THE
essential journal The pursuit of a quality lifestyle
essentialjournal.co.uk
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EVERY EVERYADVENTURE ADVENTURE BEGINS BEGINSWITH WITHAACHOICE CHOICE
Adventure. Adventure. It always It always starts starts with with oneone decision decision – the – the decision decision to venture to venture outout of your of your comfort comfort zone. zone. After After that, that, thethe options options areare endless. endless. To To explore explore rugged rugged mountains mountains or or conquer conquer thethe concrete concrete jungle? jungle? To To travel travel lightly lightly or pack or pack thethe kitchen kitchen sink? sink? To To go go alone alone or bring or bring your your tribe? tribe? Synonymous Synonymous with with capability, capability, durability, durability, versatility versatility andand refinement, refinement, ourour vehicles vehicles areare perfect perfect for for whatever whatever adventure adventure youyou choose. choose.
VISIT VISIT HATFIELDS.CO.UK HATFIELDS.CO.UK TOTO START START YOUR YOUR ADVENTURE ADVENTURE Hatfields Hatfields Land Land Rover Rover HullHull 01482 01482 645645 413413 Hatfields Hatfields Land Land Rover Rover Liverpool Liverpool 0151 0151 559559 3000 3000 Hatfields Hatfields Land Land Rover Rover Pickering Pickering 01751 01751 477477 177177 Hatfields Hatfields Land Land Rover Rover Shrewsbury Shrewsbury 01743 01743 234234 300300 hatfields.co.uk hatfields.co.uk
Official Official FuelFuel Consumption Consumption Figures Figures for for thethe Land Land Rover Rover range range in mpg in mpg (l/100km): (l/100km): Combined Combined 18.918.9 - 86.9 - 86.9 (15 (15 - 3.3). - 3.3). WLTP WLTP COCO 366366 - 74- g/km 74 g 2 Emissions 2 Emissions 2 world world figures maymay differ. COCO fuelfuel economy economy figures figures maymay varyvary according according to factors to factors such such as driving as driving styles, styles, environmental environmental conditions, conditions, load load andan a figures differ. 2 and 2 and
km. TheThe figures provided areare as are aasresult official manufacturer’s tests intests accordance withwith EU legislation. ForFor comparison purposes only. Real g/km. m. The figures figures provided provided aasresult a of result of official of official manufacturer’s manufacturer’s tests in accordance in accordance with EU EU legislation. legislation. For comparison comparison purposes purposes only. only. RealReal 3 essories. nd accessories. accessories.
C R A F T E D T H E O L D W AY I N I TA LY F O R Y O U R E V E R Y D AY M O M E N T S
L4 U C A F A L O N I . C O M
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VISIT HATFIELDS.CO.UK TO START YOUR SEARCH Hatfields Jaguar Hull 01482 627 300
Hatfields Jaguar Land Rover Shrewsbury 01743 234 300
Hatfields Jaguar Liverpool 0151 728 2000
Hatfields Land Rover Hull 01482 645 413
Hatfields Jaguar Sheffield 0114 268 4741
Hatfields Land Rover Liverpool 0151 559 3000
Hatfields Jaguar Wakefield 01924 381 111
Hatfields Land Rover Pickering 01751 477 177
hatfields.co.uk 6 Consumption Figures for the Jaguar range in mpg (1/100km): Combined 22.6 - 50.9 (12.5 - 5.6). WLTP Emissions 281 - 146 g/km. The figures provided are as a result of official manufacturer’s tests in accordance with EU legislation. Official Fuel 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. Official Fuel Consumption Figures for the Land Rover range in mpg (l/100km): Combined 18.9 - 86.9 (15 - 3.3). WLTP CO2 Emissions 366 - 74 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.
CONTENTS
09.
26.
30.
The Primer. Drinks, Eats & Chats
Sweater Serenity Luca Faloni
Behind Closed Doors Maison Premiere
19. Design Through the Decades Paul Smith
18.
45.
52.
Welcome to the Row The Service
Keep Me Close, Take Me With You Ettinger
Behind the Grind: Coffee Shop Series La Marzocco
22. A League of One Jamie Redknapp
32.
38.
Wellness on the Waves Haeckels House
Welcome to the Club TWC
48.
54.
Talking Shop 3Sixteen
Columns & Thoughts
CONTRIBUTORS CONTACTS Holly BOWMAN
Fern MERRILLS
Publishers
Partnership Manager
Andrew CHEN
Adonis MICHAEL
Essential Studio
Sam Dyson
Arran CROSS
Jake O’BRIEN MURPHY
essentialstudio.co.uk
s.dyson@essentialstudio.co.uk
Laura DANN
Dan PILGRIM
EPITOME
Elliot RAMSEY
Editor
Lead Designer
Tommy BANKS
Jamie REDKNAPP
Matthew GONZLEZ
Tristan RUTHERFORD
Róisín HANLON
(Gestalten)
Mark HIGGS
Paul SMITH (Phiadon)
Martyn JAKEMAN
Paul WALKER
Matt JAKEMAN
Gem WILLIAMS
Will Halbert
Christopher Gerrard
w.halbert@essentialstudio.co.uk
christopher.gerrard@essentialstudio.co.uk Front Cover: Jamie Redknapp
Creative Director
Thomas Sumner t.sumner@essentialstudio.co.uk
@essentialjournal essentialjournal.co.uk
Photography: Sam Harman Wearing: Sandbanks
Johan LAM TERMS & CONDITIONS Under no circumstances must any part of this publication be reproduced without prior permission of the publisher. Whilst every effort is taken, the publisher shall not be held responsible for any errors. Furthermore, the publisher shall not be held responsible for any advertising material/content. Please also note that the views and opinions written within this publication do not necessarily represent the views and opinions of the publisher. All prices and details stated within this publication are correct at the time of print, however these are subject to change and the publisher shall not be held responsible for these. Third party contributors own exclusive copyright to their own material that they have submitted as part of the publication. All rights reserved.
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A NOTE FROM THE EDITOR.
“I’ve learned that people will forget what you said, people will forget what you did, but people will never forget how you made them feel.” – Maya Angelou There’s something to be said for the brick and mortar space that prints its pride and passion on every pane of glass and piece of furniture. Not literally, you understand. I’m talking about more of a metaphorical, heart-on-sleeve kind of printing; a personal mark left by real people with real dreams and real passions and very, very real skin in the game. The clothing stores that understand that their value extends beyond the fiscal returns of their rails. The coffee shop that gauges its success by both the quality of its produce and the awe of its patrons. The bar that knows its menu isn’t just a roll call of drunken distractions but an adventure in and of itself. These are the spots worth more than the immediate profits of their stock and trade. They are, by turns, pillars of the local community and an antidote to the brutal cold of the big box corporation. They should be celebrated. And yet, we grow more and more accustomed to the gradual McDonaldization of the retail and hospitality experience. We become numb to the machine-like smiles of the overworked, the underpaid and the uninspired. We keep pace with the breakneck speed and ruthless efficiency of conveyor belt consumerism. We unknowingly forfeit the warmth of the instore experience for the cold, hard click of the ‘buy now’ button. It’s a shame, too. Because nothing quite stacks up to the experience of stepping into a space that has been tailor made to blow you away. From the immediate, in-your-face details like the fixtures and fit outs, to the more subtle scents and sounds designed to work their magic in the background. You really can’t beat a spot that has been designed with you in mind. So, to those who invite us into their spaces to share some portion of the dream with us, to those that know their worth in an industry hell bent on a race to the bottom, to the proponents and proprietors of the humble brick and mortar store, this one’s for you. Enjoy. Will Halbert
THE PRIMER WHAT WE’RE DRINKING: The Whisky Exchange Whisky of the Year
Five whiskeys, tasted blind in the name of, er, science. It’s a tough job, but someone’s gotta do it. The Whisky Exchange’s Whisky of the Year isn’t going to choose itself. It helps that each of the shortlisted whiskies is as uniformly exceptional in quality as it is gloriously different in character. From the sweet n’ spicy allure of what might be a Speyside to the oaky, smokey slap in the face that I can only assume is an Islay. There might be a little sherry cask in the mix, too. A touch of ex-bourbon, perchance. Who knows? Not me, I have no labels - nothing to guide me through the myriad olfactory and gustatory delights that my little Perfect Measures box contains. In truth, I’ve never been so hopelessly, joyously lost in all my life. I loved every second of it. The TWE’s winner of Whisky of the Year will be announced on the 1st December
WHAT’S PEAKED OUR INTEREST: Rose Anvil on YouTube It’s an oddly cathartic experience, watching a £300 pair of boots being sliced in half with a practised, almost surgical precision and seeing said boot’s dirty laundry aired for all to see. Such is the appeal of Rose Anvil’s YouTube Channel, which offers up one of the most in-depth boot review series this side of the world wide web. What makes this all the more impressive is the fact that the channel is merely a side hustle to Rose Anvil founder, Weston Kay’s leather workshop. Rose Anvil calls on Kay’s experience as a third-generation leather artisan to put a modern spin on old-world traditions, tools and techniques. He’s a dab hand at it too, turning out everything from understated wallets to intricate camera harnesses. We seriously recommend checking out both his YouTube channel and his online store at your earliest convenience. roseanvil.com
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FIVE in 5 THE STREAMING EDITION Direct From EJ Towers... WHERE WE’VE BEEN EATING: Bar Douro - City of London
The Trail of the Chicago 7 A timely drama, flawlessly cast
The Boys Twice the wholesome family entertainment
At a time when collectively as a nation, our feet are planted firmly on the ground, with only our heads to roam freely through the clouds; Bar Douro’s authentic taste of Portugal offers a much needed gasp of air for those of us holding our breath until our next jaunt on the continent. A fresh, exciting and vibrant menu, with notable mentions for the Grilled Chicory, Bacalhau à Brás (salt cod hash) and a melt-in-your-mouth Octopus & Sweet Potato dish. Truthfully you’d struggle to find a forkful that didn’t hit the mark. With a wine list as bright & crisp as the Azulejo’s that adorn the place to boot, you may end up with your head in those clouds well into the night. Saude! bardouro.co.uk
WHO WE’VE BEEN TALKING TO: Walker Slater on Sustainability
The Mandalorian The space western saga continues
The Queen’s Gambit Check this gem out, mate
The Three Kings More than life and death
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How does the concept of sustainability feed into Walker Slater’s overarching philosophy? What does it mean to the brand? Sustainability is inherent to the brand. Our aim has always been to make quality garments using fabrics practically synonymous with Scotland. Both tweed and wool have a strong heritage and undeniable link to the land. It is also, by its very nature, 100% biodegradable. Our in-store teams are also trained to encourage customers to have tailoring correctly carried out and to give advice on building a wardrobe of key staples which will last and are able to be used to build multi-functional looks. Can you talk us through a few of tweed’s more sustainable credentials? Due to the toughness of the material, it really stands the test of time, takes very little effort to clean and therefore ends up being a very wise investment for those looking for a great quality statement piece for their wardrobe. The majority of Walker Slater cloths are sourced locally in Scotland and are 100% wool, which is great in terms of moisture and water resistance. Plus it keeps the wind out and the heat in through its natural make-up. Tweed has a real history of hardiness. How do you look to honour that whilst also offering something new?
Historically speaking, tweed was workwear for the gamekeepers and groundsmen on estates. It needed to be identifiable, practical and long lasting. Its moisture resistance and durability made it the perfect material for those that worked outdoors too - protecting them from the harsh weather elements. Walker Slater has some traditional patterns and weights of cloth, but the majority of our most popular pieces are reinterpretations. Our designers have worked closely with mills to create lighter weight options and luxury blends such as adding 10% cashmere or some silk. All of these fibres are sustainable and fairly long lasting. How does tweed evolve over time? Tweed garments are often passed down through generations on account of their toughness and longevity. The more it’s worn, the better it looks. As tweed is designed to withstand harsh weather conditions there’s very little that can actually ruin it - hence the reason why so many vintage clothing pieces happen to be tweed garments. They’re not just timeless, they’re tough as nails. How easy is it to repair a tweed garment after a couple of year’s of use and abuse? The tailors we work with offer excellent ‘invisible mending’. If the hole is pretty small, this can be done by hand using yarns from the cloth itself. For bigger holes, a piece of similarly-coloured cloth can be inserted behind the cloth and then a machine stitch can be worked over it to hold in place and blend the two cloths together. This type of mending is widely available at local tailors and is pretty inexpensive. For those new to dabbling in tweed, what is your advice for getting started? How would you work it into your wardrobe? Tweed is often seen as dressy, but the truth is that it’s a surprisingly versatile fabric. I’ll often pair a tweed jacket or waistcoat with jeans for a more casual look. Layering and experimenting with how products can be worn in different ways is exciting and opens the door to a few different styles, too. For those just looking to dip their toe, so to speak, we’ve got a range of accessories including tote bags, caps and flasks. We make them using the offcuts and ends of cloth to limit wastage. And finally, what is your own advice for working toward a more sustainable wardrobe? ‘Buy better, but buy less’ is the phrase that we are all using, but it’s so true. Understanding materials - appreciating how they are to be treated and how they age helps with that buying better strategy. Affordability can be seen as an issue at first. But when it’s stacked up against the possibility of having to rebuy something because it’s fallen apart, it puts things into perspective. Cheaper, more poorly-made items will very quickly show their limits and shortcomings. Walker Slater goods come at a higher price, but they’re built to go the distance. walkerslater.com
S H O P
F I T S # 2
EPITOME Edinburgh, UK ILONA WEARS: • Chamula Double Cuff Cap Fisherman Ivory • Monitaly Military Half Coat Vancloth Sateen Olive • Chamula Star Pullover Ivory x Red • Monitaly Ekusy Pant Short Vancloth Sateen Olive • Yuketen Tokyo DB Chukka Brown x G Brown Photograph by Charlotte Kinsella Styling by Susan Carroll Cooper @epitomeofedinburgh 35 Dundas St. Edinburgh, Scotland “Our ideas are thoughtful, but the outcome is simple; instead of reinventing the wheel, we’re repairing it. Each season we curate a selection of designers that work seamlessly with each other, mainly focusing on Casual Contemporary pieces sourced from all over the globe. From the classic essentials like New Balance to the innovative pieces by Denmark based NN07, our collections easily wear from workweek to weekend.”
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Thing Done Well Manifattura Ceccarelli combines timehonoured, Italian finesse with a touch of rough-and-ready americana to create outerwear guaranteed to hold its own in the cold winter months words by Will HALBERT photo by John PHILLIPS
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t’s not often that the UK’s foremost denim peddlers, Rivet & Hide stray from their Japanese offerings. Why would they? Over the years and across two stores, the boutique menswear destination has made a name for itself as a discerning purveyor of the very best in Japanese fabric artistry. They have been known to make the odd exception, though. And getting up close and personal with the latest and greatest from Manifattura Ceccarelli, it’s safe to say that the family-owned italian heritage brand falls squarely in the category of exceptional. With an almost obsessive approach to fit and fabric, Giuliano and the team at Manifattura Ceccarelli have dedicated over two decades to crafting classically-inspired, technically-peerless garments from their base in the city of Forlì. Leaning on a range of naturally-waxed cottons, hardy tweeds and fine leathers, the brand boasts the kind of fabric-forward, eco-friendly craftsmanship that dares you to put it through its pac-
es; be that on the country path or the city street. Honestly, we’d expect nothing less from the very same team entrusted to help US outerwear legends, Filson with their European production back in the ‘90s. The Mountain Jacket in Dark Tan offers a particularly striking example of the brand’s dual heritage. Boasting an almost academic approach to design and production, the Mountain Jacket reads like a roll call of elevated outerwear bells and whistles. The virgin wool insulation and super fine, cupro lining take care of the comfort side of things, while the waxed cotton canvas outer ( from the famed mills of Halley Stevenson, no less) comes through with some serious, winter-ready robustness. The hood follows suit with an all-encompassing, almost snorkel-like level of facial coverage, while the heavy duty main zip fastening (with press stud covering placket) and storm cuffs double down on the garment’s tough-as-nails protective edge.
Rivetandhide.com | @rivetandhide
Quite frankly, it’s the kind of coat you could lose yourself in; a wearable tent that allows you to brave the winter weather without ever feeling like you’ve actually stepped outside. Ski resort chic meets tank-buster ruggedness in what might just be the last winter coat you’ll ever need. It’s a master stroke form Manifattura Ceccarelli, and an obvious choice for the hallowed rails of Rivet & Hide. EJ 13
Design Through the Decades Exerpts from Paul Smith Published by Phaidon
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Object 01.
Kodak Retinette Film Camera
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n celebration of 50 years of Paul Smith, Phaidon offers a timely study of the British design legend’s oneof-a-kind creativity. This new monograph captures the unique spirit of British fashion icon Sir Paul Smith through 50 objects chosen by Sir Paul himself for the inspiration they have provided him over the years — from a wax plate of spaghetti and a Dieter Rams radio to a Mario Bellini Cab chair and a bicycle seat. Each object has impacted his worldview, his creative process, and his adherence to a design approach that’s always imbued with distinctly British wit and eccentricity.
“
My father bought me this Kodak Retinette for my eleventh birthday, in 1957. It was my first proper camera. He was a founder member of the camera club in Beeston, the town where I lived, just outside Nottingham, and he was very passionate about photography. It was the first time I’d ever thought about looking and seeing, seeing things through the little viewfinder, which makes you look more carefully, and that’s something that has helped me in my job over the years. It used film, of course, and buying film was expensive, especially when you were eleven years old and only had pocket money. So you had to think harder about every picture you took. For me that was the birth of being creative, without actually realizing it. I used to spend a lot of time with my father in the darkroom he’d built in the attic of our house, watching him develop the negatives and then using the enlarger and printing them. Linked to that – and this has been a massively important part of my career – he loved trick photography. He loved to put two negatives together to make a surrealistic image. There’s quite a well-known picture of me as a boy on a flying carpet, flying above Brighton Pavilion. There’s another photograph of my father sitting on the beach in Charmouth in West Dorset with seaweed on his head and two pebbles in his
mouth, making himself look like a monster, and me in my little woolly swimming trunks, aged nine or ten, laughing at what he was doing. So I was weaned on his -really good sense of humour and his strong communication skills, and without question they’ve been just as important as my creative skills over the years. They helped me right at the beginning when I wanted a manufacturer to make a shirt, persuading them to make it even though I could only order a very small quantity: ‘I’m just starting out – can you please help me?’ Or making them laugh with some sort of spontaneous joke. As a company, our approach is light-hearted and full of humour,
and that definitely came from my father. But when he gave me the camera, I had to learn what all the knobs and buttons did. Nowadays, like everybody, I take photographs with my iPhone. But taking photographs with the Kodak and film, long before digital technology, taught me patience. You had to compose the shot, and then you had to wait to see the result, while wondering if you’d got it horribly wrong. And the business of framing was important. When people buy things, it’s like they’re looking at a snapshot. They don’t care that your influence was a trip to Chile or the colours of the sunset. They just think, ‘I like that shirt.’ 15
“
Despite the fact that I’ve never smoked in my life, I’ve always collected matchboxes. Like my collections of penknives, decorative tins and other things, they’re the evidence of my love of street markets. I think they fascinate me because they get me thinking about the reasons behind the different ways people go about designing what is essentially the same object. The matchboxes often advertise the name of a café or restaurant, which makes them lovely mementoes of special occasions, but sometimes they’re just decorative. Recently I was in Tokyo at a street market I often visit, and I bought a whole collection. I’ve also found some amazing ones in Mexico and Brazil. They come in different shapes and sizes, in variations on the modern flip-top matchbook or the traditional sliding matchbox. But then you come across very long matches for lighting cigars, and that’s a whole different set of possibilities for the designer. We’ve certainly used some of my collection as the inspiration for prints or something like the woven labels on the bottom of a sweatshirt. It’s intriguing how much impact you can get from such a tiny object: the design can say, ‘We are contemporary’ or ‘We are traditional’ or ‘We have fun.’ It’s about how a design can express who you are and what you are, in a very limited space. ‘Paul Smith’ out now (Phaidon 2020)
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Object 04. Matchbox Collection
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WELCOME TO THE ROW.
What’s new at Number 32? We sit down with Department Two’s Arran Cross and Fern Merrills to talk tradition, collaboration and business in the time of COVID
interview by Will HALBERT photography by Department Two @theservicelondon @department_two 18
There’s never been a coffee shop on Savile Row, making The Service the first space of its kind to grace the hallowed ground of Mayfair’s menswear epicentre. To tout this as The Service’s primary claim to fame, however, would be to do the space a - wait for it - colossal disservice. Part coffee shop, part exhibition space, part community hub, The Service is a master stroke of a lifestyle concept and then some. It boasts all the visual trappings of ‘the Row’s’ sartorial severity and sophistication, while somehow eschewing its pomp and pretense.
Brought to you by Cad & The Dandy, Department Two and The Fresh Coffee Company, The Service is as ambitious as it is irreverent; it’s as iconoclastic as it is visually resplendent; and it’s exactly what Savile Row needs right now. EJ FIRST OFF, TALK ME THROUGH THE GUIDING PHILOSOPHY BEHIND THE SERVICE. WHAT ARE YOU HOPING TO BRING TO NO. 32 SAVILE ROW? arran cross: The Service aims to provide a communal hub for the street on the one hand,
the process of shopping on Savile Row. Tailoring houses typically act on a ‘by appointment only’ basis, which stiffens things up a little and often heightens the sense of formality. Having a coffee shop on Savile Row eases the whole experience by giving those new to the street a space to gather their thoughts. But it also gives Savile Row occupants a place to connect. THE BREADTH OF THE SERVICE’S OFFERING IS PRETTY STAGGERING. HOW HAVE YOU MANAGED TO COVER SO MUCH GROUND? AC: We’ve approached this whole project as a partnership - as a collaboration. I really can’t stress that enough. We at Department Two have taken care of the creative side of things; James Sleater of Cad & The Dandy has been the man on the ground, heading up operations; Marcel and Toby of The Fresh Coffee Company have lent their extensive coffee knowhow and really fleshed out the coffee offerings. Everyone who has a hand in The Service is passionate about what they do. They’ve all worked hard to create something that’s welcoming and experiential, something unlike anything else in Mayfair. FM: The Service has also given us the opportunity to work with the clients and friends we’ve met through Department Two. Working with passionate artisans like Bert Frank and LoftMe to bring lighting and mid-century furniture to The Service has been an amazing experience. There’s a real sense that everyone is in it together. And the whole experience is enhanced by that collaborative push. I think this is going to be the way forward for projects like this: employing a more cooperative approach and partnering with other brands to build a bigger, richer platform.
and a bridge for those who have yet to experience it on the other. When you first step foot on Savile Row the experience can often be quite intimidating. There’s a fear that you’ll be sized up and judged. The idea with the The Service was to welcome those new to the ways of the Row, to give them the chance to interact with the product and more importantly, to meet the people behind it. fern merrills: With The Service, we wanted to relax the sense of ceremony that surrounds
THE SERVICE OPENED ITS DOORS EARLY SEPTEMBER. HOW ARE THINGS GOING SO FAR? AC: It’s been great. The Service has allowed people to soak up the rhythm and vibe of Savile Row whether they work on the street or not. It’s brought back that long-lost element of physical networking in the process. It feels like Pitti in some respects. Not only in the sense that there’s a strong contingent of menswear enthusiasts about the place, but that the space is connecting people from different walks of life. FM: We knew right away that if The Service was going to work at all, it would have to bring something new to Savile Row; it would have to be an experience. I think we’ve made good on that, and I’m surprised by how diverse the footfall has been so far. You’re just as likely to spot an eager sartorialist grabbing a coffee as you are an elderly couple that just happened to be walking past. THIS IS ONE OF THE FIRST SPACES ON
SAVILE ROW NOT DEDICATED EXCLUSIVELY TO THE SELLING OF CLOTHES. HOW HAVE THE MORE DIE-HARD VETERANS OF THE STREET RESPONDED TO THE SERVICE? AC: It certainly ruffled a few feathers in the early days. We’re operating in a hyper traditional space, after all. It’s understandable that change should be met with a little off-the-cuff scepticism. Savile Row’s old guard was understandably cautious when we first moved in, but they’re quickly getting on board with what we’ve all got in mind for the space. FM: People are naturally protective of their business. If that business is built on heritage and - let’s be honest - a certain level of exclusivity then you’re naturally going to be wary of anything that might jeopardise that. Lucky, people have realised that we’re not here to undo anyone’s hard work. We’re honouring Savile Row’s tradition; we’re celebrating its heritage, but we’re striving to open it up to a wider appreciation. HOW DID YOU GO ABOUT STRIKING THAT BALANCE WHEN DESIGNING THE FIT OUT FOR PHYSICAL SPACE ITSELF? FM: We’ve certainly toyed with the notion of exclusivity in our layout and aesthetic, but it’s more of a playful take on the concept. While the idea of an exclusive members club isn’t something that interests us in the slightest, we do love the visual cues that call back to those unique spaces. There’s a real charm to the luxury and lavishness of places like that - the kind of spots you can imagine Sherlock and Mycroft chatting away in. We definitely wanted to explore those elements from a design perspective, just not from a practical one. AC: Experiential hospitality and retail are definitely the future of both industries. The days of conveyor belt shopping, eating and drinking are done. People want more; they want to be wowed but not overwhelmed or intimidated. There’s a fine line between an experience and a theme, and it took an entire team to pull that tightrope walk off. We definitely didn’t want The Service to come off as gimmicky, so it was worth the extra team effort to get the balance just right. HOW DOES THE CURRENT EXHIBITION COMPLEMENT THE SERVICE’S OVERARCHING PHILOSOPHY? AC: Aleks Cvetkovic’s ‘Tailored Casual’ exhibition plays into The Service’s ethos insofar as it charts a moving away from structured, formal paradigms in favour of more relaxed, approachable models. It’s a collaborative exhibition featuring every tailoring house on Savile Row. It’s been interesting to see how each tailoring house has run with the brief. Things have definitely relaxed. You’ll find the inclusion of field jackets, 19
overshirts, and unstructured, double-breasted pieces that some of the houses have never attempted before. The whole exhibition suggests that a new tailoring style is upon us. It really feeds into the idea that Savile Row is literally and metaphorically loosening up a little. WHAT’S THE MOST IMPORTANT LESSON YOU’VE BOTH LEARNED FROM THE EXPERIENCE SO FAR? FM: I’ve learned that you can be as strategic as you like, submitting yourself to the most meticulous planning possible, and in the end you’ll still be flying by the seat of your pants. Sometimes, you just have to take the leap, ready or not. If you try to be too reserved, too strategic, you can miss your chance. Sometimes you just have to get things done. AC: I’ve come to understand that no two businesses are alike; each one operates a little differently to the next. The most valuable lesson I’ve learned is the importance of communicating effectively. Getting all of your ducks in a row can sometimes be very challenging, especially when you’re dealing with so many moving parts and setting yourself turnarounds and deadlines as tight as we have. Good, honest communication is key. THESE ARE PRETTY UNCERTAIN TIMES. DID YOU HAVE ANY CONCERNS ABOUT OPENING DURING A GLOBAL PANDEMIC? FM: The pandemic has accelerated things in one of two directions. For a lot of people it’s been a time to slow down. For others it’s been a case of pushing forward full throttle because there’s nothing to lose. We definitely had that approach. This opportunity came along and we couldn’t think of a good reason not to take the leap. Current events have shown us just how fleeting everything can be. Nothing is guaranteed; plans will only get you so far. Time is a fragile thing - you have to seize these opportunities when you can. AND FINALLY, WHAT’S NEXT FOR THE SERVICE? AC: As the exhibition draws to a close, the next step is to kickstart the market place in the run up to Christmas. It will offer a small, curated selection of brands in one space. We’re really looking forward to it. It’s going to be something new for Savile Row. It’ll all be ready-to-wear as opposed to bespoke tailoring, for the most part. It’ll certainly challenge people’s perceptions of Savile Row.
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F RO M T HE S H OW RO OM TO YO UR S O FA words by Will HALBERT DMR’s all-new virtual appointments service offers expert advice and unparalleled convenience without ever sacrificing that all-important personal touch Customer service has been a point of pride for DMR since their founding back in 1969. Those that frequent their beautiful showrooms invariably go on to become more than clients; they become friends. It should come as little surprise, then, that the family-owned jewellers should want to maintain that close client bond through these unprecedented times. And while DMR’s COVID-secure showrooms have been open since June, that hasn’t stopped the team from going the extra mile to ensure that those bonds are stronger than ever. DMR’s updated website and all-new virtual appointments are a testament to that very fact. Clients can now enjoy the expert advice that they’ve come to know, love and trust from the comfort of their own sofas. ‘We appreciate that the daily lives of our clients have changed dramatically over the last couple of months,’ says Liz Allister, DMR’s Head of Marketing. ‘Many of them may now find themselves working from home and unable to visit our city centre locations in the way that they used to. That is why our new virtual appointments service allows us to bring the best of the DMR experience to you.’ These virtual appointments take two forms: initial enquiries and remote purchases. Initial enquiries allow clients to check in with DMR’s expert teams before following up with a visit to the showroom. This is ideal for those looking to ask a few questions before arranging to meet the team in person, see their piece in person and complete their purchase. Remote purchases, on the other hand, make it easy for clients to carry out their full transaction online. Clients are treated to an online viewing of their prospective piece by one of DMR’s expertly-trained Sales Ambassadors. They’re given the option to make a secure payment. After full payment is received, DMR will personally arrange for the piece to be couriered to an address of the client’s choice - this option excludes Rolex and Patek Phillippe. ‘Our expert Sales Ambassadors remain on hand to guide clients through their next purchase,’ says Liz. ‘Whether they prefer to begin their journey online before visiting their local DMR showroom, or whether they choose to complete their purchase from home.’ The new virtual appointments are both a celebration of DMR’s unwavering dedication to its clients, and glowing testament to the team’s ability to pivot and adapt. EJ Book your virtual appointment now via DMR’s website davidmrobinson.co.uk 21
We sit down with football phenomenonturned trusted pundit, Jamie Redknapp, to talk broken ankles, bespoke suits, and sustainable brands
interview by Thomas SUMNER photograph by Sam HARMAN 22
First off, let’s talk about your involvement with Sandbanks. How did you get on board with their eco mission? It’s a brand I’m really proud of to be honest. I’m very particular on the question of clothes and I’ve always loved fashion. So having the chance to co-found a brand like Sandbanks has been incredible so far. But I’m not going to lie; I had to be educated on the sustainability side of things at first. I had no idea how you’d even go about turning old plastic bottles into something as incredible as what Sandbanks are putting out. It’s an amazing thing to be part of. It’s a bonus that the gear looks great. The world’s a tricky place at the moment, but the important messages remain the same: protecting the environment for future generations is key. We need to find ways to stop loading the oceans with our plastic bottles. We need to do the right thing. Not just for us, but for our kids, and our kids’ kids. We have to think about what our legacy is going to be. Speaking of legacy - you’ve had a long and illustrious career. How do you want to be remembered? I don’t think we get that much of a say in it. For all your achievements, people will latch on to different aspects of your career. I suffered a fair few injuries in the final stages of my football career, for example. Some will remember me for that. Others will remember me for captaining Liverpool, for playing for England. Both were tremendous honours. If you’d have told me at sixteen that I’d have done either of those things, I’d have called you crazy.
It’s not for me to decide how people will remember me, I can only hope my career speaks for itself. It’s certainly enough for me. When I look back at my 11 years with Liverpool; the great games I played and the fantastic people I played alongside, I feel genuinely lucky to have had the run I’ve had. And then of course to have moved from playing football to working in the entertainment and media industry. I’m lucky. I’ve worked hard for it. But I feel lucky all the same. You’ve worn a fair few kits over the course of your career at Liverpool. Do any stick in your mind? The iconic Candy kit will always stick in my mind, as it was my first. The ‘90s Adidas kit was a winner too. Their branding just brought a little something different to the kit. That green away kit with the bold, white stripes running down one shoulder was pretty unforgettable. It’s amazing to hear the kinds of bonds that people form with the kits over the years. They seem to get better with age in some cases too. I remember a yellow Adidas kit from the mid-nineties that people thought was a bit out there at the time. But it brings back so many good memories for some now. It’s been interesting to see football kits enter the fashion sector in the way they have. I remember them being purely functional back in the day. When I first signed, no one had their names on the back of their shirts. There were no numbers either. And we played in black boots, which seems so old fashioned by today’s standard. I remember John Barnes wearing a white pair during the FA Cup Final, which again was pretty out there at the time. He’s John Barnes though; he could get away with it. On that note, do you have any style advice you would have given yourself back in the day? Any trips to the barbershops you regret going on? I had a few rascal haircuts, I
must admit. I’ve sported a few long-haired looks that I should have talked myself out of, to be honest. And I definitely rocked the curtains and cow’s lick for longer than I should. I do remember Robbie Fowler sporting a decent crop cut when he scored that hat trick against Arsenal in the premier league in ‘94. Maybe I should have gone with something like that instead. It’s funny, people think of footballers as fashion icons nowadays, and to a degree they are. But back then we really weren’t paying much attention. My longer hair was more a product of neglect than anything else. How important is the concept of personal style in football? Can you think of any good examples of those who have it? It’s paramount. People are always looking at the smallest details nowadays, so stepping out into the world with your best foot forward is so, so important now. But it’s also important to do your own thing, too. We see a lot of individuality on the pitch. Pep Guardiola always looks cool, Frank Lampard shifts from tracksuit to threepiece suit more naturally than any manager I’ve ever seen. Klopp gets it right in his own way, too. Wearing a well-fitting tracksuit and cap. He looks like the kind of manager you want to run through brick walls for.They all nail it in their own way. Which is just as well, because they’re under more scrutiny than ever before. So yeah, appearance is important. That said, how a man looks might alter your perception of him, but it doesn’t necessarily say anything about his substance. Speaking of personal style, are you more of a suit or tracksuit kind of guy? I absolutely love a good suit. I’ve trusted Thom Sweeney with the task of making my suits for about ten years now. Their suits are a little dangerous, to be honest: it’s hard to stop at one. I’m not sponsored by them or anything, I’m just bowled over with the quality of the work they put out. They’re literally tailor made to make you feel amazing. It’s important to feel good in what you’re wearing. That’s the one major parallel between what the gents at Thom Sweeney are doing with tailoring and what we at Sandbanks are 23
change your perspective on things. Once my knee issues started kicking off around 2000, football became something to endure as well as enjoy. I adopted a kind of mercenary approach - as the passion became a job. When you’re younger and injury-free you’re driven by passion and passion alone, because you’re truly doing what you love. You could have told me I was playing for free as a 21-year-old and I’d have still kept playing, because I was doing what I loved. But as you get older and those injuries start to pop up, you change your way of thinking. I remember when I hit 31 and the doctors told me ‘right, that’s it. No more now.’ It was a huge relief, in a strange way. Because injuries weigh heavily on you when there’s so much expected of you. Your integrity is always on the line. Being told that my knee had taken all it was going to take was a sign to stop putting all that responsibility on myself. It meant no more injections, no more physio in the middle of the night because my knee was swollen up like a balloon the night before a watch.
doing with outerwear: we both understand the importance of feeling good in what you wear. How did you manage the highs and lows of your football career, and is there a particular low you’ve learned from? In all honesty, I’m not sure I did manage the lows particularly well. I used to get far too nervous playing games. Hence the two broken ankles and the torn hamstring playing for England. Playing for Liverpool felt comfortable; it felt like home. Playing for England pushed me well outside of my comfort zone. It affected me big time, and looking back I think that really showed. When we’d lose games back in the day I wouldn’t go out, I’d just want to hide myself away. The truth is I’m an awful loser. If I could do something a little differently, I would have tried to take the emotion out of it and get some critical distance to process things more calmly. That’s the beauty of hindsight though, isn’t it? We talk a lot about people’s mental health nowadays, and that’s amazing. But it really wasn’t a topic of conversation back in the day. Sure, you had people helping you with the physical side of things, but not necessarily the mental side. Do you think there’s a link between physical injury and mental stress? Absolutely. Like I said: captaining Liverpool and playing for England are two of the proudest moments of my life. But injuries - serious injuries 24
Being a footballer means constantly being judged by others. How do you deal with that kind of scrutiny? I was always concerned with playing well, but never all that bothered about people’s opinion of me on matters beyond my ability as a footballer. When you play football, you’re always going to divide opinion. You can’t please everybody and you shouldn’t try, because everyone has a different metric by which they’ll judge a player. Whether it’s the ferocity of their tackles or the accuracy of their shots, people are always going to weigh your worth very differently. That subjectivity is part of the beauty of the sport, in some ways. Once you realise that you can’t please everyone, that judgement becomes much easier to bear. Obviously, ridicule is harder to process when it comes from an unfriendly place. But good-natured teasing is fair game. That’s why working on A League of Their Own was so much fun. It gave me the chance to loosen up and poke a bit of fun at myself. At the end of the day, we’re talking about football here; it’s a game. A game is supposed to be fun or you’re doing it all wrong. And finally, are there any on-pitch rituals or philosophies that have served you well in your move to punditry? Oh, absolutely. Preparation is as key to punditry as it is to playing. You can’t just rock up and wing it. You need to plan, research, and prepare. And of course, I’ve brought along the same desire to learn and improve that I had while I was playing. I’ve learned from some truly incredible people both on and off the pitch in this business. I go to work at Sky and I feel that same excitement and passion as stepping onto the pitch. The outlook is the same. My sense of gratitude is the same. Follow Jamie on Instagram @jamie.redknapp
B EH I N D T H E B AD G E:
Sandbanks Mixing technical outerwear with planet-saving production techniques, Sandbanks offers a novel take on turning trash into treasure
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or the longest time, the concepts of luxury and sustainability have seemed at odds to say the least. They’re uncomfortable bedfellows after all. They elicit a kind of cartoon, this-town-isn’t-big-enough-for-the-two-of us animosity; two of fashion’s most darling buzzwords locked in a right old farcical fisticuffs. Except this isn’t a cartoon, is it? This is the environment we’re talking about; it’s no laughing matter. So it’s refreshing to see a brand like Sandbanks come along and really start to take things seriously. Sandbank’s ‘Inspired by Luxury, Driven by Sustainability’ motto reads less like a catchy marketing soundbite and more like a guiding philosophy. The brand deals in truly premium and undeniably beautiful garments that, refreshingly, come without the devastating ecological price tag. Pushing the proverbial envelope in outerwear design, Sandbanks lean on the potential of forward-thinking fabrics to create sustainable styles that actively combat the environmental challenges we all face. The brand’s first capsule collection was made almost entirely from recycled plastic bottles from the oceans and landfill. Pair that with the brand’s penchant for recycled, rPET and ECONYL® materials and its zero-tolerance policy on fur and down, and you have a future proof brand that not only sees the big picture, but is doing its best to make that picture a whole lot prettier. EJ
Now available at Tessuti.co.uk
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SWEATER SERENITY Luca Faloni’s AW20 collection is a transportive foray into sustainable style words by Will HALBERT
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here’s a lot to love about Venice. It’s a city that rises, brick by brick from its storied waters to reveal a timeless majesty. The mere mention of ‘La Serenissima’ evokes images of tangerine sunsets enjoyed over bottomless Negronis by impossibly beautiful people. It is exactly this historic penchant for beauty and luxury that Luca Faloni’s latest collection so expertly conjures up. Boasting an impressive selection of made-in-Italy, cashmere superlatives, Luca Faloni’s AW20 offerings deftly capture the brand’s uncanny knack for laid back, Italian-inflected style and ease. From roll necks to cable knits; zip ups to button downs, Luca Faloni achieves a timeless style that sings of its long-time love affair with Italian craft and provenance. Each piece is made, start to finish, in some of the finest, most celebrated mills of Italy. From the sustainably-minded Cariaggi mills of Cagli to the tightly-knit (excuse the pun) team at Novara’s Grandi & Rubinelli, these are artisans, young and old, at the very top of their textile game. The result is a range of carefully-considered, consciously-crafted autumn investments that, in line with Luca Faloni’s buy-less-buybetter ethos, exude a perennial charm. They’re wardrobe investments that you will revisit time and time again, not just for their quality and comfort, but for their ability to transport you to tangerine sunsets, beautiful faces and bottomless Negronis that grace each twist and turn of the Grand Canal. EJ lucafaloni.com
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ESSENTIAL PICKS The Luca Faloni AW20 Collection PURE CASHMERE ZIP-UP Boasting a two-ply, pure cashmere weave from the prestigious Cariaggi Fine Yarns Collection, the Luca Faloni zip-up represents the last word in business casual. Throw it over a shirt and pair it with some chinos for that Bond-on-his-day-off vibe.
PURE CASHMERE CABLE KNIT Fitted yet comfortable, luxurious yet hardy, you can’t go wrong with a cable knit. Luca Faloni’s ivory number is a testament to that very fact. Its classic design and refined, textured pattern make it perfect for a casually distinguished look, while its fine-yet-insulating cashmere construction means you can wear it from autumn to spring.
PURE CASHMERE ZIP-UP Don’t fear the roll neck. Give into it; embrace it like the missing piece in your wardrobe that it so clearly is. If its warmth and comfort aren’t enough of a sell for you, then its unparalleled versatility should be. Trust us, this thing goes with pretty much everything.
lucafaloni.com
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AHEAD OF THE HERD interview by Will HALBERT
Specialising in made-to-last tweed from the wool of rare Herdwick sheep, RUSKIN offers up serious sustainable style
ruskinlondon.com
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In an industry rife with brands that feed on the consumer’s constant and collective drive for the new and the trending, it’s nice to see brands like RUSKIN take a different approach. Over the last few years, RUSKIN founder and designer, Alli Abdelal has perfected a low-volume, slow-tempo, artisanal approach seen all too rarely nowadays. It’s almost scholarly. For Alli, design is less of an aesthetic concern and more of an opportunity to communicate. Design becomes a bridge that connects consumer, craft, and craftsperson; a set of visual, tactile and philosophical principles that help people to develop a deeper understanding of (and a greater appreciation for) the art. We sit down with Alli to find out why RUSKIN isn’t just an exercise in considered luxury; but a heartfelt attempt to make craft personal. EJ
First off, talk us through the philosophy behind RUSKIN - What drives you as a brand? It really comes down to two things; human connection and creativity. We talk about this a lot, especially now that our world is so visual and image driven. Essentially, our designs are about connection; human connection with the finer details of hand crafted work and the natural nuances and texture of materials that engage our senses and reconnect us with the world. As humans we tend to lean on our sense of sight the most - aesthetics are important - but we’re looking to consider all the senses, to help restore that delicate sensitivity that has deteriorated under the circumstances of modern life. RUSKIN is very much a creative endeavour, born out of curiosity for what might be possible with a rare natural fibre that has not traditionally been
perceived as ‘high value’ and is often discarded. Our idea is to innovate with the wool and harness the naturally occurring properties in order to offer an entirely fresh creative proposition. Do you think consumers are becoming more concerned with questions of sustainability, provenance and craft nowadays? Are we finally seeing a drift away from fast fashion? I think the world is finally waking up to the severity of the climate crisis and realising that the changes we need to make are non negotiable. Our current circumstances have certainly expedited some tough introspection. In terms of sustainability and provenance, it’s a journey and we are on the right trajectory, people are starting to seek out products that reflect their changing
lifestyles and values, but it takes time to reshape attitudes and behaviours. As for craft, I think it will always be relevant because it is a uniquely human endeavour. Humans are hardwired to create. But whenever we truly create something or innovate it takes time, and even more time to help people understand the subtleties of the rare materials it is made from and the value of the time intensive work involved. All this takes, well, time and in recent years, with the race for volume, the fashion industry has lost that integral currency of time. As designers, it is our responsibility to help people know what they know differently and better. That’s why it is so important that we tell our stories; knowing where something comes from, who designed and crafted it and what we are doing to respect and work within the limitations of
the environment, those are the stories that push the needle, not industry labels and buzz words. Can you talk us through the RUSKIN process a little - from initial concept to final piece? What kind of conversations do you have when creating a new product? Before we put pencil to paper to work on new designs, we discuss what we’ve been hearing from our customers and from the stores that sell our products. These interactions provide us with enormous insight into people’s needs and experiences and afford us that connection; that true feeling of the human element in design. What we’re looking for at this stage is to reflect, and at best influence society’s sensibilities. What unfolds thereafter is a long creative process in designing, sourcing, milling, weaving
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and crafting. We spend a great deal of time in collaboration with our artisans at the design stage who bring to the table a deep understanding of materiality and technical rigour. Engaging honestly with our customers and partners in the design process is what ultimately helps us deliver great products. Production of our tweed meanwhile takes place in three different mills in Yorkshire, where the raw wool is carefully cleaned and combed before being slowly spun into a fine worsted yarn. The yarn is then sent to be woven and washed in natural soap and well water, drawn from below the mill to shrink and interlock the fibres; this enhances the waterproof properties. The fabric is finally dried and pressed before being shipped out to Italy to be bonded, cut and handcrafted into the latest design. Are there any design challenges that go along with creating trendless, seasonless products? We’ve always worked with the rhythms of artisanal production, so the latest trendless, seasonless approach actually works in our favour. Ours is not a business model that people are used to seeing much anymore. We’ve chosen to break away from the pressures of seasonal production and rapid growth as a means to success. We’d much rather do something more quiet, remain in control creatively and establish a grounded partnership with all those in our value chain. Let’s talk provenance; why is it personally important for you to work with the wool of Herdwick sheep? And how important is it for you to forge solid relationships with fellow artisans? I was born and grew the daughter of a mountaineer in the Lake District, so I spent a lot of my time in the fells and came to love the familiar presence of the Herdwick sheep ubiquitous to the landscapes there. Despite having grazed on the upland fells for thousands of years and despite having a protected status, Herdwick are 30
a breed ‘at risk’. Plans for rewilding, the building of second homes and the concentrated nature of the flocks have placed their future under threat. We hope that we can help raise awareness of the breed and play some part in promoting and elevating the status of the wool that Herdwick produce so that they remain on the Lakeland fells for years to come. When we first approached our artisans in Rome about the possibility of using our custom tweed to create an artisanal bag they were cautious, but with a customary, ‘non c’è problema’, they agreed to take a look. As it turned out, they were intrigued by how durable and pliable the fabric was and were really interested in what we were trying to do with it. Since then we have built a strong relationship with our artisans who are remarkable in their ability to execute our tweed and they have become as much a part of our story as the fabric itself. And finally, do you think we’re seeing a bit of a tweed renaissance of late? What do you think it is about tweed that draws people in after all this time? Yes, I think we are! Beautifully soft tweed, with a deep, tactile weave and superbly cut, kicked up a notch with a few nuanced details and some casual seasonal pieces; what’s not to love? I think people keep coming back to tweed because it is so versatile and timeless but perhaps there is something deeper in our subconscious about the feeling it elicits as well. Without doubt, tweed has all the right credentials as a reference for modern design; natural, renewable, biodegradable, not to mention all the rich heritage reflected in its production, but I think it also has that enduring capacity to sooth and stimulate. For our part, our tweed collection is a quiet reckoning with over production and unfettered growth. We are committed to exploring the possibilities within natural material innovation because of how it reconnects us and because it gives us pause to touch and think and really feel.
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WELLNESS ON THE WAVES words by Will HALBERT Based on the clifftops of Margate, Haeckels House offers up a masterclass in coastal-inspired calm
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The word “thalassotherapy” is derived from the Greek “thalassa” meaning “sea”. It refers to a range of therapeutic treatments that harness saltwater and seaweed to cleanse, soothe and revitalise the skin and body. I didn’t know this until just now, and I promise to keep schtum if you weren’t privy either. Luckily, one needn’t be au fait with the intricacies of ancient, restorative marine therapies to appreciate the myriad sensory wonders on offer at Haeckels House. Tucked away in a vintage townhouse on Margate’s Cliff Terrace, Haeckels House is home to a three-room spa that perfectly encapsulates the southeast coast’s surfside aura. Access to the spa is granted via
a pre-war, wooden staircase that lets out into the pastel tones, soft lighting and rustic plank floors of the relaxation lounge. Floor-to-ceiling glass affords visitors a spectacular view out over the Lido and onto the sea. Below the spa lies the original retail space, where you’re able to shop Haeckels’ range of naturally-sourced skincare products. Many of the ingredients are hand-picked from the shores of Margate. By all accounts, Haeckels House is more than just a welcome addition to the slow rise of experiential shopping; it’s an unforgettable sensory experience to boot. It’s a bricks-andmortar monument to wellness that truly sings of the seaside splendour of its surroundings. EJ
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The Corberรณ Residence Taken from The Touch: Spaces Designed for the Senses Gestalten, out now
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Stretching out from the personal quarters are a network of rooms for entertaining and exhibiting—there are so many that Corberó would occasionally forget he had built certain annexes. An estate of interconnected homes rises in Moorish modern style. Some are silhouetted husks of Arabesque curves. Others feature monastic whitewashed walls that cloister a collection of contemporary furniture. As ever, old meets new. Hardwood doors echo Spain in the
17th century, yet some magically swing open by remote control. Corberó would hoodwink his visitors with labyrinthine illusions like false walls and staircases that led into thin air. Daniel Riera, a photographer and filmmaker who uses Corberó’s work as a set, has witnessed the pageant. “The house is like a dreamed up landscape from a futurist art painting,” he says. For Riera, the magic doesn’t lie in the luxury of the elements, but in the way interiors and exhibits meld with each other. “Inside, it’s a kind of imagined space of extreme photogenia,” he says. “But the trick is that you can’t guess from outside what wonders you can find within.” TR
Photo: Salva Lopez Architect: Xavier Corberó
This is a chapter excerpt written by Tristan Rutherford from the book The Touch by Kinfolk & Norm Architects, published by Gestalten in 2019.
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BEHIND CLOSED DOORS: MAISON PREMIERE words by Will HALBERT
As Brooklyn’s very own Big Easy-inspired drinking hole takes a pandemic-pushed pause in operations, our Editor waxes lyrical on what made the place so special in the first place @maisonpremiere
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Take a short stroll through Williamsburg and you’re sure to find a dozen or so drinking dens all out to make your wallet a little lighter and your senses a little looser. They’ll make quick work of it, too. Harbouring an uncanny knack for excellence, Brooklyn bars have long been a dab hand at doling out the kind of load ‘em up and knock ‘em back efficiency that parts hand from dollar quicker than a snowball’s spin through hell. But chances are that most won’t do it with the same passion and, dare I say, panache as Maison Premiere. Now, I know what you’re thinking: it’s a long-standing curse of the transplant bar to fall short of any true originality, descending instead into the pomp and tack of the themed bar - or worse, the Shoreditch-esque conceptual sterility of the modern day speakeasy. This only makes Maison Premiere’s numerous feats of authenticity all the more impressive. Here
is a bar that wears its New Oleans influence on its proverbial sleeve, from the marble-clad, horseshoe bar that greets you upfront to the low-fi Delta blues that simmers in the background. But there’s nary a hint of schtick nor schlock about Maison Premiere’s bonafides. It is, for want of a better cliché, one of a kind. From the outside, Maison Premiere is little more than a sun-kissed and verdigris-coated adobe. Inside, it’s a low light, low key nod to a long lost era of Belle Époque excess and hedonism, a once-decadent now downright downand-dirty drinking den with Louisiana charm in spades. You know the type; it’s the kind of bar that keeps its lights low not out of modesty or insecurity, but out of consideration for those guests looking to hole up, hide out and ditch a pesky tail or two (sobriety and responsibility being among the peskiest, in my experience).
One side of the marble bar is the playground of casual drinkers and seasoned imbibers alike. There they sit on any given night, elbow-to-elbow, glass-to-glass and tale-to-tale. The horseshoe curve of the weathered bar is uniformly alive with the spirited talk and well-intentioned toasts of old friends and perfect strangers. Drinks are spilled and secrets shared, sorrows drowned and schemes hatched, all to the hazy, lazy, flickering of a couple candles and some silky smooth rendition of ‘Hoochie Coochie Man’. The other side of the bar is the stomping ground of uniquely skilled bartenders, each slinging cocktails with a competence and a confidence unparalleled. It’s a dizzying display, to be sure - a mix of passion and proficiency so potent that one might well save a dime or two by simply sitting back and gulping down on the sheer theatricality of it all. To do so would be to miss a
trick, though. Maison Premiere’s menu is a tour de force of turn-of-the-century cocktail classics, each one deftly and respectfully elevated so as to invite new layers of complexity without ever losing any core appeal. Any patron with senses still sharp enough to peek beyond the drinks menu is also likely to spot Maison Premiere’s second raison d’être - its raw bar. From the meaty, briny bite of the heirloom oysters of Virginia’s Eastern shores, to the bright and mineral bivalves of Washington’s Penn Cove, Maison Premiere serves up seafood thrills by the half shell in an all-out celebration of good ol’ American merroir. Get me drunk enough and I’ll doubtless wax lyrical and cynical on one of two things: How the Martini is a dull old drink more concerned with canonical clout than any real character (though our resident drinks columnist, Jake O’Brien Murphy
has a compelling argument to the contrary in this very issue); and my own time spent behind the bar. It’ll be a punchy and liquor-fuelled farrago, too. A rightly jaded been-there-done-that diatribe about how it sure is hard to get excited about bars nowadays. And yet any time I stop by to prop up the bar at Maison Premiere - hat atop knee, drink in hand and head in clouds - I don’t just see happy drinkers served by cocktail-peddlers in perfect command of their craft. I see a fine example of passion without pretense; liquid odes to genuine originality; and reason aplenty to ditch the cynicism and just get downright giddy about the bar scene. I hope I get that chance again, I really do. EJ 298 Bedford Avenue Brooklyn, New York 11249
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WELCOME TO THE CLUB words by Will HALBERT photography by Studio Graft A hangout spot for like-minded souls, The Workers Club’s new store feels like a bricksand-mortar manifestation of the brand’s overarching, independent philosophy
theworkersclub.co.uk
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I’m often accused of struggling to make a point in my introductions. In the interest of goodwill, allow me to buck that trend with an upfront payment of, well, half a point: The Workers Club have opened a store in the idyllic town of Goring-onThames and it’s bloody lovely. Now, indulge me in a brief meander down memory lane, won’t you? It’s a mid-May lockdown Sunday and I’m nursing my second glass (okay, bottle) of natty plonk to the lo-fi, crackle-and-pop charm of The Beatles’ The White Album on vinyl. I don’t own the album. I never have. Instead, the record’s deep cuts are being fed to me live and direct from the digs of TWC founders, Adam and Charlotte, as part of their weekly Sunday Socials livestream. Adam mans the ones-andtwos as a flurry of comments fills the small screen of my phone. The comments are replete with a good-natured, back-and-forth banter bandied about by menswear emissaries, brand enthusiasts, and fellow creatives and business owner. In a time of nationwide isolation, it’s a truly wonderful thing to feel a part of.
Fear not, this light smattering of narrative exposition offers more than an underhanded admission of my own lockdown-induced drift toward alcoholism. It actually serves to drive home the second half of my point: that The Workers Club was already a well-established community long before the opening of its bricks-and-mortar store. You see, The Workers Club’s new store is simply the next logical step in the independent brand’s ongoing journey. It’s a communal space born in opportunity, forged by adversity and propped up on the rock-solid foundations of the brand’s commitment to its community. Eschewing the bright lights of the big city in favour of the more remote charm of rural Goring has helped double down on that philosophy. The store’s Goring setting has afforded both TWC and its customers the chance to slow things down and step away from the cookie-cutter retail model that has dominated the scene for entirely too long. Instead, TWC espouses a more considered approach to retail, one that strives to fly the flag for smaller brands and locales while
it’s at it. That’s why, amidst TWC’s own gamut of finely-crafted showstoppers, customers will also find a curated selection of small-batch wares from fellow independent makers and creators. From the hand-finished umbrellas of London Undercover to the natural scents of Still London’s candles, TWC’s offerings go beyond your average retail spot to provide something more akin to a lifestyle concept store. In truth, were Adam and Charlotte not championing small independent business and offering an antidote to the high street’s descent into fast fashion hysteria, TWC’s new store would still make perfect sense. Quality of construction and concision of style are, after all, the duo’s stock and trade. They craft the kind of garments that beg for close-up, hands-on inspection. They deal in well-made, go-the-distance investment pieces that scream to be seen and felt and tried and tested. The all-new Goring-on-Thames store provides the perfect space to do exactly that. All I ask now is that Adam and Charlotte bring back their Sunday Socials. My post-lockdown wine drinking demands a fresh soundtrack. EJ
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ESSENTIAL
MUSINGS WORDS BY WILL HALBERT
THE WASHED DENIM JACKET There are those that will tell you that raw denim is nothing if not a roadmap of your story so far. They’re not wrong. Each busted elbow, rusted button and tarnished rivet tells a tale of the mishaps, missteps and general, wayward meanderings that got you to exactly where you are today. Some say that the beauty of denim lies in that very fact; that wearing it is less of a fashion statement and more of, say, a journey. Again, I’d say they have a point, but that’s not to say there’s anything wrong with the occasional shortcut. That’s especially true if said shortcut comes in the form of 3sixteen’s new Washed Type 3s Jacket, which happens to boast a beat-up, broken-in style fresh out of the proverbial box. “We worked closely with our washhouse in Los Angeles,” say the team at 3sixteen, “to develop
a multi-stage process that includes a pumice stone wash, light bleach, and softeners to yield the perfect shade of blue.” The result is a natural-looking fade that offers up something different to what you’d get by going the long way around. Think classically cool, americana charm that won’t make you look like an over-enthusiatic, acid-washed, Bon Jovi fan circa 1985. In a market saturated with the kind of corner-cutting and environmentally callous cashins that have made the washed denim jacket a victim of its own stone-washed success, it sure is nice to see brands like 3sixteen championing a more artisanal approach. Sure, a lot of the leg work has been done for you, aesthetically. But that doesn’t make wearing the jacket any less of a trip. EJ 3sixteen.com
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MADE IN OLDSTEAD If there’s one thing we have to thank our current lockdown lowpoint for, it’s the proliferation of top-tier restaurants turning out similarly toptier takeaway options. In truth, the term ‘takeaway’ grates somewhat; it falls spectacularly short of the resourcefulness and heart at the core of the food box movement. It’s akin to calling champagne ‘fizz’, or rarebit ‘cheese on toast’. This is especially true in the case Tommy Bank’s new Made in Olstead range which not only offers up a carefully-considered and meticulously-curated selection of Black Swan and Roots highpoints - freshly picked, lovingly prepared and swiftly delivered directly to you door; but a hefty slice of both restaurants’ undeniable magic too boot.
IN MADE IN OLDSTEAD, TOMMY AND HIS TEAM HAVE MANAGED TO DISTIL THAT JOURNEY AND THAT CELEBRATION DOWN TO A DELIVERABLE FORM
THE NEGRONI
I had the good fortune of dining at Roots the weekend before lockdown restrictions began to tighten up again. Even with the 10pm curfew in place, I got good-and-proper giddy at the sheer scope and spectacle of the whole thing. Roots’ tasting menu was a journey in and of itself; each course a celebration of passion and provenance. In Made in Oldstead, Tommy and his team have managed to distil that journey and that celebration down to a deliverable form, offering up an involved and experiential evening of fine dining from the comfort of your own home. It’s a food box that not only waves the flag for quality, homegrown produce, but brings with it the same sense of exploration and discovery as the restaurants’ ever-evolving menus. No mean feat. Made in Oldstead is a literal and metaphorical feast for the senses which, if you’re lucky enough to have dined with Tommy Banks before, comes seasoned with a little sprinkle of nostalgia too. In short it’s a celebration of what Tommy Banks’ York destinations do best, and a firm reminder of exactly why we can’t wait to get back to them. EJ
I once overheard a bartender say that the Negroni tastes like a mouthful of old pennies. Try as I might I can’t rightly refute that. The Negroni is a lop-sided little libation with a chinotto-infused chip on its shoulder at the best of times; a copper-red, now-cochineal-free, glass of unapologetic bitterness. I love it to death, but I wish it would mellow out every once in a while. I swap out the gin every chance I get nowadays, as there’s not a mezcal out there that doesn’t make the bitter wee bastard that little bit better. But that swap out won’t do anything to offset the cocktail’s boozy heft. Reverend Hubert Winter Liqueur fills a gap in the ol’ speedrail, in that respect. A warming, gin-forward amalgam of dried fruit, winter spices and organic, Amalfi orange and lemon zests, the good Reverend Hubert has all the complexity of a fully-fledged gin at a fraction of the ABV. It not only straightens out the classically (and endearingly) wonky notes of a Negroni, it also nudges the drink into the festive, winter-warming realms of mulled wine and spiced cider. EJ
@madeinoldstead
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STAY IN STYLE: URBAN COWBOY words by Will HALBERT
Nashville’s Urban Cowboy offers further proof that there’s more to East Nasty than red hot chicken and honkey tonks
urbancowboy.com
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Located in the cultural epicenter of East Nashville, Urban Cowboy’s eight boutique suites are housed in a historic Victorian mansion and offer an oasis for travelers, dreamers and romantics alike. Now, the folks at Urban Cowboy are big believers in the magic of human connection and the transformative power of unbridled design. Which goes a long way to explaining why each of the boutique’s eight rooms boasts an off-thewall, are-you-out-of-your-damn-mind level of vibrancy and eccentricity. The Tower Suite is a glowing example of Urban Cowboy’s unique blend of rock n’ roll, luxury decadence. Located in the mansion’s domed turret, The Tower Suite is a copper-leafed oasis,
the sensory payload of which sits somewhere between a worm hug and a peyote trip. The pitched, 14ft ceilings and clawfoot, nickel slipper bath (with overhead skylight for soaks with a scenic view) only add to the kaleidoscopic clout of the room’s aesthetic, as do the sputnik chandelier, the southwestern wall adornments and the sleeping alcove that gives out to a bed so big you might just get lost in it. With rooms this full of personality, it’s clear that Urban Cowboy offers more than a place to pitch up; it’s an adventure in and of itself. Better yet: it’s a dialled-up, tricked-out middle finger to mediocrity of the understatement. We wholeheartedly approve. EJ
H I GH GR ADE LE ATH ER WEAT HER The Great British countryside is a pictureperfect backdrop for Crown Northampton’s recent ramble-cum-photoshoot and a fitting proving ground for the brand’s Horween Chromexcel collection words by Mark HIGGS photography by Ben LLOYD
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The Overstone Hi, along with the full Horween Collection can be viewed at Crownnorthampton.com
ot content with producing some of the world’s finest footwear, the county of Northamptonshire also happens to be famed for the natural beauty of its open land. This makes it the ideal stomping ground for Crown Northampton’s The Overstone Hi, a stand out shoe from the Brand’s Horween Collection that blends comfort, craftsmanship and ruggedness so effectively that it’s a genuine challenge to see where the sneaker ends and the boot begins. Before we get down to the specifics of the sneakers themselves, however, let’s wax lyrical on the leather a little. You see, Chromexcel is a particularly interesting leather, and there are but a few tanneries with the patience and expertise to produce it. Chicago’s Horween Leather Company is one such tannery. Founded in 1905, the Horween way is a labour of love. It demands that each and every hide be treated and finished by hand over the course of several weeks, using a closely-guarded, centuries-old blend of oils and waxes. Unsurprisingly, the Horween Leather Company has garnered a reputation for its top-tier Chromexcel - known throughout the industry as ‘the original pull-up leather’. This ‘pull up’ refers to the leather’s unique colour migration, which sees it lighten up as areas of the shoe become broken in. The result is a leather best described as the single malt Scotch of leather; for all its clear and pres-
ent charm, it will only get better with age as it attains a patina truly unique to its wearer. Which brings us back to the Overstone Hi. Crown Northampton’s flagship sneaker and Horween’s finest leather are, simply put, a match made in heaven. The natural robustness of the Horween Chromexcel pairs perfectly with the Overstone Hi’s high top-style silhouette and eight eyelet construction to create a solid, casual alternative to the heft and weight of the winter boot. The pairing also offers excellent protection against the elements, while the Overstone’s cushioned, sneaker-like sole offers some pretty unparalleled comfort and ease of wear. For all the heritage of Horween’s leathers and all the care and craft behind Crowns sneaker, perhaps the biggest achievement on display here is the brand’s effortless bridging of the sneaker and boot territories. It’s rare to see sneakers designed with such longevity in mind, but the Overstone Hi is a sneaker with a serious edge. Much like a Goodyear Welted boot, the Overstone Hi is fully resoleable. Over time, the sneaker moulds to the wearer’s foot, resulting in a snug and secure fit that’s totally unique to the owner’s dimensions. Add to that the full natural leather lining that complements all Crown Northampton sneakers, together with the customisable choice of uppers and soles, and you’ve got yourself the perfect (and personalised) winter boot for the colder months ahead. EJ
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KEEP ME CLOSE, TAKE ME WITH YOU words by Will HALBERT photography by Jack FINNIGAN Legendary in the realm of leather goods, Ettinger’s Capra Collection is a standard-bearer in minimalist design and a lesson in pared-back luxury
It’s no secret that there exists a set of unspoken qualities that see an object transcend its inanimate nature to become something inherently more. Whether it’s through superior quality, superlative design, or sentimental value, the fact is that certain prized possessions aren’t simply carried around. They are, by dint of their unique nature, trusted companions. Expertly designed and lovingly crafted here in the UK, the pieces that make up Ettinger’s Capra Collection all bear the hallmarks of this companion-worthy uniqueness. From its glasses cases to its watch rolls; its travel pouches to its hip flasks, Ettinger’s travel-friendly Capra Collection harks back to a time when the journey was just as exciting as the destination. Taking cues from both the golden age of travel and its own rich tradition, the recently expanded collection combines the best of Ettinger’s heritage with more modern design sensibilities. The result is a collection of luxurious investment pieces crafted with the long haul in mind. That said, the Capra Collection is more than a lesson in heritage and luxury. It is a promise in the making. A promise that, after many years of loyal service and even more miles of adventure, your Ettinger piece won’t just continue to hold your personal treasures; it will carry the memories of your far-off travels etched into its leathers forever. It will tell your own, unique tale. A story as vivid as the day you were there, recounted by a trusty companion that was with you every step of the way. EJ ettinger.co.uk
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E S S E N T I A L T HO UGHTS O N:
THE E T TINGER CA PR A COLLEC TION with Elliot RAMSEY Chris GERRARD, Will HALBERT & Thomas SUMNER What do you keep close or take with you? Are there particular items – be they sentimental or practical – that you don’t travel or leave the house without? ER: I’m oddly sentimental about the most seemingly unremarkable items. The frayed, old wallet living in my jacket pocket, its dog-eared corners folding away to reveal a rough, weathered hide beneath. The airport-impulse-buy sunglasses I carry on my person daily, though worn probably a handful of times in the last couple of months. The inexpensive watch that hasn’t left my wrist for the best part of five years, and without which I feel truly naked. I’m certainly a buyer, rather than an investor. I’m a creature of habit – I like something, I buy it, I use it to death, wearing it out every day until it ultimately falls to pieces on me. And I repeat. These things are never purchased with the long haul in mind, but they do the trick, nonetheless. I’ve never truly been one to live by the ‘buy once, buy well’ philosophy. But, moving forward, I’m willing to give it a try. First stop might have to be a little Capra card holder… CG: I think I’m definitely one of those people who follows the mantra ‘value is measured in years, not pounds’. But I’ll make no bones of the fact that I’m often found with more time on my hands than cash on the hip, so perhaps take that with a pinch of salt. It’s safe to say though that I appreciate the longevity of a high-quality product, and it’s never more apparent than in those everyday essentials. For me, those boil down to two things: my wallet, and my key clip; with particular importance on the latter. It’s probably because I’m at liberty to lose pretty much every god-damn thing that isn’t physically attached to my person in someway, but having that one go-to place to keep something as important as your keys is just invaluable to me. If only somebody clever out there could combine a key clip with some sort of wallet...
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WH: It’s hard to answer this without offering you front row seats to two of my most guarded neuroses, but what the hey: sit down, why don’t you? Make yourself comfortable. You see, I’m a watch guy. Not in any ostentatious sense, you understand, more in the sense that I take a perverse pleasure in winding my watch of a morning, checking its time periodically for any inaccuracy, and stealing moments in the day simply to watch the secondhand slide by. I’m also a stickler for coordination. That my mornings have often grinded to a complete halt on account of my inability to pair my watch with my outfit is no exercise in hyperbole; it’s a statement of absolute fact. The Capra Collection’s Double Watch Roll, then, is a no-brainer. It allows me to carry two more watch options around so that my coordinative crises can continue long after I’ve left the house. Now I think of it, the Watch Roll is more of an enabler than a solution, but who cares when it looks that good? TS: You can’t beat a good hip flask. This isn’t something I carry around every day, mind. But I’m a true believer in the idea that the food and drink experience is always better when shared, especially when there’s a little adventure thrown into the mix. So, in simpler times when match days went unperturbed by pandemic restrictions, I’d take a hip flask along to Goodison Park to share with a friend. When normal play finally resumes, I think I’d rather like to upgrade my current flask as a way of celebrating our renewed freedom. With it’s goat leather housing and four little sharing cups, Ettinger’s Hunter Flask would allow me to do just that. Now all I need to do is make a list of the four friends worth sharing my whisky with.
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TALKING SHOP: 3sixteen interview by Will HALBERT Andrew Chen and Johan Lam talk us through the opening of 3sixteen’s all-new NYC flagship store
For 17 years and counting, 3sixteen have navigated the intersection between streetwear and heritage wear with a style and ease both enviable and inimitable. Their recent store opening in New York City’s Nolita district not only bucks pandemic trends, but doubles down on the brand’s clear sense of focus and direction. Brand founders, Andrew Chen and Johan Lam, give us the lowdown on the new Nolita location. EJ
story and branding. We’ve been operating out of the Lower East Side for over ten years, with two different offices on Orchard and then a showroom on Forsyth. The space on Elizabeth became the perfect opportunity to finally open a retail flagship store where we have planted a flag for so long and in a neighborhood where so many of our friends and like-minded brands also have shops.
First off, why Nolita and why now? Opening a store amidst a global pandemic can’t be an easy task - what pushed you guys to do it?
This year saw a few cool shifts in 3sixteen’s identity. How does the new NYC store fit into that sense of evolution?
Johan: We’ve been looking at spaces off and on for about a year and finally found a space that checked all the boxes towards the end of 2019. We started building out the store at the start of the year in hopes of opening in May, before the shutdown derailed our plans in March. New York has always been home for 3sixteen and has been an important part of our
Andrew: That’s right - way back in the beginning of 2020, we launched a new identity that was designed for us by Studio Mast; it feels like an eternity ago, honestly. We had been working with them for almost a year on what was a really difficult but rewarding project. I say difficult because the old logo was easily identifiable and well-loved by many of our customers. Why
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change something if it’s working, right? But the reason we moved forward was because we wanted our brand identity to “catch up” to our aesthetic - to what we were building as a brand. Hard to describe, but those of you out there who’ve had to go through a rebrand know what I mean. We were nearing completion of that project when we signed the lease to the storefront, as Johan mentioned. So the new cleaner, more modern feeling graphic system that Studio Mast had put together for us really flowed into the feel of the store. The design intent of the space definitely took into account the work we had put into the new branding. What’s important to us is that customers walk in and feel at peace. We’re a denim brand first and foremost, for sure - but many jean-focused shops that we’ve been to in the past are an assault on the senses. There’s a purposeful restraint here that allows the clothing to be discovered. You can choose your path and move
through the store at your pace, and there are a few details that we thought long and hard about that you might miss on the first visit but catch on a subsequent one. Kind of like our clothing, I guess. In an industry that seems to be fleeing the physical space in favour of a digital one, why is it so important for you guys to have a brick and mortar presence? Johan: Physical retail is really important to us as a brand. When we first opened our LA flagship location in the Art District a few years back, people were already clamoring that retail was dead. We feel wholeheartedly that our product is best sold in person, where a customer can feel the fabrics that we’ve made, see the details in the construction of the garments and physically try them on with a knowledgeable sales associate guiding them along the way. We will probably continue to do the bulk of our sales online
for the life of the brand, but there’s no tracking how positive interactions in our stores, even ones that don’t lead to sales, can benefit overall sales growth in the long run. Can you talk me through the new store’s fit out? Any personal favourite flourishes that come to mind? Andrew: We partnered with longtime collaborator Anton Anger of Studio Meadow to design the space for us. Together with a colleague, he designed our LA storefront and NY showroom but this was his first solo project under his own studio. We were excited to work with him as he has a strong understanding of our brand’s aesthetic and goals for our retail presence, and he was able to design a storefront that has clear ties to our LA flagship but with distinct features that make it unique for the east coast. The layout of the selling floor is long and narrow, so we opted to try and build it out al-
most like an art gallery where the paint, fixtures, and the layout put the focus on the garments. The highlight of the store is a feature arch dead center which draws your eye as soon as you set foot inside; the form was inspired by the Verrazano Bridge. Throughout the space you’ll find a combination of new vs. old, modern vs. vintage, to try and point towards the fact that our clothing is meant to be worn and last for generations. Small arts & crafts tables that used to function as school desks are now pedestals for displaying accessories and floral arrangements, and they are juxtaposed by new fixtures crafted of North Carolina White Oak built for us by Arrowhead in Raleigh, NC. The flooring consists of old-growth Douglas Fir that was rescued from a decommissioned barn in upstate NY. Trilox, a fabrication company based in Brooklyn, focuses on sustainable harvesting and makes use of reclaimed wood to produce beautiful, new treatments that give it new life. For the vibe, we were aiming for a contem49
plative, meditative space in downtown NYC. Even the particular block that we are on in Nolita is quieter than the area surrounding us; retail is sparse, and across the street from us is one of the most special places in NYC, the Elizabeth Street Garden. Even pre-COVID, we wanted the space to be quiet, contemplative and a bit of a respite in a bustling city. Post-COVID, we feel that this is now more important than ever. For those who are comfortable visiting us in person, we want the experience to be special.
are able to interact with each other in our retail space, although that may be limited for the time being. A special energy and interaction arises when customers who are into the same brand are able to meet each other, talk to each other about the product, or then begin to make recommendations to each other on a good place to eat in the area. We wanted this to be a meeting space, a place to share interests, ideas and experiences. We are looking forward to a time when this can be done safely.
Obviously, aesthetics like this go beyond simply selling clothes. What kind of experience are you guys looking to cultivate at the NYC store?
Johan: We always try to think about international visitors and out-of-towners when we build out our stores. We want the spaces to be a haven for weary travelers who go out of their way during their vacations or business trips to come and visit us. During our travels, we’ve always found that visiting a store that you’re into will set you up for the rest of your trip. Shop staff are oftentimes the most tied-in people in any city, so you’ll get the best recommendations for restaurants, sights and exhibits to check out from people that you know you share common interests with. We’ve created neighborhood guides with a map of everything cool within walking distance for visitors to take with them and offer little things like guest wifi, which is always important when traveling abroad.
Andrew: We’ve told our retail team that unlike most other similar positions, we are not judging their work solely upon the performance of the retail store itself. Of course we have rent to pay and bills to cover, but the purpose of the store is first and foremost to provide a positive experience to those who make the time to visit us, whether they buy something or not. So many memorable retail experiences for Johan and me come when we travel; the ones where staff take the time to get to know us, point us towards the best espresso in the neighborhood, or talk to us about what’s playing on the shop speakers. The connection over the clothes are often a jumping off point to lead to shared interests. There’s also something really special about customers who 50
And lastly: where do I go from here? Where else should I hit up while I’m in the neighbourhood?
Andrew: Ok. I’d send you to Cafe Integral for a coffee or espresso; they specialize exclusively in beans from Nicaragua, and their roasts are solid. If you’re visiting NYC, you cannot go without a bagel, so grab one from Black Seed a block away from us. COVID took one of the best Thai restaurants in the city from us (Uncle Boon’s) but the owners managed to open a casual spot called Thai Diner just around the corner from the shop that is super solid. Nom Wah, the oldest dim sum restaurant in Chinatown, has a fast-casual branch in Nolita that I send friends to often. If the line isn’t too crazy, a “Spicy Spring” slice at Prince Street Pizza is a must; bring it with you to the Elizabeth Street Garden and eat it on a bench in the midst of beautiful stone sculptures. Our neighborhood has excellent wine shops; my favorites are Wine Therapy and Peoples, both of which specialize in natural wines and are staffed with knowledgeable folks who make excellent recommendations. For men’s shopping you’ve got 18 East, Corridor, and Noah all within a stone’s throw - and Self Edge, of course, is a 10 minute walk away. Right behind us on Bowery you’ve got the New Museum of Contemporary Art, along with a bevy of smaller art galleries through Nolita and the LES. There’s so much to see, eat and do here.
3sixteen.com
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BEHIND THE GRIND: COFFEE SHOP SERIES words by Dan PILGRIM
Coffee Shop Series – the spiritual successor to the award-winning photo-book Coffee Shop: North – documents the independent coffee scene one city at a time. Designed by Saul Studio and photography by Justin Slee, each book is dedicated to a different city. The first in the series – Vol 01: Leeds – is available to pre-order now and starts shipping from 26 November. The West Yorkshire capital has a diverse independent scene with its speciality coffee roots dating back to the late 2000s with Opposite. In Vol 01, we have handpicked shops of broad influence — from Scandinavia to Star Wars and, of course, Yorkshire — fuelled by a desire to document both the functional and visual variety of the coffee shop at the turn of the decade.Some of these photographs in the northern English city of Leeds were taken a mere week before we were directed to stay at home, but their spirit and essence remain, perhaps more than ever before. DP
Laynes, If..., Opposite Cafe and Fettle. Not to mention the fantastic support from the likes of North Star and La Marzocco. Holly/North Star: We started as the first wholesale coffee roastery in Leeds in 2013. At that point, there were two specialty coffee outlets in the city and no other roasteries, so the scene at that time was pretty small! It really was our reason for setting up; to try and foster a community in our home town. We are happy to say that seven years later, the specialty scene in Leeds is absolutely thriving. The quality of coffee, machinery and training has come such a long way in the time we have been operating and it has been a joy to have helped make this happen. We have a strong community of people working in speciality coffee but also a community of customers who are absolutely hooked on it and almost view it as the norm now thanks to its prevalence here.
Matt Jakeman (co-founder and co-owner of Stage Espresso): We’re Good, ta! It’s been an interesting year for the shop and the industry as a whole. We’re trying to stay positive about everything and looking forward to growing the business further in the future.
Martyn Jakeman (Co-founder and co-owner of Stage Espresso): The Leeds coffee scene may be smaller than many cities, but every shop has its own unique qualities. No one is doing the same one thing, which means there are a diverse range of coffees from different roasteries on offer and styles of brewing, meaning each shop offers its own experience. In the last few years within the coffee scene, more and more focus has moved to sustainability issues, whether that be in packaging, supply chains or the coffee itself. Within shops themselves, as more and more open, there has been an apparent diversification as to what else is on offer besides coffee. It no longer seems viable in most cases to just have a “coffee shop”, and a greater emphasis has been put onto a higher-quality and more extensive food offering and extending hours to open as an evening bar.
TELL US A LITTLE ABOUT THE LEEDS SCENE: IS SPECIALITY COFFEE WELL REPRESENTED? WHAT ARE THE BIGGEST CHANGES YOU’VE SEEN IN THE SCENE OVER THE LAST FEW YEARS? Gem Williams (Owner/Director of FIKA North): Absolutely! We are pretty new to the scene and when we had the idea to open a coffee shop we were never short of inspiration from peers like
WHAT’S YOUR FAVOURITE THING ABOUT RUNNING/WORKING A COFFEE SHOP? Laura Dann (General Manager, North Star Coffee Shop): It definitely has to be the opportunity to provide great service to like minded guests and briefly share the passion and enthusiasm for quality, ethical produce. The feeling of making a coffee or food recommendation and getting
FIRST AND FOREMOST, HOW ARE YOU DOING? Holly Bowman (Director, North Star Coffee Roasters): How sweet thanks for asking! We have not had the year we expected, like many, but we are facing the next few weeks - or months - with optimism and resilience. Our local community has been incredibly supportive, keeping us busy with takeaway sales and our team are safe and healthy.
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positive feedback is absolutely fantastic. There are aspects of specialty coffee service that can unfortunately still feel intimidating to some, we are completely committed to breaking that barrier down by being welcoming, friendly and above all approachable. There are no ‘silly’ questions and no judgement if you’re brand new to speciality coffee, we are actively looking to grow our community and you don’t achieve that by being exclusive and guarded! This is an ethos that runs through the lifeblood of North Star, we are here to support in whatever way we can. Martyn/Stage Espresso: Obviously having access to some amazing coffees is the best bit of it! Being a small shop, it is easy to become friends with the regulars meaning the days are never boring and there’s always someone to have a chat with. It’s also a great feeling to be part of a wider community of other independent businesses across the city, that are all out to help and support each other. I think for both of us, a favourite part of the day is the quiet half hour before opening. Enjoying the first coffee of the day before the morning rush - a bit cliché, but they’re cliché for a reason! Gem/Fika North: The creative freedom of being an independent is what I love the most. I’ve been a designer for the past 20 years, so brand identity is very important to us. Along with sourcing really beautiful, interesting and fantastic quality products. We get approached by so many interesting roasters, artisan bakers etc., it’s really inspirational. But what I really love is the people; from the coffee community to our local customers. Everyone is so cool, fun and interesting and we just love hanging out with them all! OUTSIDE OF YOUR OWN FOUR WALLS, WHAT DO YOU LOOK FOR IN A COFFEE SHOP? Laura/North Star: Personally, a decent filter option or something unusual as a second espresso offering. I am completely spoiled at North Star, with us having six different coffees available at any one time. I love the variety and being able to try a couple of different things. Other than this, I’d look for an innovative food menu. There are some predictable dishes that crop up time and time again on brunch menus; I really like places
will always be our number one priority. From the coffee through to the croissants; it’s essential that everything is enjoyed. We have a fantastic team who are all brilliant at what they do and everything is delivered with a smile ‘cause we’re all having fun. You can expect to enjoy your time at Fika North, all washed down with ever-changing art on the walls and some pretty cool tunes!
that push the boat out and do things a bit differently to everyone else. Martyn/Stage Espresso: I prefer somewhere a bit quieter. Somewhere I can find a space for myself and get away from the world for a bit, stick on some music and enjoy my drink. I think working in the shop most days, interacting with customers and running the business, has made me seek out quieter experiences when I visit other shops. Gem/Fika North: I like a busy shop, it’s gotta be a good sign right? I look for quality and individuality and obviously a really good flat white. WHAT EXPERIENCE DO YOU HOPE TO PROVIDE FOR YOUR CUSTOMERS? WHAT MAKES YOU SO UNIQUELY YOU? Laura/North Star: I hope that at North Star Coffee Shop we are able to provide our guests with consistency. I think this is the single most important attribute in retaining customers and a good reputation. Consistently great quality coffee, consistently warm and welcoming service, consistently delicious bakes and plated dishes. We are unique in that we are the flagship of North Star Coffee Roasters. Nowhere else will you find a group of baristas that know more about their coffee offering. Retailing from only one supplier, we are best placed to compare and contrast from the same starting point of great quality. We also do not follow trends and fads; we hope by bucking these that we are to avoid becoming one ourselves, therefore achieving longevity and timelessness. Martyn/Stage Espresso: We’ve always tried to maintain a welcoming and relaxed atmosphere to the shop and to make it as accessible to everyone as we can. Due to our location we get a good mix of people, some of whom want to just grab a quick coffee to go whilst others want to stop for a chat about the coffees on offer and the best way to enjoy them. We set out to never be preachy about how people enjoy their coffee, but we’re always happy to get geeky given the opportunity! Gem/Fika North: The customer experience is so important to us, and quality here at Fika North
@lamarzoccouk @coffeeshopseries
HAVE THERE BEEN ANY MOMENTS OF INSPIRATION FROM YOUR LOCAL COMMUNITY THROUGHOUT 2020? LOCAL HEROES OR INITIATIVES THAT HAVE HELPED IN THIS UNUSUAL YEAR? Holly/North Star: We have been pretty inspired by the support we have received for some of our own fundraising initiatives we set up to assist our producing partners in Kenya. That support came from both our wholesale customer base and from some of our regular customers too. For the most part, there has been a feel of pulling together this year and a heightened appreciation for the treats we have in life like your daily/ weekly flat white prepared by your local shop or the perfect sourdough from your local bakery. This is why we feel positive for the year to come as we really think a new wave of informed and conscious consumers has come along. We are looking forward to welcoming them! Matt/Stage Espresso: Probably the most heartening thing was reopening in July, having been closed for three months of the lockdown, and having so many of our regulars turn up again saying how much they’d missed us being open. Seeing someone able to get their first decent coffee in months makes what you do so worthwhile. Gem/Fika North: All of our customers are heros. The feeling of togetherness has been overwhelming. During the first lockdown, we were closed for five weeks and then felt we could open safely as a take away only. The response was incredible. People were queuing round the block and we were so happy to see them all. We were told on numerous occasions that for some customers we were the only friendly face they were able to see. That we were their life line. That felt, and continues to feel, important and very special. 53
COLUM NISTS BONE DRY WITH A DISCARD Addressing the Table Jake O’Brien-Murphy
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Jake O’Brien-Murphy @jakeobrienmurphy
A IS FOR ALCOHOL Sam Watson’s The ABCs of Beer
Sam Watson @thefermentationstationuk
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t was inevitable that I was going to write about Martinis at some point. I like them an awful lot and drink them more than I probably should. Mine is a vodka Martini, brought just before the doorstep of what polite company would consider the optimum dilution and left there, staring in through the threshold. The booze baring its teeth with the fragrant oils of a lemon discard for company. In this case, the vermouth doesn’t even make it past the garden gate. In the interest of self-preservation, I don’t want to insinuate that there is some kind of global conspiracy involving bartenders and those in the cobbling and key cutting trade, but the main consequence I’ve noticed from a night on the Martinis other than the inevitable paving slab-splitting hangover is misplaced keys. Lots and lots of misplaced keys and apologetic four-AM phone calls to recently-woken, understandably-irate flatmates. It happens with such frequency that it is hard not to start to connect the dots. If, after this is published, my body is found under mysterious circumstances littered with olives and keyrings. It’s pretty clear that I got too close to the truth. Or I pushed my flatmate too far. There’s often a little bit of confusion surrounding the Martini, most usually because of the new kids on the block. A class of neo-Martinis that encompass the Espresso, Pornstar and French variety (all independently delicious, by the way). Strictly speaking, these are not really Martinis at all but are variations on multiple styles of drink. But, honestly, I find the minutiae of cocktail taxonomy so achingly dull that any discussion of it is enough to put me off the stuff altogether. Or push me to it. Depends on how thirsty I am.
For what it’s worth historically, the names and recipes of most cocktails get mixed up and conflated so often that it doesn’t actually matter. I’ve found that those who think it does are usually the kind of people who peel off their eczema and eat the flakes. As a rule of thumb, I tend to think that the names of all drinks in the canon of classic cocktails are fluid, excuse the pun. Most importantly, the name just signposts something fundamentally more miraculous. A potion that makes social occasions more bearable. Another hurdle for the uninitiated is the language surrounding the Martini. Dry, wet, twist, naked, shaken and stirred. While seemingly innocuous any variation on the theme can have wide-reaching consequences for the final drink. For example, while they share a surname a dirty Martini and a dry Martini are as unlike in nature and appearance as Prince William and his brother; the Harry formerly known as “Prince”. Often, people stumble with the confusing nomenclature and, unfortunately, fall into ordering from the parlance of popular culture - “Shaken not stirred” being the obvious route away from admitting ignorance. It’s ok to be ignorant; not knowing about things is how you eventually get to know about things. Professionally, I’ve always respected a guest’s choice. I’ve invariably found the authoritarian, often-moustachioed and always dressed like a bellend bartender and his cocktail orthodoxy distasteful. Drinking should be fun. After all, it is the guest’s money and they should be free to spend it however they please. In fact, the first drink I ever made behind the American Bar at The Savoy Hotel was a Vesper Martini, shaken not stirred. So Fleming’s creation has a special place in my heart. Despite that charming anecdote and tossing professionalism aside for a moment I’ve always been personally suspicious of people who order a shaken Martini. As it is a clear signifier that they a) lost their taste buds in a tragic sanding accident or b) are clinically deranged. I’m going to withhold the paradoxical, topsy turvy pig-language of the Martini in the hope that you go and find out yourself. Among my favourites in the entire world is the Dukes Martini from Allesandro Palazzi and his team, who pour thunder straight from the bottle. One of the great pleasures in bartending is to help somebody find their Martini and that’s exactly what a Martini is. It is yours. JOB
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eer is alcoholic - which is perhaps the main reason for its enduring popularity throughout history and across many different cultures around the globe. But what does that mean? How is it produced? And why do I get a hangover when I drink way too much of it? Let’s start with the basics, shall we? The term alcohol generally refers to the primary alcohol compound Ethanol (ethyl alcohol) which is the main alcohol in alcoholic drinks. There are 18 other alcohol compounds that are used in various different industries. Humans have been making alcohol for a very long time, with the earliest evidence of fermentation discovered in a cave in Israel from around 13,000 years ago. Beer was pretty instrumental in the building of early civilisations too, with workers on the pyramids being paid with around 4/5 litres of beer a day. Over the centuries, we have refined brewing. It’s evolved from the simple act of leaving a loaf of bread out in the sun a little too long and mushing it in some water to the current world of automation, mass production and corporate structuring. Beer conglomerates and the smaller, independent brewers alike are creating a plethora of old and new beer styles.
design. As all our senses are playing a role in understanding a space, we can design to stimulate responses in each sense; this is haptic design. Interviewed for The Touch, Pallasmaa discusses our complex sensory relationship with the spaces we inhabit. Sight is often given precedence but all senses play a part in our experience of space – even taste; “white polished marble has an appeal to the tongue. You are almost invited to touch it with your tongue”. Perhaps not true for everyone, but I certainly know a few people who would agree, and I would invite you to consider it. The Touch was compiled by design studio Norm Architects and magazine Kinfolk. Through photographic studies, essays and interviews this book explores their key foundations for tactile design: light; nature; materiality; colour and community. Perhaps the obvious starting point for sensory design is material choice. The tactile experience of a space cannot truly be expressed through a book or a photo, it is an understanding of a building gained only through physical contact. Because of this, it is truly grounding, and makes us feel present in a moment. Concrete cast against timber keeps the texture of the wood and invites fingertips to feel the grain and knots. Cast against plastic it has a silky surface which we want to stroke. Materials that can be carved – like stone or wood – can hold the marks of the craftsperson’s tools, through which we feel echoes of their work. Musée Yves Saint Laurent by Studio KO uses a sumptuous material palette and intricate brickwork to create a tactile environment. The lattice-like brick arrangement is intended to mirror the warp and weft of fabric; the ridges and ripples they create are so inviting to touch. It is fitting that a museum celebrating an industry which is inherently tactile should be so.
Despite the vast chasm in scale between the fizzy yellow lagers of the mega breweries and the artisanally-produced, bourbon barrel-aged, imperial pastry sours of the smaller independents, the basic brewing process is relatively similar: Malt is heated in water to extract various sugars which creates a liquid known as wort; the wort is then boiled with hops traditionally to add bitterness and aroma; yeast is added to the wort and left in a fermentation vessel; the yeast converts the sugar into alcohol and carbon dioxide, which creates beer. Depending on the amount of sugar extracted in the wort (which is taken as the Original Gravity reading) and how well the yeast does its job of converting all that sugar into alcohol (shown by the Final Gravity reading), finding out the ABV (alcohol by volume) of a brew is just a question of maths. Or, you know, using an app on your phone. Traditionally, beer’s ABVs range from a light 2-4% (this will typically include your low alcohol beers, milds, radlers and session pale ales) to a much heavier 10-13% (think imperial stouts, barley wines and triple IPAs). There have been much stronger beers, but they’re often ice distilled and typically fall into the ‘because we can’ category of gimmicky beer styles, rather than being brewed to impart any particular flavour. As for the age old question of why drinking too much beer results in an almighty hangover, well I’m afraid there are as many theories around that as there are supposed remedies. But if you really want to know how to avoid the dreaded morning after the session before, then I’ll let you in on a little tried-and-tested secret of mine: Drink in moderation, my friend. SW
‘VISION IS NOT THE MOST IMPORTANT SENSE IN EXPERIENCING ARCHITECTURE. THE MOST IMPORTANT SENSE IS […] OUR SENSE OF SELF.’
HAPTIC DESIGN Architectural Thoughts Róisín Hanlon
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hen thinking of good design we can tend to be overly focused on the sense of sight; in what materials and shapes are aesthetically pleasing. But what of the other senses? Some designers – such as Juhani Pallasmaa would argue that they are as important, if not more so. “Vision is not the most important sense in experiencing architecture. The most important sense is […] our sense of self. We encounter architecture through our entire being, not only through the eye.” Pallasmaa is a Finnish architect and professor who specialises in the experience of architecture, including in his work The Eyes of The Skin. He explores how we take information in about surroundings and how that can inform
Róisín Hanlon @roisin_writes
The use of light in design can certainly be visual, but it can also have haptic impact. Daylight gives an understanding of time, through the movement of shadows, through the changing weather outside. Architecture is fundamentally a static art form, but controlling daylight as it enters – and the steady progression of shadows through space, allows dynamic design within a still form. The changing light can be used to create different atmospheres. Darkness can be intimidating but it can also be comforting – a room lit by the low light of a hearth has an immediately relatable atmosphere. Nature can be incorporated into design to stimulate so many senses. The pathways in our brains between sense of smell and memory making are curiously intertwined. So the scent of flowers or even earth can have a powerful effect, whether to invoke past memories and feelings, or to help forge new ones. So many plants invite physical contact, such as grasses for running fingers through. And when touched – or disturbed by a breeze – plants can make noises, giving further sensory feedback. Water can also be used to create sound, and both of these can be used to change the very composition of the air itself. The book features some stunning case studies – Carlo Scarpa’s Tomba Brion is a classic example of haptic design. At its most basic it is a mausoleum; but in truth it is a poem layering concrete, vegetation, water, bright light and shade to create a place that stimulates reflection. A path through landscaped outdoors rooms, creates a journey which utilises almost all of the mentioned methods to stimulate every sense. 55
Given the current times, it would be irresponsible of me to encourage you to go to buildings, let alone touch, sniff - or even lick - them. But next time you are in an impressive space stop to consider not just what you can see, but what else you feel. Truly good design will be rich in sensory stimulation, even if you sometimes do not realize it at first. RH
THE BRICK & MORTAR Tailored Thoughts Matthew Gonzalez
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s a Savile Row tailor, I work in an industry that can’t be done online. There’s no such thing as a Zoom fitting and you can’t just click and collect a bespoke suit. While online shopping has unsurprisingly taken over how we buy things these days, there is something to be said for walking into a brick and mortar shop, having a look around, trying things on and buying what you want in person. As high streets come under increasing threat from their online counterparts, it’s worth taking a moment to consider what experiences we’re missing out on when we skip the shops. When I saw my first client after the spring-summer lockdown ended earlier this year, he looked like a man who had stumbled upon an oasis in the desert. To be able to walk into a shop was almost a novelty by then. As I chatted with him, I found myself hearing what would become an all too familiar story. People were tired of being at home and just wanted to get out of the house. Visiting their favourite pubs, restaurants and shops were top of their list. Even at their best, online shops can only try and emulate shopping in real life. Mr. Porter, for example, is one of the best menswear sites on the internet. It’s well designed and curated in a way that is appealing to pretty much anyone who visits it. But no matter how well presented it is, in the end it’s a two-dimensional screen that shows you a grid of pictures. Whether it’s the aroma of leather and tobacco in the air, the quintessentially British interior design or the always active open-air pattern-cutting room at the back of the shop, each visitor walking into a Savile Row tailor is instantly engaged with some element of the space. This of course isn’t exclusive to Savile Row, independent and designer brands alike all offer their own unique experiences when visiting their stores. The sensory experience of going into a shop isn’t limited to what you can see, smell and hear, especially when it comes to clothing. Touch and feel are critical elements in how we decide to buy things in person. We’ve all been in the
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Matthew Gonzalez @matthewmgonzalez
‘MY CLIENTS KNOW ME AS WELL AS I KNOW THEM. I LIKE TO SAY I NEVER SELL A SUIT BUT RATHER START PROJECTS WITH THE MEN THAT I LOOK AFTER. I ONLY SHOW EACH GUY SOMETHING I THINK HE WOULD LIKE AND I EVEN TRY TO RECOMMEND OTHER MENSWEAR BRANDS TO HELP BUILD HIS WARDROBE. THESE KINDS OF INTERPERSONAL RELATIONSHIPS TAKE TIME TO BUILD AND HAVING A SCREEN BETWEEN YOU ONLY ADDS ADDITIONAL OBSTACLES TO THAT DEVELOPMENT.’
position where we’ve seen a jacket, jumper or pair of trousers in a shop and thought they looked great until we tried them on. Personally, I bought a jumper a few weeks ago online and thought it was going to be one of my autumn-winter staples this year. After I tried it on I had to return it. The shoulders and armholes just didn’t fit properly on me. As I said before, online retailers have made returns pretty much as simple and straightforward as they could possibly be. That doesn’t change the fact that returning something by mail takes time. Many online shops have recently employed their services where you can video chat or message in real time with a member of their sales team. This is their answer to the one-on-one service that you’d normally get in any store. While this is a great step forward in enhancing the customer experience it doesn’t amount to the same level of personal rapport you can build with someone by going into store. My clients know me as well as I know them. I like to say I never sell a suit but rather start projects with the men that I look after. I only show each guy something I think he would like and I even try to recommend other menswear brands to help build his wardrobe. These kinds of interpersonal relationships take time to build and having a screen between you only adds additional obstacles to that development. The events of the past year have sped up what was a slow demise of high street shops which is a shame for shoppers and, more importantly, devastating for peoples’ livelihoods. I buy things online all the time. There is nothing wrong with that, but it’s important to me to not buy every book on Amazon or all my clothes from Mr. Porter because comparatively speaking it’s like Spotify vs vinyl records; one is a little more convenient but the other is far superior. Use both options but try to make a point of going to a brick-and-mortar shop, especially if you can support local independent ones. This year has shown us what life is like when you take away opportunities to see friends, go to the pub, dine out and buy a few nice things on your high street. It certainly isn’t a life that I’d choose for myself going forward. MG
GOING ONLINE On the Pass with Tommy Banks
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t’s no secret to anyone that the ongoing pandemic pandemonium has hit small business hard. To say that it’s stopped small business dead in its tracks, however, is to do the small business owners a massive disservice. Aside from those unfortunate enough to have actually gone out of business, there has been little to no slowdown at all. Sure, you can lock the doors and turn off the lights at the brick and mortar, but that doesn’t stop things ticking away behind the scenes. The cabbages don’t stop growing, as they say. Actually they don’t say that at all. That’s not even a metaphor; there are literal cabbages growing here at the Oldstead farm, and they’re unlikely to stop just because current social climate dictates that we close our doors. What I’m getting at is this: The world keeps spinning regardless, so it pays to keep spinning with it. For a growing number of small independent businesses, that spin has become more of a pivot, as coffee shops and restaurants have had to shut up shop and head online. That’s right. The big, bad highstreet killer itself; that vast space once synonymous with the nameless faceless, impersonality of big business has now somehow become a lifeline for the little guy. It makes perfect sense, too: not only do local scenes get to keep their all-important charm and character, they’re also able to open themselves up to a wider audience. This has certainly been the case with our Made in Oldstead food boxes, which have allowed us to champion the produce of our local region on a more national scale. In fact, restaurant food boxes and prepare-at-home menus are a glowing example of the strength-in-numbers ethos behind the small business community. What started as a handful of restaurants offering up theirmenus for home delivery has evolved into something so much bigger. What was once a knee-jerk novelty has since become a core offering for some, and it’s been amazing to watch the movement grow over the last few months. Add to this the coffee shops going the extra mile to offer up their grinds for home delivery, the bars putting in the hours to curate cocktail flights that can be delivered to your door, and breweries working around the clock to get their cans in hands of avid beer fans, and you truly start to get a sense of the ingenuity and resourcefulness that lies at the heart of independent business. Long may it continue. While both are equally as important, there’s a huge difference between working on your business and actually doing business. For the many independent bars, coffee shops, restaurants and retail spots that have been forced to close their doors, going online has given them the chance to kill both birds with the one socially-distant stone. It has also allowed us to harness our wider networks, band together in solidarity, and boost each other’s platforms in a way that should see us come out of this mess stronger than before. Which is just as well, because we have to move all these cabbages somehow. TB.
Tommy Banks @tommybanks
‘THAT’S RIGHT. THE BIG, BAD HIGHSTREET KILLER ITSELF; THAT VAST SPACE ONCE SYNONYMOUS WITH THE NAMELESS FACELESS, IMPERSONALITY OF BIG BUSINESS HAS NOW SOMEHOW BECOME A LIFELINE FOR THE LITTLE GUY.’
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A CELEBRATION OF BRICKS AND MORTAR Coffee & Counsel with Adonis Michael
Adonis Michael michaelroseandbaylis.com
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es, we all love the convenience of ordering our Christmas shopping online or getting our food ordered to our door; watching the match from our living rooms whilst sipping on a beer or even watching the latest blockbuster movie. As wonderful and convenient as these may be, they never quite live up to the real thing, do they? Walking up to your team’s stadium, admiring it from a distance, shuffling through the turnstiles, walking up the steps, finding your seat, the sights, the sounds, and sometimes the smells – it’s that feeling that you get from being inside the structure that you simply can not replicate. It’s cathedral-like, sometimes bordering on a religious experience. You know it so well, you can almost identify each and every brick. You can remember the first time you were there, exactly who you were there with. You’ve had some of the best times of your life there; it almost feels like a part of you. You can’t imagine not having it there. What about meeting up with your friends beforehand? Always in the same pub, often in the same spot and definitely ordering the same drinks. It’s the familiarity of the door as you push it open, the carpet beneath your feet and the mahogany bar upon which you lean as the glass touches down before you. It’s historical, the walls can tell you tales and your mind can flutter back to so many moments both joyous and melancholy. Then there’s the cinema. Walking through the huge glass doors, getting your tickets and finding your way to one of the big screens. The acoustics as you walk towards your seat, the pitch black arena, and the anticipation for what’s to come. Christmas shopping through a town centre, the streets illuminated by each decorated store inviting you in to peruse and purchase. The buildings, which line the street, are glued together. The bigger department stores stand out proud. There is something about it that you just can’t get from click & collect. At this present moment, these places have been taken away from us. It’s these structures that give us something else day to day, something we can’t otherwise get. Sure, we can watch the match, we can drink the beer, and we can collect the parcel without stepping beyond the front door. But we still crave to go to these places and to these buildings. We can admire magnificent architecture and structures across the globe and we are certainly unified in acknowledging the importance of these buildings. But it’s the buildings we want to go to every day or every week or every month that are most important to us. Some of them are beautiful and architecturally significant and some of them are ramshackle. But they mean something to us and that’s what matters. AM
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