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Former New York Times fashion photographer Bill Cunningham may be smiling at the sweet irony that he, a photographer, is being fondly remembered for his words, rather than his images. Yet, the reason for the popularity of this quote is that it rings true, and will almost certainly ring true eternally. Fashion is somewhat nebulous, highly subjective, and a way to outwardly express without speaking. The clothing does the work, well, mostly. Fashion has become the accessory to individuality, it engenders confidence and, if you look behind the badge, there are often far greater stories than one would initially expect. Like every other industry, Fashion is adapting to the demands of the day, slowly realising that new methods of production and material technology will be required to reduce carbon output and waste material. This period of adaptation suits fashion, after all, fashion embraces the new and the daring. Cyclical in its nature, slightly expensive at points, the world of fashion continues to turn. This issue is dedicated to the people who keep fashion alive, and the brands looking to evolve as we step into the future.
Welcome to EJ65.
JAI MCINTOSH EDITOR
‘FASHION IS THE ARMOUR TO SURVIVE THE REALITY OF EVERYDAY LIFE.’ Bill Cunningham THE EDITOR'S NOTETHE COVER IMAGE pictured CHELCEE GRIMES photographed by TOM O'DONOGHUE interview MATT OWEN THE COVER IMAGE pictured CHELCEE GRIMES photographed by TOM O'DONOGHUE interview interview MATT OWEN
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IN FIVE
For EJ65, we took a look back at the best films about fashion of the last 25 years. If you're ever stuck for what to watch, try one of these on for size...
PHANTOM THREAD (2017)
High society fashion turns deadly.
PERSONAL SHOPPER (2016) Stylist Stewart, haunted in Paris.
ZOOLANDER (2001)
Ousted male model gets revenge.
THE DRESSMAKER (2015) Australian village faces Winslet's wrath.
THE DEVIL WEARS PRADA (2006) Magazine mogul torments unfashionable intern.
Images courtesy of Focus Features, Universal Pictures, Paramount Pictures, 20th Century Fox
Andrew Combs is often characterised as an Americana artist, yet, with themes rang ing from the climate crisis, to depression, he has challenged the initial perceptions of the genre. With new album, Sundays, re cently released, we caught up with Andrew bright and early in Nashville.
JAI Your new album came out August 9th, with two singles released previously. How are you feeling now it's out in the world?
AC I am very proud of the record, it feels like the most me record I have made so far.
JAI Having created the album following a mental breakdown, did you find the pro cess cathartic and helpful or was it more challenging than anything?
AC I didn’t really want to make a record back when it happened, but I had a friend who I ended up producing the record with who would encourage me to get out of the house, have a coffee, and just make some music. At this point I only had two songs, so I just used to go over every Sunday to record what I had written throughout the week, hence the name of the album.
I also thrust myself into meditation to help me get over what I was struggling with, along with medication. A lot of the album is about cleaning and clearing your mind.
JAI How did you find meditation and what was it about the process that worked for you? Also, do you find painting an exten sion of the meditative process?
AC Once I started meditating, I started painting about it. I tried to paint the visions I saw when I was meditating, so these two things are certainly intrinsically linked. We have some family friends who were raised in a transcendental meditation community in Iowa, and she has been into it since she was five, and now her husband does it, all of her family do. These people mean so much to me I thought I would just try it. They’re such genuine caring people, I wanted a little of what they had; that's how I got into meditating.
In terms of my family, my wife is so open and willing to support me in any way possi ble. If I wanted to join the circus tomorrow, I know she would find a way to support and facilitate that. Having a family doesn’t change my sound, but they have instilled a routine that actually really benefits my creative time.
JAI Your 2017 album touched on climate change, do you still want to address cer tain socio-political issues?
AC I am distraught at the state of the world and my country continually, but, with the new album, it is very micro rather
than macro. I focused internally rather than externally. Quarantine was seriously challenging, and it forced my blinders on, but generally, I am not opposed to doing anything artistic that is politically motivat ed. I feel at this point if you’re breathing, it is political (laughs). It just so happens that this time around I focused on the internal.
JAI Your music has loosely been de fined as Americana. How do you find the reaction to your sound, which is informed by years of musical heritage, but also you address issues not typically encountered in the sphere your music belongs to?
AC It has always been frustrating for me to be placed in that genre. I guess when I started out, there was nowhere else for people to put me. Now I have made two or three Americana records, it is what it is. The great thing about travelling overseas is that the line between genres is a little more blurred, less polarised. I do think I probably alienate a majority of my listen ers when I talk on certain issues, but I am here to express and create, that is funda mentally it.
I just love making stuff. Performing I like, but it is not the thing that gets me out of bed. I love it when it clicks on stage, there are few better feelings. However, now I have a loving family, my yearning to be back on the road decreases.
JAI What differences do you encounter be tween US and European/UK audiences?
AC America is so hard because it is so different state by state. I would say overall, the UK and European audiences are more accepting and open, people really want to listen. Whereas in the states, people just come to shows to get fucked up and laid, which is a bit odd when it comes to this type of music.
JAI Who are you currently listening to?
AC My wife and I are huge Aldous Harding fans, so we listen to her a lot. My daughter loves this pop-punk grunge artist called Bully, and there is also a lot of Disney stuff now (laughs). I listen to a lot of my friends' records whenever they’re done with them, and I go through periods of seeking new music, but currently I am really relaxed with this and am just enjoying what I like.
JAI Do you think platforms such as Sound cloud and Spotify have been helpful to you as an artist?
AC On Spotify, the numbers are great. It is a great tool for exploring new sounds and finding new music. Do I wish we got paid better? Of course I do. Yet, I don’t feel the need to take my music off the platform, it allows other people to access my music who otherwise would never have heard it.
I think they need to improve as a business, but it is a great tool that has certainly helped expand my listenership.
JAI How has your opinion of your music scene changed over your career so far?
AC It is interesting, I was thinking about this the other day. Now, I am so comforta ble with where I am at now, happier than I have ever been due to the structure of my life and the love of my family. In the be ginning of my career, I was chasing what I thought I needed to do, and then you start to figure out what makes you happy and what doesn’t. You work out who takes ad vantage of you, and who doesn’t. I am not sure I could have the happiness I find now if I had not experienced the challenges of trying to become a professional musician in this space. The business side of music is the worst part of it, perhaps that is the same for all creative fields. It sometimes feels as though creativity has to take a back seat for the sake of capital.
WE'RE
GuestHouse pride themselves on creating happy, personable, and en dearing environments that provide guests with a luxury experience without the pretence. Behind GuestHouse are three brothers Tristan, James and Tom Guest, all aligned behind the belief that modern hotels need to adapt to the demands of the day, providing all with five key elements: happiness, indulgence, realness, hereness, and wonderment. With three spots established in York, Brighton, and Bath and a fourth in Margate arriving in spring 2023, GuestHouse house has clearly struck a chord.
Across all of the hotel restaurants, their chefs source sustainable, sea sonal, and where possible, local ingredients to conjure the essence of a British escape, plus, and it is a big plus, there’s their signature cock tail, the Old Fashioned Parkin, which transports you to the fireside after a wintry walk in the dales. Oh, and there are even a few select rooms for shared rituals as well as experienced therapists to aid your search for wellbeing.
GuestHouse, a home for happiness.
WHERE WE'RE EATING OSTERIA AL SQUERO
The EJ team recently spent some time exploring the complex labyrinth of narrow streets that form the majority of Venice. Two things excited us; the effortless, timeless beauty of each street, and the food.
Osteria Al Squero, nestled in front of the Squero Di San Trovaso, offers a quaint yet detailed microcosm of Venice. The smell of Aperol is enhanced by the slight hint of sea salt in the air, whilst the sight of gondolas being repaired on the other side of the water provides a welcome catharsis.
Sandwiches and croutons are prepared with sausages, cheeses, San Daniele ham, pancetta, loin, smoked fillet, and salami sourced from the northeastern Italian area of Fiuli and Carnia. The wines are predominantly from wineries and vineyards in Friuli, Trenti no-Alto Adige and Veneto, and it is precisely this attention to prod uct that provides reason enough to visit, yet, there is one other reason. Osteria Al Squero provides authenticity with ease, with finesse. When visiting Venice, this is what you look for. Trust us on this one, it is well worth a visit. Mind out for the seagulls, though.
WHAT WE'RE LISTENING TO LUKE SITAL-SINGH: DRESSING LIKE A STRANGER
Steeped in varied themes from melancholy and moving-on, to embracing sadness and losing faith, the results make for a sweeping set that showcase his natural ability to craft songs rich in empathy and emotional resonance.
Dressing Like A Stranger is the new album from LA-based Lon doner Luke Sital-Singh. The follow-up to 2019's A Golden State, Dressing Like A Stranger was written and recorded in California, with Luke initially working alone at home in Los Feliz as COVID-19 descended upon the world. He later rented a studio and cut a few songs by himself before enlisting fellow Brit and singer-songwriter Dan Croll as co-producer and Tchad Blake (Fiona Apple, The Black Keys, Elvis Costello) for mixing.
WHAT WE'RE LOOKING FORWARD TO LONDON DESIGN FESTIVAL
This year, London Design Festival celebrates its 20th anniversary, returning to the capital from 17-25 September 2022 with a thought provoking programme of events, exhibitions and installations. The Festival will once again provide a platform for designers and creative businesses to showcase their work, and will invite a global audience to discover the breadth and diversity of talent found in London and across the UK.
Since its initiation in 2003, the Festival’s vision has been to celebrate and pro mote London as the design capital of the world. It has played a key role in the growth of the design industry, bolstering London’s position as a global destina tion for business, culture and tourism, and contributed to the UK’s reputation as a creative powerhouse. As one of the world’s leading design events, the Festival has also served as the blueprint for design weeks and festivals globally and continues to be a key moment on the cultural calendar.
The 2022 Festival will once again shine a bold new light on the city, and make the familiar fresh through its programme of sensational, must-experience installations; museum exhibits; the Design Districts which highlight clusters of creative activity across the capital; and the Global Design Forum, the Festival’s thought leadership programme which will bring together creative leaders to exchange ideas and solutions for some of the most pressing issues of our time.
WHAT WE'RE WATCHING NOPE
"What’s a bad miracle?"
Oscar winner Jordan Peele disrupted and redefined modern horror with Get Out and then Us. Now, he reimagines the summer movie with a new pop nightmare: the expansive horror epic, Nope.
The film reunites Peele with Oscar winner Daniel Kaluuya (Get Out, Judas and the Black Messiah), who is joined by Keke Palmer (Hustlers, Alice) and Oscar nominee Steven Yeun (Minari, Okja) as residents in a lonely gulch of inland California who bear witness to an uncanny and chilling discovery. Keep your eye on the sky.
Nope, which co-stars Michael Wincott (Hitchcock, Westworld) and Brandon Perea (The OA, American Insurrection), is written and directed by Jordan Peele and is produced by Ian Cooper (Us, Candy man) and Jordan Peele.
THE
WHAT WE'RE READING ENGLAND'S GREEN BY ZAFFAR KUNIAL DESIGN BY FABER
Birmingham born Zaffar Kunial has played an increasing ly significant role in the British poetry scene over the last decade following his third place prize in the National Poetry Competition (2011). This success has been followed up by contributions for The Pity (2014), Faber New Poets 11 (2014), and US (2018), the latter of which aided Kunial in his being shortlisted for the 2018 T.S. Eliot Award and Costa Book Award for Poetry. The year later, Six (2019) was published as part of the Places of Poetry project.
England’s Green (2022) offers a contemplative look at place, language, and absence. Kunial’s most recent work evokes the other lives of the self and the formation of being, ‘we all have lives that go on without us. Unwritten. I have history on grounds I’ve not played on’. A clear, authoritative yet curi ously compassionate and understanding tone bleeds from each poem, toying with the roots of language and structure that at once harmonize and disrupt the collection, forcing the formation of questions and considerations.
England’s Green (September 2022) is available at Faber.co.uk
WHAT WE'VE BEEN COOKING ARGENTINIAN BEEF CARPACCIO
Fernando Trocca is one of the jewels of the Argentinian culinary crown. Renowned for his ability to combine inter national influence with open fire cooking techniques, Trocca has spearheaded restaurants in Argentina, London, and Dubai. Beef is a considered and serious staple of Argentini an cuisine, so when we bring to you a beef carpaccio recipe from one of the best, it is certainly worth a try.
INGREDIENTS
500g 8 tbsp 3 tbsp 1 tsp 1 50g 2
Good quality beef tenderloin Extra-virgin olive oil
Freshly squeezed juice from 2 lemons Dijon mustard Egg yolk
Grana Padano cheese (slice very finely, or use a smooth peeler) Anchovy filets (in oil) Kosher or rock salt and freshly ground black pepper
METHOD
Wrap the beef tenderloin in cling-film, and chill in the freezer for 1 hour.
Using a very sharp knife, cut the beef across the grain into 1/8-inch-thick slices.
Place the slices between sheets of cling-film or waxed baking paper and gently pound with the flat end of a meat mallet or roll with a heavy rolling pin until paper-thin.
Arrange the slices on 6 individual chilled plates with 4 tablespoons of olive oil and season with salt and pepper to taste.
Place remaining 4 tablespoons oil, lemon juice, mustard, egg yolk, chopped anchovies salt and pepper in a small bowl and combine until thick with an immersion blender.
Drizzle mustard sauce on top of the beef and serve with the parmesan cheese on top. I highly recom mend serving a handful of wild rocket on top.
WHAT'S ON OUR FEET DR MARTEN AUDRICK COLLECTIONS
Built for the wearers who want to shake the system. Introduc ing an innovative generation of silhouettes that takes inspi ration from DM’s core DNA - elevated and enhanced for new horizons and evolved radicals. Innovative construction with a taste for the unconventional. Last year we broke the mold with our two-part Quad Neoteric platform - this season, the Audrick is back in classic Charro Brando leather that develops a wornin, vintage look over time.
An evolved platform with innovative two-part construction: a lightweight EVA midsole and grooved PVC outsole with deep, exaggerated cleats. The 1.9” Quad Neoteric sole delivers comfort and impact from your first step - fitted with a SoftWair in-sock for enhanced support. Marked with yellow welt stitching and an amped-up edition of our DMS tread pattern - the DM’s footprint is unmistakable.
Available September. drmartens.com
Founded in 2018, Bound was created with an ethos of presenting striking garments for individuals who have a taste for bold ness and originality. Their ERICE knit polo encapsulates their mission entirely, blend ing generational patterns and palettes with high quality material.
Following their Collection Nine series which teased the future use of knitwear across the range, the ERICE knit comes directly from the tenth collection. Soprano inspired, the collection as a whole clearly aligns itself with the tones found within narrow Maltese streets.
Talking with us about their most popular item, Jake Messer, Founder of Bound, ex plained, “We recently delved into knitwear with the brand, to step things up and be gin introducing high quality yarns into our ranges. After starting more minimally, we then looked to introduce our own knit wear polos with custom repeat patterns truly original to showcase our boldness and bring confidence to our community of customers. The ERICE swiftly became our best selling piece. The pattern was de signed by a family friend, with retro inspi rations, smooth colours to suit all seasons, and an oversized finish to be consistent with our 90s style fits.”
In-line with the increasing popularity in rejecting branding for patterning, the Manchester based Bound continue to increase their popularity and diversify their creative output with items such as the ERICE knit polo. Well worth a purchase, if you’re lucky enough to find one!
Driven by the Internet’s favourite Emma Chamberlain, Levi’s have teamed up with Ganni to celebrate that which is so essential to life, gardening. Whilst this may sound more Titchmarsh than burgeoning youth movement, a huge increase in indi vidual understanding of climate change and human food consumption has meant that younger people are engaging first hand in growing produce and cultivating land.
This all-denim limited collection has been dipped in natural dyes composed of real plants and minerals. Ditte Reffstrup, Crea tive Director of Ganni explained that:
“I can't believe this is our third collabora tion with Levi’s®, it’s such a testament to the power of working together. We have been aligned on our visions from the very beginning and continue to grow and learn from each other.”
We share a commitment to responsibili ty and for this collection we worked with natural dye from real plants or minerals to create colourways - how fun is that! The collection is a perfect mix of signature Levi’s and Ganni elements, it has that timeless wear-forever feel, but with a play ful twist that still feels super wearable.”
Of course, there are questions that arise when large global companies promote sustainable messaging without neces
sarily working on their internal practices. With brands as large as Levi’s and Ganni, these questions will not dissipate, and they shouldn’t. Yet, change doesn't happen overnight, both brands have been work ing hard on improving their systems of production and shipping.
Levi’s are made specifically to be a longer-lasting product which inherently is more sustainable than fast-fashion items.
Levi’s also operates under a Water<Less® initiative which, since 2011, has helped re use 9.6 billion litres of water whilst aiming for major targets such as 100% sustainably sourced cotton by 2025, 100% renewable energy in owned & operated facilities by 2025. 40% reduction in greenhouse gas emissions in our supply chain.
Ganni are equally aware, posting yearly, highly-detailed reports encompassing analysis of working practice, working cul ture, product development, and planetary impacts. In 2021, 92% of Ganni’s Spring Summer 2022 collection styles were certi fied organic, lower-impact or recycled.
Plenty to do, but steps in the right direc tion. This is a beautiful collection that we hope continues to follow the pathway of quality products, made responsibly, that wear well over the years.
Shop the collection at levi.com and ganni.com
WORKS
We’re all familiar with The Hare and the Tortoise. A fable told to most school kids; it’s a stark warning about the arrogance of overconfidence. It champions the ‘more haste, less speed’ approach and aims to teach us about the importance of taking challenges at a more steady, stable pace.
Taking pride in the plod means we can enjoy the journey, after-all. It’s a senti ment that resonates strongly with UW founder, David Keyte. A man who takes his preambulation quota seriously, he has taken inspiration from the street-style, tra ditional country-wear and serious outdoor tech that walking folk sport for the AW22 collection.
This celebration of the journey rings true for UW. The 'New Walk Culture Pro gramme’ kickstarts the AW22 season with a call for us all to fling open the door, grab some layers and get roaming. It chimes hard with the late Alfred Wainwright say ing, “There’s no such thing as bad weather - only unsuitable clothing.” A philosophy of preparation and optimism, it was a great place to start when putting the seasonal mood board together.
Appreciating the process aligns with David Keyte’s mantra for design, which is summed up in one simple sentence: Keep moving, keep improving, keep learning. Shapes for the season have all the recog nisable UW hallmarks, with some urban
rambling-friendly additions peppered throughout the collection. Most fabrics tick the UW signature credentials, but now, there’s a considered and serious move towards the use of recycled, organic and sustainable raw materials.
This is all well and good, very good, actually. However, we thought it better to hear from David Keyte himself. For David, the collection incorporates a sense of newness in combination with well versed methods of UW design:
“The collection is bloody brilliant! Maybe in a more humble way I’d say it is more of the same - I think and hope we don’t reinvent our look or our silhouette every season but slowly develop and even improve. There is, perhaps, more texture and colour than some winters - more emphasis on outdoor fabrics - some new shapes, often simplified versions of UW
classics, I’m always trying to under design than over design.”
That being said, the process of sourcing material is never easy: “I always struggle to tell fabric agents and the mills I work with what I’m looking for, it tends to follow more of the ‘I know when I see it’ process. I want things of value, from good makers, if possible I want organic or more respon sible yarns like hemp or wool. I usually look for durability, but sometimes more delicate things can have a place. Ultimate ly, I want things to last, they need to look and feel great too.”
A fine combination of quality material and autumnal tone cements the Univer sal Works AW22 collection as one of this season's strongest.
Shop the AW22 collection at universal works.co.uk
I think and hope we don’t reinvent our look every season...
" I think and hope we don’t reinvent our look every season... I’m always trying to under design than over design.
BLAKE
LOUIS
“Vented is the expression of ideas through clothing and product, focused specifically on lifestyle. We set out to create products to compliment our community's lifestyle. We cater to our communities environ ment, hobbies etc. and we design for them - we have DJs in our community, we made vinyl slip mats, some of our community smoke or burn incense - we made trays for them.”
Conceptualised in 2017, Vented London came to fruition from the desire to make branded tee’s for creator Josh to wear himself. “Honestly, from the beginningnothing was part of any plan. I started out of pure interest and excitement, the first items branded with the name Vented were for myself. I had no idea we were going to build a community, build a range of items like we did.”
Following the first Vented branded tee, each release followed a natural progres sion purely on the premise that, accord ing to Josh, ‘the idea was cool and it was suitable for Vented to do at the time’. Perhaps their most iconic and successful
release to date, the Original Skatepark Ashtray came about through circum stance. “I felt unable to truly vent through graphic t-shirts, and we couldn’t afford to explore cut and sew yet. I sat down with a plan to create a new piece, relevant to my community, that could reflect my affection for London,” explains Josh.
The concrete ashtray reflected the brand's willingness to take inspiration from the skate culture around them, and was a commercial success. Each ashtray is hand made by the team in West London and is finished off with a Vented Signature coin in the base of the skatepark. Due to the hand made nature, every skatepark has its own organically defined imper fections. Josh highlighted that, “The use of concrete was a no-brainer, a great material, strong in metaphoric personal ity, that reflects the environment, cold to touch, smooth, strong, the perfect embod iment of a city and the communities that walk its streets.” Off the back of a hugely successful release, the Vented homeware collection was expanded.
Cultural inspiration in the form of music and its role in the Vented community was embodied in concrete artwork. The decks and soundboy, alongside jewellery, caught the attention of the world's most prolific department store, Selfridges. By Sep tember 2021 they had a pop-up store in selfridges, marking a huge milestone for any brand, let alone an independent, local streetwear brand.
This is only a glimpse of what is next for Vented. They have continued to follow the very basis of streetwear culture, commu nity-led releases.
This year’s Paris fashion week saw Vented release a This Is Not Sportswear* col lection, as Josh himself explains, “We identified the uniform of our community and explored ideas through silhouettes and materials that are already a part of their lifestyle.”
CHRIS GERRARD
Located in the picturesque town of Varese, Italy, the Paul & Shark HQ is a longstanding hub of activity that represents both the brand’s heritage as well as its pioneering spirit. Speaking to CEO Andrea Dini, you get the sense of a man buzzing with an unceasing enthusiasm that acts as the beating heart of the brand. Here’s what he had to say…
JAI How would you describe the spirit of Paul & Shark?
AD The logo of Paul & Shark embodies the silhouette of a shark. I believe that the shark is not a frightening animal, but, on the contrary, is a strong and elegant animal, a combination of strength and beauty. Paul & Shark stays strong in terms of quality and durability whilst also being elegant - we try to compliment the shark characteristics.
JAI In what way has sailing shaped the heritage of Paul & Shark?
AD My grandfather started Paul & Shark by taking inspiration from the Royal Navy, specifically the garments that were worn when sailing. After all, a garment is quality when it responds to a specific requirement of a consumer. When we design an item, we always keep an eye on how it could be used when sailing, especially in rough conditions.
Our very famous water repellent wool was invented by my grandfather, who was not a fashion designer but was a chemistry gentleman. He applied his knowledge about how to make waterproof garments,
and implemented it on yarns, for the first time ever. I believe that, still today, we are, if not the only one, one of the very few companies that are able to produce water repellent yarn, which is a completely different technology from typical water repellent outerwear.
JAI Stepping into the future, how impor tant is approaching a new generation of customers for Paul & Shark?
AD Approaching the new generation and keeping alive the interests of existing customers is the priority. A gentleman of a certain age represents dressing habits that would, previously, typically be consid ered slightly younger. We love it, we cross between different ages.
I strongly believe that our five year long approach to sustainability is a way to let the new generation understand that it is not only about beautiful design, it is about what impact and what legacy the brand has and will have in the years to come. Our brand has a promise to its customer, a promise of being sustainable and respect ful to the environment. We hope this is where a younger audience may find their ideals are being matched by ours.
a frightening animal, but, on the contrary, I believe that the shark is not a frightening animal, but, on
I believe that the shark is not a frightening animal, but, on the contrary, is a strong and elegant animal, a combination of strength and beauty...we try to compliment the shark characteristics.
JAI Obviously, Paul & Shark are a global brand, but the company has been strongly supported by a British audience. Why do you think that is?
AD To be honest, I don't know. If I had to guess it may be due to our links with naval heritage, a major part of our identity. To repeat myself, the golden era of the Royal Navy, directly inspired some of our iconic garments such as our Navy water repel lent sweater and our Navy peacoat. We are very grateful for the support we get from our UK audience, we view the UK as a forward-thinking fashion market, whatever happens in the UK will happen in the rest of Europe five years later.
JAI How can retailers such as Tessuti aid your expansion into British markets?
AD Tessuti has always been a partner, not a customer. I remember myself being much younger and visiting the first flag ship store in the city of Liverpool, which I understand now has been completely redone and looks fantastic. I remember being partnered with Tessuti when we were not going as strong, they supported us. We are grateful for this and hope to remain partners moving forward.
JAI How important is Varese to Paul & Shark and how important is Paul & Shark to Varese?
AD This company was born in 1921, created by a different family. My grandfather purchased the company right after the Second World War and grew from there. Then my father arrived and, following his success at the company, I followed and who knows who will come after me (smiles) - I hope my children will.
Many of the people who work here come from the surrounding areas. I'm sure that if I relocated the company only 50 kilometres away, I would lose most of the people and the company. It's made by the people who work here, not vice versa. I also think that being so cleverly located, close to the Swiss border, near to Milan and to our sports hub, it is very easy for us to travel around the world to be located here.
Are we important to the area? I hope so. This should be asked to the people from here and not to myself, if I may say very modestly. We are one of the most im portant companies, not only because we are what we are, but also because some
international corporations are moving out of Italy, this obviously is creating some problems with unemployment. Whatever we can do, we will. We are here, we stay here; we won’t move.
JAI For a new audience that may be discovering Paul & Shark for the first time, what do you want them to know about the brand before they engage with it?
AD Quality, reliability, and sustainability, these are key. I would love them to fall in love with the brand. We are a brand that is about the romanticism of sailing against all odds, of engaging with the natural world.
Shop Paul & Shark at tessuti.co.uk
With the opening of their new flagship store in Liverpool and the launch of their Made in Liverpool campaign, luxury retailer Tessuti sat down with homegrown stars Stephen Graham, Abbey Clancy, Miles Kane, and Chelcee Grimes to speak to them about the influence of the city on their lives and style.
INTERVIEWS BY MATT OWEN PHOTOGRAPHY TOM O'DONOGHUE
MO How did growing up in Liverpool influ ence your style?
SG Growing up in Liverpool massively influenced my fashion style as a kid. I'll be dead honest, I come from a massive family of cousins, loads of cousins. I had loads of hand-me-downs, but I had hand-me-downs which were Fila trackies and Tacchini trackies. We were all going through mas sive growth spurts as kids, this was nor mal. My first pair of trainers I bought were Adidas Kicks. For me, the obsession began with trainers. I must have been about ten, maybe, I really wanted these Adidas train ers for school, black and white stripes, and I just wanted them, it began there.
If I look at it properly, my style came from my uncles and their influences were the football casual movement, so that was where my fashion sense came from. I was in a breakdancing crew as well, I'm not embarrassed about it (laughs), we had a great time. We were wearing Nike windbreakers, tracksuit tops, stuff like that. Fashion was really colourful; Lacoste T-shirts, Fred Perry, and Ben Sherman, late mod-era clothing but then on top of it, you had this new kind of influence. Like I say, with the football casuals, a lot of that came from France. A lot of them acquired, shall we say, some clothes to bring back. I wanted to be like my older cousins, so that’s who I followed.
MO So how has your fashion sense evolved?
SG I still have that, “Am I a snob?” feeling. I think I am a little bit in a way, I don't want to be. It's also about comfort, I like to be comfortable in what I am wearing. I do like clothes, I want them to be comfortable but also colourful.
I don't wear suits, only for premieres, weddings, and funerals. I like the fact that I have to get dressed up to wear a suit. For me, it's about comfort, things that look nice. Having two kids carries influence, they’re both very fashionable, a lot of it's very expensive these days. It's hard having teenagers who like clothes, it really is (laughs), but I appreciate it and I under stand it because I was exactly the same.
MO Is there anything you specifically like about Autumn/Winter clothing?
SG Can we say it's an obsession? I'm sure if my wife was sitting here now she'd say it is; I’ve got shit loads of jackets. I've got so many jackets, wardrobes full. It's ridicu lous, it really is, and now I'm feeling really guilty just thinking about all of the jackets I have. But, there is something about put ting a nice jacket on, I look at the details intricately. I like the textures, the colours, and the sound of the zip lock, the feel of the zip - am I turning this sexual? (laughs)
The colour as well, especially a lovely pale pastel colour.
I saved up when I was younger for a really good jacket. I saved a lot for this particular jacket; it was a Sprayway, it was yellow, purple and lime green or something. I think I did a play at the Everyman and I got paid a few quid for it. I had to get that jacket.
Is it a working class thing as well? I think it's possible. Maybe it is. Typically, affluent people would wear suits, whereas we would aspire to wear the sports and leisure cloth ing they would go skiing in, stuff like that.
MO Would you say this is a Scouse thing?
SG You know, I'm not going to say it is a Scouse thing because I've got a lot of mates who live in London as well and they're the same. A good friend of mine, he's working class in that sense. Outside of clothing he has a great job and does really well for himself and his family. His son is too, he’s obsessed with wearing the best he can wear. It's not a negative thing, it's aspirational in a way, isn't it? To wear things and to feel nice. Clothes do make you feel a certain way.
MO Does your love of fashion impact your acting and how involved you are with outfits?
In between shoots for Paul & Shark, and Sandbanks, Tessuti caught up with Stephen Graham to discuss his Liverpudlian identity, fashion obsessions, and a love of ironing.
SG Costume is imperative for me. I like to start with my shoes, which may sound weird, but it's the shoes for me, to walk in the shoes of that particular character. It really helps, I spend a lot of time trying to find the right thing.
I did a film called The Irishman. There were these original Gucci loafers, they were leather and they were cream and they were magnificent. As soon as you put them on and add a little walk in them, I found the character. Sandy is amazing, she's one of the best costume designers out there. She had so much fun finding those shoes. When I put them on, we both got really excited and giddy, like a couple of kids. So for me in that respect, clothes are imperative to help find the character.
MO How many pairs of shoes do you have and is it enough?
SG Shoes? Maybe four or five pairs. Trainers? (laughs) Can I not answer that question?
I've got this pair of Adidas Ardwicks, they’re green suede. I've worn them on Christmas Day for the last five years. Sometimes I'll smell the trainer, that’s where it’s got to. Fucking hell, this is a real confessional moment, I have, at times, gone up to my top room, taken the shoes out the box, and just looked at them. I was very fortunate to be able to acquire a pair from a friend of mine. Thank you, Gary (laughs)! Gary Aspden, wonderful man.
MO So if you had to wear one pair for the rest of your life, would it be those or another pair?
SG I couldn't do that every day because I'd be so worried about them losing their shape and getting like a stain on them and things like that. I don't want people to come anywhere near me when I'm wearing them. I mean, kind of shake hands from an extra distance (laughs).
MO What is the most important part of an outfit?
SG Ironing your clothes, that’s it. Being taught to iron my own stuff, because my parents would be working late, was so key. If I wanted to go out to the neighbourhood club, I would always iron my clothes before going. I like ironing, I find it meditative. When you have loads of it, it is different. I am meticulous, I like the feeling of ironing
something, showering, and them putting it on. I sound like a lunatic, or do I? I don’t know. Anyway, the excitement begins when it’s been ironed. It’s about a sense of pride in appearance.
MO Do you try to consciously coordinate your outfits, perhaps any colour coordina tion?
SG Elements, yeah. Am I really consciously doing it? Yeah, I am conscious about what I pick out before I put it on. I am not sure why I care, but I do. I went through a phase of navy blue, everything was navy blue. You can’t beat a navy blue jacket. I have moved in more colourful ways but navy blue is the one for me.
MO What does the city of Liverpool mean to you?
SG It’s a sense of identity in many as pects, it's where I'm from. It's where I was born and where I was raised. Has it made me who I am? I don't think so. I think the journey that I've been on myself has made me who I am. Am I proud to be from this particular place? Yes. Why? For me personally, my family makes me proud, my mom and dad, my brother, cousins, and most of all my Nana, the matriarch of our family. Liverpool is a very passionate place and it's a city of people who, for me, have a strong sense of themselves and a strong sense of community. The support that I receive from people of Liverpool, the majority of people from Liverpool, is amazing. A slight sense of pride, I suppose, in one of your own. You know what I mean in that respect?
Due to the way I was raised and where I'm from, I think my feet are firmly on the floor. I realise I'm extremely grateful for what I have achieved in the life that I lead today and in the profession that I'm in. I also know how hard that was, what it’s like counting the pennies for beans on toast; me and the missus, when we lived in our little flat in London and going across to the shop, being twenty pence short and the fella behind the counter letting us off.
So, I understand those struggles and I think, where I'm from and who I am today, all stems back to that little kid living in a block of flats in Kirby, the world was big and wide and anything is possible. I never lost that sense of belief. For me personally, having someone like Drew Schofield live across the road from my Nana’s house,
ABOVE ANYONE AND NEITHER AM I EVER BELOW ANYONE. WE'RE ALL JUST SPIRITUAL BEINGS ON A HUMAN JOURNEY, I’M A SPIRITUAL SCALLY.
MY MUM ALWAYS TOLD ME I'M NEVER ABOVE ANYONE AND NEITHER AM I EVER BELOW ANYONE. WE'RE ALL JUST SPIRITUAL BEINGS ON A HUMAN JOURNEY, I’M A SPIRITUAL SCALLY.
showed me that anything was possible because he was Scully on the telly every week! I thought maybe I could do that if I wanted to. I wasn’t fearful because I had seen Drew do it, then I went to the Every man youth theatre and that is where I got a sense of the possibilities that could be achieved.
In all honesty, I am proud of where I am from and I am proud of the people of Liv erpool. Their sense of self and solidarity, especially when I was growing up, there was a massive sense of community. You couldn’t go anywhere without someone knowing you, you’d get home and my Ma would go to me, “I told you not to go to Tower Hill.” I would deny it, but she would be like, “Yes you did, Mrs Jones saw you, and she told Theresa, then Carol knocked on the door,” and I would just apologise (laughs). There is a part of being in a tribe, I suppose. Yet, with my mates in London and friendships throughout my life as I have moved on, I have felt that sense too. I am not sure it is unique to Liverpool, as much as we would like to think it is, I think you attract the right tribe for you wherever you go.
MO When you’re working across the world, with Martin Scorsese, Di Nero, Leonardo DiCaprio, do they ever ask you about Liverpool?
SG Not really. The easy common denom inator is The Beatles, there is always that topic of conversation because eight out of ten people I meet know who The Beatles are. Then there is the football conversa tion, some people watch, some people don’t. I remember watching Liverpool versus Chelsea with Leo, and I said it was a great game, and he couldn’t under stand how a game with no goals was good (laughs). After these conversations, you explain the history and the culture, the
fact Liverpool was built on slavery, all of it. I have a lot of friends from Manchester, and we’re very similar culturally, same with our fashion. Then I have mates from southeast London who have the same phi losophy and ethos as me. So, I am proud to be from Liverpool, but I think it is more just the shared experiences of working class culture. I am not into the north-south divide, I have just as many close friends in London as I do in Liverpool and Manches ter. Like I said, you attract your own tribe, and of course there is a sense of identity in it, but I think what draws people togeth er is bigger.
MO You have touched on this already, but was Drew Schofield your inspiration for you to get into acting or were there other key moments of inspiration?
SG There were a couple of little things: first of all, like I said, I’m coming from such a big family, we were always vying for Nana's attention. I realised the best way for me was to make Nana laugh. Then, when she’s cooking Sunday dinner you might get a bit more apple pie (laughs).
Then, my mum and dad took me to the Everyman after Drew came and watched me in a play and told them he thought I was talented. Also, my school encouraged drama school, I went to look, but it wasn’t for me, I felt like an outsider. The Every man youth theatre was where it all started, one of the great things about it was that, you would go every Wednesday or Thurs day, and then during the Summer holidays you would perform a show. You would put this performance on for three nights, and it would be full of family and friends - this meant the theatre became ours. If I didn't have access to this theatre, if I didn’t have this feeling of belonging, connectedness, I wouldn’t be where I am. It was invaluable.
MO You have said that there is a sense of pride and community here, and you’re someone who is known for helping emerg ing talent in Liverpool. Why is that impor tant to you?
SG That’s a really good question. It is just nice to be nice, why wouldn’t you want to help someone out if they have the possibil ity to achieve their dreams? Seeing talent inside someone is great. Drew inspired me, and if I can pass that on to someone else then I have helped. My mum always told me I'm never above anyone and neither am I ever below anyone. We're all just spiritual beings on a human journey, I’m a spiritual scally.
For me to be able to help someone or pos sibly even mentor or guide someone, you don't get much more of a reward. Not self ishly, not egotistically, but to see a unique ability within someone. For instance, Jodie Comer, to have one tiny little scene with her and think, “Wow” and then to help be a small part, maybe, of what has happened with her career is brilliant. I personally believe she would have flourished anyway, but to be a part of that journey and to then work with her years later on something as personal and unique as Help, and to then watch her stand up and get a BAFTA, fucking hell, there is an immense sense of pride there. Why am I getting emotion al? It is just a sense of pride, it’s beyond anything. Like my Nana said, “It’s nice to be nice.” This world is hard enough. If I can help someone in any shape or form for the greater good, then so be it.
MO Could you tell me a little bit about what the city of Liverpool means to you?
AC The city of Liverpool means everything to me. It's who I am, it's where I'm from. I think I've got a lot of typical Scouse traits. I'm a loyal person; I'm friendly. Liverpool's a great place and I definitely feel at home here. Obviously, I live down south now, so there is a big difference. But coming up on the train to Liverpool feels like home.
MO In what ways did the city shape you?
AC I think being Scouse is definitely its own breed. People from Liverpool all have the same values and morals. I feel lucky to be from Liverpool. There's a real sense of community here. We love a bargain, we love getting dressed up, we love going out, we love having great times. We love our family.
MO What was life like for you growing up in the Clancy home and coming of age in the city of Liverpool?
AC Liverpool's a great city to grow up in. I was from a busy household, one of four children. There was always family around, always cousins, my brothers, and sister and I had a great upbringing. I loved it. Es pecially when you're at the age to go out, Liverpool is a fun city.
MO And are you still close with your family now?
AC I speak to my family a million times a day, I see them at least five times a week. It's just built into us, a strong sense of family and friendship, too. I still speak to my friends from school most days. I think that's some thing that's very important to a Scouser.
MO When did you start thinking about modelling as a career?
AC I actually wanted to be a singer believe it or not, I didn't even want to be a model. It was only one of my mum's friends who got the application for Britain's Next Top Model for me and it stemmed from there, really. I just wanted a job where I’m doing some thing different every day and meeting loads of new people. I love fashion, clothes, and photography. So to work in this indus try, I just feel completely blessed. I love it.
MO After Britain’s Next Top Model, you're a young girl coming from Liverpool and going into the huge world of the fashion industry, in London, travelling and being away from home. How did you find that change?
on
If you have kept a keen eye on the hap penings in Liverpool, which we know you have, then you will have seen a remark ably beautiful building on Paradise St transforming into something new. Over the last year, Tessuti have been constructing their flagship store, placed in the heart of Liverpool ONE. As luxury brands continue to elevate, Tessuti understands the impor tance of supporting customer needs both in physical retail spaces as well as across digital platforms. With this new venture, Tessuti aims to change the perception of what retail spaces can achieve.
When approaching the new store, it’s obvious that Tessuti sought to combine the old with the new by using curved architectural aspects with a contempo rary twist, bringing in digital screens to create a dramatic entrance. When walking through the doors, you are greeted with an abundance of colour, detail, and design elements, but the product is still king. The layout also makes it possible to uniquely navigate the space. Not to mention, the Made in Liverpool campaign is brought to life with the delightful touch of includ ing local pop-up vendors in the space.
The same can be said of the second floor where an array of expansive and luxurious men's footwear and accessory areas can be found, alongside a full-time SneakersER station, and bespoke Piaggio van included for activations that will enhance customer experience.
Speaking with Chris Rowan, Director of Brand and Customer Connection, you quickly understand two things. The first being that one of the driving forces behind this store is brimming with passion and understanding, the example of my being shown the circumference of each individ ual cylindrical table leg to understand the exact sizing and texture springs to mind. The second thing that surfaces is that the store has been constructed under a level of microscopic detail that, quite frankly, is astounding.
When asked about the main objectives behind the flagship store, Chris explained that, “It is much easier to convey, emotionally, what your brand is about physically than digitally. We want to retain our roots, values, and personal ity and still be viewed as a credible independ ent retailer that has grown up, we wanted to lift our game in terms of working with more elevated brands; we wanted to open up and be more experimental, we want to protect local businesses and include them in activa tion projects.”
Equally, the store has been constructed to effortlessly evolve technologically. Tessuti are providing their customers with a unique audiovisual experience, a balanced yet en gaging euphony. Plenty of screens adorn the walls, and rather excitingly, the ceiling, allow ing for a flow of campaign videos to enhance the customer experience. I could wax lyrical about the interior, the activation, the Piaggio van residing upstairs. However, the difference between the Tessuti Liverpool flagship store and others occupying various retail spaces is that the fine detailing, the one per-cents, have all been taken seriously. If there is scope to make something better, then that is what they do.
So, why Liverpool?
Despite now being a part of a global company, Tessuti’s roots are found in the north-west of the United Kingdom. Found ed by David Light, the first Tessuti store opened in Chester, in 1985. Returning to this area to situate the flagship store com pletes the cyclical return, supporting the city that originally supported the company in its infancy.
The city is revered for its ability to blend individuality and community, the inter views in this issue only further reinforce that. Yet, there is more; Liverpool houses trends, builds intrigue, and these trends subsequently filter across the UK. For Chris Rowan it is simple, “Liverpool is the number one fashion retail space. The city has evolved, the multicultural influence has changed the face of Liverpool for the better, it is so exciting.”
The acquisition of a landmark flagship store in the iconic Liverpool ONE centre presented Tessuti with a unique opportu nity to take a new approach in presenting themselves. To do this, the brand ap pointed London-based Counterfeit Studio, the designers behind the interiors for streetwear brands such as Carhartt WIP and Footpatrol. Murray Aitken, Founder of Counterfeit Studio noted that:
“It was clear from the earliest of brief ing stages with the client team that any new direction for Tessuti had to resonate deeply with their customer. To do that, we determined that the solution was to create an adaptive store that could easily showcase launches or activations clearly and authoritatively - a flexible, dynamic and digitally enabled platform to showcase new and established brands.”
Murray went on to explain that, “The new global store concept presents Tessuti as the authority in premium style, simulta neously showcasing timeless premium products alongside the latest directional trends. It’s an ambitious new benchmark for Tessuti and sets the tone for the future of their retail spaces.”
The store aims to engage consumers and elevate the quality of retail in the city. Through architectural excellence, a tenacious attention to detail, and a huge collective effort, the Tessuti flagship store has already delivered on these aims and will continue to do so far into the future.
Check out the new store at Tessuti, Liverpool ONE 8-12 Paradise St, L1 8JF
AC I found that transition okay, I do and still to this day struggle with being away from home. I'm definitely a home girl. I freak out when I have to stay somewhere that's not my own bed without either my kids, my husband, my sister or my best friend. I always have to have someone with me, I'm such a wimp. So that part of the job was daunting and still is to me. Now I feel lucky and blessed to be in the career that I'm in, you know, we get to meet so many different people, personalities, you travel, it’s great.
MO How do you stay grounded?
AC I think being grounded is definitely part of how I was brought up. Being from Liverpool, I've always been taught to be myself, be kind. I like to be professional and I enjoy my job, I want to do it. So much
goes into these shoots, money and time, the least I can do is get my feet wet.
Obviously, the emergence of social media has changed everything and it's changed the fashion industry. I think for any brand to survive nowadays, they do need to be on social media and make an impact in that space. It does make things harder for people as well. With all the filters every one's a model on Instagram, everything's a lot more disposable now.
MO Do you have a piece of advice either that you were given or that you would like to pass on to someone trying to start that career in any creative industry?
AC Never give up on yourself. You've got to have thick skin, believe in yourself. I think the older I get, the less I care about what
people think of me. I'm doing stuff for me instead of everyone else. People are easily influenced. It is always better to do things for yourself and make sure you support yourself.
MO Do you have any staple pieces that every autumn you just can't wait to wear?
AC I love Autumn/Winter, it's my favourite season to dress in. I love black. I'm usually head to toe in black. I love my Barbour coat, it's literally a staple for me. I wear it on the school run, walking the dog. Amaz ing quality and you still look stylish, that's really important to me.
THE CITY OF LIVERPOOL MEANS EVERYTHING TO ME. IT'S WHO I AM, IT'S WHERE I'M FROM.
IT'S WHO I AM, IT'S WHERE I'M FROM.
CITY OF LIVERPOOL
MO What does the city of Liverpool mean to you?
MK For me, it's everything, it's emotional, it gives me memories. Reminds me of family, of starting my career. It reminds me of my first nightclub, my first drink. It reminds me of my first ever performance at Jaca randa, I used to go there and do the open mic nights and I thought I'd made it when I was doing that.
MO Where was your first gig?
MK The first gig was in Hannah's Bar (now Metrocola) in the Little Flames, which was my first ever band. I remember we were upstairs and we were walking through the little crowd but in my mind I was at Wem bley, I don’t even think there was a stage, but I knew it was what I wanted.
MO What was it like growing up in Liverpool?
MK Well, my mother brought me up so it was just her and I in the house. It was amazing, the music that was getting played at my mum’s and my Nan’s would all be Motown, Bowie, The Beatles, T. Rex, and this music never left me, it shaped my character and my persona. I never really rebelled against this music, I have always been drawn to it.
MO At what point did you consider music as a career, was it that Little Flames gig or something else?
MK My dream started when I would come home from school, my mum would be working at the St Johns market, and I would just blast the Libertines or Oasis, and I would be singing in the mirror. My cousins were in a band called The Coral, and I remember seeing them play live, watching them rocking, it was just intrigu ing, it gave me that drive to kick on, to get better at guitar. At that stage I wanted to be a guitarist, I didn’t have the confidence to sing, I just practised to get good at it.
MO You’re a working class lad from over the water - so how did a lad from the Wir ral get himself on the big stage?
MK I don't know (laughs). I'm 36. I've been doing it since I was like 17. I still feel like I have so much more to prove. There are so many distractions. There have been times in my career where I have been side tracked, but actually it is better to keep those blinkers on and focus on what you want, follow your gut. The older you get, you realise your gut is never wrong. So sticking to that makes me believe it will all come good.
MO Can you tell me what you love most about being a musician and a songwriter?
MK For me, it's therapeutic, it's a release. It's kind of easier than talking in real life, sometimes you can't get those emotions out. If you have a jam or you write a tune or you start a new idea, whether it's on your own or you're in a session with some
one, I always come out of it feeling lighter. If I don’t do it and start getting lazy, that is when my mood drops. It is so important to me, I need it. Then you add in gigs, the connection with the crowd, and the energy. I love doing what I do so much, I will play anywhere. The build up and the excite ment is always the same.
MO Tell us a bit more about your songwrit ing process these days?
MK It doesn't really change. I just try to write as personally as I can, whether it's about situations I've been in or going through or myself looking to the future and those aspirations I still have. The fun damental thing about it is that the process stays the same, stylistically it is based on whatever is turning me on at the time. This then bleeds into my style, my haircut, and what I’m wearing. I have visions, if the music sounds a certain way then I want to dress a certain way. It's kind of an addic tion, to be honest.
MO Who would be your biggest musical influences?
MK Hard questions, that (laughs). Obvious ly, John Lennon would be up there for me just because I was so obsessed with those first two solo records of his, really shaped my songwriting. It had such a big impact on me.
I just love that feeling of being serious but not so serious when you're up your own
"
IF THE MUSIC SOUNDS A CERTAIN WAY THEN I WANT TO DRESS A CERTAIN WAY. IT'S KIND OF AN ADDICTION, TO BE HONEST.
arse; you can still have a joke and a laugh. I think definitely the Beatles have got that balance so perfect. I think it's so important to show your personality, to have a laugh. There's a fine line, isn't there? I also love Marc Bolan, Diana Ross, Rod Stewart, flam boyance is what I’m into.
MO Fashion seems to be very important to you, you can see it in your music. Has fashion always been central?
MK 100%. Even from back in the day when I first got my first black Lacoste tracksuit, you know. I've always had this obsession with clothes, I'm going back to looking like a scally, whatever it is. For me, they all morph into one, and I kind of love combin ing all those things. The Lacoste tracksuit with the leather jacket, throw a cravat in there as well. It’s all part of my persona. They’re all things that have been popular here, so I have learned from this city and taken inspiration from the style in this city.
MO There are some great names in your songwriting credits, if you could collabo rate with someone living or dead, or both, who would it be?
MK Off the top of my head, I would go with Sam Fender. He is doing great at the minute!
MO If you could go back to one moment in your career, what would it be?
MK I can’t remember any of it right now (laughs), probably singing a Libertines song at the Jacaranda, half mumbling be cause I was too shy. I like to look forwards really, keep my eyes on what is next.
MO If you could have a coffee, or a pint, with one Liverpool legend who would it be?
MK Paul O’Grady, legend.
THERE HAVE BEEN TIMES IN MY CAREER WHERE I HAVE BEEN SIDETRACKED, BUT IT IS BETTER TO KEEP THOSE BLINKERS ON AND FOCUS ON WHAT YOU WANT,
HAVE BEEN TIMES IN MY CAREER WHERE I HAVE BEEN
HAVE BEEN TIMES IN MY CAREER WHERE I HAVE BEEN SIDETRACKED, BUT IT IS BETTER TO KEEP THOSE BLINKERS ON AND FOCUS ON WHAT YOU WANT, FOLLOW YOUR GUT.
MO What does the city of Liverpool mean to you?
CG Liverpool means everything to me, it’s home. I've lived away from Liverpool, it was never the same, I always had to come back. I got to travel a lot with songwriting and with football but Liverpool was always home, there's just nowhere like it.
MO What do you think is unique about its culture?
CG I think the people, that's the one thing that separates Liverpool from the rest of the world for me. Like I said, you know, I've been to pretty much all my dream places, all the places I wished to go and visit and you just don't get the people like there are here. There's no one like Scousers anywhere else in the world.
MO How has Liverpool shaped you as a person?
CG I definitely wouldn't be the person I am today if I wasn’t from Liverpool, it's the graft, the hard work. That’s the heritage of the town and the city that we're from. Even supporting Liverpool Football Club, you know, we weren’t winning stuff when I was younger and look at us now, it's been a graft. It's not been straight to the top, that is inspiring for me. We know if
you dig deep, it can happen. That was my mentality growing up in this town. Growing up for me was kind of lonely. It was me and my mum, bless her, she used to play football all the time with me, I was terrible at losing. To be honest, I still am (laughs). Now we're in a good place because she actually works with me now. So it turned out alright.
MO So what age did you start to get into football?
CG I think I must've been about eight or nine. There were no girls in my street. So if I wanted to play out, it was just football. So it was either do some homework or play out with the boys. I got really good. The thing about football is literally you just need a wall and a ball, I could spend hours there.
My granddad had seen a soccer school in the paper for Ian Rush. I didn't know who he was at the time, he had a mous tache and everyone was asking for his autograph, he was so humble. I was the only girl who turned up and that just so happened to be where Liverpool ladies trained, from there I got scouted. I got asked to go down for a trial and I didn't even own a pair of football boots! That was the day I started taking it seriously. I got in, I got a kit and I just saw a pitch full of
young girls like me. Of course it wasn't cool back then but it didn't stop me. I remem ber my first day of training for Liverpool and seeing all the young girls like me, I felt like that's where I belonged.
People ask me all the time, do I love music or football more? I don't think they realise how hand-in-hand they actually go. You know, both of them require a strong mentality. You're never going to make it in either without believing in yourself. For me, football does come first because that was my first love, it was something that was instilled in me. It doesn’t matter if you’re 3-0 down you can bounce back, and that has had a huge impact on my life.
MO What are some of the challenges you’ve encountered at a young age, and even still playing football now?
CG I think it's challenging just being a woman in sport, a woman playing football especially. I was an easy target. So straight away, if you’ve got a girl in the team you’re met with sniggering and unpleasant com ments. That stuff built my character, which, I mean, I'm sure some of them wish they never had done. Now I can walk into any room because I was strong enough to just stick it out, get on the pitch, and not let any of that bother me.
WE KNOW IF YOU DIG DEEP, IT CAN HAPPEN. THAT WAS MY MENTALITY GROWING UP IN THIS TOWN.
WE KNOW IF YOU DIG DEEP, IT CAN HAPPEN.
MO How is fashion connected to football for you?
CG Growing up, I used to wear astro turfs with stuff (laughs). I think my style is sporty, it can be casual for me. If I can incorporate one piece of sportswear, it doesn't even have to be a football kit. It could be a cool tennis top, a basketball top, whatever, I’m a sports fan first and foremost. I was wearing kits from Italy, kits from Germany. Now, you can wear a pair of jeans and a jersey and it looks cool and you can rock it anywhere. Going back to music, you would never see music artists wearing football shirts in a music video but now it's acceptable, everything goes hand in hand now. Sport and music fit perfectly.
In terms of personal style, I've worn some things that I would never, ever, ever wear again. But I think for me, it's just I'm not afraid to try anything. And I think that's what sets me apart sometimes on a red carpet, good or bad, I'll go for it.
MO Why is grassroots football so impor tant to you and to the evolution of the game?
CG I wouldn't be here without grassroots football. People think when you play for these big clubs it is easy. Ten years ago you needed funding from other places. Now I have a little sister, she's 13. She wasn't there when I was growing up but she plays football and I sponsor that team and that's so cool. I think, you know, just compared to back when I played, we'd be the token girls team. Now, I watch my sister's team on a Saturday and it's full of girls playing and I'm so proud to still be able to be in and around the game.
I still play now; I play for MerseyRail. We've just gone into the National League, so it was at a grassroots level in the near-past. The National League is now being funded by some big names, it's amazing to see people back in the sport now and really getting behind it because people need to understand the girls aren't going any where. It's just beginning!
MO Do you have a hero from Liverpool, either in sport or fashion?
CG It would be Steven Gerrard, of course. There was no one else, he was a god to me growing up. He was from the city, fulfilling
his childhood dream. That was inspiring for me just to see that someone from our city could go on to do whatever they dreamed of. More broadly, women who went against the grain, that's what spoke to me. I wasn’t sure why but that is always what I gravitate towards.
MO How much of a watershed moment do you think England winning the Women’s Euros is for the women’s game?
CG I was fortunate to be there. The final at Wembley sold out 87,000 people to watch England lift the trophy. It was historic. It was emotional for me, I know a lot of the girls in the team, I've played with some of them at youth level. Just to see that victory, they've stuck it out, playing at a time when it wasn't cool and wasn’t funded. Those girls have not had it easy whatso ever, it's not been all glory at all. It was so emotional for me to see that, I never
thought in my day that I'd be standing there in a packed out stadium watching England lift a trophy.
I think everyone is now looking at girls playing football. It's not just girls playing football. It's football. Yeah, girls will play in it, but it's still football and it's a great standard. A lot of young people, a lot of young girls like my sister, are looking at it and seeing that it is a possible career. I am so proud to be here and watch a team like England, and I can’t wait for the next generation of young girls to keep playing.
I can't wait for the next Euros. I can't wait for the next World Cup and I can't wait for the next generation of young girls to be playing the sport.
Designed under the theme of a pretend running competition, the 2022 DOWNTOWN RUN, the collection offers diversified wears, shoes and other sports gears, all of which were inspired by New Balance 1500UKG that many in the 1990s wore in their morning jogging. The collaborative collection, in the mood and silhouette of the 1990s, comes with coach jack ets, thin sweat hoodies and T-shirts, 5” ripstop shorts, and trucker caps.
The first shoe style is the 2002, which became a signature running shoe product through another collaboration with thisisneverthat. The second is the 1906, one of New Balance’s classic running shoes which was originally released in 2010. They will both hit the market, thanks to the cooperation between the two companies.
The shoes will be available on newbalance.com at £155
JAI MCINTOSH
JAI MCINTOSH
