Issue 54 - The Japan Edition

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54

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NEW F-PACE CHEQUERED FLAG EDITION.

TAKE YOUR OWN LANE.

To celebrate 70 years of Jaguar’s racing pedigree, we’ve injected racing-inspired design, dynamics and refinement into our most exhilarating luxury SUV. Introducing the exclusive F-PACE Chequered Flag.

Call or visit your local Hatfields retailer to book your test drive today.

Hatfields Jaguar Hull 01482 627 300

Hatfields Jaguar Shrewsbury 01743 234 300

Hatfields Jaguar Wakefield 01924 381 111

Hatfields Jaguar Liverpool 0151 728 2000

Hatfields Jaguar Sheffield 0114 268 4741

hatfields.co.uk

Official Offi cial WLTP Fuel Consumption for the 20MY F-PACE range in mpg (l/100km): Combined 22.6 - 46.8 (12.5 - 6.0). NEDCeq CO22 Emissions 272-14 2 THE ESSENTIAL JOURNAL figures differ. figures Real world fi gures may diff er. CO 22 and fuel economy fi gures may vary according to factors such as driving styles, environmental conditions, load

R-Sport leather interior

Racing inspired design

Features to excite

40 g/km. The figures provided are as a result of official manufacturer’s tests in accordance with EU legislation. For comparison purposes only.

THE ESSENTIAL JOURNAL 3 d and accessories.

NEW RANGE ROVER EVOQUE

CAPABLE. YET INCAPABLE OF BLENDING IN.

New Range Rover Evoque is as at home on city streets as it is on mountainous roads. It has all the capability credentials of a true Land Rover but with all the city smarts too, such as ClearSight Groundview* technology. This displays what’s underneath the bonnet so you can keep an eye on those awkward high kerbs when parking.

The Evoque really can do anything. Apart from avoid admiring glances.

Call or visit to book your test drive today.

Hatfields Land Rover Hull 01482 645 413 Hatfields Land Rover Liverpool 0151 559 3000 Hatfields Land Rover Pickering 01751 477 177 Hatfields Land Rover Shrewsbury 01743 450 045 hatfields.co.uk

Official WLTP Fuel Consumption for the Range Rover Evoque range in mpg (l/100km): Combined 28.5-44.9 (9.9-6.3). NEDCeq CO2 Emissions 188-143 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.

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Nolita Grey on First Edition only for 12 months from launch. *ClearSight Groundview not available on First Edition. Requires 360 camera. All in-car features should be used by drivers only when safe to do so. Drivers must ensure they are in full control of the vehicle at all times.

CONTRIBUTORS Gunnar BJORLING Adam CAMERON Alain DUCASSE Evie FRIAR Matthew GONZALEZ Scott GUGLIELMINO HAARKON Yusuke HANAI Roisin HANLON Dane HANSEN Ian HARROLD Stephen LUCAS Yoshitomo NARA Adonis MICHAEL Jake O’BRIEN MURPHY Tom O’DONOGHUE Sukhinder SINGH Huw THOMAS Daisuke YASUMURA 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 Tom O’DONOGHUE tomod.co.uk PARTNERSHIP MANAGER Elliot Ramsey e.ramsey@singletonpublishing.co.uk

Contents 7 The Primer words Will HALBERT

31 Tokyo Grind with Daisuke YASUMURA

11 One Thing Done Well: Snow Peak

32 Coffee Connected words Will HALBERT

13 Talking Shop with Gunnar BJORLING

33 Ask the Expert with Scott GUGLIELMINO

17 MoonStar - Made in Karume words Will HALBERT 19 Okayama or Bust with Adam CAMERON

34 High Spirits Spotlight: Japanese Whisky words Will HALBERT 37 Spirited Wisdom with Sukhinder SINGH

23 Tessutui - Lost in Tokyo words Will HALBERT

40 Haarkon Adventures: Japan words Will HALBERT

24 Eyes Over Tokyo with Tom O’DONOGHUE

43 Jukatu: Japanese Houses words Will HALBERT

26 Poetry in Motion with Dane HANSEN

44 Down the Rabbit Hole words Huw THOMAS

28 Behind the Swing Tag: Pyrenex words Will HALBERT

46 Off the Wall & Into the Water with Yusuke HANAI

49 Countercultural Cuteness words Will HALBERT 53 Essential Thoughts On: Yoga with The Essential Journal 54 Into the Archives: Akira Kurosawa words Evie FRIAR 55 Architectural Thoughts: Eel’s Nests words Róisín HANLON 56 Sound Advice: Endgame Stephen LUCAS A Cut Above words Ian HARROLD 57 Addressing the Table words Jake O'BRIEN MURPHY 58 Coffee & Council words Adonis MICHAEL

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55 Jermyn Street, London, SW1Y 6LX

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24 New Cavendish Street, London, W1G 8TX www.johnsmedley.com

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24 Brook Street, London, W1K 5DG

THE PRIMER

THE PRIMER

‘Count your bruises one by one and laugh it off.’

- The Flatliners

A Note from the Editor, To say we live in uncertain times is an understatement. The past few weeks have made a distant and abstract fear a present and concrete reality for all. And while this should never be some perverse, top trumps game of human suffering, there are those who are sure to feel it more than others.

Over the years, we have had the fortune and favour of standing in the company of impassioned crafters, creators, freelancers and makers. We’ve forged friendships with small businesses that boast big plans and even bigger hearts. From bar top to showroom, factory to penthouse, atelier to ballroom, we’ve travelled far and wide to celebrate the narratives of every sector with warmth enough to open its doors to us. We have done so not for the size, scale or stature of the business, but for the convictions and visions of the people that stand behind them. All of which is to say that this is very, very personal.

Those immediate friendships are now more important than they’ve ever been, as are those altogether more tacit ties that bind us together as decent human beings. Now, more than ever, is a time to hold each other up and celebrate each other’s stories. If you’ll forgive me one momentary meander down memory lane, I’d like to let you in on a scene that’s very much stuck on repeat in my mind’s eye of late.

It’s 2017, and I’m in a sweat-soaked and sound-battered music venue in the heart of Manchester. Savages are on stage - strutting their stuff and dealing out their usual sonic stock and trade in spades - when a guy upfront loses consciousness and is swallowed by the crowd. Jenny Beth parts the audience and jumps offstage while the band plays on in a slow, steady-but-not-so-sure loop. ‘If one of us falls, we all fall,’ says Jenny as she helps the struggling stranger to his feet. The crowd, now cognisant, lends its collective strength in lifting the guy overhead to score a route to safety and room to breathe.

I know that we, as a nation, are renowned for our storied, stiff-upper-lip stoicism, but the truth is that we are simply stronger together. It’s true that the times ahead hold some rough seas to say the least, but we’re all in the same metaphorical boat. We’re in this together, and if one of us falls, we all fall.

So be nice, be patient, and help each other up when need dictates, occasion permits and strength allows. And no matter how low, how slow or how unsure the rhythm, always endeavour to keep that music playing in the background while you’re at it.

This, by the way, is our Japan Edition. We hope you enjoy it.

Will HALBERT Editor

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THE PRIMER

Who We've Been Talking To:

Alain Ducasse On Wednesday 22 April 2020, gastronomic visionary Alain Ducasse and global restaurateur Jason Atherton will co-host an exclusive dinner at Alain Ducasse at The Dorchester, aiming to show their continued support of the 183-yearold charity, Hospitality Action. We sat down to discuss the evening with Monsieur Ducasse himself.

How did the idea for a collaborative evening with Jason Atherton come about?

Jason Atherton is an open minded chef, and I’ve loved his vision of cuisine for a while. Charities are very important for both of us, so it was very natural that we should decide to join forces for this one-off dinner in aid of Hospitality Action.

Where We’ve Been Staying:

The Knot, Shinjuku In truth, there’s a whole lot to love over at The Knot. Not only do the hotel's rooms possess a cosy but minimal sleekness, they also boast some serious eco-friendly credentials. Their eco-clean option offers up a perfect example of this. Guests who opt out of any resource-heavy cleaning in favour of a simple towel swap will find themselves rewarded with vouchers that they can redeem at The Knot’s in-house bakery and bar. An on-site bakery, some seriously eco-friendly sensibilities, and spectacular views of Shinjuku Central Park, what’s not to like?

hotel-the-knot.jp

What We’ve Been Watching:

The True History of the Kelly Gang After the commercial, CGI-laden clusterf*ck that was his 2016 Assassin's Creed adaptation, Justin Kurzel’s The True History of the Kelly Gang feels like a solid return to what the director does best: paint sparse, violent and downright trippy visions of man’s unchecked and unfettered rage. I dig it, I really do. There’s an intentionally glacial pacing that makes its 124 minutes feel that much longer, but there’s payoff aplenty for those with patience to spare. Sure, it’s not the easiest, breeziest of films, but the performances (and wardrobes) on display here offer the kind of experience that echoes long after the credits roll. If you’ll forgive the shameless, literary flex that I’m about to unapologetically and self-indulgently force upon you, I’d venture to say that Justin Kurzel is quickly becoming the Cormac McCarthy of the silver screen. So bloody well take that.

Five-in-Five:

[INSTA]

[FILM]

@realbobmortimer - The Invisible Man -

[PODCAST]

[STREAMING]

[FOOD]

Heavyweight -

Westworld -

7/11 Sushi -

Often surreal and

Timely, tensely-

Pschological closure

dystopian theme-

triangular sushi

uniformly excellent.

paced and utterly

made often

park thriller,

with tricky

"Hi Col..."

terrifying

hilarious

take three

packaging

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Can you talk us through the one-off evening menu that you've created? What can we expect to see?

What is the inspiration behind it?

We worked very closely with our executive chefs to create this menu. It’s not only inspired by our signature dishes, but also by the best of the season. You will be able to experience dishes such as Jason’s Turbot, morels, asparagus, chicken, black truffle and vin jaune jus, or the Scottish langoustines, pistachio and citrus dish created by my very own Executive Chef, Jean-Philippe.

The Dorchester is as famous for its wine selection as it is for its food. Can you shed a little light on some of the wines you’ll be pairing as part of the event?

Our head sommelier worked tirelessly on a beautiful pairing to match the might of the menu, so expect to see a few favourites and even a few surprises in the mix too. Jason’s Turbot is paired with a 2012 from Domaine Causse Marines, for example. My Scottish langoustines are complemented rather wonderfully by a 2016 Alsace Riesling Réserve from Maison Trimbach.

Hospitality Action is a long-standing institution, but do you think the ideas of wellness and support are becoming more important in the hospitality sector?

Absolutely. We work and operate in the hospitality industry, so it’s the essence of our work to share and to welcome. I try my best to organize these kinds of events all around the world at least once a year. I’m not alone either, Massimo Bottura does a similar thing at his Refettorio. It is our role to show what’s possible when we work together in solidarity.

In what major ways do you think the hospitality sector has changed over the years? Are there any particular changes you’d still like to see happen?

Guests nowadays have all the information they need via social media and the internet. You are now able to share all your experiences and opinions with millions of other customers. Naturally, that means that expectations are higher and guest loyalty is much harder to earn as there are now so many choices out there.

alainducasse-dorchester.com

chestudios.co.uk

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ruskinlondon.com

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One Thing Done Well:

Snow Peak No product better embodies the spirit, craftsmanship, and all round mass appeal of Snow Peak than their humble titanium mug words by Will HALBERT

W

words by WILL HALBERT

ith an apparel selection that oozes quality and confidently spans an entire spectrum of cuts, fabrics, styles and fits, one would be forgiven for forgetting that Snow Peak is, first and foremost, an outdoors brand. There is, after all, a sleekness and a sophistication to Snow Peak’s design principles that knowingly and humbly downplay the singularly intrepid, utilitarian ruggedness of the brand’s wider offerings.

But allow us a moment to redress the balance with a word or two on Snow Peak’s titanium mug. The titanium mug, after all, serves as a solid, stainless, and ever-reliable reminder of exactly what Snow Peak does best: create timeless, tried-and-tested wares that go the distance and look the part while they’re at it.

Simple, solid, and almost entirely unchanged since its very first iteration, Snow Peak’s titanium mug hails from the fabled city of Tsubame Sanjo in Japan’s Niigata Prefecture. Known locally as the hardware capital of Japan, Tsubame Sanjo is home to some of the most gifted titanium manufacturers in the world. Which is just as well, because despite Snow Peak’s peerless outdoor credentials, working with titanium is no picnic.

Titanium, it turns out, is one of the toughest metals in the world to work with. Rolling, flattening and subsequently crafting with titanium takes experience, intuition and a keen eye for the finer details that few possess. That the metal workers of Tsubame Sanjo make it look so easy is a true testament to their time-honoured and finely-honed skills.

Snow Peak’s titanium mug forms part of a wider titanium collection, one that offers solid outdoors solutions without losing sight of the beauty and romanticism that lies at the heart of it all.

Its clean look makes the mug a cool addition to any home set up, while its overall hardiness makes it the obvious choice for anyone looking to head outside, brave the elements, and test their mettle.

Sorry, I couldn’t resist.

Now, I know what you’re thinking: to get this excited about a mug borders on the absurd. But in truth, the mug - for all its sleek simplicity - stands as a striking visual metaphor of the brand’s now famous ability to develop a high-quality product that can stand up to the elements without scaring the hell out of people. This is a robust little number but a pretty one all the same, and it’s brought to you by a brand that hasn’t just created an outdoor lifestyle, but has thoroughly lived and breathed it too. EJ snowpeak.co.uk

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Metquarter, Liverpool | 07746 687 409 | info@harlandcollier.com 12

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Talking Shop Snow Peak’s latest London store opening marks one more step in the brand’s sure-butsteady forward march words by Will HALBERT

O

perating at the intersection between performance and lifestyle, Snow Peak is a brand with a reputation that extends far, far beyond its Sanjo City origins. And with good reason, too. Boasting a distinctively minimal design and an unparalleled dedication to quality across the entirety of the brand’s offerings, Snow Peak has reached cult status amongst outdoors enthusiasts and style aficionados alike. We sit down with Snow Peak London’s General Manager, Gunnar Björling, to talk about the challenges of store openings, the joys of sake ceremonies and the enduring allure of style icons. EJ

First off, tell us a little about yourself and what drew you to a brand like Snow Peak?

Well, I grew up in northern Sweden, in the middle of the mountains, and I think no matter where I live for the moment, that area will always be home to me. More recently, I’ve moved to London with my family, which is a nice new adventure for us all.

Where I grew up, outdoor activities were just a natural part of life. I’ve always been really into things like fishing, snowboarding, hiking etc. My mom and grandma were always both into crafts and textiles in different ways, which I think helped fuel my interest in fashion and brands. With that combined interest in fashion and the outdoors, Snow Peak as a company rings a lot of bells. The determination to offer only the highest quality, champion your own design, and celebrate your true origins are all such important factors to me.

The fact that we’re such a community-led business with a genuine interest in encouraging outdoor activities - as opposed to just pushing products - makes me even more proud to be a small part of the company.

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STYLE Tell us a little about the grand opening itself. I hear there was even a sake opening ceremony?

Opening a store is always hard work. Everything was pretty much on schedule until we had a couple of weeks left until opening day. We worked day and night for so long to make it happen, and we finally actually made it.

We really filled the place for the opening party. Usually these things are quite wild, but we had such a nice, calm atmosphere the whole evening.

We did indeed hold a traditional Japanese sake barrel opening ceremony, and we got to toast with everyone.

For those of us who had worked so hard for such a long time to open this store, it was a very memorable night, and we were so flattered to have so many friends gathered. I actually still get goose bumps talking about it.

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Talk us through the store layout. What can we expect to see and where?

The architect we worked with, Takamasa Kikuchi, and our Vice President, Lisa Yamai designed the store with the idea of giving visitors the feeling of having walked into a Japanese garden. We want the store to be a calm place where you can take time to discover and experience what Snow Peak is all about.

The London store has three floors. On the ground floor, we try to show a good mix of the different product types we have in our range, from outdoor gear, to apparel, to accessories. This floor also has a café where we serve coffee and premium Japanese teas. Workshop coffee helped us set up the café, we ordered the beans from them and they constantly train and educate our staff to achieve an artisanal level of coffee making. We also have our own in-house tea master.

In the basement, you’ll find our full range of camping and outdoor gear. Snow Peak is a diverse brand, and not all people know this is our main business. We make tents, sleeping gear, cooking gear and all the accessories you need for a curated outdoor experience.

The mezzanine has more apparel and a small selection of accessories and gear. There is also a firepit and chairs where we like to come for meetings or just to enjoy the atmosphere. In addition to that, we have two tiny museums where we tell the history of the company and talk about our production processes which, naturally, we are all very proud of. When you walk the stairs between the floors, you can hear sounds of nature, birdsong, fire, rain, the pitching of a tent, a storm etc.

STYLE The café is a really interesting touch. Is it important for you guys that the London store has a strong collective, community vibe as opposed to the more inand-out urgency of a high street store?

For sure. Snow Peak has always been about building a community. Like our VP, Lisa Yamai said at the opening; we are here to bring a new outdoor culture to the UK. Our products exist because they are needed in our community. We have people spending hours in the store, having coffee, talking about activities and/or products. And in all honesty, that is exactly how we like it to be.

How are things at the new London store going in general? How are you settling in at St. James?

We are so happy to have found this location! It couldn’t be any better. We’ve got Dover Street Market just one block behind the store, Farlows on the corner of our street, and Arc’teryx is just around the corner, too. All in all, we’re in wonderful company. We share customers with all of them, and that makes our area a key destination for people who enjoy this type of product, which further bolsters that feeling of community.

How would you describe Snow Peak and its offerings to those who may be new to the brand?

As I mentioned, we are very much a community and our mission is to have people enjoy nature. We do this by running campsites, we host camping events and we sell products that we hope will inspire and help people connect with nature their own way.

From the very outset of the company’s origins back in the late 50s, we have been very proudly using only the best materials and we always take pride in doing our own R&D and design.

Our president, Tohru Yamai, has a pretty good story that explains our way of thinking. When he was about to develop our first tent model, he looked at the market, and basically there were two different kinds of tents back then. There was the £200 leaking tent and there was the £300 leaking tent [laughs]. Tohru wanted to create something as close to perfect as possible. He sourced the best fabric available, the strongest poles ever created, and the best pegs and accessories that he could find. The result was the finest tent in the world, the last tent you’d ever need. It completely changed the market. He raised the bar so much with his determination to offer the best products in the world. That is still very much our focus, no matter what product we are developing.

We offer lifetime warranty on all gear, we have repair centers in our shops to help fix anything broken. We have a project in Japan where we can shred the fabric from an old garment or tent and knit new apparel from the material. Sustainability and being circular are trending words, but for us this has been the most natural thing from the very start. Making good, high quality products, and helping our users take the best possible care of them to give them a long life.

Do you think Snow Peak has a particular type of customer?

I do. I think a Snow Peak customer appreciates high quality and the use of premium materials together with a curated design.

‘I guess there are two different kinds of people that really impress me.

Those who are true game changers and those who keep refining their style to infinity’

We never aim to be niche, but the aesthetics of a Snow Peak product are often very distinct and unique. Not only from a design perspective, but also the idea of use. We like to experiment with modularity, and we want our gear and apparel to be fit for life both in the city and in nature.

During your time in the retail and fashion industry, have you noticed any big changes in consumer tastes, concerns and spending habits?

I think the biggest change since I started working in this industry is how much focus sustainability gets at the moment. It is exciting to be a part of an industry going through this type of vast transformation, and I am proud and honoured to have the chance to work in a company that has had these values at its core from the dawn of its existence.

Do you have any personal favourite picks from the upcoming SS20 collection?

Anything you think we should check out?

I really like our sleeping shirts. We do them in new colors and materials every season and they are such a favourite with customers. They’re the kind of garments that just put you in a good mood, you know what I mean? It’s not just about how they look; it’s a feeling, and a state of mind.

I feel like they make me slow down a little bit. I know, that sounds like some new age, mindfulness gimmick, but I really mean it!

And lastly, do you have any key style influences yourself ? Are there any watershed moments in the history of style for you?

I’m going to sound religious now, but Lisa Yamai, the third generation of the family that founded Snow Peak, is such an inspiration to me. She is one of those rare cases, a person who always follows her own will, she is so visionary and stands out so clearly in a world full of followers, just like her father and grandfather. And having this superpower while still being such a warm and humble person makes her such an enigma.

Some other long lasting influences for me are Margiela, I mean OG Margiela, Dieter Rams, Harmony Korine and Vivian Maier. And there are a few skateboard pros I will always look up to for different reasons: Grant Taylor, Heath Kirchart, Mark Gonzales and Tony Trujillo being some of them. I guess there are two different kinds of people that really impress me. Those who are true game changers and those who keep refining their style to infinity. These choices are probably a little cliché to some, but hey, I grew up in the polar circle, I don’t have any more cultural depth than this. Cut me some slack!

The Snow Peak SS20 range is available now, both online and at the Snow Peak St James’s Street Store, London

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ONE MOMENT. FOREVER.

LIVERPOOL

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LONDON

MANCHESTER

DAVIDMROBINSON.CO.UK

ALTRINCHAM

STYLE

Kiln-fired & Made in Kurume MoonStar’s handmade and kiln-fired gym shoes offer a history lesson in Kurume-based craft words by WILL HALBERT

D

id you know that vulcanisation the chemical process invented by Charles Goodyear to harden rubber - gets its name from Vulcan, the Roman god of both fire and the forge? Historically, vulcanisation is used to bake natural rubber, increasing its elasticity, resistance, and overall shelflife. The process does wonders to car tires. It turns out a hardy hockey puck while it’s at it. And you know what? It crafts one hell of a sneaker.

This process is the hallmark of Japanese heritage sneaker brand, MoonStar. Hailing from the city of Kurume (of Japan’s Fukuoka Prefecture) MoonStar craft high quality, hand-sewn canvas trainers of understated charm and exceptional comfort. They’ve done so for more than 135 years, ample time to perfect their craft. Which, if you’re interested, goes a little something like this: The shoes’ constituent parts are hand cut and sewn from only the finest rubber and canvas before being assembled (again, by hand) by a dedicated team of craftspeople. The shoes are then fired in a 120 °C kiln for just over an hour to forge a soft, flexible, and durable sole. The Japanese call this process ka-ryu. The result is an exceptionally durable (and endlessly wearable) small-batch gym shoe.

So there we go, a history lesson in Ancient Roman deities, a step by step production breakdown of a MoonStar shoe, and a little lesson in Japanese vocabulary all rolled into one neat little package. Every day is a school day here at EJ towers. EJ Shop the Moonstar collection online at rivetandhide.com

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Okayama or Bust

We sit down with The Workers Club co-founder, Adam Cameron, to discuss his love for Japanese denim, the inspiration behind the brand’s SS20 lineup, and the joys of crafting without compromise words by Will HALBERT You don’t get better than Okayama denim. A bold statement perhaps, but one with credence and credibility to spare. The manufacturing prefecture of Okayama is, after all, famed and fabled for producing what can only be considered the single malt Scotch of all things selvedge. Shuttle loomed and tailor made to go the distance, Okayama denim adheres to age-old, small-scale methods of production and an attention to detail that borders on the obsessive.

The Workers Club’s SS20 denim offerings are an ode to that peerless passion and pride of production.

Featuring narrow loom selvedge at its finest, TWC’s first wave of transitional pieces boasts a curated collection of subtle rinses, natural vintage washes, and spot-on fits.

Pair TWC’s stripped-back, no-nonsense design sensibilities with Japan’s finest denim mills and you not only have the last pair of jeans you’ll ever realistically need, you also have just about the closest thing you can conceivably get to wearable art.

The Workers Club’s SS20 lineup stands for more than mere selvedge showboating, however. It’s about creating a solidly-built and season-defying series of future classics.

More importantly still, TWC’s latest collection is an all-out celebration of craft, provenance, and the unmatched skill of the humble artisan. EJ

What makes Japan’s denim so special? And why was it so important for you to work with it?

We have stuck with Japanese fabric as it is truly the most authentic and hard-wearing fabric you can find. It’s as simple as that. The Japanese utilise techniques of dying and weaving that you just don’t see anywhere else anymore. This is not done for any other reason than that of tradition - the techniques on display at the Okayama mills simply represent the way it should be done. They take such pride in their work. I have been lucky enough to visit some of the mills in the Okayama prefecture, and it is awe inspiring to witness the work that goes into making these unique fabrics.

Above all though, the most important thing was to not have to compromise with TWC’s offerings. After having spent so many years in the industry designing for other brands, I’ve been hit with the occasional ‘that’s a bit too Japanese’ or ‘I like it, but it’s a bit too workwear-esque.’ I’ve even been told that certain designs were ‘very Adam Cameron’, which I’m never sure how to take. Working with these mills and makers means that we can make something that’s truly, authentically ours.

Are there any challenges with working with Japanese denim makers? Anything you’ve learned from working with them so far?

It’s funny that you should ask. We’ve recently had something of a challenge with our latest batch of denim. It hails from one of the more artisanal mills we use over there.

We noticed what we would consider to be flaws in a couple of the jeans once they had been washed. When we informed the mill, we were told that these faults were, in fact, an intentional part of the vintaging process. Certainly a unique perspective, but not one that some of our customers would agree on, necessarily.

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STYLE

So, rather than reject these quite lovely and rather expensive jeans, we set our maker the task of working into these faults - by hand - to make a limited edition batch. This batch will feature extra handwork and sashiko hand stitching, artisanal flourishes that make them all the more unique. I guess you could call this our ode to wabi-sabi, our celebration of all that is imperfect, impermanent, and incomplete. But mostly, we just hate to see good material go to waste.

On that note, there’s an awful lot to love about the SS20 collection from a denim purist’s perspective - from sashiko-finished pockets, to traditional chain stitching, to chambray lining. Are you a big fan of denim yourself?

Personally, I have been into denim for as long as I can remember. Like a lot of people, I discovered the initial attraction through films like The Wild One. I remember my first pair of Levi’s - bought from a mall in the US as a teenager on holiday. But my love really kicked into gear in the nineties, when I got my first pair of Japanese-made Evisu (with the seagull-painted back pockets, which I still own).

From Evisu, I became a sponge for any of those authentic denim brands. Basically, any of the Osaka 5, but in particular Full Count stood out as being really legit. I started going to Tokyo regularly when I was designing for Alfred Dunhill (and later introduced a made-in-Japan unique selvedge jean for them). Every time I went to Tokyo, I’d come back with at least two or three new pairs of raw jeans, which I just seemed to stockpile. I never really found my perfect jean there though. Which pretty much leads up to Charlotte and I starting our own brand so I could complete the mission [laughs]. So yeah, you could say I’m a fan of denim.

The latest SS20 drop features a few choices beyond the usual raw and rinsed options, but these aren’t your typical chemical washes. Can you talk us through the vintaging process used for each pair of TWC jeans?

When we started the brand back in 2014, we only planned to offer raw and rinse - but quickly figured out that you can’t really build a credible denim offering purely on raw denim. It’s too niche, there are lots of guys out there who either have a decent raw jean already or simply don’t wear dark denim. What really excited me about developing the TWC denim offering, however, was just how much fun you can have with the washing process.

We are lucky enough to work with what I consider to be one of Japan’s foremost denim washing masters. He is literally an artist, and his canvas is denim. We work together on a few initial ideas of what we like, then he goes away and creates what I can only describe as magic. The process he uses is all completed by hand, too. Never by machine.

He only uses environmentally-friendly methods, as opposed to the industrial chemicals you tend to find in large, mass production laundries.

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I’m quoting him here, as I’m a little out of my denim depth, but our maker uses ‘Kagoshima soft white stones’ for his hand washing, as they make for a natural ‘atari’ effect on the garments.

Outside of your jeans options, you’ve got one hell of a denim jacket in your line-up. Part trucker, part chore. Can you tell us a little about the inspiration behind it?

We took a different approach here, for sure. With our jeans, we always take the stance that it’s all about the wash and the fade. We didn’t want any superfluous detailing to distract from those core elements. When it comes to something as classic as the denim jacket, however, you have to give it a stamp. Personally, I’ve always been a fan of the type II denim jacket style. So I guess that explains the pleats on the front of our jacket, for example. I’ve always loved the look of the patch pockets on the classic Foremost jackets, too. So throwing them on a trucker makes the jacket a little bit of a Frankenstein’s monster. But that’s the fun of it. To me, great design has always been about iteration as opposed to reinvention.

We then used a narrow loom selvedge denim from Nihon Menpu for both the indigo and natural variants of the jackets. Nihon Menpu are truly one of the most authentic mills out there. Finally, we have chambray detailing on the cuffs and our sashiko pocket bags for a little extra something on the inside. The style itself is really a core piece for us, and the beauty of all denim jackets is that they can be paired with pretty much anything.

And lastly, the age-old question of denim care: to wash or not to wash?

My personal stance is to wear your jeans for as long as possible before - and between - washes. So much so, in fact, that we had a reminder printed in the pocket bags of all of our jeans. It’s a very personal choice, though. And thankfully, these days there are after-care options like denim refresher to stop things getting too smelly. Chasing those fades is a labour of love, and not something that everyone understands. I’ve had 20 years of being introduced as A ‘ dam, the guy who hasn’t washed his jeans in five years’, which is not always met with awe to say the least. I see it like this: raw denim is an ongoing project, and not something you can rush or fake - there really is nothing like the satisfaction of seeing a pair of raw jeans, five years in, with its unique fading and the stories that go along with it.

For those who do choose to wash their jeans though, we have a little something for them. We’ve worked closely with Norfolk Natural Living to develop a natural, sea salt denim wash. It’s nifty stuff that calls on modern, plantbased science. Nothing nasty or toxic. It’s designed with selvedge denim in mind, too. So it’ll help preserve colour, refresh fibres, and retain a nice comfortable fit.

@twc_ltd theworkersclub.co.uk photo 1 / Jamie Ferguson / @jkf_man photo 2 / Shaun Reynolds-Darwood / @studiograft

Speaking Selvedge

Getting a little lost in the denimhead babble? Here’s a little cheat sheet to help you along

Atari

The Osaka Five

Selvedge

A Japanese term used to describe areas of early, sharp fading. Atari can mostly be found alongside seams, pocket openings, thighs and behind the knees. TWC’s denim makers painstakingly recreate these fades, by hand, for the brand’s washed offerings.

The name given to the five Osaka-based brands (Studio D’A rtisan, Denime, Evisu, Fullcount and Warehouse) that kickstarted Japan’s obsession with superior denim.

Specifically, the selvedge refers to the white edge of a piece of the denim, a self-edge that traditionally secures the end edge of the denim fabric to prevent unraveling. More generally, it points to a slower, more traditional method of crafting premium, high quality jeans.

Chain Stitching

Raw Denim

Washed Denim

A traditional method of stitching that can only be reproduced by the classic (and much-coveted) Union Special sewing machine.

Unwashed and untreated, raw denim represents a totally blank canvas. It’s up to the wearer to produce any fades, wear and tear. Purists swear by wearing your jeans for at least 6 months before their first wash.

Because starting from scratch ain’t for everyone. Washed denim offers up a neat shortcut for those looking for a more worn out look fresh off the rail. All TWC’s washed offerings are expertly handcrafted by their makers. No nasty industrial washes.

Rinsed Denim Raw denim that has been lightly rinsed to remove any shrinkage, and lessen the amount of indigo dye that rubs off on your lovely upholstery.

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Lost in Tokyo

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!

Ever the ante uppers, Tessuti's latest Stand Out campaign shoot takes the team to the snowcapped highs and neon-slicked lows of Tokyo words by Will HALBERT

Your city, your rules. Four little words that have become both a mantra and a gauntlet throw for Tessuti. They form part of a stand out philosophy that has taken the boutique menswear store from the sun-soaked boulevards of Brisbane to the hustling, bustling sidewalks of New York City.

Their recent journey to the neon-drenched streets of Tokyo is no exception. And why should it be? If New York is the city that never sleeps, then Tokyo is a certified insomniac. From the frenetic, fashion-forward frenzy of Shibuya to the alternative attitude of Harakuju’s myriad subcultural styles, Tokyo is a non-stop, around-the-clock,sensory overload. Which, when you think about it, makes it the picture perfect playground for Elliot ‘Example’ Gleave and Erin McNaught, the mainstay faces of Tessuti’s Stand Out Campaign. EJ

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Eyes Over Tokyo: Tom O’Donoghue

Photographer, prizefighter and all round dog lover, Tom O’Donoghue talks us through his hand in Tessuti’s SS20 Tokyo takeover questions by Will HALBERT Tell us a little about yourself. How long have you been doing what you do?

My name’s Thomas O’Donoghue, but people call me Tom O’D. I’m an artist, renaissance man, foodie, coffee lover, hedonist, pugilist, dog lover and music enthusiast. Bit of a loose cannon too apparently. Not sure if that’s a compliment? I’ve been shooting professionally for the advertising industry over the last six years. Prior to that, I earned my stripes assisting some of the best photographer’s in the game.

Talk us through the recce process a little?

Okay, so once the initial concept was agreed between Tessuti (The Client) & Liquid (The Creative Agency), they sent me and Art Director Andy Forshaw to Tokyo to scope out some key locations. On the recce, we practically covered Tokyo in three days, averaging about 25,000 steps per day.

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We plotted a custom Google Map and documented any gems we found along the way. We also used an app to plot where the sun would be at certain times of the day, which is really handy when you’re relying on available light.

How much research goes into a shoot before actually getting down to taking pictures?

About 80% of a successful shoot is research, in my opinion. You’d be really surprised at the amount of preparation that goes into a successful shoot. The logistics, permit arranging, hiring vehicles, pulling the outfits, arranging schedules, putting together shot lists and asset requirements is all super important work that gets done behind the scenes.

Preparation is a friend of victory as they say, solid research lays the foundation of a successful shoot and definitely makes my job easier, the end result depends on it massively. Making the photographs is the easy part!

What were you looking for in your Tokyo locations?

For Tessuti, generally the locations are usually aimed at their core consumers and recruiting potential new customers. In Tokyo it was about making it obvious where we were. The neons, the cityscapes, the shrines, the modern architecture. All of those iconic landmarks that give Tokyo such a strong sense of place.

Were there any major challenges to shooting in Tokyo? Anything you’d do differently with a little hindsight?

Honestly? It all ran like clockwork! In hindsight, though, I’d probably not drink quite as much at the wrap party.

Especially the night before getting on a ten hour flight!

Then again, everyone worked really hard on that project, so it was good to celebrate.

Have you been to Japan before? How if not, did it meet your expectations?

Never! I really had no expectations at all. I found the demeanour of Japanese people very endearing and was quite perplexed by the juxtaposition of the traditional with the super modern. Mad place.

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How did a typical day in Tokyo play out for you?

Did you get the chance to do your own thing at all?

Not really, there were the odd moments in between but campaigns are pretty full on to be honest. A typical day in Tokyo for me was waking up at 6am, a quick run and a stretch, shower, coffee, followed by a big breakfast downstairs where we met for that day’s briefing. After breakfast, we headed to the first location around 9am and worked our way through the locations and outfits for that day, sometimes shooting well into the evening.

Any highlights from the trip? Any stand out spots that made an impression?

The whole thing was one big highlight, we had a right laugh with some amazing people. Mount Fuji really stood out for me. It’s known as a sacred symbol of Japan, and also signified me reaching a personal goal, so it was a bit of a spiritual experience, which felt really good.

Were there any brands that caught your eye whilst shooting this season?

The Pyrenex gear shot at Fuji looked fantastic. Some of the C.P. Company jackets also looked really tasty.

And finally, can you tell us a little about your own personal projects. What have you got going on of late?

Aside from shooting fashion I’m working on a personal portrait series featuring bull breed dogs. It stemmed from a fascination with these dogs but also aims to highlight the flaws in the Dangerous Dogs Act of 1991. No bad dogs, only bad owners as far as I’m concerned. I’m also working on a project around Fighting and Mental Health, that’s very much a work in progress at this time so I’ll have to let you know how that goes.

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COVER STORY

Poetry in Motion: Dane Hansen

Brisbane-based film director and videographer, Dane Hansen, gives us the inside scoop on the Stand Out SS20 campaign questions by Will HALBERT

First off, tell us a little about yourself and your work. How long have you been working in film?

And how did you get into film in the first place?

I’ve been working in film for the past six years following a university course I did here in Brisbane.

I got into doing fashion work by chance around early 2016, and that’s probably been the majority of my work since then. It’s taken a while, but I feel like I’m evolving my own style and starting to get recognition for it which is really encouraging.

Do you have any major influences on your work?

Anyone you’d love to work with?

Oh man, the list is endless. There are many people out there creating amazing content that I’d say inspire me to do the best I can with what I have on each project, and I’m constantly watching stuff on Vimeo to keep up to date. There are so many people I would love to work with, for sure, but currently my biggest inspiration is Tyler the Creator.

He just knows what he likes and makes it the best it can be, regardless of any preconceived notions and I think that’s really admirable.

What was it like filming out in Japan with Tessuti? Was it your first visit? How did your typical working day play out?

I’ve been to Tokyo once before. Shooting with the guys in Japan was one of the most fun productions I’ve been on. It’s such an aesthetically pleasing country, which really inspires the ideas that you may not be able to execute in your day-to-day environment.

It was also a great team of people who were invested in making an awesome product. Our days were pretty long, and having to be switched on mentally and physically for that long is pretty intense, but when all you’re focused on is your vision, it becomes quite manageable. In saying that, it went very smoothly considering the number of locations we had. It was definitely the most I’ve pushed myself on a job. Due to needing to be nimble whilst traversing the city, we were only able to have a small production team, which meant that we had to do multiple roles.

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It was just the shooter and I, so I also had to cam assist and pull focus whilst directing. No easy task, but I love a challenge.

Were there any major challenges to filming out there?

Coming from an Australian summer to a Japanese winter was tough! I’ve not worked in the kind of cold that we faced on Mt. Fuji and Yokohama Terminal. It was another level of cold!

Any highlights from the trip? Any favourite locations you’d recommend we visit ourselves?

Shinjuku is just a fantastic place in general. Just walking around the streets, there’s something interesting around every corner. I particularly liked going into the old second-hand and vintage camera shops in the city centre. So much cool gear, and the people that run the shops are really passionate and know their stuff ! Mt Fuji is iconic.

Can’t leave that one out.

You’ve worked with Erin and Elliot a couple of times now. What’s it like working with the duo?

It’s always nice to work with familiar talent. They know how I do things, and I know their personalities and strengths, so it becomes a more relaxed and efficient work environment. It’s cool to work with a couple who are able to use their relationship as a performance for your piece. All in all, lovely people.

Outside of your Tessuti work, you have a few short films under your belt. What draws you to the short film format?

I think film is 100% what I ultimately want to be doing. Short films are a great way to express yourself and evoke an emotional connection in a really creative narrative and a small runtime. It’s also something you can do in a few months, rather than years.

How, if at all, does fashion and beauty work differ from the short film?

I’ve done my best in some of my other work to integrate the story element from short films into my fashion work.

It’s not super interesting to me to just show people wearing clothes and strutting, so I like to make it as engaging as I can by including small elements of narrative to make it a little more engaging. It’s not always possible of course.

And finally us a little about your own projects.

What else have you got going on at the moment?

I’ll be making the move to London mid-year to work on some projects abroad for a while. It has always been something I’ve wanted to do as I love the UK.

danehansenfilm.com

STYLE

Stand Out Spots Don’t take the whole ‘Lost in Tokyo’ thing too seriously. Here’s a few tips to help you find your way around the city's top eating and drinking spots Single O Coffee, Ryogoku

Sure, everyone knows that Japan has taken tea to some serious, fine art levels of perfection. But there’s some great coffee to be found out there too. Take Single O, for example. Nestled in Ryogoku (that’s right, sumo town itself), Single O is a lowfi, high quality roastery that specialises in ethically-sourced beans and superlative roasts. The tasting bar itself is only open from Saturday to Monday, as the rest of the time is dedicated to roasting. But those who swing by in that small window will get the chance to enjoy expertly-roasted coffee that sings of the beans’ natural flavours.

Flipper’s, Shimokitazawa

You might not know this, but the Japanese take their pancakes very seriously. Unlike the skinny and stacked american style you might be used to, however, the Japanese take on the sweet treat is a lighter, more soufflé-esque endeavour. And as far as Tokyo pancake joints go, Flipper’s over on Shimokitazawa is up there with the best of them. Not to get too dramatic or anything, but Flipper’s do nothing less than serve up fluffy clouds of edible joy (three to a plate, as it happens). Be prepared for a little wait, though, as Flipper’s are some seriously popular pancake purveyors. But trust us: it’s worth it.

Buri Bar, Ebisu

With a firm focus on yakitori and solid, izakaya-style snacks, Buri Bar is your one stop shop for sake and sides. For those a little less versed in Japanese drinking, allow us to drop a little knowledge: Sake is essentially rice wine and Buri has scores of the stuff from across the country. A hidden gem amidst the myriad bars and restaurants that populate Ebisu, Buri serves great food, drink and atmosphere in equal measure. Also, anywhere that’ll fix you up a sake slushie is a winner in our book.

If you want our advice, order up an ice cold serving of umeshu (plum liqueur) and let the good times roll.

Pasela Resort, Akihabara

There’s no better place to indulge in a little late night crooning than Japan, the birthplace of karaoke. With a scale and décor leagues ahead of other karaoke joints, Akibahara’s Pasela Resort offers seven floors of wholesome, karaoke goodness. Now, the Akihabara district didn’t get the nickname ‘Electric Town’ for nothing, and Pasela Resort honours that reputation by doubling down hard on the video game theme. All of which means that you can band out a few notes and get your geek on while you’re at it. Oh, and did you know that the word ‘Karaoke’ is a portmanteau of the Japanese words for ‘empty’ (‘kara’) and ‘orchestra’ (‘ookesutora’)? You’re welcome.

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COVER STORY

Behind the Swing Tag: Pyrenex There’s more to a brand than its logo. We take a look at the heritage and history of French outerwear legends, Pyrenex words by Will HALBERT

F

ounded in the foothills of the Pyrenees back in 1859, Pyrenex is a brand with a history and heritage as coolly understated as it is staggeringly impressive. Not only did the brand produce some of the first down jackets known to man, they did so to help protect prisoners of war from the harsh colds endured throughout the Second World War. The story goes that the brand made quite the name for itself back in the day for collecting only the finest feathers from the farms and markets in the foothills of the Pyrenees. In that respect, very little has changed.

Pyrenex is still fabled for its feather and down selection, all of which hails from Aquitaine, Poitou and the Pyrenees. As if that wasn’t enough, Pryenex is pretty much single-handedly responsible for the creation of both the sleeping bag and the mountaineering jacket. How’s that for heritage?

Bottom line? Pyrenex is pretty much the first and last word in French outerwear. For a brand that boasts such solid historical foundations, however, Pyrenex are all for pushing things forward. Over the last few years, Pyrenex have dominated the casual and streetwear scenes with solid construction and bold, contemporary design. Make no mistake, these are clean-cut and coldproof garments with style to spare. The fact that they just happen to be some of the best-made coats in the world is just,well, an added bonus.

That’s not to say that Pyrenex don’t have you covered in the warmer months. Their transitional layer game is suitably strong too. Think vintage revival, crew neck jumpers, heavyweight branded tees, and sport-forward shorts options sure to make your summer wardrobe a literal (and metaphorical) breeze. EJ

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CULTURE

Tokyo Grind

With its signature roasts and historic, post-industrial lodgings, Single O sits at the heart of a coffee movement that’s quickly gaining ground on Japan’s rich, tea drinking traditions questions by Thomas SUMNER

O

ver the last ten years, Tokyo has evolved into one of the great coffee destinations of the world. Nestled away in the historic district of Ryogoku lies Single O, a tasting bar and roastery with its roots in Sydney’s historic coffee scene.

We sat down with Single O’s Daisuke Yasumura for a little history lesson, some sight-seeing advice, and of course, a damn fine cup of coffee. EJ So, talk us through where we are right now. Give us the lowdown.

We’re at single O’s tasting bar and roastery at Kamezawa 2-23-2, Tokyo. This is a pretty residential area with a lot of history. We’re about 15 minutes from Sensō-ji, an old Buddhst temple in Asakusa. This area in particular is known for its craft and industry. Even the Single O building used to be a factory.

Don’t ask me what it made though! There’s a craft scene around here too, so a lot of clothes production and magazine printing, for example. There’s a whole lot going on!

Japan is famous for its love of tea. How does Japan’s coffee culture stack up against the popularity of tea?

There’s a pretty strong coffee culture here in Japan. Traditionally, people tend to drink it from a can, for the convenience and speed of it. You’ll still see a bunch of vending machines dotted about that offer canned coffee. It’s still very common in Japan, but it is changing of late.

More recently, there’s been a big shift towards speciality coffee. There are so many coffee shops in and around Shibuya and downtown Shinjuku now.

So yeah, coffee is getting really popular, but tea is still the clear favourite in Japan. That’s where we come in, I guess! We’re helping people discover flavours that you won’t find in canned, vending machine coffee and convenience store offerings. Also, I know you guys tend to drink coffee in the morning, but here, people drink from morning to evening.

How do people who visit Single O typically enjoy their coffee?

Filter and pour over methods are really popular here. There’s a huge interest in the bean’s natural flavours, and pour over is the most direct route to words by WILL HALBERT those flavours, especially when it comes to single origin coffee. We offer both pour over and espresso here at Single O. I’m always surprised by how split opinions are on both methods. One half of our customers prefer pour over, the other half espresso. It’s an interesting time for coffee here in Japan.

Where do you source your beans from? Are there any unusual selections that we might not have heard of back home?

We get all of our green beans from Sydney. It’s a proprietary bean, so you won’t find it anywhere else outside of Single O coffee shops. We work closely with the farm that grows our beans too. So it’s an especially personal project we have on our hands.

How has the food and drink scene in Tokyo developed in recent years?

It’s certainly become more international. Western food is quite popular here in Tokyo, and of course, the traditional Japanese styles are going strong. We still like our rice and small dishes, but there’s definitely a little more Western influence to be found now.

There’s a nice little mashup going on.

And lastly, are there any key tourist spots to check out once we’ve finished our coffee?

Ryogoku is a pretty traditional district, which makes it great for tourists to explore. Back towards the station you’ll find the Fukagawa Edo museum, which is a must see if you’re new in town as it’s obviously a celebration of our traditions and culture. There’s the Sumo Museum too, of course. I’m not sure if you know this, but Ryogoku is the centre of sumo wrestling. So you’ll find the Ryogoku Kokugikan - the sumo hall - and a bunch of sumo stables dotted about. You can also check out a few Chanko N abe restaurants too, if you fancy sampling the staple diet of a sumo wrestler! singleo.jp

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CULTURE

Coffee Connected La Marzocco’s Home Connected espresso machines bring a little technological flare to a growing family of craftsmen, artisans and coffee aficionados words by Will HALBERT

B

ack in 2014, Italian espresso machine makers par excellence, La Marzocco, set themselves the task of providing professional equipment and expert education to the humble home barista.

The result was La Marzocco Home, a project that saw coffee enthusiasts enjoy coffee-shop-quality coffee from the comfort of their own homes.

Fast forward to 2020 and La Marzocco has taken yet another leap forward in the home barista experience, this time in the form of its awe-inspiring ‘connected’ machines and the equally impressive La Marzocco Home App. The App works in harmony with new GS3s and Linea Minis to grant the home barista unparalleled levels of control over their personal home setup.

The Home App will not only allow users to control their machines remotely, it will also provide predictive technical services to those who need it and usher in a whole new era of worldwide connectivity for coffee fans across the globe. Think community-led brew tips, recipes and step-by-step advice on improving that all-important latte art.

‘With the connected machine, we aim to bridge the gap between the maker, the factory, and the community,’ says La Marzocco’s Guido Bernardinelli.

‘The home barista becomes the protagonist, the digital artisan combining technology and craftsmanship with the actual act of brewing one’s favorite cup of coffee.’

In short, this is groundbreaking stuff, brought to you by the fine folk that have historically made a name for themselves by excelling in, well, groundbreaking stuff. Both The Home App and the Connected Machines join La Marzocco’s long list of technical flourishes (such Horizontal boiler, saturated group, not to mention the wrist-saving, Straight-in Portafilter seen on last year’s KB90). Not to get too geeky, but colour us excited. EJ

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CULTURE

Ask the Expert Scott Guglielmino, Global Product Manager at La Marzocco talks us through the finer points of La Mazocco’s all-new app How did the idea for the Home Connected App come about in the first place? What made you decide to take the digital leap?

We started to think about an app as we designed the Linea Mini. The goal of the Linea Mini was always to give the user the easiest and simplest tool to make fantastic coffee at home. The app gave us a means of increasing that element of simplicity in the machine, while also increasing and improving the experience for the home barista.

La Marzocco machines are known for their technical sophistication and excellence, were there any challenges along the way when merging the machines with IoT technology?

It was a learning curve, but over the years, we have grown strong in our internal process for designing machines.Building our first app was a process that allowed us to further grow and expand those skills and bolster our team while we were at it.

Was it difficult to present the machine’s relatively complicated information in an app- friendly way?

The vast majority of our team also happen to be home baristas themselves. By having so many people already engaged with the product, it gives us an extraordinary view into the life of our users. Thanks to having such a connected development team, and thanks to La Marzocco’s strong visual identity, building the interface became one of the most fun and exciting parts of the project.

In terms of remote preparation, talk us through what the app can do exactly.

It’s all very easy and intuitive. You can turn the machine on and off remotely; you can program a weekly on/off scheduling for the machine; and you program an auto stand-by mode for the Linea Mini. These are all features that can help to optimize the machine’s power efficiency.

Beyond that, you can adjust additional parameters such as boiler temperature and pre-brewing settings - this allows for a finer grind to be used by wetting the coffee before brewing, and reduces the possibility of channeling. You can also make coffee and tea dose adjustments on the Gs3 AV, too.

Can the app also help us along if we’re having any issues making coffee?

Yup. There is a FAQ section that can help identify and solve both barista and technical issues. There are a number of guides to help the home barista brew the best possible espresso, and pour perfect latte art. The FAQ section also has great information on how to maintain a machine, and when professional service is needed, the locator helps you find the nearest qualified service engineer.

Beyond the technical aspects of the app, it seems to really reinforce the sense of community that lies at the heart of La Marzocco. Was that always the goal?

La Marzocco’s customers are a community of people who love and value quality, dedication, and experience. We like to think that we serve as a meeting point for all of those factors. Being a home barista is an incredible hobby, but it’s often a trial and error process. We hope that our app can be used as a tool to help the home barista make better coffee, and have more fun doing so.

And finally, will those with current models of both the GS3 and the Linea Mini also be able to make the most of the app?

We started production of connectable machines in late 2019, as soon as our production allowed, months before releasing the app. We did this to surprise a few users. For people who have been with their Linea Mini or GS3 longer, however, we have created an update kit. Home barista’s who already have a GS3 or Linea Mini will not miss out either. They will be able to update their machine with a kit that is now available. If anyone is interested in upgrading the hardware of their machine, they just need to reach out to their local La Marzocco office and we will help take care of the rest.

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DRINKING

High Spirits Spotlight: Japanese Whisky The Whisky Exchange help us get to grips with the dizzying world and meteoric rise of of Japanese Whisky words by The WHISKY EXCHANGE So, what’s the story behind the label?

Wait, where’s all the stock?

Japan’s whisky history is focused around two distillers who were not only the founders of whisky making in the country but also helped create the craze for Japanese whisky in the UK – Suntory and Nikka. And despite Japanese whisky’s rapid growth over recent years, with many new brands bursting out of the woodwork, both Suntory and Nikka are not only incredibly popular today, but are also still the most influential whisky makers in Japan.

Almost a century has passed since the first spirit flowed from Suntory’s Yamazaki distillery at 11:11 on 11 November 1924. The distillery was managed by Masataka Taketsuru, who left to found Nikka in 1934, tying the story of the two companies together from the start.

Despite this relatively long history, it wasn’t until the early 2000s that whisky from Japan was readily available in the UK, and it’s only really exploded in popularity over the past few years.

Although Japanese whisky has historically taken inspiration from Scotch whisky, the distillers have developed their own styles over the past century. While it’s difficult to pigeonhole Japanese whisky’s character – the range of spirits produced is almost as wide as in Scotland – they are generally elegant and focused on expressing their ingredients and production, from grain to still to cask.

There’s a saying that’s particularly relevant to Japanese whisky: ‘We want what we can’t have’. As soon as the world got a taste for Japanese whisky, stock shortages became a very real problem. As it has become harder and harder for retailers to get their hands on the now-beloved spirit, popularity has climbed higher and higher.

Longer-aged spirit is now liquid gold and has quickly become collectable, spoken of in hushed tones by whisky connoisseurs.

However: do not fear! There are still many delicious expressions available to try today. Just make sure you grab new bottles before they sell out…

When did the frenzy really begin?

Once whisky fans got a taste, the awards began to roll in thick and fast. Starting with a ‘Best Blended Whisky’ for Suntory’s Hibiki 30 Year Old at the World Whiskies Awards in 2007, Japan has featured heavily in the top ranks ever since. However, it was when whisky writer Jim Murray named Yamazaki Sherry Cask 2013 as his ‘Best Whisky in the World’ in The Whisky Bible 2015 – a year when Scottish whiskies didn’t make his top-three list at all – that things really took off.

As the years passed, admiration and demand for Japanese whisky continued to increase, creating a problem that some might say is one worth having: there’s simply not enough of it to go around.

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Hatozaki Pure Malt | 70cl | 46% | £44.95 Named after the oldest stone lighthouse in Japan, Hatozaki Pure Malt is a sweet, smoky blended malt whisky.

Rich aromas of dried fruit, toffee apples and summer blossom fill the nose, and the palate offers notes of sweet honey, delicate wood-smoke and sultanas.

Where can I buy some for myself ?

While it’s getting harder to find some of our old favourites, there are still lots of great whiskies to choose from. We’ve picked a few – no easy task:

Nikka Days | 70cl | 40% | £38.95 Nikka Days is a bright and vivacious blend of malt and grain whiskies from Nikka’s Yoichi and Miyagikyo distilleries. It hosts an array of floral and zesty flavours with vanilla, toffee and a light, distant touch of breezy peat smoke. A fresh and delicate whisky, Days makes a delicious sipping dram or sits beautifully in a refreshing highball

Suntory Hibiki Harmony | 70cl | 43% | £66.95 Hibiki Harmony is the newest in Suntory’s line-up of blended whiskies, offering an insight into the elegant and enticing character of the range at a more affordable price point than that of its older siblings. Bringing together whiskies from Yamazaki, Hakushu and Chita, it’s delicate and fragrant, with layers of fruit complemented by citrus and soft cinnamon spice.

Any way of trying before I buy?

Sexy Fish in Mayfair is an arty and seductive Asian-dining and Japanese-whisky specialist with an unparalleled selection of Japanese whiskies – 405 at the last count. It is the place to go for very rare and exclusive whiskies. They even have their own single-cask bottlings of sought-after whisky from across Japan, including a recently-arrived bottling from rising star Chichibu. For £30 a measure, this is a dreamy dram at a very reasonable price given the rarity, and you must ask to see the bottle – the stunning label design emulates the striking artistic design of their venue. Very chic: a must-try. thewhiskyexchange.com

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Spirited Wisdom Sukhinder Singh, founder of The Whisky Exchange, gives us a personal history of Japanese Whisky’s entry into the UK market questions by Will HALBERT You were directly involved with kickstarting Japanese whisky’s introduction into the UK market. How did that come to be? What were the first expressions that you carried at The Whisky Exchange?

Around 15 years ago we met with the team at Suntory as they wanted to partner with The Whisky Exchange to launch their Japanese whiskies in the UK. We tried two expressions – Hibiki 17 and Yamazaki 12 – and I thought they were excellent.

I thought the quality of the liquid would stand out sufficiently to impress our customers and the partnership would give Japanese whisky the boost it needed to reach outside the Japanese market, starting with the UK. We came up with a promotional plan to send out miniatures of the Yamazaki 12 with specific single malt Scotch whisky orders, along with a voucher for money off a first Japanese whisky purchase. It was a success. Japan had an association with cool, premium and luxury products at the time and this launch took advantage of that, sparking customers’ interest and intriguing them to try the spirit. The liquid stood up to these premium expectations and, as a result, the orders soon rolled in.

What drew you to Japanese whisky in the first place? And why do you think others have taken to it so enthusiastically?

Taste! As a whisky lover myself, I don’t prejudge any whisky before tasting it. It is all about the liquid for me. These first two Japanese whiskies I tried from Suntory were superb. People like the Japanese culture. They associate Japan with quality and this encouraged people to try their whisky.

Once they tried the samples we sent, they bought a bottle straight away. Around the same time, Japanese whisky began to win prestigious global awards, including gold medals at the International Spirits Challenge and category wins at the World Whiskies Awards – that’s when the reputation of Japanese whisky really started to take off.

15 years on and Suntory and Nikka are, quite rightly, household names. Are there any smaller brands or distilleries that we should have our eyes on?

Yes. Chichibu, to name one, has gained a cult following. They only do a handful of releases each year and the limited stock is available to just a few markets, making the whisky very sought after.

The style of Chichibu is a nod to an old approach

to making Scotch whisky – a slower process that focuses on quality over quantity. There have been many new, promising distilleries opening recently.

However it’s far too early to mention those, as I’m still waiting to try their spirit.

Do you have any particular favourite expressions?

Any recommendations for those looking to take their first steps into Japanese whisky?

Nikka Coffey Grain is a perfect entry-level whisky for anyone new to Japanese whisky. It is light and fruity, with lots of tropical notes. Nikka from the Barrel is another great expression from the same producer – it has a much richer style and is bottled at higher-than-usual strength. Yamazaki 12 is also a delicious single malt – very elegant with a different kind of fruity style, focused on orchard and citrus fruit: apples and oranges.

Japanese whisky is often likened to Scotch. Is that a fair comparison nowadays? In what ways do Japanese Whisky and Scotch differ?

When it comes to creating a whisky for bottling, there are very different philosophies behind the spirits from the two countries. Scotch is made to be drunk on its own, while in Japan, it is almost always drunk with food.

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DRINKING Casks are selected and blended in the same way, but the style of the final whisky in Japan is usually elegant and fruity, a delicate style suited to serve with Japanese cuisine. They also use some locally-produced casks, including those made from mizunara, a type of oak which only grows in Japan and eastern Asia.

Do age statements play as big of a role in the world of Japanese Whisky?

Less so in recent years – supply and demand is the challenge here. It takes time to mature whisky, so you can’t just release more immediately when it gets popular. For now they have fewer core expressions available while they wait for the whisky to mature.

It’s been over 15 years since the Whisky Exchange brought Japanese whisky to the UK market. Has much changed for the category in that time? Have there been any challenges or obstacles along the way?

At the beginning, I was very fortunate to receive exclusivity and bring Japanese whisky to the hands of our customers. As popularity and demand increased, the challenge to supply rose. Japanese distillers now export to a number of different countries, so there is less allocation available for us in the UK. What do you think the future holds for Japanese whisky? Is there anything in particular you’re looking forward to? Anything you’d like to see happen?

Japanese master blenders are some of the best whisky blenders in the world, and as more liquid becomes available, I expect that the quality of their whisky will only get better.

And lastly, is now a good time to invest Japanese whisky? Could you recommend a good place to start?

Investing in Japanese whisky is certainly popular.

Anything limited edition or made in small batches, such as single casks, is certainly collectable – for example Chichibu. But nothing is a good investment unless people drink the whisky, and producers like Chichibu are quite saddened by people buying their whisky just to resell, rather than enjoying it. I suggest that those wishing to invest buy two bottles and drink one – enjoy the whisky and save one for the future.

thewhiskyexchange.com photograph by Thomas Sumner 38

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CULTURE

Haarkon Adventures:

Japan There’s more to Japan than

its neon-drenched metropolis.

Haarkon’s latest release offers an awe-inspiring account of the duo’s journey through Japan words by WILL HALBERT

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nder the collective monniker of Haarkon, India Hobson and Magnus Edmondson have long wowed us with their keen eye for photography, their boundless appetite for adventure, and their unparalleled knack for storytelling.

Their latest print project comes in the form of Haarkon Adventures Japan, a self-published and small-batch printed journal that covers the duo’s journey through the myriad landscapes of Tokyo, Kyoto, Osaka and the Kiso Valley.

The book itself is a joy to behold. Designed in collaboration with Sheffield-based, independent design studio, Totally Okay, the Haarkon Adventures Japan boasts a visual splendour that’s entirely in keeping with the calibre of the double act’s stunning photography. This is the first in a series of Haarkon Adventures, and we’re excited to see where they take us next. EJ

CULTURE

Kiso Valley: An Excerpt

Taken from Haarkon Adventures Japan, out now

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andwiched in the middle of our trip was a stay in Kiso Valley, an area of countryside in Gifu Prefecture.

We chose to head out of the city because we wanted some fresh air and to see a different kind of landscape. We visited Magome-juku which is a preserved town on the historic Nakasendo Highway that sits about halfway between Kyoto and Tokyo and is pretty straightforward to get to, despite it’s rural location. The town is built on a very steep hill which was tricky even with our small suitcases but we made it all the way up in the end. At the top we reaped the rewards of our climb and took in the dramatic views of the surrounding mountains and rice fields. Our arrival was met with pouring rain which quickly blew over, followed by a rolling mist that took hold and completely engulfed the vista — it was ethereal.

Nakasendo was one of two routes between Kyoto and Edo (now known as Tokyo) and although in the past was used by Shoguns and Samurais to go between the two cities, it is now frequented by walkers like us. The short section of the trail we walked (about 8km) joins two of sixty-nine ‘post towns’, journeying through sleepy villages, pine forests and beautiful countryside.

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NOT JUST A BARBERS...

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

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Jukatu

Japanese Houses

words by Will HALBERT image by Koichi TORIMURA Frenetic. Pulsating. Disorienting. Japan’s contemporary culture is constantly in flux, with a host of new architectural practices ushering in an era of continuous experimentation.

Featuring 500 houses - one per page, one image per house - Jutaku: Japanese Houses is a fast-paced, shock to the system that shines a Harajuku–bright neon light on the sheer volume, variety and novelty of contemporary Japanese residential architecture.

Featuring the work of many of Japan’s most famous architects including Shigeru Ban, Sou Fujimoto, Toyo Ito, Kengo Kuma, Jun Igarishi, Shuhei Endo and dozens of up and coming or as yet unknown young architects, Jutaku is organized geographically, speeding readers on a bullet train journey across Japan’s architectural landscape. EJ

Dancing Living House, ALX, 2008, Yokohama, Kanagawa Prefecture.

Reprinted from Jutaku: Japanese Houses (Phaidon, 2015)

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CULTURE

Down the Rabbit Hole Huw Thomas, Co-Founder of Paynter Jacket Co., talks us through his appreciation of Japanese culture and its impact on his approach to design and business words by Huw THOMAS Chances are, if you get really into any niche subject, you’ll likely end up going down a rabbit hole that leads to Japan. Love food? Architecture? Pottery? Print?

Menswear? Tech? Bathing? It’s hard to get geeky without finding yourself appreciating how the Japanese commit their lives to becoming world class at just one thing. I first got obsessed with the country when I got into denim. I fell in love with how much they cared for something so simple. How they turned from being fans of vintage denim into the leaders of the future of quality denim. All because of an obsession with the blue cotton cloth. Ever since, I’ve been fascinated with the culture and craft of Japan and we’ve tried to distill their values, principles, and mindset into our own lives, business and style.

Of everything there is to appreciate, these are 8 things we’ve learnt from the history and habits of a humble island nation: A collection of learnings from Japanese designers, artisans, architects, businesses and chefs that we’ve followed over the years.

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1) Be Detail Obsessed Last year, Champion, the heritage sportswear brand turned 100. Though its roots are in the USA, if you want the most authentic and highest quality Champion clothing, head to Japan. Champion Japan is run independently and has complete control over design and production of the Japanese line. The ‘small C’ hoodie that you buy there won’t be the same as the one you get in the US or the UK. Why? Because Japanese customers demand quality, so the attention to detail has to be next level. Whilst most brands in the West are all fighting to be the next Nike or Warby Parker. Brands in Japan are fighting for quality. Every minor detail counts.

They’re leaving us behind. They are drumming to a different beat. They have set their own standards. How something is made in Japan is just as important as what is made. This attention to detail has helped keep their crafts alive. Which in turn has meant they’re a nation rich in technical knowledge and knowhow. They really are detail obsessed.

CULTURE 2) Think Long Term There is no word for retiring in Japan. Apparently if you do leave work, you become a burden on society and are seen to have stopped following your passion. This is not because everyone is a workaholic, but because you may actually live longer if you keep working. Japan has the longest life expectancy in the world. They put it down to staying in work and keeping their minds and bodies busy.

Everyone has a personal purpose. A reason to get out of bed in the morning. They are not thinking how they’ll spend 6-18 months at a job before moving onto the next one.

This is not about overworking. Or burning out.

Think long term. The job you’re about to take, the company you’re going to start, would you be happy doing this for the next 10-50 years? Are you ready to make it your life’s work? If so, go to work.

Don’t retire.

3) Stay Focused

5) There Are Many Ways To Grow

7) Reimagine Everything

Kongo Gumi, a Japanese construction company, is the oldest business in Japan. They’ve been around for over 1,400 years. They built Japan’s first Buddhist temple. And the temples they build are made without nails, only carefully crafted wooden joints. This kind of work can only be done by highly skilled carpenters. If you work for Kongo Gumi, you will only do one part of the job. If you saw, then you will only saw. If you chisel, that’s your tool for life. They understand that you can’t be good at everything. You can’t be a master of many skills.

You must focus on a single craft. Though it’s an extreme example, there’s a lot we can learn from it. Master a craft. Do what you love. And do it for a long time. It’s a humble life. There’s no hacking your way to becoming world class. It takes time and dedication. And they’ve only built temples for 1,400 years. That takes serious focus. No diversifying into hotels or houses. When you next need to build a temple, you know exactly who to call.

Too often, the primary objective of a company is growth. In the West we’re obsessed with it. It’s what makes the headlines. It’s what all entrepreneurs aspire to. But in Japan, they measure things a little differently. Growth is not as important.

Maintaining presence takes precedence. Of course there are the capitalistic few for sure, but a lot of companies are comfortable in their own lane and prefer to be outliers. Respect over revenue. They want to be known for doing great work. They want to be heavy hitters in quality, not quantity.

This is a worldview that we can totally get on board with. If you do great work, and earn the respect for it, revenue will follow.

It’s amazing that one of the leaders of technical innovation is also an expert in traditional techniques. Japan is a land of extremes. Combining the new and the old has helped Japan become a leader in creativity and in cutting edge innovation. The result is a long list of pioneering designers and brands. They’re the kings and queens of fusion.

When it comes to clothing, they’re not afraid to mix global references to create new cuts, textures and colour palettes. It’s what makes their styles so interesting. It’s what makes them so creative.

Expose yourself to more. Embrace the old whilst making room for the new. The play book has been torn up. Make your own rules.

6) Never Stop Learning

8) Create Your Own Style

One of the reasons that the Japanese often make Western clothing better than us is because of their curiosity. Before making, Japanese brands do everything they can to learn about the origins of the garments, to be able to make the best possible pieces. They’ve taken vintage Western clothes and obsessed over them. Inspecting every detail so they could learn how to make the best versions. But they didn’t stop there. They also learn about the cultures the clothes originated from, so they get to know much more than just the piece of clothing. They are product obsessed. And the products they make are heavily influenced by the history of the pieces. It’s as much about understanding the origins as it is enjoying their aesthetic. After all, we can’t understand the future without understanding the past. How much do you know about your clothes? Where did the style originate? What details were originally used before it became popular? Not only will you pick better pieces by asking more of your clothes, but you’ll have a much better connection to them too.

Get geeky. Dig. Go down the rabbit hole.

We couldn’t write about Japan without talking about style. There, fashion is more important to the average man. And it’s not about a single style, it’s a mindset. What we love most is that it’s not all about the logos or relying on brands. It’s more about how you wear something than who’s made it. Style is personal. It’s an extension of interests and lifestyle. Pieces worn reflect a deeper knowledge for clothing. And vintage clothing plays a big part. In Tokyo there are nearly as many vintage stores as there are high street clothing stores.

I feel there’s a huge sense of doing things your own way. Go down that rabbit hole, fed by your own curiosity. Understand the heritage and set your own standards for life, business and style.

And don’t be greedy, there’s room for everyone.

Find your tribe and serve them well. HT

4) Don’t Make for the Mainstream In Japan, print matters. Take menswear magazines for example. There are a million and more.

Each one focusing on its own niche, age group and city. While Western magazines are trying to hold onto their dominance amid declining subscriptions, print in Japan is growing because of demand. Consumers are part of niche subcultures, so making for the mainstream won’t work.

So set yourself apart, don’t go after mass exposure. Engage with your community. Be part of a subculture. Find your tribe. And commit to them.

Become a cornerstone to your community. Take your culture seriously. Then look after it and preserve it. If you want to be part of a disco loving motorcycle gang, there’s probably one you can join. If not, go set it up. Whatever you do, don’t aim for the mainstream.

@paynterjacket paynterjacket.com

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CULTURE

Off the Wall And into the Water

Famed Japanese Illustrator, Yusuke Hanai, talks us through his early years, his love affair with all things americana, and his experience with working alongside brands like Vans

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aised on a steady diet Rick Griffin and Jack Kerouac, Yusuke Hanai has carved out quite the name for himself as an artist with an uncanny knack for capturing the lazy, hazy, laid back pace of the California surf scene. We catch up with the man himself during our wander through Tokyo to talk sun, surf, and San Francisco.

What came first, your love of drawing or your love of surfing? Can you think of many major influences on your art?

They developed side-by-side, really. One major factor that’s closely related to surfing that really had an impact on my art was music. I used to really enjoy illustrating posters for upcoming gigs. I always loved the old Jimi Hendricks posters too, the really psychedelic stuff. Moving to California back in 2003 had a pretty profound impact on my style too. There’s a hugely artistic contingent there, it’s a place of true self expression. They have that beatnik, hippy heritage, so I guess it makes sense.

How was your English back back in 2003 when you first got to California?

Almost non-existent! It was tough, I had to learn pretty fast. I was in my twenties back then though, picking up things like language is a little easier in your early years.

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I’d struggle more now, that’s for sure. You’re so much more comfortable being uncomfortable in your twenties, I think. Thinking back those days, I spoke so little English, slept on couches, and got the Greyhound bus everywhere without a second thought. I don’t think I have that in me now. It’s hotels and planes from here on out. Sleeping on couches isn’t so good on the back anymore.

What spurred your move to California in the first place?

Here in Japan, there’s a huge love for that 50s and 60s counterculture that California seems uniquely famous for. Relax Magazine, back in the late nineties and early noughties, was a huge factor in introducing that California culture to Japanese readers. On a personal level, Kerouac’s On the Road had a big influence on me, too. There’s a lot to take away from Kerouac’s work. He’s all about living free and authentically. They were pretty radical notions at the time, and even more so for me, coming from a traditional Japanese background. Japan doesn’t have such a strong countercultural element. I became so enamoured with the idea of the place that I decided to head out and live there for a while. I lived in San Francisco for a year. I wanted to study there, but it was too damn expensive. A year was enough time to get a feel for the vibe of the place though, it was incredible.

You’re big into your surfing. How well does surfing sit within the wider context of Japanese culture?

It still feels a little underground here, to be honest. It’s definitely not as big as, say soccer. That’s for sure. There’s not an awful lot of mass media coverage on Surf over here, and it definitely feels like more of a community thing than a national thing. That said, it’s gaining ground for sure. And with the Tokyo Olympic games on the cards, interest is really ramping up. I guess the fact that both surfing and skating are now included in the Olympic games is a sign in and of itself of the sport’s growing popularity.

CULTURE

Wait, surfing and skateboarding have entered the Olympics?

Yeah! Can you imagine what the kits are going to look like? There’s been a little hostility around the whole thing, to be honest. There are those who say that it flies in the face of surfing’s core values. I think it might even be Aesics that are designing the kits, which just doesn’t sit right at all. But hey, money is money, right? Personally, I’ve never really seen surfing as a sport. It might sound like a cliché, but surfing really is an expression of culture and a way of life more than a sport. The competitive element has never really interested me, I just wanna ride the waves and get a little closer to nature.

Speaking of surfing and brands, you’ve worked on a few amazing collaborations with Vans. What’s it like to work with a brand so attuned to surf and skate culture?

Pretty amazing! I’ve always worn Vans, as far back as high school.

Hailing from Anaheim, They’re intrinsically linked with California’s surf culture, so working with Vans was a no-brainer. The best people to work with are the brands you’ve always loved, after all.

What do you like about Vans, specifically?

The comfort and simplicity, for the most part. Stylistically, they’re just so easy to wear. As I’ve already said, there’s a huge cultural, and countercultural charm to a brand like Vans, too. They’re huge supporters of the scenes in which I grew up - the surf and skate scenes - so that earns them points over the likes of Nike and Adidas. I love those brands too, don’t get me wrong. But they don’t speak to me and mine quite like Vans do.

How do you even go about designing a shoe? Surely they’re pretty tricky dimensions to work with?

Typically, Vans will send over a pattern, a template, and I’ll use that as my canvas. That lets me get to grips with the dimensions. Beyond that, there’s a little back and forth until we get everything just right.

I’m always careful to make sure that whenever I work with a brand on a collaboration, the result is something visually interesting, but always wearable.

What were you doing before your career in illustration took off ?

I worked bars, did a little web design and I painted a little too.

Oh really? What did you paint?

Houses. I was literally a house painter [laughs].

How did you get from that to working with the likes of Beams?

I was always working on my own stuff in the background. I got a little work here and there doing illustrations for the occasional magazine. Around 2004 or 2005, I displayed my work at the Greenroom Festival down in Yokohama. The Greenroom Festival is one big celebration of surf culture. I’ve exhibited my work there every year since then. That got my name out there.

Back in the day it was mostly group shows that got my work seen. I think that’s how the guys at Beams found me. They Googled me off the back of seeing my work and asked if I’d like to work on a few graphics for their tees. I jumped at the chance, obviously. Our relationship has been solid since then. I still collaborate with them once or twice a year, as it happens.

Talk us through that first ever tee shirt commision. Was there a brief at all?

Nope, they just let me loose! They’re in it for the art and the artists, so I was given a lot of breathing room. It’s pretty cool getting to work with such laid back people, people who just give you the scope to do your own thing. Rare, but cool. You need to check out their tee shirt store in Harajuku while you’re in town.

How well are the arts represented in Japan?

To be honest, Japanese culture has always leaned pretty heavily on conformity and tradition. Those who diverge from the more popular paths in life should expect some challenges along the way.

Especially in the arts. On an institutional level, people are geared towards practical jobs and vocations. On a family level, parents - even though they want the best for you - will also veer toward pragmatism. My parents always wanted me to study economics and get a more stable job, but I persisted. It paid off. I feel pretty lucky to work the way I do. Things are changing, in that respect.

Slowly, but surely. Traditionally, people would stick at the same job until they retired.

Nowadays, we’re a little more nomadic, professionally speaking. I don’t think this is specific to Japan, either. I think younger generations are more likely to move around a little more than their parents. I think it’s a good thing: it’s good to have new faces, new ideas, and new energy in our local communities.

And finally, what’s in the pipeline for 2020?

I have a pretty big show coming up in Taiwan, where I’ll be exhibiting some new work. I’ve actually just got finished working on it. I’ve got a few more collabs in the calendar too. I’ve got a group show in California. I always head back there every summer to catch up with friends and share a few waves.

One of my friends over in California is a teacher at an institution that has little to no arts programme. So a group of us usually head there to talk with the kids, give them advice, and generally just remind them of their options beyond the usual desk jobs career path. I’ve been doing that for ten years now. I still look forward to getting over there every year. The projects just get bigger and bigger. It’s fun.

hanaiyusuke.com questions by Thomas SUMNER THE ESSENTIAL JOURNAL

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What’s On April – July

Saturday 18 April 2.30pm & 7.30pm Royal Liverpool Philharmonic Orchestra

Wizard of Oz: Film with Live Orchestra (cert U) Wednesday 22 April 8pm Music Room

Brighde Chaimbeul and Aidan O’Rourke

Wednesday 27 May 8pm

Josh Widdicombe – Bit Much Sunday 19 July 7.30pm Royal Liverpool Philharmonic Orchestra and The Bootleg Beatles

And In The End A Celebration of 50 Years of Abbey Road and Let It Be

Monday 27 April 7.30pm Film Screening

Billy Elliot (cert 15) Tuesday 5 May 7.30pm Film Screening

The Personal History of David Copperfield (cert PG) 48

Box Office 0151 709 3789 liverpoolphil.com LiverpoolPhilharmonic liverpoolphil liverpool_philharmonic

THE ESSENTIAL JOURNAL Image The Personal History of David Copperfield

CULTURE

Countercultural Cuteness Phaidon presents the definitive book on the life and career of internationally acclaimed artist, Yoshitomo Nara

words by Will HALBERT

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ver the course of the past three decades, Yoshitomo Nara has gained a loyal cult following across the globe, carving himself a well-deserved foothold in the annals of contemporary art history.

Nara rose to prominence in the early 2000s as a rising star amongst a generation of avant-garde Japanese artists that collectively gave rise to the Neo-Pop, superflat movement.

Nara’s subversion of the traditional Ukiyo-e (woodblock print) format, together with his now-iconic kawaii, big-headed girls have made his work instantly-recognisable amongst that of his peers.

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This spring - ahead of a major retrospective at the Los Angeles County Museum of Art - Phaidon is set to publish a definitive monograph on the artist. Written by curator and professor Yeewan Koon and fine-tuned in close collaboration with Nara himself, the book tells the story of the esteemed artist’s life and career to date. From his early days as a student at the Kunstakademie Düsseldorf through to the present day, Yoshitomo Nara covers the breadth of his work in painting, drawing, sculpture, ceramics, and photography.

The book, beautifully presented and narrated over five chapters, covers key themes of his practice: the influence of punk and classic rock music; his experimentations with his ‘big-headed girl’ figure; his collaborative projects with artists and musicians; his relatively unknown photography work; and his more recent work that responds to both the 2011 earthquake and nuclear disaster that affected his home region of northern Japan, spiritually and politically charging his work.

Yoshitomo Nara graduated with a master's from Aichi Prefectural University of Fine Arts and Music and later studied at Kunstakademie Düsseldorf. He is represented by Pace Gallery and Blum & Poe. Yeewan Koon is associate professor in the Department of Fine Arts at the University of Hong Kong, teaching Chinese and Japanese art history. In 2018 she was selected to curate the Gwangju Biennale in South Korea.

Yoshitomo Nara is available from 18th March through Phaidon. Yoshitomo Nara, Yeewan Koon, 2020

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CULTURE

Article Cover Image I WANT TO SEE THE BRIGHT LIGHTS TONIGHT, 2017, Acrylic on canvas, Yoshitomo Nara.

Phaidon: Yoshitomo Nara, Yeewan Koon, 2020 Image Left Miss Spring, 2012, Acrylic on canvas, Yoshitomo Nara.

Image Center Hula Hula Garden, 1994, Mixed media. Yoshitomo Nara: From the Depth of My Drawer. Hara Museum of Contemporary Art, Tokyo, 2004 Image Right Pyromaniac Day, 1999, Acrylic on canvas, Yoshitomo Nara.

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Essential Thoughts On:Yoga This month, team EJ takes an afternoon to swap the desktop for the yoga mat in a bid to get bendy. Hilarity ensues.

TS: I’m getting better, possibly because the more I do it, the more I enjoy it. Still a little wobbly here and there and would probably class myself as a beginner still, but I’m enjoying it.

words Tom SUMNER, Will HALBERT, Christopher GERRARD, Evie FRIAR Did you have any preconceived notions of yoga before you went in?

How did the reality of it stack up against those notions?

TS: Yeah, that it was going to be easy. I hadn’t really done any bodyweight workouts before. In fact, I’d hardly done any working out full-stop in quite sometime before heading to my first session. It would have been about two years ago now and I had just started with my PT. The PT sessions continued, the yoga lasted two sessions. This was probably due to the fact I decided to do the 7am class. Anyway, two years on and I really enjoy it now. I do one class session a week and one or two at home.

TS: It ain’t anywhere as easy as I had expected.

The breathing, the balance, the stretching and the use of your core strength (or what you have of it) all at once is surprisingly tricky. Who knew?!

However, with practice, focus, and control over my breathing, I find that it puts me in a great state of mind after the session.

WH: At best? Exercise for lazy people. At worst? Glaring, avocado-smattered, incense-laden cultural appropriation for people who, deep down, just wanted an excuse to lie down and wear harem pants on the daily.

CG: I thought it was going to be more relaxing! No, in all honesty I kind of knew what I was letting myself in for, as an absolute novice it was never going to be all Lotus flowers and infinity pools. Although it was certainly the calmest way I’ve ever had my ass handed to me. Thankfully I was one of those kids who did an activity every night after school - Gymnastics, Swimming, Jiu Jitsu - I think somehow that did some lasting good, otherwise my joints would be as brittle as an old bar stool.

EF: I’ve always been a late-night-yoga-in-my-pjs kind of person, so I’m always sceptical about taking a new class. I have a pretty good grasp on yoga already, but it’s always a gamble as to how much of the spirituality side of it the teacher is going to push. I suppose showing up with an open mind is how you hold up your side of the deal.

How do you think you fared overall?

WH: I was dead wrong. Wrong to the point of feeling stupid, actually. Not only was yoga more of a challenge than I expected, but the payoff was unreal. I’ve spent the last decade throwing my body at everything from boxing to bouldering, convincing myself that ‘getting comfortable with being uncomfortable’ was the way forward. As I wade, shin deep, into the murky waters of my thirties, I realise I can’t be so hammer-and-nail about things anymore. Sure, bench pressing twice your bodyweight is cool and all, but you know what else is cool? Touching your toes without bursting into tears.

CG: A lot more guys than I expected! I assumed it would be a bit more of an even split, but fair play the dudes. Maybe that’s just our offices though?

Anway, how are you meant to breathe, please? I think I took about four breaths during the entire session, and most of those were during the taking off of my shoes. I enjoyed it.

EF: This class was really well balanced. You can’t really go wrong if the class is focused on breathing and synchronising that with movement. No unnecessary sound baths or group affirmations is a bonus!

WH: Better than I expected. Worse than I’d hoped.

While my core holds up pretty well, I have the flexibility and breathing capacity of an octogenarian pug. I get by, but I’m not sure the Chaturanga is supposed to contain so many F words.

CG: I think I did okay. Not great, but okay.

EF: Despite the occasional slip forwards in downward dog, I think I did okay. I think the key to yoga is knowing your limits and I’m quite comfortable sitting things out if needed. It’s a good exercise in keeping your ego in check.

What was the most challenging aspect or position?

TS: Taking control of your breathing in some of the positions can be super tricky, I have to remind myself not to panic. But I’m at my most wobbly when we are in something similar to a lunge position, or side on with an arm overhead and our eyes looking up at our hand. Give me a camel any day.

WH: The Crow has become my Moby Dick. I won’t rest until it’s mine. I gave it a shot and almost kissed the ground on more than one occasion. But that’s of little matter now. Mark my words: I will sacrifice my entire face for the glorious display of perpetual equilibrium that is the Bakasana.

Namaste.

CG: By far the most challenging thing as a beginner is to focus on the positions, whilst keeping an eye on what the teacher and everyone else around you is doing. They could be doing anything up there, man - and you might look daft as hell! No one ever mentions the strain on your neck while you’re attempting Downward-Facing Dog whilst locking your eyes 15ft forward.

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Could you see yourself committing to yoga long term?

TS: Yes I could. I think it’s a great way to relax and focus your mind.

WH: Happily. As it stands, I’m still using it to complement other activities. Getting bendy before a weight-lifting session, for example. But I’ve already started trying to work yoga into my morning routine.

CG: I think so. I did really enjoy it, and once you’re familiarised with the positions, I imagine it all kind of clicks into place and you can begin to relax. By ‘clicks into place’ I mean your spine.

And by ‘relax’ I mean, die. I think I was doing the breathing wrong.

EF: I’ve been doing yoga on and off for about 5 years now. I’d love to commit to it more consistently though. It’s become a bit of a joke among my friends about how much I advocate for Yoga with Adriene’s YouTube channel, so maybe I need to practice what I preach a bit more.

Namaste, from Team EJ

Into the Archives Akira Kurosawa

Evie Friar ruminates on the powerhouse of perpetual motion that is Akira Kurosawa’s creative and filmic output words by Evie FRIAR

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here is an old Eastern proverb that states, ‘be not afraid of going slowly. Be afraid of standing still.’

While it seems fairly obvious that this particular sentiment may resonate with those creating motion pictures, Akira Kurosawa was certainly one filmmaker that took this notion and ran with it. With a career spanning 57 years, the esteemed Japanese film director made 30 films in that period and gained himself the title of ‘The Emperor’ for his composed manner and triumphant back catalogue. However, it is his overall ethos and approach to creativity that really sets him apart from other 20th Century directors.

Most of Kurosawa’s critically acclaimed works were those released early on in his career. Kurosawa began his filmic education through his brother’s mentorship during the silent era of cinema; a time where movement was a key aspect of cinema’s appeal and an expressive tool that overcompensated for the lack of colour and dialogue. Due to this early introduction to the mesmerising appeal of motion, many of Kurosawa’s films, such as Rashomon (1951) and Seven Samurai (1954), have been praised for their use of layered movement. If you’re unfamiliar with his work, picture heavy rainfall; the collective charge of an army; the staccato-style jolt of a sword; or the back-and-

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forth pacing of a nervous individual. Then imagine a selection of those elements dancing alongside each other in a single frame. His use of movement was masterful and worked in a way to create an all-encompassing watch that could be universally understood without any translation.

In a similar style, Kurosawa kept this momentum going within his own creative realm. When he wasn’t making a film, he was writing a script, and when he wasn’t writing a script, he was painting the storyboards so the scenes could be realised just as he had imagined them.

In fact, it is within his paintings that we can see the true extent to which he valued motion. For even in a static medium, his expressive painting style creates a sense of movement that mirrors his cinematic work in a way that could fool you into thinking the films came first.

Unfortunately, The Emperor is no longer around but his overall ethos and work ethic lives on. For me, Kurosawa’s inclination for efficient movement seems to epitomise what Japan is all about. From the punctual yet powerful bullet train to the iconic flow of the Shibuya crossing, we can learn a lot from this national rhythm. Move, pause, breathe, proceed. There’s a lot to be said for continuing with composed persistence. So be more like Kurosawa. Keep moving forward, keep on creating, and be afraid of standing still. EF

Architectural Thoughts On:

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Eel’s Nests

Contrary to popular belief, bigger doesn’t always mean better.

Róisín talks us through the concept of eel’s nests and the fine art of Japanese downsizing words by Róisín HANLON

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apanese architects have a talent for fitting houses and offices into unbelievably narrow spaces. Typically, long thin plots with a minimal street frontage. These structures are often known as Eel’s Nests. A nickname dating back to traditional, narrow-but-deep ‘machiya’ buildings, eel’s nests were frequently used because street frontage came at a premium, forcing people to build backwards away from the road.

In modern day Japan, land is still a very valuable commodity. Now however, the thing that makes land so valuable is often scarcity. Land that is empty and ready for development is increasingly hard to find. This has led to a renaissance in eel’s nest projects; now more likely to be called infill sites, or urban gap housing. A canny individual can find an overlooked strip of land which has been previously dismissed as too narrow to be useful, and with some ingenuity, create a compact living space.

Perhaps one of the first in the modern trend of urban gap housing was Tadao Ando’s Row House of 1973. Also known as Azuma House, this narrow building is only 3.3m wide. It is a tight, compact concrete box, slotted in between a row of more traditional timber houses. The façade presented to the street has no windows at all, and the only decoration is the marks from the framework used to cast the concrete. This is a considered move to allow a feeling of privacy and seclusion that the neighbouring houses arguably lack. The light comes from a courtyard in the middle of the long thin plan, into which the rooms face. To get from one end of the house to the other the courtyard must be crossed, meaning the inhabitants cannot avoid a connection with the outside world, and experiencing whatever weather there happens to be. Despite its diminutive size, the house manages to squeeze in a living room, kitchen, bathroom and two bedrooms.

Beyond this, there are several amazing modern examples to be found. The Love2 house, for example, was designed by Takeshi Hosaka for himself and his wife. In just 19 square metres he managed to fit living, dining, sleeping and bathing areas.

The dining area features a large sliding window which the couple frequently keep open linking them directly with the street. Apparently passers-by will stop and talk, as if their kitchen was a continuation of the streetscape. Above the whole space two curved roofs reach up towards each other but stop short, forming a large skylight in the space between, which floods the interior with light.

Similarly, YUUA Architect & Associates took a 2.7m strip of land between two houses and made an ingenious eel’s nest house. Although incredibly narrow (at only 1.8m a grown man could most likely reach either wall with arms outstretched), the house is very long and very tall. In order to maximise space, rooms are separated not by walls, but by mezzanines rising up through the 4 storeys; giving a feeling of lifting up through the building toward the living areas on the top floors. The stairs are all thin profile steel with open risers meaning light can spill down through the circulation. The front of the house is one long elegant window, which at night time reveals the complexity of the form within.

This style of living would undoubtedly not suit everyone. Minimal living suits these spaces. Rooms are frequently multi-functional, with a few small furniture movements changing the room’s purpose.

This suits the Japanese way of living as traditionally, rooms would often serve several functions. Houses would frequently utilise screens and moveable walls with which rooms can be subdivided and rearranged as necessary. This is perhaps why these narrow houses haven’t been as popular in Western countries: our domestic arrangements are normally more static with similarly static, unmoving furniture. Though there have recently been a few European urban gap projects – such as SkinnyScar in Rotterdam by Gwendolyn Huisman and Marijn Boterman. So perhaps growing land prices mean that Western architecture is now more ready to embrace new space-saving ways of building. RH

@roisin_writes image provided by Haarkon

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Sound Advice: Endgame, At the Old Vic

Stephen Lucas gives his two cents on Richard Jones’ adaptation of Beckett’s post-apocalyptic Endgame words by Stephen LUCAS

Nothing is funnier than unhappiness,’ says Jane Horrocks’ dustbin-dwelling Nell in Samuel Beckett’s apocalyptic comedy Endgame at the Old Vic. Daniel Radcliffe’s put-upon servant Clov agrees, laughing manically at the dying world outside and his dying companions inside. Alan Cumming’s Hamm – Clov’s blind, chair-bound, pitiless master – is also wryly amused: ‘We’re getting on,’ he declaims each time he and Clov come to blows. Director Richard Jones deftly spotlights the comedy in this production of Beckett’s 1957 masterpiece. No mean feat considering the play’s about the end of the world, bodies at differing stages of decay, and the absurdity of life.

Horrocks and Karl Johnson - who plays Nell’s dustbin bound husband Nagg - are furthest along whatever’s ‘taking its course’ in the play. They may be unable to kiss, see, hear, or tell a good tale, but this doesn’t stop Horrocks flexing her comedy superpowers: her death-mask expression as husband Nagg tells the same old story had the whole of the Old Vic falling about, and her memory of rowing on Lake Como let another kind of light and warmth in.

There’s affection between the pair, but it’s a Beckettian brand, whittled down to its kernel by routine and atrophy.

Not so with the other duo. Radcliffe’s Clov is a tightly wound tour de force of physical comedy, all sound and fury.

His servitude is inspired by who knows what; not love though. Existence is senseless and repetitive. ‘We’re not beginning to… to… mean something?’

Cumming’s commanding Hamm falters at one point.

Clov scoffs at this. All in all, nihilism has never been so much fun.

The play’s warm-up act is Beckett’s Rough for Theatre II. Cumming and Radcliffe play two bureaucrats, irreverently auditing Croker’s life in order to determine whether he should jump from the window he’s standing in. In Endgame, though, there’s a tacit understanding that suicide’s not the way, and that life’s an absurd, madcap waiting game that has to simply run its course. SL @step_luc

A Cut Above Who is the true backbone of the local community? Ian Harrold takes a moment to consider the often precarious, but ever-persistent role of the small independent business owner words by Ian HARROLD Small business is no picnic at the best of times. Which is odd, when you think about it, as small business also happens to be a major cornerstone of the local community. We employ almost half of the local workforce, and they say that 70% of every pound spent in a local business stays in that community.

Nevertheless, small independent businesses the world over are having to make some pretty tough decisions at the moment. Not just for themselves, but for their staff too. The same goes for those in the more hands-on sectors of self-employed life, from bartenders, to barbers, to personal trainers.

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For the time being, though, there are alternate ways to support small business while things are as tough as they are. From buying gift vouchers, to sharing and liking a business’ posts on Instagram, there are small ways to keep things ticking over. I know I’m usually the first one to complain about the inherent vapidness of social media, but if ever there was a chance for the likes of Instagram to prove its worth, now would certainly be it.

Above all, the important thing is to keep things moving, even as everything seems to be grinding to a halt, to keep people connected at a moment in time when everyone reluctantly drifts toward isolation, and to keep spirits up at a time when panic seems to be dominating.

That takes a dash of stubborness and a pretty robust, if not dry, sense of humour. Two things that the UK has in pretty plentiful supply, by my count. So stay safe, stay stubborn, and if there’s no other consolation to be had, then at least think of this: there’s never been a better time to finally grow that beard.

Rest assured that normal service will resume for us all eventually. So when you all resurface, we’ll be there - as we always have been, clippers at the ready - to whip you all back into shape. If we’re honest, we’re rather looking forward to seeing your self-styled, post-quarantine hair styles. IH

Addressing the Table

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It’s easier than you think to become the victim of your own success.

Jake O’Brien Murphy offers up a heartfelt and nose-forward defence of the mainstream words by Jake O'BRIEN MURPHY

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ionel Messi’s sixth hundred goal for F.C Barcelona came against Liverpool during the semifinal of the Champions League, in extraordinary, extra-terrestrial, extra-extra fashion that the little man makes look commonplace. It was a perfectly weighted free-kick that shattered through the collective hopes of every Liverpool fan around the world. To Leo it was natural.

Superlative language doesn’t do Messi justice. All told, he has played a better game than anyone else in modern football. Messi has had many victims over his fifteen-year career but the most frequent is himself. A World Cup runners up medal for Croatia proved Luka Modric was the best in the world in 2018, for Messi it is held up as proof of unrealised promise, as a failure of his career. Last year, Barcelona won only the league, they only reached the semi-final of the Champions League and the Copa-Del Rey Final. Operating at the top of your proverbial game means Messi’s achievements last season were necessarily prefixed with qualifier “only”.

Success is a fickle thing, it exists on a seesaw of capriciousness. Recently, in a bar in Birmingham, I caught the scent of something very familiar. Something as close to my teenage life as acne, forgotten P.E kits and knobbly-knees. It was Davidoff Cool Water, a beautifully effective formula of woody citrus, crab-apple you can almost bite into, musk and this ethereal amber that floats away from my grasp like Mary Poppins with a lung full of helium in a fan factory. It folded me up in soft waves of resplendent sensory joy.

There is nothing quite like finding a scent for the first time. I remember it with Tom Ford’s Oud Wood, which rooted me firmly to the ground when I first came across it. The same can be said of Hermès’ Un Jardin en Méditerranée which cut through a Tuesday morning commute like a meteorite through a choc-ice. If you want a seat on public transport, ask a person what cologne or perfume they are wearing. You’ll have your pick of the bunch. But I digress.

In that bar in Birmingham, creeping across the room from a pack of men, the mesmerising scent of Cool Water permeated the air. I knew this tribe, you will too. They’re spiritual followers of the original Top Gear cast, who they venerate as the apotheosis of manhood. Their warpaint comes in the form of the identical pairs of boot-cut jeans. They define themselves by tribal tattoos stretched over biceps baked into leather under nine minutes of halogen sun. They’re all called Wayne and/or Macca and one, or more, of them, smells incredible.

I know that’s hard to stomach, but it is true. The world doesn’t exist on an axis of absolute good and absolute evil. There are shades to it. Prince made incredible music, but do you remember ‘Graffiti Bridge’? By the grace of the spiders on Mars, David Bowie wrote, performed and recorded ‘The laughing Gnome’.

People today operate with a certain degree of aspiration, the every-day is less desirable than the exotic.

Once the saturation point reaches the mainstream, it tumbles over the edge. Coolwater smells like swan-diving into a crystal-clear blue sea. Only in my imagination, I have an eight-pack and look like a freshly moisturised David Gandy. Such is its inherent power.

It is, by its very essence, transformative. Sadly it suffers, like Messi and so many others, from its own success. It is held up against itself as proof of what was, and not what it can be. It’s caught in a feedback loop of assumption and expectation. Cool Water for a time, was everywhere and it was worn by every-kind of jocular, pelvis pumping man-child you can imagine. That doesn’t mean it isn’t still something to behold. It doesn’t detract from the mastery that brought it into being. The Trevi Fountain is now a place for tourist couples to take dog-ear selfies and get pickpocketed but my god, just look at it. It is numinous and magnificent.

I dusted off a bottle of Cool Water a few days later. I wish I could wear it, but I’m not brave enough. I found it just so I could enjoy it, away from the world, away from judgment and from populism for what it is.

Properly brilliant. JOM

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Coffee & Counsel With Adonis Michael

This month, Adonis takes a brief break from his usual levity to discuss his personal and professional response to the coronavirus pandemic words by Adonis Michael

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sually when I write these columns, myself and Will (our multi-talented Editor), sit back and bounce a few ideas around, have a little chuckle and a tête-à-tête about themes (over a coffee, naturally) and the finished product is the result of something we find interesting and we hope will be entertaining. But this time, things are different, we’ve tried, and we’ve debated, but there really is no other option but to talk about the pandemic which has us all paralysed at present – COVID-19.

I’m always conscious of writing about themes that are ‘today's news’ because they all-too quickly become ‘yesterday’s news’. Take politics, for example. The fortunes of a politician or a political group can change so drastically in the course of a single week that writing something today can seem way out of touch by the time we go to print. As the saying goes ‘a week’s a long time in politics.’ Well, 24 hours is like a lifetime under COVID-19. Borders are shutting, businesses are closing and above all, people are dying - by the day.

As I write this, I am waiting for the latest instalment of the daily, 5pm press conference from the PM. Yesterday, schools were shut. The day before, a massive £330 billion was pledged to assist businesses and homeowners. Today? Who knows.

These are unchartered waters, unprecedented times in the modern world and in truth, no one can say with any certainty or authority, what is going on, how long it will last and where it will lead us.

Brexit was a tea party compared to this.

Conspiracy theories abound, Piers Morgan is lambasting everyone he possibly can, and finance gurus are telling us what will happen and what we should do. I have no place to wade into this. I am no expert. What I am is the director of a law firm, so all I can weigh in on is what we are doing and how we have approached the crisis.

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At the time of writing, our HQ in the Royal Liver Building remains open, we took measures last week to set all of our staff up with laptops, remote access to case management systems, and telephones so that we could iron out any teething problems. By Wednesday this week 50% of our staff were working remotely from home. By Thursday it was 75%. And tomorrow may well be the last day for us.

Fortunately, most of our work can be done this way. Sometimes, however, we need hard copies. So for this, we have redirected our post just in case the building is forcibly closed. This will be scanned and emailed to each member of staff. Hard copy letters and court docs which need to go out will be printed at a central hub and a nominated person will check and post each day. What will happen with the courts? Again this is unknown, but so far they remain open and active. In fact, we were there today for a trial (which we won, as it happens).

As time passes, we will see the impact of this virus, both on our way of life and economically. It may well have a lasting impact on the way we operate business and conduct ourselves long after it is over, too. Unlike anything we’ve encountered before, this will touch everyone, and it will do so in a significant way. We must remember that we are all in this together. As one of Liverpool’s most famous sons, Paul McCartney, once sang – ‘side by side, hand in hand, we all stand together’. AM

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