Issue 57 - What is Luxury? by The Essential Journal

THE

essential journal The pursuit of a quality lifestyle

essentialjournal.co.uk 1

INTRODUCING INTRODUCING THE THENEW NEWJAGUAR JAGUARE-PACE E-PACE PLUG-IN PLUG-INHYBRID. HYBRID.

Combining Combiningsports sportscar carstyling stylingand andagile agilehandling, handling,the theNew NewJaguar JaguarE-PACE E-PACEPlug-in Plug-inHybrid HybridElectric ElectricVehicle Vehicle (PHEV) (PHEV)offers offerseverything everythingyou’d you’dexpect expectfrom fromour ourluxury luxurycompact compactSUV, SUV,with withall allthe thebenefits benefitsof ofaaPHEV, PHEV, including includingBenefit BenefitIn InKind Kindtax taxfrom from10%,* 10%,*CO CO22emissions emissionsfrom from44g/km,** 44g/km,**aaP11d P11dvalue valuefrom from£45,940 £45,940 34miles.^ miles.^ and andan anEV-only EV-onlyrange rangeup upto to34 Hatfields HatfieldsJaguar JaguarHull Hull 01482 01482627 627300 300

Hatfields HatfieldsJaguar JaguarSheffield Sheffield 0114 0114268 2684741 4741

Hatfields HatfieldsJaguar JaguarLiverpool Liverpool 0151 0151728 7282000 2000

Hatfields HatfieldsJaguar JaguarWakefield Wakefield 01924 01924381 381111 111

Hatfields HatfieldsJaguar JaguarShrewsbury Shrewsbury 01743 01743234 234300 300

hatfields.co.uk hatfields.co.uk

2 Emissions 2 Emissions 2 Emissions 2 Emissions Official Official Fuel FuelFuel Consumption Consumption Figures Figures for forthe the 21MY 21MY E-PACE E-PACE PHEV PHEV range range ininmpg mpg (I/100km): (I/100km): Combined Combined 44-141 44-141 (2-2). (2-2). WLTP WLTP CO CO 44-44 44-44 g/km. g/km. *Benefit *Benefit InInKind Kind tax taxrates rates for for for Official Official Fuel Consumption Consumption Figures Figures for for the the21MY 21MY E-PACE E-PACE PHEV PHEV range range ininmpg mpg (I/100km): (I/100km): Combined Combined 44-141 44-141 (2-2). (2-2). WLTP WLTP CO CO 44-44 44-44 g/km. g/km. *Benefit *Benefit InInKind Kind tax taxrates rates for 2 and 2 and 2 fuel 2 fuel 2 only. purposes Real world figures may differ. CO economy, energy energy consumption consumption and andrange range figures figures may maymay vary varyvary according according totofactors factors such such as asdriving driving styles, styles, purposes only. Real world figures may differ. CO purposes only. Real world figures may differ. CO and andeconomy, fuel fueleconomy, economy, energy energy consumption consumption and andrange range figures figures may vary according according totofactors factors such such asasdriving driving styles, styles, purposes only. Real world figures may differ. CO dependent on and condition, actual route and and driving style. style. dependent onvehicle vehicle andbattery battery condition, actual route andenvironmental environmental anddriving dependent onvehicle vehicle andbattery battery condition, actual route andenvironmental environmental anddriving driving style. style. dependent on and condition, actual route and and

2020-21 financial year. **The figures provided are as a result of official manufacturerâ&#x20AC;&#x2122;s tests in accordance with EU legislation with a fully charged battery. For comparison 3 environmental conditions, load, wheel fitment and accessories fitted. ^EV range figures are based upon production vehicle over a standardised route. Range achieved will vary

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

LUCAFALONI.COM 4

THE NEW DISCOVERY SPORT PHEV

HELPS RUN BUSINESSES. HELPS RUN FAMILIES.

The New Discovery Sport PHEV gives you a foot up at work and a leg up at home. It has all the technology for modern business, while still leaving room for large families with big horizons. And with a Benefit In Kind tax rate from 10% and ultra-low CO2 emissions from 36 g/km, it makes perfect commercial sense. Hatfields Land Rover Hull 01482 645 413 Hatfields Land Rover Liverpool 0151 559 3000 Hatfields Land Rover Pickering 01751 477 177 Hatfields Land Rover Shrewsbury 01743 234 300 hatfields.co.uk

Official WLTP Fuel Consumption Figures for the Discovery Sport range (excluding PHEV) in mpg (I/100km): Combined 28.1 - 42.4 (10.0 - 6.7). CO2 Emissions 227 â&#x20AC;&#x201C; 163 g/km. PHEV in mpg6 (l/100km): Combined 143.3 - 175.5 (2.0 - 1.6). CO2 Emissions 44 - 36g/km. The figures provided are as a result of official manufacturerâ&#x20AC;&#x2122;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, wheel fitment and accessories fitted.

CONTENTS

09.

22.

29.

The Primer. Drinks, Eats & Chats

Waistcoat Wisdom David Keyte Universal Works

Cashmere Christmas Luca Faloni

17. One Thing Done Well Indigofera

18.

35.

52.

Style Distinction, Heritage Distortion Dr. Martens

Home of the Brave Glen Dye

Whisky of the Year The Whisky Exchange

21.

25.

30.

Essential Voices Oliver Spencer

Behind the Grind: La Marzocco

Style by the Mile Barbour International

48.

54.

Giants of the Dugout Johnny Owen

Columns & Thoughts

CONTRIBUTORS CONTACTS Adonis MICHAEL

Matthew GONZALEZ

Publishers

Partnership Manager

Andreas KUGEL

Meadow (Malmö)

Essential Studio

Sam Dyson

Bo BECH

Niko DAFKOS

essentialstudio.co.uk

s.dyson@essentialstudio.co.uk

Chris BOULTON

Oliver SPENCER

David KEYTE

Paul FIRMIN

Editor

Lead Designer

Department TWO

Phiadon

Erik OLSSON

Róisín HANLON

Fran MART

Ryan FISHER

Gustav KARLSSON FROST

Sam WATSON

Jake O’BRIEN MURPHY

Simon SIEGEL

Jonny OWEN

Tom O’DONOGHUE

Jono WHITE

Tom STUBBS

Klaus KLEMM

Tommy BANKS

Magnus NILSSON

Will Halbert

Christopher Gerrard

w.halbert@essentialstudio.co.uk

christopher.gerrard@essentialstudio.co.uk Front Cover: David Keyte

Creative Director

Thomas Sumner t.sumner@essentialstudio.co.uk

@essentialjournal essentialjournal.co.uk

Photography: Jamie Myers Wearing: Universal Works

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.

A NOTE FROM THE EDITOR.

“Luxury is the ease of a t-shirt in a very expensive dress.” – Karl Lagerfeld Luxury’s a funny one, isn’t it? It’s a nebulous little word, as unapologetic in its uniqueness as it is indefinable in its scale. Contrary to popular belief, I think there’s something wholesome about the concept of luxury. Something worth celebrating. Luxury not as excess, you understand, but as comfort; as reward. Luxury is that gift to yourself; it’s the warmth of others; it’s that item, product, or ritual that takes you to that fuzzy space. Luxury is the calm-inducing, zen-evoking centre of something that’s all yours. Unless, of course, it’s shared. Which, as we know, is a luxury in and of itself. Luxury can be found in both the escape away and the return home. Luxury needn’t cost much. Luxury is an open book in front of an open fire alongside an open bottle of whisky. It’s a dog walk on Sunday afternoon before the madness of a Monday morning. For some, luxury is the madness of that Monday morning. For others, luxury is quite the opposite: it’s a dirty word that brings nothing but mild distraction; a false sense of purpose in the pursuit of something they don’t really need. That’s fine too. Being free to have your own opinion in a world rife with increasingly confused noise and poorly-aimed, mismanaged anger can also feel like something of a luxury too, nowadays. But that’s a tangent for another page, another day, another year. Maybe. And speaking of years, what you have in front of you just so happens to be the last issue of the present year. 2020, in case you’d somehow forgotten. 2020. What a year. What a ride. What a trip. What a cockup. Suffice it to say there have been a few bumps and interruptions along the way. But to the movers, shakers, crafters and makers that have contributed to this year’s issues, and to the wonderful folk who have gone out of their way to read them, I extend a heartfelt ‘thank you’. Working with, and for, you all hasn’t just been a luxury, it’s been an absolute privilege. With best wishes from myself and Team EJ, we’ll see you next year.

THE PRIMER WHAT WE’RE DRINKING: Cucielo Vermouth di Torino

Did you know that for a Vermouth to be called a Vermouth di Torino it must be crafted in Piedmont using only Italian wines fortified with alcohol), and locally-sourced Artemisia? True story. The Vermouth di Torino style is so revered and well respected that it was protected by EU law in 2017 as a DOC appellation and recognised for its high quality and provenance. Luckily, Cucielo ticks all these boxes with an award-winning range of vermouths that puts their Italian heritage front and centre. Wonderfully complex, naturally sourced, and endlessly mixable, Cucielo Vermouth di Torino is a loving call back to the golden era of the aperitivo. thewhiskyexchange.com

WHAT WE’VE BEEN READING: Bo Bech, The Relation Between Us The Relation Between Us shows us Bo Bech’s journeys through his own Leica lens. It’s safe to say he’s covered a lot of ground over the course of his career, from Tokyo’s most elusive sushi restaurants to a temple in Bhutan; from the favela in Rio de Janeiro to a food market in Moscow. No matter where he travels, he brings his appetite, his love for food, and his camera. Lucky us. Bo Bech’s The Relation Between Us takes us on a sensory tour of the world he has experienced: tasting and smelling, touching and hearing, and, most of all, seeing. It’s a feast for the eyes and a joy of a book for any lover of food and adventure. Available now at chefbobech.com

Will HALBERT. 9

WHAT WE’VE BEEN STREAMING: The Trial of The Chicago Seven

FIVE in 5 Direct From EJ Towers...

WHAT WE’RE LOOKING FORWARD TO CHECKING OUT: The Service Marketplace | theservicelondon.com

Fortela Classic Italian apparel for heritage-heads

Carters of Moseley Michelin-starred doner kebabs? Yes please.

Not content with simply providing the best coffee in Mayfair, The Service has only gone and added an shoppable experience to their long list of offerings. Running from the 3rd to the 23th December, The Service Marketplace features a carefully-curated cadre of concessions from brands, collectors and makers alike. From the vintage watch collection of Kibbles Watches, to the fine tweeds of Lovat Mill, to the offthe-rail wares of The Workers Club. They’re even open for late night shopping on the three Thursdays leading up to Christmas, so get down, get caffeinated and get shopping. theservicelondon.com

Aaron Sorkin’s The Trial of The Chicago Seven deals up a trenchant, courtroom drama that zips by with all the elan and light footedness of a heist film. It’s all the better for it, too. Sure, it’s not the most veracious account of the infamous federal trial surrounding the protests outside the 1968 Democratic National Convention, but it is far and away the most affective. Opting for emotional impact over diehard accuracy, Sorkin weaves a story that stirs, angers and exasperates in equal measure. This is top tier storytelling, supported by a flawless cast to deliver a message that feels as prescient now as it did all those years ago. The Trial of The Chicago Seven isn’t just a homerun for Netflix; it’s a hit by any critical metric you care to throw at it.

WHO WE’VE BEEN TALKING TO: British Vintage Boxing | britishvintageboxing.com Interview by Will Halbert Photography by Chris Boulton Mank Thorny ode to old Hollywood

Evermore Taylor Swift Storytellin’ alt-folk at its finest

Button Power: 125 Years of Saying It with Buttons Popular culture, chronicled through pins 10

We sit down with British Vintage Boxing founder, Zen Martinoli, to talk about putting a premium spin on the the sweet science of style. How did the idea of British Vintage Boxing come about? What was the inspiration behind the brand? We wanted to create a premium sportswear brand we felt boxing deserved. Something more elevated than anything we saw on the market – more reflective of the noble art. Everything began with Sir Henry Cooper, his effortless style during the early part of his career; his integrity, geniality and courage in the ring. He embodied everything we wanted to reinvent, the mission to redefine vintage for the modern man. What does British Vintage Boxing stand for? What fuels you? BVB stands for brotherhood, respect, honour and integrity. To fight the good fight in whatever you do - without being exclusive to boxing or boxers. BVB is for all ‘everyday champions’ in all walks of life. We’re fuelled by the desire to bring this message to the market, expressed through the narrative of stylish, authentic, made-to-last staples that at once cover you in glory and inspire you to chase your dreams.

British Vintage Boxing’s Bombardier range boasts some seriously hard-wearing pieces. Can you talk us through the finer points of the ranges’ construction? The Bombardier range is produced in both brushedback cotton sweat fabric and 100% cotton loopback sweat fabric; the loopback Bombardiers being more heavy duty. Loopback goes way back to early generation sweatshirts originally designed to draw sweat away from the body and into the fabric. The classic triangle detail you’ll see on most sweatshirts was originally added to keep the shape of the collar and draw sweat away from the chest. To toughen the Bombardier, we’ve added reinforced top-stitching and side panels. Stitched under-arm eyelets provide old-school ventilation, with further vintage detailing articulated with extended ribbed cuffs and hem. And finally, what is it about the vintage era of boxing that captivates people? There’s something almost mythical about these oldschool fighters; a fascination with men who prevailed against all odds with sheer guts and determination, men who carried themselves with dignity and honour, men idolised by the younger generations. Then there’s the romance of the golden years of the 1950s and 60s, with all its glamour and style seamlessly combined with a new age of swaggering boxing icons beamed into people’s living rooms for the first time.

S H O P

F I T S # 3

MEADOW Malmö, Sweden CHRISTOPHER WEARS: RoToTo Bulky Watch Cap Olive/Charcoal Eyevan Webb Sunglasses 49 Smoke/Black orSlow Insulated Coach Jacket Indigo Ripstop A Vontade Combat Short Jacket Olive Japan Blue Jeans Modern Military Denim Trousers Novesta Marathon Trail Beige @meadowweb | meadowweb.com “Our Malmö store opened on the 17th of October 2008. It has always aimed to offer a modern and contemporary experience with denim as the absolute cornerstone. It’s always been very important for us to look forward and bring in new, exciting brands with a modern point of view, but at the same time, keeping raw denim as the key foundation of Meadow. The brands we stock in our store have been carefully selected by ourselves, and we are proud to offer the high-quality products that our brands develop.”

S H O P

LUDJERO WEARS: Sage De Cret Shirt Jacket Cotton Linen Beige Fujito Henley Neck Shirt Charcoal Sunray Sportswear Makaha SS T-Shirt Off White Warehouse & Co Duck Digger 1001XX One Wash Red Wing Shoes Postman Oxford 101 Black Chaparral Leather @meadowweb | meadowweb.com

F I T S # 3

S H O P

F I T S # 3

SOUROUSH WEARS: Fujito B.B Cap Olive Green Sage De Cret Reversible Jacket Khaki orSlow Zip-Up Hooded Sweatshirt Heather Gray orSlow US Army Fatigue Pants Black Stone Novesta Star Master Military @meadowweb | meadowweb.com

The Image The Relation Between Us by Bo Bech

Thing Done Well Made from 100% Norwegian wool, Indigofera’s blankets are as crazy cosy as they are madly coveted words by Will HALBERT photography Gustav KARLSSON FROST The Swedish approach to style is distinct to say the least. They’re a stylish lot, no doubt, but pragmatically so. Understated but never quite effortless, theirs is an almost clinical cool; a stripped-back and modestly-confident aesthetic that whispers rather than shouts. Then there’s Indigofera, a gang of loud-mouthed Swedish cowboy Vikings none too fussed with the concepts of understatement or modesty. Don’t get me wrong, there’s nothing garish or cartoon-esque in Indigofera’s noise. No, what truly shouts here is the quality. Indigofera deals in first-rate stuff made by people who truly give a shit about their craft. This rings as true for the brand’s selvedge denim as it does for its famous shirting options. But if you want my two cents, what truly drives Indigofera’s mission statement home is its range of blankets. You heard me right. We’re not just talking about any old blankets, here. We’re talking heavy duty, full-cotton, made-in-Norway cloaking fit for the apocalypse. Their blankets boast the kind of quality that’s

apt to spark some indignance at first: ‘Something this damn simple has no right being this damn good,’ you’ll mutter to yourself. ‘Blankets are accessories, adornments, exercises in the purely decorative. Why have they gone this hard?’ You’ll ask of anyone around you. And that’s the beauty of Indigofera’s fabric-forward endeavours: they don’t much care for today’s tastes. Their blankets aren’t some stylic flex for the modern homemaker. These are hard-as-nails, built-for-the-long-haul suits of armour worn to protect weary, wayfaring travellers from the icy bite of the far out cold. It’s the kind of blanket that’ll have you thinking you can start a fire; it’ll have you convinced you can play the guitar; it’ll make you absolutely certain you can ride a horse. On occasion, the blanket will even give you the sneaking suspicion that you can do all three at once. Such is the blanket’s transportive, transformative power. For the less adventurous, it’s also perfect for snuggles under the stars in the comfort of your own garden.

The blanket just so happens to be the perfect working metaphor for the brand’s ‘prima’ philosophy. For most, ‘prima’ is simply Swedish for ‘first class’; for Indigofera, it means so much more. ‘Prima’ is an all-encompassing philosophy that pays no mind to the march of time, it spares no thought for the tawdry or the trending. ‘Prima’ boils down to an all-or-nothing, give-it-everything-you-got approach to the task at hand. ‘Prima’ is craftsmanship incarnate, and it’s expertly woven into each and every garment that Indigofera has ever created. Built for cowboys, Vikings and everything in between. EJ

Available from rivetandhide.com 17

Style Distinction, Heritage Distortion words by Will Halbert photography Jono White

Dr. Martens’ 60th anniversary collection proves that there are plenty of miles ahead for the world’s most iconic boot.

There’s not a brand out there aging better than Dr. Martens. Sixty years in the game and the brand keeps coming out swinging like some every-ready, ever-rebellious kid. The Heritage Distortion collection is a glowing testament to that unstoppable zeal. The collection comprises the Atlas and Double Stitch packs, both of which stay true to the iconic features and flourishes you’ve come to know and love from the brand, while also throwing a little ante-upping energy into the mix. The Atlas boasts a waxed aniline, pull-up leather, while the Double Stitch features two lines of yellow stitching along the welt. To celebrate the landmark editions, men’s stylist par excellence Tom Stubbs has come away with a belter line up of looks that, while full of nostalgia and rich in historical reference, never falls back on common clichés. There are some forward-thinking flourishes in the mix - from leather trench coats to rude boy-inflected, unstructured tailoring - which offer a cheeky peek at trends to come. Photographer Jono White lends his signature flair to the looks, too, capturing the edge of the collection with grit, grain, style and ease. True to its name, Heritage Distortion offers a fond look back, no doubt. But the most exciting thing about the collection is its clear forward momentum. Heritage Distortion points to some serious, full-speed-ahead ferocity from the brand. It’s a loud-and-clear celebration of the fact that Dr. Martens isn’t just taking the march of time in its double-stitched, pull-up leather stride: it’s positively leading the pack. Here’s to the next 60 years. EJ 19

The Debrief:

Shooting the breeze behind the scenes with Jono & Tom

Jono White @jonowhite_ Tom Stubbs @styleanderror

Jono White, photographer What does Dr. Martens mean to you personally? Do you associate the brand with any particular scenes growing up? Honestly, it’s changed so much over the years. I remember the first time I heard about them from my mum and I thought she was talking about our GP or something. I was probably about 5 and it was a big deal to her that she had some; they seemed aspirational and she wore them to death. They weren’t trendy ones or anything, just a standard tan pair that lasted for years. I wasn’t really aware of them again until I was about 16 and going to local DIY punk shows. That’s when you find yourself, right? I got a pair of 1461’s off eBay and felt seen immediately. I went to school in a tiny town in Kent so it wasn’t hard to stick out and show other like-minded people you knew what was hip. I guess that’s the scene I associate it with most, guitar music in all shapes. Your work often has a heavy focus on subculture; is it important for you to represent movements beyond the mainstream? Not at all, it’s usually just more interesting than what’s going on in the “mainstream”. My dream job would be something like shooting Adele backstage and it doesn’t really get more mainstream than that.

Tom Stubbs, stylist

You can shop the Dr. Martens Heritage Distortion range online at drmartens.com 20

What does Dr. Martens mean to you personally? Any memories of the boots from over the years? Authentic brand (mis)appropriated by genuine youth subcultures. They are dynamic, distinct, bold, and intrinsically have their own nuanced codes of how to wear them. I wore 8-hole oxblood Martens back in 198082 first worn in skinhead style. We wanted to emulate the rude boy’s street savvy of that era. Even with their subverted, scruffy takes on school uniforms. Later, I wore greasy Ghillie Dr. Martens shoes, without the classic yellow top stitch this time, which was a more subtle, toned-down style. Worn with baggy, faded and ripped Levi’s 501s, a suede bomber or black leather biker jacket. This Hard Times with a bit of Buffalo thrown in, though I didn’t know that at the time.

It’s vital to highlight certain stories and shed light on important movements though, but I think that should be left to those involved or affected by the movement and I can support that in different ways. It’s much more compelling to see images from the inside out and I don’t ever want to try and tell someone else’s story when it would be better served coming from them. There’s a lot of people who shoot for Insta clout and then don’t care once they get bored and that can be harmful to the subcultures. You’ve recently put out a new zine. As everything seems to be going digital nowadays, is print still an important aspect of your work? It’s the most enjoyable way of showing and consuming images for me, for so many reasons. I can share photos on socials until I’m blue in the face, but no one is going to remember those in a couple of years, if they even take the time taken to scroll onto the next one. With a zine or a print, I can present images exactly how I want and they can live on someone’s shelf or wall forever. You can revisit them whenever. And when you’re looking at a photo book, it demands your attention. There really is no comparison to viewing the same image as a 2”x 2” square on a screen.

Dr. Martens have been around for six decades now, how do you explain the brand’s continued popularity? It’s because they’ve got one of those unwritten design codes that existed before PR and campaigns. They’re authentic. They’re a part of a subcultural history and a series of iconic, unique looks that over the years - have yet to be beaten. Mixing up Dr. Martens with a few Savile Row staples was a stroke of genius. Do you think it’s important to loosen up The Row’s severity every now and again? Savile Row staples, yes. But more like rude boy references through a Savile Row prism. It’s pretty much my own approach to my work personal wardrobes: breaking row codes, using the power, mechanics and history of the stuff itself and combining that with personal attitude. It’s all about taking the stuffy edge off of things. Savile Row needs this or everyone will look like they’re on the board of school guv’nors!

Style by the Mile:

BAR B OU R INT ERNATI ONA L Taking a closer look at the Barbour International Polarquilt Jacket words by Will HALBERT photography by Tom O’Donoghue

here are few brands more storied and celebrated than that of Barbour International. Initially developed for the 1936 International Six Day Trials, the Barbour International became so popular that it was soon worn by virtually every rider on the ISDT circuit from the 1950s to the 1970s, including the king of cool himself, Steve McQueen. Forged in the speed and fury of the race track, you’d be forgiven for thinking that the Barbour International’s application was strictly utilitarian. In actual fact, the last few years have seen Barbour take the International line to the soaring heights of style and sophistication. The Barbour International Polarquilt Jacket is a fine case in point. In the Polarquilt, form and function combine to create a winter-ready showstopper with all the heritage and prestige you’ve come to expect from the brand. Made from a smooth, box-quilted nylon with a soft polar fleece lining, the Polarquilt Jacket offers a contemporary twist on the iconic International racing jacket. The full-zip fasten with pop-button overlay and buckle neck are a proud reminder of the jacket’s racing origins, while the plush, faux fur timings that adorn cuff and collar imbue the jacket with a chic, luxurious edge. The signature Barbour International logo to the left chest pocket provides the full stop (or exclamation mark) on the whole thing in a loving callback to the jacket’s heritage. All in all, the Barbour International Polarquilt Jacket is a beautifully-presented, peerlessly-constructed balancing act, one that celebrates the brand’s rich history while also fixing its gaze on the exciting road ahead. EJ

TESSUTI.CO.UK 21

waistcoat* wisdom. Still not sure you can pull off a gilet? Universal Works are here to change your mind. words by Will Halbert

Anyone who claims to be immune to the warming allure of the humble gilet has clearly never put one on. There’s nothing quite like it - wearing a gilet is like getting a warm hug. A hug that still lets you wave your arms about a bit, should you wish. Not the most rugged terms in which to wax lyrical about a garment forged in the fires of industry and good, old fashioned graft, but I’ve said it now so I’m sticking to it. Anyway, 22

the folks at Universal Works seem to share my passion for the gilet. In fact, they have as many different gilets in their collection as there are, well, names for gilets. ‘Vest, gilet, waistcoat, whatever you like to call them, they remain an ever-popular layering item which has always featured in our collections,’ says Universal Works founder, David Keyte. ‘The names mean much the same. The waistcoat, or the “vest” as Americans

call it, is just a gilet in France. That’s about the size of it.’ Universal Work’s latest season sees the addition of three new entries into their sleeveless category: The Franck Gilet in Italian water-resistant nylon, the Carlton gilet in multi-brushed patchwork, and the Zip Waistcoat in orange austin wool fleece. Each offers a little something different, with key twists in their DNA that sees them tread the threshold between classic

*vest, gilet, waistcoat, whatever you like to call them.

workwear and casual, street-inflected outerwear. ‘Here in the UK today, we simply think of the gilet as an outerwear garment,’ says David. ‘But there’s a few other historical markers in the mix too. Our Zip Waistcoat, for example, takes cues from old French leather gilets worn by workers. They gave protection when at work, protection from the cold, and had the added bonus of those useful pockets for tools and such. There’s a

working element to it.’ History, application, and nomenclature aside, gilets also happen to be perfect for that most-hallowed of global winter sports: layering. They provide that all-important core warmth without the risk of stuffing your sleeves to the point where you can no longer scratch your nose, answer your phone, or put your arms down by your sides. So, the next time you’re given the chance to experience for yourself the

comfort and luxury of the gilet, do so not with cynical trepidation, but with genuine enthusiasm. Give in to the radiant warmth and full range of motion that only the gilet (waistcoat, or vest) can provide. Go get yourself that hug, you’ve earned it. EJ Check out the full range of Universal Works gilets, waistcoats and vests over at universalworks.co.uk 23

The Buffalo Jacket - The Buffalo jacket is a riff on the iconic trucker jacket. This fully-lined, heavy Italian jumbo cotton corduroy puts a winter-ready spin on an icon of americana. The Newington Coat - Double-breasted and practically bullet-proof, the Newington winter coat is cut from heavy Italian jumbo cotton corduroy for a rich and tactile finish, and fleece-lined for blast-furnace warmth. 24

ESSENTIAL VOICES:

OLIVER SPENCER The midwest meets the mid-century in Oliver Spencer’s winter lineup photography by Tom CORBISHLEY

On the winter collection:

‘If our Autumn collection was the reflection of the natural colours of the Midwest and the modernist shapes of the architects it inspired, then our Winter assortment doubles down on the mid-century theme, with an abundance of colour-blocking, clean lines, classic shapes and really great fabrics.’

On mid-century modern design:

‘It’s the clean lines, strong colours and the timeless appeal that I find so compelling. The designers and architects of the movement were seeking a purity in their fields, not adding but stripping away to reveal the most fundamental elements of their creations. It’s a concept I always try to bring to my own creative process.’

On the perfect winter coat:

‘Above all, I would say durability and function are what makes or breaks a piece of winter outerwear. It also needs to be the type of garment that will live with you and look better after it has been worn for a couple of years. It needs to be able to carry the patina of being lived in without looking tired. That’s where tactile and textural fabrics really come into their own.’

On Tailoring:

‘I’m a strong advocate for mixing up menswear genres, and am particularly fond of throwing together classic military pieces & urban styling with the Savile Row aesthetic. The key to pulling it off comes down to confidence and personality. There is something really chic about wearing a camouflage suit and dressing it up smart. It’s got a slightly naughty, rock and roll feel to it, which I love.’

The Solms Jacket - Cut from a woodland-hue, midweight, waxed-cotton camouflage fabric, the latest iteration of the Solms Jacket offers up a weather-beating finish with a distinctly urban aesthetic.

Oliverspencer.co.uk | @oliverspencer 25

M ID- CE N TU RY M USIN GS

interview by Will HALBERT

photography by Tom CORBISHLEY

Atomic Interiors founder and master of mid-century modernism, Simon Siegel, discusses the beauty of timeless design, and the ugliness of the word ‘luxury’

Can you tell us a little about the inspiration behind Atomic Interiors? How would you define its overarching philosophy? Visiting Italy in my early twenties was probably one of the key influences. To discover fantastic furniture and lighting shops in the smallest Italian towns, and the design culture that is part of the Italian sensibility. In the late eighties and early nineties, it was quite hard to find European design in the UK, so there was an opportunity to introduce elements in a small way, and that’s what we did with the first Atomic shop in Nottingham. The Atomic aesthetic is modernist, understated, authentic design with integrity and quality. At the same time, I have always tried to balance this with a pragmatic sense of affordability. In the Atomic showroom we aim to show a combination of the most interesting designs from any given year. What do the concepts of comfort and luxury mean to you? Is there a meeting point between the two? With regard to furniture, comfort is derived from the combination of the design and the quality of materials. Comfort is very subjective, but there are some designs that are universally accepted as being incredibly comfortable - for example the Zanotta Maggiolina armchair designed by Marco Zanuso in 1947 or more recently the B&B Italia Grand Relax chair by Antonio Citterio. ‘Luxury’ is one of my least favourite words and is best applied to margarine or tissue paper - it isn’t really used at all in the design industry. For example, a chair by Hay or a lamp by Marset can be a fantastic, affordable piece of design but I wouldn’t describe either as luxurious. The Japanese design manufacturer Ritzwell makes exquisite furniture from beautiful materials, but understated and timeless. For me, design is 26

about things that fulfill their function, whether that be comfort, practicality or longevity, but good design is also about honesty, and somehow the concept of luxury doesn’t equate with this. A Vitra Eames lounge chair is made using the best materials so that it will last a lifetime. Is this luxury? If one can afford it in the first place I would consider it a good investment. What drew you towards mid-century design in the first place? What does it mean to you, and why do you think it’s retained its magic over the years? My interest in mid-century design really developed in my antique dealing days before Atomic. Then, it was possible to find the most amazing pieces at low prices because very few people were actively going out looking for them. I could probably write a short (and probably quite boring) book about some of the things that I bought and more annoyingly sold during that period. This was before the time when everything is ‘vintage’, and it has been amazing to see how popular and universal the interest in mid-century design has become. Contemporary furniture evolves - often because of technological and material advances, and the mid-century period was a leap forward - a continuation of ideas from the Bauhaus and Modernist design that preceded it. It was an aesthetic for modern living - optimistic, sculptural, practical, but most significantly a new look. Modern interiors are often a mix of contemporary and mid-century, or good design from the 1950s onwards, and although it is great to mix the classical and contemporary aesthetic, very few people want to surround themselves with old dark-wood antique furniture or Victoriana, as was the trend in the 1980s. It is also interesting how furniture of the mid to late twentieth

century is connected to the culture of the time and resonates with music, film and art, etc. You’ve said that timelessness is inherent to good design. In your opinion, what are the qualities that make something truly timeless? Can you think of any objects/design achievements in particular that qualify as timeless? The work of Dieter Rams is a good place to start. The products themselves may be dated because of their technology, but Dieter Rams design language from the 50s and 60s set the benchmark. It’s all about balance, economy and the skill of knowing when to stop. Good design is often invisible - for example the iphone or a Saarinen Tulip Table. Eames has become synonymous with mid-century design and most of his furniture designs have lasting appeal because they aren’t concerned with fashion or novelty. A Starck design from the 90s looks like a design from the 90s. There’s a fine line between the Jasper Morrison ‘super normal’ approach and a design that is so subtle it has no interest at all - I suppose that’s the real skill of a designer. My ideal interior would be a mix of Gio Ponti mid-century Italian with its dramatic, elegant forms and contemporary modernism with its essential functionality - nothing shouting too loud but combining beautifully together. And lastly - whether it’s after a hard day’s work or following a major achievement how do you choose to treat yourself? I am always busy - whether it’s with work or a project at the house, but I would probably settle for a cold beer. atomicinteriors.co.uk

CASHMERE CHRISTMAS words by Will HALBERT

Luca Faloni’s range of cashmere knits offer the very best in luxury winter style lucafaloni.com

Not all fabrics are created equal. Luca Faloni knows this better than anyone; they’ve spent years working with the best Italian manufacturers to provide the last word in luxury style. One such manufacturer is the prestigious Cariaggi factory. Found in the hills of the Marche Apennine Mountains, Cariaggi have become world famous for the outstanding softness and durability of their Capra cashmere. Quite unlike sheep’s wool, cashmere fibres are thinner, softer, and more gentle on the skin. They’re also impeccable insulators, used to craft lighter garments that keep you warm without ever overheating. Boasting less pilling and more resistance than its sheep’s wool counterpart, cashmere is - in short - the perfect winter companion. Luca Faloni’s carefully curated cashmere range is a celebration of that very fact. Combining Italian heritage with contemporary design, the collection offers a fresh spin on a classic winter staple. EJ

CASHMERE SPOTLIGHT THE CHUNKY KNIT CREW NECK The ideal choice for those looking for a more sustainable approach to winter style, the Chunky Knit Crew Neck makes for a simple style statement thatâ&#x20AC;&#x2122;ll stand up to the colder climates ahead.

THE MOCK NECK Offering a classic, effortless style with an elevated collar and a slightly more relaxed fit, the mock neck can be teamed with a variety of outfits for a multitude of settings. Whether youâ&#x20AC;&#x2122;re out for a winter stroll or dinner with friends, the Mock Neck has you literally and metaphorically covered.

THE SHAWL COLLAR CARDIGAN Perfect for relaxing at home or layering for a more dressier occasion, this cardigan is crafted with a ribbed handle that locks in warmth and feels superbly soft and robust. Fastening with classic horn buttons and elegant double-fronted pockets, it will become your go-to favourite from Autumn to Spring. 29

BEHIND THE GRIND: HOME COMFORT COFFEE La Marzocco brings the fourth-wave coffee movement straight to your kitchen with a trifecta of technological marvels words by Will HALBERT As the concept of quality time grows more precious than ever, so too does our desire to curate tangible and meaningful experiences. It’s no exaggeration to suggest that coffee, of all things, is the meeting point between quality time and meaningful experience. While the popularity of fully-automated coffee machines has made the act of coffee making a more passive and impersonal experience, La Marzocco Home seeks to bring back the sense of immersion and artistry. To that end, the heritage brand’s series of superlative, at-home solutions will not only take your coffee game to the next level, but are guaranteed to make your quality time all the more mindful.

THE LINEA MINI

In a nutshell, the Linea Mini makes you the curator of your own coffee experience by giving you control over every aspect of your brew. Taking cues from La Marzocco’s iconic and much-loved Linea Classic, the Linea Mini is designed specifically for the at-home espresso aficionado. Handmade in Italy, the Linea Mini offers professional-grade performance and world-class design in a more compact and kitchen-friendly size. It’s still very much a bells-and-whistles La Marzocco machine though, boasting a dual boiler for optimal brewing and powerful steaming, a hidden water reservoir, LED lights to monitor espresso extraction and, of course, a powerful ProTouch steam wand.

THE SWIFT MINI

The Swift Mini represents the latest and greatest in La Marzocco’s creations. The Swift Mini grinder simplifies and streamlines the process of preparing coffee beans, making it possible to grind, dose and tamp a double espresso on demand with no waste and no mess. It’s the perfect companion to the Linea Mini, and an absolute must have for anyone looking to create that dream home coffee setup. dose and tamp a double espresso on demand with no waste and no mess. It’s the perfect companion to the Linea Mini, and an absolute must have for anyone looking to create that dream home coffee setup.

LA MARZOCCO HOME

Connecting the Linea Mini and the home barista like never before, the La Marzocco Home app grants users the ultimate control over their machine. When using the app, your phone becomes a new display for the machine, making it easier to adjust temperature controls and pre-brewing settings. The app can also be used to remote control On/Off activations and schedule brew times to ensure that the perfect coffee is waiting for you whenever you need it. No mess. No fuss. No wasted energy. La Marzocco Home also gives you access to tutorials, FAQs and tips and tricks to help you brew the best cup of espresso.

uk.lamarzocco.com @lamarzoccouk

ESSENTIAL

MUSINGS WORDS BY WILL HALBERT

THE BARBOUR CHRISTMAS ADVERT Have you seen Barbour’s Christmas advert? I have. It’s lovely. It’s about a little boy asking Santa to fix a waxed jacket that has been ripped to shreds by a sausage dog. Santa speaks in a cockney accent. He wears a green coat and flat cap. Wholesome stuff. It’s based on a true story, too. The coat part, at least. The Santa part doesn’t quite hold up to scrutiny. I remember visiting the Barbour repairs department at their factory in South Shields a few years back. I remember being shown pictures of the very same coat that features in the new ad. It was a very relatable story. You see, I too am the proud owner of a sausage dog, which means I have also borne witness to their unparalleled capacity for

total coat destruction. So you could say the advert strikes a chord. Which, of course, is exactly the point of a christmas advert, I suppose. As lovely as the animation itself is, the most striking thing about the short film is the fact that Santa’s gift isn’t a brand new Barbour, but an old Barbour made brand new. It’s a refreshing message rendered all the more prescient in the midst of today’s fast fashion frenzy. It’s a celebration of the buy less, buy better mentality. And most importantly, it’s a warning to keep you best loved jackets away from your dog. Shop the Father Christmas Collection over at barbour.com

DIPLOMÁTICO SELECCIÓN DE FAMILIA Booze tastings amidst the new normal are truly quite the trip. Nothing screams ‘technological apogee’ quite like getting tipsy in your living room over a Zoom call and calling it work. The virtual UK launch of Diplomático’s Selección de Familia is a fine case in point. I’m chatting rum cocktails with Speciality Drinks’ Rum Ambassador, John Lister. I’m also being filled in on the sweet science behind the latest expression by none other than Diplomático’s Maestro Ronero, Nelson Hernandez. There are a dozen or so more experts present, too. They’re throwing around the kind of insight and vernacular that lets me use words like ‘Pot Still’ and ‘Barbet’ with an authority that I, quite frankly, haven’t earned. We’re a thousand miles apart. We’re in the same room. We’re all enjoying the same drink. Mindblowing stuff. That’s as organic a segue as any into the equally mindblowing rum itself, I suppose. In addition to being distilled in 90% copper pot stills and 10% batch kettle and column stills, Diplomático Selección de Familia is also aged for up to 12 years in American white oak, ex-bourbon and ex-sherry casks. The result is a spectacularly smooth sipping rum that sings of its field-to-bottle origins. It’s rich, it’s delicious, and despite the current lockdown-induced lackadaisicality of zoom dress codes, it’s well worth putting pants on for.

THE MOCCASIN

43% abv | RRP £55 | specialitybrands.com

Moccasin. A funny word for a funny shoe, if you ask me. If there’s a lesson in etymology to be found, it isn’t here. The moccasin’s long and storied history is nothing compared to its stylistic flexibility, after all. Where does the moccasin sit (or stand) on the style spectrum, exactly? It’s hard to say. They dance a merry dance along fashion’s many thresholds and overlaps. Are they preppy? Are they street wear? Are they the cornerstone of the new-fangled, neologistic normcore scene? Who knows? And when it comes to the Portuguese masters of the moccasin, Yogi, do we really care? Since the late nineties, Yogi have been crafting the finest, most comfortable moccasins on the market. Seriously, they’re about the closest you’ll ever get to walking on clouds. Positively mood lifting stuff. True to the original brand’s ethos of using premium materials and clean lines, Yogi’s latest offering of hand-crafted, unlined moccasins feature full leather uppers, leather laces and either Vibram or crepe sole units for added functionality and durability. They’re still handmade in Portugal, too. Surrender to the normcore. You know you want to. Yogifootwear.com 33

GLEN DYE: HOME OF THE BRAVE Charlie Gladstone of Glen Dye Cabins & Cottages gives his two cents on the subjects of comfort and luxury interview by Will HALBERT photography by Fran MART & Department TWO

Overstatements are a tricky business, aren’t they? Used too often and the pesky little ante uppers do little more than raise expectations and dull the senses. They should be used sparingly. Luckily, there’s really no overstating the operation over Glen Dye’s Cabins and Cottages. Over the last two years, founders Charlie and Caroline Gladstone have become - without even the slightest risk of exaggeration or hyperbole masters in luxury escape. What exactly do I mean by ‘luxury escape’? Think Scotch whisky shared over an open fire, under the open skies, in the best of company. Think record players filling beautifully-decorated rooms with the calm crackling of their wavy, lo-fi, vinyl charm. Think hot tubs, saunas, and some 30,000 acres’ worth of unbridled, unfettered exploration. Glen Dye isn’t just a feast for the senses; it’s food for the soul. Glen Dye offers an escape to a place of absolute awe and disconnect. And Glen Dye, my friends, is growing. We sit down with Charlie Gladstone, to talk about the small details, the big picture, and the long road ahead.

First off tell us a little about yourselves and the overarching philosophy behind Glen Dye Cabins? Charlie Gladstone: We are outdoors people with an interest in design. Our careers (in music, design, food, retail and hospitality) are primarily urban but our hearts are in the country and we have spent most of the last 30 years in the Highlands at Glen Dye. The Cabins and Cottages is a project that our careers have been leading to, even if we didn’t know it until a few years ago; they mix beautifully designed spaces with incredible countryside. The idea is to offer the best, most luxurious, most original accommodation in an incredible place and to do so as sustainably as possible. With all the chaos that modern life entails, do you think it’s more important than ever to ditch the city and embrace the countryside every now and again? CG: If you can, then I do think you should try to. There are few better cures than deep immersion in the countryside, and time away from city life also removes us from the constant burden of buying

stuff. And at Glen Dye, we have the added (and increasingly rare) benefit of no mobile phone signal unless you’re on top of a mountain. So, if you want to check your texts you need to go for a proper walk. Glen Dye Cabins and Cottages offer such a great mix of rugged adventure and luxury escape. Was it a challenge to strike the balance between the two? CG: It came quite easily to us because we understood that amazing accommodation is possible wherever you are. We live in a beautifully-designed home, high above a river in a very remote place, so this is second nature. It’s funny how few really good holiday cottages there are in Britain; design often seems like an afterthought to location. But our careers gave us the skills to mix the two and that’s what we did. From Camp Glen Dye to the Good Life Experience, the concepts of shared experience and connection seem particularly important to you guys. What drives that passion?

CG: Our main interests are people and community. We profoundly believe that belonging to a community is at the heart of living a good and fulfilled life. And before we started doing things, certain parts of our community (makers, food people, retailers, musicians, thinkers) weren’t connected so we used the opportunities we have to connect them. It’s worked so well and now we have a growing community of super friendly and engaged people forming around these ventures. Each of your cottages offers something a little different and each is an absolute feast of smaller finer details. Do you have any personal favourite spots, details or furnishings that you’re particularly proud of? CG: I think we’re getting better the more we do. Caroline, my wife, does colours, fabrics and lighting and I do the pictures, furniture and that sort of thing. Practise really does make perfect, so I am going to say our latest property, The Hayloft, is the best. Do you have any immediate plans to add new cabins and cottages to the line-up? CG: Yes, we are. We’ll have a new area called The Garden Camp ready for Christmas. The central feature of that will be an immaculate, 1958 Showman’s caravan. Then we have an amazing new cottage - our biggest yet - opening in the spring and if we can get planning permission, we have an incredible structure in the works for next year. It will be a one-off and totally unique to Britain. And finally, what does the idea of luxury mean to you both personally? How do you guys treat yourselves after a long day, busy week, or creative milestone? CG: More than anything, I think it’s a good bottle of red wine and a decent novel for me. For Caroline it’s the same sort of book, but the wine is white. glendyecabinsandcottages.com

TALKING SHOP: BOOKWORKSHOP interview by Will HALBERT

Earl of East founders, Paul and Niko, give us the lowdown on their all-new, Coal Drops Yard bookshop and workspace

www.earlofeast.com

Over the years, Paul Firmin and Niko Dafkos have become dab hands at doling out the kind of unique, experiential retail that we so desperately need. Earl of East’s mixture of in-house poured candles and exceptional lifestyle wares are a true testament to that fact. The duo’s latest lockdown endeavour, BookWorkShop, sees them continue on that quest with a space dedicated to the spirit of community and the timeless charm of the printed page. We sit down with Paul and Niko to talk books, baos, and business in the time of COVID. What’s the guiding philosophy behind BookWorkShop? Where did the idea come from? The whole idea behind this space was to create a place for creativity and inspiration. As with all of our stores, we have tried to create something that is really approachable. We have stocked books in our stores for years and always wanted to expand that offering. Then when we were forced to make changes to our flagship as a result of COVID, it

became harder to host workshops there. Now, having a separate space has allowed us to bring classes back and create a dedicated place for workshops and events. Did you have any concerns about opening in the time of a pandemic? Opening during a pandemic although a bit scary, felt like the right thing to do. We have seen a real change in consumer behaviour this past year and noticed that books and magazines were becoming increasingly popular with our customers, as it was something tangible and real. We also strongly believe that when things do improve people will crave real-life experience more than ever. On a personal level it also gave us something new and exciting to get stuck into. Can you tell us a little bit about the workshops you have planned? Is the idea of community important to you guys? Yes, community is central to everything we do, and one of our four brand pillars. Our physical

spaces have always been about creating an experience and space for our community, we even started our business at a local community market. We have always hosted partner workshops alongside our own, and believe that it helps to create a community vibe. Many of the attendees of one class will then come along to another. In a world racing towards the digital, why do you think it’s so important to have dedicated, brick-and-mortar spaces? The idea of having retail stores and then a website has been flipped on its head in the last year. Agile businesses are becoming more and more omni-channel and understand the power of physical space as a way to get the brand out there. That is why we see so many Direct-to-Consumer brands opening pop-ups. It isn’t really about one or the other it’s about both and the roles they play. Do you think the pandemic has changed the way in which we do retail permanently? For independent businesses? Completely. It has

made everyone more focussed on digital as a sales channel, and I think that will be something that sticks. In terms of the customer, I think it will mean that the real-life space needs to be more than just a store, and in what form really depends on the space. Space looks absolutely incredible; can you tell us a little about the fit-out? We were really lucky that the bones of the space felt similar to that of our main store in CDY. So once we stripped it back a bit, we re-used as much of the previous store’s fit-out as we could. We then worked with Fred Rigby to adapt the shelving for books; the idea being to create browsing bays. The central table is dual purpose; it’s where we host classes, but is also more shelving when the space is open as a store. The screens down the centre of the table follow the blue theme, and make sure we are COVID-safe. When we did this in our main store we also used coloured acrylic. We figured they might be there for a while, so wanted to make sure they looked like part of the

fit-out and not just an afterthought. We want this space to evolve over time, giving us a location to host more classes and hopefully - in the future other events like launches and talks. Can you tell us a little bit about the workshops you’ll be running in the new space? We have workshops booked in with London Terrariums, Katie Gillies, and a number of our other partners. These will sit alongside our own candle workshop schedule. And lastly, where do we go from here? Where’s good for a coffee and a bite to eat around here? Well, we work with Allpress Roastery so we’re a great spot for takeaway coffee! For food, there is so much choice; we love Happy Face for Pizza, and a new Bao has just opened in Kings Cross which is one of our faves.

CONSIDERED COMFORTS

There’s more to the humble record player than analogue flex and ostentation. The record player, after all, makes the act of listening to music exactly that: an act. You’re no longer a passive recipient of sound. Instead, you’re actively involved, you’re directly responsible, you’re in the mix. Amidst the collective drift towards the digital, there’s no greater luxury than being able to slow things down and get physical. The Braun P2S 2 small-scale record player represents just one of the many iconic and career-defining designs to be included in Phaidon’s upcoming Dieter Rams: The Complete Works. A catalog raisonné created in collaboration with Deiter Rams himself, the book is the first of its kind to present the designer’s entire catalogue of works, and represents the ultimate reference guides to one of the most influential product designers of all time. EJ

A League words by Will HALBERT photography Andreas KUGEL additional words by Klaus KLEMP

Dieter Rams: The Complete Works is a celebration of technology’s tactile and tangible charm

Published by Phaidon, out now

Taken from Dieter Rams: The Complete Works by Klaus Klemp Braun’s last small-scale record player, the PS 2, came integrated into the SK 55 and TC 20 sound systems, but it was also offered as a standalone unit. Unlike some of the company’s larger devices, it had a more lightweight structure, but it still retained the familiar box-like shape. Produced in a small run of 2,900 units, the PS 2 is undoubtedly Braun’s sleekest and most elegant model from its early series of record players.

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GIANTS OF THE DUGOUT

The Three Kings tells the story of Matt Busby, Jock Stein and Bill Shankly, three iconic football managers all born within 30 miles of each other in Scotland. We sat down with Director Jonny Owen to talk about the making of modern football.

interview by Thomas SUMNER photo of Jonny Owen by Tom O’DONOGHUE

Where did the idea for Three Kings come from? I was always very aware that [Matt] Busby, [Bill] Shankly and [Jock] Stein had worked underground in Scotland. My father worked underground. That wasn’t unusual in South Wales at the time, but he’d always point them out; ‘he’s a miner’, he’d say. Time and time again. Me and my brothers would roll our eyes and tell him we’d heard the story before. But he never stopped telling us. I always think that the place these guys

Jonny Owen lets us in on the inspiration behind his latest football documentary, The Three Kings

“ I ALWAYS THINK THAT THE PLACE THESE GUYS CAME FROM, THE WORLD THESE GUYS GREW UP IN, CREATED AN ENVIRONMENT WHERE YOU HAD TO GET ON, YOU HAD TO BE CLOSE.” 42

came from, the world these guys grew up in, created an environment where you had to get on, you had to be close. And that’s the central tenet of management. That’s especially true of football. I was fascinated by the ways in which their mining backgrounds shaped them. The root of what made these men such great managers lies in their upbringing. I thought that was something worth talking about. When did sports documentaries become exciting to watch? I think the big game changers were When We Were Kings and Senna. Senna was all archive based; you didn’t see any talking heads. It was a new way of making film to me. I wanted to take a similar approach with The hree Kings. I wanted to make something accessible, something that

moves and informs, but also brings a subject back to life. The music played a big part in that, I think. On that note, can you tell us a little more about the music of The Three Kings? I got very lucky with a fantastic artist, Richard Hawley, who I was a big fan of. I approached him about coming on board for this project. He’s the son of steelworkers in Sheffield, so from a similar world, in a sense. We spoke about what kind of music we’d use. There were a couple of tracks he did like ‘Standing at the Sky’s Edge’ and ‘She Brings the Sunlight’ that I already loved. They had this kind of industrial, psychedelic vibe to them. Slightly dream like, but with a kind of clanging-of-hammers-at-the-forge sound to them. It worked really well. I wanted to throw in some ‘40s and ‘50s jazz too, because I was very aware that working class people, of a weekend, would dress up and go to the pub - and of course to the match. It was the break out after a week’s work. I wanted to reflect that dynamic in the music by shifting from the industrial to the ceremonial.

Football has many historical milestones. Do you feel like you’ve lived through the creation of something significant? That definitely feels like the case in Wales. I’ve watched Wales since I was a kid. Home and away. Wales were the forever nearly men of international football at one point. And then something happened on the pitch with the likes of John Tosh and Gary Speed coming into the equation. Off the pitch, something happened too. The amount of people that started going away to watch Wales grew and grew. The fashion of time started to morph into something uniquely Welsh - with the bucket hats and labels like The Spirit of ‘58. And then we started producing some serious world class players. It was an amazing thing to bear witness to.

Did the age of the teenager influence a new style of player? Absolutely. When Busby created the Busby Babes, he unknowingly created something that would coincide with the rise of cultural phenomena like rock n’ roll, and with it, the teenager. There were big changes in the air: people had disposable income for the first time ever; they could buy clothes and go to matches; they could travel away. Some people called the Busby Babes the Brylcreem Boys because they had these Tony Curtis haircuts, you know? They were culturally aware, and they echoed the cultural zeitgeist of the time perfectly. They very much encapsulated the rise of the teenager. The rivalry between Liverpool and Manchester United is legendary. Has it always been this way? It’s probably the biggest rivalry in football history! Certainly, in English football. That began with Shankly and Busby, no doubt about it. Before that, there was no Liverpool-Manchester rivalry in any way like we know now. It was the Manchester Derby and the Merseyside Derby. But that’s where it all began. I mean, they swapped titles like heavyweight boxers swapped punches, didn’t they? Back and forth and back and forth. It continued into the early seventies and became arguably one of the biggest rivalries on the planet.

Were there any stories that didn’t make it into the film? One that sticks out for me is the story around Shankly’s retirement. Bill Shankly was quite a passionate man, as we all know. And almost every summer he’d get fed up with football and threaten to pack it all in. They called it Bill’s summer madness. Busby almost took on the role of older brother when Bill would get wound up like that. He’d tell him to calm down and persevere. Interestingly though, Busby wasn’t around at Old Trafford in the summer of ‘74, and that’s the year he resigned!

[Pictured] Sir Matt Busby [Upper Right] Jock Stein [Over] Bill Shankly

The Three Kings is available to buy or stream on Amazon Video now

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PLAYER PERFECTED words by Will HALBERT Having already dominated the Australian real estate scene, Ryan Fisher now takes his trademark tenaciousness from the penthouse to the football pitch as founder of Total Football Group totalfootballgroup.co.uk

“ IT’S VERY IMPORTANT WHEN ENTERING ANY MARKET TO LOOK AT WHAT ISN’T BEING DONE AND THEN FILL THOSE GAPS INCREDIBLY WELL TO ADD VALUE.”

“The way I see it, you cannot expect to come into an industry and do well unless you have something to offer. You need to be fixing problems others aren’t and adding a lot of value” The words are spoken with the clear-cut matter-of-factness for which Ryan Fisher has become renowned. They’re cut through with exactly the kind of directness and concision of vision that you’d expect from a man who - over the course of 3 years, 7 countries and 45,000 miles - has single-handedly laid the foundations for Total Football Group. Total Football Group dedicates itself to managing the careers and brokering the transfers of professional footballers. It’s the end result of Fisher’s tireless quest to bring something new to the sport he loves. “I’ve always loved football,” says Fisher. “I’ve always wanted to be involved somehow. Over the years, it’s become obvious to me that my talents are best suited for the business end of the football market.” For Fisher, those talents boil down to the ground-up, research-forward and data-driven for-mation of vast and formidable support networks tailored specifically to the player. “I travelled club to club across Europe learning the mechanics of the market and educating myself,” Fisher recalls. “I flew to England, to Spain, to Portugal. I watched game after game and had meeting after meeting, driven to learn and understand football in as much detail as I could. I looked at what people are not doing, not just what they are doing. It is very important when entering any market to look at what isn’t being

done and then fill those gaps incredibly well to add value.” Pair this with a flair for analytics, and Fisher delivers a one-two punch of expert knowledge and carefully-curated ecosystems guaranteed to see players flourish in an increasingly demanding industry. “Data and analytics are the language and currency of the modern game.” says Fisher. “It is a language you must respect and go on to grasp as football evolves.” Whilst the analytical and data side of the business is vital, none of it detracts from the all-important human element that lies at the core of what Total Football Group is about. Understanding a player’s needs and keeping their best interests at heart - not just for short term gain but for the long haul - is absolutely paramount to Fisher. “There is no one-size-fits-all approach to player management, every career will be different and a tailored strategy is required case by case.” By all accounts, this is the kind of enterprise that could only be undertaken from a place of genuine passion. Total Football Group, first and foremost, is a product of Fisher’s unerring love of the sport. It’s about standing shoulder to shoulder with those who share his drive and his determination and helping them to become the best at what they do. It’s about celebrating football, and championing those who take it to such mythical heights. It’s about offering something new and truly elevating the sport, rather than simply adding to the noise. It’s also one hell of a journey to behold, if you can keep up. EJ

The Whisky Exchange’s Whisky of the Year:

P ORT CHAR LOT TE 10 interview by Will HALBERT

Brand Ambassador, Billy Abbott, gives us the lowdown on the winning liquid of The Whisky Exchange’s Whisky of the Year 2020 Port Charlotte 10 has triumphed in The Whisky Exchange’s annual tasting, taking the top spot in the only official blind whisky judging undertaken by members of the public. If you ask us, it’s easy to see why. This 10-year-old expression from Bruichladdich is a heavily-peated, rich and spicy dram that truly sings of its Islay provenance. Suffice it to say; we’re big fans. We don’t expect you to take our word for it though. So we’ve enlisted a little expert advice from Brand Ambassador, Billy Abbott, to help us sound more savvy than we really are. If anyone needs us, we’ll be nursing a wee dram of good stuff. Take it away, Billy.

A lot of people are a little intimidated by peated whisky, how would you ease someone into it? Firstly, not liking smoky drams is not something to be worried about – there are loads of great unpeated whiskies out there, so not liking peat isn’t going to stop you enjoying whisky. But if you want to introduce some peat, then I find going big or building up are the best ways. So, grab a bottle of Port Charlotte 10, and blast your senses with it with your first dram. Every time you go back to it, you’ll find something else, and as you get used to the unfamiliar taste of peat smoke, it’ll just become yet another flavour in your whisky.

First off, can you tell us a little about victor? What’s the story with Port Charlotte 10? It’s one of the three whiskies made at Bruichladdich. Their eponymous dram isn’t smoky at all, while Port Charlotte is very peaty, and Octomore is the smokiest whisky out there, at least on paper. When Bruichladdich reopened in 2000, they made unpeated whisky, whereas most distilleries on Islay – the island where the distillery is – are famous for smoky spirit. They soon added this smoky variant to their portfolio, naming it after the next town along the coast, where there used to be a distillery of the same name. To complete the set, Octomore is named after a nearby farm and is really, really smoky.

If you’re not a fan of the kill-or-cure method, then there are lots of more lightly peated whiskies out there. If you want something light and fresh, then Talisker 10 is a great place to start. If you like things a bit weightier, then Benromach 15 is a great dram – and it was our Whisky of the Year 2020. If those are too much for you smokewise, then look to Highland Park. They use about 25% Orkney-peated barley in their whiskies, giving a light and heathery smoky flavour that can slowly introduce you to peat without it overpowering your dram.

Were you surprised to see an Islay take the top spot this year? Yes and no. While smoky whisky is really popular and we always have a few in our shortlist, not everyone likes peat and the different styles of smokiness can be divisive. We do a ranked-choice vote, letting people tell us their first and second choice, which often leads to a non-peated whisky pulling ahead, as lots of the peat fans choose one as their second choice. This year things were very close again, but the Port Charlotte took the prize – lots of folks who chose an unpeated whisky chose it as their second choice, keeping it in first place all the way through the counting.

What’s your own favourite way to drink Port Charlotte? At the distillery, during the Islay Festival, from a paper cup, while waiting in the queue for the late, great Carl Reavey’s burger van – he ran the nearby Port Charlotte hotel and did the burgers at the distillery open day during the festival for years, before going on to work at the distillery as communications director. However, as that’s impossible without a time machine, I generally like to drink it from a chunky tumbler – it’s not a dainty whisky, and my weighty crystal tumbler gives me a satisfying face-full of smoke every time I bring the glass to my lips. The whisky can stand up to an ice cube, and gets a bit lighter and zippier as it chills, but I prefer it neat and full on – a big smack of sea-breeze and Islay charm.

WINNER

PORT CHARLOTTE 10 BRUICHLADDICH DISTILLERY Big & peaty with a maritime tang. Menthol throat sweets and sweet smoke slowly fade to leave grilled apples and buttery pastry. NOTES FROM THE SHORTLIST

GLENMORANGIE

THE QUINTA RUBAN

Full bodied & silkysmooth finished in a Quinta Ruban port cask

NIKKA

COFFEY MALT

Fresh and clean, a delightfully fruity, spicy whisky with a refreshing aromatic zing

LAGAVULIN

ISLAY SINGLE MALT

A deep, dry and exceptionally peaty bruiser. Complex & not for the faint of heart!

Walking in a Whisky Wonderland Whisky stocks running a little low? Fear not: we’ve served up a series of spirited suggestions perfect for even the most discerning of dram fiends

All bottles are available at thewhiskyexchange.com

The Best Whisky In The World - £61.95 The GlenDronach 15 Years Old Revival Looking for a bottle with bragging rights? Say no more. The GlenDronach 15 Years Old Revival was crowned the best whisky in the world at the San Francisco World Spirits Competition. It’s easy to see why. This is a full-bodied single malt with a masterful balance of intensity and finesse. Notes of treacle toffee and chocolate orange abound, with a finish entirely fitting of the liquid’s single malt standing.

The Heavy Hitter - £62.95

The Smoke Stack Showstopper - £61.75

The GlenDronach Cask Strength Batch 8

Glenglassaugh Octaves Peated Batch 2

For those who like a little kick in their whisky, this cask-strength single malt is matured for ten years in both Pedro Ximènez and Oloroso sherry casks from Andalucìa. At a whopping natural cask strength of 61%, it’s a force to be reckoned with, but it’s also a truly exceptional expression of the distillery’s signature profile.

Composed of Glenglassaugh peated malt matured in Bourbon, Port and Sherry cask Octaves. Salted caramel and yellow plum sweetness harmonise with savoury smoke and maple syrup, spiced by cask and sea. Also bottled at 44% ABV, of natural cask colour and non chill filtered.

The Fan Favourite - £45.95

The Editor’s Choice: - £39.95

Port Charlotte 10 Bruichladdich

Benriach The Smoky Ten

Port Charlotte took top spot in The Whisky Exchange’s Whisky of The Year Awards this month, following a blind whisky judging undertaken by (willing) members of the public. This 10-year-old expression from Bruichladdich is a heavily-peated, rich and spicy dram that sings of its Islay provenance. Big, peaty and cut through with undeniable maritime charm, Port Charlotte is a winner on many levels.

A formidable Islay with a little twist, The Smoky Ten is distilled using malted barley smoked with Highland peat before being aged in bourbon barrels, toasted virgin oak and Jamaican rum casks. The result is a layered smoky sweetness with a toasted oak spice. This is the perfect for intrepid whisky explorers looking for something a little less traditional.

The Cocktail Contender

The Benriach Short & Spice

50ml Benriach Original Ten 15ml sugar syrup 10ml lemon juice 1/4 chopped habanero chilli Splash of ginger ale

Muddle the chilli before adding and shaking all the ingredients (except ginger ale) with ice. Strain into an ice filled rocks glass and top with a splash of ginger ale. Garnish with sliced chilli and slapped mint sprig. Sip. Enjoy. Repeat.

Breakfast at Fäviken By turns witty, candid, and insightful, Magnus Nilsson’s Fäviken: 4015 Days, Beginning to End is a chef ’s ode to his extraordinary restaurant, and a fascinating commentary on food culture.

A lot of people have told me throughout the years that breakfast was in fact the best thing we did at Fäviken. I don’t think they said that because they wanted to criticize what we did in the evening, but because our breakfast really was exceptionally good. My thought was for it to feel like the best breakfast at home you could ever imagine, witha nod to the evening before by incorporating some of the element of surprise of the tasting menu. When people sat down they would get some coffee or tea and a selection of juices that we had made ourselves during the height of berry season and had either pasteurized in bottles or kept frozen since then. The table was subsequently set with bread and butter, a selection of charcuterie and hard cheese, jams, potted trout, eggs and many other things. As people started to dig in and help themselves, other things too would arrive when they least expected it. Things like just-fermented, still-warm yogurt; eggs and porridge straight from the stove; and cookies baked in the oven. People often sat for quite some time, usually longer than they were planning, and not rarely did we have to remind them about the departure time to catch their flight. An excerpt from Fäviken: 4015 Days, Beginning to End by Magnus Nilsson published by Phaidon, out now

Photography: Erik OLSSON

ES S E N TIAL T HOU G HTS ON :

feel all the smugger when the plating up made it look like I knew what I was doing. I still took all the credit, obviously.

tanced, but sure does knock your usualy chippy-tea out of the park. Oh, and I need to up my plating game.

T H E HOME M E A L KI T

CG: Stressful. I’d been home from work for about 15 minutes when my partner came bursting through the door, 10 shopping bags under each wing, and up in arms about this and that, when right then my mother decides to call - you can imagine. Anyway, the food? No, that was easy - just banged it in the microwave.

Any stand-out dishes? WH: The croquetas. My god, the croquetas. It’s tough to take such a ubiquitous Spanish dish and make it your own, but Sabor has nailed it with, wait for it, gusto. Okay, that’s technically Italian. Seriously though, those croquetas are some serious, melt-in-your-mouth, kitchen wizardry.

with Will HALBERT Chris GERRARD & Thomas SUMNER Team EJ check out the latest, enjoy-at-home food boxes from London restaurants, Sabor, Padella, Kolamba. It’s safe to say that 2020 has been an interesting year. But if there’s one good thing to come from it, it’s the ability to have some of London’s finest restaurants deliver first-rate food straight to your door. Which, dear reader, is exactly what we did. All in the name of science, of course. Read on to find out our thoughts. So, what’s in the box? (the restaurant, type of cuisine, number of courses etc). WH: I went for Sabor en Casa’s Counter Menu box, which is basically a selection of their bar top best hits: croquetas; tortilla; gambas al ajillo; pulpo a la Gallega; presa Iberica with veal jus and mojo verde (every bit as delicious as it sounds); and beetroot salad with horseradish cream (an absolute sleeper hit or a dish, if you ask me). CG: I was on the Chicken Curry Box courtesy of Kolamba, which is an incredibly understated way to describe what was inside. Rather like calling your McLaren a ‘run-around’. Sri Lanken style dishes, that leave a lasting impact on the tastebuds (with minimal washing up). Green Bean, Beetroot and Ceylon Chicken Curry take centre stage, with supporting roles from an incredibly creamy Dhal and a toasted Pol Sambol. Magnificent. TS: The Godfather of pasta (here in the UK at least), Padella. It arrived with two meals, each for two people...or two servings if dining alone, nothing wrong with that. Beef Shin Pappardelle and Nduja, Mascarpone & Lemon Fettuccini. Didn’t look much but boy, it filled me up. How was the prep? WH: In a word? Idiotproof. I should know, too. I’m an absolute catastrophe in the kitchen. I made a burger just the other day that was made up of two top halves of two different buns. Two top halves. I lost the bases, too. How does that even happen? Anyway, Sabor’s prep is simple. Like, boil-in-the-bag simple. Which made me

TS: Put pasta in salted boiling water for literally seconds. Gently heat sauce in pan. Add cooked pasta to sauce. Stir. Serve. Eat. Good luck messing that one up. What did you think of the overall experience? WH: It felt like an elevated and more-involved takeaway. Kind of like cooking with all the cheat codes on. The most impressive thing about Sabor’s home meal kit was the way it managed to capture the spirit of the restaurant itself. This was so unmistakably, quintessentially Sabor. It honestly had me raring to get back to propping up their bar again. CG: It made me realise how much enjoyment in dining-out is in the setting. As far as the food goes - faultless. It really was incredible. By far the best ‘Indian-style’ dish I’ve enjoyed in the comfort of my own home (I’m not doing myself a disservice there). Yet I still couldn’t help feeling there was something missing. Some sense of ceremony or grandeur. The simple act of dressing up and going out at least. It certainly deserved more than to be devoured cross-legged, in an oversized and paint splattered Black Sabbath t-shirt, let’s put it that way.

CG: I’ve been watching a lot of Masterchef recently, and lamenting the apparent lack of skill it takes - not to cook a dish, but to describe eating one. So let me tell you that trying to describe a sauce like the Ceylon Chicken Curry, without contradicting yourself is - in fact - insanely difficult. It’s, rich, creamy and full bodied in one moment, sharp, tangy and fragrant the next. All together God-damn delicious, and sure to make a fool of us all. TS: Nduja (which we all now know how to pronounce thanks to another of Nigella’s...er... tips?), Mascarpone & Lemon Fettuccini. No decription needed, my recommendation is as honest as the meal it’s in favour of. (PS - I think Nigella is great.)

TS: As I was cooking the meals I was very underwhelmed, after all I was just cooking pasta in my kitchen. However, from the first mouthful of nduja spiked fettuccini, it turned a mundane post-workout Tuesday evening upside down. It’ll never match the buzz of the restaurant, even one social dis53

COLUM NISTS

It’s a self-perpetuating daftness, the kind that sees a restaurant list a menu item as ‘pan-seared. I would have previously assumed that the detail of actually cooking the meal was implicit and therefore didn’t need to be included as part of the description. You might as well say - the idea was head thought - or the smell was arse farted. The need to include any kind of prefix at all worries me. While ‘Pan seared’ does have an onomatopoeic appeal I can’t ignore that at its core its inclusion seems to say ‘this is cooked’. The mere addition of that particular point introduces an unwelcome subtext of doubt into my meal. It’s like walking into a room, seeing a crumpled body on the floor and a person standing over them with a bloody hammer in their hand who looks at you with a grimace and says “I didn’t hit them...with this hammer”. I’m slightly more forgiving for terms like ‘hand-pulled’ as at least that suggests a level of technique and I’m relieved to find my alkaline noodles weren’t pulled by foot. Paradoxically, I detest the word ‘artisanal’. I don’t think an artisan would call a chair that she had painstakingly crafted an ‘artisanal chair. She’d probably just call it - a chair. Because the inherent value of her craft is distinctly perceivable, get this, in a freaking sweet ass chair. I once worked in a bar that had a snack menu that boasted a ‘world-famous scotch egg’, which was none of those things in that order. During my near two years in the place, I didn’t see a single scotch egg served from that kitchen, which implied not only that it wasn’t world-famous but even the chef didn’t even know we sold them.

PAN SEARED TO PERFECTION Addressing the Table with Jake O’Brien-Murphy

’ve always taken particular comfort in simple things, like the sense of pristine satisfaction that comes with slipping on a fresh pair of socks. Hefting a cheese toastie into a piping bowl of Heinz Tomato Soup. The irrepressible wonder born of stepping into virgin snow with an audible crunch underfoot. Or watching as a political correspondent’s eyes scream like an old fashioned kettle as they, like so many before them, falter and mispronounce ‘Jeremy Hunt’ on live television. This comfort in the simple things informsmy work life too. Cocktails, I think, deserve to be straightforward. That’s part of their allure. That with a handful of elementary ingredients and some gumption you can transform your experience of a given thing. The great classics, the ones that are ordered around the world, are often, if not always, the unexacting. Sure, there’s a degree of skill and understanding in making them well but, they’re helped in no short part by their fundamental simplicity. There are pervasive bogey-man stories about drinks like the Old Fashioned and Ramos Gin Fizz. How they take a lunar cycle to make and can only be designed proper by men in Tiki shirts with neckbeards. But it’s all nonsense. People like to tack on faux-intellectual reverence to certain things to seem clever for knowing something that you don’t, which incidentally is the thing they’ve just made up. To me, that’s like stapling armbands onto a swan, those drinks are perfectly fine without the bullshit, you don’t need to add buoyancy to an already floating bird. Tiki shirts, by the way, are incredibly helpful in signposting the sorts of people you want to avoid periods of protracted conversation with.

@jakeobrienmurphy

I DETEST THE WORD ‘ARTISANAL’. I DON’T THINK AN ARTISAN WOULD CALL A CHAIR THAT SHE HAD PAINSTAKINGLY CRAFTED AN ‘ARTISANAL CHAIR.’ SHE’D PROBABLY JUST CALL IT - A CHAIR.

All of this doublespeak is really just a limp verbal side salad tossed together by the creatively bereft. It’s a way of sexing things up. Like go-faster stripes on a Fiat Punto or a sprinkling of micro herbs, the go-faster stripe of the dining room. It’s all about making something seem more than it actually is. Which I understand, there’s a financial imperative to a business trying to sell things. Even a pissed on picnic like me can accept how hard it is to carve a niche in an overcrowded market. Every so often though, there’s salvation and I try something where the inherent simplicity belies the beauty. I’m so in awe of those moments when it does happen because I altogether don’t expect it. Case in point - The Shaky Pete’s Ginger Brew. Probably the worst name for the best modern classic, in my mind. When I first tried it, in my fledgling months of living in London, I almost shattered my cheekbones I smiled so much. It does everything I’ve evangelised about. Born in Hawksmoor a decade ago but now available, in heavy-bottomed glass trigger mugs, across the world because of its universality and simplicity. Gin, lemon, ginger and beer. That’s it. That is literally it and with that, it is so much more. It’s a handful of elementary ingredients which, together, transform the perception of what they can be. I can’t help but love it. Because it is so straightforward in its deliciousness and because it takes the full potential of a few tasty things and pushes them to their logical conclusion. It’s a unique kind of delight to understand all at once what something is about from the experience of taste alone. You’ll know what I mean when you try a Shaky Pete’s. JOB

B IS FOR BELGIUM

eer in Belgium is a big deal. On average Belgians drink 84 litres of beer a year, there are over 300 breweries in Belgium including international chains, Trappist monks and modern craft brewers. They produce a wide range of beer styles from pale lagers to amber ales, tart Lambic and sweetly sour Flemish red and brown ales. Strong blonde ales and dark stouts, too. In 2016, UNESCO added Belgian beer to their list of the intangible cultural heritage of humanity. So yeah, a pretty big deal. Let’s start at the beginning with those drunken monks who, with the catholic church’s permission in the 12th century, started the side hustle of selling their beer to fund the church. This relatively low-strength offering of beer was also an excellent sanitary option to the drinking water available at the time. So, from this holiest of starts, traditional brewing methods were cultivated, honed, and revered over the next 700 years. To this day, Belgian beer is lauded as some of the finest in the world. These religious beers fall into two categories of Trappist and Abbey beers. There are only 12 Trappist-approved breweries in the world that can use the moniker as they have strict rules to adhere to: the brewery must be in a monastery; the monks must be involved in the brewing process and the policies and profits of the beer must fund the monastery or social programs outside. Six of these Trappist-approved breweries are in Belgium and Trappist is a controlled term of origin. It is not a style by itself. In fact, beyond mainly being warm fermented ales, they have very little in common.

IN 2016, UNESCO ADDED BELGIAN BEER TO THEIR LIST OF THE INTANGIBLE CULTURAL HERITAGE OF HUMANITY. SO YEAH, A PRETTY BIG DEAL.

@thefermentationstationuk thefermentation-station.co.uk

Sam Watson’s The ABCs of Beer

Abbey beers, in contrast, are either produced by a non-Trappist monastery (think Benedictine monks, for example), are produced by a commercial brewery under commercial arrangement for an extant monastery or branded with the name of a defunct Abbey by a commercial brewer. As a result, modern Abbey beers range from being produced by monk-run microbreweries to international beer giants. Affligem, for example, is produced by a brewery owned by Heineken. Stylistically, they have more in common with most breweries, sticking to the Blond, Brune, Dubbel or Tripel styles. The other culturally-unique aspect of traditional Belgian brewing is spontaneous fermentation. Typically hailing from Brussels and Pajottenland, lambic, kriek, faro and geuze styles derive from this type of fermentation. In stark contrast to most modern brewers using carefully cultivated, lab-grown yeast strains, lambics are spontaneously fermented by wild yeast and bacteria that freely float in on the breeze whilst the wort is cooling. They’re then aged for several months and blended to create a deliciously different style of beer. Belgians also take their glassware pretty seriously too, with a matching glass for almost every different beer. If for any reason the matching glass isn’t available, this will typically elicit a sincere apology from your server. Next time you crack open a Belgian delight, try it in a wine glass as this will accentuate the aroma, aid with the voluminous head, and make you look pretty sophisticated. SW

THE MEANING OF LUXURY Tailored Thoughts Matthew Gonzalez

@matthewmgonzalez

ho doesn’t love treating themselves to something nice? We live in a world where we’re constantly exposed to how the ultra wealthy live and, in part, we are expected to want to emulate it. The problem is that this year has led many to question what luxury actually means. It isn’t necessarily spending as much as you can afford on nights out or blowing your budget on that particularly posh summer holiday. Nearly a year’s worth of lockdowns and tier systems has meant that it will be a luxury just to be able to meet up with friends or family from a few different households during Christmas. There is also the fact that a luxury to me may seem rather pedestrian to you. As the concept of luxury can vary drastically from person to person, I want to explore the common threads that connect everyone’s occasional self indulgences. While the word luxury tends to evoke notions of exclusivity or anything that comes with a high price tag, the truth is that luxury has no single definition anymore. As each of us have our own unique backgrounds and sets of circumstances, luxury can literally be anything from treating yourself to a nice cup of coffee in the morning to traveling the world in a private jet. Our previously narrow concept of the word has its roots in the class system which go all the way back to the beginning of civilisation. At the end of the 19th century, ‘conspicuous consumption’ was how the European aristocrats and American industrialists flaunted their wealth through grand houses, ornate interiors and lavish parties. After the Second World War, the American saying ‘Keeping up with the Joneses’ meant that families would subtly compete with one another for local prominence by showing off how luxurious their lives were. Then, of course there were the yuppies of the ‘80s and ‘90s, who unabashedly wore, drank, drove and snorted their wealth as publicly as they could to achieve social dominance. Now it’s the Kardashians and self-proclaimed influencers who are attempting to maintain luxury’s historically-narrow meaning, but as we have all gained 55

IT’S IMPORTANT TO SHRUG OFF CERTAIN STEREOTYPES ABOUT WHAT LUXURY IS AND ALLOW IT TO REMAIN BROAD AND AMORPHOUS. LIFE IS GENERALLY PRETTY TOUGH. THIS YEAR, IT HAS BEEN EXCESSIVELY SO. new perspectives from the events of 2020 luxury is finally starting to be seen more holistically. If you break it down into its very essence then you’ll see that time is at the heart of what luxury is. It may not sound like it at first but more specifically free time is luxury. If you want to go out for a nice meal, you will need to have the free time to do so. In addition to that you will have worked a certain number of hours or weeks just to be able to afford it. Meaning that every pound that we spend represents a portion of our time at work. If that’s the case, then it’s not unreasonable to ask why time is more fundamental to luxury than money? The answer is simple. While things like a dinner out costs money, luxury doesn’t always have to. Having 30 minutes to go out for a run each morning or spending an hour a day reading can be as much a luxury as an expensive night out once a month. The two, however, are often related and it’s exactly why we hear clichés like ‘time is money’ or ‘another day another dollar’. Those sayings acknowledge that our time at work enables us to earn the money that pays for the luxuries that make life more enjoyable. It’s difficult to be dogmatic about how you should spend your free time. There is no one right answer. As we move forward, it’s important to shrug off certain stereotypes about what luxury is and allow it to remain broad and amorphous. Life is generally pretty tough. This year, it has been excessively so. While we were all stuck inside we gained a whole new perspective on what luxury could mean. We had time to clean our houses, binge watch Netflix, cook, exercise, read or FaceTime with friends and family. Whatever worked for you was your new luxury. Anything that we can do to make life more enjoyable is good, and it certainly doesn’t matter how much it costs. Free time is one of our most valuable commodities, so it’s not something that should be taken lightly. Ultimately, we each get to decide what’s best for us. Going forward, we should make sure to appreciate that whatever we do to make our day more enjoyable is, in itself, a luxury. MG 56

MIND OVER MATTRESS On the Pass with Tommy Banks

uxury is diluted domain to say the least. Anyone trying to peddle anything at all seems to have a claim on the word. Which diminishes its value somewhat, quite rightly eliciting a few eyerolls and the occasional bout of seen-it-all-before cynicism. That’s because people equate the term ‘luxury’ with excess and ostentation. They hear the word and immediately think of people buying expensive things for the sake of being seen buying expensive things. Luxury needn’t be expensive. And when it is, it needn’t be expensive for the sake of it. Luxury should never be confused with excess or exclusivity. Maybe I’m showing my age a little here, but the first thing that springs to mind when I think about luxury is the comfort of a good mattress. Seriously, not all mattresses are created equal, and a higher price typically makes for a sounder night’s sleep. But you don’t buy an expensive mattress to show it off to your mates, do you? It’s not a flex; you buy a mattress for comfort. You buy it for the experience. You buy it for how it makes you feel. The cost is pretty irrelevant. Except that’s not quite true, is it? Collectively, we have a weird habit of guilting ourselves out of luxury on account of the cost. We convince ourselves that luxury is an over indulgence, that saving the money will make us happier in the long run. I’m not sure I agree. Sure, blowing money left, right and centre is never a good long-term plan, but if you’re going to treat yourself, why not go all in? Whether we’re talking about a holiday, an evening at your favourite restaurant, or a top of the range mattress, the chance to treat yourself doesn’t come around all that often. Not nearly as often as it should, anyway. So, make the most of the opportunity when it does. Go guilt free, enjoy the experience, and make a few memories while you’re at it. That said, you should endeavour to spend your well-earned money on the right things from the right people. And by the ‘right’ things I mean that which is authentic to you. When not shopping for a good mattress, I’m quite partial to a good macaron. I have a friend who makes them by hand; they’re a far cry from the mass-produced confectionary we’re used to seeing. You really can taste the difference, and having an understanding of the care and attention that went unto them only heightens the experience. Again, not because of the price, but because of a genuine and authentic appreciation of the craft. Luxury comes from understanding. Whether you’re talking about haute cuisine, fine wine, or Swiss watches. It’s not about the price tag: it’s about appreciating something over time, understanding its intricacies and particularities so that when you’re actually in a position to enjoy them, the experience means so much more. It’s safe to say that the concept of luxury has shifted dramatically over the past 12 months. People are nesting; investing in their homes a little more, re-evaluating what they feel is important. We’ve come back to the idea of luxury as comfort. The popularity of Our Made in Oldstead food boxes are a good example of people wanting a taste of luxury at home, as is my current obsession with the perfect mattress. If there’s one thing I’m sure of, it’s that luxury is at its most compelling when it’s unique to the individual. So carve out your own niche, double down on what it is that you personally enjoy. Don’t let anyone tell you what luxury is; find out for yourself, and enjoy every indulgence along the way. It’s the funnest part. Also, invest in a good mattress. It’ll change your life.TB.

@tommybanks

YOU DON’T BUY AN EXPENSIVE MATTRESS TO SHOW IT OFF TO YOUR MATES, DO YOU? IT’S NOT A FLEX; YOU BUY A MATTRESS FOR COMFORT. YOU BUY IT FOR THE EXPERIENCE. YOU BUY IT FOR HOW IT MAKES YOU FEEL. THE COST IS PRETTY IRRELEVANT. 57

THE ‘L’ WORD

or many people, luxury is the manifestation of exquisite craftsmanship - a Patek Phillipe, a Rolls Royce, a Mont Blanc perhaps. It’s the skill required, the time needed and the effort taken to craft them that means certain goods are elevated to heights which can only be scaled with extremely deep pockets. The feat of obtaining such luxuries therefore takes on a meaning for the individual - be it accomplishment or success. A feeling inside which says ‘well done, I’ve made it, I’m in the special club’. The necessity for the deep pockets adds a barrier which means the items are rare and the element of luxury is enhanced further. Reassuring and alluring for the owner, they provide exclusivity and status. Nothing says success better than pulling back the cuff of your shirt to show off the Rolex while you say ‘it’s quarter past 8’. So much so that everyone seems to have one these days, and it may not be the cuff of a shirt that is pulled back but rather the sleeve of an under armour tracksuit. Whether said watch is genuine or a fugazi is another story, but you get the message. The aspiration of owning luxury was a driving force for many in the recent past. Whilst this has been the status quo of yesteryear, things are shifting now thanks to Generation Z and the Millennials. There is less of a desire to own. People are not as concerned anymore. The new crowd is not as impressed. Why own a Mercedes when you can ride an Uber? Why have a vinyl collection when you can stream on Spotify? And why spend fortunes on high-end fashion? With Rent the Runway you can hire a Tom Ford suit for the evening. Conspicuous consumption is on the decline as emphasised by sociologist Elizabeth Currid-Halkett in her book, The Sum of Small Things: A Theory of the Aspirational Class. That’s because many consumer products have become much more widely available to all classes, thanks to globalisation and advances in technology. The result is that conspicuous consumption has been replaced by a far less conspicuous crew that means social, environmental, and cultural awareness is now the new social wealth. So, rather than spending money on luxury products, people increasingly focus their spending on non-visible, highly expensive goods and services that allow them to have time to gain that social capital and foster it in their children. Such goods and services include child care, gardeners, and, most importantly, education. So in a nutshell we are seeing the definition of luxury shifting from a materialistic, tangible notion to one of time, leisure and personal and social enrichment whether that be directly such as education, or indirectly such as paying for services which will then allow free time for other pursuits, preferably freedom. I for one think this is for the greater good. AM

michaelroseandbaylis.com

Coffee & Counsel with Adonis Michael

THE FEAT OF OBTAINING SUCH LUXURIES THEREFORE TAKES ON A MEANING FOR THE INDIVIDUAL - BE IT ACCOMPLISHMENT OR SUCCESS. A FEELING INSIDE WHICH SAYS ‘WELL DONE, I’VE MADE IT, I’M IN THE SPECIAL CLUB’.

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