Issue 53 - The Community and Collaboration Issue by The Essential Journal

THE

essential journal In pursuit of a quality lifestyle

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ALL-ELECTRIC JAGUAR I-PACE

0% BIK BOOST

Take advantage of the latest finance benefits There’s never been a better time to consider the multi-award winning all-electric Jaguar I-PACE for your company car. As a zero tailpipe emissions electric vehicle, the BIK tax for I-PACE will drop from 16% to 0% from April 2020. Leading to a substantial saving, on top of the Government’s grant of up to £3,500 for fully electric cars.

Hatfields Jaguar Hull 01482 627 300

Hatfields Jaguar Shrewsbury 01743 234 300

Hatfields Jaguar Wakefield Hatfields Jaguar Wakefield 01924 381 111 01924 381 111

Hatfields Jaguar Liverpool 0151 728 2000

Hatfields Jaguar Sheffield 0114 268 4741

hatfields.co.uk hatfields.co.uk

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Fuel consumption: N/A. COCO 2 Emissions: 0 (g/km). EVEV Range: UpUp to 292 miles. EV EV range figures areare based upon production vehicle over a standardised route. RanR Fuel consumption: N/A. 2 Emissions: 0 (g/km). Range: to 292 miles. range figures based upon production vehicle over a standardised route. official manufacturer’s test in accordance with EUEU legislation. ForFor comparison purposes only. Real world figures may differ. Energy consumption andand range figures official manufacturer’s test in accordance with legislation. comparison purposes only. Real world figures may differ. Energy consumption range figu

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nge achieved willwill vary dependent on vehicle andand battery condition, actual route andand environment andand driving style. TheThe figures provided are are as aas result of of Range achieved vary dependent on vehicle battery condition, actual route environment driving style. figures provided a result s may vary according to factors such as driving styles, environmental conditions, load andand accessories. ures may vary according to factors such as driving styles, environmental conditions, load accessories.

RANGE ROVER SPORT

IT’S CALLED SPORT FOR A REASON

MONTHLY PAYMENTS FROM £699 PLUS DEPOSIT AND OPTIONAL FINAL PAYMENT With the Range Rover Sport it’s all about performance. Lightweight, all-aluminium monocoque body for improved speed and agility. And advanced driving technology that enables Range Rover Sport to adapt instantly and effortlessly to changing road conditions. With its cleaner, more dynamic design, there’s a contemporary feel everywhere you look, from the new Range Rover Sport grille, redesigned bonnet vents and fender vents to the refined, yet sporty selection of wheel options. This powerful, athletic vehicle is now more compelling than ever. Call or visit to book your test drive today.

Hatfields Land Rover Hull 01482 645 413

Hatfields Land Rover Pickering 01751 477 177

Hatfields Land Rover Liverpool 0151 559 3000

Hatfields Land Rover Shrewsbury 01743 450 045

Range Rover Sport HSE 3.0L SDV6 306HP Auto PCP Representative Example† On the Road Price* Finance Deposit Allowance (FDA)

£68,155.00 £2,000.00

Customer Deposit

£11,240.00

Total Amount of Credit

£54,915.00

Purchase Fee (included in optional final payment) 48 Monthly Payments

£10.00 £699.00

Optional Final Payment

£31,598.00

Total Amount Payable (including FDA)

£78,390.00

Duration of Agreement

49 months

Representative APR

5.9% APR

Interest Rate (Fixed)

5.74%

*The model shown is a Range Rover Sport HSE 3.0L SDV6 306HP Auto with optional Firenze Red Metallic Paint (£850) and Head-up Display (£1,060) at an On the Road Price of £70,065.

Hatfields is a trading style of Warrington Garages Ltd who is acting as a credit broker and not a lender.

hatfields.co.uk Official WLTP Fuel Consumption for the Range Rover Sport range in mpg (l/100km): Combined 18.9-86.9 (15.0-3.3). NEDCeq CO2 Emissions 290-69 g/ km. The figures provided are as a result of official manufacturer’s tests in accordance with EU legislation. For comparison purposes only. Real world figures may differ. CO2 and fuel economy figures may vary according to factors such as driving styles, environmental conditions, load and accessories. † Important Information. Representative Example relates to a Range Rover Sport HSE 3.0L SDV6 306HP Auto. 5.9% APR Representative available on Range Rover Sport 20MY registered between 1st January and 31st March 2020 at participating Retailers only. With Land Rover Personal Contract Purchase you have the option at the end of the agreement to: (1) return the vehicle and not pay the Optional Final Payment. If the vehicle has exceeded the maximum agreed mileage a charge per excess mile will apply. In this example if the vehicle has exceeded 40,833 miles, a charge of 16.8p (including VAT at 20%) will apply per excess mile. If the vehicle is in good condition (fair wear and tear accepted) and has not exceeded 40,833 miles you will have 4 to pay; THE(2)ESSENTIAL JOURNAL nothing further pay the Optional Final Payment to own the vehicle or (3) part exchange the vehicle subject to settlement of your existing credit agreement; new credit agreements are subject to status. Representative Example is based upon an annual mileage of 10,000 miles. Credit is subject to status and only available to UK residents, aged 18 and over. This credit offer is only available through Black Horse Limited trading as Land Rover Financial Services, St William House, Tresillian Terrace, Cardiff CF10 5BH. We can introduce you to Land Rover Financial Services to provide funding for your vehicle. We may receive commission or other benefits for introducing you to the lender.

Contents CONTRIBUTORS Adonis Michael Dawn Davies David Keyte Ian Harrold Jake O'Brien Murphy Kayo Saito Matthew Gonzalez Mr Slowboy Oh Wonder Róisín Hanlon Russell Bisset Tod Bradbury Tommy Banks PUBLISHERS Singleton Publishing EDITOR Will Halbert w.halbert@singletonpublishing.co.uk CREATIVE DIRECTOR Thomas Sumner t.sumner@singletonpublishing.co.uk LEAD DESIGNER Christopher Gerrard FRONT COVER Illustration by Fei Wang aka mr.slowboy PARTNERSHIP MANAGER Elliot Ramsey e.ramsey@singletonpublishing.co.uk @TEJOURNAL

7 The Primer words Will HALBERT

30 Welcome To The Yard words Will HALBERT

47 Coffee & Conversation words Will HALBERT

10 One Thing Done Well: Lost Property of London

33 Best Seats in the House words Will HALBERT

49 On The Pass words Tommy BANKS

12 Meet The Makers: Kayo Saito words Will HALBERT

35 The Recipe Barrafina

50 Tasting Notes words Dawn DAVIES

37 Champions of Cheese words Will HALBERT

52 Addressing The Table words Jake O’BRIEN MURPHY

38 Drinking With: The Drop words Will HALBERT

53 And Another Thing words Will HALBERT

17 Mackintosh x Mr Slowboy words Will HALBERT 18 Up Close & Personal Mackintosh Collection words Will HALBERT 21 Universal Understanding words Will HALBERT 25 Tailored Thoughts On: The Suit & It’s Story words Matthew GONZALEZ 27 Built For The Ride words Will HALBERT

41 Spirited Investments interview by Will HALBERT 43 A Cut Above words Ian HARROLD 44 Craft Collaboration interview by Will HALBERT

55 Architectural Thoughts words Róisín HANLON 56 The Million Dollar Dram words Will HALBERT 58 Coffee and Counsel with Adonis Michael words Adonis MICHAEL

46 Essential Thoughts: These Three Cans words The Essential Journal Team

@essentialjournal @essentialjournal web essentialjournal.co.uk TERMS & CONDITIONS Under no circumstances must any part of this publication be reproduced without prior permission of 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 contributors own exclusive copyright to their own material that they have submitted as part of the publication. All rights reserved.

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Find out more at johnsmedley.com/discover/legacy

o t i a S o y Ka h t i m s Gold

X y e l d e m S n h o J 6

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View our collections at: 55 Jermyn Street, London, SW1Y 6LX | 24 New Cavendish Street, London, W1G 8TX | 24 Brook Street, London, W1K 5DG | johnsmedley.com

THE PRIMER

‘Alone we can do so little; together we can do so much.’ -Helen Keller

A Note from the Editor

o I recently spent the entire month without a phone. It’s a long story. You know the kind. The thirty days long, this-repair-will-only-takefive-days-but-we’ll-then-proceed-to-lose-it kind of long story. With my smartphone offering me an odd collation of over 3,000 contacts spread across (what seems like) just as many apps, the prospect of cutting out all of that noise seemed, at first, cathartic. ‘The book will replace the handset’ I told myself, optimistically. ‘Quick texts to my partner will become lengthy lunchtime conversations’ I mused, naively. ‘Evenings without my 'feeds' will make for sounder sleep’ I muttered, lyingly. In truth, I just got lost more; awkward silences were even more awkward without the phone to help break up lingering eye contact, and the calibre of conversation was as hit-andmiss as the company in which I found myself. There was also the perpetual state of stagefright in which I found myself, unsure if the person I’d just bumping into in the street already knew I’d lost my phone, or instead thought I’d decided to just ghost them. But being separated from my phone did grant me a solid thirty days of looking up. And what a sight that was. A dizzy dance of friends and strangers all going about their days together. There’s something to be said for engaging in your surroundings a little more, hanging onto conversations a little longer, and generally relying on your apps a little less. Ironically, there’s an odd sense of interconnectedness and community that emerges when you’re cut off from the digital constructs of your phone. On that note: this edition of The Essential Journal is dedicated to the celebration of community and collaboration. Enjoy.

Will HALBERT

What We’ve Been Watching:

The Lighthouse

One pure, unadulterated, cinematographic flex meets two gleefully overwrought, powerhouse performances in Robert Eggers’ second major directorial outing. There’s plenty to like here. Not only is The Lighthouse often hilarious (in a dark, murky, seagull-murdering kind of way), it’s shot through with this beautifully Melvillean prose, expertly delivered by consummate thespian, Willem Dafoe. Robert Pattinson plays an equally expert turn as the less-loquacious, though no less captivating Winslow. Don’t get me wrong, the film shits its proverbial draws in the last ten minutes or so - throwing some silly, unnecessarily ambiguous haymakers. But despite these slight insecurities, The Lighthouse stands tall (not a pun) as bold, modern mythmaking at its finest.

Where We’ve Been Sharpening our Skills:

Blackhorse Lane Ateliers X Indigo Works Boro & Sashiko Workshop On the first Tuesday of every month, London-based jeans makers, Blackhorse Lane Ateliers join forces with denim specialist and historian, Liza Mackenzie (@indigo.works) to teach us the ways of traditional Japanese mending. Derived from the Japanese boroboro, meaning something tattered or repaired, boro refers to the practice of reworking and repairing textiles through piecing, patching and stitching, in order to extend their use. Worn areas of cloth are patched over or older garments cut up and joined, with running stitches or areas of sashiko (‘little stabs’) used for reinforcement. The BLA x IW teamup gives craft amateurs and aficionados alike the chance to brush up on their skills in a relaxed and welcoming environment, offering up a meditative and eco-friendly spin on the make-doand-mend mentality.

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What We’ve Been Drinking:

Campari Cask Tales

Where We’ve Been Staying:

Gasholders Apartments, King’s Cross

Essentially Campari with a cask-finished twist. This limited edition Cask Takes expression comes hot on the heels of the brand’s celebration of Davide Campari’s 150 year legacy. Created by revered Herbalist & Master Blender, Bruno Malavasi, Campari Cask Tales serves up a contemporary take on the classic crimson aperitif by finishing it in secondfill bourbon barrels. The result is a unique and unprecedented palate experience that spotlights a traditional Campari herbal profile elevated by a subtle spiciness from the wood. On the palate, the bourbon barrel finishing smooths the bitter notes with fruity, sweet, and creamy tones, providing a delicate oaky smokiness to the legendary Campari liquid. We didn’t think it was possible, but the classic negroni just got a little more interesting.

The only apartments in the world to be built within a conjoined triplet of Victoria Grade II gasholder frames, The Gasholder Apartments stand in awe-inspiring testament to King’s Cross’ ongoing transformation. The development’s staggering central atriums are reminiscent of New York’s Guggenheim Museum and (more importantly, in my humble opinion) look picture perfect for the protracted pyrotechnics of some sort of cinematic, James Bond-esque fist fight. Each of the 145 apartments benefit from the structure’s breathtaking canalside location, not to mention its communal roof gardens and array of elegant furnishing and by London interior designers, No12 Studio. Amenities are also myriad and uniformly impressive. A dedicated spa and gym, a residents’ lounge, a coworking space, an entertainment suite (with private dining room and catering kitchen to boot) and a 14-person screening room with adjacent games room all form part of the package. Not a bad way to pass the time if you have a cool £1M lying around.

What We’re Wishing We Hadn’t Slept On: gasholderslondon.co.uk

3sixteen x Schott NYC Powerhouses of classic style in their own right, both Schott NYC and 3sixteen have featured separately in the pages of The Essential Journal over the years, and with good reason. The end of January saw the release of their fourth annual collaboration, and it’s a one-two punch if ever I saw one. The collaboration consists of not one, but two leather jacket options. While the first option - the 519 Perfecto - is welltrodden ground (in the sense that it is uniformly excellent, stylistically timeless, and endlessly collectable), it’s the Flight Jacket that really caught our eye. A totally new addition to 3sixteen’s lineup of superlative, street ready silhouettes, the Flight Jacket offers a contemporary spin on the vintage A-2 bomber. The 3sixteen x Schott iteration achieves a longer, slimmer, more modern cut. Ditching the traditional epaulets and adding hidden, side-entry pockets offer further refinements, while the removable shearling collar gives the jacket some serious, multi-season, crossover appeal. But the real star of the show? The tea-core chromexcel horsehide leather hailing from the legendary Horween Tannery. This black-over-brown leather will age and fleck to reveal lighter tones and hidden depths of patina potential. The result is a modern, clean look that will vintage over time. Most of these have already been snapped up, but word on the street is that Rivet & Hide have one or two left for those ballsy enough to pull the trigger.

@rivetandhide

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chestudios.co.uk

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STYLE THE IMAGE

One Thing Done Well

Lost Property of London Designed through a minimalist lens and handmade in London, LPOL’s Cubitt Briefcase offers up a masterclass in traditional saddlery with a contemporary twist

n a world increasingly dictated by the picture perfect and the painstakingly polished, raw authenticity is an increasingly rare commodity in a brand. For the most part, emerging brands are so infallible in their prefab, professionalfrom-the-get-go images that there’s little room for adlib. Which is a crying shame, as it’s often those ad-hoc moments of challenge, adversity and improvisation that allow a brand’s personality to shine. In their 11 years at the helm of independent London brand, LPOL, Katy and John Maskell Bell have seen their fair share of adversity. If you think that the challenges of responsible material sourcing and zero-waste production are tough now, just imagine what it was like trying to tackle those subjects over a decade ago. You know, when the topics of sustainability and slow fashion weren’t so du jour. As a result though, the LPOL brand and its offerings exude a friendly, self-assured and quietly-confident vibrancy that can only come from slowly, deftly and honestly navigating the tides, trials and tribulations of the fashion industry. As much in design as in philosophy, LPOL’s leather wares are solidly-crafted goods to the core. They’re robust and heartfelt products brought to you by like-minded makers and creators. In the interest of this edition’s love affair with Coal Drops Yard, we’ll focus on one of the brand’s core offerings, the Cubitt briefcase. Now, Katy and John sum it up pretty well when they describe Cubitt as a true celebration of ‘natural materials, bold simplicity, industrious spirit and robust local craftsmanship.’ That said, I’d be remiss if I didn’t also mention that it’s pretty as all hell. Seriously, a briefcase has no business looking this elegant. The soft, pebble grain, vegetable tanned leather makes for a bag that’s as supple as it is sturdy, while two exterior pockets, an interior zip pocket and an adjustable shoulder strap account for the Cubitt’s more utilitarian, though no less elegant, trimmings. The Cubitt takes its name from the late, great Lewis Cubitt, the mind behind the Granary Building that now forms part of the ever-impressive Coal Drops Yard. This, if you think about it, goes a long way in explaining the briefcases’ stripped back and well-studied sophistication. In a wondrous feat of minimal, functional design, the Cubitt briefcase offers up everything you need in a day-to-day carry, and dispenses with everything you don’t. In this way and in many others, the Cubitt Briefcase is a fitting visual metaphor of what LPOL is all about: craft without compromise, luxury without excess, and passion without pretense. Complementing the duo’s penchant for timeless, fussless design is their low-impact, locally-minded attitude towards production. Every offcut, every scrap of leather or fabric is retained and reused in some way, right down to the slithers of skived leather that go on to serve as tags for products in their CDY store. Refreshingly, there’s no control-group-sanctioned agenda here, no shallow attempt to vie for the affections of a more conscientious consumer. Katy and John have, quite simply, always done things this way. As the industry continues to populate itself with shouty-butshallow brands looking for mile-a-minute growth and exposure, there’s an awful lot to be said for brands, like LPOL, that have found a way to drown out the noise, find their own stride, and continue to do what they do in an honest and heartfelt way. EJ

words by WILL HALBERT

lpol.co.uk

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THE IMAGE

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STYLE

arely does a craft blur the line between metalwork and fine art quite as elegantly as the work of Kayo Saito. Taking its cues from plants and other intricate organic forms, Kayo’s jewellery boasts a unique delicateness and a staggering sculptural complexity. Saito studied metal work at Japanese Art College and finished a masters at the Royal College of Art in 2001. She has won several jewellery prizes and was shortlisted for the UK’s Art Foundation Awards in 2010. Her work has been presented in many European high-end galleries and art fairs. EJ

How would you describe your craft? I’d call myself a contemporary goldsmith. What is your favourite part about what you do? Deciding on the compositions I’m going to use after making each of the individual elements. How did you begin your career? I came to the UK to study jewellery as a second career. After graduating, I had exhibition offers in the UK and Europe. How long have you been doing it? As of this year, I’ll have been practising my craft for 18 years. What other craftspeople stand out to you most and why? I admire anyone with perseverance. Those who do not give up on what they are doing until they achieve what they set out to do. Did anything in particular inspire you to start your craft? Back in Japan, I was working as a product designer. It was an interesting dynamic, working as part of a team. But I dreamt of being able to create something - from beginning to the end - all by myself. That was by far my biggest inspiration.

Meet the Makers

Kayo Saito We sit down with the artist and goldsmith, Kayo Saito, to discuss the evolution of her work, her experience as a QEST scholar, and her shared values with British heritage knitwear company, John Smedley interview by Will HALBERT

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Do you work with any other craftspeople to create your products? I’ve recently started working with a small, select team. Being a mother, I work under time constraints. So I made the decision to find people who study jewellery, people who truly understand my way of creating, to come and work alongside me. They don’t just help me with my jewellery, however. They also happen to be lovely company too! What are your criteria for working with fellow craftspeople? It’s important that they appreciate the finer, more intricate details. We have to work with hundreds of very small pieces, and I care about the smallest of details. My colleagues share that attention to detail; they understand me and allow me to produce more than I’d be capable of doing on my own. What is the hardest part about what you do? It’s a very intricate, delicate and time consuming affair.

STYLE Has your craft evolved into other, newer skills over time? I changed my main material drastically: from paper to metal. I liked working with paper, but there were technical limitations to it, including durability. I am now using metal, but I still apply the same delicacy as I did when I was working with paper. More recently, though, I’ve been learning the skills of carving stones and minerals. How would you describe a day in your role? My work is multifaceted, so my working day tends to vary a lot. In a single day, I can be a jeweller, a graphic designer, a display designer, a photographer, a secretary, an accountant manager and a saleswoman. What are the biggest challenges you face in what you do? I’d say the biggest challenge for me lies in finding ways of integrating the functional part of jewellery - clasps, links, pins, and clips - with my overall design. How have you stayed passionate and inspired by your craft? I believe there are endless ways of expressing myself through my jewellery. The ideas are everywhere. In nature, for instance, I like looking at plants and organic forms; their scent; their movements. Inspiration and passion are never in short supply.

It can take days or even weeks to build a piece. Each item is comprised of dozens of soldered joints and they’re extremely delicate. It’s all too easy to accidentally destroy a work in progress, melting it with the heat of a naked flame when soldering, for example. What makes your craftsmanship most rewarding? There’s nothing like the feeling of finishing a piece you’re happy with, and then seeing it go to a client that shares that appreciation. Where did you learn the skills required for you role? I learned my basic skills from colleges in both Japan and the UK. I also consider myself lucky to be able to learn from a community of like-minded and other skillful jewellers. Painfully, I’ve also learned from my mistakes. What has been the most important learning curve for you? Learning to be patient has been vital. Personally, I like to see results quickly, but it simply doesn’t work like that. These things take time. I am still learning. Have you had any major pitfalls to overcome to maintain your craft? It’s not exactly a pitfall, but having children has presented a fair few challenges, not least of which has been finding enough time to dedicate to my craft.

Natural Attraction With its intricate forms and delicate constellations, Kayo Saito’s work is a celebration of time, place and connectedness words Will HALBERT

hrough carefully chosen materials and designs, Saito recreates the unusual delicateness and sculptural majesty of nature’s forms. From laurels, to magnolias, to the aquatic mizukusa, Saito’s work is an all-out celebration of nature and its myriad wonders. It’s this attention to detail and this passion for the intricacy and subtleness of craft that not only define the artist’s work, but make her creative kinship with John Smedley all the more rewarding. The oldest and most iconic still-manufacturing knitwear factory in the world, John Smedley has revelled in that very same sense of place. Each and every garment crafted by the 236 year-old company is a celebration of the natural surroundings that have inspired it. That John Smedley and Kayo Saito should find such common ground in the beauty of nature is but further proof of the creative ties that connect craftsmen and women the world over. EJ

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STYLE What made you choose this career and to work in this industry? I thought that jewellery was a very unique art form; that there was an unlimited variety of materials and styles to pursue. I like working on such a small scale, too. It is like working on mini sculptures, but with a little more functionality. Do you have any plans to expand on what it is that you do? I am seeking to expand my business without compromising on quality and uniqueness – finding a different market, a different audience. My work is not for the mass market, so an audience is not easy to find.

‘In a single day, I can be a jeweller, a graphic designer, a display designer, a photographer, a secretary, an accountant manager and a saleswoman.’ What are the main projects you are working on now? I am just about to finish setting up machines for carving stones. That will soon see me start to incorporate stones into my jewellery. How would your customers describe your craft? Delicate and intricate. Comfortable and timeless. What are the accomplishments within your work in craftsmanship that you are most proud of ? I’d say the inclusion of three of my pieces in the permanent collection of the Goldsmiths’ Company is up there. One of my rings made it into the collection of Alice & Louis Koch Ring Collection at the Swiss National Museum in Zurich, too. How would you describe your craft in 3 words? Authentic, understated elegance. How does working with QEST support you and your craft? As well as the financial support for learning new skills, QEST have continuously provided me with opportunities for exposure at a range of exciting events. I’m truly very grateful for their support. How would you describe John Smedley? John Smedley is synonymous with high quality, authentic, and truly timeless design. Do you have a favourite John Smedley piece, if so what? Personally, I love all of their roll neck pieces. But I still remember the first time I discovered the brand. It was about 12 years ago, my friend was wearing one of their beautiful knit dresses from John Smedley about 12 years ago. That was the first time I came across the brand, and that dress still sticks out in my mind to this day. What are you most excited about for the future? There’s so much to look forward to! Things can still evolve in so many different ways. I’m particularly looking forward to developing new work around stone carving.

johnsmedley.com

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Metquarter, Liverpool | 07746 687 409 | info@harlandcollier.com THE ESSENTIAL JOURNAL

THE LEGEND AMONG ICONS.

Portugieser Perpetual Calendar. Ref. 5033: The daring expeditions of the Portuguese seafarers held out the promise of everlasting glory. A worthy legacy of this heroic epoch is the Portugieser Perpetual Calendar. Timelessly elegant, it features trailblazing technology that includes a 7-day automatic movement with Pellaton winding and a power reser ve display showing the date until 2499. So conver ted into

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human lifetimes, this model could be worki n g o n i t s l e g e n d a r y s t a t u s f o r e te r n i t y. IWC . ENGINEERING DRE AMS . SINCE 1868 .

Mechanical movement · Pellaton automatic winding system · IWC-manufactured 52610 calibre · 7-day power reserve with display · Perpetual calendar with displays for the date, day, month, year in four digits and perpetual Moon Phase · Anti-reflective sapphire-glass · See-through sapphire-glass back · Water-resistant 3 bar · Diameter 44.2 mm · Alligator leather strap by Santoni

MANCHESTER – NEWLY DESIGNED SHOWROOM NOW OPEN LIVERPOOL ONE ALTRINCHAM CANARY WHARF WWW.DAVIDMROBINSON.CO.UK

STYLE

Suited, Booted & Booksmart Mr. Slowboy discusses his love for fashion, his latest project with menswear icons Mackintosh, and his peerless knack for creative collaboration words by WILL HALBERT

ashion has always operated most effectively and creatively at the intersection between craft and art. The latest collaboration between British luxury legends, Mackintosh and Singaporean pen-and-inker par excellence, Mr. Slowboy provides picture-perfect proof of that very fact. Inspired by the Bloomsbury Group - a collection of artists that counts the likes of E M Forster and Virginia Woolf as the luminaries among its ranks - the Mackintosh x Mr. Slowboy capsule collection attempts to answer one simple question: What would a modern-day renaissance man, wandering the streets of Bloomsbury, wear today? The result? A limited range of elegant, tailored and woven garments, beautifully illustrated and curated by Mr. Slowboy himself. Mr. Slowboy talks us through the finer points below. You probably get asked this an awful lot, but what does the name Mr. Slowboy refer to? The nickname bears no real significance other than the fact that I’m a slow person [laughs]. But it does reflect my value for everyday life as well as my viewpoint and preference on fashion. Being behind the curve isn’t necessarily always a bad thing. Sometimes, it’s actually quite the opposite.

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What came first: your interest in men’s fashion? Or your interest in illustration? Or did they develop at the same time? I’ve always been interested in illustration and fashion since I was in college. Both interests developed in parallel - with almost no deliberate crossover - until five years ago when I started sharing my fashion tips under the name of ‘Mr Slowboy’ on social media. What is it about the realm of men’s fashion that interests you the most? Both the elegance of tailoring and the creativity of high fashion both attract and inspire me and my work. They’re not just elements of visual enjoyment, they’re also highly relevant to human behaviours, social and cultural characteristics and aesthetics. Even the world of politics is affected by elements of fashion. The rise of anti-elitism for instance, has had a profound impact on men’s fashion brands in terms of their design and communication.

‘I used to be a street kid, dressing in Stüssy tees and Nike Air Mocs.

Tell us a little about your curatorial work for Mackintosh. How did the idea come about? What was your inspiration behind the capsule? Mackintosh is no longer just a raincoat maker; the brand has a full and growing line of clothes and accessories, all of which are rich in modern, innovative design and craftsmanship. It’s a shame then, that so many of these offerings remain more or less unknown among customers. So my idea was to highlight a few Mackintosh offerings through the lens of different monthly themes in order to highlight and introduce them to fans of Mackintosh, and indeed to style enthusiasts in general. The inspiration behind the first capsule, for example, is the visual beauty and cultural refinement of the London literary hub that was the Bloomsbury Group.

How would you describe your own, personal style? What do you look for in a garment, personally? It’s always in a state of flux. I used to be a street kid, dressing in Stüssy tees and Nike Air Mocs. Nowadays, I’m more fascinated by classic and trad styles. Same goes for workwear. I like to mix and match with different styles of garments and accessories in a low-key but fun way. Over the years, you’ve collaborated with some of the biggest names in men’s fashion. Do you enjoy the collaborative experience? Are there ever any challenges to working with other people? Yes, absolutely! From my very first client - Lock & Co. Hatters, to the most recent - Mackintosh, I’ve enjoyed each and every project I’ve been lucky enough to work on. Most of my clients are kind enough to give me enough freedom to create the narratives and tell the stories I want through my illustrations, and they always appreciate the spontaneous outcome. There are some challenges indeed, but fortunately those challenges are mainly technical.

Nowadays, I’m more fascinated by classic and trad styles.’

It must be a tough decision as you curated the whole thing, but do you have a single, favourite piece in the collection? I love all the items in the capsule, especially the Bloomsbury Grape Leaf Jacket and Moore Red Roll Neck. They’re the perfect fit for those, like myself, who enjoy that subtle area between tailoring and utility. Back onto the subject of collaboration, the Mackintosh x Mr. Start collaborative Pitfield Suit is said to be designed with the modern day renaissance man in mind. Is function as important as form in your eyes? What do you look for when selecting a suit? A suit is still an irreplaceable staple in every man’s wardrobe. However, it needs to be modernised in certain ways to suit our multi-tasking lifestyle. I personally prefer those suits that are versatile and neutral. Those that are not overly formal, yet not so casual. I never look for a suit so sharp or fancy that it’s going to overpower my personality. So the Mackintosh x Mr.Start Pitfield Suit ticks a lot of boxes for me. And last but not least, what does 2020 hold in store for Mr.Slowboy? I dare say a book of illustrations. Think anyone would be interested? [laughs]

mackintosh.com

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Up Close and Personal We take a closer look at some of Mr. Slowboy’s favourite pieces from the new Mackintosh capsule collection words by Will HALBERT

From left to right; Mackintosh Roll Neck Sweater, Mackintosh Bloomsbury Jacket. Illustrations by Mr Slowboy

The Bloomsbury Jacket A modern take from the Mackintosh archives, the Bloomsbury Jacket is made in London with the brand’s signature RAINTEC cotton, creating a waterproof, windproof and lightweight little number that transcends seasons. A buttoned front closure and flap front pockets add practical details while the contrasting corduroy collar offers a further wink to the jacket’s archival inspirations.

The Forster Trouser The Forster formal trousers take their name from the celebrated author of Howards End. They’re tailored to a timeless straight-leg silhouette using wool from William Bliss & Sons. Famous for their innovation with Gun Check and Herringbone wool patterns, William Bliss & Sons also achieve an unrivalled level of softness through their cloth finishing process, which creates the highest quality of woven product. The trousers are detailed with subtle pleats and are finished with a raw hem. A fitting ode to the dapper elegance of early 20th-century style.

The Moore Roll Neck The Moore sweater honours its namesake artist, GE Moore, an aesthetic that believed in the beauty of the work of art above all else. That celebration of visual beauty comes through loud and clear in the Moore roll-neck. Woven in Scotland from Italian cashmere and merino wool, the Moore boasts a sartorial sophistication and an exceptionally soft hand. The minimal roll-neck style features ribbed trims that add a considered finishing touch. Make no mistake, this is a perfect fusion of classic style and contemporary elegance.

The Mackintosh x Slowboy Capsule Collection is available in store and online now.

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× Bill Amberg

www.savoirbeds.com

London

Paris

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New York

Düsseldorf

Moscow

Berlin

Shanghai

Hong Kong

Seoul

Taipei

Singapore

guess it’s partly down to the fact that all you press guys talk about is collaborations.’ Never one for beating around the bush, David Keyte’s words are spoken with his customary, almost trademark (and most certainly welcomed) candidness. They follow the tail end of my introductory question about the public’s ongoing love affair with fashion collaborations which, in a roundabout way, proves David’s point perfectly. Press and public alike are transfixed by the creative possibilities and hype potentialities of their favourite brands joining forces. David should know. As founder of Universal Works, he has worked alongside both the biggest names in the industry and smallest mom n’ pop shops on the block. From world-renowned sportswear giants, Adidas, to the small, independent menswear stores of Seoul, Los Angeles and Texas, Universal Works has garnered a wellearned reputation for ambitious collaborative projects that never compromise on the brand’s core values of fun and honesty. If you think that fun and honesty shines through in David’s answer to my first question, you should read the seven that follow. EJ

Universal Understanding Universal Works’ David Keyte shares his thoughts on the joys of collaboration, the importance of supporting those who support you, and the inspiration behind his upcoming spring summer collection photography by JAMIE MYERS words & interview by WILL HALBERT

Press and public pressure aside, what is the appeal of a collaboration for yourself personally? Are you a fan of them in general? I have never actually thought of myself as a big fan of collaborations. For me, it’s often the only way I feel comfortable working within an area where I have little or no expertise. Collaborations alIow me to make a new product and also lean on - and learn from - another company or brand’s experts and skill-sets. So working with shoebrands, for instance, means I get to make a few suggestions on some of my favourite shoes, but I don’t think of myself as footwear designer. Making the running kit with Adidas was great in that respect, because we got to work with the technical team in Germany and I learned something new from them. What are the challenges that come along with working alongside other brands? How do you create something with another brand that still remains distinctly Universal Works? We have never asked anyone to collaborate with us. We have been lucky enough to have been asked to get involved with projects we have wanted to work on, and we always judge the project on whether or not we want to work on it. We always have to ask ourselves honestly if it will be fun to work on, and if it’s an honest project. When two brands really collaborate, I think the end product should be a real combination of both brand’s sets of ideals, aesthetics and values. From Novesta, to Adidas, to Satta, to Millican, you’ve worked with a wide variety of brands over the years. What do you look for in a brand before you work with them? Sometimes, it’s honestly as simple as a particular brand being a friend of ours, someone we think will be fun to work with. Often, a brand may have a project in mind and we happen to fit the profile. If we think it’s perfect for us too, then we’ll go ahead with it. For instance, the Millican guys are longtime friends of ours, the THE ESSENTIAL JOURNAL

STYLE

Adidas team we did not know at all, but they had a running project coming up and they discovered we were runners and we got talking. These things often, and ought to, come about organically. Outside of your own, do you have any personal favourite collaborations from over the years? It’s obvious, maybe, but the recent Sacai x Nike stuff has been great. Some of the Y3 collaborations over the years have been really special, too. And a few years back, I was lucky enough to be working at Maharishi when we did some cool decks, clothing, and art with Futura. But the best of them all? The big daddy has to be Adidas and Run DMC, the one that kicked the whole thing off !

‘When two brands really collaborate, I think the end product should be a real combination of both brand’s sets of ideals, aesthetics and values’ As well as working with other brands, you’ve also helped create some amazing store exclusives. Stag Provisions of Texas, Oi Polloi of Manchester, Hip Store of Leeds: Is it important to you personally to foster these kinds of relationships with stores and stockists? Yes, we work with some great stores around the world and it’s an honour for us to produce some special pieces for them. Time and time again, we always come back to the same questions: do we want to do it? Will it be fun? Can we express both parties well and in an honest way? With store specials in particular, we feel it is about Universal Works showing support and gratitude to them for them having believed in, and bought into, Universal Works. It’s a question of wanting to share that love back with them too.

Are there any outrageous dream collaborations you’d love to work on? So many! It’s hard to know where to start. Mercedes G Wagon would make for an interesting collaboration, or a simple Timex watch.

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STYLE

‘Time and time again, we always come back to the same questions: do we want to do it? Will it be fun?’ And lastly, can you tell us a little about the inspiration behind the upcoming SS20 collection? There are some really interesting patterns in the mix. How do you go about finding and/or designing them? We always try to move the collection on enough each season to be new and exciting whilst maintaining a continuing direction. We are not big on seasonal themes, as we plan for our garments to be longer-lasting than a season or a year. But certainly this summer, there are a few patterns and colours we felt were inspired by a trip myself and Stephanie - my partner - did last year. We were lucky enough to carve the time out for a twoweek holiday and did a road trip from Los Angeles across the South West of the US to Santa Fe. So a lot of that trip, including the colours and patterns are reflected in our SS20 collection. Tinged with a bit of good ol’ Nottingham, of course!

universalworks.co.uk

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STYLE

Tailored Thoughts On:

The Suit and its Story In a world ruled by the right-here and the right-now, it pays to slow things down and appreciate the journey. Huntsman cutter, Matthew Gonzalez, talks us through the creation of a brand new bespoke suit

words by Matthew GONZALEZ

t’s easy to take all that we have for granted. Living in Britain has meant that, for the most part, we have access to almost everything in the world. Having the opportunity to buy pretty much anything instantly has meant that we have lost perspective on the value of our processions. It should blow your mind that every one of your local supermarkets, no matter where you live, probably has dozens of bananas at any given moment. Especially because they grow on the other side of this planet! With that stoner thought of a fact in mind, I want to follow the story of how a suit is made. I want to provide a peek behind the curtain of the things we buy, in the hopes that will deepen our appreciation for the time and energy it takes to produce what we have. At Huntsman a suit will pass through about eight to ten sets of hands before it is finished. Each person along the way has been trained for years and is expected to work at the highest level of quality. When you commission a bespoke suit, the first person you will meet is a client manager. Client managers are cloth experts. They have an encyclopaedic knowledge of what cloth is best for any season, work environment, casual engagement or formal occasion. They’ll ask probing questions about what your needs are and present you with a section of cloth and make style recommendations for you to consider. Once that has been decided you will meet your pattern cutter for the first time. A pattern cutter normally trains for about three to five years. Their sole purpose is to cut perfectly-fitted suits and they do that by training their eyes to spot any imperfection. To begin with, the pattern cutter will take your measurements and a couple of photos of your posture for reference later. Once that is all down, the real work begins. When I begin a client’s suit, we start with a blank sheet of craft paper, a tape measure, pencil, ruler

and your measurements. With that we are able to plot out in two dimensions the shape of your body. We scrutinise the photos to ensure that we’re able to highlight your best features while concealing anything that might make you feel self conscious. The pattern making process takes around three to four hours. Once it’s complete, we start cutting out the cloth. Chopping out a suit, as it’s known in the trade, is usually done by either your cutter, their apprentice, or by a dedicated ‘striker’ (because of the chalk strikes the cloth). Cutting out a suit takes anywhere from one to three hours. Meaning before your suit has even been passed to the tailor who will put it all together nearly a day has already been spent exclusively on your order. People often ask why bespoke garments take so longand this is the reason. We do not make things in mass. At every stage in the process it is one person working on one job. As soon as the suit is ‘struck out’, it gets passed to a trimmer who will work with the cutter to select and source all of the inter linings, canvases and buttons. From there, it is split up and passed to its respective tailors. It’s actually pretty rare for one person to make everything. Tailoring, as you have seen so far, is highly specialised. One person will spend their entire career making trousers and another will do the same with jackets. This focus on a single garment is why bespoke tailor is so revered. A tailor’s career can easily span from their late teens to their late 60’s. Making the same thing day in and day out for that amount of time means you will have perfected the art of constructing that garment. Once the tailors have the garments in their hands, they will be basted up for the first fitting. A baste in this instance means a loosely constructed garment that can be easily ripped apart and altered for subsequent fittings. It takes another three hours to baste a jacket and another two hours for a pair of trousers.

When everything is ready to try on, you would come in for your first fitting. After the fitting, notes are made on how to alter the suit before it’s ripped apart and everything starts over again. The cutter spends another half a day remarking the suit and gives it back to the tailors who give it to yet another specialised person who just makes the pockets. Once the jacket is completed by the tailors it gets fit again then goes to an alteration tailor then is sent to a finisher who sews the buttonholes by hand and permanently stitches in the lining. From the finisher, the suit needs to be pressed by another specialist and only then is it ready for collection. Once it’s completed, about 100 hours of labour will have gone into creating your suit. Making a suit is clearly a labour intensive process. Each person that handles it has years of experience under their belts and will never compromise on quality. The tailors who make up this trade are themselves a community of artisans that expect nothing less than perfection. What’s peculiar is that while we value bespoke, similar stories can be found in what you pick up off the high street. Everything has a journey. So regardless if it is a bespoke suit from one of the most respected tailors in the world, or a single banana that somehow found its way from the farms of south America to my local corner shop in South East London, we should remember to appreciate the things we have in our life, because they took an awful lot of work to get to us. MG

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STYLE

orsche and BOSS: Two German icons with a thirst for innovation and a well-documented knack for hitting that sweet spot between form and function. That the two already stand as pioneers in their respective industries is undisputed. That the two should come together to create a capsule SS20 collection? Well, that just makes cold, hard sense. Inspired by Porsche’s world-famous car designs - and with a further thematic leaning on the concepts of future technology and innovative hybrids - the collection is consistantly sleek and endlessly covetable. Think clean lines aplenty, solid construction unparalleled, and that unmistakable classic-yet-contemporary edge that both parties seem to nail with such well-rehearsed ease.

‘A wardrobe staple for speed freaks and style geeks alike, this calfskin blouson offers up a riders jacket like no other.’

Built for the Ride Horsepower meets high fashion in the latest Hugo Boss x Porsche collaboration words by WILL HALBERT

Each of the 12 pieces that make up the collection boast precise, streamlined shapes, subtle textures, and a neat new grey-blue tone that perfectly reflects the technical and stylistic chops of both brands. It also doesn’t hurt that the capsule collection has been rolled out in collaboration with former race driver, nine-time Formula One Grand Prix winner, FIA World Endurance Champion, and Porsche ambassador, Mark Webber. But the real star of the show? That has to be the nubuck blouson jacket (overleaf ).A wardrobe staple for speed freaks and style geeks alike, this calfskin blouson offers up a riders jacket like no other. With a super-soft and supple touch and ergonomic cutlines designed to mirror the iconic curves of a Porsche, the blouson jacket offers up a classic, clean look that’s sure to go the distance. Other functional highlights include the three-in-one bomber jacket with a padded reversible and removable inner vest, and a lightweight suit with stretch lining tailored in a fabric that regulates temperature and resists wrinkles. Both the sneakers and formal shoes echo the aerodynamic shapes that embody Porsche’s approach to design. All of which makes for a capsule collection that’ll ramp up your street cred even if you don’t (yet) own the Porsche. EJ

The Hugo Boss x Porsche collection is available now through hugoboss.com

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Mark Webber wears the Blouson jacket in nubuck leather from The Hugo Boss x Porsche collection

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CULTURE

Welcome to the Yard By turns a shopper’s paradise and an architectural marvel, Coal Drops Yard goes beyond the usual retail experience to deliver something truly special words by Will HALBERT

’ll preface this, outright and unequivocal, with an apology: it’s hard to describe a place like Coal Drops Yard - London’s latest shopping hotspot - without descending into clichés, superlatives, and general, wayward hyperbole. I’ll attempt to keep all of the aforementioned to a minimum but in truth, it’s tough knowing where to start with a landmark as multifaceted as Coal Drops Yard. Sure, you could start with the location itself, I suppose. Set amongst the awe-inspiring, post-industrial views of London’s Granary Square and Regent’s Canal, Coal Drops Yard stands tall and proud as the latest addition to King’s Cross' already pretty spectacular line up of sights, sounds and spectacles. But why should The Yard’s sense of place take precedence over its eye-popping aesthetics? Coal Drops Yard is, after all, an architectural marvel of epic proportions, an awe-inspiring amalgamation of contemporary design and surviving, vernacular structures. Surely then, it makes more sense to start with The Yard’s main attraction; the first rate retail experience on offer at this hub of heritage and history, this hotbed of architectural excellence? But that presents its own problems. The iron-clad, canal-side arches are, after all, home to over 50 of the UK’s best stores, bars, brasseries and eateries. From contemporary fashion goliaths like COS and A.P.C. to smaller, humbler makers and crafters like Blackhorse Lane Ateliers and LPOL, Coal Drops Yard offers up a day of retail therapy like no other. Are you starting to see my problem? It’s hard to know where to begin when every aspect of a space demands your attention so fully, and for so many different reasons. Best, I suppose, to be pragmatic. Best to start from the beginning.

Coal Drops Yard was originally constructed back in 1850 as a means of handling the eight million tonnes of coal delivered annually to the capital. Its post-industrial era saw it become home to legendary nightclubs like Bagley’s and The Cross, two of London’s largest nightclub spaces for two decades. All of which is to say that CDY is steeped in the rich industrial and subcultural heritage that lies at the very heart of the capital. Fast forward to 2018 and Heatherwick Studio (the architectural eminances who brought you the London Velodrome and, more recently, the Bombay Sapphire Distillery) have transformed the site into something equally special. From the cobbled courtyards, to the iron viaducts, to the now-famous ‘kissing rooftops’, Coal Drops Yard has become something contemporary and experiential yet utterly of its place. As such, referring to CDY as a boutique shopping destination falls somewhat short. For all the grandeur of its ample, adventurous and louder-than-life retail spots, there’s more to CDY than its impressive, immersive shopping experience. This is more than a retail complex, this is a cultural meeting point, an inspired (and inspiring) intersection of fashion, food, culture and art.

‘The terraces of the Yard’s myriad bars and restaurants grow loud with the clinking glasses and excited chitter chatter of post-work crowds. It’s in those evening hours when the bigger picture becomes abundantly clear.’ As the sun sets on King’s Cross, that seemingly small point of difference becomes all the more clear. The winding banks of Regent’s Canal find themselves punctuated with evening joggers and dog walkers alike. The terraces of the Yard’s myriad bars and restaurants grow loud with the clinking glasses and excited chitter chatter of post-work crowds. It’s in those evening hours when the bigger picture becomes abundantly clear. Coal Drops Yard begins to feel less like a shopping destination and more like a modern village. In my endeavours to refrain from the aforementioned cliché and hyperbole, I won’t jump the shark entirely and say this is the place to be. But in a city moving entirely too fast as it is, Coal Drops Yard offers up just the right level of spectacle and escape necessary to take a few moments and just, well, be. EJ

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DINING

Best Seats in the House With an effortlessly cool sense of spectacle and a menu that borders on art, Barrafina provides one of the best tapas experiences to be found outside of Barcelona

words by Will HALBERT

s far as first impressions go, Barrafina’s is real a doozy. From the get go, the busy bar exudes a welcome so warm that it more than offsets the late-winter chill of a February evening in London. The reception area, just a foot from the bar itself, already bares the weight of a dozen or more elbows, all attached to leaning frames and eager faces of hungry (and visibly impressed) guests. They sip drinks and shoot the breeze with friends and strangers alike as they wait for a space to come up at the bar. You see, there are no reservations at Barrafina, and aside from the impressive VIP lounge in the back, the venue doesn’t sit groups in greater numbers than four. In other words, those looking to dine at Barrafina had best be prepared to wait. Thanks to a well-curated wine list and a generous ‘para picar’ snack menu, that wait quickly becomes part of the experience. For my part, a chilled glass of natural treixadura, a handful of almonds, and Barrafina’s signature inclination towards visual f lair see to it that the time positively f lies by. I’m only halfway through said treixadura when I’m ushered to the bartop-turned-dining table, where the show really starts. In full view beyond the bar, servers and chefs share the same working space with grace and ease. They dance around each other with this impressive, almost choreographed grace and efficiency. They do so to a chorus of ‘voy!’ and ‘atras con platos!’. Quickfire orders from the chef are met with equally enthusiastic cries of ‘oido!’, and the whole dizzy dance starts anew. There are hugs and high-fives aplenty. Servers joke with staff and guests alike as they refill glasses and whisk away plates to make room for further helpings. Never has a meal been served with such a side of spectacle. The menu’s Catalan f lex comes through loud and clear, and so it should. The Barcelona bornand-raised Angel Zapata Martin - Barrafina’s Exec Chef - has a well-earned reputation for taking the rustic authenticity of Catalan cuisine and pushing it to some serious, Michelin-starred levels of excellence. In this respect, Barrafina’s menu reads like a trophy wall; a hall of fame for Angel’s Catalan-inspired, culinary conquests.

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DINING

‘It’s rare that a restaurant offers such an organically entertaining experience, and it’s as much a result of the top-tier food as the undeniable chemistry of the staff. There was a time when bartop eating felt like a compromise. At Barrafina it’s the main event.’

Barrafina’s tortilla con alubias y morcilla Ibérica, for example, is a soft-in-the-middle, melt-in-your-mouth tour de force of taste and technical prowess. It also presents the perfect illustration of Barrafina’s stock and trade: Tasty dishes with true-to-roots, traditional charm that make you feel like you’re experiencing them for the very first time. The rest of the menu is punctuated with similarly inspired showstoppers. Think arroz negro with Iberian pork ribs, artichoke and baby cuttlefish, and cured monkfish, not to mention a couple of rotating specials that bring further flavour and flair to the evening’s festivities. It’s rare that a restaurant offers such an organically entertaining experience, and it’s as much a result of the top-tier food as the undeniable chemistry of the staff. There was a time when bartop eating felt like a compromise. At Barrafina it’s the main event. There’s a small area dedicated to a more traditional couple-friendly, sit-down service, should you really need it. But if you want my advice - and reading this far seems a little perverse if you don’t - then go alone. Order as much as you can politely devour by yourself, and just bask in the sheer hustling, bustling glory of it all. Enjoy it, admire it, breathe it in. You not only have the best seats in the house, you’re the most celebrated part of the show. EJ

barrafina.co.uk

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DINING

The Recipe:

Cured Monkfish Courtesy of Barrafina, Coal Drops Yard Serves 10

Ingredients • 2½ kg monkfish For the Marinade: • 500 g table salt • 250 g sugar • 125 g paprika • 150 ml Fino sherry For the Vinaigrette: •300 ml Arbequina olive oil Avocado Mousse: • 350 g avocado • 1 unit garlic • ¼ bunch coriander • 65 ml Arbequina olive oil • 3 limes, juiced • Salt and pepper

Method For the date puree: • 85 g dates • Splash orange juice Confit Tomatoes: • 300 g tomato • 400g sugar • 400ml water • 30g ginger • 1 tablespoon peppercorns • 1 bunch rosemary To Garnish: • Chives • Micro coriander • Paprika

For the cured monkfish: Combine the sugar, salt, and paprika, mixing until well combined, then set aside. Clean and fillet the monkfish, removing the skin and place in a shallow dish to marinate in the Fino sherry for 15 minutes. Turn the fish and leave to marinate for a further 15 minutes. Remove the fish from the marinade and rub the sugar, salt and paprika mixture all over the fillets, leave to cure in the fridge for two hours. After two hours, remove from the fridge and use a piece of kitchen paper to wipe off any of the excess rub. Roll the fish in cling film, pressing and twisting the ends to form a ballotine. For the avocado mousse and date puree: Blend the lime juice, coriander and garlic together until smooth. Add in the avocado and continue to blend while gently pouring in the olive oil to form an emulsion. Add to a piping bag, and place in the fridge until needed. Remove the stone from the dates and blend with a splash of orange juice, to form a smooth puree. Pass through a sieve and reserve in a piping bag until needed. For the confit tomato: Cut a small cross into the bottom of each tomato, blanch them in a pan of boiling water for 5 seconds, then immediately plunge into a bowl of iced water. Peel the tomatoes and place them on a baking tray, then dry out in the oven for 30 mins at 95ºC. Place the sugar and water in a saucepan and bring to the boil until completely dissolved. Add the tomatoes and boil for a minute, then add the ginger, rosemary and peppercorns and remove from the heat. Once infused, reserve the tomatoes in a container with the syrup and spices. For the vinaigrette and to serve: Combine the lemon, lime and ginger, then add in the oil, whisking to combine. Remove the clingfilm and slice the monkfish ballotine very thinly, placing it on a plate lightly greased with olive oil. Dress with dollops of avocado mousse and date puree, scatter with confit tomatoes and finish with vinaigrette, micro coriander, paprika and chives.

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DINING

Champions of Cheese With its laid back vibe and intimate setting, Morty and Bob’s fits the bill for a modern, neighbourhood eatery with style and ease. And you know what? They make one hell of a grilled cheese sandwich while they’re at it words by Will HALBERT

n espresso machine hisses in the distance. Two friends exchange Tinder nightmares in a tone not nearly as hushed as they think it is. A French Bulldog belonging to the next table over gasps, slobbers and dances at my feet. There’s a steaming hot coffee in my hand. I have a new happy place and it’s Morty and Bob’s. With a clear leaning towards good coffee, off-thewall wines, inspired cocktails and locally-crafted beer, Morty & Bob’s of Coal Drops Yard serves up brunch, lunch, dinner and snacks with the best of them. That they do it with a friendly, convivial and downright effortlessly neighbourhood vibe is just a bonus. The menu is stripped back, sophisticated, and self-assured but I’m not about to kid myself: You can throw all the buckwheat, minute steak and spiced scrambled eggs you want at me (do it, I dare you), I’m still going for the grilled cheese sandwich whenever I find one gracing any menu. You see, the grilled cheese sandwich is the litmus test. It’s the kitchen equivalent of the Bloody Mary. It’s the same-same-but-different menu mainstay that everyone can put their own, unique spin on. And Morty and Bob’s do that to pretty terrific effect with their roast mushroom and truffle grilled cheese sandwich.

Simple, effective, elevated. This grilled cheese is a joyously decadent little number that (quite literally) oozes tasty, cheesy deliciousness. Frankly, it’s absurd to get this excited about a sandwich, but those nutty hints of roasted mushroom and that oh-so-subtle touch of truffle quickly turn a simple sandwich into a uncontested showstopper. Don’t get me wrong, Morty and Bob’s is a daylight to candlelight affair but you’re doing yourself a colossal disservice if you don’t at least stop by for a spot of brunch. In an in-for-a-penny-in-for-a-pound bid to double up on my dairy intake (and extend my impromptu date with Bingo the French Bulldog), I order up Morty & Bob’s homemade berry cheesecake for dessert. This too is masterful stuff. Light, fluffy, and fresh berry sweet, it feels like more of a palate cleanser than a coup de grace. I settle up, bid a fond farewell to my newfound forever friend, Bingo, and I head out into the hustle and bustle of Coal Drops Yard with a smile on my face, a spring in my step, and cheese over my tee shirt. EJ

mortyandbobs.com

DRINKING

Drinking With:

The Drop Uninterested in excessive esoterism of the wine world, the guys and girls of The Drop are just looking to celebrate damn good wine and the people who make it

words by WILL HALBERT

et’s be totally honest with ourselves, the world of wine - for all its charm and tradition - has long been awash in a sea of pomp and pretense. There’s something about a bottle of wine’s lofty heritage and lengthy, often unpronounceable name that lends an unnecessary gravitas to a wine menu. In this jargon-filled, heritage-laden smokescreen of a scene, The Drop stands out as a welcomed breath of fresh (and bullshit-free) air. Don’t get me wrong, their menu is rife with the weird and wonderful, but it’s the sheer fun of it all that sets them apart. The menu isn’t designed to intimidate or bamboozle; it’s an open invitation to explore, to discover wine’s future classics. To that end, we sat down with The Drop’s manager, Sam Orbaum, for a wine f light with a difference. EJ

thedropwinebar.co.uk

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Glass I: The Stab in the Dark Antonio Camillo, ‘Tutti I Giorni’ Bianco,Tuscany, Italy Consider this the roll of the dice, the wild haymaker of menu exploration. The Stab in the Dark is a wayward finger cast at an unknown wine, and it hits its mark just fine. A Tuscan Orange; trebbiano blend. Antonio Camillo’s Tutti I Giorni is a skin contact wine with notes of apple and f lint aplenty. Juicy, delicate and lightly f loral, this bianco boasts a lingering acidity that never overstays its welcome. Make no mistake: this is extremely pleasant stuff, and entirely too gluggable for its own good. That’s no accident, either. As its name suggests, Camillo’s ‘Tutti I Giorni’ is an easy, breezy, and endlessly approachable wine that’s perfect for everyday drinking. Not that we advocate everyday drinking or anything.

Glass II: The Hand Holder Domaine Nicolas Reau, ‘Clos des treilles’ Anjou Blanc, Loire, France The Hand Holder is an altogether more collaborative affair. The premise is a simple one: I tell the (impeccably well-versed) Sam that I’ve something of a soft spot for light, slightly effervescent whites. Something fresh and lively. Something in the style of Mother Rock’s chenin blanc, ‘Force Majeure’ (I’m not above name dropping for brownie points). Sam returns with a 2016 Anjou Blanc from Nicolas Reau. A first grade vin de Loire to be sure. This natural white offers up fistfuls of limestone minerality, expertly offset with a fresh, fruity zest. 12 months in oak barrels see to it that the wine is more of a kiss on the lips than a slap in the face, too. Nicolas Reau’s natural winemaking techniques come through loud and clear here. The manual harvest, wild yeasts, ambient fermentation and total lack of any fining or filtration all make for an upfront, direct, what-you-see-is-what-you-get wine that positively sings of its terroir.

Glass III: The Curveball VinNaturo, Tank #1, Cabernet/Sangiovese blend, Italy With the only guiding advice on my part being a (slightly tipsy) request to ‘surprise me’, glass number three is entirely down to the dealer’s choice. Sam’s curveball comes in the form of VinNaturo’s Tank #1. It’s a herby, brambly, and all-round easy drinking cabernet-sangiovese blend. It’s also a bag wine, a term that’s bound to set any wine snob’s teeth on edge. Wine has come a long, long way in recent years. Not in terms of production, necessarily - winemaking has taken some very welcomed steps back in that respect. But in terms of perception? Things have changed in a big way. There’s no better testament to that change than VanNaturo’s natural take on the humble goon. This lovely little bag-based blend of Cabernet and Sangiovese grapes eschews any semblance of stuffy pretentiousness in favour of an altogether more chuggy, gluggy, and generally laid-back approach to wine drinking.

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11/02/2020 17:08

DRINKING

Spirited Investments Tod Bradbury, Head of Rare & Collectable Whisky at Justerini & Brooks, talks us through the wild and wonderful world of whisky collecting

Interview by Will HALBERT

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ith over 250 years in the business and a collection of over four thousand wines and spirits from the greatest Châteaux, estates, domaines and distilleries in the world, Justerini & Brooks has unbeatable direct access to some of the world’s rarest and most collectable liquids. And as Tod Bradbury tells us, that’s particularly true of its collection of rare and fine whiskies. EJ

First off, tell us a little about yourself and what sparked your interest in whisky in the first place? My interest in whisky really began with my grandfather, he was instrumental in bringing Johnnie Walker to Africa in the 1950s. Because of this, whisky was always part of the conversation at home. I grew up in a small town called Crieff, which housed the oldest distillery in Scotland, even the smell of the distillery was in the background growing up. My parents still live in the area where the distillery manager and workers were housed. What drew you towards rare and collectable whisky specifically? For me, collecting is about rarity and scarcity. I was fascinated to work with whiskies that were individual, unique and one-offs. I found a great deal of enjoyment in holding - or even opening - bottles that only a handful of collectors and connoisseurs may have held or tasted. Justerini & Brooks isn’t exactly a new kid on the block. How does it feel - as a relatively young guy - to work for a company with such a rich history behind it? Justerini & Brooks is unlike anywhere else. The access Justerini has to some of the best liquids in the world is totally unique. This gives me the platform and the opportunity to discover gems for whisky collectors across the globe. Knowing that Justerinis’ has the credentials and the provenance is invaluable not only to me, but to my customers. There aren’t many places where you can be with a customer bottling their cask of Lagavulin one day, to visiting distilleries on Skye or Islay the next, just waiting to see if those casks that have been sitting quietly waiting to mature are ready for drinking. There isn’t any other company in the world where I could do that. What does a day as Head of Rare & Collectable Whisky typically entail? Typically, no day is the same. I spend a lot of my time travelling with clients across Europe, Asia, the U.S. and afar providing one-of-a-kind access to over 28 of the world’s most prestigious distilleries. I also work with customers to build their collections - helping source unique, rare bottles or casks of whisky that I know they will love.

‘For me, collecting is about rarity and scarcity. I was fascinated to work with whiskies that were individual, unique and one-offs.’

How do you go about sourcing your whiskies and developing your portfolio? Our access is unbeatable. Through our partnership with Diageo, we are able to connect our customers to some of the rarest whiskies in the world. From ‘silent’ or ‘ghost’ distilleries such as Brora 40-Year-Old or rare Port Ellen bottlings, as well as limited editions including the Talisker Bodega Series, rare cask finishes and limited or single cask bottlings. The portfolio is very dynamic – we are lucky enough to work with experts in the industry, who taste and monitor how casks are changing over time, so when they reach maturation it’s very exciting. After many years of waiting, this liquid is finally ready to share and enjoy. How has the world of whisky changed over recent years? Have you noticed the rise of any particular tastes or trends of late? Or the disappearance of others? The world of whisky has definitely changed, there is a distinct rise in the global demand for ‘ghost’ or ‘silent’ distilleries. These are distilleries that are no longer in production and so the amount we have is finite. This makes it scarce, rare and highly collectable. Brora and Port Ellen are two of the most desirable and my customers can’t get enough of them. Knowing that you have a whisky that no-one else in the world can taste is quite something. Customers are also looking for a personal connection to their purchases – they want to understand the craft, the people and time that goes into making these exceptional liquids. Owning a cask of whisky is the ultimate purchase, and it isn’t something you rush into. My customers want to taste, they want to visit the distilleries and understand the little piece of liquid history they are hoping to own. It seems to me that certain distilleries and whisky makers are becoming more and more experimental. Are there any particularly interesting expressions that have raised your eyebrow of late? You only need to look at last year’s Special Releases to see some examples of our whisky makers innovating from the classic distillery style. The smoky Cragganmore 12-year-old which was created using peated barley and then matured in refill American oak casks for 12 years was a real hit with collectors and connoisseurs. The world of rare and collectable whisky can be a dizzying one indeed. Do you have any advice for those new to collecting whisky? Any useful first steps to take? Any sure-fire investments we should be making? Before starting a collection, I always suggest working out the style of whisky you like. Think about different regions, flavour profiles; smoky, sweet, peaty, grassy, salty etc., malt or grain whiskies, and start tasting! Visiting a distillery is a great way of getting to know the process and understanding what goes into making whisky. It also means you can taste whiskies from that distillery and get a good understanding of their style. Once you know what you like and what you want you can start building your collection. In terms of an investment, we would never advise that you buy purely for commercial gain, as values can go down as well as up. So, it’s always worth remembering that anything you buy you should be happy to drink and enjoy. Do you have any ‘one that got away moments’? Any bottles/casks that have eluded you or are still on your personal/professional wishlist? There is nothing on the planet like a Brora 1972. This heavily peated era from the legendary ‘ghost’ distillery of Brora produced whisky which is unmatched in my opinion. A sensational dram. And lastly, are there any particular expressions we should be keeping our eyes out for in 2020? Absolutely, any Single cask releases, the 2020 Special Releases and any whiskies from our closed distilleries such as Port Ellen, Brora or Glenury Royal.

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A Cut Above Ian Harrold takes a look at the communal role of the local barbershop, and warns of the fine line that lies between a community and a cult words by Ian HARROLD

@ianharrold1

think one of the most beautiful things about the barber shop is the way in which it taps into so many different communities. In the most immediate sense, the barber shop is a part of the local community. I’d put money on the fact that there’s not a town or city in the word where you won’t find a barber shop nestled alongside the local butchers, cafe, newsagents or cornershop. It’s a cornerstone of the local community. Part cultural hub, part sanctuary. Traditions (my first barbershop) is now 25 years old, which says a lot in itself. We sponsor local kid’s football teams, we see the same faces (well, the same scalps

at least) on a daily basis. We feel a part of something. It’s a wonderful thing. Outside of that local sense of place and belonging, the barber shop also operates as part of a professional community. Over the

last decade or so, I’ve seen this community take on entirely larger, more prominent proportions than before. It’s been amazing to witness the proliferation of barbering events not only up and down the country, but around the globe. There’s a cultural overlap in the barbershop, a mutual understanding of what it’s all about. That sense of understanding and kinship can be vital to a barber’s success. The world of small, independent business (another community to which the barber shop belongs) is a scary one indeed. It pays to have people around you who understand the challenges of it all. Community, above all else, is a visible reminder that we’re not alone in our endeavours, whatever they happen to be. Then there’s the subcultural element of barbering’s communal standing, which is almost entirely a product of social media. This one’s a double-edged sword in my eyes. On the one hand, it has generated a newfound interest in the barbering trade, and it has allowed like-minded people to come together and collaborate in some truly amazing, inspiring ways. It’s not without its downsides though. I’ve hammered this particular nail a fair few times so I’ll keep it brief: Instagram has imbued the barbering scene with a renewed sense of community, but it’s also come at a cost. That cost is rampant tribalism and a perverse cult of personality that now seems to pervade the profession. Egotism is running amok, and if we’re not careful the community that we’ve worked so hard to build over the years will become little more than some pissing contest full of unchecked egos and unnecessary one upmanship. If there’s one thing Instagram is truly guilty of, it’s confusing the concept of a community with that of a following. In this day and age, it’s important to know the difference. Community provides a healthy sense of place, safety, and belonging to those who need it. A following often offers little more than a cultish, vaguely exploitative echo chamber designed exclusively to stroke egos. IH THE ESSENTIAL JOURNAL

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Craft Collaboration Russell Bisset, Founder & Managing Director of Northern Monk gives his two cents (or should we say, two thirds) on the collaborative spirit of the brewing industry interview by Will HALBERT

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From your Refectories to your collaborative brews, Northern Monk seems to seriously foster a spirit of community. Was that intentional? Does community play a big part in your overall philosophy? Yes, it’s a huge part of what we do. Community is at the core of our business, and we’re constantly looking for ways to give back to our community in the North. We really bolstered this in 2019 with the creation of our own grant fund scheme, the For the North Foundation. Through the Foundation, we gift £5000 grants to charities and projects that aim to have a positive impact on our communities. It’s inspired by the origins of Northern Monk, we started life in a parent’s cellar with a £5000 gift from a grandparent, and the Foundation is our way of giving that same opportunity to people that are making a real difference to the community. It’s not just about our external community either, we put a big emphasis on doing the best we can for our internal community of employees, making sure that we’re looking out for the whole Monk, not just the 9-5 Monk. We’re over the moon to have achieved three-star accreditation from Best Companies 2020, the highest level of accreditation you can achieve. On top of this, we’re listed in the top 50 of the Sunday Times Best Small Companies to Work For 2020, and we’re also named in the 75 Best Companies to Work For in Yorkshire & The Humber, but we don’t know our specific place in this list yet! Knowing that we’re doing the best by our employees, and that it’s being recognised externally, is really rewarding. What is the appeal around collaboration? What’s in it for the brewers? And what does it bring to the table for the drinker? It means that you can create something completely unique. Craft beer fans tend to be really passionate about their favourite breweries, and bringing two, three or maybe even more of these breweries together to make one awesome beer can create an incredible beer experience for the drinker. It’s unusual for an industry to be so collaborative, but breweries are always looking for ways to work together to create something really special. We genuinely enjoy collaborating and sharing information, and I think that this really resonates with the beer drinker.

DRINKING What are the challenges of collaborating on a brew? Any happy accidents while brewing: brews that didn’t go as expected but kind of worked anyway? It varies a lot. Most of the time we’re working with like-minded brewers who are on the same page, but like anything there’s always the odd one which is harder work, or there’ll be a situation where an idea doesn’t translate from paper to the brew as imagined. We’re only human, and we can’t get it right all of the time. One of the best examples of a happy accident was when we triple dry-hopped Striding Edge by mistake, it tasted incredible! Bad for our FD, good for everyone else.

‘How do we bring the world of craft beer, coffee and photography together?’

We were looking for an opportunity to use them on a beer… We’d also done a lot of work with photographer Tom Joy and had been discussing how we could build on the medium of beer and photography. We eventually decided to have an exhibition of his work using the beer can as a 330ml canvas. We’d produced a number of beers in collaboration with local coffee roasters North Star, and following a number of tastings, we settled on brewing a Coffee Porter that used extra additions to enhance the characteristics of single origin coffees. All of the elements gelled really well as a finished piece, and what people now know as the Patrons Projects was born. Do you have any personal favourite brews/cans from the Patrons Project? Any you’d recommend we start out with? Due to the fact they’re limited edition, you won’t find many older releases hanging around – so my recommendation would be to look out for our new releases, and drink them fresh!

The Northern Powerhouse collaboration is a wonderful way of showcasing what the craft scene in the North is all about. How was the experience for you guys overall? It was great to have the opportunity to take the lead on such an iconic project. It was originally set up by our friends at Wylam brewery in 2018 and sees independent craft breweries from across the North of England coming together to create a unique series of collaboration beers that exemplify the strength of the North’s brewing industry. Community, collaboration and creation are at our core, and the Northern Powerhouse sits in perfect alignment with these values, so we were incredibly proud to be a part of it. The Patrons Project takes the idea of collaboration and extends it far beyond the realm of brewers to involve all kinds of artists and individuals. Can you tell us a little about the project and how the idea came about in the first place? The Patrons Projects are an initiative set up to foster collaboration, creativity and community between artists, athletes, creatives, musicians and more across the North. Through the cross-pollination of ideas, we treat each Patrons Project as a curated, immersive experience, with everything from the recipe and ingredients used, to the can design, carefully chosen to reflect each individual Patron. Each Patrons Project contains 7 beers, and each beer features limited edition packaging artwork, and information about the collaboration on the reverse of a peel-and-reveal label. Each beer is limited availability, and only brewed for a short period of time. It’s an initiative that has been with us since the beginning. We’ve always supported artists, with a focus on our locality. In our early days we produced videos, made beers and commissioned street art, but no one was really aware of the work we were doing. We needed a vehicle to allow us to push this further and give a platform to some of the people we’d brought on board. We had a meeting with our label printer to talk about innovation. They’d produced a lot of peel-and-reveal labels for the pharmaceutical trade but hadn’t seen them used outside of this industry.

We announce all new Patrons Projects beers on our social media channels. We also offer a service called the Patrons Society that you can subscribe to via our online shop, which guarantees delivery of all the Patrons Society beers that we’ve released that month. In terms of a favourite, there’s too many to mention! It’s really difficult to narrow down to one. I love the Drew Millward series, and Tank Petrol and Haze Outdoors for many reasons, but if it had to be one, I guess it would have to be Tom Joy. It’s where the whole thing began. How do we bring the world of craft beer, coffee and photography together? By creating an exhibition with cans as the format and beers based on single origin coffees. It worked and it’s led to incredible things.

you can find out more by visiting northernmonk.com

And finally, how would you describe the current state of the craft beer scene? Where do you see it heading five years from now? I think the UK beer scene is in good health. There’s a long way for the industry to go here. The quality of output from our peers and ourselves improves year after year. I have no doubt that we’ll see more highly curated “micro” beer experiences, like brewpubs and brewery tap rooms, but alongside that we’re seeing more and more better beer becoming widely available. There’s been a tonne of innovation over the past few years - many styles that won’t make it, but some that will. Hazy IPA or New England style IPA is certainly here to stay, and we’re excited to be able to finally increase the availability of Faith over the course of the next year or so to meet this demand..

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Essential Thoughts On: These Three Cans A simple task: swing by Coal Drops Yard’s House of Cans, have them pick a beer each for us, and let the good times roll. Cicerones we ain’t, but we know what we like words Will HALBERT, Elliot RAMSEY, Tom SUMNER

Explosions in the Sky

6% NEIPA from Neon Raptor Brewing Co. WH: I’m absolutely one to judge a beer by its can. And the fact that Raptor Brewing Co. gives off some serious Drive vibes right off the bat means I’m already pretty biased in its favour. Looks aside, NEIPAs are my proverbial jam. They’re big, bold and hazy as all hell. This is all of those things and more, with some hefty pineapple and passionfruit notes to boot. Remember Um-Bongo? This is exactly that, but fiercely alcoholic. It’s very much the kind of juice I wish I was packing in my high school lunch. Drink responsibly. ER: To be honest, I don’t really know anything about beer but God loves a trier, so here goes. This fruity little fella was a real treat, even for someone with as unrefined a palate as mine. I couldn’t really distinguish what the fruits were, but they were all predictably delicious. I was, however, left with the distinct feeling I’d have an absolute corker of a hangover off a couple o’ cans of this one. Very enjoyable. TS: Oh, that’s good. Real fresh. I like fresh tasting beers, though I couldn’t tell you what makes them ‘fresh’ exactly, probably a certain hop. There’s a little burn here too, a warning sign of things to come if I tried to spend the whole night on this beer alone. It’s not Neon Raptor’s fault, I think they’re great. It’s just the New England style doesn’t do things to me that other styles do. These guys seem to be the new kids on the block - or on the fridge shelves - in the craft beer haunts of Liverpool. But they’ve absolutely nailed their consistency. The rest of their range is great. This would go so well with habanero crisps.

Pale Ale

5.5% Mosaic & Simcoe Pale Ale from Polly’s Brew Co. WH: These are big juicy, tropical flavours at a slightly more sessionable strength. Polly’s Brew has hit a really sweet spot here; not too dry; not overwhelmingly sweet; not an unnecessarily elaborate hop flex in sight. This is easy, breezy summertime drinking. Also, simcoe is a great hop. I’ve no idea what it tastes like in isolation, exactly. But it sounds great. Often, when I share a beer with my dog Ralph, I’ll tell him about how I’m going to buy a bigger, smarter, more obedient version of him and call him Simcoe. How we laugh. Drink responsibly. ER: I like this one. It feels a bit more approachable than the NEIPA. Jesus, I’ve gone from professing absolutely no knowledge of beer to using the word ‘approachable’ to describe one, in the space of a paragraph. TS: I Don’t even need to write anything about this. It’s that good. Pales, sessions and hazy double IPA’s are exactly where you’ll find me. This ticks all the boxes as far as I’m concerned. Easy to drink and super, super fresh (there’s that word again). You know what? This would go really well with habanero crisps

Shadow Cast

6.5% Chocolate Stout from Burnt Mill Brewery

houseofcans.co.uk 46

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WH: Chocolate stouts are typically too sweet for me, but this is a tall can of weighty, ashen, and surprisingly subtle goodness. The chocolate is present and correct, but it’s the hint of roasted coffee that I really like. This is an open-fire, post-roast Sunday beer to be sure. Shadow Cast makes me feel like I should be sitting in some fisherman’s tavern after a hard day’s toil - with a beard bigger than I already have and an accent no one can actually place - sloshing pewter mugs around and singing sea shanties with my good pal, Ralph. Or was it Simcoe? Drink responsibly.. ER: Controversially, I do not like chocolate. Long story short: I gorged myself on selection boxes one Christmas in the late nineties and things have never been the same since. I do enjoy drinking stouts, though. When I used to work in a pub, the old men who drank stouts looked like wizards and had the best stories. Really, drinking stouts is kinda like wise, old man cosplay. I haven’t really commented on this beer very much, have I? TS: Damn, the guys at House of Cans looked after us here; three of the best British breweries right now. We’re just missing Verdant and my favourite, Northern Monk. But they’ve got their own feature in this issue, so it’s all good. This has a lovely mouth feel. The chocolate isn’t so intense and that’s fine by me. I’m fairly new to stouts but I love them. I can’t drink too much though, I fear they will turn my stomach before long. The thicker the better too, I want it to be like a milkshake or liquid chocolate cake with peanut butter and jelly flavours. This beer is none of those things, but I enjoyed it. I might be repeating myself here, but this would go really well with habanero crisps.

CULTURE

Coffee and Conversation As it turns out, La Marzocco’s community extends far beyond the growers, roasters, baristas and connoisseurs that make the coffee scene so rich and vibrant

words & interview by Will HALBERT

o celebrate the release of their third studio album, No One Else Can Wear Your Crown, London-based, alt-pop two piece Oh Wonder teamed up with La Marzocco to embark on a mini tour through London, Southampton, Leeds, Nottingham and Oxford. Guests were treated to an exclusive coffee cupping and, of course, a live Q&A session with the band. We caught up with Oh Wonder’s Anthony and Josephine at Leeds' (rather incredible) North Star Coffee Roasters to talk about the band’s biggest musical influences, their current collaboration with La Marzocco, and their growing love for all things caffeinated. EJ First things first: how did you guys meet? And how did you go on to work together? Anthony: We met years ago through a mutual friend of ours, who was in a band with me. We were introduced at a show way back when, but it was a couple of years before we actually started working together. Josephine: Yeah, we met fleetingly at gigs and through friends while I was a solo artist. Someone suggested Anthony to me as a producer. We got into the studio together and immediately clicked. Why do you think that was? Do you guys have a similar philosophy when it comes to music? A: Absolutely. I think our shared taste in music helped too. Weirdly, our parents exposed us to pretty much exactly the same music growing up. The likes of Joni Mitchell; Carole King, Elton John...

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J:...James Taylor, Cat Stevens. You know, classic songwriters. A: I think, ultimately, we have a very similar love for the craft of songwriting. That’s the major pull for us. We’re not really drawn to production. Generally, a song will catch my interest because of a punchy line or a chorus melody. J: We both grew up listening to the likes of Feist and Death Cab for Cutie; artists that really put the songwriting first. A: You can easily dress up an okay song in shiny production values, but we’re really not interested in that way of doing things. We’d rather make sure we had a solid song locked on piano and then crack on to production. Your music is written, recorded, produced and mixed entirely by yourselves. What are your thoughts on the importance of collaboration? J: It’s absolutely key. We were both solo artists for about ten years prior to working together, but it just came so naturally. We both left our egos at the door. We realised that what one of us might be lacking on our own, the other one had. That’s why it’s such a great partnership. For example, I could never produce my own stuff. I had loads of ideas on an exec level, but didn’t have the means to realise them in a practical way. Anthony grew up doing that side of things for other bands; he knew how to tease the best out of a song. I’m good with chords, Anthony excels in melodies, we’re both good with lyrics. When you combine all of that together you get something that really works. What’s the best part about collaborating in the way that you do? J: We’re good at being vulnerable with one another. That allows us to be honest. I think that’s one of the biggest lessons I’ve learned from this whole thing. If Anthony turns around and says ‘mate, that lyric is dogshit’, you can take that directness on board without getting offended, because we’re both working to a common purpose. A: We’re making better art as a result. If you’re trying to better the communal cause, you can’t be precious about your words and feedback. It needs to be clear and constructive, and it needs to be honest. J: We’re lucky in that sense. Because you just can’t do that with everyone you work with. Some people get well offended. The coffee tour is such a unique idea. How did you come to work with La Marzocco in the first place? A: I am a huge fan of good coffee. A bit of a nerd if I’m honest. We tour a lot, and one of the main issues when it comes to travelling so much is the lack of quality coffee. And when you’re touring with a crew of 12 or more you need coffee! So we reached out to the guys at La Marzocco years ago and they hooked us up with a Linea Mini espresso machine. From then on, I started to take coffee pretty seriously. J: He got well into it! He got his own stamp and everything so he could brand his cups and give them out. A: It was great! In each town we stopped at we’d get to the venue and there’d be a bag of coffee from the local roasters to try out. It was an amazing way to meet some local roasters. We’d invite them to shows and get to know them. When we toured South America we got to meet some incredible roasters and some really nice people along the way. Do you find there’s a sense of community around specialty coffee? A: There really is, and on so many levels too. Not only does a love of coffee put you in the company of like-minded folk, it can also take you to some amazing places. Speciality coffee is a way into some incredible communities. You can really infiltrate a place with those niche interests. You can meet such cool people. J: I can vouch for that. We once had to travel out to the fringes of Bogota because Anthony wanted to check out a roastery there! Those little coffee shop adventures must be great when you’re on tour and have such small windows of opportunty to speak to people outside of your crew. A: Yeah for sure. When you’re on tour, you generally see the same people day in, day out. Now that’s cool, because they’re great guys. But sourcing out some coffee shops and roasters gives us the chance to step outside that box and meet new people. And of course the coffee community is so open and welcoming, so it’s a great experience all in.

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When you’re not touring, do you guys have any set coffee routines? J: Literally the first thing Anthony does when he gets up - before all else - is turn on the coffee machine! A: Yup! I get up in the morning, switch on the Linea Mini and fix myself an espresso and a long black. I don’t drink milk, so the espresso and long black are my go-tos. J: I’m kind of the guinea pig for the milkier coffees. He’s really into latte art, so I tend to drink his practise attempts! I’m now a flat white connoisseur of sorts. Wherever we go around the world, Anthony will always get the same espresso/long black combo, so I’ll normally end up with the flat whites and cortados. So I’ve developed a pretty good palate nowadays! So I’m guessing that, out of the two of you, Anthony has the better latte art? J: Anthony is the only one who does latte art in this partnership! But he doesn’t even drink milk. So I’m calling it a draw. A: I actually did a little latte art throwdown with the guys at La Marzocco the other day. They came away with the most insanely beautiful rosettas, whereas mine looked more like a dog turd. So the latte art is definitely still a work in progress. Do you have any coffee shop recommendations from your time spent touring? J: Gold Drops in Melbourne had a flat white so good it almost brought me to tears! Your latest album, No One Else Can Wear Your Crown, has just been released. What’s next for you guys? J: Yeah the new album has just come out! So once we’ve wrapped up our lovely little La Marzocco coffee tour we’ll be headed out on a full-blown world tour. That will see us right through to 2021. And lastly, where are you most looking forward to stopping off at while you’re on tour? J: Oh that’s a tough one! Touring Asia is always such a joy. The coffee scene out there is great too. A: Yeah Bangkok is unreal. Same for Jakarta. Indonesian coffee is legit! There’s a lot of Australian influence out there, too. A lot of their baristas get their training in Melbourne before heading back. They’re lightyears ahead of Europe if you ask me. The shops out there are crazy!

Oh Wonder’s new album, No One Else Can Wear Your Crown, is out now.

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On the Pass with

Tommy Banks Tommy Banks extols the virtues of shopping small, supporting independent, and genuinely putting your money where your mouth is words by Tommy BANKS

ave you ever tried a real curd tart? They’re quite unlike the custard tarts that most people are used to eating. They’re made by splitting milk to create curds and combining them with sugar and eggs. The outcome is actually kind of grainy, more akin to a cheesecake, and invariably delicious. Traditionally, these curd tarts are made from beestings, which is essentially the first milk produced by a cow after delivering a calf. This makes for a thick, mineral-rich milk. Don’t worry, this isn’t me trying to plug our Yorkshire Rhubarb Custard Tart (on the menu at Black Swan, if you’re interested). It’s me wanting to take a minute to talk about the people (beyond the chefs and servers, of course) who make it possible. You see, our curds come from the milk produced by our friends at Cow Corner. They’re one of the many small businesses that we work alongside on an almost daily basis. In my line of work, it’s important to collaborate with those who share your story and philosophy, because when you truly know where someone has come from, the road they’ve walked, then you’re in a far better position to help one another. Typically, a dairy farmer will get around 10p per litre of milk from the supermarkets. That’s almost completely unsustainable in every conceivable way. When you consider the added costs of the energy used to pasteurize the milk and all those plastic bottles used to contain it, the whole endeavour quickly becomes a lose-lose-lose situation. The family-run Cow Corner, on the other hand, runs a vending machine and is able to charge £1 per litre by selling direct to the customer. That’s ten times the sum they’d get from the supermarket, and they aren’t forcing cows to produce excessive amounts of milk to match supermarket demands, either. These are the people and businesses that we want to support. I know there’s a lot of debate around the meat and dairy industry nowadays, and many people are opting out of it entirely. That’s fair, but there is a middle ground. It’s possible to consume meat and dairy in a more conscious and respectful way, and knowing who it is you’re buying from is the first step in that. The next step is how you use it. There’s not a drop of Cow Corner milk, for example, that gets wasted over at Roots and Black Swan. Beyond the obvious uses, we make yoghurt with it - which is used at breakfast at the Black Swan and on the Kale at Roots. We use the whey in our fish dishes. The curds - as I’ve mentioned - go into the curd tart. We also turn it into caramel. Like I say, every drop gets used. But our relationship with Cow Corner is about more than just milk. It’s educational, too. Whoever goes to collect the milk is gone for a good couple of hours. The vending machine is right next to the family house, and they’ll always pop out for a chat. A lot of our chefs didn’t grow up on a farm like I did, yet are using produce directly from the farm. So they talk the staff through it all. Now I really stop and think about it, it’s no exaggeration to say that our collaboration with the Cow Corner has gone on to form the very backbone of our menus. Naturally, we pay more for quality and heart like this. The same goes for The Courtyard Dairy, Rhubarb Robert, and Jane’s Pottery and any of the other small, family businesses we work with. But we’re supporting like-minded individuals and their expertise in the process. In my world, plenty of people talk of buying small but don’t necessarily act on it. The true art of collaboration comes down to getting to know who you’re working with, what they’re about, and ultimately creating something that everyone involved can take pride in. Sometimes, that’s as simple as a well-made curd tart. TB

Find out more about Tommy’s food online at: blackswanoldstead.co.uk \ rootsyork.com

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DRINKING

Cognac in the Capital A guide to getting your Cognac fix in the Big Smoke words by Will HALBERT

Tasting Notes Head buyer at The Whisky Exchange, Dawn Davies MW, tells as why (and how) we should all be drinking Cognac words Dawn DAVIES MW

ognac is, to give it its simplest title, a brandy. A grape-based spirit from the Cognac region in France, it was originally distilled by the Dutch in the 15th century in order to preserve the Charente wine they liked to take back to Holland, and was brought to the UK as a luxury spirit for aristocrats in the 19th century. It’s also so much more than that. Strictly regulated for the past 125 years to protect its unique f lavours and production methods, Cognac has become a truly global spirit, with 216.5 million bottles shipped to over 160 countries every year according to the BNIC – the regulatory body for Cognac. The consumption of Cognac has changed over the centuries in line with broader cultural shifts, moving from after-dinner drinking and cigar pairings in private members’ clubs, to trendy cocktail bars and even the heart of hip-hop culture. It’s been served neat, mixed into classic (and not so classic) cocktails, and enjoyed as a long drink with soda by the younger generation since before the Second World War. But how should we be enjoying Cognac today? The answer is simple: however you like. Cognac is a versatile spirit ripe for experimentation, and there genuinely is a Cognac – or a way to serve Cognac – that will suit any spirits drinker. Sure, when drinking the older expressions – like XOs, where the liquid has been aged for a minimum of at least ten years – it’s ideal to sit back and enjoy the complex aromas and f lavours of the spirit neat. Depending on the Cognac, you’ll encounter a dark spirit with notes of anything from jasmine and honeysuckle to rich vanilla, nutmeg and tobacco. For younger Cognac, why not mix a simple long drink – just add soda for a refreshing summer serve or dry ginger ale for a perfect winter expression. It’s also great to experiment with Cognac from different houses. There are some houses, such as Hennessy, that have made big names for themselves, but there are so many more smaller houses such as Frapin (pictured above) and Hine making great Cognac to discover. Above all else, Cognac is a spirit to be enjoyed – responsibly, of course – and it takes experimentation to find which of its many styles suit you best. As luck would have it, there are lots of ways to try Cognac in the capital, so why not give it a try? DD

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The Cognac Show

Taking place on 24th-25th April in Glaziers Hall, the Cognac Show is an award-winning foray into all things Cognac. With over 150 different Cognacs to sample and enjoy, The Cognac Show is a no-brainer for newcomers and connoisseurs alike. Tickets are available from £50. cognacshow.com

Cognac Cocktail Weekend

Those looking to see what kind of a storm Cognac can cook up in a cocktail should also check out Cognac Cocktail Weekend (24-25th April). Sweeping the capital with Remy Martin, bars across London will be adding limited edition £6 Cognac cocktails to their menus. The weekend offers a great opportunity to get (re)acquainted with Cognac and discover a few new bars while you're at it. Drinkup.London

In-store at The Whisky Exchange

And of course, The Whisky Exchange stores in London have a stellar selection of Cognacs offer all year round and a rather lovely team who are more than happy to talk you through them. EJ thewhiskyexchange.com/shops

What’s On

February – March

Tuesday 18 February 8pm Music Room

Monday 9 March 7.30pm Film Screening

Gill Landry

Brief Encounter (cert PG)

Thursday 20 February 8pm

Sunday 15 March 7.30pm

Foil, Arms and Hog: Swines

Kodo

Friday 21 February 7.30pm

Soul Legends Friday 21 February 8pm Music Room

Emily Portman, Rob Harbron & Emma Reid with National Youth Folk Ensemble

Box Office 0151 709 3789 liverpoolphil.com LiverpoolPhilharmonic liverpoolphil liverpool_philharmonic Image Kodo

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Addressing the Table with

Jake O’Brien Murphy What’s life without the meaty, briny charm of the edible bivalve? Jake O’Brien Murphy waxes poetic on the singular joys of the humble oyster words by Jake O’BRIEN MURPHY

onathan Swift once said, ‘he was a bold man that first ate an oyster.’ But then I always wonder about the first lunatic to purchase a Coldplay album, or worry about the mental wellbeing of the unhinged fella who volunteered to willingly be inflicted with the inaugural Prince Albert. There are times in life when oysters are just what the soul needs. On the other hand, I’ve never once yet been compelled to spring from my bed, cast my gaze across the glory of the unfolding sunrise, take a deep lung ful of lazy morning air and exclaim ‘today is the perfect day to pay actual money to a man called Digger to drive a needle through my genitals’. There’s something rather visceral about eating oysters. You are forced to cross a cultural bridge. Each step forward is one away from a world of placemat settings and courteous small-talk and into somewhere far away from the jurisdiction of table manners into the undomesticated dinner table. It’s the wild. Eating oysters is the vitality of tasting the ocean. Leave your knives and forks behind. It’s gnashed teeth and self-conscious slurping. I’m sad to say I’m a latecomer to the party, I gatecrashed when the buffet had been plundered, the DJ was already packing up around the ankles of slow dancers while some joker was pissing in the punchbowl. I was late, but willing, ready and resolved to keep the party going. Whenever there are oysters on offer, I will order as many of them as is polite. Then I’ll order an impolite portion too. One of the main yawnsome complaints people bore on about when discussing oysters is that they are slimy. I can honestly say I’d prefer a slippery oyster to a dry one. You’ll tend to find spending time in the vacuous company of people who are content to play the role of the pedestrian in their gastronomic imagination is much more detrimental to your health than an iced dozen. Oysters are holistically a good-for-you food, rich in those en-vogue nutritional darlings, omega-3 fatty acids and antioxidants. High in protein and mercifully low in carbs. My sole complaint with oysters is one simple triviality: they couldn’t look any more extra-terrestrially inedible if you tasked Douglas Adams and a Wookie with dressing them. The best way to photograph an oyster? With the lens cap on. A year or so ago on a blazing afternoon off in mid-July, I was lost, bumbling my way through a Brooklyn industrial estate with a hangover that stung so much it could have been inherited from a past life. That dull, thudding model of next day anxiety that lets you know your essential organs are working at

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the bare minimum requirement to keep the headlights flickering and no more. New York is a hell of a place, it’s a city with eight million different stories all encompassing love, loss and the entire human struggle in between. They’re all plaited together by unrelenting taxi horns and a calamity of stampeding feet. This particular afternoon it all felt as if the entire weight of a New York minute fell just behind my eyes. Because it loves company, misery conspired to bring my suffering into conjunction with a friend of mine, Emilio, whom I stumbled into in a similarly aimless state and was somehow looking worse than I felt. Emilio Di Salvo is the kind of man who is so laid back he’s horizontal. He’s cool, in a this-is-byaccident kind of way, he’s one of the few people in the world who is instantly likeable, and he possesses a smirk that’s a binding contract for mischief. If he had a catapult in his back pocket, I’d bring the stones. We were at a major booze convention; a labyrinth of recycled chat, free testers, civil nodding and tactful backing away. Emilio leads us through the maelstrom into an oyster stand and grinned. Granite flutes covered in amaranth and other unknowable slimy sea veggies were being shucked by the tray load. Revealing soft innards fringed by pearlescent slopes that undulated under the soft, air-conditioned atmosphere. In doing so, they sent up plumes of fine silver mist creating a microclimate of fresh sea air. A welcome oasis in the otherwise crusty-convention-desert. I wasn’t sure. Even as evangelical as I was about oysters, this tested the confidence of my faith.

‘There’s something rather visceral about eating oysters. You are forced to cross a cultural bridge. Each step forward is one away from a world of placemat settings and courteous small-talk and into somewhere far away from the jurisdiction of table manners into the undomesticated dinner table. It’s the wild.’ ‘ Your body won’t know what hit it,’ says Emilio. ‘It’s too busy concentrating on the hangover, then you eat one of these little aliens and it’s a hard reset.’ Shuck. Slurp. Chew. Gulp. Wouldn’t you know it? Of course, Emilio was so very right. Proof that sometimes, the soul only calls for oysters. Naturally, we outstayed our welcome at the stand. Leaving a small pile of decimated shells clattering about our feet, we strode into the crowd new men in search of a stiff drink. JOM

@jakeobrienmurphy

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And Another Thing:

Style over Substance Our Editor in Chief wants you to bask in the obtuse, ad-hoc, and no doubt caffeine-injected glory of all the things he reckons on the subjects of style and substance

words by Will HALBERT

nyone who hit up the Primer before stumbling upon this present page will know my thoughts on The Lighthouse. And for those rebels amongst you who leaf through their magazines backwards and haven’t quite reached the Primer yet, then spoiler alert: I liked The Lighthouse. I liked it a bunch. That said, its ending sure did get my back up. Don’t worry, I won’t reveal any specifics. Not in the interest of good form and etiquette, you understand. But simply because there isn’t much to discuss.

The ending is an outright cop out: a damp squib that confuses lazy ambiguity with genuine intrigue. It’s made all the more infuriating because The Lighthouse is a film that knows it will get away with it. From sight to sound to sea shanty, the film is uniformly spellbinding, and it flirts with just enough mythology that it knows its fans will do the legwork for its style-over-substance shortcomings. There are worse culprits. Alex Garland’s Annihilation and Todd Phillips’ Joker spring to mind. The former is a cryptic and ultimately meaningless exercise in CGI-laden self-indulgence, the latter is a cynical, exploitative and downright shallow Taxi Driver ripoff. Both would swear blind that they’re deeper, more meaningful, more artistic than they truly are, and that anyone who says otherwise is stupid, wrong, or just doesn’t get it. It’s not the shallowness of the whole endeavour that bugs me, necessarily. It’s the insecurity of it all. To defend a film is to defend one’s own tastes and sensibilities. People will defend a film to the death if they think their own perceived intelligence is on the line - partaking in some lofty, pseudo intellectual contortionism while they’re at it. We see this in professional critiques too. Typically, you can tell how fiercely a critic is trying to defend a film’s shortcomings by just how many allusions and references to other (better) works said critic throws into their review. For those looking to beat me about the head in some ad hom clap back I’ll make it easy for you: one of my favourite films is Drive. Yes, that Drive. The posterboy of cinematic style over substance overindulgence. The difference lies in the fact that, unlike Annihilation and Joker, Drive is entirely unapologetic in its own vapidness and wanton excess. There is absolutely nothing to get here. It’s 95 minutes of neon-drenched ultraviolence, and not a second of it needs to be justified, explained, or selfishly overinterpreted. It’s also got Ryan Gosling in it. What am I getting at? Well, other than that fact that I dig The Lighthouse in spite of its shortcomings, I’m getting at exactly this: ambiguity and edginess aren’t big or clever, they’re just loud, obnoxious indications of a collective insecurity; Joker is overrated; Annihilation is a bona fide piece of shit, and Ryan Gosling is objectively good looking. Anyone who says otherwise to any of the above is just stupid and wrong. WH

NOT JUST A BARBERS...

attitude

66 Rose Lane, Liverpool L18 0151 724 5277

attitude TOPMAN Church Street, Liverpool1 0151 709 1844 (opt 6)

SHOP OR BOOK ONLINE AT www.attitudemenshair.co.uk

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Architectural Thoughts On:

Community Land Trusts As modern living has us wired to treat homes as commodities as opposed to fundamental human rights, Roisin discusses the compelling alternatives provided by Community Land Trusts words by Róisín HANLON

ast month, I talked about winter gardens and mentioned the winter garden at Granby Community Land trust. For this issue I am going to look at Community Land Trusts in a bit more detail. Community Land Trusts (CLTs) are organisations set up by residents to ensure the future of their local community. They buy, or are gifted the land on their site and then they are the sole owners and can act as stewards for the neighbourhood. This stewardship generally focuses on facilitating affordable housing, this may involve building new properties or overseeing existing properties - ensuring house prices and rent stay affordable for the local residents. They also protect and maintain any community assets such as parks, community centres and the like. There are currently over 250 CLTs in England and Wales, with more forming. The CLT model emerged out of the Civil Rights Movement in the US, where the use of CLTs helped to nurture opportunities and independence in African American communities. The first was named New Communities and was ‘a nonprofit organization to hold land in perpetual trust for the permanent use of rural communities’. It was not until the 2000s that the movement became more popular in the UK. CLTs are now defined in UK law – they must be set up to help a specific community and they must be not-for-private-profit. This means that a successful Land Trust should aim to turnover a profit, but this must then be fed back into its community. Granby is not the only CLT in Liverpool. On the edge of Anfield and Everton, right by Liverpool Football Club, is Homebaked CLT. The trust was originally formed on the premise of saving the local bakery and re-opening it as a starting point for social enterprise and affordable housing. The bakery was threatened with demolition in a proposed master plan, but the CLT proceeded with renovations regardless and opened it up as a business. This affirmative action provided a platform for negotiation with the council and eventually led to the bakery’s exclusion from demolition. The Homebaked Bakery Co-operative is a part of the CLT who wanted to re-open the bakery as a community owned business. The bakery is now open Monday to Saturday as a fully functioning bakery; and sells loaves, pastries, breakfasts and their now-famous pies. On match days, there are queues out the door, with the preor- post game pie being tradition for some. Local people are employed and given training and a living wage. If the bakery ever has leftovers, these are donated to those in need. With the ‘Build Your Own High Street’ project, the CLT also hopes to create more affordable housing and focus on community consultation to discover the best solution for residents. There are very successful CLTs all over the country; Middlesborough, Bristol, Brighton and Rhyl are just a few locations. It is not just small cities that have utilised this community spirit. London CLT is the first trust to sell homes in the capital. Their St Clements development - which renovated a Victorian hospital - has house prices that are linked to median local income; not market value, ensuring affordability. This means that in 2017 properties were priced at approximately a third of the open market values - £130,000 for a one bed, £182,000 for a 2 bed and £235,000 for a 3 bed. Prices that won’t be found elsewhere in Mile End. London CLT are also currently working on proposals in Lewisham, Lambeth, Redbridge and Shadwell. Community Land Trusts can make developers uncomfortable because they ask us to reframe how we look at housing. For many a property is an asset – a step on a rung which can be used to make money, for example by redevelopment, or rental. An addition to a personal portfolio. But CLTs hold up property ownership not as an asset, but as a home. In a trust, a house is not a commodity to make money from but a fundamental right – a place of stability and safety where a person or family can base their lives. CLTs serve as a reminder that if we allow housing to become a financial commodity, we run the risk of house prices increasing and increasing until no one can afford them. After all, is it not more shocking that one person can be turning a profit from a spare home whilst another person has no home at all? RH @roisin_writes

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DRINKING

The Million Dollar Dram What’s the biggest bar tab you’ve ever run up? Whatever it is, the hammer price of this Macallan 1926 Valerio Adami 60 Year is bound to make you feel better about it words by Will HALBERT

s far as communities dedicated to the collection of the world’s rarest commodities and covetables go, you don’t get a more dedicated crowd than the whisky affectionados. Sure, there are your watch enthusiasts, but there’s something about the finite (not to mention drinkable) nature of whiskey that makes its collectable status all the more intense. Take this bottle of Macallan 1926 Valerio Adami 60 Year Old, for instance. With a hammer price of $1,072,000 (£825,000), it has just broken the current world record for the highest ever sale price for this rare, iconic whisky. Not within the four walls of some auction house, you understand, but online. Indeed, this record breaking achievement comes hand in hand with another world first: Whisky Auctioneer, the online auction house behind the sale, has become the first online whisky auction to sell a million dollar bottle. No mean feat. The Macallan in question is a rare beast indeed. A literal and metaphorical work of art to be sure, a mere 12 individually numbered bottles were produced, each with a specially designed label by artist Valerio Adami. Each bottle offers a slice (or should I say, dram) of whisky history. The auction, which saw the participation of 1642 bidders from across 56 different countries, set an impressive benchmark for both Whisky Auctioneer and the secondary whisky market at large. More importantly, though. It provided a rare glimpse into the passion, dedication, and tenacity of the whisky collecting community. EJ whiskyauctioneer.com

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COLUMN

Coffee & Council with

Adonis Michael

It might come as a surprise to some, but the corporate sector and the local community aren’t always worlds apart. Adonis weighs in on the good that can be done when business and community come together words by Adonis MICHAEL

recently read an article on the Italian Football Club, AS Roma and their collaboration with The National Centre for Missing & Exploited Children in the US and Telefono Azzurro in Italy. This was to use the club’s social media channels to raise awareness about the plight of missing children. It’s not often you see something like this, I was intrigued. Basically, with each player-signing announcement the club made, a video was released that featured the faces and details of a number of children who are currently missing – with the goal of generating publicity that could result in someone, somewhere, offering valuable information about the whereabouts of the missing child. The club subsequently partnered with a dozen charities and organisations around the world, tailored to which player they signed. This has so far resulted in six missing children being found, three of the now-found children were from London, two in Kenya and one from Belgium. This made the headlines, with media outlets such Sky Sports News, Talksport and the BBC reporting in glowing terms about the campaign. One of the Kenyan children was featured in the transfer video for England’s Chris Smalling, when he joined on loan from Manchester United. A wonderful and heart-warming story, but what would be the value of such goodwill to a company or a brand? Of course, I am not suggesting that the football club started this campaign with anything other than altruistic reasons in mind, but it has been hugely positive for them. Which takes me to one of the buzz phrases that we often hear when we discuss business and community engagement “Corporate Social Responsibility “(CSR), a broad concept that can take many forms depending on the company or industry. Essentially, the idea is that through CSR programs, charity, and volunteer efforts, businesses can benefit society while boosting their own brands. Community engagement is one of the key pillars of CSR and it can be implemented at any level, from a small independent restaurant to a huge corporation like Coca Cola, from supporting a small local charity to a huge international initiative. For most businesses, it makes commercial sense to get involved in community-based CSR related to your product or service. This lets you use your expertise and show the human face of your business at the same time. For example, some restaurants provide food to local homeless groups, Law firms (including yours truly, MRB) have taken part in initiatives such as Will Aid, offering free Wills to people for an entire month (November each year!), or free advice at Citizens Advice bureaus for a few hours a week. This type of engagement is morally rewarding but also mutually beneficial to the business and to the community. Working with your local community can bring a wide range of benefits. For example, for many businesses, local customers are an important source of sales. Demonstrating commitment to your community can also improve your business reputation and, in turn, make it easier for you to recruit or retain employees. A good relationship with local authorities can also help. For instance, some local authorities prefer to award contracts to businesses with a record of community involvement. I like to look at it a little bit like Karma. Namaste. AM

michaelroseandbaylis.com

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