you own the restaurant!

Does that happen often?

Not really, but If someone disrespects your staff you have to act, right? Mostly, if I’ve had to kick someone out it’s been for being a dickhead. Just straight up rude.

It has to be done, it’s what keeps our foothold in society. If service becomes servitude then we lose who we are. We’re professionals and we put a lot of thought and effort into the things we do. So there’s no reason not to treat us with the respect we deserve. If you want to be a dick then get out.

I guess it comes down to the way the service and hospitality industry is perceived from place to place?

Most definitely. In Hong Kong there’s Issue 35 | The Essential Journal

"If service becomes servitude then we lose who we are, we’re professionals and we put a lot of thought and effort into the things we do."

a cultural difference in how people eat and in their reasons for going out. In Cantonese culture you’re not going for service you're going for food. It’s not that the service is bad, it’s just a little more hands off. It’s a very cultural thing: If you don’t ask for it, you’re not getting it.

They’re just not trained to give you something you didn’t ask for. You know how it is as a guest: Sometimes you just want to be left alone, it’s not always a bad thing.

And at the other end of the spectrum? Is there a risk of coming off a little overbearing?

Totally. I mean how many recommendations from the sommelier do you really want? I don’t really give a shit how many grape varieties are on your menu when I just want a glass of water.

There’s definitely a middle ground that’s really important to find, and I think that’s what we’ve always strived to do at our restaurants.

Does tipping culture play a big part in a server's involvement in the whole experience?

Tipping really changes the dynamics of service. In Hong Kong you have servers who are not expecting a tip for the simple fact that they’ve never been given one - there wasn’t really a tipping culture in Hong Kong when we got there - but they’re still providing great service. That means a little more than a server in,

say, New York, where there’s a real expectation of a 20% tip. And when that doesn’t come around then you see the true reality and falsity of the service provided. And then there are places like Japan, were there is really zero tipping culture. Like, if you leave a tip they will literally chase you down the street to give it back to you.

It’s really that different?

Oh yeah. You don’t leave tips in Japan. It’s a big no no. I guess every country has its own idiosyncrasies of service and ways of approaching things.

What did you learn about the US’s way of approaching tips back in the day?

For a long time in the US, restaurateurs got away with paying their servers next to nothing, making them completely reliant on tips.

For some people that really worked out. There are definitely people who made a shit tonne of money where the tipping was huge. But it also created this unstable environment where you’re almost working for commission. Your belief in a product or place is motivated by money. And that can get unhealthy.

How’s that?

Well, it’s kind of like going on a date, and you really, really want to have sex, you know? You act a certain way in the hopes of getting laid. And then,

of course, you’re really disappointed when it doesn’t happen. It shouldn’t be that way: You should focus on what’s important in the first place.

The food?

The food!

Your new book highlights a few collaborations with the likes of Vans and Stüssy. Has skateboarding played a big part in your life?

Yeah I pretty much grew up in a skate shop! I started out lacing shoes when I was 14. I just used to hang out and wait until they paid me, putting away boxes and just enjoying being in that environment. It taught me a lot about community and the importance of common ground.

Skating brings people together, and it teaches you so much about life.

It puts you in a lot of precarious positions, it introduces you to a lot of people that are creative in very different ways. You look at a curb a different way than the average person, you look at a handrail differently, and you definitely look at a security guard differently!

It’s kind of a common bond where you can go anywhere in the world and there’s this nod, this acknowledgment. You’ve gone through the same things I’ve gone through, you like the same things I like.

How do you think skateboarding has shaped you as an adult?

I was always inspired by skate companies’ approach to business. Their combination of being commercial without doing too much. Magazines like Big Brother and brands like Blind and World Industries; they were just able to do things themselves and be really successful. They would help communities grow without any of the commercial bullshit.

I’m talking about back in the 90s here. Towards the 00s that took a little nose dive. But before skating became really popular, it had this amazing entrepreneurial aspect.

Guys who probably didn’t even get through high school were starting million dollar businesses and still maintaining a solid sense of family and identity and sticking to their ideals. I think that really translates well amongst today’s small businesses.

So the philosophies you developed back in the skate shops were useful when starting your own businesses?

Yeah absolutely. Like any skateshop, you’re going to walk into my restaurant and you’re automatically welcome because you have a shared interest in what I’m passionate about. And like in a skate shop, there are rules. Don’t disrespect the shop.

Don’t be an idiot or you’re going to get kicked out. It’s not that serious of a place and the customer isn’t always right. And it goes both ways: Your community and your brotherhood create a strong aesthetic and a strong sense of personality.

It pays to stay true to that personality and that community without overplaying it and falling into pretentiousness. Let what you sell define you, let how you treat people define you. Stick to your guns and, above all, don't be a dick.

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TRAVEL

Postcards

Bali, Indonesia Anthony McInerheney Bali Special Projects Manager, Deus Ex Machina

For a wheels edition of our regular travel feature, we quizzed patrons of surf and motorcycle brand Deus Ex Machina and cycling lifestyle titans Rapha for tips on their respective neighbourhoods interviews by Davey BRETT

Courtyard of Deus's Bali venue, The Temple of Enthusiasm

Manchester, UK Vincent Ruane, Manager of Manchester’s Rapha Clubhouse What is Manchester's best kept secret... that you're willing to share?

It's not necessarily a secret but if you’re a city centre dweller then FOLK cafe/bar in West Didsbury feels like a secret place. The staff and customers are second to none and all are welcome. It offers fantastic food by day and an incredibly vibrant bar in the evening. Manchester is a city where the people make the place and this place is certainly made by the people who frequent it.

What's a bar or restaurant (or both) that best captures the spirit of Manchester?

There is only one that comes to mind, a bar called Temple (formerly The Temple of Convenience). It used to be an underground public toilet and can be entered by one of two street-level staircases. It is a bar where once inside, day or night, you are hidden away from the grind of city life and with art on the walls and an unreal jukebox, you basically never want to leave. Temple is a bit rough around the edges but hey, so is Manchester.

What's the best cycle route in Manchester? What's the best one that takes in the surrounding countryside?

There is one deep in the heart of the city called the Fallowfield loop that crosses South Manchester. It crosses many wonderful neighbourhoods and is eight miles long. Part of a disused railways line, it links the affluent area of Chorlton with Fairfield to the east of Manchester.

It provides a green-lined path where you don't need to worry about cars or traffic. for me, the best ride is from Levenshulme night market down the 'floop' for a drink in Chorlton on Fridays in summer.

What's a neighbourhood that's transforming for the better?

'Levenshulme is on the up' is something I have been hearing for 42

the last 20 years, I grew up there and have heard this statement so many times from various people.

Now in the last five years it has seen everything from independent beer places to bakeries open up. It’s soon to have a cycle-friendly cafe known as Stations South.

When is the best time to visit?

Manchester is best in the summer.

It rains a hell of a lot here so when the sun comes out people really express themselves (some a little too much) and any available green space is full of people enjoying the sunshine.

What is a tourist trap to avoid and the essential alternative?

Deansgate locks and Printworks are nightlife tourist traps that are often overcrowded and lacking in class and atmosphere. There are far better places that embody the spirit of Manchester. Places like the Northern Quarter capture the creativity that this city has to offer. Bars like Common, Soup Kitchen and Port Street Ale house are joined by new bars opening all the time. Mackie Mayor in the Northern Quarter is an old market hall now converted to a food hall with beer, pizza and coffee.

Vincent on a ride

What is Bali's best kept secret...that you're willing to share?

Flights to Flores are cheaper than most people think. I might sound a little flippant but with the huge numbers of tourists flocking to Bali, added to the various beach developments aimed at Chinese tourists that are destroying surf spots. Sometimes it’s nice to just get out. Flores is still an unspoilt paradise a mere hour away.

What's a bar or restaurant (or both) that best captures the spirit of Bali?

La Luciola. It may be western but it has been there for what must be twenty years. It has not only stood the test of time, but you see both young and old. That universal attraction means a lot. Besides the food and drinks are great and the view, at sunset, or Sunday brunch, looking out across the sands, is the best.

What's the best motorbike route in Bali? Where's the best surf spot?

On Sundays we like to spend a day in the saddle, motorbikes that is.

We like to plot a route that takes us along empty curvy roads. A route that shows us the real Bali. The one in postcards. Sorry in advance for too much detail. But you will thank me later for it.

From Canggu, Head North West towards the T junction in Tanah Lot. Here you turn right, away from the Beach and Temple and then take the next left towards Kedungu staying in the backroads heading in a more north route until you cross the Highway at the Tukad Yeh Ho River and head up the mountain.

Called Batu Kau, it is the second highest in Bali. The road goes up for 15 km’s before turning back on itself.

You come back down for 6.5km to a village called Wanagri before turning right. This is a wonderful short cut to the Pupuan Road. 4.5km and heaps of Twisties. You come out at Belimbing and turn right, Heading north and over the mountains. More traffic but a wider sealed road and again lots of beautiful curves. About 30 clicks worth. At Seririt, take a right towards Munduk. You are in the backroads running along the roof of Bali and the place is amazing.

It’s cool up there, dress for it. Head along these roads for around 20km to the restaurants that line the lakes

in the ancient Bratan Volcano Crater.

After lunch we head back around towards the south. We pass Bedugal where we take a slight right off the main drag that takes us towards Angsri on the edge of the Jatiluwih Rice Terraces. Stop if you’ve not been before, they are very beautiful. From there the traffic increases and the lower you get the hotter it becomes. With us it always becomes a bit of a mad dash. About 40km worth and then you are back home.

What's a neighbourhood that's transforming for the better?

With so much development happening in Bali it’s hard to pick one that is excelling in this area. Perhaps Plaga. An area up in the mountains Consistently the cleanest area and a great place to visit. Did you know this is where they grow grapes to make wine?

When is the best time to visit?

We could be that guy and say, now.

But really there isn’t a bad time. Like most tourist destinations one has to trade off numbers of tourists against best weather. From May to Oct is the dry season. And right now, the island is pretty crowded. Weather-wise it’s less muggy and slightly cooler.

From Nov – April it’s the wet season.

Rains, but usually only showers not torrential that lasts for days like some destinations and then there is the humidity, sometimes it can be bloody oppressive. I swim in my pool a lot during the wet season.

What is a tourist trap to avoid and the essential alternative?

Avoid the airport Taxi’s. They are a total rort, those guys run a closed shop and the prices are twice what the going Metered fare would be.

You have two alternatives. Head upstairs to departures and flag down one of the BlueBird metered taxis who have just dropped a fare off or head through the Parking complex, across the airport access road and a few BlueBird taxis should be parked there. Get them to always use the meter. It’s always cheaper. You know the adage. If it sounds too good to be true it is too good to be true. Besides, you can add a tip on later. Hard to go the other way.

The Essential Journal | Issue 35

CULTURE

Architectural Thoughts On:

Nomadic Architecture From cities on wheels to self-sufficient shelters, populations have always yearned for buildings on the move words by Róisín HANLON

Image Credits: Courtesy of Better Shelter

T

his year will see the release of the movie version of one of my favourite childhood books. If you haven’t read it or seen it; Mortal Engines is a brilliant example of young adult dystopia but with a bit more heart than average. There’s a hero who’s a coward, a heroin who’s ugly, a future where humans have bombed the planet into a series of deserts and - the best bit – a society living in cities on wheels.

In this version of the future; towns, cities and villages are built onto wheeled platforms. The more important the city the bigger and more tiered the structure gets. These places can move so that they can ‘eat’ up smaller towns, run away from dangers or move on to better scavenging.

When I was ten this sounded like the most amazing nonsense I could imagine.

I was completely in love with the idea of a whole city moving together, but I thought it was obviously bonkers. But then at the Tate’s Cold War Modern exhibition I saw some of the radical utopian design ideas being put forward in the 1960s and ‘Walking City’ caught my eye. Ron Herron published drawings for the Walking City in the Archigram journal in 1964. It was not so much a real design proposal as an exploration of what’s possible. In his design, a whole city is placed on wheels, it can move around the world connecting to other city pods and resources.

Many of these cities can join together to create a moving metropolis, and then separate again when the need arises. Shocking and exciting, these images were more like science fiction than average design works.

The experiment was also social. A constantly roving population would lessen the need for countries, borders and boundaries. Cultures could be shared globally, passed on from conjoined city to city. If we could put our whole modern life onto a moving structure we could become nomads again; seeing the world and constantly travelling, all whilst never leaving home.

Unsurprisingly this is an idea which designers have toyed with again and again. The romance of the gypsy lifestyle but the practicality of city living is irresistible. But can it ever be practical?

The main problem is resources. How can you produce whilst moving? Modern sustainable Issue 35 | The Essential Journal

"Projects like Better Shelter and the SURI system also take on the challenge of nomadic living, but in a much more practical way.

They are solutions for displaced people, which are designed to be as portable as possible, whilst also being as comfortable and sheltering as possible."

technologies can go towards answering these – many modern interpretations of the walking city include solar panels, rainwater harvesting and algae farms. Modern cruise liners are not far away from the moving cities Herron imagined. They include almost everything a person could need for modern life, shops, restaurants, accommodation, entertainment, recreation, exercise. The thousands of inhabitants could go for a very long time without needing to touch land. But eventually they would have to, as they would have to refuel and restock.

There are so many examples where nomadic architecture can work in the small scale. There have been some whacky designs, like the N55 Walking House which looks like a black Smarties tube with pneumatic legs and little yellow feet.

It has a wood burning fire, solar panels and a composting toilet. There is even a greenhouse ‘attachment’. It could probably be called a high end caravan, but one that walks instead of rolls.

Projects like Better Shelter (pictured) and the SURI system also take on the challenge of nomadic living, but in a much more practical way. They are solutions for displaced people, which are designed to be as portable as possible, whilst also being as comfortable and sheltering as possible. The Better Shelter is flat-pack. In theory it can be put up in only four hours by four people with nothing more

complex than a hammer.

The SURI system (or Shelter Unit for Rapid Installation) is a lightweight modular structure which can concertina open, or attach to a series of other units, creating a wide variety of different configurations. This flexibility means it can be changed over and over to adapt to its surroundings and inhabitants. Some selfsufficiency is achieved from the built in solar panel producing power and the rooftop rainwater collection, which is filtered for drinking water.

These structures are basic, and no doubt the design is less interesting if you have just had to flee from your home. But they are important developments in nomadic living.

So if the nomadic lifestyle has piqued your interest, but you’re still looking for your creature comforts; then why not check out the Seasteading Institute? An organisation engaged in trying to promote the creation of floating cities. They envision the future ‘seasteads’ as “a community living at sea and largely responsible for setting its own rules and culture.”

A place free from existing laws and doctrines, able to experiment with new governments and ways of life. This is a familiar echo of the ideas influencing Archigram over 50 years ago. Much like the view from a Walking City’s window – everything changes and yet also stays the same. EJ 43

CULTURE

Image Credits: Travis Smith

High (Speed) Art Hand-built around classic engines, Falcon Motorcycles blur the line between custom bike and cultural artefact words by Will HALBERT

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L

ight, lean and aggressive, the café-racers of the forties and fifties were stripped-down, tunedup bikes purpose-built for hell-for-leather endeavours.

Barebones by necessity, these custom bikes were relieved of excess weight and resistance to help their riders hit the then-legendary hundred-miles-an-hour benchmark, also known as ‘the ton’. Accordingly, ‘ton-up boy’ was the name often given to post-war thrill-seekers that, returning home from the war, soon found new, inventive, two-wheeled ways to dance with death.

Fast forward fifty years and the rise of Japanese-made super bikes have made a hundred miles an hour look like a snail’s pace. Save for a few choppers here and there - custom bikes have largely fallen by the wayside to a more casual market looking for user-friendly riding experiences. But the rugged charm and rebellious spirit of the caféracer has endured all the same.

Across the pond in present day Southern California - the undisputed heartland of classic chop shops and self-confessed gearheads - the custom scene is positively thriving.

At the forefront of this scene you’ll find Ian Barry and the ‘Falcon

Ten’, a collection of ten unique motorcycles that depart from the familiar framework of customising existing motorcycles. With exception to the engines at their hearts, the tyres, and a few rare parts on each bike, Ian Barry makes each of his Falcons from scratch, using sheets and blocks of solid metal, and exotic extruded materials. With a nod to the café-racer craze of yesteryear, these one-off, custom Falcon motorcycles are a perfect marriage of Californian style and ease and post-Blitz, rubble-born, British rebellion.

With four machines already completed and a further 6 to go (each carrying the name of a particular species of falcon), the Falcon Ten collection is both a celebration of classic ton-up culture and a loudand-clear artistic manifesto. Each of the four finished Falcons - The White, The Black, The Kestrel and The Bullet, have arguably become two-wheeled icons. They not only sit at an intersection between high-art and meticulous engineering, but each one also carries the heritage of motorcycle history at its heart.

And that’s no exaggeration: There’s a legacy at the heart of each of these bikes. The White Falcon is built around a 1967 Velocette Venom Thruxton racing engine, famous

for holding an average of 100 mph for 24 hours in a record-breaking endurance race back in ‘61. It still holds the record to this day. The Black Falcon’s engine comes from the now legendary 1952 Vincent Black Shadow: The world’s fastest standard motorcycle for over 25 years snce its (limited) release in 1948. The Kestrel Falcon’s engine started out as a highly modified 1970 Triumph ‘Bonneville’, itself an ode to Triumph’s land speed record (of 214.4 mph) on the Bonneville Salt Flats of Utah in ‘56. And finally, the Bullet Falcon runs on nothing less than a 1950 Triumph Thunderbird engine, made world-famous as Marlon Brando’s machine of choice in László Benedek’s controversial The Wild One. Theirs is a legacy of speed and fury, no doubt. But there’s more to the existing Falcon four than their legendary engines.

The one-of-a-kind design, engineering, fabrication, and detailed flourishes that grace each bike have transcended the principles of the custom build to create something with art-house levels of visual and architectural splendour and sophistication. Each one-of-a-kind bike showcases a distinctly 21st century design

sensibility that somehow maintains a classic, post-war edge. The Black is currently exhibited, suspended by cables at the entrance of the Los Angeles’ Petersen museum, where it is a centrepiece of the ‘Custom Revolution’ exhibition, a collection of the most avant-garde and influential motorcycles from independent builders around the world. The Kestrel, the Bullet, and the White were exhibited at Los Angeles’ notable Kohn Gallery.

In the Falcon Ten, Ian Barry has set about carving out a spectacular niche that sits between sheer, artistic elegance and cold, hard mechanics. 'What interests me the most,’ says Ian, ‘is harmonizing and synthesizing form and function with the ephemeral, using materials and shapes to express: power, control, surrender, acceptance, and release.

For me to be comfortable calling a motorcycle that I’ve created a Falcon, all of these elements, and more, have to coalesce.’

And coalesce they do: Whether in the workshop, the art gallery or on the open road, Falcon motorcycles give new meaning to the concept of poetry in motion. EJ

ianbarry.com The Essential Journal | Issue 35

CULTURE

A Big Day Out At:

The Confused.com London Motor Show If you like wheels, boy are you in for a treat. We sent two very comme ci comme car people to the capital’s biggest indoor car event to see if cars really are good words by Davey BRETT photography by Thomas SUMNER

"Although there are many many dream whips here (maybe there’ll be a The Fast & The Furious film based on a car show heist?), it’s the quirky stuff that catches our eye"

Issue 35 | The Essential Journal

I

magine for one second the smell of a brand new car. That overwhelming synthetic carpet freshness that only a small cardboard pine tree doused in chemicals can provide. Now imagine that smell on a warehouse-sized scale. You friend are experiencing the feeling of walking into The Confused.com London Motor Show.

We’re here today at the show’s press day not as avid petrol heads, but more fence-sitting maybe boys, willing to be won over by a hanger full of shiny machines.

Situated in London’s ExCel Arena, an exhibition center so big and sleek that it feels like a sci-fi city, the show is the English capital’s modest equivalent of motoring big dogs like Geneva and Detroit. The show boasts exhibitors, driving events, talks and more, all an avid car fan could want. We’re here to ask the simple question: Are cars good?

Our first port of call for the day is the RS Motorhomes stand. We’re not talking just any old converted Transit though, we’re talking luxury horse lorries for people. The models on show are the Endeavour and Envoy and frankly, they’re pretty incredible. Even the luggage holds in the bottom of the Envoy would be more luxurious than camping.

Although there are many many dream whips here (maybe there’ll be a The Fast & The Furious film based on a car show heist?), it’s the quirky stuff that catches our eye, not least a funny little car surrounded by what looks like a picnic. A closer look reveals that this Citreon CV2 is actually the world’s smallest food truck. Nicknamed ‘Dolly’, the renovation of the car celebrates the iconic model’s 70th anniversary and this particular one now has a kitchen incorporated into the back of it, as well as a car-sized hamper showcasing Britain’s finest produce. Hire it for your wedding and pretend you’ve ordered a British food hamper to a rural French town.

Past more extremely fast (I assume) and shiny cars and we stumble upon the future of black cabs. And you guessed it, it’s electric. The LEVC TX is the first electric black cab that can drive purely on electric power. With room for six, a typical fuel saving of £100 per week, a range of 377 miles, the LEVC TX also boasts a redesigned interior for comfort and space. Only time will tell as to whether the new black cap concept will attract a more progressive and woke driver.

Just in case you’re wondering, all of your favourites are here. Bugatti Veyrons, Jaguar E-Types, Lamborghinis, Ford Mustangs and of course, ice cream trucks. The stall of Whitby Morrison, the world’s leading manufacturer of ice cream vehicles, leaves us pondering the future of the mobile ice cream business. Will they opt for electric vehicles? Will a cashfree society as early as 2022 leave them cold? Whatever happens, the Crewe-based company is a fascinating example of niche engineering.

We move on to the BIG zone, a place set aside for you guessed it, above average-sized vehicles. You know the old adage about guys in big cars? Well this is the place for them.

Featuring the fastest American police car (a Dodge Charger), custom XXL Hummers, a 4WD Mini and giant American rigs, this area runs on pure unleaded testosterone. The soundtrack of tyres screeching from the nearby Mercedes-Benz World Driving Arena only heightens a turbo-charged sense of masculinity. If for a moment you’ve forgotten you’re a man, kind skimpily-dressed women hand out leaflets and encourage you to take your dad to an Essex car event on father’s day.

Cars firmly perused, we leave for the DLR, thoughts waiting to be gathered. Are cars good? Yes, cars are quite good. Did the Confused.com London Car Show seem slightly outdated? Yes, it did. From the creepy topless posters handed out by Longstone Tyres to only a few modest nods to an electric future, it will be interesting to see how the London Car Show develops on its route towards a petrol and diesel free London by 2040. EJ

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CULTURE

Matching Bark with Bite:

Mutt Motorcycles We sat down with Mutt founder, Benny Thomas, to talk custom words by Will HALBERT

Image Credits: Mutt Motorcycles

bikes, the joy of riding, and the return of old fashioned values

Essential Journal: First off, tell us a little about yourself.

Benny Thomas: I ran a custom bike shop for over 15 years prior to this. Building vintage, custom Harleys. I specialised in period bikes, anything from the twenties up to the seventies like vintage choppers and panheads, things like that. It was never really about the money, it was more for the love of doing it. My custom work usually sold for around £20,000-£40,000 and took a year or two to build. The bikes were almost always pretty crazy, too. About four years ago I had an idea for a small cc custom bike, one that was more accessible than some of my older custom work.

And that’s where the idea of Mutt came from?

Exactly. Mutt was born out of a desire to build a super cool bike that was still accessible to new riders.

Affordable, approachable, but still dead cool. Back in my custom days if I made something it would often have to be from scratch: from new handlebars, to mud guards to exhaust pipes. The labour, time and price would make that sort of comission pretty inaccessible for most first-timers and casual riders.

Issue 35 | The Essential Journal

Most first-time, small engine bikes are either scramblers or scooters, which is totally fine if you’re an elderly lady or a teenager with a tracksuit and too much time on your hands. But if you’re some way into your twenties or thirties and you want something that looks good, there’s really not much available.

That’s where Mutt Motorcycles comes in.

How did it all get started from there?

Initially we were hand-building our bikes, they were pretty basic by custom standards, but still very different to anything else available at that level. Once people got a look at the them, orders just came flooding in. It all got a bit mad and we realised we were onto something big. Before long we started sourcing our own engines and frames and doing everything ourselves. Once we started doing that, the bikes truly became our bikes, our Mutts.

Which is a huge achievement for us.

The models you see here and online are registered as Mutt motorcycles, they’re totally our bikes, we haven’t just messed around with someone else’s frames. As a traditional custom builder, that’s a huge deal for me.

Tell us a little about the Mutt HQ itself.

The new Mutt HQ is two years old.

We have the showroom, the chop shop and the retail space all under one roof. There’s a real industrial edge to this area of Birmingham, but there’s a lot going on. There’s a lot of creative spaces popping up and it’s great to be at the centre of it, pushing it forward. It’s always been a pretty low-key, underground spot, and it’s definitely maintained that edge.

What do you think lies behind the appeal of a Mutt?

They’re good-looking, well-built bikes geared towards fun, city riding.

We’ve developed a real cult following for quality and accessibility. After all, a 125 cc is a learner-legal bike. So anyone can literally do a day course on the CBT and they’re ready to roll.

Pair that with the price tag [Mutts start at just under £3000] and you have something that’s as fun as it is accessible. That’s the beauty of it. If I built a custom Harley or a Triumph or something on that scale, it would cost the buyer upwards of £20,000 and you’d need a full license to ride it. Not to mention the fact that you’d have to wait a year for it to be built.

With a 125cc Mutt you can grab your CBT, buy from us, have it customized to your liking and be on the road within a week. All for around three grand. That’s mountain bike money!

Plus, they’re just good fun.

Do you have a certain set of design principles in mind when you build a Mutt?

I’m all about iconic, enduring, classic design. Nowadays people seem to like to cover everything up in bits of streamlined plastic. That’s great, but we’re not really about that.

We’re going the other way, we like how bikes looked in the 60’s and 70’s back when they were built right here in Birmingham. We don’t want them looking like they came out of a jelly mould. Modern bike design all looks the same to me. That’s not to say it’s not great, but what I like about early vehicle design is the fact that everyone was trying something a little different, trying to find what works. People were still discovering rather than perfecting.

Those elements of ruggedness, experimentation and discovery are what I love about making bikes, and it’s what I try to keep in mind in my own designs.

Up close and personal, it’s hard not to be impressed by the size of the bikes. There’s a real heft to them.

Was that intentional?

Yeah, that’s the point. Typical smaller cc bikes tend to look a little meagre. Not ours. Our Mutts have fuller tanks, taller wheels (made especially for our bikes) and longer seating, so there’s a real overall sense of scale and substance to a Mutt. In terms of size, they stack up pretty close to a 70s style Triumph.

But they’re still nice and light and really easy to use. So although they look classic they have all the mod-cons you’d expect from a contemporary bike, from gear indicators to fuel lights, and a real light clutch for easy handling.

As well as a show room, coffee shop and assembly point, Mutt HQ is also home to a very impressive retail space. What do you think of the mixing of fashion and motorcycle culture?

To be honest it’s nice to see! Two decades ago, if you looked anything like me you wouldn’t be allowed in pubs. No joke, they’d literally have signs outside saying ‘no motorcycles’.

But it’s a more acceptable look nowadays: the beards, bikes, boots and leathers. The whole culture is much more commonplace, which I think is brilliant. People are buying bikes for the simple fact that they’re fun nowadays, not just because they’re a cheap mode of transport.

It’s nice to see certain styles come around again and I really think they’re here to stay. We’re looking for things that go the distance nowadays, whether that’s in what we’re wearing or what we’re riding.

It’s great to play a part in that.

Granted, it’s a culture very few of us actually belonged to when it first came around, but it’s easy to respect its values. Here at the HQ, we not only have our own range of apparel, we’ve cultivated solid relationships with the likes of Nexx, Deus Ex Machina and Eat Dust. We only stock the stuff we’d wear ourselves and we work hard to find a meeting point between style and function. It’s the kind of stuff that will last forever and will look great both on and off the Mutt.

And lastly, where does the name Mutt come from?

It sounds more thought-out than it actually was! One of our most popular Mutt models is called the Mongrel, because it’s such a mix of inspirations, styles and parts.

It’s bold, rugged and stands out in today's market for the best of reasons. We at Mutt come from a custom background, we don’t really know much about the circus that is generic motorcycle manufacturing.

We’re outside of that sphere, we don’t belong to that pedigree, and I like it that way.

You won’t see us at the big trade shows, we don’t have salesmen. We didn’t come from that scene and we don’t know that world. But we don’t want to know either. We call our bikes what we want, market them how we want. I think the name Mutt fits that ethos perfectly. Now, want to hear me fire one up? muttmotorcycles.com 47

FILM WITH TOM WILLIAMS

Review:

Hotel Artemis Amidst a future Los Angeles plagued by a water shortage stands a monolithic hotel that caters for the high-paying and frequently injured criminal underbelly of the city. Jodie Foster’s concierge-cum-nurse is at the centre of it all as her surface calmness, and indeed the status quo of the hotel, starts to spiral out of control

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he Nurse, as Foster’s character is appropriately named, hides her crippling anxiety and past traumas behind a cocky exterior which helps her run the felonious hotspot of LA - which she hasn’t stepped outside of for a couple of decades - with a matronly coolness. Helping her maintain the high-pressures of Hotel Artemis is the unsubtly named Everest (Dave Bautista) who does what Bautista always does: uses muscle and an inherent charm to protect his loyal companions.

This relationship provides the heart of the story, whilst other characters fail to develop into more than pretty basic caricatures. Charlie Day is the wealthy, coke-head misogynist who is erratic and selfish.

Sofia Boutella is the sneaky, sultry spy who despite being villainous has a heart and an aptitude for kicking ass. Sterling K. Brown is the smoothtalker who is just looking out for his brother, and Jeff Goldblum is Jeff Goldblum.

Writer and director Drew Pearce sets up a Free Fire-esque situation where the tension between several different parties gradually builds and builds within a claustrophobic environment. This manages to be, at times, genuinely enthralling but is mostly let down by an outrageously hammy script which relies heavily on quips and the repeating of lines to define the nature of the characters.

This leads to a performance from Foster which reminds us why all of her rare performances should be treasured with great nuance in her character’s more introspective

"Sofia Boutella is the sneaky, sultry spy who despite being villainous has a heart and an aptitude for kicking ass. Sterling K. Brown is the smooth-talker who is just looking out for his brother, and Jeff Goldblum is Jeff Goldblum." moments and close-ups. It is however undercut by mawkish dialogue which consists of such phrases as “Everyone has their 18 wheeler day” and “Just another Wednesday at the Artemis”. This would be fine and pleasantly camp if it were not for the constant

flickering between attempted emotional levity and all-out fun.

This desire to please all is why the film is mostly flat. It’s a very safe adventure with a gimmicky setting and a cast which feels as it’s been enlisted after a quick Google search of “Actor memes”. Jeff Goldblum plays Wolfking, or Niagara – an eccentric criminal overlord (Shock!) whose entrance is teased incessantly throughout the duration, for an in-it-for-the-paycheque amount of screen time. Charlie Day’s capriciousness lacks the charm of his usual performances and becomes insufferable all-too-quickly. The camera work also lacks imagination for a film with such a specific setting which does become rather tedious.

The third act is by far the strongest: a crimson-drenched showdown which finally relieves the previous hour or so of tension and provides some of the better choreographed scenes in the movie.

This is the point where the film descends into an unapologetically fun spectacle and this is the tone that should have been aimed for from the get-go.

You will probably have fun when you check in to Hotel Artemis, but you’ll probably be left wishing for a more unique and satisfying experience – an Airbnb perhaps.

Hotel Artemis; Out Now

What to stream this month PADDINGTON 2

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WESTWOOD: PUNK, ICON, ACTIVIST

MULHOLLAND DRIVE (2001)

(Amazon)

(Amazon)

(Amazon)

The surprise hit of the last year enamoured critics and audiences alike, definitely don’t miss this incredible Hugh Grant performance.

Be sure to check out this thorough and impassioned retrospective on Vivienne Westwood’s extraordinary fashion and business career.

Widely agreed upon as David Lynch’s masterwork, Mulholland Drive is now available to stream on Amazon. Stunning central performances from Naomi Watts and Laura Harring make this essential viewing.

The Essential Journal | Issue 35

FILM WITH TOM WILLIAMS

Hotels and the Movies Films have long relied on hotels as a setting for various reasons. Whether it’s an international man of mystery stopping by for sultry misdemeanours, or a crazed writer with cabin fever plotting the murder of his entire family: hotels are undeniably entrancing as an institution

Image Credits: Courtesy of Warner Bros

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A GHOST STORY

GOOD GIRLS

(Netflix)

(Netflix)

David Lowery’s existential work is perfect for a contemplative Sunday morning hangover. Ignore Casey Affleck’s minor role and instead focus on Rooney Mara’s brilliant performance.

A stellar indie cast (Christina Hendricks, Mae Whitman etc.) unite in this story of three suburban mothers in a desperate situation, expect laughs and scintillating drama.

Issue 35 | The Essential Journal

hey are a hub for people all around the world and yet can often feel amongst the loneliest places on earth. You can get lost in their perplexingly identical hallways or find solace in the comfort of room service and all-night security. Whatever the motive: it’s indisputable that some amazing films have used the accommodative establishments to create some truly unforgettable scenes.

Let’s start by checking in to the Overlook Hotel, the central setting of Stanley Kubrick’s classic The Shining (1980). The visionary director utilises every sinew of the establishment to enhance the delirium of Jack’s state of mind and his spiralling mayhem. The corridors are long and winding and the only company Jack has are his creepy family and his visions of bartenders and bathtub creatures. As a caretaker of the hotel, it is of course empty, and this aids Jack’s ability to lose his mind in under a week. A location often crammed with people (see the final shot of the ballroom) is made empty and desolate as a trigger to cause extreme isolation and resulting cabin fever.

This is of course not the only picture to use the backdrop of a hotel to convey a character’s sense of loneliness. Lost in Translation (2003) remains Sofia Coppola’s masterpiece and is an unparalleled look into the intricacies of isolation. The indie-favourite duo of Bill Murray and Scarlett Johansson are both in the same Tokyo-based hotel suffering similar existential crises before they eventually unite for some frivolous antics. The fog of being in a foreign country with no understanding of the language is often made comically frustrating, but mostly adds to the characters’ believed remoteness. Murray towers over the Japanese people inside the hotel elevator as a humorous metaphor of his displacement and Johansson gazes longingly out of her hotel window at the city, with her curled up body seeming tiny in comparison to the vast cityscape beneath her. Coppola captures the feeling of being in a place surrounded by people but still feeling alone, an image made poignant by using the bustling nature of a hotel to contrast the emotions of the characters.

Like the Lost in Translation duo and The Shining’s Jack, hotels often act as an extension of a character’s mindset. This is achieved in Hotel Artemis whereby The Nurse’s emotions are paralleled by the goings on in the hotel.

She hasn’t left the premises in 22 years and Drew Pearce emphasises this insularity by having her relationship with The Artemis appear as symbiotic. When her façade of coolness begins to crumble, so does the physical integrity of the hotel and indeed it’s high-tech security systems. There are several hidden rooms and walkways deep in the hotel’s fabric, much like the repressed secrets and fragilities of Jodie Foster’s character. Similarly, in Wes Anderson’s The Grand Budapest Hotel (2014), the vibrant and eccentric style of the building is conjoined with that of Ralph Fiennes’ bumbling M. Gustave who runs the establishment in an idiosyncratic manner. When he is exiled from the premises the lavish walls are soon replaced by the black, repressive insignia of the tongue-in-cheek ZZ party.

Back to Hotel Artemis and how it plays upon the unfamiliarity of hotels.

Each room is plastered with a different backdrop, such as Niagara Falls. This points at the uncanny vibe of hotels where they replicate homes but are not quite the real deal. They may lull you into a sense of comfort, but it’s never the same as feeling the cosiness of your own space. This adds to the mystery of the establishments. You never know who is in the room next to you, or indeed what horrors lurk around the corner. Filmmakers use the air of uncertainty to create moments of sheer tension. Think of the aforementioned bathtub lady in The Shining, or the rising pressure of the criminals crammed into Hotel Artemis. More frightening examples usually exist in motels, the ugly cousin of hotels. The Neon Demon (2016) uses this fear, coupled with a delightfully sinister Keanu Reeves, to use the uncertainty to great dramatic effect. Elle Fanning’s Jesse has premonitions of the creepy landlord placing a knife in her mouth before he harasses a resident of the neighbouring room.

Another Keanu Reeves starring film that utilises this mystery and fear is John Wick (2014), where the spin-off warranting hotel The Continental has its own ecosystem and rules – much like that of Hotel Artemis. EJ 49

BOOKS

Featuring wanderlust on two wheels, thirty years of gay Britain and dispatches from the corner of the Oval Office words by Davey BRETT

good as you: prejudice to pride 30 years of gay britain

by Paul FLYNN

Once in a while, a book comes along and you can’t help but think, everyone should read this. That was what came to mind whilst reading Paul Flynn’s Good As You, a book that in a perfect world would be on the school curriculum. Charting thirty years of gay Britain through the lens of culture, Flynn’s book not only tells the overall story, but also intertwines it with his own, making for some extremely emotional and uplifting moments.

An important book that is worth spreading the word about.

Good As You (Ebury) is out now

If you’re not gagging to at least ride around (and camp in) the park after reading the introduction to Joshua Cunningham’s manual of cycling wanderlust, there’s something wrong with you.

A step-by-step how to guide, Escape By Bike is the book on cycling adventures. With answers to every question you could possibly think of, as well as rich and informative travel writing throughout, EBB is a must-read for anyone considering a short domestic trip or a trans-continental adventure.

ESCAPE BY BIKE

by Joshua CUNNINGHAM

Escape By Bike (Thames & Hudson) is out now

Having worked in the Obama Whitehouse as a stenographer, a job Dorey-Stein stumbled upon in a dream-like case of excellent luck, you might think that she might be slightly muted in her subsequent tell all. No sir. Reading From The Corner of the Oval Office, you get the impression Dorey-Stein is holding nothing back. Gory deets galore. A revealing, funny and personal account of working in the White House, courtesy of a talented woman that tells it exactly how you might have hoped. from the corner of the oval office

by Beck DOREY-STEIN

From The Corner of the Oval Office (Bantam) is out now new female tribes

by Rachel PASHLEY

Although four categories is a reductionist final takeaway for categorizing all women on the planet, Rachel Pashley’s New Female Tribes does throw up an interesting array of research and data to try and back them up. Inspired by her time as a senior strategist at an ad company, Pashley commissioned the Women’s Index Survey, a global report which questioned 8,000 women aged between 17 and 70 across 19 countries.

Away from the modest sampling the responses make for interesting reading.

New Female Tribes (Virgin Books) is out now

Intense. That’s the word that comes to mind when considering how to describe Mind On Fire, Arnold Thomas Fanning’s memoir of depression and recovery. Drawn from diaries as well as extensive research and interviews with people who knew him at the time, Mind On Fire is a window into the deepest, darkest depths of the depression Fanning suffered as an up-andcoming playwright. Difficult at times to read, but ultimately uplifting, Fanning’s ability to capture vividly the ebb and flow of his experiences makes the memoir all the more difficult to put down. mind on fire

by Arnold Thomas FANNING

Mind On Fire (Penguin Ireland) is out now

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COLUMN

The Iain Hoskins Column:

Six Degrees of Separation The award-winning play, Six Degrees of Separation is based on the existential premise that everyone in the world is connected by no more than six people.

The play by John Guare and later 1993 film are favourites of mine, so imagine my surprise when last month I was unwittingly the subject of an elaborate con using the same methods as Guare’s play

words by Iain HOSKINS

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he play’s origins came from the true-life story of a con man called David Hampton, who convinced a number of people in 1980s New York that he was the son of actor Sidney Poitier. Hampton conned his way into the lives of an upscale Manhattan couple (friends of Guare) and the subsequent events inspired his play years later.

I’ve had a working career that’s taken many twists and turns; I act a bit, I write a bit, sometimes I’m a news pundit on various radio stations and I have a property business. But it’s my role as bar owner and pub landlord that made me a sitting duck for this particular scam.

Think about it, being behind a bar and front of house for several years; the amount of people that you chat to, that you pretend to remember, but have no idea of their names is endless. Thank the stars for greetings such as ‘mate’ and ‘love’. So when I answered the business phone one Monday morning to a chirpy, friendly-sounding Geordie, I had no idea I would be played using one of the oldest cons in the book.

The phone call caught me slightly off guard.

I was late opening and running around setting the last few things up. “It’s Lee the Builder”, he said and told me that he had just called my other business and spoken to Sarah who worked there, who had told him I was at my other location. He made small talk asking how I was and chatted about how Sarah and some other staff were doing while I desperately racked my brains trying to pinpoint who he was.

Had he done work for me in the past? Was he one of the many regulars I converse with from time to time in the bar whose names escape me?

Politely, I started digging, not letting on that I didn’t know him. He mentioned his girlfriend

Had he done work for me in the past? Was he one of the many regulars I converse with from time to time in the bar whose names escape me? Politely, I started digging, not letting on that I didn’t know him.

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Rachel who was pregnant, and detailed his story, connecting the names it needed for me to think that we’d met before. The entire time I just couldn’t place him.

Anyway, the reason for his call was that he was told I might be in the market for a top of the range, curved surround sound TV. His friend was selling two for a remarkably cheap price.

He wanted one but couldn’t afford both and his contact had to get rid of them both that day. Did I fancy one? Not really, I said.

He then changed tack, and said he wondered if I needed any work doing to any of my properties. He had a proposal for me, he was training apprentices in all trades and he was looking for a project for the assessment. Labour and materials would all be free and work would be externally assessed by professionals. If I took the TV, he could sort the refurbishment work.

Squaring off £10k worth of building work for £400 meant the deal was now becoming interesting.

Feeling a little overwhelmed when asked if he could send one of his lads over for the money, I asked him to give me ten minutes to think about it. I called Sarah at the other bar as I needed reminding of where I knew him from. Of course, Sarah didn’t know him. She was confused as to why he had called her, digging around for information on me.

The penny dropped. Unless we had both misread the situation and Lee the builder was a nice guy trying to do me favour, the obvious reality was that Lee was a hustler. When he called me back, I was straight with him. I didn’t know who he was and neither did Sarah. He said he’d pop down later and see me face to face and explain everything. Needless to say, he didn’t turn up and I never heard from him again. Thankfully, I never parted with the money.

Writing this now, it seems so obvious. But at the time and like the play, film and the real life con by David Hampton in New York, I was blindsided by the obvious connections of friends and acquaintances that we were supposedly linked by. As much as the shrinking world and its interconnections make us feel closer, like this con, it can often leave you exposed and ripe for the picking.

Iain Hoskins is playing Jack Stapleton in Hounds of the Baskervilles at the Stoke Rep Theatre 31stJuly4thAugust @united_theatre

The Essential Journal | Issue 35

AUGUST BANK HOLIDAY WEEKEND FEAT

BALEARIC DISCO - ANDY CARROLL & ROBIN JACKSON BBQS / BERNIE CONNOR / BIDO LITOS DJS / BUDDY KEENEN GIN & LEMONADE - BEYONCE V JAY Z SPECIAL RUMOURS OF FLEETWOOD MAC 40TH ANNIVERSARY SPECIAL

40 SLATER STREET, LIVERPOOL. L1 4BX THEMERCHANTLIVERPOOL.CO.UK

Issue 35 | The Essential Journal

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COLUMN

Gents, we need to talk about:

Influencers To mark the metaphorical death of ‘influencers’ (according to an infinite supply of online articles each month for the last two years) our editor recounts the time that for approximately three days, he influenced for money at the E Prix in Berlin

words by Davey BRETT

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did not choose the influential life, the influential life chose me. In early June of last year, I was presented with an offer too good to refuse. Three nights in Berlin, the full VIP treatment at the E-Prix, flights, and all the associated jazz that comes with going on a media trip. This wasn’t any old media trip though. I was there to fill in for an influencer. It was a job that required a different rulebook, one that I (a person without Instagram) had never read.

We were supposedly in Berlin to promote Ganglon Tandem*. But to be honest, to this day I still don’t really know how we were meant to do this. Live our best life? Sell a feeling? Think of innovative hashtags? Buy followers? Who knows.

I was the sore thumb of our crack team of influentials. God knows how they were chosen, but there was a mixture. There was the German guy that looked like a man-bunned Nathan Barley remake, the strange couple (a quiet woman always clad in leather trousers and a man that followed her around) who boosted the highlights in every photo they took, the pleasant menswear blogger who sold hundreds of pound’s worth of free gear each month on eBay and the lad whose car channel was so popular, he didn’t even bother making any ‘content’ all trip. There were others, but they kept themselves to their iPhones.

And it is all iPhones by the way. Little did I know how important technology is to an influencer. From the moment I saw everyone pull out their cameras on the first day, I knew I was out of my depth, like facing down the HMS Queen Elizabeth with an air rifle. With lenses the size of telescopes, full Adobe editing suites on their phones and enough VSCO filters to make pig shit look appealing, any possibility of effectively capturing the weekend on my bridge camera was quashed.

The most important piece of technology in the arsenal of influence, you ask? A single white wire. The iPhone to SD card reader. I joked to one influencer about what would happen if he lost his

and he looked me dead in the eyes and told me he wouldn’t, because he carried two at all times.

To lose one’s white wire is to lose the ability to be an instant illusionist. The ability to transfer a professional-quality DSLR picture from camera to ‘gram via iPhone is the most important part of influencing. Unfortunately for me, I didn’t learn that until halfway through and naively assumed people took pictures on their phones.

To be an influencer is to paddle in a shallow pool of surface-level coolness. A blurredbackground shot here, a filter there and if in doubt, a tried and tested visual cliché. Walking somewhere? Get your girlfriend’s outstretched arm to lead you. Stood next to an industrial vent?

Stand in front of that industrial vent in your new trousers. Got some free gear? Better make sure you’ve got a clean white bed sheet and a ladder.

To watch our hashtag heroes do this in the flesh was surreal, like watching a wide-angle episode of The Muppets.

That’s not to say the sheer absurdity of influencing isn’t commendable. Listening to them compare (read: compete with) their best media trips was like a game of luxury holiday Top Trumps. In between private jets and the Maldives, I was half expecting a winning combination of promoting Virgin Trains with a 2-day all expenses trip to space. It was clear the unrelenting barrage of stuff had left them numb though. The group response to a free portable speaker at the end of the trip felt akin to finding a kettle or iRōning board in a hotel room.

Needless to say, my own well-intentionedcollege-try-of-a-shot at influencing didn’t make the grade. With no wifi or data roaming, I was unable to upload to the ‘gram at the E-prix and after bottling sending in my own photos (I didn’t take enough bokeh product shots, put it that way) I submitted my blog post with a few snaps taken by the dedicated trip photographer. The PR not only disapproved of the lack of original photography, but also remarked that the images a paid professional took were “disappointing”. Sorry mate, your aircraft carrier wasn’t good enough.

So alas, the age of influence is dead, but its legacy will live on in our pockets. A glorious, vivid legacy of filtered squares, posts and ‘content’.

And one day, I too can say I was a part of it. With my grandchildren gathered at my knee, asking me about my life and what I did when I wasn’t writing, I can sit proudly among the future of my bloodline, look them straight in their little faces and say, “I was an influencer, children.

I influenced.” DB *Ganglon Tandem is a pseudonym, obviously.

The most important piece of technology in the arsenal of influence, you ask? A single white wire. The iPhone to SD card reader.

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